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♪ >> robinson, apparently tired. >> come on, ray. >> a director, an actor, find a

story at the right time and the right place. and out comes this amazing combination of cinematic vorility and absolute fear. >> i think "raging bull" is a great title. and the film fulfills the promise. the reality of the boxing and the great slow motion. all the black and white gore. violence of the flash bulbs going off. when he designed the movie, marty, purposely, he didn't put a clutch on the film. there is no clutch. >> "raging bull" is a boxing movie for people who don't like boxing movies because it's really not about that. it's about this man who is based on a real person who is really at war with himself. >> come on. harder. harder. >> i can really understand boxing but the character was interesting.

he was just so contrare, as they say. he was just so difficult. >> what does it prove? >> bob de niro is not afraid of the negative characters. not afraid to, as they say, go to those places. >> i was down to 152 in my prime. and then i went up to 212 so i gained 60 pounds. it's not easy, though. the first 15 pounds, it's fun. then it's drudgery. >> go get 'em, kid. >> it's absolutely true that the movies of 1980 look like movies of the 1970s. very personal, very passionate film making rules. and then you had ordinary people, which is the movie that defeated "raging bull" for best picture in 1980. this incredibly precise and very emotional study of a family in deep crisis.

>> calvin, give me the camera. >> no, i didn't get it yet, beth. >> give her the camera. >> i want a really good picture of the two of you, okay? >> give me the camera, calvin, please. >> not until i get a picture of you. >> give her the god damn camera! >> cannot get in touch with their feelings and who avoid the darker underpinnings. so i like to tell a story about what people will do to avoid being seen for who they really are. i gave mary tyler moore the script and i said, look, i can see you playing this. she was drawn to it and that really hit me because that told me there was some part of herself that she was willing to expose that had been not exposed before and she wanted that chance. and so she was given that chance. and she did a great job. >> calvin? >> in that moment where mary tyler moore comes downstairs and she asks her husband what's wrong. >> i don't know if i love you anymore.

>> she goes upstairs and she's just -- there's something so moving to me about somebody who is so deeply repressed cracking open. >> that's where the dam breaks. she gets hit by some truth that she can't articulate. she's so taken back, she can't adjust, she can't take it in. that's what that moment was about. >> then you look at some of these films of the 1980s, like "ordinary people" and like "blue velvet." those films are explicitly about how things look are not the way they really are. you have to understand this was when ronald reagan became president. and the idea was that after all sorts of traumas, particularly watergate and vietnam, we healed. but as the public pronouncement is, we're good again. our movies are telling us, no we're not. no, we are not.

>> wendy, i'm home. >> i play this game. all your favorite filmmakers, alive or dead, were opening a movie on the same day. which movie would you see first? and for me, it would be stanley cooper because you're going to see something you never saw before. and he did that in -- think about it -- every genre. he's going to make a horror movie, it's going to be the horror movie. done in a way that you would not expect. to me, "the shining" isn't about horror. it's about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley cooper. >> mom. >> it was as if i had been in the overlook hotel for two and a half hours. he creates a pacing where it overtakes the way you're breathing and the way you're

existing. and you're in there in all cooper films, he controls you. >> cooper in the shining broke through ground. gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't even see his face. you're behind it, which leads to one of the scariest shots in the movie. >> hello, danny. >> hello, danny. come and play with us. fantastic. >> betting $4 million on its new movie heavens gate but after two years of preparation, been yank yanked from the american theaters after only one day.

>> director whose deer hunter film was a great success got a free hand, his producer said he was out of control. the result, a three and a half hour bomb. >> heaven's gate is a stake through the heart of the era in hollywood. it's the cautionary tale that's all about to say, no, the studio's going to step in here and this is not going to be another heaven's gate. and that's how you get the movies of the 1980s. >> you knew where you were when you first saw "the empire strikes back" because it was the "star wars" movie that took the whole thing to another level. "star wars" was huge. but "empire strikes back" was phenomenal. these established characters. you saw them intermix in a way that you had in the previous film where there is this budding romance going on between han solo and princess lea.

luke is transitioning into when to become a jedi knight. >> i saw this as this is the good act because in classical dramatic philosophy, you set the thing up in the first act. in the second act, your heroes are put in a position that is unresolvable. they're put in enormous jeopardy. you don't know how it's going to work out. and that is always the most interesting part of the story to tell. >> obi one never told you what happened to your father. >> he told me enough. he told me you killed him. >> when we actually started work, it was just me and george in the office. and george says to me, you know, darth vader is luke's father. >> i am your father. >> no shit. and it was about fathers and sons. about good and evil personified. >> it is your destiny. >> i thought that made the whole

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four of the biggest money-making films of recent times have come from two young gifted filmmakers. george lucas and steven spielberg. they're friends, as well. so it's inevitable these two

would joins talents and they now have in an adventure film to be released this week. >> george says i have something called "rangers of the lost ark." it's just an idea i have. this rotting adventure, archaeologist, with the hat and the whip. i committed to the movie just based on the one-line story george told me. and then larry, george, and i just sat around for three days and basically made up the story from beginning to end. >> there is a line in raiders that means a lot to me. just buried there in the middle of a big action sequence. they've lost control of the ark of the covenant and says no, i'm going to get it back. and how you gonna do it? >> making this up as i go. >> that, to me, was what life was like. we just make it up as we go. indiana jones is very good at that. >> we came up with an idea like

a truck chase. and then we'd figure, well, how do we get the truck chase in the movie? so we had these big kind of subjects. and then we kind of reverse engineered in order for it to earn its place in the story. >> spielberg is a master of staging. even when they're moving very fast and cutting very quickly, you always know the lay of the land. >> he can create suspense out of details big and small. and there's always the action that the audience can see but the characters can't see. so the audience is aware that not only is indy maybe not only going to get beaten into death by this enormous nazi, but also, the whole thing might blow up. >> you wonder why your blood gets up when you watch 'em. it's craftsmanship and art.

>> everybody in this town is talking about steven spielberg's latest film "e.t.." i was there at 12 noon today and there were literally thousands of people waiting to get in. >> the wait is hours long in chicago. days long in los angeles. >> e.t. has become the movie industry's biggest money maker ever. >> i had this story. i was going to write about how the divorce between my mom and dad affected me and my three circuits. and so i combined that with one about an alien who, himself, is divorced from his own species and is lost 3 million light years from home. >> i don't like his feet. >> can you imagine if that film didn't have those kids? every one of them. henry thomas. drew barrymore. that's the secret sauce that to movie. >> i just want to say good-bye. >> all the kids had fallen in love with e.t.

and i had like to think e.t. had fallen in love with them. and that scene was genuine. those tears were real. steven spielberg movies. they are big blockbusters but they are personal stories. they are small stories told against a giant canvas. >> we're here. >> in the 1980s, i really felt that i was speaking to myself. loving escapism. poltergeist was about all the things that scared me. i'd a tree out my window when i was a kid that scared the hell out of me. so ha happens in poltergeist? the tree comes in and grabs the kid. i made stories about one final adventure as the goonies and discovered to save their parents' homes. suburban stories about gremlins running around and tearing things up. just loving stories that were bizarre. >> everybody has dreams or

thoughts, fantasies, back in time somewhere. put together for the moerpd age. modern age. >> you tell me you built a time machine. out of a delorean? >> the way i see it, if you're going to build a time machine into a car, why not do it in some style? >> it was a mystery that it was as big a hit as it was when it came out. but the real mystery is that it's endured for decades. >> we're sending you back to the future! >> this simple idea, which is what would it be like to see your parents when they were younger, is something that obviously is multigenerational. >> you smoke, too? >> honey, you're beginning to sound just like my mother. >> the only thing that's weird about the story. it's a boy going back in time and meeting his mother and she falls in love with the son she hasn't yet had. that was pretty kinky for me. >> that's a big bruise you have there. >> but they pulled it off.

i was exhausted at the end of "back to the future." and then he makes "who framed roger rabbit" it's like he took back to the future and tripled it. >> there is a scene where donald duck and daffy duck are having a piano duel. at the same time, penguins are serving drinks. and if you look at the making of, of that individual scene, it's under complete total chaos. there is real actors pretending to be drinking. there is trays moving around on these iron rods. that was a hard movie. that's sort of an ignorance is bliss category that that movie should fall into because that's a movie that no sane person would ever attempt to make. >> i love villains. i was a kid and the first walt disney films came out. there are dark moments in each of those that scare the hell out

of me. so it's payback. >> i talk just like this! >> i got some moments in there that will be in their worst nightmares for the rest of their life. >> the trick to making that blend of live action/animation is that the live action actor has to believe it. always believe that the rabbit was there. it really is an amazing performance. i mean, it's really one that actors should study. because it was made before a lot of cgi existed, it was old-school moviemaking with physical special effects. "who framed roger brabbit" is te most complicated movie ever made. >> don't tell me you lost your sense of humor already. >> does this answer your question?

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one of the really great films of the '80s is "the verdict." beautifully told by

master/director sydney lamette. paul newman plays a kind of washed up lawyer who was an alcoholic kind of ambulance chaser. what makes it uniquely la met is even when it's big movie stars, he manages to bring them down in the case of the verdict to the boston streets. and you can see the stars in the movie. but they have not turned the movie into something glamorous. but on the opposite, have entered the drudge and reality of the world that la met's painting. >> i never should've taken if -- >> newman did what he was asked to do and he was often asked to be the matinee idol and not a leading man. and be charming and witty and funny. and when he does the verdict, it just maybes you cry. here, newman shows you what he's made of as an actor. >> to see that scene where he is calling the insurance company to rekindle the deal that he turned

down. >> okay. no. no. i understand. >> it's really one of the greatest pieces of acting i've ever seen in my life. that phone call. no cuts. la met just goes, okay, here we go. >> so how's your wife? >> oh, great. how's yours? >> not so great. >> oh. we're telling truth. >> the big chill it's about these kids who were in college together in the late '60s. and they're now no longer anti-establishment but actually are part of the establishment. trying to reconcile that history with their present. >> movies aren't being made for adults. that's all "the big chill" is really. it's an adult film. and it tries to be as complex as life is. >> i had wanted to make a movie about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent.

>> when it first came out, i thought this will be for this generation, the children of the '60s, this will be very relevant. and then i would meet kids who were in high school ten years after the movie came out. i love that movie. it's about friendship. it's also about growing up. there's something in its essence that is timeless and universal. >> i'm marrying flap tomorrow. i thank god for flap for getting me out of here and i think if this is your attitude, you shouldn't bother showing up at my wedding. >> that's right. i think you're right. the hypocrisy was bothering me, too. >> terms of endearment based on a book adapted and directed by james l. brooks. it made you cry, it made you laugh. it was the stuff of life. shirley mclean plays aurora. gets involved with an astronaut

played by jack nicholson. >> fly me to the moon! >> they just had this incredible comic chemistry. the romantic scenes between them are hilarious. >> i'm sorry. >> if you wanted to get me on my back, you just had to ask me. >> terms of endearment may be the first dramedy, a movie that's funny and tragic simultaneously. >> >> you'you're going to -- >> the shot! >> thank you very much. >> james brooks was able to take humor, tragedy, the best writing. delivered beautifully by actors that cared so much.

it felt like life. it felt human. it felt funny. >> the winner is "terms of endearment." >> jim was into the delicate shades of humanity before it was cool. >> oh, well, that was a long time ago. people change. >> well, i hope you changed. >> yeah, i hope you have too. >> for your sake, your personal, less something to be desired. namely, your personality. >> if you look at woody's career in the '80s, which theoretically should have been past his prime because how can you go on after manhattan? there's also zelig. there is purple rows of cairo. by the time you get to crimes and misdemeanors, woody alan has now expanded his sensibility. it's an ensemble piece. it's got some humor in it and it's got some satire in it but he's not trying oh get a laugh every second. >> it's a conundrum from a very

original standpoint. >> you told me over and over you'd leave miriam. >> crimes and misdemeanors is two parallel stories. one of which is a very traditional woody alan and mia farrow relationship joke fest. and the other one, which is a serious examination of literal life and death themes. >> the guy is having an affair and she's threatening to tell his wife. and threatening to disrupt his world. so he has a hitman kill her. >> like, i had a woman killed and i thought i was going to go to hell and nothing happened. whereas woody is constantly getting, you know, shit on by life and he's just doing the right thing. >> you look very deep in thought. >> i was plotting the perfect murder. >> he was writihis writing was

strong for that reason. says oh i want to write a movie about that. >> i'm not talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we could never be friends. >> why not? >> what i'm saying is -- and this is not a come on in any way, shape, or form -- is that men and women can't be friends because the sex part always gets in the way. >> nora efron wrote when harry met sally and she got a lot of help from riner creating the neurotic main character. that's because he was based on ron riner. >> every scene has to be good. you work and work and work rewriting the script. >> i known nora and i pitched the idea for this film about the dance that people go through to get together after they've both gotten out of long-term relationships. and they become friends and does

sex come into the picture? and if it does, does it ruin the friendship? and she said well, that's something i would be interested in. >> he rips off my clothes. >> then what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you've been having since you were 12. exactly the same. >> well, sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comedy is listen you know they're going to be together. so how do you get 'em there? and what's -- what's the roadblocks? it's all about the story and it's all about the people. do you care about 'em? do you want them to be together? are you seeing what they're not seeing? >> it's just that all men are sure it'd never happen to them and most women one time or another have done it. so you do the math. >> you don't think that i could tell the difference? >> no. >> get out of here. >> and the deli scene, when we first did it, meg, rightfully, was a little nervous about it. you got crew members. you got extras. people standing around.

>> are you okay? >> rob says here's what i want. and he proceeds to have an orgasm that mighty joe young would be jealous of. yes. yes! oh, god! i'm pounding the table. >> yes! yes! yes! >> and i realize because my mother is sitting -- i'm having an orgasm in front of my mother. >> i'll have what she's having. you know, new customers save over $1,000 on average

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part of a -- a trilogy really. a musical trilogy that i'm doing. in d minor, which i always find is really the saddest of all keys really. i don't know why but it makes people weep instantly. what do you call this? >> oh, this piece is called lick my left pump. >> the idea was we were going to do a mock documentary. we were going to make satire of a rock and roll band on tour. we basically had the tour outline. but essentially, it was a very, you know, thin, thumbnail sketch of what was going to happen. the whole movie is improvised. >> do the dead bitter. get the dwarf cannolis.

come on, move it. >> you had these brilliant performances by all of them. and then rob put it all together and made it sync. >> people didn't know what we were doing. they thought it was a real documentary. and when we first previewed it, people saw it and they said why would you make a movie about a band that nobody ever heard of? and one that's so bad. >> let's say you look at a prospective movie and it's a square. rob reiner has a way of turning it sideways. looking at it differently and finding a way to enjoy it in a completely nonconventional way. >> he didn't fall. inconceivable. >> i do not think -- >> "the princess bride" is a blend between romance, satire, adventure, buckling. it's all mixed in and it's a

very strange mixture. hard to capture. >> what about the -- >> rodents of unusual size? i don't think they exist. >> you have to walk a balance. you know? it's a fine line between stupid and clever. >> i'm on the brute squad. >> you are the brute squad? >> rob is a phenomenal director. his first movies, one after the other, beauties. and took risks and different genres. to be in three of them, i'm really blessed. >> one half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be "airplane" or the naked gun. you had imports. "crocodile dundee" which is an enormous hit. and three men and a baby. the other story of the decade is the rise of saturday night live as influence on film. >> we got a full tank of gas, half a pack of cigarettes.

it's dark sw we're wearing sunglasses. >> john ba lieu she and dan akroid. they did the blues brothers on saturday night live and got a huge response so we got to make the movie. >> saturday night live is a such a specific place. people started realizing like oh this is where you're going oh get your quality comedy. so then you started wanting to see those people in movies. >> i'm going to clean this up. >> it looks fine to me. thanks for the dope. >> comedy is such a precious commodity. and when you shake the pan looking for the nuggets, when they shine out like that, then you love 'em forever. people who understood how to be funny, they can be funny anywhere. >> "ghost busters" is a rare film because the combined sci-fi, action, and comedy.

>> there's something you don't see every day. >> "ghost busters" was written by dan akroid. on paper, it shouldn't work but it does work because you have bill murray and dan akroid and rick moranus and they're flawless. >> he's a sarl. he's in new york. we get this guy laid, we won't have any trouble. >> bill's always explored what it means to escape sort of the constraints of convention. you feel, in some way, that you want to be as liberated as he is. >> instead of worshipping musicians, now we're worshipping these stand-up comedians and these skit comedians. there is this idea that comedy in the '80s is going to be the new rock and roll. >> all right. listen up! i don't like white people. i hate rednecks. you people are rednecks. that means i'm enjoying this shit. >> you got to remember when eddie murphy first started with

48 hours, he was 20 years old. then he does "trading places." and then he does the blockbuster "beverly hills cop." >> eddie murphy in the '80s was comedy. he's such a perfect every man. and so likable even though he's kind of a shit. >> it wasn't about necessarily being the put-upon guy. it's being the guy smarter than the room. you know, he's bugs bunny. >> you know, this is the cleanest and nicest police car i've ever been in in my life. this thing's nicer than my apartment. >> up until that point, hollywood movies that featured or starred a black artist, their color was always a plot point. in coming to america, their color has nothing to do with the plot. >> it is my 21st birthday. do you think perhaps just once i might use the bathroom by myself? >> most amusing, sir. wipers! >> he is a prince in a fictional

african nation. and he decide that he and his best friend played by arsenio hala a hall are going to go to america so he can find himself a queen. if you want to find a queen, where do you go? you go to queens, new york, it's got to be full of queens, right? >> everybody embraced the movie. the movie is funny as hell and i think it's eddie murphy at his best. >> give yourselves a round of applause. everybody's so lovely. >> this brilliant white person that cast and the one white person that's actually played by eddie murphy. >> what about rocky? >> there they go. there they go. every time i start talking about boxing, a white man got to pull rocky out their ass. >> who's the startup picture? >> young guy named eddie murphy i think. >> oh, gosh, i hate him. the kid with the filthy mouth? >> yeah. >> oh, he's the voice. >> he can do these voices. he can do the physicalization. it speaks to the magnitude of his talent. is that not acting?

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often viewed as sort of an upbeat era, it's the period when the united states came out of the '70s. there was still this sort of underlying fear that that could all collapse at some point. you see that playing out in this post-apocalyptic sub-genre of action films. >> two days ago, i saw a vehicle -- tanker. you want to get out of here? you talk to me. >> george miller's movies do an amazing trick of making dystopia look beautiful in a terrifying way. you know, you watch the road warrior and thinking like i'd love to go there. i think i would die within five minutes. >> it's the idea of this one man who regains his humanity when he loses everything. but then there's the filmmaking craft. to see those stunts just play

out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock and roll movie. >> "brazil" is one of these that seem all too likely come to pass. it's a future where things don't work. it's a future that feels like if things don't get better, we're going to end up there. >> the convoy of personnel carriers is still unaccounted for. i thought i told you to deal with it. and what the hell is this mess? an empty desk is an efficient desk. >> visible sensibility is so distinctive, there was an audacity to that movie that you rarely see. >> it arouses very strong reactions from people and i think that's what cinema should be about. it's exciting. it's stimulating. it makes us think. i'm quite happy to have a film that does that.

>> smart filmmakers can use genre as a trojan horse to talk about other things. ♪ >> "blade runner" is based on phillip k. dick's novel "do androids dream of electric sheep." and the essential question of the novel is what's the difference between humans and non-humans? is harrison ford a human? can you fall in love with an android? >> she doesn't know. >> she's beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at tyrell. more human than human is our motto. >> the screenplay was excellent. a rare entity because it told not only a very fascinating and different story but it was written and described as well. so you could smell the movie. >> i don't think there's any director who can encode content into the visual presence like ridley can. so that when you see the street

markets that tells you that in the future technology runs cross-class. that populations are tremendously mixed. there's overcrowding. there's poverty. he's projecting so much content into those images. and you just soak it in. >> i was constantly beaten up every day. people said why is it raining? why do you want it to be at night? i said because that's the way i [ bleep ] want it. >> harrison ford thought his character deckard was a human being and ridley scott was planting clues in the movie that he actually was a replicant with implanted memories like this unicorn that he daydreams about. >> harrison's in full denial today that he's a replicant. at the end the whole point of leading that unicorn on the floor when he walks up, stops, picks it up and he nods, that nod is an assent, that is correct. somebody knows about my most

private dream which is about a unicorn. duh. >> james cameron's "aliens" is the perfect sequel because it doesn't just repeat the first film. it takes elements of the first one and builds upon them but it then makes it into a different genre. >> you can't do that inside the room. >> it's reading right. look. >> you're not reading it right! >> five meters, man! four! what the hell? >> jim is a real innovator and real artist. o'he said, you though, it's hard to do two because you've shown him, the alien. so i'm going more military. ♪ [ screaming ] >> james cameron doesn't get enough credit as a screenwriter as well. "aliens" is the template of how to write a great blockbuster.

>> my mommy always said there are no monsters, no real ones, but there are. >> yes, there are, aren't there? >> back in those days women weren't really permitted to be strong. so sigourney really broke the mold in the "aliens" movies and one of the ways cameron figured out to let her be as tough as she was was because she was protecting newt, her adopted child. [ screaming ] >> there's real skill to building the perfect roller coaster. "aliens" is example number one of how brilliant action cinema can be. >> get away from her, you bitch! (vo) parents have a way of imagining the worst...

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we were attracted to each other at the party. that was obvious. you had your home for the night, that's also obvious. ♪ we're two adults. >> let's get the check. >> "fatal attraction" was a cautionary tale. you know, the cheating husband and the mistress turns out to be

insane and a stalker who murders bunnies and boils them, as a matter of fact. >> glenn close's legacy is forever tied to this film. and she's an incredible actress. >> what am i supposed to do? you won't answer mcalls. you change your number. i'm not going to be ignored, dan. >> in the original script, the audience sympathies were more evenly balanced between the male character and the female character. but with each iteration they made her such an extreme character. the original ending was that she was supposed to cut her own throat. but that did not satisfy with test audiences. so they had the good wife kill the bad, single woman. [ shot fired ] >> that's hollywood. >> thank you, sir. i'm happy to be working here. >> you're a welcome addition, and a damn pretty one, too, if i might add.

>> thank you, sir. >> i mean that, you should see some of the crones that have been coming through here lately. real pathetic. right, violet? >> "9 to 5" was a me too movie before the me too movement. it was this idea of women coming together and being like, yes, my life has been ruined by egotistical, bigoted men trying to hold me back. >> coffee, violet. now. >> this was when women were coming into the workforce, but they were still secretaries. they were still the subservient roles, they weren't the boss of the company. >> that's all right. i did it. >> what about you, dora lee? what's your fantasy for doing him in? >> me? well, i think i'd like to come riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie, and i loved dolly parton in that movie. she's like liquid gold. >> let's just sit down. >> look, i've got a gun out

there in my purse and up until now i've been forgiving and forgetting because of the way i was brought up. but i'll tell you one thing, if you ever say another word about me and make another indecent proposal i'm going to get that gun of mine and i'm going to change you from a rooster to a hen with one shot. >> they in time realize nothing is ever going to change unless we change it. >> they string him up, that male chauvinist, sexually inappropriate guy, and they make changes to the workplace to be able to share hours and a day-care center. it was an important movie then and it's an important movie now. >> "working girl" looks like a fairy tale of a young woman becoming the fantastically glamorous princess she'd always secretly dreamed of being and her humble working-class upbringing would not allow her to be. but it's got serious points to make about women in the workplace. >> dress shabbily, they notice the dress. dress impeccably they notice the woman.

coco chanel. >> and how do i look? >> you look terrific. you might want to re-think the jewelry. >> traditionally, it's the man that's holding you down, but in this instance it turns out it's sigourney weaver. but she's been stealing all of tess's ideas in order to further herself. >> while i was laid up with broken bones, she rifled through my desk, found my memo outlining a trask radio acquisition, and has been passing it off as her idea. >> it was my idea. >> the melanie griffith character shows that once she was given the opportunity to show she was smart enough, she did. >> guess where i am? >> it's one of the greatest endings in the world. "i'm here in my own office with my feet up because i made it." >> not since the movie "network" has hollywood so brilliantly indicted the business of television like it does in "broadcast news." the perfect modern anchor is played by oscar winner william hurt. so how is it that the star of

this movie is neither the anchorman nor the network correspondent, but an actress who many of you will never have seen until now. >> okay, bobby. go back to 9:45:46, the sound bite in the alley. it starts "so why were you in angola?" please, bobby! we're pushing! >> it was the first time i had seen on screen a real female because she was flawed, and she was allowed to be human and different and irascible. difficult, shrill, bossy, possibly bitch. there's a lot of words that people use that are pejorative to women that jane craig could kind of inhabit. >> what i love is holly's character just tears streaming down her face and her controlling it like that and getting it together and going forward. >> i'm really struck by the courage that jim brooks showed

in writing a character like that. >> the f-14 is one of the most difficult planes to master. they're called tomcats. >> george, isn't the f-14 tomcat one of the most difficult machines for a pilot to master? >> to have a film about the high-integrity ideals of what it means to be a journalist and a woman in that business. >> it must be nice to always believe you know better, to always think you're the smartest person in the room. >> no, it's awful. >> the fact that that movie exists and always will is a gift. >> wait a minute. wait, wait, wait. >> i'm new in town, and i was wondering if you wouldn't mind buying me lunch. >> you can't -- gregory, this -- >> george, george, george, it's michael dorsey, okay? your favorite client. how are you? last time you got me a job, it was a tomato. >> no, no, no, no -- >> yeah. swear to god. >> michael?

>> yeah. >> god, i beg you to get some therapy. >> "tootsie" is kind of an updating of the guy in a dress. you're taking a believable character and putting him in a fantastic situation. and the reason it works is because every single thing in that movie could really happen. we show you at the beginning, he's a great actor and he happens to be a pain in the ass and then to prove to his agent that he can get work he puts on the dress. >> it's almost like a play that's been performed enough so that they knew where the gems were. >> do you find being a woman in the '80s complicated? >> extremely. >> one of the hardest things to do in a comedy is to have a comedy climax and to have all your story threads come together at the same moment. >> i am not emily kimberly, the daughter of dwayne and alma kimberly. no, i'm not. i'm edward kimberly, the reckless brother of my sister

anthony. [ screaming ] >> the climactic scene in "tootsie" is this incredible moment where the main story plot and then four or five different subplots all climax and turn on that one action. >> "tootsie" is what people want movies to be and very few filmmakers invest the time and the sweat and the integrity to go all the way, which "tootsie" does. >> that is one nutty hospital. pick up a 6-pack of michelob ultra pure gold, we'll help transition 6 square feet of farmland to organic. every 6-pack. 6 square feet can go organic. ♪

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♪ "flashdance" was a very big deal. ♪ she's a maniac, a maniac on the floor ♪ ♪ and she's dancing like she's never danced before ♪ >> she was a sexy welder who danced at night, but didn't take her clothes off. >> so, what's a dancer doing working as a welder? >> making a living. >> jennifer beals was amazing in that movie. she was everything. she was beautiful, she was strong, and she was sexy. >> it benefited from the beginnings of mtv because you would see videos of the songs of the "flashdance" soundtrack on mtv all the time. ♪ what a feeling >> that was the thing where the video was the trailer for the movie. and you can tell that the movie

was designed really with the video in mind. >> let's dance! ♪ >> kenny loggins, "footloose," that was a huge hit. it was all over mtv. you watch the video and you're seeing kenny loggins in that? no. you're seeing lots of scenes of alienated high school kids dancing against the rules. >> i didn't see "footloose" until after i started dating kevin bacon. and then i rented it and i was like oh, i see why people fell in love with him. how cute was he with those high-waisted jeans and that white tank. ♪ ♪ because i had the time of my life ♪ ♪ i never felt this way before >> they knew who was buying these moves was teenagers and the thing they wanted to do was go get the soundtrack so they can relive it. ♪ purple rain, purple rain >> "purple rain" hit me really

hard. to this day i have yet to see a mainstream film that uses music as an emotion in such an incredible way. ♪ i want to see you i want to see you ♪ ♪ in the purple rain >> stace, what do you care about mark ratner for? he's a 16-year-old usher in the movie theater. you have dated older guys. you work at the best food stand in the mall and you're a close personal friend of mine. >> there was so much reality in the script to "fast times." the way that cameron wrote "fast times at ridgemont high" is that he went back to high school. >> i never graduated traditionally. so the idea was i could go back and have the senior year that i didn't have and write about what it is to be a high school student. i learned so much. the pop culture establishment,

they don't know what's happening with kids right now. >> stacy, what are you waiting for? you're 15 years old. >> i did it when i was 13. it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you know they're having sex, and they're all working. it's fast food, it's fast adolescence, it's all disposable and what are we doing to a generation that has to be adult at a younger and younger age? >> there are so many incredible people in the movie. a lot of careers get launched. judge reinhold to phoebe cates and jennifer jason leigh. >> who ordered the double cheese and sausage? >> right here, dude. >> and a cast full of soon to be stars, he gives the performance that everyone walks out of the theater and says oh, my god, sean penn. >> sean penn in particular brought a lot of the vocabulary. if it's written in the script as like bitchin' he turned it

into awesome, gnarly, all the other classic words of the '80s. >> why don't you get a job, spicoli? >> what for? >> you need money. >> all i need are some tasty waves, a cool buzz and i'm fine. >> a couple things about myself. i'm 19, and been overseas a couple of semesters. now i'm back. i'm an athlete. so i rarely drink. kickboxing. ever heard of kickboxing, sport of the future? don the dragon wilson. benny urquidez. i can see by your face no. my point is you can relax because your daughter will be safe with me for the next seven to eight hour, sir. >> "say anything" is a romantic comedy for guys. here is the story of being an optimist and how that can sometimes be a revolutionary act. rebellion takes many different forms and sometimes the rebellion takes the form of loving the woman that they say you can't love. and you make you're life's goal her. >> watch out for that glass. >> thanks.

>> if moments make movies, as they say for "say anything," it's the moment when lloyd daubler holds the boombox and plays peter gabriel to try to woo diane court back. ♪ all my instincts they return >> we had a hard time with the boombox. we tried it a couple of different ways. he had a hard time holding it up. so there's one version we did where the boombox is on the car playing it. not as good. we finished the last shot on the last day of "say anything." there was only a little light in the sky left and the light is disappearing and the shot's moving in on cusack, and i see it. i see it through the camera. the anger, the resentment, the love, the pain, the glory, the adolescence, all of it was there in his face. ♪ i am complete ♪ in your eyes >> we got lucky. >> how's it going? >> how's what going? >> you know, things, life, whatnot.

>> life is not whatnot and it's none of your business. >> the john hughes scripts. they just jumped off the page. they were funny. i remember reading "sixteen candles" in the back of my parents' car just stretched out on the seat cracking up. >> his movies were always something to look forward to. because you knew that you would be entertained and you knew that you would see some version of yourself or what you wanted yourself to be. >> my father will come home and he'll see what i did. i can't hide this. he'll come home and he'll see what i did and he'll have to deal with me. >> he always got deep. i mean, even with something like "ferris bueller's day off," he got deep with the aaron ruck character. and matthew's character was the wise fool. but allen ruck was troubled by this evil father. that was really moving. >> here we are. i want to congratulate you for being on time. >> excuse me, sir? >> i think there's been a

mistake. i know it's detention, but i don't think i belong in here. >> "the breakfast club" is the teenage touchstone. it's a film about the tension of being a teenager and knowing that people in other cliques don't want to be your friend until you're locked in a room together. >> the first 20 minutes of "the breakfast club" is perfect filmmaking, the way it's structured, the way the characters are introduced. it still is my favorite of the john hughes films just because i think it's so unique and nothing like that had ever been done. >> so on monday, what happens? >> are we still friends, you mean? if we're friends now, that is. >> yeah. >> do you want the truth? >> yeah. i want the truth. >> i don't think so. >> the picture was saying to adults with those characters are saying to adults is please listen to my being upset because

someone doesn't like me or i can't -- i don't have any friends or whatever. it looks relatively insignificant to you, but it's really hurting me. >> it was so powerful because people were talking about shit that they never talked about. kids were not talking about dark stuff in school and with their peers. ♪ don't you forget about me >> there weren't a lot of movies that spoke to teenagers, and it's just really surprising because who doesn't want to see this incredible period of time in a person's life where they're just changing so rapidly. and to see something that you relate to, i think that's really why the john hughes films are still so important. i just remember thinking how does this grown-up know everything about all of us? it was like he looked inside of all of us. ♪ as a home instead caregiver,

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♪ ♪ just take those old records off the shelf ♪ "risky business" really was everybody's intro to tom cruise.

of course, it wasn't just the underwear and the dancing, but that certainly helped. >> are you ready for me? >> "risky business" really surprises people. they think it's a teen sex comedy because it literally is about a guy that opens a brothel in his parent's house, but it's an incredibly dark film about capitalism and about selling out. >> for someone with that limited a resume, to be able to walk in and actually make the complexity of the movie work, his all-american boyness with this dark side of impulses and you looked at that performance and you thought that guy will be a huge star. ♪ highway to the danger zone >> what people don't realize about "top gun" is we think about it this rah-rah jingoistic movie but the movie tom cruise was making was a very serious drama about a man wrestling with his dad's legacy and feeling

phony around all of these military brass he's trying to impress. it's really a movie about masculine performance. >> his performance post "top gun" tells you who he was and who he wanted to be. >> some piece of work. >> you also have natural character. >> i've been telling her that. i have natural character. >> that's not what i said, kid. i said you are a natural character. you are an incredible flake. >> paul newman and tom cruise had the old and the new. this was the sequel to "the hustler." >> paul newman's character, he's a hustler. he's always going to hustle. what if he takes this young kid under his wing and corrupts him? and then he gets hustled? >> i showed you all i got. i showed you my act in here. what the hell else do you want? that's it. that's all! >> tom cruise is terrific. newman finally gets an oscar for it. >> tom cruise has a very specific agenda in his career, to spend the '80s working with the best directors he can find. and so he's going to work with scorcese and barry levinson. >> i'm not going to go back to cincinnati.

you don't have to go to cincinnati to pick up boxer shorts. >> what did i say? >> kmart. you hear me, i know you hear me. >> you don't fool me with this shit for a second. >> too tight. >> did you [ bleep ] hear what i said? shut up! >> movie stars often need to prove over and over again they can act. i think he really proved to the world he can act and then some. >> i like having you for my big brother. >> yeah. ♪ >> let me see some i.d. all right. you're under arrest. >> the 1980s introduces us to the character of john rambo, who's one of the iconic cinematic heroes of that era. what people tend to forget was he was introduced in a way that was much more in line with '70s filmmaking. if you look at first "first blood" it is a very dark movie

about how we let our veterans down and we make killers and we do not know what to do with them when they come back and we make killers and then just turn them loose into america. that's a pretty heavy movie. and even for a sylvester stallone action film it plays that very realistically. the second film threw that out the window page 1. >> sir? do we get to win this time? >> this time it's up to you. >> there was a desire to move past the perceived failures of the late '60s and the '70s. you can't re-write history, but at least we can go back and we can bring back these p.o.w.s. we can send back this representative of american might. >> i must break you. >> stallone had become so devoted to having the perfectly chiseled, ultra muscled upper bod yib, at the same that arnold schwarzenegger, who of course had been a bodybuilder, suddenly became an unlikely action star

in the '80s too. >> i don't know if prior to 1980 anyone would have had a firm visual image of what their favorite actor looked like with their shirt off. can you close your eyes and imagine jimmy stewart or montgomery clift or even john wayne without their shirt on? it's not especially central to their image as actors. >> it would be ridiculous for me to play something outside of that role and it would be crazy for dustin hoffman to try to be commando or to be conan or to be terminator or to be rambo. it doesn't work, you know? so the people only accept you for certain things. >> there was a lot of ideas of returning to traditional notions of masculinity after the sensitive '70s. but these things go in cycles. and i think that by the late '80s we were ready for an action hero that was a little more sensitive. >> do you think you have a chance against us, mr. cowboy?

>> yippie ka-yay mother [ bleep ]. >> "die hard" is as perfect in its own way as "casablanca." it is an action move where the action is great. it is a heist movie where the heist makes sense. you have john mclean who is not a superhero, who is a regular new york cop, who is not only out of miz element but he's out of his shoes. >> that's a great thing to do in an action movie, is include something that everybody can sympathize with. >> i don't know what it's like to throw a chair or explosives down an elevator shaft, but i accidentally trod on glass and it hurt. >> you watch him and you go, i see myself in him. this person who is flawed, but can overcome it which is i think a narrative that we all have about ourselves. if push came to shove i would show up. >> alan rickman's performance as hans grueber is one of the key movie performances of the '80s because of the idea that the villain could be intellectual. it wasn't a beefy villain who beat up our hero, but it was a

guy who our hero had to outthink. >> a lot of action stars think it's cool to show no fear. to me, that's not a courageous person, that's a stupid person. the courageous person is the one who has fear and goes through it anyway. >> john, what the [ bleep ] are you doing? >> it isn't the size of the fireball. it's how much you care about the person running from the fireball. we all use our cellphones very differently. (vo) why the french family chose verizon. so, she's always on social media. he's always watching sports. someone's video chatting her friends. my parents are getting older so knowing that i can get in touch with them at any time is really comforting. grandma, you're on tv! (grandma) wow! what channel? (vo) the network more people rely on, gives you more. like plans your family can mix and match starting at just $35. so everyone gets the plan they need. and disney+ on us. plus, one of our best phones when you buy one. that's verizon.

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while the middle-class continues to struggle. that's what happens when billionaires are able to control the political system. our campaign is funded by the working people of this country, and those are the people that i will represent. no more tax breaks for billionaires. we are going to guarantee health care to all people and create up to 20 million good paying jobs to save this planet. i'm bernie sanders and i approve this message because we need an economy that works for all of us, not just wealthy campaign contributors.

♪ i should have come here ten years ago. i would have been a millionaire by this time. by this time i would have had my own boat, my own car, my own golf course. >> one thing the '80s was about was gangster capitalism, and tony montana captures that desire for respect, for money, for influence, for power. >> oliver stone came into the '80s as a well-respected and well-paid screenwriter. this was the guy who had written "scarface" and who had a very alpha male voice and was making these sweaty, morally complicated films. >> you want to play rough? okay. say hello to my little friend! [ gunfire ] >> i thought it was excessive and cartoony until i started spending time in miami. after that i thought it was a model of restraint. >> it really was a decade that was fueled by how much money can

i make and how can i display it best? >> the point is, ladies and gentlemen, that greed, for lack of a better word, is good. greed is right. greed works. >> "wall street" is a movie about more than just gordon gekko. it's about a father and a son with different world views playing different roles in an ever-changing economy. >> he's using you, kid. he's got your prick in his back pocket, but you're too blind to see it. >> no. what i see is a jealous old machinist who can't stand the fact his son's become more successful than he has. >> what you see is a guy who never measured a man's success by the size of his watch! >> that's because you never had the guts to go out into the world and stake your own claim! >> it's the connection between wall street and main street. main street is martin sheen. main street are those people who

will be affected by the decisions made by wall street. >> oliver stone is a guy saying the purpose of film, the purpose of cinema is to make political commentary about our society and he made some very compelling films in the process. >> what happened today is just the beginning. we're going to lose this war. >> come on. you really think so? us? >> we've been kicking other people's asses for so long i figure it's time we got ours kicked. >> "platoon" had this intensity. so much of that charlie sheen character oliver stone said was him, was his experience going into the war as a patriotic kid who wanted to do his part and really having his eyes opened to the horror. and i think it maintains that gut punch. >> i hope people go to see what the war was really like. that's the statement. and once you see it you have to think about it for yourself. think about what you think about war, and think about what it

really is as opposed to the fantasy comic book stuff of "top gun." >> the attitude of the '70s had been to take out some of the scorn that the american public felt for the foreign policy establishment as it had completely screwed up vietnam on the men returning home. >> i want my leg. you understand? can't you understand that? what i'm saying is i want to be treated like a human being! i fought for my country. i'm a vietnam veteran! >> there was an atonement for that in the '80s. there was a second wave of pictures that i think attempted to honor the service that these men had performed for their country. >> my father was a -- a civilized man. that's the word, yeah? civilized? >> very good word. >> yeah? >> my father was a civilized man living in an uncivilized time.

the civilized, they were the first to die. >> "sophie's choice" is, i think, the quintessential holocaust drama because it doesn't ever explicitly touch on the details of the horror. it's more about the dramatic implications of it. >> i'm going to tell you something now i have never told anybody. >> i never worked with anyone who was that confident, who trusted her instincts so thoroughly. >> she learned polish and german just for the film. she lost weight. that encompasses why meryl is so special. because she manages to get to the heart of every single person she's playing. >> and the winner is marvelous meryl streep. [ applause ] >> you can ask meryl to do anything. she can make anything work.

>> somebody spiked my urine sample container. >> who? >> how do i know who? anybody could have done it! >> can you stay? >> for a day or so. >> for meryl, i can see she worked from a very deep place. and what she was really focused on was the truth of her character to the point where she had to get the language and the sound and the voice perfect. and she was adamant and she was relentless in that pursuit. >> people marry, it's not revolutionary. there are some animals that mate for life. >> geese. >> you use the dumb animals for your own argument. you won't let me use them for mine. >> the nominees for the performance of an actress in a leading role, meryl streep in "out of africa." >> meryl streep in "iron lady." >> from "a cry in the dark," meryl streep. >> she ended up transcending the job of an actor.

she leapt into this other realm of becoming. she wasn't playing a woman with an australian accent. she was an australian mom. >> you're talking about my baby daughter, not some object. >> most movie stars are not the greatest actors and most great actors don't become great movie stars, but meryl streep is both. >> what does that mean to you, movie star? >> oh, it means, you know, katharine hepburn, bette davis, greta garbo. it doesn't mean me. ♪ i feel ms we're high and low ♪ ♪ high and low enhance your moments. san pellegrino. tastefully italian. add a twist of flavor. san pellegrino essenza. pure gold, we'll help transition 6 square feet of farmland to organic.

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♪ if you boys just turn right on around and head on back down that way and you let us head out where the real fighting is. >> young men are dying down that road. >> and it wouldn't be nothing but rebs dying if they let the 54th in it. >> people had no idea that there were black soldiers fighting for the union in the civil war. >> you men move on.

>> stripes on a nigger is like tits on a bull. >> you're looking at a higher rank, corporal, and you'll obey and you'll like it. >> "glory" stars matthew broderick, but the movie really belongs to denzel washington as a former slave who is now going to fight. he runs away because he needs shoes. and they do what they have to do. they whip him. >> proceed. >> he sits there and he takes his beating like a man. he does not scream. he does not flinch. but there's a moment when a single tear comes down his face and that's the moment when denzel wins the oscar. >> the idea of american legacy and what it really is is brought home to people when they see that. >> in the '80s, you had some big, sweeping, stunning epics that at the time were seen as

the apotheosis of the movie form. these are substantial movies by great filmmakers. you have "the last emperor" and you have "ragtime." and there was "gandhi," which came out in 1982. >> we must defy the british. >> a lot of people were rooting for "e.t. the extraterrestrial" to win best picture that year. but you know, fantasy and sci-fi don't usually win oscars. what wins oscars is epic. ♪ >> "amadeus" is a kind of meditation on genius. >> i know you work well, signore. do you know i actually composed some variations on a melody of yours. >> really? which one? >> mio caro adonne. >> i'm flattered. >> a funny, little tune. but it yielded some good things. >> the protagonist is not mozart

but the protagonist is salyeri, who is actually deficient. he's not a great artist. he doesn't have great inspiration. he's jealous of mozart, who does. >> shouldn't it be a bit more -- or this? ♪ this. ♪ yes. ♪ >> the most intelligent and rational individual in the movie is the jealous figure who isn't particularly talented, and the least rational and mature figure in the movie is the genius. >> when i saw "amadeus," there was humor to it, there was a liveliness to, it there was a nastiness to it. tom hulse is so fantastic in that film. >> do you have it? >> not so fast. >> do you have it? >> one thing the '80s does for us is it gives us some really remarkable filmmakers. you see, talent is there immediately. these directors are going to go on to have long careers and in some cases they're making small movies, but they get their start in the '80s. >> why don't you let me tape you?

>> doing what? >> talking. >> about what? >> about sex. your sexual history, sexual preferences. >> steven soderbergh's "sex, lies and videotape" is a coming out party for one of the most prodigiously talented filmmakers ever. >> why are you doing this to yourself? are you going to answer me? >> no, please, don't do that? >> why not? >> why not? i just want to ask you a few questions. why do you tape women talking about sex, huh? >> that was a great example of something that was totally brand new, and it was very, very low budget, and i just felt it was so special. and it was a point of view that we just hadn't seen before. >> to deal openly with voyeurism and sexual dysfunction on screen was stunning to people and it was a trendsetter then and it's a movie that mattered a lot.

♪ >> joel and ethan's first film was "blood simple." it was kind of a cross between a slasher film and a film noir. >> lock the door. >> they knew that would be a great calling card. people would pay attention if they had enough scares. >> they make intensely cool and creative films. it always kind of feels a little bit like they've adapted a book that no one's ever heard of. >> every shot has been thought about, every note of music, the dialogue. and it's shocking. all the time there's shocks in their movies. visceral shocks. and then moments of great humor. >> turn to the right. ♪ >> what's the matter, ed? ♪ >> my fiance left me. >> they had just finished writing "raising arizona," so they asked me to read it and i

thought it was like amazing. amazing. you know, so funny. >> "raising arizona," as far as i'm concerned is a masterpiece. the idea of taking that 100-mile-an-hour preston sturgess dialogue and putting it in the mouths of rednecks in arizona. >> you busted out of jail. >> no, ma'am, we released ourselves on our own recognizance. >> what he's trying to say is we felt the institution no longer had anything to offer us. >> raising arizona is a film where you thought i never knew you could do that. >> i will take these huggies and whatever cash you got. >> just the fact that this film is hurtling along with banjos and yodeling. ♪ i still don't have the courage to have a soundtrack with banjos and yodeling. and that was their second film. >> there's these people that come along and they have the same equipment, they have the same playing field, and to take that and to make something fully aesthetically that is completely different than anything else you

had seen is like a big deal. that's a triumph. ♪ >> comedy in the '80s, my favorite niche subject is tim burton. ♪ >> i was never scared by any horror movie ever because i always liked them too much. do you know what i mean? i mean, things that scared me was like going to school or, you know, seeing my relatives. >> i love tim burton because he's the best thing you can be as a director. he's completely unique. you start noticing the black and white stripes on things and just the vibe and you're, like, we've got something here with this guy. >> we did "beetlejuice" and his basic idea was that the living people would be scary and the dead people would be the kind of banal. >> i was very lucky early on in my career to work with people that had come from comedy, that

were good at improving. someone like michael. there's a whole different energy when people are there and there may be some written things and it goes off and you start riffing and getting into it. he was great at that. he's like a pressure cooker. >> "beetlejuice" is underrated. as well regarded as it is, it's still underrated, because it shouldn't work. i don't know if it's a horror movie set in a comedy or a comedy that's a horror movie. i can't figure out the algorithm behind it, but it works. ♪ six foot, seven foot, eight foot ♪ it only takes a second for an everyday item to become dangerous. tide pods child-guard pack helps keep your laundry pacs in a safe place and your child safer. align, press and unzip. tide pods. keep them up. keep them closed. keep them safe.

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what is going on here? has america gone mad for the movies? apparently some of us have. they were buying bat shirts, bat hats, bat anything. and the movie hadn't even opened. >> what's new with tim burton's movie, "batman," is a mechanical marketing machine begins to tease this movie a year in advance. >> i'm finishing a movie and seeing a poster for it out there in the street and it freaks me out. the movie's not done yet. for me, batman is the root of some of that imagery, was more horror than comic books. so, i liked that about it. and i liked the kind of split personality nature, the light, the dark. for me, it was definitely my

favorite of all comic book characters because of those reasons. >> visually, it's timeless. he consciously doesn't let you know where this is. it seems like the '40s. and all of a sudden, there's a car from the '70s. he's just using everything. >> we were lucky the movie was made before there were any superhero shit going on. it felt like new territory at the time. >> batman begat all of what we see now. the idea of a comic book being made into a film, that's taken over the movie business. >> you could have predicted some of the big moneymakers, "batman," "ghostbusters 2," "indiana jones." but who would have guessed a film about racism set in a black neighborhood in brooklyn would be a national hit? >> mookie. >> what? >> why is this on the wall? >> ask sal. >> in the '80s, there was a push to have more diversity

on-screen. but diversity on-screen doesn't mean you have diversity behind the camera. and you didn't really have a lot of black film makers who were getting a chance to make films. you really do need spike lee at that point. >> don't start shit, all right? >> beatle's down. all right? >> "do the right thing" is one of the most important films in the history of cinema certainly as it pertains to the representation of race. >> it was like a cultural hand grenade. someone set it off, and you just couldn't believe the things being said in that film. they were all under the surface, but they just weren't said in that way. >> who is your favorite basketball player? >> magic johnson. >> who is your favorite movie star? >> eddie murphy. >> favorite rock star? >> bruce. >> prince. >> all you talk is nigger this and that. >> it's such a time capsule of new york at that era.

at the same time, its theme is universal. everybody is interactive and it's funny. >> move back to massachusetts. >> i was born in brooklyn. >> it's creative, it's cultural, it's social. it's political, and it has this edge to it. it has this provocation as part of its core. >> get his arm. get his arm. >> that's enough. >> gary, that's enough, man. >> at the end of the film, mookie is presented with a choice. a young black man has been murdered. do i retaliate? do i basically kick off this riot? and he wrestles with it for a split-second. and spike says, black people don't ask him if mookie did the right thing. >> what mookie represents at the end of that movie is black rage. it was important, i think, for

spike to say, this is where we are. >> not enough people credit the maturity of what he did, in terms of posing a question that he then did not answer. lots of people like to make films and button it up, making sure that you feel a certain way about a certain thing. and spike has always been determined to ask you a question. it forces you into confrontation with your own feeling. >> the '80s was a time that so many new filmmakers got their start. the '80s was an incubator for new voices, new visionaries, new ideas. >> seize the day. >> cinema, to me, has always been an escape from whatever my life was at the time. >> what i really love in cinema, is to go and be swept away. it's a different world. >> there's something really special about being in a movie. you can sit in the back and feel everybody enjoying it. there's something really great

about that. >> hey. >> this is why we love movies. we get to see portraits of people and how they deal with whatever the struggle is, to be a human being. >> snap out of it. >> the '80s was a good period for american movies. there were comedies that had to deal with real life. they weren't over the top. there were dramas that took on tough subjects. there were genres that hadn't been explored in that way. >> at the same time, there's more overload on us. the aesthetic gravitated to bigger, faster and louder. ♪ >> it's the only medium where you can present both story and spectacle. only movies can do that. only movies can present the truth of human drama and then transport you to a place that

can't be seen in real life. ♪ ♪