>> announcer: robinson, apparently, tired.

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

boxing but the character was interesting. he was just so contrary, as they say. he was just so difficult. bob de niro. he's not afraid of the negative characters. not afraid to go to, as they say, those places. >> i was down to 150 and then i went up to 212, so i gained 60 pounds. it's not easy, though. first 15 pounds, it's fun. then, it's drudgery. >> go get 'em, champ. >> it's absolutely true that the movies of 1980 look like movies of the 1970s. where very personal, very passionate filmmaking rules. and then, you had ordinary people, which is the movie that defeated raging bull for best picture in 1980.

this incredibly precise and very emotional study of a family in deep crisis. >> calvin, give me the camera. >> no, i didn't get it, yetti, s beth. >> dad, give her the camera. >> but i really want to get a shot of the three of you men. give me the camera, calvin, please. >> give her the god damn camera! >> people who cannot get in touch with their feelings, and who avoid the darker underpinnings. so i'd like to tell a story about what people will do to avoid for being seen for who they really are. i gave mary tyler moore the script and said i could see you playing this. she was drawn to it. she wanted that chance, and so she was given that chance and she did a great job. >> that moment, where mary tyler moore comes downstairs and she

asks her husband what's wrong. >> i don't know if i love you anymore. >> she goes upstairs, and she's just -- there's something so moving, to me, about somebody who is so deeply repressed, cracking open. >> that's where the dam breaks. she gets hit by some truth that she can't articulate. she's so taken back, she can't adjust, she can't take it in. that's what that moment was about. >> then, you look at some of these films of the 1980s. like, "ordinary people," and like "blue velvet." those films are explicitly about how things look, are not the way they really are. you have to understand, this was when ronald reagan became president. and the idea was that after all sorts of dramas, particularly watergate and vietnam, we healed. but as the public pronouncement is, we're good again.

our movies are telling us, no, we're not. no, we are not. >> wendy, i'm home. >> i play this game. all your favorite filmmakers, alive or dead, were opening a movie on the same day. which movie would you see first? and for me, it would be stanley cooper because you're going to see something you never saw before. and he did that in, think about it, every genre. he is going to make a horror movie, it's going to be the horror movie. done in a way that you would not expect. to me, "the shining" isn't about horror. it's about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley cubric. >> he creates a piecing, where

it overtakes the way you are breathing and you're existing. and you are in there. in all films, he controls you. >> "the shining" broke through ground. the study cam gave us a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't even see his face. you are behind it, which leads to one of the scariest shots in the movie. >> hello, danny. come and play with us. fantastic. >> betting $40 million on its new movie heaven's gate. but the motion picture's been yanked from american theaters,

after only one day. >> heaven's gate took almost a year to complete. the director, whose deer hunter film was a great success, got a free hand. his producer said he was out of control. the result? a three and a half hour bomb. >> heaven's gate. it's the cautionary tale that's all but to say, no. no. the studio's going to step in here and this is not going to be another heaven's gate. and that's how you get the movies of the 1980s. >> you knew where you were when you first saw "the empire strikes back." because it was the "star wars" movie that took the whole thing to a whole, 'nother level. "star wars" was huge but "empire strikes back" was phenomenal. these established characters. you saw them intermix, in a way that you hadn't the previous film. where there's this budding

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

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four of the biggest money-making films of recent times have come from george lucas and steven spielberg. they are friends as well so it's inevitable these two would join talents and they now have in an adventure film, to be released this week. >> george says, i have something called rangers of the lost arc. it's just an idea i have for a movie. he told me the story about this adventure with the archaeologist with the hat and the whip. and then, larry, george, and i. we just sat around for three days and basically, made up the story, from beginning to end. >> there is a line in raiders that means a lot to me. just buried there, in the middle of a big, action sequence. they've lost control of the arc of the covenant.

and indy says, no, i'm going to get it back. and says, how are you going to do it? that, to me, was what life was like. and indiana jones is very good at that. >> we came up with an idea like a truck chase. then, we figured, well, how do we get the truck chase in the movie? so, we had these big, kind of, subjects. and then, we kind of reverse engineered in order for it to earn its place in the story. >> spielberg is a master of staging. even when they are moving very fast and cutting very quickly, you always know the lay of the land. >> he can create suspense out of details, big and small. and there is always the action that the audience can see, but the characters can't see. so, the audience is aware that,

not only is indy going to maybe get eaten to death by this but also the whole thing might blow up. you wonder why your blood gets up when you watch them. it's craftsmanship and art. >> everybody in this town is talking about steven spielberg's latest film, "e.t.." i was there at 12, noon, today, and there were literally thousands of people waiting to get in. >> e.t. has become the movie industry's biggest money maker, ever. >> i had this story, i was going to write about how the divorce between my mom and dad affected me and my three sisters. and so, i combined that with one about an alien who, himself, is divorced from his own species. and is lost, 3 million light years from home. >> can you imagine, if that film

didn't have those kids, every one of them, that's the secret sauce to that movie. >> i just want to say good-bye. >> all the kids had fallen in love with e.t. and i like to think that e.t. had fallen in love with all of them. and that good-bye scene was genuine. those tears were real. >> be good. >> yes. >> steven spielberg movies. they're big blockbusters but they are personal stories. they are small stories, told against a giant canvas. >> they're here. >> in the 1980s, i really felt that i was speaking to myself. escapism. "poltergeist" was about all the things that scared me. i had a tree out my window as a kid that used to scare the hell out of me. so, what happens in poltergeist? the tree comes in and grabs the kid. one final adventure, the

goonies, and discovered -- to save their parents' homes. stories about gremlins running around and tearing things up. just loving stories that were bizarre. >> everybody has dreams or thoughts, fantasies, back in time somewhere. put it together for the modern age. >> you telling me you built a time machine out of a delorean? >> the way i see it, if you are going to build a time machine into a car, why not do it with some style? >> it was a mystery that it was as big a hit as it was when it came out. but what the real mystery is that it's endured, for decades. >> we are sending you back to the future. >> the simple idea which is what would it be like to see your parents when they were younger is something that, obviously, is multigenerational.

>> you smoke, too? >> you're beginning to sound just like my mother. >> the only thing that's weird about the story. it's a boy going back in time, and meeting his mother and she falls in love with the son she hasn't, yet, had. that was pretty kinky, for me. but they pulled it off. i was exhausted at the end of "back to the future." and then, he makes "who framed roger rabbit" it's like he took back to the future, and tripled it. >> there is a scene where donald duck and daffy duck are having a piano duel. at the same time, penguins are serving drinks. and if you look at the making of, of that individual scene, it's utter, complete, total chaos. there's real actors pretending to be drinking. there is trays moving around on these iron rods.

>> that was a hard movie. that's sort of ignorance-is-bliss category that movie should fall into because that's a movie that no sane person would ever attempt to make. >> i love playing villains. i was a kid, the first walt disney films came out. there were dark moments in each of those that scared the hell out of me so it's payback. >> i talk just like this! >> i got some moments in there that will be in their worst nightmares for the rest of their life. >> the trick to making that blend of live action and animation is that the live-action actor has to believe it. bob always believed that the rabbit was there. it really is an amazing performance. i mean, it's really one that actors should study. >> because it was made before a lot of cgi existed, it was

old-school movie making. "who framed roger rabbit" is the most complicated movie ever made. >> don't tell me you lost your sense of humor already. >> does this answer your question? cteria is left behind. now, consider how many times your family touches the surfaces in your home in 24 hours. try microban 24. spray on hard surfaces to kill 99.9% of viruses and bacteria initially, including the virus that causes covid-19. once dry, microban forms a bacteria shield that keeps killing bacteria for 24 hours, even after multiple touches. try microban 24. this has been medifacts for microban 24. ♪

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one of the really great films of the '80s is the verdict. beautifully told we actor/director. paul newman plays a kind of washed up lawyer who is an alcoholic, kind of, ambulance chaser. what makes it uniquely lament is even when it's big, movie stars, he manages to bring them to the boston streets. and you can see the stars in the movie. but they have not turned the movie into something glamorous. but on the opposite, have entered the drudge and reality of the world la met is painting. >> newman did what he was asked to do.

and when he does the verdict, you know, it -- it -- it just makes you cry. i mean, here -- here, newman shows you what he is really made of as an actor. >> think you guys are making a big mistake. >> you see that scene where he is calling the insurance company, to rekindle the deal that he turned down. >> okay. no. no. i understand. >> it's really one of the greatest pieces of acting i've ever seen in my life, that phone call. no cuts. i mean, la met just goes, okay, here we go. >> how is your life? >> oh, great. how's yours? >> not so great. >> oh. we're telling truth. >> these kids who are in college together, late '60s. and are now no longer anti-establishment but, actually, are part of the establishment. trying to reconcile that history with their present. >> movies aren't being made for adults. that's all the "big chill" is

really. it's an adult film and it tries to be as complex as life is. >> i had wanted to make a movie about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent. >> when it first came out, i thought, well, this will be for this generation, the children of the '60s. this will be very relevant. and then, i would meet kids who were in high school, ten years after the movie came out, said i love that movie. it's about friendship. it's, also, about growing up. there is something, in its essence, that is timeless and universal. >> tomorrow. i thank god for getting me out of here and i think, if this is your attitude, you shouldn't bother showing up at my wedding. >> hmm. that -- that's right. i think you're right.

the -- the hypocrisy was bothering me, too. >> terms of endearment based on a book, adapted and directed by james l. brooks. it made you cry. it made you laugh. it was the stuff of live. shirley mclean plays aurora. gets involved with an astronaut played by jack nicholson. they just had this incredible, comic chemistry. the romantic scenes between them are hilarious. >> it's not my fault but i'm sorry. >> if you wanted to get me on my back, you just had to ask me. >> "terms of endearment" may be the first dramady. >> all she has to do is hold on until 10 and it's past 10:00! my daughter's in pain!

get her the shot! give my daughter the shot! thank you very much. >> james brooks was able to take humor, tragedy, the best writing, delivered beautifully by actors that cared so much. it felt like life. it felt human. it felt funny. >> the winner is "terms of endearment." >> jim was into the delicate shades of humanity, before it was cool. >> oh. that was a lifetime ago. people change. >> well, i hope you've changed. >> yeah, i hope you have, too. >> something to be desired, namely a personality. >> you look at woody's career. in the '80s, which theoretically should have been past his prime because how can you go on after manhattan? then, wait a minute. there is also purple rose of

cairo. by the time you get to crimes and misdemeanors, he's expanded his responsibility. it's got some satire in it but he is not trying to get a laugh every second. >> it's a wonderful, moral conundrum from a very original standpoint. i think that's why it holds up. >> you told me, over and over, you'd leave miriam. >> i didn't. >> you did! >> crimes and misdemeanors is two parallel stories. one of which is a very traditional, woody alan and mia farrow joke vest. and the other, which is life-and-death themes. >> a guy's having an affair and she is threatening to tell his wife, and threatening to disrupt his world. so, he has a hit man kill her. >> like, i had a woman killed

and i thought i was going to go to hell and nothing happened. whereas, woody, is constantly getting, you know, shit on by life and he is just doing the right thing. >> you look very deep in thought. >> i was plotting the perfect murder. >> his writing is very strong, for that reason. it always feels like he was thinking about some philosophical truth about human nature, and says, oh, i want to write a movie about that. >> i'm talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we could never be friends. >> why not? >> what i am saying is -- and this is not a come-on, in any way, shape, or form, is that men and women can't be friends because the sex part always gets in the way. >> nora ephron wrote when harry met sally. he was based on rob reiner. >> every scene has to be good.

you work and work and work. you torture yourself rewriting the script. >> i'd known nora and i pitched the idea for this film about the dance that people go through to get together, after they've both gotten out of long-term relationships. and they become friends. and does sex come into the picture? and if it does, does it ruin the friendship? and she said, well, that's something i'd be interested in. >> he lifts off my clothes. >> then, what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you have been having since you were 12, exactly the same? >> sometimes, i vary it a little. >> which part? >> what i'm wearing. >> a good, romantic comedy is, listen, you know they are going to be together. so, how do you get them there? and what's -- what's the roadblocks? it's all about the story and it's all about the people. do you care about them? do you want them to be together? are you seeing what they are not

seeing? >> most women, at one time or another, have done it. so, you do the math. >> you don't think that i can tell the difference? >> no. >> get out of here. >> in the deli scene, when we first did it, meg was a little nervous about it. you got crew members. you got extras. people standing around. >> are you okay? >> oh. >> rob says here -- here's what i want. he proceeds to have an orgasm that marty joe young would be jealous of. yes, yes, oh, god, i'm pounding the table. >> yes, yes, yes! >> and i realize, cause my mother is sitting -- i'm having an orgasm in front of my mother. >> i'll have what she's having. robinhood believes now is the time to do money.

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because covid is still a danger, we grandchildren promise not to let our guard down. let's meet up on video instead. i rather you not hug me today so you can hug me tomorrow. don't let your guard down with covid-19. hazlo por amor. a trilogy, really. a musical trilogy that i'm doing in d minor, which i always find is really the saddest of all

keys. i don't know why but it makes people weep, instantly, the player. >> what do you call this? >> oh, this piece is called "lick my left pump." >> the idea was we were going to do a mock documentary. we were going to do satire of a rock and roll band on tour. we basically had the tour outline. but essentially, it was a very, you know, thin, thumbnail sketch of what was going to happen. the whole movie is improvised. >> come on. don't talk back, huh? come on, move it. >> you had these brilliant performances by all of them. and then, rob put it all together and made it sing. >> people didn't know what we were doing. they thought it was a real documentary and when we first previewed it, people saw it and said why would you make a movie about a band that nobody ever heard of and one that's so bad?

>> let's say, you look at a prospective movie and it's a square. rob reiner has a way of turning it sideways, looking at it different way, and finding a way to enjoy it in a completely, nonconventional way. >> inconceivable. >> "the princess bride" is a blend between romance, satire, adventure, swash buckling. i mean, it's all mixed in and it's a very strange mixture, hard to capture. >> unusual size? i don't think they exist. >> you have to walk a balance. you know? it's a fine line between stupid and clever. >> beat it. or i will call the brute squad. >> i am the brute squad. >> you are the brute squad? >> rob is a phenomenal director. beauties. and took risks, in different

genres. to be in three of them, i'm really blessed. >> one-half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular. whether that be "airplane" or "the naked gun." you had imports. crocodile dundee which was enormous hit and three men and a baby. the other story of the decade was the rise of "saturday night live" as an influence on film. >> we got a full tank of gas, half a pack of cigarettes. it's dark and we're wearing s sunglasses. >> hit it. >> they made up these characters with the hat and dark glasses. they did the blues brothers on "saturday night live" and got a huge response. so, we got to make the movie. >> "saturday night live" is such a specific place. people started realizing, like, oh, this is where you are going to get your quality comedy. so then, you started wanting to see those people in movies.

>> you go ahead and clean up a little bit. it looks fine to me. thanks for the dope. >> comedy is such a precious commodity. and when you shake the pan looking for the nuggets, when they shine out like that, then you love 'em forever. people who understood how to be funny, they can be funny, anywhere. >> "ghost busters" is a rare film because of the combined sci-fi, action, and comedy. >> there's something you don't see every day. >> ghost busters was written by dan aykroyd. on paper, it shouldn't work but it does work because you have bill murray and dan aykroyd and rick moranis. and they're flawless. >> bill's always explored what

it means to escape, sort of, the constraints of convention. you feel, in some way, that you want to be as liberated as he is. >> instead of worshipping musicians, now we're worshipping these stand-up comedians and these skit comedians. there is this idea that comedy, in the '80s, is going to be the new rock and roll. >> all right. listen up. i don't like white people. i hate rednecks. you people are rednecks. it means i'm enjoying this shit. >> you got to remember, when eddie murphy first started with 48 hours, he was 20 years old. then, he does trading places. and then, he does the blockbuster, "beverly hills cop." >> eddie murphy, in the '80s, was comedy. he is such a perfect every man and so likable even though he is kind of a shit. >> it wasn't about, necessarily, being the put-upon guy. it's being the guy smarter in the room. you know, he's bugs bunny.

>> this is the cleanest and nicest police car i've ever been in, in my life. >> up until that point, hollywood movies that featured or starred a black artist. their color was always a plot point. in "coming to america," their color has nothing to do with the plot. >> ah. it is my 21st birthday. do you think, perhaps just once, i might use the bathroom by myself? >> sir. >> he is a prince in a fictional, african nation. and he decides that he and his best friend are going to go to america so he can find himself a queen. if you want to find a queen, where do you go? you go to queens, new york. got to be full of queens, right? >> everybody who's seen "coming to america" embraced the movie. the movie is funny as hell and i think it's eddie murphy at his best. >> give yourselves a round of applause. you're so lovely. everyone's so lovely.

>> there is barely a white person in that case and the one white person is actually played by eddie murphy. >> oh, there they go. there they go. every time i start talking about boxing, a white man got to pull a marciano out their ass. >> eddie murphy, i think. >> oh, christ, i heard him. the kid with the filthy mouth? >> he can do these voices. it speaks to the magnitude of his talent. is that not acting? is that not comic acting, at the highest level? if you have moderate to severe psoriasis or psoriatic arthritis, little things can become your big moment.

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♪ otezla. ♪ be it discovering talent in different continents... and entirely different sports, or discovering a smoother whisky by double-aging, sometimes, it's just better to stay curious. dewar's ♪ 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. we doevery night.ght. i live alone, but i still do it every night. right after dinner.

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even though the 1980s is often viewed as sort of an upbeat era. it's the period when the united states came out of the '70s.

there was still this sort of underlying fear that that could all collapse, at some point. you see that all play out in this post-apocalyptic sub-genre of action films. >> two days ago, i saw a tanker. you want to get out of here, you talk to me. >> an amazing trick of making dystopia look beautiful in a terrifying way. you know, you watch the road warrior and thinking, like, i'd love to go there. i think i would die within five minutes. >> it's the idea of this one man, who regains his humanity when he loses everything. but then, there is the filmmaking craft. to see those stunts just play out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock-and-roll movie.

♪ >> "brazil" is one of these futures that seem all too likely to come to past. it's a future where things don't work. where the bureaucracy is ossified. it's a future that feels like if things don't get better, we're going to end up there. >> dammit, lorrie, that convoy of personnel carriers is still unaccounted for. i told you to deal with it. what the hell is this mess? an empty desk is an efficient desk. >> terry gilliam's visibility sensibility is so distinctive, there was an audacity to that movie that you rarely see. >> it arouses very strong reactions from people, and i think that's what cinema should be about. it's exciting. it's stimulating. it makes us think. i'm quite happy to have a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. ♪ >> "blade runner" is based on

phillip k. dick's novel, in and of itself, and the essential question of the novel is, what's the difference between humans and non-humans? is harrison ford a human? can you fall in love with an android? >> she doesn't know. >> she's beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at tyrell. more human than human is our motto. >> the screenplay was excellent. a rare entity because it told not only a fascinating and different story, but it was written and described well. so you could smell the movie. >> i don't think there's any director who can encode content into the visual presence, like ridley can. when you see the street markets, it tells you that in the future, technology runs cross-class. that populations are tremendously mixed. there's overcrowding. there's poverty. he's projecting so much content

into those images, and you just soak it in. >> i was constantly beaten up. why is it raining? why is it at night? that's the way i [ bleep ] want it. >> harrison ford thought his character was a human being and scott was planting clues in the movie that he actually was the replicant with memories of this unicorn he daydreams about. >> harrison's in full denial today that he's a reply cant. the whole point of leaving that unicorn on the floor when he walks out, stops, picks it up and he nods, that nod is an assent. this is correct. somebody knows about my most private dream, which is about a unicorn. duh. >> james cameron's "aliens" is the perfect sequel because it doesn't just repeat the first film. it takes elements of the first

one. it builds upon them, but then it makes it into a different genre. >> six. >> can't be -- that's inside the room. >> it's reading right. look. >> you're not reading it right! >> five meters, man! four! what the hell? >> jim is a real innovator and real artist. i did one. he did two. he said, you know, it's hard to do two because you've shown him, the alien. so i'm going more military. ♪ [ screaming ] >> james cameron doesn't get enough credit as a screenwriter, as well. "aliens" is the template of how to write a great blockbuster. >> my mommy says there's no monsters, no real ones, but there are. >> yes, there are, aren't there? >> back in those days women

weren't really permitted to be strong. so sigourney really broke the mold in the aliens movies and one of the ways cameron figured out to let her be as tough as she was was because she was protecting newt, her adopted child. [ screaming ] >> there's real skill to building the perfect roller coaster. "aliens" is exam number one of how brilliant action cinema can be. >> get away from her, you bitch! , what you'll need, and help you build a flexible plan for cash flow that lasts, even when you're not working, so you can go from saving... to living. ♪ let's go every minute. understanding how to talk to your doctor about treatment options is key. today, we are redefining how we do things. we find new ways of speaking, so you're never out of touch.

it's seeing someone's face that comforts us, no matter where. when those around us know us, they can show us just how much they care. the first steps of checking in, the smallest moments can end up being everything. there's resources that can inform us, and that spark can make a difference. when we use it to improve things, then that change can last within us. when we understand what's possible, we won't settle for less. the best thing we can be is striving to be at our best. managing heart failure starts now with understanding. call today or go online to understandheartfailure.com for a free heart failure handbook.

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we were attracted to each other at the party. that was obvious. you're on your own for the night. that's also obvious. ♪ we're two adults. ♪ >> let's get the check. >> "fatal attraction" was a cautionary tale. the cheating husband and the mistress turns out to be insane and a stalker who murders bunnies and boils them as a matter of fact. >> glenn close's legacy is forever tied to this film, and

she's an incredible actress. >> what am i supposed to do? you won't answer my calls. you change your number. i'm not going to be ignored, dan. >> in the original script, the audience sympathies were split between the male character and the female character, but with each iteration they made her such an extreme character. the original ending was that she was supposed to cut her own throat, but that did not satisfy test audiences. so they had the good wife kill the bad single woman. [ gunshot ] >> that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcome addition, and a damn pretty one too if i might add. >> thank you, sir. >> i mean that, you should see some of the crones that have been coming in here. right, violet?

>> it was this idea of women coming together and being, like, yes, my life has been ruined by egotistical, bigoted men trying to hold me back. >> coffee, violet. now. >> this was when women were going into the workforce, but they were still secretaries. they were still these subservient roles. they weren't the boss of the company. >> that's all right. i'll get it. >> what about you, dora lee? what's your fantasy for doing him in? >> me? well, i think i'd like to come riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie, and i loved dolly parton in that movie. she's like liquid gold. >> let's just sit down. >> look, i've got a gun out there in my purse and up until now i've been forgiving and forgetting because of the way i was brought up. but i'll tell you one thing, if you say another word about me or make an indecent proposal, i'm

going to get that gun of mine, and i'm going to change you from a rooster to a hen with one shot. >> they realized that nothing was ever going to change unless they changed it. >> they string him up, that male chauvinist, sexually inappropriate guy and they make changes to the workplace to be able to share hours and a day-care center. it was an important movie then and it's an important movie now. >> "working girl" looks like a fairy tale of a young woman becoming the fantastically princess that she'd always kind of secretly dreamed of being and that her humble working class upbringing would not allow her to be. but it's got serious points to make about women in the workplace. >> dress impeccably, they notice the woman. coco chanel. >> how do i look? >> you look terrific. you might want to re-think the jewelry. >> traditionally, it's the man that's holding you down, but in this instance it turns out it's

sigourney weaver. that she's been stealing all of tess' ideas in order to further herself. >> while i was laid up with broken bones, she rifled through my desk and has been passing it off as her idea. >> it was my idea. >> the melanie griffith character shows that once she was given the opportunity to show she was smart enough, she did. >> guess where i am? >> it's one of the greatest endings in the world. i'm here in my own office with my feet up because i made it. >> not since the movie "network" has hollywood so brilliantly indicted the business of television like it does in "broadcast news." the perfect modern anchor is played by oscar winner william hurt. so how is it that the star of this movie is neither the anchorman nor the network correspondent, but an actress who many of you will never have seen until now. >> okay, bobby. go back to 9:45:46, the sound

bite in the alley. it starts "so why were you in angola?" please, bobby, we're pushing! >> it was the first time i had seen on screen a real female because she was flawed, and she was allowed to be human and different and irascible. >> difficult, shrill, bossy, possibly bitch. there are a lot of words people use that are pejorative to women that jane craig could kind of inhabit. >> what i love is holly's character just tears streaming down her face and her controlling it like that and getting it together and going forward. >> i'm really struck by the courage that jim brooks showed in writing a character like that. >> the f-14 is one of the most difficult planes to master. they're called tom cats. >> isn't the f-14 tom cat one of

the molt difficult machines for a pilot to master? >> to have the high-integrity ideals of what it means to be a journalist and a woman in that business. >> it must be nice to always believe you know better, to always think you're the smartest person in the room. >> no, it's awful. >> the fact that that movie exists and always will is a gift. >> wait a minute. wait, wait, wait. >> i'm new in town, and i'm awfully lonely. i wonder if you wouldn't mind buying me lunch. >> gregory -- >> george, george, george, it's michael dorsey, okay? your favorite client. >> how are you? last time you got me a job, it was a tomato. >> oh, no, no, no. >> yes. swear to god. >> god, i begged you to get some therapy. >> "tootsie" is updating a guy in the dress. you're taking a believable character and putting him in a fantastic situation.

and the reason it works is because every single thing in that movie could really happen. we show you at the beginning, he's a great actor and he happens to be a pain in the ass and then to prove to his agent that he can get work, he puts on the dress. >> it's almost like a play that's been performed enough so that they knew where the gems were. >> truthfully, don't you find being a woman in the '80s complicated? >> extremely. >> one of the hardest things to do in a comedy is to have a comedy climax and have the story threads come together at the same moment. >> i am not emily kimberly, am the daughter of dwayne and alma kimberly. no, i'm not. i'm edward kimberly, the reckless brother of my sister anthony. [ screaming ] >> the climactic scene in tootsie is this incredible moment where the main story plot and then four or five different subplots all climax and turn on that one action.

>> "tootsie" is what people want movies to be and very few filmmakers invest the time and the sweat and the integrity to go all the way which "tootsie" does. >> that is one nutty hospital. last night's sleep, interrupted by pain? tonight, silence it with new zzzquil night pain. because pain should never get in the way of a restful night's sleep. new zzzquil night pain. silence pain, sleep soundly.

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working as a welder? >> a girl's got to make a living. >> jennifer beals was amazing in that movie. she was everything. she was beautiful. she was strong, and she was sexy. >> it benefited from the beginnings of mtv because you would see videos of the songs of the "flashdance" soundtrack on mtv all the time. ♪ what a feeling >> that was the thing when the video was very much a trailer for the movie. and you could tell that the movie was designed really with the video in mind. >> let's dance! ♪ >> kenny loggins, "footloose," that was a huge hit. it was all over mtv. you watch the video and you're seeing kenny loggins in that? no. you're seeing lots of scenes of alienated high school kids dancing against the rules. >> i didn't see "footloose" until after i started dating kevin bacon. and then i rented it, and i was like, oh, i see why people fell

in love with him. how cute was he with those high-waisted jeans and that like white tank? ♪ ♪ because i had the time of my life ♪ ♪ i never felt this way before >> they knew who was buying these moves was teenagers and the thing they want to do as soon as they watch the movie and get the soundtrack so they can relive it. ♪ purple rain, purple rain >> "purple rain" hit me really hard. to this day i have yet to see a mainstream film that uses music as an emotion in such an incredible way. ♪ i wouldn't want to see you ♪ i only want to see you in the purple rain ♪ >> what do you care about mark ratner for? he's a 16-year-old usher in the movie theater. you have dated older guys. you work at the best food stand in the mall and you're a close, personal friend of mine.

>> there was so much reality in the script to "fast times". the way that cameron wrote "fast times at ridgemont high" is that he went back to high school. >> i never graduated traditionally. so the idea was i could go back and have the senior year that i didn't have and write about what it is to be a high school student. i learned so much. the pop culture establishment, they don't know what's happening with kids right now. >> stacy, what are you waiting for? you're 15 years old. >> i did it when i was 13. it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you know they're having sex, and they're all working. it's fast food, it's fast adolescence. it's all disposable. and what are we doing to a generation that has to be adult at a younger and younger age?

>> there are so many incredible people in the movie. a lot of careers get launched. judge reinhold to phoebe cates and jennifer jason leigh. >> who ordered the double cheese and sausage? >> right here, dude. >> and a cast full of soon to be stars, he gives the performance that everyone walks out of the theater and says oh, my god, sean penn. >> sean penn in particular brought a lot of the vocabulary. if it's written in the script like fiction he turned into awesome, gnarly and all of the other classic words of the '80s. >> why don't you get a job, spicoli? >> what for? >> you need money. >> all i need are some tasty waves, a cool buzz and i'm fine. >> a couple things about myself. i'm 19, and been overseas a couple of semesters. now i'm back. i'm an athlete so i hardly drink. i heard kick boxing is the sport of the future. and i'm the champion of the sport and i can see by your face, no. my point is you can relax

because your daughter will be safe with me for the next seven to eight hours, sir. >> "say anything" is a romantic comedy for guys. here is the story of being an optimist and how that can sometimes be a revolutionary act. rebellion takes many different forms and sometimes the rebellion takes the form of loving the woman that they say you can't love. and you make you're life's goal her. >> watch out for that glass. >> thanks. >> if moments make movies, as they say for "say anything," it's the moment when lloyd holds the boom box and plays peter gabriel to try to woo diane court back. ♪ all my instincts they return >> we had a hard time with the boom box. we tried it a couple of different ways. he had a hard time holding it up. so there was one version we did where the boombox was on the car playing it. not as good. we finished the last shot of the last day of "say anything." there was only a little light in the sky left. the light is disappearing.

the shot's moving in on cusack, and i see it. i see it through the camera. the anger, the resentment, the love, the pain, the glory, the adolescence, all of it was there in his face. ♪ >> we got lucky. >> how's it going? >> how's what going? >> you know, things, life, whatnot. >> life is not whatnot and it's none of your business. >> the john hughes scripts. they just jumped off the page. they were funny. i remember reading "sixteen candles" in the back of my parents' car just stretched out on the seat, cracking up. >> his movies were always something to look forward to. you knew that you would be entertained and you knew that you would see some version of yourself or what you wanted yourself to be. >> my father will come home and he'll see what i did. i can't hide this.

he'll come home and he'll see what i did and he'll have to deal with me. >> he always got deep and even with "ferris bueller's day off" he got deep into the alan ruck character. and matthew's character was the wise fool. but alan ruck was troubled by this evil father. that was really moving. >> here we are. i want to congratulate you for being on time. >> excuse me, sir? i think there's been a mistake. i know it's detention, but i don't think i belong in here. >> "the breakfast club" is the teenage touchstone. it's the film about the tension of being a teenager and knowing that people in other cliques don't want to be your friend until you're locked in a room together. >> the first 20 minutes of "the breakfast club" is perfect filmmaking. the way it's structured, the way the characters are introduced, it still is my favorite of the

john hughes films just because i think it's so unique and nothing like that had ever been done. >> so on monday, what happens? >> are we still friends, you mean? if we're friends now, that is. >> yeah. >> do you want the truth? >> yeah, i want the truth. >> i don't think so. >> the picture was saying to adults with those characters are saying to adults is please listen to my being upset because someone doesn't like me or i can't -- i don't have any friends or whatever. it looks relatively insignificant to you, but it's really hurting me. >> it was so powerful because people were talking about shit that they never talked about. kids were not talking about dark stuff in school and with their peers. ♪ don't you forget about me >> there weren't a lot of movies that spoke to teenagers, and it's just really surprising because who doesn't want to see

this incredible period of time in a person's life where they're just changing so rapidly. and to see something that you relate to, i think that's really why the john hughes films are still so important. i just remember thinking how does this grown-up know everything about all of us? it was like he looked inside of all of us. ♪ ♪ fixodent ultra dual power provides you with an unbeatable hold and strong seal against food infiltrations. fixodent. and forget it.

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♪ ♪ just take those old records off the shelf ♪ "risky business" really was everybody's intro to tom cruise. of course, it wasn't just the underwear and the dancing, but that certainly helped. >> are you ready for me? >> "risky business" really surprises people. they think it's a teen sex comedy because it literally is about a guy that opens a brothel in his parents' house, but it's an incredibly dark film about capitalism and about selling out. >> for someone with that limited a resume, to be able to walk in and actually make the complexity of the movie work, his all-american boyness with his dark side of impulses and you look at that performance and you think that guy will be a huge

star. ♪ highway to the danger zone >> what people don't realize about "top gun" is we think about it as this rah-rah jingoistic movie, and it was about a man wrestling with his dad's legacy and feeling phony around all of these military that he's trying to impress. it's really a movie about masculine performance. >> his performance post "top gun" tells you who he was and who he wanted to be. >> some piece of work. >> you also have natural character. >> i've been telling her that. i have natural character. >> that's not what i said, kid. i said you are a natural character. you're an incredible flake. >> paul newman and tom cruise had the old and the new. this was kind of the sequel to "the hustler." paul newman's character, he's a hustler. he's always going to hustle.

what if he takes this young kid under his wing and corrupts him? and then he gets hustled? >> i showed you all i got. what the hell else do you want? that's it. that's all! >> tom cruise is terrific. newman finally gets an oscar for it. >> tom cruise has a very specific agenda in his career, to spend the '80s working with the best directors he can find. so he's going to work with scorsese and barry levinson. >> i'm not going to go back to cincinnati. you don't have to go to cincinnati to pick up boxer shorts. >> what did i say? >> kmart. you hear me, i know you hear me. >> you don't fool me with this shit for a second. >> these are too tight. >> ray, did you [ bleep ] hear what i said? shut up! >> movie stars often need to prove over and over again they can act. i think he really proved to the world he can act and then some. >> i like having you for my big brother. >> yeah.

>> let me see some i.d. all right. you're under arrest. >> the 1980s introduces us to the character of john rambo who is one of the iconic cinematic characters of that era. what people tend to forget is he was introduced in a way that was much more in line with '70s filmmaking. >> if you look at the first "first blood," it is a very dark movie about how we let our veter veterans down and we make killers and we turn them loose into america and that's a pretty heavy movie. and even for sylvester stallone, it plays that realistically and the second film threw that out the window, page one. >> sir? did we get to win this time? >> this time it's up to you.

>> there was a desire to move past the perceived failures of the late '60s and the '70s. you can't re-write history, but at least we can go back and we can bring back these p.o.w.s. we can send back this representative of american might. >> i must break you. >> stallone had become so devoted to having the perfectly chisel chiseled, ultra muscled upper body at the same time that arnold schwarzenegger, who of course had been a boildbuilder, suddenly became an unlikely action star in the '80s too. >> i don't know if prior to 1980 anyone would have had a film image of what their favorite actor would looked like with their shirt off. can you close your eyes and imagine jimmy stewart or montgomery clift or even john wayne with their shirt off? >> it would be ridiculous for me to play outside of it and it would be crazy for dustin hoffman to try to be commando or to be conan or the terminator or to be rambo. it doesn't work, you know? people only accept you for certain things.

>> there were a lot of ideas of returning to traditional notions of masculinity after the sensitive '70s. but these thing goes in cycles. and i think that by the late '80s we were ready for an action hero who was a little more sensitive. >> do you think you have a chance against us, mr. cowboy? >> yippie ka-yay [ bleep ]. >> "die hard" is as perfect in its own way as "casablanca." it is an action move where the action is great. it is a heist movie where the heist makes sense. you have john mclean who is not a superhero, who is a regular new york cop, who is not only out of his element, but he's out of his shoes. >> that's a great thing to do in an action movie, include something that everybody can sympathize with. >> i don't know what it's like to throw a chair or explosives down an elevator shaft, but i

accidentally introduce -- trod on glass, and it hurt. >> you watch him and you go, i see myself. this person who is flawed, but can overcome it which is a narrative that we all have about ourselves. if push came to shove i would show up. >> alan rickman's performance as hans grueber is one of the key movie performances of the '80s because of the idea that the villain could be intellectual. it wasn't a beefy villain who beat up our hero, but it was a guy who our hero had to outthink. >> a lot of action stars think it's cool to show no fear. to me, that's not a courageous person, that's a stupid person. the courageous person is the one who has fear and goes through it anyway. >> john, what the [ bleep ] are you doing? >> it isn't the size of the fireball. it's how much you care about the person running from the fireball. last night's sleep, interrupted by pain?

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. i'm telling you, i should have come in ten years ago. i would have been a millionaire by this time. by this time, i would have had my own boat, my own car, my own golf course. >> one thing the '80s was about was gangster capitalism and tony montana captures that desire for respect, for money, for influence, for power. >> oliver stone came into the

'80s as a well-respected and well-paid screenwriter. this was the guy who had written "scarface" and who had a very alpha male voice and was making these sweaty, morally complicated films. >> you want to play rough? okay! say hello to my little friend! [ gunshot ] >> i thought it was excessive and cartoony until i started spending time in miami. after, that i thought it was a model of restraint. >> it really was a decade that was fueled by how much money can i make and how can i display it best? >> the point is, ladies and gentlemen, that greed, for lack of a better word, is good. greed is right. greed works. >> "wall street" is a movie about more than just gordon gecko. it's about a father and a son

with different world views, playing different roles in an ever-changing economy. >> he's using you, kid. he's got your prick in his back pocket, but you're too blind to see it. >> no. what i see is a jealous old machinist who stand the fact that his son has become more successful than he has. >> what you see is a man who never measured a man's success by the size of his wallet. >> that's because you never had the guts to go out in the world and stake your own claim. >> it's the connection between wall street and main street. main street is martin sheen. main street are those people who will be affected by the decisions made by wall street. >> oliver stone is a guy saying the purpose of film, the purpose of cinema is to make political commentary about our society and he made some very compelling films in the process. >> what happened today is just the beginning. we're going to lose this war. >> come on. you really think so?

us? >> we've been kicking other people's asses for so long i figure it's time we got ours kicked. >> "platoon" had this intensity and so much of that charlie sheen character oliver stone said was him, was his experience going into the war as a patriotic kid who wanted to do his part and really having his eyes open to the horror. and i think it maintains that gut punch. >> i hope people go to see what the war was really like. you know, that's the statement. once you see it, you have to think about it for yourself. think about what you think about war. think about what it really is as opposed to the fantasy comic book stuff of "top gun." >> the attitude of the '70s had been to take out some of the scorn that the american public felt for the foreign policy establishment as it had completely screwed up vietnam on the men returning home. >> i want my leg. can you understand that?

alls i'm saying is i want to be treated like a human being. i fought for my country. i'm a vietnam veteran. >> there was an atonement for that in the '80s. there was a second wave of pictures that attempted to honor the service that these men had performed for their country. >> my father was a -- a civilized man. that's a word, yeah? civilized? >> very good word. >> yeah? my father was a civilized man living in an uncivilized time. the civilized, they were the first to die. >> "sophie's choice" is, i think, the quintessential holocaust drama because it doesn't ever explicitly touch on the details of the horror. it's more about the dramatic implications of it. >> i'm going to tell you

something now i have never told anybody. >> i never worked with anyone who was that confident, who trusted her instincts so thoroughly. >> she learned polish and german just for the film. she lost weight. that encompasses why meryl is so special, because she manages to get to the heart of every single person she's playing. >> and the winner is marvelous meryl streep. [ applause ] >> you can ask meryl to do anything. she can make anything work. >> someone spiked my urine sample container. >> who? >> how do i know who? anybody could have done it! >> can you stay? >> for a day or so. >> for meryl, i can see she worked from a very deep place. and what she was really focused on was the truth of her

character to the point where she had to get the language and the sound and the voice perfect. and she was adamant, and she was relentless in that pursuit. >> people marry. it's not revolutionary. there's some animals that mate for life. >> geese. >> you use the animals for your own argument. you won't let me use them for mine. >> the nominees for the performance of an actress in a leading role, meryl streep "out of africa." >> "a cry in the dark," meryl streep. >> she ended up transcending the job of an actor. she leapt into this other realm of becoming. she wasn't playing a woman with an australian accent. she was an australian mom. >> they're talking about my baby daughter, not some object. >> most movie stars aren't the greatest actors. and most great actors don't become great movie stars. but meryl streep is both.

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be it discovering talent in different continents... and entirely different sports, or discovering a smoother whisky by double-aging, sometimes, it's just better to stay curious. dewar's if you boys just turn on right around and head on back down that way and you let us head up there where the real fighting is. >> young men are dying up that road. >> and it wouldn't be nothing but reds dying if they let the 54th in it.

>> people had no idea that there were black soldiers fighting for the union in the civil war. >> you men move on. >> stripes on a nigger is like tits on a bull. >> you're looking at a higher rank, corporal and you'll obey and you'll like it. >> "glory" stars matthew broderick, but the movie belongs to denzel washington as a former slave who is now going to fight. he runs away because he needs shoes, and they do what they have to do. they whip him. >> proceed. >> he sits there and he takes his beating like a man. he does not scream. he does not flinch, but there's a moment when a single tear comes down his face and that's the moment when denzel wins the oscar. >> the idea of american legacy and what it really is, is brought home to people when they see that. >> in the '80s, you had some big, sweeping, stunning epics that at the time were seen as

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

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

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

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

amazing. you know, so funny. >> "raising arizona," as far as i'm concerned is a masterpiece. the idea of taking that 100-mile-per-hour preston sturgis dialogue and putting it with rednecks in arizona. >> you busted out of jail. >> no, ma'am, we were released on our own recognizance. >> they no longer had anything that could offer us. >> i will take these huggies and whatever cash you got. >> just the fact that this film is hurtling along with banjos and yodeling. ♪ i still don't have the courage to have a soundtrack with banjos and yodeling. and that was their second film. >> there's these people that come along and they have the same equipment and the same playing field and to take that and to make something fully aesthetically that is completely

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

people that had come from comedy that were good at improving. there's a whole different energy when people are there, and there may be some written things, but then it just goes off, you know, and you start riffing and start getting into it. he was great at that. he's like a pressure cooker. >> you like it? >> as well regarded as it is, it's still underrated. because it shouldn't work. i can't figure out the algorithm behind it, but it works. we're all finding ways to keep moving. but how do we make sure the direction we're headed is forward? at fidelity, you'll get the planning and advice to prepare you for the future, without sacrificing the things that are important to you today. we'll help you plan for healthcare costs, taxes and any other uncertainties along the way.

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

personality, the light, the dark. for me, it was definitely my favorite of all comic-book characters because of those reasons. >> visually, it's timeless. he consciously doesn't let you know where this is. it seems like the '40s. and then, all of a sudden, there's like a car from the '70s. and he's just using everything. >> we were lucky the movie was made before there was any superhero shit going on. it felt like new territory, at the time. >> all of what we see now, the idea of a comic book being made into a film. that's taken over the movie business. >> you could predict some of the big money makers. batman. ghost busters to indiana jones. >> what? >> come here. >> into the '80s, there was certainly a push to have more

diversity on screen. but diversity on screen doesn't, necessarily, mean diversity behind the camera. and you didn't really have a lot of black filmmakers who were getting a chance to make films. so, you really do need spike lee, at that point. >> don't start no shit, all right? >> all right. >> do the right thing is one of the most important films in the history of cinema. certainly, as it pertains to the representation of race. >> it was like a cultural hand grenade. someone set it off, and you just couldn't believe the things that were being said in that film. they were -- they were all under the surface but they just -- they weren't said, in that way. >> who is your favorite basketball player? >> magic johnson. >> who's your fair movie star? >> eddie murphy. >> who is your favorite rock star? >> bruce. >> prince. >> it's such a time capsule of

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

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

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

transport you to a place that can't be seen in real life. hello and welcome to our viewers here, in the united states, and all around the world. i'm michael holmes. ahead here on cnn "newsroom," a christmas, unlike any other. millions will celebrate the holiday under extraordinary, coronavirus-pandemic conditions. also, this. >> the first time, since 1973, we will be an independent coastal state with full control of our waters. >> the british prime minister wraps up a very clutch christmas deal. finally, scoring a post-brexit agreement with the european union. and then, a little