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mexico tonight in this little heap of junk? >> the town will get along without us. >> i was young enough to bounce, i would go with you. >> "the last picture show" was a movie that however old i was when i saw it, i said, this movie is about me. this movie is about us. this movie is about america as we are right now, here in the mid '70s, not as we were back in the early 1950s. >> do you think "the last picture show" is a john ford type movie? >> no. >> peter loved movies. had a sense of movie history, but had a very strong sensibility. he smoke to a new generation, both visually and emotionally. >> orson welles, i would like everything to be sharp. he said, you will never get it in color.

what do i do? shoot it in black and white. >> "the last picture show" is the movie that made me fall in love with movies. it just blew my mind. it's about everything that holds you back. it's about being young. >> there's heartbreak. wisdom that comes of age. and young people discovering how fast time goes. >> in "the last picture show" there was a quality of reality. there's no feeling of watching a performance but of experiencing another human being. >> really, it's a story about america. about the death of a way of life. >> nobody wants to come to shows no more. baseball in the summer. television all the time. >> maybe a necessary death of an old hollywood that had to die to make new for a new generation of filmmakers to tell new stories. >> at the end of the '60s,

hollywood was ballooning budgets up to catastrophic size. >> i will pay for it in cash. >> it opens the door for smaller movies. when the budget is lower, the artistic freedom tends to be higher. >> play misty for me. >> there was a young group of directors that came along and started blowing up the bridges behind them the way things used to be. and now were trying new ways. let's see if it works. >> "french connection" was about a couple of new york cops doing a hard hustle and busting a bunch of low life scumbag drug dealers. >> that car is dirty. >> he shot the film like a documentary. he found a way to make it so real. it really influenced me. my favorite gene hackman performance is popeye oil. >> gene hackman was so filled

with anger. it made me happy to see that kind of life. >> the car chase was undeniable actually happening in real time. this was the greatest car chase in a film that wasn't supposed to be about a car chase. >> the new hollywood coming out was angry and young. and that anger changes the whole aesthetic of hollywood. >> there was something about movies in the '70s. they were all very tangible. you felt like you were really in it. >> these dark, dark films that life is shit. and that's the punch line. >> movies are uglier. they are dirtier. they are more uncomfortable. they are more dangerous.

they are more vietnam. >> we were starting to deal with the counterculture and taking it seriously, because we were young, we were part of the counterculture. >> "patton" connects with the greatest generation. it's also a film about reconsidering war and connects with the vietnam generation. >> you are just a god damn coward. >> it is told with irony by this young screenwriter named francis ford coppola. >> he had his foot in old hollywood before that. he made a musical. >> i was very unhappy during the production because you didn't get to cast, you didn't get to pick the art director, you didn't do final post production. one of the highlights of the picture is a skinny kid would come and watch what i was doing

and became a friend of mine. he was the only one my contemporary. that was george lucas. >> i think student films are the only real hope. they are beginning to realize that students know what they are doing. >> these guys saw hollywood as death. they were all very influenced by the fresh new wave in european films. that's how francis saw himself. his fantasy was that he was going to make a series of these out of hollywood movies with lucas and other people they attracted. they decided to start their own studio. >> back off. >> the first movie is by george lucas. he makes "txh 1138." it's a flop. it goes over everybody's head. >> it almost ended lucas' career before it started. they were running into trouble. >> at the same time, paramount was running out of money. i said, look, what would happen

if we bought the rights to some really interesting commercial novels and married that material to all these bright young filmmakers out there? when paramount came along and offered francis "the godfather" he didn't want to do, he turned it down. >> i reminded francis that he was broke and that he had to take my offer to direct this picture. >> what happens? coppola takes the paying gig, which might be the most beloved movie of all time.

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"the godfather" is unquestionably one of the great movies of all time. it's narrative sweep, the beauty of which it's made. the quality of its acting. all of those things are undeniable. >> godfather. >> the film is about power. it's about the succession of power. it's about morality. it's about responsibility. the fact that it's about a mafia family is just the dressing of it. >> al pacino's character is the youngest son. he understands what's going on with his family. he explains it in cold blooded detail to kay right there.

>> my father made him an offer he couldn't refuse. >> what was that? >> lou held a gun to his head and my father assured him either his brains or his signature would be on the contract. >> he is an innocent. he was quiet. he was shy. he was outside. he was not in the inner circle. >> that's my family. it's not me. >> he kind of deludes himself into believing that. everything starts to change when his father is almost murdered. the family has to take revenge. michael decides he will do it. >> let's set the meeting. >> one of the things i related to was how he loved his family. what he would do. he would do anything for his family. >> he is there in that restaurant. you see that look in his eye to say that either he knows he's going to shoot him or he doesn't know.

he is trying to decide. he will get up and walk out. it's going to change his life forever. right after this happens, nothing is ever going to be the same again. >> how do you let go of what you have been raised in? can you let go? do you just become another one of the line of the same thing? >> i never wanted this for you. >> you really cared about these people. you understood the godfather's wanting his son to be separate from all of the crime. you understood his sadness when that didn't seem possible. >> governor. >> it's very much a story about america, about both the promise and the destroyed promise of

america. >> i saw that film four times in five days. i had always thought "lawrence of arabia" was the greatest film made until the first godfather. >> coppola made another one. >> he is more ruthless and more powerful. >> you won. you want to wipe everybody out? >> i don't feel i have to wipe everybody out. just my enemies. that's all. >> at the same time, it's intercut with the story of his father as a young man played by robert de niro becoming a powerful mob leader in new york. >> i studied what brando had

done and expressions. i had to try to create the thing that he had. >> i will make an offer you won't refuse. >> half the movie is this young man trying to figure out legitimately and otherwise how do i make it in america. >> everything don did was for his family. whereas, michael, everything he does is about making money and accumulating power. >> he rationalizes by saying, this is for the family. but ultimately, he destroys the family. >> this is the product of francis ford coppola. you feel his sensibility. and this is the great revolution of the 1970s. >> it became very clear to the studios, if we could have a box

office success with "the godfather" imagine what else these guys can do if we give them a chance. >> the whole school of filmmakers that came up in hollywood in the '70s really were roger gorman's children. >> he started making movies for exploitation companies. they were very low budget. >> suddenly, i had a group from ucla, sc and nyu of young filmmakers. they learned on the set while directing. >> working with roger corman, it's like a college. you are tired and distracted. doesn't matter. you are shooting. >> francis coppola, ron howard, and me began with roger. the new hollywood is unthinkable without roger. >> when i was making "grand theft auto," he said, ron, you

keep doing a good job for me on this picture and you will never have to work for me again. i guess i never did work for roger again. i'm forever grateful for the opportunity he gave me. >> martin made a few small films in the late '60s. people started to pay attention when he does "mean streets." >> i wanted to make films about an area where i grew up. i didn't really see organized crime. i was living in it. >> he burst upon the scene with a frankness, violence and restlessness to find the rhythms of the streets. that don't feel anything like a movie. >> how much money you got? >> i ain't got nothing. >> "mean streets" came out of

events that occurred to me and my friends associating with people that can be detrimental. yet, there's love there. >> the first time you see robert de niro dancing around like everybody else you are like what the [ bleep ] is that? who is that? >> that ain't nothing wrong with me. >> it was about friendship and loyalty. it was one of those movies that resonated with me because it reminded me of the same situation that i was in, just different color people. >> "taxi driver" reflected the world i knew. steam from the streets. the nighttime of the city. it's always night. especially for a guy who wants to drive a cab at night. >> how is your driving record? >> it's clean. it's real clean, like my conscience. >> you going to break my chops? >> the conflict was in de niro. we knew that there was a truth to it. >> why won't you talk to me?

why don't you answer my calls? you think i don't know you are here. >> he lets people do -- gets the best out of them because he lets them go as far as they can go. >> i love him. >> it's a story about a guy who has a psychological decent into hell. >> the idea had been growing in my mind for some time. >> he decides to assassinate a presidential candidate. >> all the kings men cannot put it back together again. >> then he turns this crusade to rescue a child prostitute played by the 14-year-old jody foster. >> get me out of here. >> he seems heroic. but he isn't. >> the fearlessness of that performance. de niro was not interested in being sexy or pretty. just being real. and travis bickell is of course one of the great characters of 20th century film. >> you talking to me? you talking to me?

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non-existence. black emptiness. >> what did you say? >> i was planning my future. >> in that period of time, there were two things that were really important to you. an ali fight and a woody movie. woody allen was the first comedian who did everything. >> this is sharon. >> hello. >> woody allen created this character who is always out of his element no matter what, whether in south america in the 1970s or sleeper in the future or russia in the 19th century. >> his intention was to get laughs.

>> by 1977, he wanted to make a different kind of movie. it blew everybody away. >> driving a tad rapidly. >> i'm a very good driver. >> "annie hall" was about people getting together, breaking up. >> he was jewish. she was decidedly not jewish. >> you are a real jew. >> thank you. >> anne hall is the best relationship movie i think ever made. if you want to just take all the truths of a relationship, how it can work and not work, i think "annie hall" nailed it. >> he told that story non-chronologically. it took risks in the style of film making. >> i can't believe this family. >> there are moments he is talking directly into the

camera. >> nothing like my family. like oil and water. >> he shows both what his family talks about and does and what her family talks about and does. with these wonderful split screens. >> how often do you sleep together? >> do you have sex often? >> hardly ever. maybe three times a week. >> constantly. i would say three times a week. >> we think of "annie hall" as being woody allen's movie. >> well, la de da. >> she steals the show. >> wonderful. >> swept the academy awards, which is rare for a comedy. it won best picture, best writer, best director and best actress for diane keaton. >> i remember seeing it during college and being in tears at the end. not because it was sad but because i couldn't take the artistry.

it's this beautiful symphony. >> it was this feeling of how can you top "annie hall"? in many ways "manhattan" did it. >> it stands out because of the black and white topography. you had the score opening with "rhapsody in blue." >> it showed new york in the most romantic way. in a way that new york wasn't thought about in the '70s. >> hi, what are you doing here? >> here is a movie set mostly in little dialogue scenes between cynical, nervous intellectuals on a giant wide screen. >> isn't it beautiful out? >> there's this amazing sequence where they end up sitting on this little bench and you see the 59th street bridge above them. i made it my business when i was in college to find that bench. >> this is a great city. >> those are the kind of things that those movies made you do.

you saw something in amazing in a part of the city you'd never been in and you would try to find them. >> it was a comedy. it's all the questions he loves. it's questions about mortality. >> why is life worth living? it's a very good question. >> if you remove all the baggage of him as a comedy filmmaker and watch it straight on as a film, it's just beautiful. >> mel brooks, why did you make "blazing saddles"? >> for money. >> it's a classic western spoofing westerns. it's one of the most subversive comedies that comes out in the '70s. it's a movie that mel brooks cowrites about a black sheriff coming to this town and the town people not wanting him to be there. >> i love "blazing saddles" because it's a revolutionary film. it deals with race with a sense of humor and candor. >> richard pryor was supposed to

play the sheriff. warner brothers wouldn't ensure him because he was an kwub exuberant experimenter in chemicals. mel walked off the movie. i can't make it without ritchie. it was richard pryor said no, you have to make this movie. and you have to cast it with clevon little. look how dark his skin is. he would terrify those people. >> i would like you to meet the new sheriff. >> i would be delighted. wow. i have to talk to you. come here. can't you see that that man is a ni -- >> wrong person. forgive me. >> the story was the strand to hang the pearls. the pearls were all of the jokes. >> look at that. steady as a rock. >> but i shoot with this hand. >> they were satirical. there were puns. they were sexual.

there were sight gags. he even broke the fourth wall and the cast is running out of warner brothers. it was just crazy. >> i asked him, is it a movie you can make today? he said, i could barely make it then. >> doctor frankenstein. >> "young frankenstein" is a brilliant satire. mel went to extraordinary lengths to get the details right. the look of it, the black and white. >> why did you make it in black and white? >> it was a glorious homage to the classic so it had to be done in black and white if we were going to do it properly. >> it's alive. it's alive. it's alive. >> he took that genre, did it perfectly and then bent it.

>> what knockers. >> thank you, doctor. >> "young frankenstein" is a masterpiece in my opinion and beautiful. i was so in love with gene wilder. he is so sexy in that movie. i used to tell people that i will marry gene wilder when i grow up. >> excuse me. is this the delta house? >> sure. >> "animal house" was the first raunchy coming of age sex comedy. it was just frat boys. just running around doing crazy, crazy stuff. that was lampoon humor. it's edgy. it's borderline or over the line racist, sexist, all those things. >> mine is bigger than that. >> i beg your pardon? >> my cucumber. >> we are making fun of that, smartly.

that was what we did. >> john belushi was one of the breakout stars from "saturday night live." he had such energy and power. fireball. >> the part of bluto was written for john. >> "animal house" not only was a massive success but it started a genre that spread like wildfire. [ distant band playing ] have you ever wondered what the motorcade driver drives when they're not in a motorcade? [ upbeat music starts ] [ engine revving ]

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hey. it's me. hey. i'm a police officer. police officer. >> really the classic new york director. he put the streets and the energy of new york on the screen in a way that no one else has ever done better. >> officer serpico, that thing on your lip it goes and get a hair cut. >> based on a true story. it's a police officer who just cannot stomach the corruption he sees around him. >> frank. let's face it, who can -- >> he breaks the code of silence and exposes what happens. the effects on his life are catastrophic. >> i like you. i don't want to see anything happen to you.

>> like other movies we saw, it showed someone with flaws. but he was somebody who was rising to the occasion. >> i ought to cut your tongue out. >> al pacino is always on fire. >> it's safe with my ass on the line it's safe. >> your ass is always on the line. >> the appeal is that energy, that fire, that integrity. this allows him to move into all sorts of different kinds of roles from "the godfather" to a bank robber. >> nobody move. >> "dog day afternoon," it's about this guy who tried to rob a bank in new york in 1972. >> they picked it up this afternoon. it's only $1,100.

>> she's telling you the truth. >> everything that could go wrong goes wrong. >> who is it? >> cops. >> i had never seen anything like it. >> wait a minute. i will have to go to the toilet. >> the kindness and humanity of the bank robbers was so new and entertaining. >> who has to go to the bathroom? >> i do, too. >> now they all want to go. >> this was the kind of upending of all the precepts of the bank robbery film. >> that idea of criminal as celebrity. >> no. what? why am i doing it? >> yes. >> doing what? >> robbing a bank. >> oh. >> it's one of those movies where you are rooting for the bad guys. because the bad guys aren't that bad. >> he doesn't look very tough to me. does he look tough to you? >> it's a hugely important film. the black panther party said it

was the cultural representation of the black revolution. >> he's a hustler and gigolo but he's galvanized and politicized when he watches police brutalize a young man. he decides to take the police officers down physically and violently. as a result, he is on the lamb. you know he is going to get caught. he is going to be convicted. he is going to be shot by the police. none of those things happen. i remember seeing that movie. people were cheering because they had never seen anything like that. that becomes a moment when black filmmakers look and say, oh, we can tell those stories now. can't we? >> the best movie theme song of all-time has to be "shaft." tells you everything you want to know about the movie, about the character. ♪ who is the character when there's danger all about ♪

♪ shaft >> "shaft" stars richard roundtree as a private investigator. he has his hands in mainstream society as well as the underworld. and of course his leather game throughout that film is amazing. >> gordon parks who directed the film is a great photographer. many ways shaft is projection of parks but he made him a super hero. >> these movies set the tone for what comes to be known as the black era. >> the queen to me of the 1970s was pam greer. she was playing a black heroin they were never black women who got to be assertive and had guns and took on villians. and as a black girl as i was at the time seeing this larger than

life beautiful woman coming out triumphant at the end was amazing. >> what i love about pam is that she is bad ass. but she's sexy at the same time. >> she was really a unique presence at that time. guys interested in her as a sex symbol. people interested in her as a feminist symbol. people interested in her as a movie star. she was that present in the culture. >> people in the black community embraced bruce lee primarily because he was not another sort of white guy. >> in 1970, you went into a black person's basement, they might have posters up. posters were big then. you might have malcolm x. you might have jim brown. but every black household had bruce lee. bruce lee was single handedly one of the reasons why kids all over the suburbs were trying to kick each other in the nuts. >> everybody wanted to be bruce

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♪ happy birthday ♪ happy birthday baby when we made "american graffiti" in 1972 but it was sense in 1962, there had been such a cultural shift. it was like ancient history. >> i'm going to let you take care of my car. >> the acting in that movie was kind of my coming of age story. >> zit makeup. >> it's my favorite george lucas movie. the simplicity of the storytelling is what i really appreciated about it. he is saying, here is what last night i remember in high school being like. >> i have a new car. >> it was hilarious to watch their night of crisis. are you going to go off and see the world? are you going to stay where it's safe? >> we're finally getting out of this turkey town and now you want to crawl back into your shell, right? >> it signalled movies were getting made in different ways and told in different styles.

it was really anti-hollywood. >> cruise easy. >> the other thing about that movie is that all these actors were nobodies at the time. the biggest name in that movie was ronnie howard who played opi as a kid. there was cindy williams and harrison ford, richard dreyfuss. they all became stars. >> i saw a vision. i say a goddess. >> the '70s issues into a new leading man that is funny, charming, irritating. they're cute. >> you go down there if you got the nerve. >> dustin hoffman, he doesn't say hero. he says, this is an interesting looking guy. >> the fact that he didn't look like a leading man gave him tremendous latitude to be in all kinds of different movies. >> you have said that you don't have the leading man charisma. how could you say that in view of your leading man success? >> had i been someone like clint

eastwood or burt reynolds or someone who has a charismatic image of the film they're in, i risk doing that. i don't want to let an audience know by virtue of the fact that i'm in it, don't worry, i'm going to come out all right. i don't want them to know whether i'm coming out all right. >> you should have known to not draw on me. >> jack nicholson is also not conventionally handsome. but he is sexy. >> there's a little madness there. >> the most beautiful part of the day. >> his craziness is emotional. it's sometimes physical. but it's not like he is such a big guy that we're afraid he is going to hurt someone. >> you want me to hold the chicken, huh? >> i want you to hold it between your knees. >> so his outlets for rage like

in the famous scene in "five easy pieces" makes us love him even more. >> holly seems to think you're an innocent man. >> i've been accused of a lot of things. never that. >> in "chinatown" he is a private investigator. he thinks he knows how the world works. >> how did you get past the guard? >> do see someone that wised up, having to deal with a lack of wisdom, that's one of the dynamics that makes "chinatown" so excited. >> you're a very nosey fella, huh? you know what happens to nosey fellas? >> "chinatown" is extremely mysterious. >> i think you're hiding something. >> what polanski did with the inld kacy and the detail, and also, you know, fantastic acting. >> most people never have to face the fact. the right time and the right place, they're capable of everything. >> you watch "chinatown" and they all had their settings at

the same setting. the great bob town. roman polanski, and jack starred in it. one of the most perfect movies i've ever seen. >> i went to the oscars and was sitting behind jack. jack was nominated for best actor and so was ail pacino. gasps in the audience. i lean forward and said, jack, i'm so sorry. he leaned back and looked at me. he said, that's okay. i'm a shoe-in next year for c "cuckoo's nest." >> "one flew over the cuckoo's nest" a great ken kesey novel, and a man in the mental word that doesn't need to be there. and can his spirit be broken?

can his example help the other people in the institution? >> that was maybe the quintessential role nicholson. he can be wild and crazy and bounce off the walls and bring that unhinged energy. >> i'm hot to trot. next woman who takes me on will pay off in silver dollars. >> nurse ratchet is one of the great villains of the 1970s. >> no, mr. murphy. when the meeting was adjourned the vote was 9-9. >> there was a sense of authority. and that's nurse ratchet. this is a film kind of about a rebel. >> what do you think you are? crazy or something?

well, you're not. you're not. you're not any crazier than the average azzhole walking around on the streets and that's it. >> it's a menace and self-conviction. you trust who he is. >> and the winner is, jack nicholson in "one flew over the cuckoo's nest." >> i wanted to thank my agent who advised me ten years ago i had no business being an actor. thank you.

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every director looks at "jaws" and thinks degree of difficulty. ten. hit-to-miss ratio, you know, zero. steven spielberg hit every, ten out of ten, on all fronts. >> we know all about you, chief. you don't go in the water at all, do you? >> that's a bad hat, harry. >> "jaws" was a peter benchly novel about a shark attack on cop cod. what steven spielberg did, he

made this the kind of shark movie that alfred hitchcock would have made. spielberg ups the ante in that picture. how to tonight lantalize the fe. and you catch them offguard when something does happen. >> the theme from "jaws" means i'm going to scare the shit out of you and come get you. >> when johnny saw my cut on jaws, he went to the piano and took a couple of fingers and went -- and i thought, my god. he's going to wreck my movie. my god. it's over. i thought the film was wrecking my life.

and now, i'm getting a score with three fingers on the low-keys? i came to the first day of scoring and i realized that if this film was going to be successful, 50% of the success of the film is because of what i just heard. and that's exactly what happened. >> the first time you get a sense of how big the shark is, you're immediately worried about those guys on the boat. they're going to die. >> we're going to need a bigger boat. >> "jaws" hit me when i was 15. the electricity in that theater was unsurpassed. the popcorn flies. to watch them jump out of their seats. to see women scream. we had never seen anything like it. >> you were on "the indianapolis"? >> what happened? japanese submarine fired two

torpedos into it. >> and then, he lets three actors go to it with quiet dialogue. >> didn't see the first shot for about half an hour. >> it was this camaraderie among these characters that elevated what the movie was. >> so, 1,100 men went into the water. 360 came out. and the sharks took the rest. >> "jaws" is a friggin' masterpiece. >> "jaws" was the first real, gigantic blockbuster. heavily advertised. opened at 1 billion screens at the same time. it became a cultural milestone immediately. it changed everything. >> it was even more in my dna to make "close encounters" than to make "jaws." i was always into ufos as a kid.

i was always looking up to the sky, wondering when one would land on my front yard. it still hasn't happened, by the way. >> i must think about that film, at least once a day. maybe it's remembered or thought of as a science fiction film. but the thing i respond to the most is the domestic drama. the kids in that family and their response to their father becoming unhinged. >> well, i've guess you've noticed something a little strange with dad. >> when he becomes so obsessed, he starts to create a canyon between his family and himself. >> while the movie has this wondrous optimism about what is in the heavens, it also has this really sophisticated darkness about what it is to have touched

that world. and how the once you've tasted or seen something else no one would believe, there is no going back. >> it's this gigantic special effects-laden personal film. no one else could have made that movie but spielberg. >> i remember as a kid watching "close encounters" thinking, i'd go. how would you not go? dad, we need to talk about something important. you don't need to go anywhere dad, this is your home. the best home to be in is your own. home instead offers personalized in-home services for your loved ones. home instead senior care. to us, it's personal.

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most of the big people in the industry look at you as a maverick, at best, a troublemaker at worst. do you agree with that? >> yeah. >> unbelievable, self-indulged bob altman. >> yeah. and i think it scares them a little bit that they feel they might not have control. >> robert altman's movies were almost anti-movie or anti-story. they're not these two-hour perfect thing. he has an artist, knew inherenty that was bullshit. >> robert altman had unbelievable run in the '70s. "m.a.s.h.," "the long good-bye." he wants to capture spontaneity

and a sense of really being there. >> when you first see "mccabe and mrs. miller," you can smell that film. just the steam and the piss and the cooking and all the different things going on in this town. it's such a beautiful film. and the absolute heartbreak in all of it. >> well, i guess if a man is fool enough to get in a mess with a woman, she's not going to think too much about it. >> i think people admired the empathy as a filmmaker. he celebrated real humanity. >> got fantastic plans. >> you kill anybody this week? >> he's overlapping voices. he's letting the camera drift around. he may not be on the person talking. these are unprecedented things at the time. >> elliot. >> what brings you here? >> elliot gould.

>> there's been ensemble movies. and then ensemble movies. then, "nashville" sits at the top. >> i was dogging about the minstrels this morning. >> "nashville" deis a political movie. it deals with a political campaign. and the sense that this country is both divided and deluded. >> listen, it's nashville. >> he was taking boundaries of filmmaking at that point and just pushing, pushing good, you know? >> i loved the work of hal ashby. he was an iconoclast, crazy, stoned all the time, but a brilliant filmmaker. >> harold, please. >> i knew that hal ashby would understand the weirdties that were present in "harold and maude."

>> ruth carter played an 80-year-old woman and there was a suicidal young man. it was a love story with the two oddest possible people. >> there's a million things to do. >> reporter: >> he learns to live with the idea that we all be die at some point. it's so beautiful. i can hardly talk about it without choking up. >> that soundtrack mattered a lot to that movie. it was a marriage of weirdness, darkness, death, comedy, sex and cat stevens, which is a sort of magical thing. you know? ♪ shine, shine, shine >> reporter: al ashby is really excited about the eccentric and the outsider and the misunderstood. and in all those films, he could see threads of that. >> what about me? >> what about you? you're different. >> i am? >> you're great. >> for me, the best of ashby's

work is "shampoo"shampoo," whic political story and a romantic story and a sexual story. >> warren beatty plays a fabulous beverly hills hairdresser. he's at the pique of his handsomeness. he's getting laid but he's not connecting. "shampoo" captured a spiritual malaise, in the context of this political thing going on with nixon. >> he did care about all of the women he was banging. yet, he couldn't stop banging them all. >> i mean, i'm on my feet all day long, listen to women talk. and they only talk about one thing, how some guy [ bleep ] them over. that's all that's on their minds. that's all i hear about. don't you know that? >> it was funny and moving and sexy and real. >> "being there" is a satiric comedy with peter sellers giving

a great performance as a mysterious man whose only interaction with life comes from watching television and tending his garden. >> on television, mr. president, you look much smaller. >> reporter: because of the simpleton that sellers played, it was a way to show the folly of society. >> you don't play games with words. >> it was another side of peter sellers from the "pink panther" films. and you got to see him not doing a lot. and by not doing a lot, he projected so much. >> it's the ashby elixir. he is able to tell a gentle story that resonates hugely. and he lets you add it up. >> if you're an artist, you're not really interested in success, per se. >> john cassavetes was just everything. writer, director, producer, maverick. >> i love you. i love you. >> are you kidding?

>> what i find so special is his exploration of relationships. >> his passion for the human condition and how we interact with one another. >> he crafted these actors that always worked together. you can see the support he gave, and the filmmaking. he worked with peter falk, ben gazzara. and i don't think you would have cassavetes without jenna rowlands. it seemed like wherever she was, she took over a woman in this very dignified way. but wasn't afraid to have fun. >> i got a great idea. when you get home from school, we're going to have a party. we're going to talk -- >> "a woman under the influence," is about a man and a woman in a loving marriage, that's beset by the woman's

personality. >> is there something wrong with me or something? that i'm wacko or something? >> she has an energy about her. but you slowly see it unraveling. >> it's devastating. but wow. what a performance. it was really refreshing to see a movie that put a woman directly at the center. >> thank you for everything. >> this was right at the beginning of the woman's movement. and i found a script for alice. the studio said who do you want to direct it? >> francis coppola talked to allen bernstein. >> and i asked them to meet marty. and i want to film this from a woman's point of view. and i don't know if you know anything about women, do you? and he said, no. i'd like to learn. >> i was trying to deal with it

as a person. and i had ellen as a guide. >> boy. you really need someone to talk to, don't you? >> "alice doesn't live her anymore" was a revelation for me. there were no films about single moms. >> how long do we have to stay in this hell hole. >> she not only has all of this heart, but she's funny and strong. >> would you mind turn around for me. >> i want to look at you. >> i sing with my face. i don't sing with my ass. >> that was one of the early films that took the veil off of it and said, people are messy and you can still love them. >> '70s cinema had an interest in reality. you had actresses who had a believable quality to them, like joe clayburgn.

>> "a married woman" showed up. her husband leaves her for a younger woman. and the whole movie is the aftermath of that. she had a strength and femini femininity and vulnerability. >> i want to see what it feels like to make love to someone i'm not in love with. >> how does it feel? >> sort of empty. >> in the '70s, there weren't too many female directors. let alone, female writer, director, actors. so, elaine may is one of the great triple-threats of the century. >> in the '50s and early '60s, elaine may and mike nichols were a great comedy team. >> mike nichols directed "the graduate." and elaine may was a screen

writer. and she was tired of directors changing her work. so, she decided she should direct her own film. >> she's perfect. >> "a new leaf" made you feel like you could tell a great, funny story and it didn't feel like, oh, this is just girl stuff. ♪ >> with "the heartbreak kid" elaine may ushered in uncomfortable comedy, which is now the norm. >> you want to see us in 50 years? >> the premise is charles grodin, knjewish guy, marries elaine may's daughter. and he meets kelly, who is cybill shepherd and wants to have an affair with her during his honeymoon. >> i've been waiting for a girl like you all my life. >> reporter: charles grodin just breaks your heart because you want to punch him and you want to shake him and make him wake up. >> if i may, sir, in other

words, what you're saying, is if i want kelly, i'm going to have to put up a hell of a fight. is that -- >> he's a nut. >> my father used to be yelling at me like, you can't make movies. where's there a woman that made a movie. i was finally able to say, that one. being detected was not an option. if i was recognized the whole operation was blown. the element of surprise was imperative. wow. he won't even recognize you.

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when i think of the great american autors, the ones that have a real language? fosse had that. >> outside, it's windy. but here, it's so hot. >> and i think he's a little undercelebrated because he happened to find his language in the fumusical. ♪ bye, bye my >> only the 1970s can give you a musical set in 1930s germany when naziism is on the rise and not soft-pedal any of it. it's a musical in that it has musical numbers. but it's not a musical at all because all of the music takes place in the context of this sleazy club. >> it's the subtle changes that we see. where the swastikas start popping up in the audience.

and the content on the stage takes a turn toward the darker and anti-semitic. ♪ >> you know what is coming. all of the music. all of the culture. all of the coolness. every kind of sexuality. all of this is going to go away. and then, that song "tomorrow belongs to me." first, it's just this young, sweet-voiced boy singing. ♪ gather together >> and slowly but surely, we see that, oh, no, these are nazis singing. ♪ that's what "cabaret" is about. how something like this can happen. >> you still think you can't control them? >> that year, bob fosse was

nominated against coppola for "the godfather." and he won. >> bob fosse for "cabaret." >> being characteristically pessimist and cynic, this and some of the other nice things that happened to me in the last couple days, may turn me into some hopeful optimist and ruin my whole life. ♪ >> the general premise of "all that jazz" is a man who is working himself to death. ♪ >> it's showtime, folks. ♪ ♪ they say the neon lights are bright on broadway ♪ >> here was this incredibly complicated character who was so talented and so charming, and the way the movie was constructed, put you so inside the feeling of him. >> nothing i ever do is good enough. >> it's autobiographical.

this manic drive for perfection that can never be achieved. ♪ we tried to warn you somehow >> you didn't listen, daddy. you didn't listen. >> had a heart attack and open-heart surgery. and i became very interested in death and the hospital behavior and the meaning of life and death and those types of subjects. ♪ death is in, death is in >> that's his love story in the movie, with death. >> "rocky horror picture show" was initially a flop. fox released it. people didn't get it. they didn't know what to make of it. ♪ let's do the time warp again >> it's about a couple that is lost on a highway. and it gets so weird. ♪ why don't you stay for the night ♪ ♪ and maybe a bite

♪ i can show you my favorite obsession ♪ >> "rocky horror picture show" only played at night. it was a vaudeville experience. >> how many times have you seen it? >> 56. >> around 100. >> this is my 306th first time. >> the first time your parents said you can see a midnight movie and it's okay if it's "the rocky horror picture show." >> "saturday night fever" was the movie to capture the disco phenomenon in a way that was fascinating. "saturday night fever" the music was central to the story but wasn't a product of the characters in the story. ♪ don't know why i'm surviving every lonely day ♪ >> that was a complete shift in how musicals were adapted. john travolta is not singing and dancing. he's just dancing and the music is part of the narrative. ♪

>> you didn't have to be a disco fan to be caught up in "the saturday night fever" bee gees moment. >> tony, the character in the film, is finished with high school. he's working full time in a paint store. and he has to decide what he wants to do with his life. >> will you just watch the hair. you know, i work on my hair for a long time and you hit it. >> his only release. his only claim to fame in the local area and the only claim to his personality, is to be the best disco dancer in that down. >> "saturday night fever" has a lot of psychological drama in it. >> i did it. come back here. come on. >> in "saturday night fever" john travolta's character is telling a dark and gritty story.

in "grease," he's not. >> i loved "grease," the musical. it shows you a high school i didn't go to. but the songs are timeless. ♪ but oh, the summer nights >> olivia newton-john was amazing in that role. you believe she feels, i want to break out of my shell. >> then, in order to win over the guy, she has to become a slut. she looks pretty good. >> tell me about it, stud. >> it's problematic looking back at it now, in terms of the ultimate message that it sends. ♪ you better shape up >> become who this man wants you to be and you'll be happy. but you'll do it in song at a carnival. so, it's okay. ♪ we'll always be together ♪ we'll always be together and they're flying off. what? why are they flying? it doesn't make any sense. it doesn't matter.

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you're very nearly perfect. >> that's a rotten thing to say. >> i did not know a woman who was in love with robert redford. i had to admit, that is the best-looking human being i've ever seen, ever, ever, ever. >> he was one of the most underappreciated actors in america pause he was so

handsome. >> his artistry as an actor is unparalleled. he had this expertise and confidence that made him even more good-looking, if you asked me. >> come on. it will be fun. we can be disgusting and decadent and eat eggs benedict. vote republican. >> he was the golden boy. but he was a deeper person. he cared about politics deeply. cared about the environment deeply. >> in the '70s, actors followed their own inclinations. >> and "the candidate," his character gets talked into running for senator. >> this country cannot house its houseless. feed its foodless. >> i think it felt important at that time because i could see the country shifting. suddenly, we were beginning to

elect people by how they looked. >> had declared young bill mckay the winner. >> i win, but what have i won? >> what do we do now? >> we never discussed what to do if i won. now, what am i going to do? so, that's how i wanted to end the film. >> "the conversation" came out in 1974, in the shadow of watergate. >> as it turns out, we call paranoid politics were really happening. there were people conspiring to control events. you start to see movies that reflect that. >> independence day is very meaningful to me because sometimes i've been called too independent for my own good. >> "the parralax view" is the story of whether or not lee harvey oswald, sirhan sirhan acted alone or was a bigger

conspiracy. >> whoever is behind this, is in the business of recruiting assass assassins. >> the watergate hearings are going on. that's all we talked about. every day. we couldn't wait to get to the set to watch the hearings and shoot the movie. "the parralax view" was about politics and corruption in government. it was a confluence of energy that was going on through the whole thing. >> security there. >> what are you doing? >> "three days of the condor" again, you have a feeling of the man against big government. >> we wanted to make it semidocumentary-style. and my character has to run for his life to figure out what is going on. >> actors like redford and warren beatty, who were both political, start to find a way to make a commercial vehicle that involves this kind of dark

undercurrent of american society. >> who are you? >> in "three days of the condor," the question is, who will win? can the press undo these dark forces? >> what? what did you do? >> i told him a story. >> "all the president's men" tells that story. the movie was based on a book by woodward an bernstein that was written before it was over. it talks about unraveling the watergate cover-up in 1972. >> i had great respect for journalism. and that made me interested in making the film. "all the president's men" became not so much about just following m nixon. it was about, who are the two guys that dug underneath like gophers to get to the truth. >> you're about to write a story that says the attorney general,

the highest-ranking law enforcement officer is a crook. just be sure you're right. >> it's a movie about competent people doing their jobs, even when it appears that powerful entities you're taking on are obviously going to crush you. >> this won't take long at all. >> please go away, okay. please leave before they see you. >> what do you mean they? >> he really knew how to create a sense of paranoia and suspense. you could take a full breath when you see that movie for the first time. >> nothing is riding on this except the first amendment of the constitution, freedom of the press and maybe the future of the country. >> the movie is venerated for enshrining journalism at its best. holding the interests to account and finding out what is true. >> they've been clobbered by vietnam, the inflation, depression, they turned up and

shot and nothing helps. >> "network" is about a television network run amok. >> i would like to announce that i will be retiring from this program in two weeks' time because of poor ratings. since this show is the only thing i had going for me in my life, i have decided to kill myself. >> they have this long-time anchorman, howard beale. and he has a meltdown on live television. >> get him off. >> what they discover is that meltdown makes people watch the show. >> tv is showbiz, max. and even the news has to have a little showmanship. >> my god. you are serious. >> so, "network" is also about what we're willing to watch. >> stick your head out of the window. open it and keep yelling. yell, i'm as mad as hell. i'm not going to take this anymore. >> peter finch is speaking as everyman. and it's a reaction to an america that is questioning

their own personal morality. >> rocky, do you believe that america is the land of opportunity? >> yeah. >> "rocky" gives us faith. it's a david and goliath story. and it's a quintessentially american story. it's how we want to believe the country functions. >> it's much more drama than a movie about boxing. >> why do you want to fight? >> because i can't sing or dance. >> it's about this goofy guy getting an unexpected shot. and this really awkward woman that he falls in love with. and the relationship he forges with this old-school tough-guy trainer. >> women weaken legs. >> yeah. but i really like this girl, you know? >> there's a knnobility in rock to try for a dream, even if it doesn't work out. >> it made me want to be a

boxer. i had a gray sweatshirt and i went out running. i'm going to be like rocky. i probably got 100 feet and i was like -- ♪ and i remember coming home. and my mother was very sweet and she said to me, you know, rocky was -- that sounds better than running and boxing. why don't i be a screen writer? >> sylvester stallone was a struggling actor that nobody knew. but he wrote this script, which is all heart. he was completely broke. but he wouldn't sell it to hollywood unless he could be in it. >> rocky is coming back. >> in the end, even though he loses, you feel like, we got through it. at the end of the '70s, we had been through some stuff. so, "rocky" becomes a metaphor

for the human spirit. >> and the winner is -- "rocky." >> "rocky" wins best picture in 1977, which is crazy. you realize, 1977 is the same year that "network," "taxi driver," "all the president's men" and "bound for glory" are up for best picture. and "rocky" takes it, this feel-good film. >> to all the rockys in the world, i love you. through? new tide power pods can clean that... whole situation. it's like two regular tide pods and then even more power. even the largest of loads get clean. it's got to be tide.

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when "the deer hunter" comes out, the country's emotional scars from vietnam are still fresh. >> sometimes your sense of humor ain't funny. >> "the deer hunter" was about working class guys going to war and what happens. and it was so powerful and strong. >> we're going airborne. >> i hope they send us a pulitzer prize. >> they have ideas about why they're fighting and what they expect. and what they find is just horror. >> when "the deer hunter" came out, it really shocked people.

>> so much of that movie is about the deadening of life, in the process of surviving life. >> some people thought that film was too difficult, too raw. but i thought that realism was necessary. for people that understand what happened. >> would you go if you had the chance again? >> "coming home" opens with veterans around a pool table. it was so important to ashby that he communicate the reality of the veteran, that he simply said, go. improvise. >> we come back and say what we did was a waste. what happened to us was a waste. some of us can't live with it. >> and it completely legitimizes everything to come. >> what are you doing here, bender? why aren't you on the golf course teeing up balls, doing something you're good at. >> just trying to keep busy, that's all. >> it gives you something to

talk about over martinis, how your helping out the poor triples. >> in some ways, jane fonda plays america in "coming home." she changes as she views the effect of the war on the men around her. >> she wants to listen to you. and she wants to understand you. >> this is a powerful movie because it's not a political diatribe. it's about human beings. >> so, the notion that francis ford coppola, who made "the godfather" movies was taking on vietn vietnam, which is why there was so much discussion about quadrilli "apocalypse now" that francis ford coppola was making this movie. and it turned into a disaster. and martin sheen had a heart attack. there was a lot of drama about what we were going to see on screen. that was "apocalypse now."

and then, the movie just blew my mind. the lights were down. and finally, the screen comes up. it was like, wow. ♪ this is the end, beautiful friend ♪ >> it's a stranger kind of a film that apocalypse becomes a dream or a nightmare, when you're really dealing with themes of morality and good and evil. ♪ so, to me, the real issue was that it would be beautiful and it would throw light on the subject. >> i love the smell of napalm in the morning. >> unlike the vietnam movies that came later, that tried to be more realistic, this seemed surreal. >> someday this war is going to end.

>> the fight hadn't gone how they expected. it wasn't a traditional war. and it felt really hazy and a lot of them were high. and it felt like an apt metaphor for what the war was like for many, many people. ♪ >> this is a powerful indictment of war but it's also a disturbing journey to the darkest reaches of our own human soul. >> i think just in terms of a movie that scares you, "the exorcist" is the best. there's nothing else like this. >> "the godfather" was the highest grossing film in 1972. when did "the godfather" get surpass ed? one year later, by "the exorcist." >> do you believe this? he doesn't call his daughter on her birthday.

circuits, my ass. he doesn't give a shit. >> the greatest thing about "the exorcist," it begins as a domestic drama that turns into a supernatural horror film. >> it was important for me to be as relatable as possible. so, the audience could feel what it felt like to have your child turn into this monster. >> who are you? >> they wanted to make a film that was about real people. when you do that, you have the people in the audience losing their minds. >> the bed was shaking. >> the thing that really surprises me is people faint. i've never in my life known a movie where people faint. it's hard to make people faint. >> oh, lord.

almighty father. >> you walked into the theater and you thought, am i going to survive the next two hours watching this? and sometimes, no. >> "alien" is these the guys are in a haunted house, and one by one they get killed. what made it what it was was the execution. it really got you on a, no pun intended, on a gut level. >> how are you doin'? >> terrific, next silly question. >> great thing about alien, it trusts the patience of the audience. by the time you get to the famous chest-burst sequence, the audience already have their heart in their mouth because of the slow tick, tick, tick of the rollercoaster going up. >> when that blood blew, the reaction was appropriately

stunned. i always remember standing on one side of the preview and the people weren't sitting. they were, slid down into their seats and were holding each other tightly. >> ridley scott cast an unknown stage actress known sigourney weaver. she had the stuff to hold her own as a strong female character. the he hro was a woman. that was ground breaking.

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♪ i love "star wars." i saw it in oregon on opening night. and from the very beginning, where the little ship goes over, and then this giant ship pursues it, it's like the little fish and the big fish. your sympathy immediately goes to the little fish. and the audience bursts into applause. and that never happens. two minutes later, darth vader makes his entrance. nobody knows darth vader from anything. and the audience simultaneously boos and hiss, like it's a silent movie. >> now i am the master. >> only a master of evil.

>> s"star wars" is out of mind f george lucas, who just wanted to make a space opera. >> it was a huge risk. >> a fantasy about luke skywalker and a space dog and a cute robot that spoke in bleeps and bloops. nobody understood or knew what he was going to do or doesn't really make sense on the page. >> i'm a member of the imperial senate on a diplomatic mission to alderon. >> "star wars" is just a manifestation of a very old story. >> saider was seduced by the dark side of the force. >> the force? >> the root of it were samurai films and also westerns. >> yes, i bet you have. >> but i think the magic comes from when you mix the old myths with the very new technology. >> it totally blew me away.

i mean, it just transported me in ways that i really had never quite experienced before. >> the force will be with you. always. >> it was also really moving, and it ended with a tremendous sense of victory against incredible odds. >> stand by. >> we left the theater kind of clearing tears away from our eyes from that triumphant, emotional finale. >> remember, the force will be with you always. >> and there was another huge two-hour line here, and cheryl and i just looked at each other, and i said, you want to see it again? and she said yeah. >> i remember when george went to the telephone and got the news that all the 10:00 a.m. shows across america had sold out. and that's when it fwrewent fro hit movie to a cultural

phenomenon. >> it essentially is a fun movie to watch. it's been a long time since people have been able to go to the movies and see a sort of straight-forward, wholesome, fun adventure. ♪ >> excuse me. >> that's a bad outfit! >> as we move out of the '70s and into the '80s, we start to see something a lot more glamorous, a lot more produced. ♪ >> what starts to disappear is the flawed leading man. >> why would i be afraid? >> we see instead stories that are going to make big heroes out of someone who does a good thing. america needed to believe in a hero again. and we found out that there are heroes everywhere. >> what's wrong? >> the future. >> what's the matter with it?

>> you can just sit down for the rest of your life and watch movies from the '70s, and they're amazing. >> the shakeup of what we were going through in the '70s, and the expectations and stereotypes we had had about our own nation and the myths we had swallowed. >> the movies were really inventive and rich and smart. people were trying for something different. >> it was an extraordinary time. >> we were all playing off each other, and it there was no doubt we changing things. >> we had all these tremendously talented film makers given money to go out and make the picture they wanted to make. >> the convergence of commercial film making with an independent

sensibility. we'd never really had that before, and it opened up a whole new vista for american film. ♪ ♪ ♪ ♪ ♪ ♪ ♪