promoted her to lieutenant. >> you're just saying that because you're in love with yasmine bleeth. >> how could anyone not be in love with yasmine bleeth? >> hey, hey, they're running. see? this is the brilliance of the show. i say always keep them running. all the time running, run. run. run, yasmine, run like the wind.

-- captions by vitac -- www.vitac.com

[ sound of gunfire ] as far back as i can remember, i always wanted to be a gangster. >> "goodfellas" is like, fasten your seatbelts, i'm going to kick the shit out of you for two will and a half hours, and you're going to love it. >> there have been so many gangster movies, so many mob movies. is it really possible that in 1990 martin scorsese will be able to make a gangster movie that has something to say that hasn't already been said a million times? >> it's going to be a good summer. >> and you watch the movie, and you're like, yeah. >> see you later, thanks. >> what are you doing? you're leaving your car? >> he watches the car for me. >> we try to capture the exuberance of that world. it's dangerous and threatening, but they're having a wonderful time.

>> this is from mr. tony over there. >> what? >> over there. >> oh, thanks tony. >> "goodfellas" was the nuts and bolts of the mob. it was the mob as a job. >> what do you do? >> what? >> what do you do? >> i'm in construction. >> and the balance of these two families, of your mob family and your real family, and the way that the two start to bleed into each other. >> are you all right? are you all right? are you all right? >> yeah? >> huh? >> yeah. >> "goodfellas" was based on a book called "wiseguys." and i read it. i said, what if i play this guy, jimmie the chin? >> what did i tell you? what did i tell you? what did i tell you? you don't buy anything, you hear me? don't buy anything. >> it's a true story. and it is the nature of that lifestyle. >> just a little taste. >> you had to be clever enough, let alone have the audacity, the discretion. but ultimately not being afraid

of the violence. >> you won't believe what i just heard. >> this is for you. attaboy. >> the dangerous enjoyment of it, where you could be enjoying and then suddenly somebody get shot in the chest. >> what's the world coming to? [ sound of gunfire ] >> then it's not funny. and there is a price for everything you do. >> all right. you all know the drill. >> in the '90s, there's a host of movies in which people operate outside the system. we love the idea of the outlaw. it's one of the reasons we go to the movies. >> merry christmas. >> merry christmas to you, officer. >> you go to the movies to see people violate the mores and laws of society. >> i'm going to take one of those big envelopes and put as many 100s, 50s, and 20s as you can put into it. >> in the '90s, earp really rooting for criminals to get

away with it. >> do you want a cigarette, nick? >> we wanted the bad guys to be the good guys. it was really the era where the antihero was on the rise. >> you have something against ice cubes? >> i like rough edges. >> "in basic instinct" the character is a sociopath. and sociopaths are as dangerous as that character is. when i played the part, i needed to understand the sociopathic mind, and that is a very scary thing. >> "silence of the lambs," i remember waiting for it with beat bated breath to come out. nothing prepared me for walking to meet dr. hannibal lecter. >> good morning. >> dr. lecter, my name is clarice starling.

may i speak with you? >> this is a film that is also an actors' piece. >> closer. >> told by the close-up master of all time. the tension, it just kept rising and rising. >> most serial killers keep some sort of trophies from their victims. >> i didn't. >> no. no, you ate yours. >> "silence of the lambs" is about this eerie dance between clarice starling and hannibal lecter. >> people will say we're in love. >> and manages to take elements of the horror movie and even the gothic iconography and put it into a real world thriller. >> you still wake up sometimes, don't you, wake up in the dark, and hear the screaming of the lambs. >> yes. >> "silence of the lambs" becomes one of three films ever to win best picture, best actress, best director, best adapted screenplay, and then

anthony hopkins wins best actor for playing hannibal lecter with maybe 16 minutes of screen time. >> how come he didn't let you go? >> because i didn't ask him. >> shit, thelma. >> the thing i love about "thelma and louis" is it was a love story between two women. it was one of the great buddy movies of all time. >> these two friends decide to get away, and things go off the rails really, really quickly. >> shut the [ bleep ] up, you hear me? shut up! >> please, please don't hurt me! >> you let her go, you [ bleep ] hole or i'm going to splatter your ugly face all over this nice car. >> the idea hit me, two women go on a crime spree. >> good morning, ladies and gentlemen, this is a robbery. >> it wasn't just the idea. i kind of saw the whole movie in one flash. >> goddamn, you bitch! >> i don't think he's going to apologize. >> nah, i don't think so. [ sound of gunfire ] [ screaming ]

>> it's an odyssey of two women on their last journey. they would not know it's the last journey, therefore the journey had to be magnificent. >> a lot of women looked at this film and thought, i can relate to those women. i know what they're going through. i understand the choices they make. >> let's keep going. >> what do you mean? >> go! >> they looked at each other and they both knew. >> are you sure? >> it's kind of the culmination of both our lives and we have no choice. let's go. >> i can't imagine the movie would have had any power at all had we not ended it that way. >> i have no enemies here. >> no? wait a while.

>> "shawshank redemption" is the perfect prison film. >> for a good prison movie, you need a warden who's corrupt. >> i wouldn't worry about this contract. >> you need some claustrophobia, you want to make the audience feel that they're trapped. and then there has to be hope. >> a little parole rejection present. >> the audience has to hope for something better for these characters that they fall for. >> it's a great love story between two men spending 20, 30 years in prison getting to know each other. >> the funny thing is, on the outside, i was an honest man, straight as an arrow. i had to come to prison to be a crook. >> ha! >> watching each others' lives rotate through this system. >> "shawshank redemption" is about seeking justice in an imperfect world. and when the convicts win, you have a sense of relief and that

somehow justice has been done. ♪ trying to make it real ♪ compared to what >> in vegas, everybody's got to watch everybody else. >> "casino" was the story of the hubris of these two men, joe's character and bob's character. >> look at this place, it's made of money. you know what the best part is? nobody's going to know what we're doing. >> and poor sharon is thrown in the middle of it. >> working for marty is a big thing. he was very open, supportive, encouraging and so present with me. >> can i trust you? answer me, can i trust you? >> sharon stone is in the great tradition of crawford and the great divas. and i had to learn how to bring out what i needed through her. [ screaming ]

>> with marty, because his films are so daring and the violence is so violent, and because everything that you do is so true, you have to be really willing to kind of let your guts come out. >> just get outta here. >> fine. i'm taking her. >> no you're not. >> i am. >> you're stoned. you're a junkie. get out of here. [ bleep ]. damn you. >> ultimately they're given paradise, and like adam and eve, they're banished from paradise because they blew it.

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we have liftoff. >> "apollo 13" was a real turning point for me and an eye opener. i learned the power of a true story. >> this is houston. say again, please. >> houston, we have a problem. >> just believing in the story and not theatricalizing it. my mantra was, just show it. >> we're not going to have enough power left to get home. >> we know they're going to be saved, but the thing we care about is how are they going to be saved? what do these people have to do to save them? that is what's riveting. >> the '90s brought us a new look at some previously thought to be well-known stories. >> come on, pull through. >> when you look at the film "jfk," the movie is about what we can trust and who we can trust. >> why was kennedy killed? who benefitted? who has the power to cover it

up? >> and what oliver stone is saying is, you can't trust anybody. >> this was at a time when the nation was captivated by this game show. and it becomes a story about truth and the perversion of truth in the name of entertainment. kids would run to do their homework to be like charles van doren. >> what about herbert? >> i love him. people don't like him. kids don't look up to him. >> if you were a kid, would you want to be an annoying jewish guy with a side wall haircut? >> as i kid, i lived through that "quiz show" period. >> i'll try for three, three points. >> i wanted john turturro to play herb stempel, a guy from a lower class area. and he rose to fame, and certain people were beginning to get tired of him because he wasn't that pleasant to look at. but nobody could beat him

because he was so sharp. that's when they came up with the idea, let's find someone that looks good and we'll give him the answers. >> you are our new champion for $20,000. >> and that cruelty was something i wanted to show, the power of money and personality. so to me, that was a story that really had to be told. >> we didn't land on plymouth rock. plymouth rock landed on us, land right on top of us. >> "malcolm x" is spike lee's epic. it really felt like the film that he was made to make. and i think he felt a certain urgency in making it. >> spike had the good fortune of casting denzel washington at the pinnacle of his movie stardom. i think it's his best performance. >> denzel washington is one of the all-time greats. what he does in his artistry, painting a portrait of an individual, it's astounding. >> if the so-called negro in america was truly an american

citizen, we wouldn't have a racial problem. if the emancipation proclamation was authentic, we wouldn't have a race problem. >> watching a guy like denzel as malcolm x, top of the game, intimidating in many ways. >> mr. becket, come in. >> when we made "philadelphia," he was malcolm x already. with marlon brando and having just seen "the godfather" the night before. >> what happened to your face? >> i have aids. >> oh. oh, i'm sorry. >> "philadelphia" was an important film. denzel washington represents the audience's apprehension with people with aids. >> how did they find out you have the aids? >> one of the partners noticed a lesion on my forehead. >> so as his character spends more time with tom hanks, we're starting to see him as more than his sexuality or his disease. >> let's get it out of the

closet because this case is not just about aids, is it? so let's talk about what this case is really all about. the general public's hatred, our loathing, our fear of homosexuals. >> he can bring the audience on that journey to say we don't need to fear people. we don't need to despise them or stigmatize them. >> my name is forrest, forrest gump. >> forrest gump. >> it's a very rare thing for me to read a script and not be able to put it down. >> "forrest gump" is a marvelous look at how history happens. >> forrest gump, john lennon. >> it's a delightful play on the contingency and accident that shapes our world. >> the first american to visit the land of china in like a million years or something like that. somebody said world peace was in our hands, but all i did was

play ping-pong. >> that film embodies everything that makes tom great. he's fantastic dramatic actor. he's magnificent comedy actor. i can't think of another actor living or dead who could have ever done that part. >> by the 1990s, the median age of the people who served in world war ii was around 70. they were growing old, and they were disappearing. and there was a powerful sense of nostalgia. and we saw a lot of retrospective looks at aspects of world war ii. this was the time when people started talking about the greatest generation. >> "saving private ryan" was a film i was going to make someday in my life. my dad used to have his band of brothers from the air corps come over to the house every year. and the first time i ever heard

grown men cry was at these reunions. it was all about the trauma they had suffered in world war ii. >> i'll see you on the beach. >> i felt it was necessary for me to tell the experience of veterans and what they had gone through when they were a little bit older than i was at the time. [ sound of gunfire ] >> when moviegoers saw the men disembark, the bullets were going through the water and hitting them in the water. it was a powerful realism to that. it's spielberg saying, what does it feel like to have gone on that beach. your nose is pressed right into the savagery. >> steven did great in "private ryan," at the beginning there, it was fantastic. i was ill for two weeks after

watching that. i couldn't believe he did that. >> sir, i don't have a good feeling about this one. >> when was the last time you felt good about anything? >> this ability to entertain and reach audiences more than one way, with the same movie, "saving private ryan" is a great example of that because it's exciting, it's thrilling, it's suspenseful. but it also is a reminder of the price of that kind of warfare, the cost to the soul and who winds up living and dying in bearing those scars in that kind of conflict. >> what is that? >> of course. >> that's a nice sheen on it. >> thank you. >> very nice. >> i would get you one but the man who made it is probably dead. i don't know. >> my family, when i was growing up, talked about the holocaust, although they never used that

word. they used to call it the great murders. i shot the whole film documentary style. it was the first film i had ever shot like that. and it became less of a film, more of just a life journey, a living, learning experience making that film. we all felt we were shooting in a graveyard. and so the amount of reverence of the crew and the cast. i cast liam neeson at the last minute based on a play i saw him in on broadway. i thought he was the best possible schindler i could possibly find, and he was. >> god bless you. god bless you. >> oskar schindler was a deal maker, and he didn't really care that much for his workers. but there was an inevitable metamorphosis based on the

encroaching holocaust and what he was personally witnessing that unlocked his empathy. instead of being someone that just gathers wealth for his own pleasure, he started to spend his money to save lives. >> i could have got more. i could have got more. >> the totality of the meaning of that film, the fact that it created awareness in the world about an era in history that had been forgotten, that it denied the deniers and allows us to really mean it when we say, never again. "schindler's list" is the greatest experience i had as a filmmaker. the company who invented

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♪ put your little hand in mind >> "groundhog day" was a very character-driven comedy. the bill murray character just keeps waking up. >> hey, phil? >> having to relive the same day. >> now, don't you tell me you don't remember me because i sure as heck fire remember you.

>> not a chance. >> ned! >> usually when there's some kind of strange convention, it's explained. >> phil connors, i thought that was you. >> you're in a time machine or somebody cast a spell. >> phil connors! >> but this just happened. and nobody minded. >> phil connors. >> ned? >> the movie is perfect. it's also so obviously for bill. >> bill, like the groundhog bill? >> yeah, like the groundhog bill. >> look for your shadow there, pal! >> morons, your bus is leaving. >> it's hard to be a likeable dick and then win the audience over by the end. bill is really good at that. >> oh, thank you, young man. >> it's nothing, ma'am. i had the tire and the jack. just be comfortable, all right? >> to me, bill murray is one of the great comedy actors that has ever been. >> how long will you be staying with us? >> indefinitely.

i'm being sued for divorce. >> he's picky, which is perfect, because then he finds his way into somebody really extraordinary. >> what's the secret, max? >> the secret? >> yeah. you seem to have it pretty figured out. >> secret, i don't know. i think you've just got to find something you love to do and then do it for the rest of your life. >> wes anderson, his films are like opening a jewelry box and you can take out all the little trinkets and look at them, and they're sparkly and they're joyful. >> what's going on in here? >> it's so rare when someone comes along and creates their own aesthetic. wes is truly unique. >> i really related to "rushmore" in terms of having bad grades and not being good in school but having like a passion for something. >> all right, next scene. frank, you enter stage right with a bag of cocaine. >> when "rushmore" came out, i

wrote a fan letter to wes. it was the perfect film, laugh out loud humor with an actual pathos. >> i like your nurse's uniform, guy. >> these are o.r. scrubs. >> oh, are they? >> comedy in the '90s will be gigantic. >> shall we shag now or shall we shag later? >> it's going to be over the top and it's going to fill the frame. >> why don't you just go home? that's your home. are you too good for your home? answer me! >> and you're going to get adam sandler knocking out one movie after the next. >> sidney and scott are newlyweds. whoopty-do! >> if you look at the scenes that are memorable from something like "wayne's world," they're big scenes. they're the heads bobbing back and forth. they're not afraid to do something big to get a laugh. >> smoking!

>> and then all of a sudden, one day this guy who is as big as the screen, shows up. and it's jim carrey. and he turned into a top hollywood star because he is unafraid to be big. even as he's doing these over the top things where you think, he's talking through his behind, i'm not going to watch this. >> excuse me, i'd like to ass you a few questions. >> yet there you are, you're watching, and you're laughing. ♪ just like me they long to be >> oh, he's looking at you. >> oh, no. >> i don't have to be too intellectual about it, i just laugh my ass off. >> ow! >> and part of it was like, i can't believe they're doing that. >> what's that bubble there? >> what do you think? >> well, how the hell did you

get the bees -- >> the farrelly brothers pushed the rules so far. you can do that? >> "something about mary" is this kind of anarchic off-the-wall comedy that also has joyous heart to it. >> i'll have the double decaf cappuccino. >> do you have decaf nated coffee ice cream? >> i'll have a half double decap half caf with a twist of lemon. >> you had lots and lots of really funny, bankable people doing wonderful movies. >> my first day as a woman, i'm getting hot flashes. >> hello, peter. what's happening? >> umm, i'm going to need you to go ahead and come in tomorrow. so if you could be here around 9:00, that would be great, okay?

>> "office space" is not as acclaimed as it should be. it was not a big hit, but there's so much modern comedy in that movie. it was wonderful. >> just a moment. >> "office space" did such a great job in completely lampooning office life. technology had made these cubicle lands, and "office space" really captured that. >> i'm thinking i might take that new chick from logistics. if things go well, i maybe showing her my "oh" face, you know what i'm talking about. oh. >> jennifer aniston was in it and she worked at a place like tgif's. >> we need to talk about your flair. >> being a waitress who is like, put that flair on and show what you're really like. and she's like, here's my flair. >> all right? there's my flair, okay? and this is me expressing

myself, okay? ♪ teacher's pet, i want to be teacher's pet ♪ ♪ i want to be huddled cuddled as close to you as i can get ♪ >> christopher guest is considered the master of the mock yumt mockumentary. he comes up with characters that are profoundly silly. >> when we were on "snl" together, chris did the movie with marty and harry called "synchronized swimming." >> i've been directing regional theater. if i don't get out of that, i'm going to just kill myself with a vegemmatic. >> that's where the character in "waiting for guffin" was born. me right out of the navy with a dance belt and a tube of chap stick, not much to call my own and then basically being slammed down for ten or so years, you

know, off-off-off-broadway and then enough is enough, okay, i get the joke. >> chris surrounds himself with great funny people. eugene, fred willard, catherine o'hara. >> i'm so nervous tonight. >> you're going to be great. if there's an empty space, just say a line, that's what i like to do, even if it's from another show. >> chris works in miniature. he's very much like peter sellars, such fine taste. when it hits right, it's amazing. >> and that's the way it is? then i just hate you and i hate your ass face. ♪ ah sugar, ♪ ah honey honey ♪ ♪ you are my candy girl ♪ and you've got me wanting you ♪ applebee's 2 for $20. it's date night in the neighborhood.

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i remember coming out of seeing "do the right thing" and that day i went to my dorm and started writing "boyz in the hood." >> my mama say a bullet don't have no name on it. >> i ain't afraid to get shot. >> some of what i was doing was inspired by what truffaut did with "the 400 blows," what rob reiner did with "stand by me." but those movies didn't speak to where i was coming from. >> we got a call about a burglary. >> yeah, that was about an hour ago. >> whoa, we didn't ask you that. >> i decided to have a black cop be more than the white partner in the scenes where he's encountering the black

residents. >> something wrong? >> something wrong, yeah. it's just too bad you don't know what it is. >> the same black cop encounters trey years later when he's a teenager and profiles him. >> i didn't do nothing. >> you think you tough. you think you tough, huh? oh, you're scared now, huh? i like that. >> singleton was nominated for two academy awards, best original screenplay and the youngest person ever nominated for best director. >> it was an era when a lot of people were paying attention to black film. there's this famous moment when "the new york times magazine" does this cover story. you really had for the first time a large collection of black filmmakers documenting what was going on in the culture. >> you got to be ready to stand up and die for that shit like blizzard did if you want some juice.

>> blizzard? blizzard ain't sticking up for nothing now. >> that's because we wasn't there to back him up. >> he's a phenomenal actor. we had a similar vision of what we wanted to do as young men coming into this whole entertainment world together. my attitude was, i got my robert de niro, i got the dude i want to do multiple movies with. >> people don't realize how theatrical the gangster rap thing was. >> tupac, ice-t, ice cube. they were also story tellers. so, when it came time to go to hollywood, all of them were convincing on screen. >> craig. craig. >> hold up. i gave him a heartbeat. >> man, that's what it's supposed to do. >> it's one of those films that made me excited about being in the film industry. >> hi guys. >> hey. >> cube at the time transitioning from music into

filmmaking. the way it got sold at sundance. >> damn! >> it was just a sort of quintessential independent cinema coming to the mainstream and then of course it went on to do so well. >> ladies, ladies, ladies, i know you'll be in attendance in the jam of the year? >> did you hear anything about a party today? >> uh-uh, at least not any good ones. >> "house party" is just a fun, silly teen comedy. >> ladies, b-love's in the house. >> dragon breath. >> who you talking too? >> kit and play who were a musical duo play two teenagers who were looking to have a fun time. dad's away, let's throw a party. >> scandalous. >> having a movie like that premier at sundance really showed the possibilities that indie black filming making can have. >> what? >> don't answer me what. turn that tv off.

>> i'm watching the knicks. >> i don't care what it is. no tv on a school night. >> we talked about the spike lee films, but also it was a period when flack female filmmakers are making some really interesting things. you have "daughters of the dust," julie dash's film, examining the gullah culture, black culture that harkens back several hundred years. and that movie is beautiful. >> you're too cute to be a gentlemen, right? >> come on, you don't have to be like that. >> whatever, whatever. >> it's a, quote/unquote hood movie, but it's a hood movie from the perspective offensive a young girl. >> people think of new black realism as the hood genre. but actually there's a range of socioeconomic experience being shown in black cinema of the '90s. whether we're talking about some

of the black romantic comedies, familiar films like "soul food," or films like "waiting to exhale" and "how stella got her groove back," what i think of as companion films that celebrate sisterhood. that's another element that hadn't made its way into mainstream cinema. >> hello. hello. >> from the early days of will smith's career, he was incredibly smart about figuring out how to become the superstar he wanted to become. he chose the one role nobody expected him to play, a gay hustler in "six degrees of separation." >> i pick a name, you tell me anything about them, where they live, secrets, everything. that very name, you get a piece of my clothes. >> will smith became a triple threat. there aren't many who can do action, drama and comedy. >> now, back up.

put the gun down. and give me a pack of tropical fruit bubbleicious. >> and will smith is that guy. >> i would say that tom cruise is the first person to figure out the power of using the international box office to turn yourself into the biggest star anyone has ever seen. will smith looked at that and said, i'm going to do the same thing. what translates that abroad? sci-fi aliens. that's what he did. >> welcome to earth. >> he becomes so successful that the july 4th weekend was blocked out for will smith movies. >> you know what the difference is between you and me? i make this look good. you're strong.

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♪ hello hello ♪ there he go, my baby never answers in the room ♪ ♪ steps outside, or puts it on snooze ♪ ♪ he just do whatever he do ♪ ♪ ou ee ou

♪ ♪ ou ee ou ♪ hello hello hello ♪ ♪ hello hello hello

what's your name? >> what do you want it to be? vivian. my name is vivian. >> vivian. >> i remember meeting gary marshall for the first time and being so nervous. making this movie with him was hysterical. we didn't have a complete script. i remember going gary what are we doing? i don't know what we're doing.

action. did we think it was going to be a huge success? not necessarily. >> hi. >> hello. do you remember me? >> no. i'm sorry. >> i was in here yesterday. you wouldn't wait on me? >> oh. >> you work on commission, right? >> yes. >> big mistake. big. huge. i have to go shopping now. >> "pretty woman" makes julia roberts a major star. that smile. that interaction with richard gere. that improvised thing with the jewelry box and the pearls in it. >> gary said, just touch it. it is the most amazing thing you've ever seen and he said to richard, just -- oh! >> we fall for her and we fall like a ton of bricks. >> oh, my god. the bride and the woman she'll never live up to. >> she rises through the decade and really ends it with three

mega-coms. "my best friend's wedding" and "run away bride" and "nottingham hill." >> can i help you two. >> no thanks. i'll just look around. >> richard curtis says he wrote it with me in mind and i love when writers say that. i don't care if it's true. it's hard to find really great, original material that hold to real performance and the comedy and the physical comedy and then some thread of love that you're trying to accomplish. i'm also just a girl standing in front of a boy. asking him to love her. romantic comedy is a genre that i love. i think i just was really lucky that they were making a big resurgence at a time when i was at the ready. >> the romantic comedy gets its

jump-start and you have a number of people who are especially adept at the form of the romantic comedy. you have sandra bullock. you have hugh grant. you have meg ryan. and you have tom hanks. >> she made everything beautiful. and it's just tough this time of year. i mean, any kid needs a mother. >> could it be that you need someone just as much as jonah does? >> yes. >> she prepared movies like no other director i've ever worked with. we would work for weeks prior to the beginning of shooting. every line was specifically found or written or perfected. >> it was like magic. >> magic. >> nora efron was unafraid to take something that felt familiar but then cover it in unfamiliar territory. >> you get a new wife so you can

have sex with her, huh? >> i certainly hope so. >> will she scratch up your back? >> what? >> in the movies women are always scratching up the men's back and screaming and stuff when they're having sex. >> how do you know this? >> jed's got cable. >> his movie is about a widower. that i thought was a brave choice. you saw people on screen working out a problem who weren't necessarily from the traditional american family. >> i left it by the telescopes. >> the great thing about nora is when she was talking about the dynamics between men and women who are attracted to each other or need each other or searching for each other and don't really know it, she was a genius. >> i'm the guy you don't usually see. i'm the one behind the scenes. i'm the sports agent. i wanted to write a movie that begins where an '80s movie ended.

>> what's going on? >> they fired jerry mcguire. >> the script went right to tom cruise. he calls immediately. i love this script. i'll read it with you. and you tell me if i'm right for it. >> don't worry. don't worry. i'm not going to do what you all think i'm going to do which is flip out. >> and basically i've been geeking out over his performance ever since. >> rob, rob, jerry mcguire, how you doing? >> jerry mcguire. >> yeah. how am i doing? i'll tell you how i'm doing. i'm sweating dude. >> cuba and tom deliriously happy actors. >> show me the money. >> they were just like landing blows on each other. >> jerry, yes! show me the money! >> and that scene just kind of exploded. >> congratulations. you're still my agent.

>> that film really spoke to me so deeply because a single mom with this precocious little kid. >> and bringing a guy into that picture. i love how much cameron believes in romance. >> i was so anxious to do one line. you complete me. there were times that i'd read that in the script and thought, fantastic. there were other times, is this too cheesy? and i told tom that. he said, just give me a shot at it. if you don't want to use it, don't use it. >> i love you. you complete me. just -- >> shut up. >> just shut up. you had me at hello. you had me at hello.

>> i look around. everybody's crying. the grisled guys holding cable are like -- and i think, it's going to work. ♪ ♪ should auld acquaintance be forgot ♪ ♪ and auld lang syne ♪ we'll take a cup of kindness yet ♪ ♪ for auld lang syne next customer please. ♪ ♪

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this guy's going through all the eggs. going on 20 minutes. >> what's he looking for? >> has to find the perfect dozen. >> perfect dozen? >> each egg has to be perfect. >> in the '90s you could feel something was happening here. there started to become a genuine independent film movement. sundance film festival, sundance institute had everything to do with it. >> the idea of starting sundance was i felt i'd grown up being a part of the major film industry, because that's all there was and was very fortunate to be part of that. as time went on i became more aware of other stories that could be told. they'd be told by people less inclined to be commercially attractive. they were different. they were off-beat but stories i felt should be told. >> women are lonely in the '90s. it's our new faze. we'll live. >> they weren't looking at who made the movies. they were looking at the movies.

they have a commitment to showing films with very specific, authentic voices. >> there was a sudden recognition because of the success of films that came out of that festival and it drove such a profound change into mainline hollywood. >> hey, man. you got a joint? >> ah -- no. not on me, man. >> it would be a lot cooler if you did. >> just like "american graffiti," "dazed and confused" was a complete euphoric look at young people before they have to become adults. >> other high school movies. there's a million of them, but very few that really gives you an honest depiction of that time in your life. >> whew! >> you ready to bust some ass? >> and then you see all these fantastic actors that started out in "dazed and confused."

>> that's what i love about these high school girls, man. i get older, they stay the same age. >> richard linkletter cast all those fabulous girls. the characters i just adored. they just felting like real girls to me. >> tell you this. the older you get the more rules they'll try to get to you to follow. just got to keep listening, man. >> the beauty of linkletter is his touch. the lightest touch. it's lightning in a bottle. >> throw it in the -- >> no. >> you don't? >> i don't believe in it. >> you don't believe in tipping? >> trying to a writer and a filmmaker and read "reservoir dogs" and thought it was clearly

written by somebody who was 67 years old had gotten out of jail and wrote his life story. >> harvey keitel was the guy that pushed it through to us allowing us to discover quentin tarantino. >> who cares what your name is? >> that's easy for you to say. you're mr. white. >> you have a cool-sounded name. no big deal for me to be mr. pink, want to trade? >> hey. nobody's trading with anybody. this isn't a -- city council meeting you know. >> it was going to underscore it and for me that was kind of a breakthrough moment. >> some [ bleep ] fad. is it bad? >> as opposed to good? >> brutal violence comes with a heavy, at times, dose of comedy. >> you know what they call a quarter pounder with cheese in france? >> no. >> tell him vincent. >> royale with cheese.

>> royale with cheese. >> you know why they call it that? >> ah -- >> because of the metric system. >> check out the big brain on brad. >> "pulp fiction" was a dream of a screenplay and it was the screenplay itself that was this wild, hairy bug. it was like a tarantula on the doorstop. you just had to look at it. my god. look at the size of that thing. >> let's just forget it. >> that's not a possibility. trying to forget anything as intriguing as this would be an exercise in futility. >> is that a fact? >> look at what john travolta does. look at uma thurman. bruce willis. it was slick. it was fast. it had no convention to it whatsoever. it just rewrote the rules of the way you could make film. >> ah, you [ bleep ]! >> you constantly have to pay attention. all of these characters somehow

connected. start to feel as the movie goes on -- >> i love you, honey bunny. >> everybody, this is a robbery! >> you know a tarantino film the minute you see it. it's such a fanfare of a new kind of filmmaker. ♪ and i know got to go same thing every night ♪ >> came out of this kind of cocktail of '50s nostalgia culture in l.a. and it kind of became a phenomenon. >> what do you guys do? >> i'm a comedian. >> ah -- >> when i started writing "swingers" i didn't know it was going to be a movie or a full script. i was just having fun writing stuff i got a kick out of and kept going with it. >> you go up to talk to a man i don't want you to be the guy in the pg movie. >> really? hoping it makes it happen. >> i want you to be the guy in

the rated "r" movie, the guy you're not sure whether you like yet. not sure where he's coming from. you're a bad man. you're a bad man. you're a bad man. >> it was sort of that indie comedy sensibility and of course we were influenced by kevin smith and tarantino and scorsese. when the movie finally came out it hit the culture in a big way. >> see? it's not that hard. may your holidays glow bright and all your dreams take flight. visit your local mercedes-benz dealer today for exceptional lease and financing offers at the mercedes-benz winter event. tshower your pets with gifts and goodies

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>> animation was disney's brand but in the early '80s they were adrift. "little mermaid" was the hit that showed what these movies could do. ♪ part of your world and that kicked off a total revolution in the animation world. >> and now we invite you to relax, let us pull up a chair, as the dining room proudly presents your dinner. >> when audiences see these

movies they haven't seen animation like this in decades. ♪ we'll prepare and serve with flair a culinary cabaret ♪ >> the disney studio re-examines the templates of snow white, pinocchio, dumbo, bambi. in the process of doing that, returns the disney animation to its fundamentals. >> 10,000 years will give you such a crick in the neck! >> because they're done with cleverness and with great use of music, which disney specialized in they capture the same magic. >> "the lion king" is interesting because it's a very old tale that's been retold in different ways but it emerged as

something special and i think became bigger than the sum of its parts. ♪ ♪ it means no worries for the rest of your days ♪ >> it just clicked with the right animators, right directors, right music. ♪ oh, i just can't wait to be free ♪ >> people were ready for that kind of story on that kind of epic scale. and you can see the beginnings of c.g. in the background for certain things like the stampede. it is one of those things where the stars align and it hits the culture in a way that's impactful. >> pixar changes the game. i went to see "toy story" twice.

>> there seems to be no sign of intelligent life anywhere. >> the comedy wasn't talking down to kids. it was for everybody. >> look, we're all very impressed with andy's new toy. >> i think the word you're searching for is space ranger. >> i can't say the word i want to say because there are preschool toys present. >> when i saw the story i was blown away. the technology was nice and interesting but that wasn't what blew me away. what blew me away was here were new characters. >> infinity and beyond! >> the film was contemporary. it was not a musical. it was done with all of the sincerity of the walt era. >> you actually think you're the buzz light year? all this time i thought it was an act. hey, guys, look! it's the real buzz light year!

>> you're mocking me, aren't you? >> anybody wanting to study screen writing should watch pixar movies. i just think they're beautifully, beautifully written. >> well, if you knew him you'd understand. >> let me guess. andy's a real special kid. and to him you're his buddy, his best friend. and when andy plays with you it's like even though you're not moving you feel like you're alive. because that's how he sees you. >> you absolutely believe these characters had an internal life. they felt like being a toy was a job that they were proud of. that was just a brilliant premise. and it was executed perfectly. ♪ oh, somewhere deep inside of these bones ♪ ♪ an emptiness began to grow >> there is something so beautiful about bringing an inanimate object to life. drawing animation is is sat

imthing but something about stop motion that is so pure and strong. ♪ what's this what's this ♪ there's powder everywhere ♪ what's this there's ice i must be dreaming wake up jack this isn't fair what's this ♪ >> tim burton has managed to take the most macabe things and make them so fun and so heart breaking and beautiful. no one has that aesthetic. you don't have to wonder for ten seconds if it's a tim burton film. edward scissor hand is kind of a frankenstein story. vincent price plays his father who creates a boy but dies before he can put his hands on. >> edward scissor hands was a character tim had brought to life through a concept drawing. i've seen him draw a character with two strokes of a brush and you knew who they were.

>> look! >> make it a five-run inning and blow this game to pieces. >> i'll be darned. >> with tim and his characters, there's always a real connection with him and johnny depp. >> there's kind of a way of speaking without speaking and communicating, which is why he was edward scissor hands because it goes back to silent movies where people communicate with your eyes. i feel some connection to him or wynona ryder, something about the intensity of the gaze that's like acting. >> so are we going to be working together? really! worst film you ever saw. well, my next one will be better. hello. >> edward is such a sweet movie and yet it is not at all cloiing, just completely cool and crazy. >> he's a monster. do you imagine what that guy would look like in a movie?

>> jonny depp plays a real life character famously known as the worst film director of all time. his character is so perfect. he just -- you just love him for his enthusiasm. >> all right. prepare for scene 32. >> mr. wood? where's the conference? >> you're standing in it. >> we all feel that. every time he embarks on a movie it is going to be the greatest most amazing thing. >> it was not made as a joke. it was lovingly made in appreciation of what that guy had done. >> these actors, artists, they really love their craft and their kind of weird sense of family you get in film. this felt very close to me. it just felt like my own life. bunch of weirdos trying to make a movie. that is easily relatable to me. >> this is the one. this is the one i'll be remembered for.

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>> go. go home two socks. bad wolf. >> when you think of the '90s you think of actors in the director's chair. you think of kevin costner. you think of jodie foster. you think of mel gibson.

and you think of clint eastwood who finally gets his due in the '90s. "unforgiven" is a miraculous film in many ways. the legacy in eastwood's case of all the spaghetti westerns and the westerns and the dirty harry films is landed on this moment of frailty. >> did pa used to kill folks? >> clint eastwood eastwood? >> yes. you'll be his partner in this western. well, shucks. tell him i'll think about it, ha, ha, ha. i remember there was three men you shot, will, not two >> i ain't like that no more, ned. i ain't no crazy killing fool. >> clint eastwood and morgan freeman, who have been professional killers and were sick of violence, they don't want to do it anymore but they

get dragged back into it. >> i killed one of the children, killed just about everything that walks or crawled at one time or another. and i'm here to kill you, little bill. what you did to ned. >> clint is maybe the best director i've ever worked with. i love the way he does it. he's quick. he's decisive. just beautiful. >> there are directors in this period like michael mann who are the rebels. within the studio system. the guys who are just doing it differently. >> what am i doing? talking to an empty telephone. >> i don't understand. >> because there is a dead man on the other end of this one. >> "heat" provides us an opportunity to finally see robert de niro and al pacino on screen together doing a scene together.

>> what do you say i buy you a cup of coffee? >> the scene in the diner, all three of us, bob, al, myself, we knew it was the nexus of the whole film. >> i chase down some guys just -- to get busted back and you -- you must have worked some -- >> i worked all kinds. one of my favorite scenes between these two guys. they finally come together. i think we did a good job with it. i do what i do back. you do what you do best. trying to stop guys like me. >> they are not taking their eyes off each other >> i will not hesitate not for a second. >> people want to see great actors telling the truth. guys like michael mann would always punch you in the gut. they would go make a movie that would be counter to what everyone else was doing but it would have truth in it. >> you want your own wife kidnapped. >> yeah. >> i think "fargo" is a perfect

movie in every way. the screenplay is perfect. the execution of it is perfect. the performances are absolutely perfect. >> it was written for me. i got very excited. they said joel came home from work and said we're going to start working on something. there is a part for you. >> we got a shooting. these folks drive by. there's a high speed pursuit. ends here. then this execution type deal. >> the scripts are publishable works of literature. for example, the scene in "fargo" where marge is interrogating the two strippers. >> hey, they said they were going to the twin cities. >> oh, yeah? >> yeah. is that useful to you? >> oh, you betcha, yeah. >> yeah. >> it was puncuated and written in the rhythm that we played it. and it's beautiful. >> and the oscar goes to ethan

and jo cohen for "fargo." >> fargo would be the cohen brothers' film that really gets embraced at the academies. everyone loves this movie. what do they do? they do something completely different. >> sometimes there's a man, he's the man for his time and place. >> "the big libowski" and one of my favorite stories is how long it took jeff bridges to agree to do it. it was so good. they wrote it for him, sent it to him. he said it's great. not sure i can do this. i just remember them thinking, how could he not? obviously, he came to that conclusion himself. >> wait. let me explain something to you. i am not mr. libowski. you're mr. libowski. i'm the dude so that's what you call me. you know, that or his dudeness or duder or el duderino if

you're not into the whole brevity thing. >> it's the only time in my life i haven't been able to look an actor in the eye because he was so funny. >> jeffrey. >> maude? >> love me. >> that's my robe. >> "the big libowski" is the most quotable movie of my generation. >> really tied the room together did it not? >> the cohen brothers are revolutionary bomb throwers but you kind of are pleased that the bomb landed on your front porch. >> they've kept control of their films from the beginning in a way that allowed them to really explore any genre they wanted to go into. i think by exploring the genre then they subverted it. >> really? >> yeah. i make exotic films.

>> where i grew up was the porno capital of the world san fernando valley. i would know what a regular film shoot looked like and then a difference when it was like a van. that's where "boogie nights" came from, a world that i knew really well. funny enough. >> who's dirk digler? >> that's that new good looking kiddedy at the club. >> good name. >> yeah >> i called my agent and i said are you punking me? it was an x-rated script. they said no it's going to be "r." i said no it's not. there's copulating in it. they said no that's the contract. and i said, well, i'm in. >> i used to argue with paul that amber should die. you're like, she can't die. i was like, she would. she probably would. i don't know that she would have survived all of that. >> i'll ask you if you're my mom okay? and you say yes. okay? are you my mom? >> yes, honey. >> yes. >> she kind of assumes the

mantle of parenting in this world. she's not actually taking care of them. she is play acting. >> what we're talking about then is coming to an agreement on the custody of andrew. >> yes. >> the thing that i really love about the scene as she is kind of fighting for custody, the judge turns to her and says, maggie, have you ever been arrested? when was the last time you were arrested and what was the charge? >> you cut to outside and amber is sobbing. that's just it. she is not responsible enough to parent. >> you don't have to be interested in pornography to be interested in broken people. they've been rejected by their family. they don't have a family. the moral center of the movie is about all these broken humans trying to make themselves whole by finding a stitched together family when they don't have an actual family of their own. >> paul thomas anderson has never made the same movie twice.

whenever you see a paul thomas anderson movie like "stanley kubrick" you know it is a paul thomas anderson movie. i'm not sure there is a higher compliment you can pay a director. his imprint is on his films. >> come on, frank. what are you doing? >> what am i doing? >> yeah. >> i'm quietly judging you. some hot cocoa? mom, look! are you okay? head home this holiday with the one you love. visit your local mercedes-benz dealer today for exceptional lease and financing offers at the mercedes-benz winter event. vicks vapopatch.

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the piano was ravishing and also uncompromising. it is a really visceral movie. you feel the weight of the fabric, the dampness of the air and the moss. and it's so inherently jane. >> the film maker from new zealand who shot this very intimate movie in her own country starring holly hunter. >> it was the kind of intimacies that jane pulled us into as an audience. she has a voice not to be denied. >> it's my mother's piano.

>> it's an extraordinary performance in the film. and also holly is a very accomplished pianist. it's one of those perfect roles for the perfect actor. >> this movie established jane campion. she won at cannes and became the second woman to be nominated for an oscar for directing. >> the '90s was the best time for women directors. they infused a kind of sensibility that made it really enjoyable. you were hanging out with other film makers saying, wow. how many movies can i make? how many women can i work with? >> you still haven't figured out what riding waves is all about, have you? >> it's a state of mind. >> they don't want to be acknowledged as a female director. i spent my whole career to be

acknowledged as a film maker not a black film maker. i'm sure those women are saying don't call me a female director. i'm a director. >> i am a bad therapist. do you hear me? i am making these people worse. >> walking and talking was inspired by the time my best friend was getting married. >> so fake looking. looks like a barbie ring, frank. >> they were a perfect match. i loved them both. but i felt very lonely. >> and i thought that was funny. >> we're engaged. >> yeah. >> we're going to get married. >> well. >> i think of her comedies as comedies of embarrassment. her characters want to be better people but they're just not. >> are you crazy? i had sex with you two weeks ago and now you're asking me why i haven't rented lately? >> oh, i don't know what to say >> i just don't know anyone who

is better at setting up that kind of situation that makes us all squirm because they're so human. >> i don't know why she's going out with a high school boy. i like dogs. clean them. they're like dogs. these nervous creatures that slobber all over me. >> get off of me. as if. >> when i was writing "clueless" i hung around hollywood high school a lot. there was a teacher who taught debate and he let me hang out in his class so you heard the vernacular. >> in conclusion may i please remind you it does not say rsvp on the statue of liberty. [ applause ] >> thank you very much. >> amy is giving these girls their own vocabulary. >> hello. it was his 50th birthday. >> whatever. >> oh, my god. i'm totally buggin'. >> they're changing the lexicon of teen girls all over the world.

>> do you have any idea what you're talking about? >> no. why? do i sound like i do? >> even though sher is this heightened, fantastic, gorgeous creation i think amy is still able to see her as a real girl. she doesn't turn her into just a punch line. >> can i just see the beginning again folks? >> in "a league of their own" penny marshall looks at the changing role of women in world war ii. >> girls can't play ball! >> the men were fighting on the battle fields but there was still a hunger for professional baseball. "a league of their own" is about women baseball players. >> it's iconic and the lines are iconic and the performances are iconic. >> we told them it was their patriotic duty to get out of the kitchen and go to work and now when the men come back we'll send them back to the kitchen. >> what should we do, send the boys returning from war back to the kitchen?

>> "a league of their own" was a movie about female empowerment, how powerful women are when they unite, and how many stories we still have to tell. >> she's under it. >> what did she do? between ideas and inspiration, trauma and treatment. gained a couple of more pounds. that's good for the babies. between the moments that make us who we are, and keeping them safe, private and secure, there's webex. ♪ ♪ beautiful.

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>> i love the original "terminator" but the sequel blew it out of the water as far as i was concerned. >> that chase in the l.a. river with that truck, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it's okay, mom. he's here to help. it's okay. >> it's got heady ideas about time travel and about the space time continuum all that kind of what sounds like fancy sci-fi palaver but also a story about being relentless and jim as a film maker is relentless. >> when james cameron got to "t" 2 he was interested in expanding

his palate particularly to include these new digital tools. it was wildly groundbreaking working with industrial light and magic. and they were really kind of inventing this process of cgi as they went. >> when you first heard steven spielberg would be making a movie about a place where dinosaurs were brought back to life your first response would be, i can't wait to see that. >> where's the ghost? >> it's amazing just how long it takes before the t-rex comes out. he makes you wait for it. and wait for it. and wait for it.

i don't know what a dinosaur really looks like in real life. i think it looks like "jurrasaic park." >> i hate being right all the time. >> what steven spielberg innately understands is that dinosaurs are awesome. >> it was the same feeling as a 7-year-old watching "jaws" for the first time when you see those bronosaureses leap up and eat the leafs off the tree. >> we're going to make a fortune with this place. >> that is what spielberg does best as a film maker. he makes you go, ah! a lot of the enthusiasm for cgi comes from film makers seeing

in "jurrasaic park" what that technology could do for their story telling. >> "titanic" is a throwback in so many ways to the big blockbusters of the 1950s and 1960s. not just in its scope and its scale but also that it was talked about in the way we talked about kl"cleopatra" oh, d we're putting everything into this giant boat and is it going to sink? >> the budget unheard of at that point $200 million. >> leo dicaprio had done "what is eating gilbert groip" and there was some nervousness like can he do this thing? the studio thought they were in terrible trouble. it was going to be an enormous disaster and it turned out to be the biggest movie of all time. >> i'm the king of the world! >> whoo-hoo!

>> "titanic" really had everything. it was an epic, old fashioned movie. >> iceberg straight ahead! >> an action movie. also had a love story at the heart of it. >> i'm jack dawson. >> rose -- >> have to get you to write that one down. >> it was irresistible. jack and rose. it was sexy. leo was absolutely gorgeous. kate winslet really captured that independent woman who would not be pinned down. and they were just this vivian leigh/clark gable kind of pairing. >> flying, yes! >> "titanic" is this moment where james cameron is straddling these two worlds. the human scale and the computer scale putting them together. and from this moment on '97 the world goes computer. >> you have to let it all go,

neil. fear, doubt, and disbelief. free your mind. >> whoa. >> "the matrix" changes everything. you have the embrace of eastern cinema into western canon. and you've got them making their actors do the stunts themselves. keanu reeves had already done "point break" and already done "speed" but this is a different level of action star he is transforming into. this was six months of training that every actor had to go through. one of the things that you get when you're having the actors do their own stunts, you can film close ups of the face while a punch is being taken, while a punch is being thrown.

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i want to tell you my secret now. >> okay. >> i see dead people. >> i remember in '99 everyone i knew, everyone in our crowd was working on something that felt exciting and felt like it had a generational voice in it. >> i'm scared to close my eyes. i'm scared to open them. >> it was very clear that something was in the water that year. ♪ here i come to save the day >> it felt like the final exam for the 20th century. it's like the bell's about to ring and everybody's trying to get their good thing in before the century ends.

you have this really interesting combination of young filmmakers swinging for the fences and showing people what they could do as well as more established figures like michael mann with "the insider" just kind of finding a new gear. >> i have to put my family's welfare on the line here, my friend, and what are you putting up? you're putting up words. >> words. while you've been dicking around selling [ bleep ] company golf tournaments i've been out in the world giving my word and backing it up with action. >> i'd stack 99 up against any year in american filmmaking in terms of a real cohort of great filmmakers dropping really significant work. >> hey, mr. mccallister. >> not wasting any time, are you, tracy? >> you know what they say about the early bird. >> yeah. i do. >> "election" is the second movie of alexander payne. it's about this high school student council election in omaha. reese witherspoon's tracy flick, she is someone that you almost want to root for because of her passion and her drive. and yet also she has a little too much ambition.

>> they know this country was built by people just like me, who work very hard and don't have everything handed to them on a silver spoon. >> what's brilliant about "election" is that you're getting voice-over from like three or four different perspectives. >> who knew how high she would climb in life? how many people would suffer because of her. i had to stop her. >> alexander payne made a very american movie. and the performances in "election" of matthew broderick and reese witherspoon are terrific. >> looks like you could use a cupcake. >> it's a remarkable film. >> who are you? >> "boys don't cry" is based on a true story about brandon tina, a young man who was i atrans man living in a small community. ♪ left me lonely >> he fell in love with a woman, they had a relationship, and other people discovered that this was a trans man and not a cis man and sexually assaulted

and murdered him. >> "boys don't cry," just a phenomenal movie. like no studio would have made that movie. it was a game changer in terms of american cinema between what was made before and what was made afterwards. >> 1999 was just such a great year in independent cinema. you look at that line-up of films from "virgin suicides" to "three kings" to "being john malkovich." >> there's a tiny door in my office, maxine. it's a portal. and it takes you inside john malkovich. you see the world through john malkovich's eyes. and then after about 15 minutes you're spit out into a ditch on the side of the new jersey turnpike. >> "being john malkovich," it's a great combination. spike jonze and charlie kaufman. and they kind of remind people that movies could be so much more. >> what happens when a man goes through his own portal? >> we'll see. >> it's a metafictional dive into literally the brain of john

malkovich, who is in the movie playing himself. >> malkovich. malkovich. ♪ malkovich ♪ malkovich >> it's one of those movies that's impossible to describe. and it just sounds like you're piling one absurdity upon another. but it somehow all co-heres into just this crazy and beautiful film. >> i want you to do me a favor. >> yeah, sure. >> i want you to hit me as hard as you can. >> what? >> i want you to hit me as hard as you can. >> sometimes a piece of material finds a filmmaker who is uniquely possessed of the chops to do it right. "fight club" was fincher's "lawrence of arabia." it's hard to imagine anybody who had a better dna than him for that film. >> the first rule of fight club is you do not talk about fight club. the second rule of fight club is

you do not talk about fight club. >> we were doing the kind of film we'd all hoped to do. >> trust me. everything's going to be fine. >> i thought "fight club" could be one of those things that becomes a marker for the way we felt at a certain time. it connected right where we wanted it to connect. and it's still growing. and that's exciting. that's kind of -- for me that's the highest aspiration. >> in the '90s you get these trends and these moments that are going to carry on for the next few decades. you have this moment of really promising black filmmakers who are coming up. you have women's voices, you know, coming on to the forefront in that they're writing films and in cases directing films. you're also getting big blockbusters, as hollywood will also have. it lays the groundwork for what we're going to see in the next 20 years.

>> you want answers? >> i think i'm entitled. >> you want answers? >> i want the truth! >> you can't handle the truth! hello and welcome to our viewers here in the united states and indeed all across the globe. i'm michael holmes coming to you live from cnn's world headquarters in atlanta. it is midnight on the u.s. east coast, 9:00 in the west. well, thanksgiving has come to a close here in the eastern u.s., and we want to take a moment to think about the people directly affected by the coronavirus pandemic. almost 1,200 americans died from covid-19 on thursday. more than 90,000 others spent the holiday away from their families in the hospital. it is the 17thgh