doesn't go right, i'm going to go move to new zealand or canada. you know, i -- >> you believe in america. >> i believe in america. i really do. ♪ ♪ ♪

♪ ♪ come with us. we're heading for the valley. >> going where? did you say? >> mexico. >> all the way down. >> you going all the way to

mexico tonight in this old heap of junk? >> reckon the town will get along without us tli monday? >> oh, i reckon. i was young enough to bounce that far, i'd go with you. >> "the last picture show" was a movie that, however old i was when i saw it, i said, oh my god this movie is about me. this movie is about us. this movie is about america as we are right now, here in the mid-'70s, not as we were back in the early 1950s. >> do you think "the last picture show" is a john ford type movie? >> no. i think it's a peter bogdanovich type movie. >> peter bogdanovic loved movies, had a sense of movie history, but had a very strong sensibility. he spoke to a new generation, both visually and emotionally. >> orson welles read the script. and i said, i'd like to get that depth of feel, everything being

sharp, the way you did in "citizen kane," "touch of evil." he said," you'll never get it in color." "what do i do?" "shoot in black and white." >> "the last picture show" is the movie that made me fall in love with movies. it just blew my mind. it's about everything that holds you back. it's about being young. >> there's heartbreak. wisdom that comes of age. and young people discovering how fast time goes. >> in "the last picture show," there was a quality of reality. there's no feeling of watching a performance but of experiencing another human being. >> really, it's a story about america. about the death of a way of life. >> so, you're closing the show? >> nobody wants to come to shows no more. baseball in the summer. television all the time. >> maybe a necessary death of an old hollywood that had to die to make way for a new generation of filmmakers to tell new stories.

>> at the end of the '60s, hollywood was ballooning budgets up to catastrophic size. >> here, i'll tell you what, i'll even pay for it in cash. >> fine. >> so it opens the door for smaller movies. and when the budget's lower, the artistic freedom tends to be higher. >> play misty for me. >> misty? >> all of a sudden, here's this young group of directors that came along and started blowing up the bridges behind them of the way things used to be, now were trying new ways. let's see if it works. >> "french connection" was about a couple of new york cops doing a hard hustle and busting a bunch of lowlife scumbag drug dealers. >> that car's dirty! >> billy friedkin shot the film like a documentary. he found a way to make it so real. it really influenced me. my favorite gene hackman performance is popeye doyle. >> gene hackman was so filled with anger.

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

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

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

so i said, look, what would happen if we bought the rights to some really interesting commercial novels and married that material to all these bright young filmmakers out there? >> when paramount came along and offered francis "the godfather," which he did not want to do because he still thought of himself as an auteur, he turned it down. >> i reminded francis with annoying frequency that he was broke. and that he had to take my offer to direct this picture. >> so what happens next? coppola finally takes the paying gig, which might be the most-beloved movie of all time. e wrinkles have diminished. triple power visibly reduces wrinkles, firms and brightens. i saw results in 1 week. it absolutely works. revitalift triplepower from l'oreal paris. it does what it says. ♪good vibes by moa l.m. munoz & ryan t. short♪ ♪ ♪bout to get down, living it up♪

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♪ ♪ i was gonna say, will you marry me? [screaming and cheering] [screaming and cheering] is my makeup messy? yes, it's messy! [laughter] ♪ ♪

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

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

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

and the destroyed promise of america. >> i saw that film four times in five days. and up until that point, i had always thought that "lawrence of arabia" was the greatest film ever made until the first "godfather." >> and then coppola wound up making a sequel that was perhaps even better than the first one. >> what we see in "the godfather part ii" is the story of michael corleone as he's evolving and becoming more ruthless and more powerful than his father could have ever imagined. >> you won. you want to wipe everybody out? >> i don't feel i have to wipe everybody out. just my enemies. that's all. >> at the same time, it's intercut with the story of his father, don vito corleone, as a young man, played by robert de niro, becoming a powerful mob leader in new york. >> i studied what brando had done in "the godfather" in

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

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

keep doing a good job for me on this picture and you will never have to work for me again. and i guess i never did work for roger again. but i'm forever grateful for the opportunity he gave me. >> martin scorsese made a few small films in the late '60s and early '70s, but people start to pay attention when he does this film called "mean streets." >> i wanted to make films about an area where i grew up. i didn't really see organized crime. i was living in it. >> marty scorsese burst upon the scene with a kind of frankness, violence, and a restlessness to find the rhythms of the streets that don't feel anything like a movie. >> how much money you got from michael tonight? >> i got nothing. >> "mean streets" came out of some events that occurred to me and my friends, associating with

people that can be detrimental to you, yet there's love involved there. >> the first time you sort of see robert de niro dancing around like everybody else, you're like, what the [ bleep ] is that, who is that? >> hey, there ain't nothing wrong with me, my friend, i'm feeling fine. >> it was about friendship and loyalty. it was one of those movies that just resonated with me, because it reminded me of the same situation that i was in, just different color people. >> "taxi driver" really reflected that world that i knew. the steam coming from the streets. the nighttime of the city. it's always night. especially for a guy who wants to drive a cab at night. >> how is your driving record? >> it's clean. it's real clean, like my conscience. >> you going to break my chops? >> the conflict in the travis character to me was in de niro. and we knew that there was a truth to it. >> why won't you talk to me? why won't you talk to me? why don't you answer my calls when i call? you think i don't know you are here? >> marty scorsese lets people do -- he gets the best out of

them because he lets them go as far as they can go. >> it's a story about a guy who has a psychological decent into hell and finds redemption through an act of self-sacrifice and violence. >> the idea had been growing in my brain for some time. >> he decides to assassinate a presidential candidate. >> true force, all the king's men cannot put it back together again. >> and then he turns this crusade to rescue a child prostitute played by the 14-year-old jodie foster. >> get me out of here, all right? >> he seems heroic. but he isn't. >> the fearlessness of that performance. de niro was not interested in being sexy or pretty. just being real. and travis bickle, of course, is one of the great characters of 20th century film. >> you talking to me? you talking to me?

>> i remember sitting at his feet -- >> you talking to me? >> and him beginning this phrase, "are you talking to me?" >> who the hell else are you talking -- talking to me? >> not just something that i improved and worked on -- you know. i don't know, just seemed right. in the mirror and so on. >> well, i'm the only one here. >> i saw it happen and i saw him -- i saw him transform. >> okay. , with leading ultra-capacity 5g coverage. t-mobile for business has 5g that's ready right now. i would say that to me an important aspect is too... meta portal with smart sound. helps reduce your background noise. bring that sense of calm, really... so you come through, loud and clear. meta portal. the smart video calling device that makes work from home work for you. i'm lindsey vonn, and ever since i retired from skiing, i've had trouble falling asleep

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

>> by 1977, he wanted to make a different kind of movie. and it just blew everybody away. >> driving a tad rapidly. >> don't worry, i'm a very good driver. >> "annie hall" was about funny, intelligent people meeting, getting together, breaking up, getting back together. >> he was jewish. she was decidedly not jewish. >> you are what grammy hall would call a real jew. >> thank you. >> annie hall is the best relationship movie, i think, ever made. if you want to just take all the truths of a relationship, how it can work and not work, i think "annie hall" nails it. >> jesus, what did you do, come by the way of panama canal? >> i'm in a bad mood, okay? >> he told that story non-chronologically. it took risks in the style of filmmaking. >> i can't believe this family. >> there are moments he's talking directly into the camera. >> nothing like my family. you know, the two are like oil and water. >> he shows both what his family talks about and does and what

her family talks about and does. with these wonderful split screens. >> how often do you sleep together? >> do you have sex often? >> hardly ever. maybe three times a week. >> constantly. i'd say three times a week. >> we always think of "annie hall" as being woody allen's film. but really, it's diane keaton who's created this great character of annie hall. >> oh, well, la-di-da, la-di-da. >> she had her own sense of style and she kind of steals the show. >> oh, lovely. >> swept the academy awards, which is very rare for a comedy. it won best picture, best writer, best director, and best actress for diane keaton. >> i remember seeing it during college and being in tears at the end. not because it was sad, but just because i couldn't take the artistry. it's just this beautiful symphony.

>> there was really this feeling of, how can you top "annie hall"? and in many ways, "manhattan" did it. first of all, it stands out right away because of that beautiful black and white photography by the late, great gordon willis. and of course you had that score by george gershwin opening with "rhapsody in blue." >> it showed new york in the most romantic way. in a way that new york wasn't thought about in the '70s. >> hi. what are you doing here? >> well, i'm here, of course i'm here. >> here's a movie set mostly in little dialogue scenes between cynical, nervous intellectuals on a giant wide screen. >> isn't it beautiful out? >> there's this amazing sequence where they end up sitting on this little bench, and you see the 59th street bridge above them. i made it my business when i was in college to find that bench. >> this is really a great city. i don't care what anybody says. >> those are the kind of things that those movies made you do. you saw something amazing. in a part of the city that you'd never been in, and you would try to find them.

>> "manhattan" was ostensibly a comedy. but it's all the questions he loves. it's questions about mortality. >> why is life worth living? it's a very good question. >> so if you remove all the baggage of him as a comedy filmmaker and just watch it straight on as a film, it's just beautiful. >> mel brooks, why did you make "blazing saddles"? >> for money. >> "blazing saddles" is a classic western spoofing westerns, and it is one of the most subversive comedies that comes out in the '70s. >> governor! >> it's a movie that mel brooks cowrites with richard pryor about a black sheriff coming to this town and the townpeople not wanting him to be there. >> i love "blazing saddles" because it is such a revolutionary film. it deals with race with a sense of humor and candor.

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

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

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

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hey, i'm a police officer. >> the classic new york director. they put the streets and the energy of new york on the screen in a way no one else has ever done better. >> [ bleep ]. it goes. get a haircut. >> based on a true story, seripico is a police officer who cannot stomach the corruption he sees around him. >> because i don't take money, right. >> frank, let's face it, who can trust a cop who don't take money. >> he breaks the code of silence and exposes what is happening and the effects on his life are

catastrophic. >> frankie, i like. you don't want to see anything happen to you. >> much like other movies of the era it shows somebody with flaws but he was somebody rising to the occasion. >> i ought to cut your tongue out. >> hey, what the hell are you -- >> al pacino was always on fire. >> frank, it's safe -- >> it's safe! with my -- on the line -- >> the appeal of him is the energy, the kind of fire, the kind of integrity, which allows him to move into all sorts of kinds of roles from the god father to a cop to a bank robber in "dog day afternoon." >> again for a true story. >> it is all there is. >> it is about a guy who tried to rob a bank in new york in 1972. >> they picked it up this afternoon. it is only $1,100. >> she is telling the truth. >> everything that could go

wrong goes wrong. >> right now i can see you. >> who is it? >> cops. >> "dog day afternoon." i had never seen anything like it. >> oh, wow. wait a minute, wait a minute. >> i'll have to go to the toilet. >> the kindness and the humanity of the bank robbers was new and entertaining. >> who has to go to the bathroom? >> i do. >> oh, see, now they all want to go. >> it was the upending of allof the precepts of the bank robbery film. >> forget the idea of crill nam as celebrity. >> see, no, i just show myself. what, why am i doing it? >> yes. >> doing what? >> robbing a bank. >> oh. >> it is one of those movies where you are literally rooting for the bad guys because the bad guys aren't that bad. >> he doesn't look very tough to me. does he look tough to you? >> no. >> sweet, sweet bad ass song is a hugely important film.

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

when there's danger all about ♪ >> shaft. >> right on. >> "shaft" shows him as a private investigator. he has his hands in mainstream society as well as the underworld. of course, the leather game throughout the film is amazing. >> gordon parks who directed the film, a great photographer, a renaissance man. in many ways "shaft" is a projection of parks but he made him a superhero. >> these movies set the tone for what comes to be known as the black-sploitation era. >> the queen to me of the 1970s was pam greer and she was playing a black heroin. there were never black women who got to be assertive and had guns and took on villains. and as a black girl, as i was at the time, seeing this

larger-than-life beautiful woman coming out triumphant at the end was amazing. >> what i loved about pam greer is that she is bad ass, but she is sexy at the same time. >> she was really a unique presence at that time. guys interested in her as a sex symbol, people interested in her as a feminist symbol, people interested in her as a movie star. she was that present in the culture. >> oh, don't hit back. >> people in the black community embraced bruce lee primarily because he was not another, you know, sort of white guy. >> in 197 0 you went into a black person's basement, they might have posters up. posters were really big then. you might have malcolm x and you might have jim brown, but every black household had bruce lee. bruce lee was single handedly one of the reasons why kids all over the suburbs were trying to kick each other in the nuts. >> everybody wanted to be bruce

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

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

eastwood or burt reynolds or someone who has a charismatic image that they portray no matter what film they're in, i resist doing that. i don't want to let an audience know just by virtue of the fact that i'm in it, don't worry, i'm going to come out all right. i don't want them to know whether i'm coming out all right. >> you should have knowed to not draw on me. >> coming out of the world of roger corman movies comes jack nicholson, who is also not conventionally handsome, but he is sexy. one of the things that's sexy about him is that there's a little madness there. >> the most beautiful part of the day. >> his craziness is emotional. it's sometimes physical. but it's not like he is such a big guy that we're afraid he is going to hurt someone. >> you want me to hold the chicken, huh? >> i want you to hold it between your knees. >> so his outlets for rage, like in the famous scene in "five easy pieces" -- >> ah!

>> makes us love him even more. >> harlan seems to think you're an innocent man. >> well, i've been accused of a lot of things before, mrs. mulrae, but never that. >> in "chinatown," he's a private investigator. he thinks he knows how the world works. >> how'd you get past the guard? >> well, tell you the truth, i lied a little. >> to see someone that wised up having to deal with a lack of wisdom is really one of the dynamics that makes "chinatown" so exciting. >> you're a very nosey fellow, huh? you know what happens to nosey fellows? >> "chinatown" is extremely mysterious. >> i think you're hiding something. >> what polanski did with the detail and fantastic acting. >> most people never have to face the fact, at the right time, at the right place they're capable of anything. >> they watched "chinatown",

they all had their settings at the same setting. it was one of the most perfect movies i've ever seen. >> i was fortunate enough to go to the oscars the year that "chinatown" was nominated. and i was sitting beside jack. jack was nominated best actor as al pacino for "godfather 2." >> the winner is art carney. >> gasps in the audience. i leaned forward and i said jack, i'm so sorry, and he leaned back and looked at me and said, that's okay, i'm a shoe in next year for "cuckoo's nest." >> one flew over the cuckoo's

nest. >> if mr. mcmurphy doesn't want to take his medication orally, i'm sure we can for him to take it some other way. >> mcmurphy was maybe the quintessential role for jack nicholson. it was a part where he could be completely wild and crazy and bounce off-the-walls and bring that kind of unhinged energy. he's someone who all the other patients want to be. >> i'm hot to trot. the next woman that takes me on is going to light up like a pin ball machine and pay up in silver dollars. >> nurse ratchet is one of the great villains of the 1970s. >> no, mr. mcmurphy. when the meeting was adjourned, the vote was 9-9. >> there's the sense of being fed up with authority. its rigidity. >> i want that television set turned on right now! >> and that's "nurse ratchet." so this is a film kind of about a rebel.

>> who do you think you are for christ's sake, crazy or something? well, crur not. you're not. you're no crazier than the average asshole walking around on the streets, and that's it. >> it's this combination of intelligence, menace and self-conviction. you just, you trust who he is. >> and the winner is jack nicholson in "the one flew over the cuckoo's nest." >> i want to thank my agent. you ever wonder why people are always on their phones? they're banking, with bank of america. look at this guy. he bought those tickets on his credit card and he's rackin' up the rewards. she's using zelle to pay him back

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every director looks at "jaws" and thinks, degree of difficulty, ten. hit to miss ratio, you know, zero. steven spielberg hit every, 10 out of 10 on all fronts. >> we know all about you. >> some bad hat, harry. >> "jaws" was a very popular peter benchley novel about a shark attack and cape cod. what steven spielberg did was

made this like the kind of shark movie that alfred hitchcock might have made. >> he ups the ante with the suspense. how to tantalize the audience about something bad that's going to happen or about to happen. >> it means i'm going to scare the shit out of you and come get you. >> he went to the piano. he just took a couple of fingers and went da-da-da-da and i thought, oh, my god, he's going to wreck my movie. oh, my god, it's over. i thought the film had almost wrecked my life, it was so

impossible to make, and suddenly i'm getting a score with three fingers on the low keys? >> i came to the first day of scoring, and i realized if this film was going to be successful, 50% of the success of the film is going to be because of what i just heard, and that's what happened. >> you get a sense of how big the shark it, you worry about those guys on the boat. they're going to die. >> you're going to need a bigger boat. >> "jaws" hit me when i was 15. the electricity in that theater was unsurpassed. the popcorn flies, women jump out of their seat to scream. we'd never seen anything like that happen. >> you were on the indianapolis? >> what happened? >> japanese slammed three torpedos into our side, chief.

>> then he settled down and let three actors go to it with just quiet dialogue. >> this will be done in 12 minutes. didn't see the first shot for about half an hour. >> it was this comradery amongst these three characters that elevated what the movie was. >> 360 men come out, the sharks took the rest. >> "jaws" is a friggin' masterpiece. >> "jaws" was the first gigantic blockbuster. hope on a billion screens at the time. it became a cultural milestone immediately. it changed everything. >> it was even more in my dna to make "close encounters" than "jaws." i was always into ufos as a kid. always wondering when one was

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

about what it is to have touched that world, and how once you've tasted or seen something no one else would believe, there is no going back. >> it's this gigantic special effects-laden, personal film. there's no one else who could have made that movie but spielberg. >> i remember as a kid watching "close encounters", thinking, i'd go. how would you not go? get bacon, sausage, eggs, hashbrowns and buttermilk pancakes for only $6.99. give your wallet a break and send it on a summer slamcation. the hottest deals are at denny's, america's value destination. can a cream really reduce wrinkles? more than one hundred women tried l'oreal triple power. my smile lines and the wrinkles have diminished. triple power visibly reduces wrinkles, firms and brightens. i saw results in 1 week. it absolutely works.

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most of the big people in the industry look at you as a maverick at best, a troublemaker at worst. do you agree with that? unpredictable, self-indulgent bob altman. >> yeah, and i think it scares them a little bit they don't have control. >> robert altman's movies were almost anti-movie or anti-story. they're not these two-hour perfect things. i think he as an artist knew inherently that that was bullshit. >> robert altman had an unbelievable run in the '70s. "mash", "california split." he had nashville and mrs. miller. in every movie, he wants to

capture a sense of spontaneity, the sense of really being there. >> when you first see "mccabe and mrs. miller," you can smell that film. the steam and the piss and the cooking and all the different things that were going on in this town it's such a beautiful film, and the absolute heartbreak in all of it. >> i think people underestimate the tremendous empathy that altman had as a film maker. he loved people if they were flawed, if they were terrible, if they were wonderful. he celebrated real humanity. >> she's overlapping voices. he's letting the camera drift around. he may not be on the person even talking. these were unprecedented things that the time.

>> there's been ensemble move ezand there's been ensemble movies, and then there's "nashville," which sits firmly at the top. >> i was talking about the kristy minstrels just this morning. >> it deals with a political campaign and the sense in which this country is both divided and deluded. >> y'all take it easy now. listen, it's nashville. >> he was taking boundaries of film making at that point and just pushing, pushing good, you know. >> i loved the work. he was a real iconoclast, crazy, stoned all the time, but a brilliant film maker. >> please! >> i knew that hal ashby would understand the weird oddities that were present. ruth gordon played an

88-year-old woman. and an 18-year-old suicide young man. it was a love story with the two oddest possible people. ♪ there's a million things to do ♪ >> he learns how to live with the idea that we all will die at some point and we don't know when. and it's so beautiful, i can hardly talk about it without choking up. >> that soundtrack mattered a lot to that movie. it was this marriage of weirdness, darkness, death, comedy, sex, and cat stevens was just a magical thing, you know? ♪ so shine, shine, shine ♪ >> hal ashby's really interested in the eccentric and the outsider and the misunderstood. and i think in all his films you could see threads of that. >> what about me? >> what about you? you're different. >> i am? >> you're great.

>> for me, the best of ashby's work is "shampoo," which told a political story and romantic story and a sexual story. >> warren beatty plays a fabulous beverly hills hairdresser. he's a super handsome man, he's getting laid, but he's also not connecting. "shampoo" really captures a kind of spiritual malaise. in the context of this political thing going on with nixon. >> he did care about all the women that he was bangin', yet he couldn't stop bangin' them all. >> i mean, i'm on my feet all day long with the women, and they only talk about one thing. how some guy [ bleep ] them over. that's all that's on their mind. that's all i ever hear about. >> it was sad and moving and funny and sexy and real. >> being there is a satiric

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

>> are you kidding? >> what i find so special about cassavetes is exploration of relationships. his passion for the human condition and how we interact with one another. >> come over here. >> cassavetes crafted this company of actors that always worked together so you could see the support that it gave. his film making. he worked with peter faulk. ben gazara. he was married to jenna rowlands. and i don't think you would have cassavetes without jenna rowlands. >> jenna rowlands has an incredible presence. it seemed liable wherever she was she just took over a room in this very dignified way but

wasn't afraid to have fun. >> i got a great idea. when you get home from school, we're going to have a party. >> "over the influence" is about a man and woman in a loving marriage that's beset by the woman's personality. >> you think there's something wrong with me or something? that i'm whacko or something? >> she has this energy about her, but you slowly see it unraveling. >> it's kind of devastating. but, wow, what a performance. it was really refreshing to see a movie that put a woman directly at the center. >> thank you for everything. >> this was right at the beginning of the women's movement, and i found the script for alice. the studio said who do you want to direct it. >> francis coppola said you should talk to the studio about hiring him. >> so i asked to meet marty, and i said i want to tell this story from a woman's point of view, and i can't tell from watching this film if you know anything about women. do you? and he said, no, but i'd like to

learn. >> i was trying to deal with it just as a person, and i had ellen as a guide. >> boy, you really need someone to talk to, don't you? >> "alice doesn't live here anymore," it was a revelation for me, because there had been no films about single moms. >> how long do you think we'll have to stay in this hellhole? >> she's not only got all this heart, but she's funny, and she's strong. >> would you mind to turn around for me? >> turn around for you, why? >> i want to look at you. >> well, look at my face. i don't sing with my ass. >> i felt like that was one of the early films that took the veil off of it. and people are messy and complicated and you can still love them. >> '70s cinema had an interest in reality, and you saw actresses who had completely believable character to them

>> she a good lay? >> her husband leaves her for a younger woman. and the whole movie is the aftermath of that. >> she had this kind of strength and femininity and vulnerability that she's dimensional. >> i just want to see how it feels to make love to someone that i'm not in love with. >> how does it feel? >> sort of empty. >> in the '70s, there weren't too many female directors let alone female writer, director, actors. so elaine may is one of the great triple threats of the 20th century. >> in the 50s and early '60s elaine may and mike nichols were a big comedy team. >> she was tired of directors changing her work, so she decided she should direct her

own film. >> she's perfect. >> "a new leaf" made you feel like you could tell a great, funny story and it didn't feel like, oh, this is just girl's stuff. >> with "the heart break kid" elaine may ushered in what i like to call uncomfortable comedy, which is now the norm. >> you going to see us in 50 years? >> the premise is charles grodin, jewish guy marries this woman and meets kelly, who is cybill shepherd and wants to have an affair with her during his honeymoon. >> i've been waiting for a girl like you all my life. >> charles grodin just breaks your heart, because you just want to punch him, and you just want to shake him and make him

wake up. >> in other words, what you're saying is if i want kelly, i'm going to have to put up a hell of a fight, then, is that -- >> he's a nut. >> my father used to be yelling at me like you can't make movies. where is there any woman who's made a movie. and i finally was able to say uh, that one. . with best western rewards you get rewarded when you sta and on the go. find your rewards so you can reconnect, disconnect, hold on tight and let go! stay two nights and get a free night. book now at bestwestern.com.

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when i think of the great american authors, the ones that have a truly original language, it's absolutely that. >> outside it is windy, but here it is so hot. >> and i think he's a little bit undercelebrated just because he happened to have found his language in the musical. >> only the 1970s can give you a musical set in 1930s germany when naziism is on the rise and not soft pedal any of it. it's a musical inasmuch as it has musical numbers, but it's not a musical at all because all the music takes place in the context of this sort of sleazy club. >> it's the subtle changes we

see where swastikas are popping in the audience and content from the stage starts taking a turn toward the darker and more anti-semitic. >> you know what's coming. all the music, all the culture, all the coolness, every kind of sexuality lsh, all of this is going to go away. and then that song "tomorrow belongs to me," it's just this young, sweet voice singing. >> and then slowly but surely we see that oh, no, these are nazis singing. that's what cabaret is about. how something like this can happen. >> that year, bob fosse was nominated against coppola for

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

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

>> the rocky horror picture show was a tradition that played only at midnight, and it was like some cabaret vaudeville participatory experience. >> how many times have you seen it? >> 56. >> around 100. >> this is my 301st time. >> that was the rites of passage to adulthood. your parents said, can you go out and see a movie, and it's okay if it's the "rocky horror picture show." >> "saturday night fever" was the movie to chapter the whole disco in a way that was exhilarating. >> in "saturday night fever." the music was essential to the story but wasn't part of the characters in the story. ♪ i don't know why ♪ >> that was a complete shift in how musicals were adapted. john trovolta is not singing and dancing. he's just dancing and the music is part of the narrative.

♪ >> you didn't have to be a disco fan to be caught up in the "saturday night fever", bee gees moment. >> tony, your character in the film is finished with high school. he's working full time in a paint store and he has to decide what he wants to do with his life. >> will you just watch the hair? you know, i worked on my hair a long time and he hit it. >> his only release, his only claim to fame in the local area and also to his own personality is being the best disco dancer in that town. >> you see saturday night fever is a terrific film actually and has a lot of psychological drama in it. >> i did it! >> come back in, come on.

>> and "saturday night fever" john travolta's character is telling an extremely dark story. in "grease" he's not. >> i love "grease", the musical. it shows you a high school i didn't go to, but the songs are timeless. ♪ boy and girl meet ♪ >> olivia newton-john was amazing in that role. you really believe that she feels i want to break out of my shell. >> then, in order to win over the guy, she has to become a slut. she looks pretty good. >> it's problematic looking back on it now in terms of the ultimate message it sends. become who this man wants you to be and you'll be happy, but you'll do it in song in a carnival so it's okay. ♪ we'll always be together ♪ and they're flying off. what? why are flying? it doesn't make any sense.

it doesn't matter.

you're very nearly perfect. >> it's a rotten thing to say. >> i did not know a woman who was not in love with robert redford, and even i had to admit, that is the best-looking human being i've ever seen,

ever, ever, ever. >> he was one of the most under-appreciated actors in america because he was so handsome. >> his artistry as an actor is unparalleled. he had this expertise and confidence that made him even more good looking, if you ask me. >> come on, it can be fun. we can all be disgusting, eat eggs benedict and vote republican. >> even though he was the golden boy, he was actually inside a much, much different person. he cared about politics deeply, he cared about the environment deeply. >> and in the '70s stars started to take advantage of the power they had to follow their own inclinations. >> in the "candidate," his character gets talked in to running for senator. >> this country cannot house its houseless. feed its foodless. >> i think it felt important at

that time because i could see the country shifting. elect people by how they looked rather than what they really stood for. i win, but what have i really won? >> marvin, what do we do now? >> we never discussed what i would do if i won. now what am i going to do? so that's how i wanted to end the film. >> "the conversation" came out in 1974 in the shadow of watergate. >> as it turns out what we called paranoid politics was actually really happening. there were people conspiring to control events. so you start to see movies that reflect that. >> independence day is very meaningful to me because sometimes i've been called too independent for my own good. >> it's the story of whether or not lee harvey oswald, sirhan

sirhan, acted alone in those or whether it was a conspiracy. during the filming, the watergate hearings are going on. all we talked about every day. we couldn't wait to get to the set to watch the hearings and shoot the movie. it was so much about politics and corruption in government. it was a confluence of energy that was going on through the whole thing. >> break down the security there. what are you doing? >> three days of the condor again. you had this feeling of the man against big government. >> we wanted to make it semi-documentary style. and my character has to run for his life to figure out what is going on. actors like redford and warren beatty, who were both very political, they start to find a

way to make a commercial vehicle that involves this kind of dark undercurrent of american society. >> who are you? >> in "free days of the condor", the question is who will win. can the press undo these dark forces. >> what, what did you do? >> i told them a story. >> "all the president's men" answers that question. >> did he confirm it? >> absolutely. >> the film is based on a book by woodward bernstein that was written before richard nixon resigned. and in the film redferred and hobson represent the role that woodward and bernstein actually played in unraveling the watergate cover up in 1972. >> i had great respect for journalism. "all the president's men" was about who were the guys who dug

underneath like gophers to get to the truth. >> you guys are about to write a star story that says the highest ranking law enforcement officer in this country is a crook. just be sure you're right. >> it's a movie about competent people doing their jobs even when it appears powerful entities you're taking on are obviously going to crush you. >> this won't take long. >> please go away, okay? will you please leave before they see you? >> what do you mean they? >> alan really knew how to create a sense of paranoia and suspense. you can hardly even take a full breath when you see that movie for the first time. >> nothing's riding on this except the first amendment of the constitution, freedom of the press and maybe the future of the country. >> the movie is venerated for enshrining the importance of journalism at its best, holding powerful interests to account and finding out what's true. >> the american people are

turning sullen. they've been clobbered on all sides. nothing helps. >> "network" is about a television network run amok. >> i would like at this moment to announce i'll be retire from this program in two weeks time because of poor ratings. since this show is the only thing i had going for me in my life, i have decided to kill myself. >> they have this long time anchorman, howard beil, and he has a melt down on live television. >> get him off. what's the matter with you fellas? get the [ bleep ]. >> one thing it discovers is that melt down helps the show. >> even the news has to have a little showmanship. >> god, you are serious. >> so "network" is also about what we're willing to watch. >> stick your head out of the window, open it, and stick your head and keep yelling and yell i'm mad as hell, i'm not going to take this anymore.

>> peter finch is speaking as every man. and it's a reaction to an america that is questioning their own personal morality. >> roger, do you believe that america is the land of opportunity? >> yeah. >> "rocky" gives us faith. it's a david and goliath story but a quintessential american story. it's how we want to believe the country functions. >> you've got heart but you fight like a goddamn ape. >> why do you want to fight? >> because i can't sing and dance. >> it's about this goofy guy getting an unexpected shock and this really awkward woman that he falls in love with and the relationship he forges with this old school tough guy trainer. >> there's a nobility in rocky

to try for a dream even if it doesn't work out. >> made me want to be a boxer. i had a gray sweatshirt, and i went out running thinking i'm going to be like rocky. i probably got about a hundred feet and i was like god. and i remember coming home and my mother was very sweet. and she said, you know rocky was the screenwriter of the movie, and i said that sounds better than drinking raw eggs and running every morning and boxing. why don't i be a screen writer? >> sylvester stallone was a struggling actor that nobody knew, but he wrote this script, which is all heart. >> he was completely broke but he wouldn't sell it to hollywood unless he could be in it. at the end of the '70s we had

been through some stuff. so "rocky" becomes a metaphor for the human spirit. >> and the winner is "rocky." >> "rocky" wins best picture in 1977, which is crazy. because that's the same year that "network", "taxi driver", "bound for glory" are up for best picture and "rocky" takes it, this kind of feel good film. >> to all the rockies in the world, i love you. not just structures and skyscrapers, but teams who make it all possible. after all... we wouldn't be where we are today without them. so we made sure that like these buildings... their futures may also stand the test of time. ♪ ♪ ♪ ♪

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when "the deer hunter" comes out, the country's emotional scars from vietnam are still fresh. >> it's about working class guys who go to war and what happens. it's so powerful and strong. >> they have ideas about why they're fighting and what they expect. and what they find is -- is just

horror. >> when "the deer hunter" came out, it really shocked people. >> so much of that movie is about the deadening of life in the process of surviving life. >> some people thought that that film was too difficult, too raw, but i felt that realism was necessary for people to understand what happened. >> would you go if you had the chance again? >> "coming home" opens with veterans around a pool table. it was so important to ashby that he communicate the reality of the veteran that he simply said "go, improvise." >> when we come back and they say what we did was a waste, what happened was a waste, some of us can't live with it. >> and it completely legitimatizes everything to come. >> what are you doing here? why aren't you on the golf

course teeing up balls, doing something you're good at? >> just try to keep busy, that's all. >> sure, gives you something to talk about over martinis, how you're helping out the poor cripples. >> in some way, jane fonda plays america in "coming home." >> i don't think i deserve that, luke, at all. >> she changes as she views the effect of the war on the men around her. >> she wants to listen to you. and she wants to understand you. >> this is a powerful movie, because it's not a political diatribe. it's about human beings. >> so the notion that francis ford coppola, who had made the "godfather" movies was taking on vietnam, that was part of my there's been so much discussion about "apocalypse now" that francis ford coppola was going to be making this movie, and it turned into this epic nightmare odyssey.

it was a potential disaster and martin sheen had had a heart attack and there was a lot of drama around what we were going to see on-screen. >> that was "apocalypse now" and then the movie just blew my [ bleep ] mind. >> the lights are down. you hear -- and then finally the screen comes up. it was like, wow. ♪ this is the end ♪ ♪ beautiful friend ♪ >> it's a stranger kind of film that more and more apocalypse becomes like a dream or a nightmare in which you're dealing with themes of morality and good and evil. so to me the real issue is that it would be beautiful and in some way would throw light on the subject. >> i love the smell of napalm in the morning. >> unlike a lot of the vietnam movies that came later, which tried to be more realistic, this seemed surreal.

>> someday this war's going to end. >> the fight hadn't gone how they expected. it wasn't a traditional war, and it felt very hazy and a lot of them were high. and it felt like an apt metaphor for what the war was like for many, many people. >> this is a powerful indictment of war, but it's also a disturbing journey to the darkest reaches of our own human soul. >> i think just in terms of a mori that scares you, the "exorcist" is the best. there was nothing else like this. >> "the godfather" was the biggest grossing film of all-time in 1972 surpassing "gone with the wind" in 1979.

when did "the godfather" get surpassed? one year later with "the exorcist." >> it presents itself as a domestic drama, which then turns into a super natural horror film. >> it was important for me to be as relatable as possible, so the audience could feel what it felt like to have your child turn into this monster. >> who are you? >> if you want to make a film about real people, when you do that and add the reality, you had the people in the audience absolutely losing their minds. >> the thing that really surprises me is people faint.

i have never in my life known a movie where people would faint. it's hard to make people faint. >> you walked into the theater and you really thought, man, am i going to survive the next two hours watching this? and sometimes, no. >> "alien" is 100% a haunted house movie. these guys are in a haunted house, and there's a monster in the house, and one by one they get killed. what made it what it was, was the execution. it really got you on a, no pun intended, on a gut level. >> how you doing? >> terrific. next silly question. >> the great thing about "alien" is it trusts the patience of the audience. by the time that you get to the famous chest-bursting sequence, the audience already have their hearts in their mouths because the slow tick, tick, tick, tick, tick of the roller coaster going up.

>> when that blood blew, the reaction was appropriately stunned. i always remember standing on one side of the preview. the people weren't sitting, they were slid down into their seats and were holding each other tightly. >> ridley scott asked an unknown stage actress named sigourney weaver. she had the stuff to hold her own as the strong female lead character that made headlines in 1979. "the hero is a woman." that was groundbreaking.

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large out-of-state corporations have set their sights on california. they've written prop 27, to allow online sports betting. they tell us it will fund programs for the homeless. but read prop 27's fine print. 90% of profits go to out-of-state corporations, leaving almost nothing for the homeless. no real jobs are created here. but the promise between our state and our sovereign tribes would be broken forever. these out-of-state corporations don't care about california. but we do. stand with us.

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

>> now i am the master. >> only a master of evil. >> "star wars" is out of the mind of george lucas, who just wanted to make a space opera. it was a huge risk. >> help me, obi-wan kenobi. >> a fantasy about luke skywalker and a space dog and a cute robot that spoke in bleeps and bloops. doesn't really make sense on the page. >> i'm a member of the imperial senate on a diplomatic mission toal deron. >> you are a traitor. take her away! >> "star wars" is yet another manifestation of a very old story. >> vader was seduced by the dark side of the force. >> the force? >> the roots of it were in samurai films and also westerns. [ speaking foreign language ] >> yes, i bet you have. >> i think the magic comes from when you mix the old myths with

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

and that's when it went from a hit movie to a cultural phenomenon. >> it essentially is a fun movie to watch. it's been a long time since people have been able to go to the movies and see a sort of straightforward, wholesome, fun adventure. ♪ >> excuse me. >> that's a bad outfit! >> as we move out of the '70s and into the '80s, we start to see something a lot more glamorous, a lot more produced. what starts to disappear is the flawed leading man. >> because you're not afraid of things. >> afraid of things? why would i be afraid? >> we see instead stories that are going to make big heroes out of someone who does a good thing. >> america needed to believe in a hero again. and we found out that there are heroes everywhere. >> what's wrong? >> the future. >> what's the matter with it?

>> you can just sit down for the rest of your life and watch movies from the '70s. and they're amazing. >> the shakeup of what we were going through in the '70s and the expectations and the stereotypes that we had had about our own nation and the myths that we had swallowed. there was no way that american cinema could not reflect that. >> don't you sell america to me! >> all the movies that came out, they were very inventive and really rich and smart. people were trying for something different. >> it was an extraordinary time. we were all playing off each other, and there was no doubt we were changing things. >> we had all these enormously talented, creative, ambitious filmmakers being given money to go out and make the picture that they wanted to make.

>> the convergence of commercial filmmaking with an independent sensibility. we'd never really had that before, and it opened up a whole new vista for american film. ♪ ♪ ♪ ♪ ♪ ♪