place we wanted and even placed we had never managed. . >> was that the oven timer? >> that's right, my friend. it's time for -- "baywatch"! >> ugh. can you believe they gave stephanie skin cancer. >> i still can't believe they promoted her to lieutenant. >> you're just saying that because you're in love with yasmeen bleath. >> how could anyone not be in love with her? >> hey, they're running. >> see, this is the brilliance of the show. i say always keep them running. all the time running. run. run. run, yasmeen, run like the wind!

♪ ♪ ♪

♪ [ sound of gunfire ] as far back as i can remember, i always wanted to be a gangster. >> "goodfellas" is like, fasten your seatbelts, i'm going to kick the shit out of you for two and a half hours, and you're going to love it. >> there have been so many gangster movies, so many mob movies. is it really possible that in 1990, martin scorsese will be able to make a gangster movie that has something to say that hasn't already been said a million times? >> it's gonna be a good summer!

[ laughter ] >> and you watch the movie and you're like, yeah! >> thank you, sir. >> all right, see you later. thanks. >> what are you doing? you're leaving your car? >> he watches the car for me. >> we tried to capture the exuberance of that world. it's dangerous and threatening, but they're having a wonderful time. >> "goodfellas" was the nuts and bolts of the mob. it was the mob as a job. >> what do you do? >> what? >> what do you do? >> i'm in construction. >> and the balance of these two families, of your mob family and your real family, and the way that the two start to bleed into each other. >> hide this. are you all right? are you all right? >> yeah. >> huh? >> yes. >> "goodfellas" was based on a book called "wiseguys." i ran in, i said, what if i play this guy, jimmie the chin? >> are you being the [ bleep ] wise guy with me? >> i'm sorry. >> what did i tell you? what did i tell you?

what did i tell you? you don't buy anything, you hear me? don't buy anything. >> it's a true story, and it is the nature of that lifestyle. >> your share. just a little taste. >> you have to be clever enough, let alone have the audacity, the discretion, but also not being afraid of the violence. >> i don't believe what i just heard. hey, this is for you. attaboy. >> the dangerous enjoyment of it. where you can be enjoying, then suddenly somebody gets shot in the chest. >> what's the world coming to? >> then it's not funny. and that there is a price for everything you do. >> all right, you all know the drill. >> in the '90s, there's a host of movies in which people operate outside the system. we love the idea of the outlaw. it's one of the reasons we go to the movies. >> merry christmas.

>> merry christmas to you, officer. >> you go to the movies to see people violate the mores and the laws of society. >> you'll take one of those big envelopes and put as many 100s, 50s, and 20s as you can pack into it. >> in the '90s, we were rooting for criminals to get away with it. >> would you like a cigarette, nick? >> we wanted the bad guys to be the good guys. it was really an era when the anti-hero was on the rise. >> you have something against ice cubes? >> i like rough edges. >> "in basic instinct" the character is a sociopath. and sociopaths are as dangerous as that character is. when i played the part, i needed to understand the sociopathic mind. and that is a very scary thing. >> "silence of the lambs," i remember waiting for it with bated breath to come out.

nothing prepared me for how jonathan demme shot walking to meet hannibal lecter. >> morning. >> dr. lecter, my name is clarice starling. may i speak with you? >> this is a horror film that is also an actors' piece. >> closer. >> told by the close-up master of all time. the tension, it just kept rising and rising. >> most serial killers keep some sort of trophies from their victims. >> i didn't. >> no. no, you ate yours. >> "silence of the lambs" is about this eerie dance between clarice starling and hannibal lecter. >> people will say we're in love. >> and manages to take elements of the horror movie and even the gothic iconography and put it into a real-world thriller. >> you still wake up sometimes,

don't you? wake up in the dark and hear the screaming of the lambs. >> yes. >> "silence of the lambs" becomes one of three films ever to win best picture, best actress, best director, best adapted screenplay, and then anthony hopkins wins best actor for playing hannibal lecter with maybe 16 minutes of screen time. >> how come darryl let you go? >> because i didn't ask him. >> shit, thelma. >> the thing i love so much about "thelma and louise" is it's really a love story between two women. that was one of the great female buddy movies of all time. >> these two friends decide to get away, and things go off the rails really, really quickly. >> shut the [ bleep ] up, you hear me? shut up! >> please, please don't hurt me! >> you let her go, you [ bleep ] hole or i'm going to splatter your ugly face all over this nice car. >> i was driving home one night,

and the idea just hit me -- two women go on a crime spree. >> good morning, ladies and gentlemen, this is a robbery. >> it wasn't just the idea. i kind of saw the whole movie in one flash. >> goddamn, you're a bitch! >> i don't think he's going to apologize. >> nah, i don't think so. >> aah! >> it's an odyssey of two women on their last journey. they would not know it was the last journey. therefore, the journey had to be magnificent. >> a lot of women looked at this film and thought, i can relate to those women, i know what they're going through, i understand the choices they make. >> let's keep going. >> what do you mean? >> go! >> they looked at each other, and they both knew. >> you sure?

>> it's kind of the culmination of both of our lives, and we have no choice. let's go. i can't imagine the movie would have had any power at all had we not ended it that way. >> i have no enemies here. >> no? wait a while. >> "shawshank redemption" is the perfect prison film. >> for a good prison movie, you need a warden who's corrupt. >> and i wouldn't worry too much about this contract. >> you need some claustrophobia. you want the audience to feel like they're trapped. and then there has to be hope. >> here. a little parole rejection present. >> the audience has to hope for something better for these characters that they fall for. >> it's a great love story between two men spending 20, 30 years in prison, getting to know each other. >> the funny thing is, on the outside, i was an honest man, straight as an arrow. i had to come to prison to be a

crook. >> ha! >> watching their lyives rotate through this system. >> "shawshank redemption" is about seeking justice in an imperfect world. when the convicts win, you have a sense of relief and that somehow justice has been done. ♪ trying to make it real compared to what ♪ ♪ sock it to me ♪ >> in vegas, everybody's got to watch everybody else. >> "casino" was the story of the hubris of these two men, joe's character and bob's character. >> look at this place, it's made of money. you know what the best part is? nobody's going to know what we're doing. >> and poor sharon who is thrown in the middle. >> working for marty is a big thing. he was very open, supportive, encouraging, and so present with me.

>> can i trust you? answer me. can i trust you? >> sharon stone is in the great tradition of crawford and the great divas. and i had to learn how to bring out what i needed through her. >> no! no, no! >> with marty, because his films are so daring and the violence is so violent and because everything that you do is so true, you have to be really willing to kind of let your guts come out. >> get outta here. >> fine. >> i'm taking amy. >> you're not taking amy. you're stoned, you're a junky get out of here. goddamn you. >> ultimately they're given paradise. and like adam and eve, they're banished from paradise. because they blew it. ♪

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♪ we have liftoff. >> "apollo 13" was a real turning point for me and an eye-opener. i learned the power of a true story. >> this is houston. uh, say again, please. >> houston, we have a problem. >> just believing in the story and not theatricalizing it. my mantra was, just show it. >> we're not going to have

enough power left to get home. >> we know they're going to be saved. but the thing we care about is, how are they going to be saved? what do these people have to do to save them? that is what's riveting. >> the '90s brought us a new look at some previously thought to be well-known stories. >> when you look at the film "jfk," the movie is about what we can trust and who we can trust. >> why was kennedy killed? who benefitted? who has the power to cover it up? >> and what oliver stone is saying is, you can't trust anybody. >> 10, 9, 8, 7 -- >> "quiz show" was back at a time when the nation was captivated by this game show, and it becomes a story about truth and the perversion of truth in the name of entertainment. >> you're young, you're clean-cut, you're from a prominent family -- >> kids want -- >> what about herbert stem ple? >> i love him.

>> if you were a kid, would you want to be an annoying jewish guy with a sidewall haircut? >> as i kid, i lived through that "quiz show" period. >> i'll try for three, three points. >> i wanted john turturro to play herb stempel, a guy that was from a lower-class area, and he rose to fame. and then certain people were beginning to get tired of him because he wasn't that pleasant to look at. but nobody could beat the guy, he was so sharp. that's when they came up with the idea, what if we find somebody that looks good and we'll give him the answers. >> yes, i know his name. hallic. general h.w. hallic. >> you are our new champion for $20,000! >> and that cruelty was something i wanted to show. the power of money and personality. so to me, that was a story that really had to be told. >> we didn't land on plymouth rock. plymouth rock landed on us, landed right on top of us. >> "malcolm x" is spike lee's epic. it really felt like the film that he was made to make. and i think he felt a certain urgency in making it.

>> spike had the good fortune of casting denzel washington at the pinnacle of his movie stardom. i think it's his best performance. >> denzel washington is one of the all-time greats. what he does in his artistry, painting a portrait of an individual, it's astounding. >> if the so-called negro in america was truly an american citizen, we wouldn't have a racial problem. if the emancipation proclamation was authentic, we wouldn't have a race problem. >> watching a guy like denzel as malcolm x, top of the game, intimidating in many ways. >> mr. becket, come in. >> when we made "philadelphia," he was malcolm x already. that was like starting a movie with marlon brando and having just seen "the godfather" the night before.

>> what happened to your face? >> i have aids. >> oh. oh, i'm sorry. >> "philadelphia" was an important film. denzel washington represents the audience's apprehension with people with aids. >> how'd they find out you have the aids? >> one of the partners noticed a lesion on my forehead. >> and so as his character spends more time with tom hanks, you're starting to see him as more than his sexuality or his disease. >> let's get it out of the closet. because this case is not just about aids, is it? so let's talk about what this case is really all about. the general public's hatred, our loathing, our fear of homosexuals. >> he can bring the audience on that journey to say, we don't need to fear people, we don't need to despise them or stigmatize them. >> my name is forrest, forrest gump. >> forrest gump! >> it's a very rare thing for me to read a script and not be able

to put it down. >> "forrest gump" is a marvelous look at how history happens. >> forrest gump, john lennon. >> it's a delightful play on the contingency and accident that shapes our world. >> we were the first americans to visit the land of china in like a million years or something like that. somebody said world peace was in our hands. but all i did was play ping-pong. >> that film embodies everything that makes tom great. he's fantastic dramatic actor. he's a magnificent comedy actor. i can't think of another actor living or dead who could have ever done that part -- you know, that part. >> by the 1990s, the median age of the people who served in world war ii was around 70. they were growing old and they were disappearing. and there was a powerful sense of nostalgia. and we saw a lot of retrospective looks at aspects

of world war ii. this was the time when people started talking about the greatest generation. >> "saving private ryan" was a film that i was going to make someday in my life. my dad used to have his band of brothers from the air corps come over to the house every year. the first time i ever heard grown men cry was at these reunions. it was all about the trauma they had suffered in world war ii. >> i'll see you on the beach. >> i felt it was necessary for me to tell the experience of veterans and what they had gone through when they were a little bit older than i was at the time. >> what moviegoers saw is the men would disembark, the bullets

were going through the water and hitting them in the water. there was a powerful realism to that. it's spielberg saying, what does it feel like to have gone on that beach? your nose is pressed right into the savagery. >> steven did great in "private ryan." the beginning -- fantastic. i was ill for two weeks watching that. i couldn't believe he did that. >> sir, i just -- i don't have a good feeling about this one. >> when was the last time you felt good about anything? >> this ability to entertain and reach audiences more than one way, with the same movie, "saving private ryan" is a great example of that because it's exciting, it's thrilling, it's suspenseful. but it also is a reminder of the price of that kind of warfare.

the cost to the soul, and who winds up living and dying and bearing those scars in that kind of a conflict. >> what is that? is that silk? >> of course. >> that's a nice sheen on it. >> thank you. >> very nice. >> i would say i'd get you one but the man who made it is probably dead, i don't know. >> my family, when i was growing up, talked about the holocaust, although they never used that word. they used to call it the great murders. i shot the whole film very documentary style. it was the first film i'd ever shot like that. and it became less of a film, more of just a life's journey, a living, learning experience making that film. we all felt we were shooting in a graveyard. and so the amount of reverence of the crew and the cast. i cast liam neeson at the last minute based on a play i saw him in on broadway.

and i thought he was the best possible schindler i could possibly find. and he was. >> he saved my life. >> yes, he did. >> god bless him. >> yeah. yep. >> god bless you. >> oskar schindler was a dealmaker, and he didn't really care that much for his workers, but there was an inevitable metamorphosis based on the encroaching holocaust and what he was personally witnessing that unlocked his empathy. instead of being someone that just gathers wealth for his own pleasure, he started to spend his money to save lives. >> i could have got more out. i could have got more. i don't know, if i just --

>> the totality of the meaning of that film, the fact that it created awareness in the world about an era in history that had been forgotten, that it denied the deniers and allowed us to really mean it when we say "never again." "schindler's list" is the greatest experience i've ever had as a filmmaker. ♪ rised to see you here. how's your head? all good man. [vacuum cleaner] advil targets pain at the source. when pain comes for you, come back fast with advil liquid gels. changing microscopic batteries. now, this is eargo, and they're rechargeable. can it get any easier?

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♪ put your little hand in mine ♪ "groundhog day" was a very character-driven comedy. the bill murray character just keeps waking up. >> hey, phil? >> and having to relive the same day. >> now, don't you tell me you z don't remember me, because i sure as heck fire remember you. >> not a chance. >> ned! >> usually when there's some kind of strange convention, it's explained. >> phil connors, i thought that was you. >> you're in a time machine or somebody cast a spell. >> phil connors! >> but this just happened. and nobody minded. >> phil connors. >> ned? >> the movie is perfect. it's also so obviously for bill. >> bill, like the groundhog bill?

>> yeah, like the groundhog bill. >> look out for your shadow there, pal! >> morons, your bus is leaving. >> it's hard to be a likeable dick and then win the audience over by the end. bill is really good at that. >> oh, thank you, young man. >> it's nothing, ma'am. i had the tire and the jack. just be comfortable, all right? >> to me, bill murray is one of the great comedy actors that has ever been. >> how long will you be staying with us? >> indefinitely. i'm being sued for divorce. >> he's picky, which is perfect, because then he finds his way into somebody really extraordinary. >> what's the secret, max? >> the secret? >> yeah. you seem to have it pretty figured out. >> secret, i don't know. i think you've just got to find something you love to do and then do it for the rest of your life. >> wes anderson, his films are like opening a jewelry box. and you can take out all the little trinkets and look at

them, and they're sparkly and they're joyful. >> what's going on in here? >> it's so rare when someone comes along and actually creates their own aesthetic. wes is truly unique. ♪ be walking a long and lonely mile ♪ >> i really related to "rushmore" in terms of having bad grades and not being good in school but having, like, a passion for something. >> all right, next scene. frank, you enter stage right with a bag of cocaine. >> when "rushmore" came out, i wrote a fan letter to wes. it was just a perfect film, laugh out loud humor with actual pathos. >> i like your nurse's uniform, guy. >> these are o.r. scrubs. >> oh, are they? >> comedy in the '90s will be gigantic. >> shall we shag now or shall we shag later? >> it's going to be over the top, and it's going to fill the frame. >> why don't you just go home? that's your home! are you too good for your home? answer me! >> and you're going to get adam

sandler knocking out one movie after the next. >> sidney and scott are newlyweds. whoopedy do! >> if you look at the scenes that are memorable from something like "wayne's world," they're big scenes. they're the heads bobbing back and forth. ♪ they're not afraid to do something big to get a laugh. >> smoking! >> and then all of a sudden, one day, this guy who is as big as the screen shows up. and it's jim carrey. and he turned into a top hollywood star because he is unafraid to be big. even as he's doing these over-the-top things where you think, well, he's talking through his behind, i'm not going to watch this. >> excuse me, i'd like to "ass" you a few questions. >> and yet there you are, you're

watching, and you're laughing. ♪ just like me they long to be ♪ >> oh, no. he's looking at you. what is he doing out there? >> oh -- oh, no, i -- >> "there's something about mary," the thing i like, i don't have to be too intellectual about it. i just laugh my ass off. >> ow! >> part of it was, i can't believe they're doing that. >> what's that bubble there? >> what do you think? it's a -- >> how in the hell did you -- >> the farrelly brothers pushed the rules so far. you can do that? >> "something about mary" is this kind of anarchic, off-the-wall comedy that has a joyous heart to it. >> you know, maybe you'll have to move down here and marry me. >> introduced cameron diaz as the ultimate cool girl, and that really gave us the farrelly brothers. >> i'll have a decaf espresso. >> i'll have a double decaf cappuccino. >> i'll have a decaf, half caf, with a twist of lemon.

>> you had lots and lots of really funny, bankable people doing wonderful movies. >> look at this. my first day as a woman, i'm getting hot flashes. >> hello, peter. what's happening? >> umm, i'm going to need you to go ahead and come in tomorrow. so if you could be here around 9:00, that would be great, mm-kay? >> "office space" is not as acclaimed as it should be. it was not a big hit. but there's so much modern comedy in that movie. it was wonderful. >> corporate accounts payable nina speaking. just a moment. >> "office space" did such a great job in completely lampooning office life. >> piece of sheet. >> technology had made these cubicle lands, and "office space" really captured that.

>> i'm thinking i might take that new chick from logistics. if things go well, i maybe showing her my "oh" face. oh, oh, oh. you know what i'm talking about, oh. >> jennifer aniston was in it and she worked at a place like tgif's. >> we need to taught your flair. >> really? >> being somebody who had waitressed and that manager, put that flair on and show me what your flair's like, here's my flair. >> all right, this is my flair, okay? and this is me expressing myself, okay? ♪ teacher's pet, i want to be teacher's pet ♪ ♪ i want to be huddled and cuddled as close to you as i can get ♪ >> christopher guest is considered the master of the mockumentary. he comes up with characters that are profoundly silly. ♪ >> when we were on "snl" together, chris did a movie with marty and harry called "synchronized swimming."

>> i've been directing regional theater, shakespeare in the park. if i ever do that again, i'm just going to be, you know, kill myself with a vegematic. >> that's where the character in "waiting for guffin" was sort of born. me right out of the navy, fresh off a destroyer, with a dance belt and a tube of chapstick, basically. not really much to call my own. then basically being slammed down for ten or so years, you down for ten or so years, you know, off-off-off-broadway and then enough is enough, okay? i get the joke. >> chris surrounds himself with great, funny people. eugene, fred willard, catherine o'hara. >> i'm so nervous. >> you're going to be great. if there's an empty space, just say a line. that's what i like to do, even if it's from another show. >> chris works in miniature. chris is very much like peter sellers. such fine taste. and when it hits right, it's amazing. >> and that's the -- that's the way it is? then i just hate you, and i hate

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>> my mama say, a bullet don't have no name on it. >> i ain't afraid to get shot. >> both my brothers been shot, and they still haif. >> some of what i was doing was inspired by what truffaut did with "the 400 blows," what rob reiner did with "stand by me." but those movies didn't speak to where i was coming from. >> we got a call for a burglary here? >> yeah, that was about an hour ago. >> whoa. we didn't ask you that. >> i decided to have a black cop be more of them than the white partner in the scenes where he's encountering the black residents. >> something wrong? >> something wrong? yeah. it's just too bad you don't know what it is. >> the same black cop encounters trey years later when he's a teenager and profiles him. >> i didn't do nothing. >> you think you're tough. you think you tough, huh? oh. you're scared now, huh?

i like that. >> singleton was nominated for two academy awards, best original screenplay and the youngest person ever nominated for best director. >> it was an era when a lot of people were playing attention to black film. there's this famous moment when "the new york times magazine" does this cover story. you really had for the first time a large collection of black filmmakers documenting what was going on in the culture. >> you got to be ready to go down, stand up, and die for that shit like blizzard did if you want some juice. >> blizzard? blizzard ain't sticking up for nothing now. >> that's because we wasn't there to back him up. if we was there -- >> if we was there, there would be five dead instead of one. >> he's a phenomenal actor. we had a similar vision of what we wanted to do as young men coming into this whole entertainment world together. my attitude was, i got my robert de niro, i got the dude i want to do multiple movies with. >> people don't realize how theatrical the gangster rap

thing was. >> tupac, ice-t, ice cube, they were also storytellers. so when it came time to go to hollywood, all of them were very convincing on screen. >> craig. craig! >> hold up. i can hear my heart beat. >> man, that's what it's supposed to do! >> "friday" was one of those films that made me excited about being in the film industry. >> hi, you guys. >> both: hey! >> cube at the time transitioning from music into filmmaking. the way it got sold at sundance. >> bam damn! >> it was just a sort of quintessential independent cinema coming to the mainstream, and then of course it went on to do so well. >> ladies, ladies, ladies. i know you'll are going to be in attendance at the super depth throwdown of the year. >> did you hear anything about a party today? >> "house party" is just a fun, silly teen comedy.

>> ladies. b love's in the house. >> dragon breath. >> who you talking to? >> kid an dplay, who were a musical duo, play two teenagers who were looking to have a fun time. dad's away, let's throw a party. >> ooh, scandalous! >> having a movie like that premiere at sundance really showed the possibilities that indie black filmmaking could have. >> kristin! >> what? >> don't answer me what. turn that tv off. >> i'm watching the knicks. >> i don't care what it is, no tv on a school night! >> we talked about the spike lee films, john singleton films, but also it was a period where black female filmmakers are making some really interesting things. you have "daughters of the dust," julie dash's film, examining the gullah culture, black culture that hearkens back several hundred years. and that movie's beautiful. you also have a movie like "just

a girl in r.i.t. ♪ >> you're too cute to be a gentlemen, right? >> you don't have to be like that. >> whatever, whatever. >> it's a quote, unquote hood movie, but a hood movie from the perspective of a young girl. people think of new black realism as the hood genre. but actually there's a range of socioeconomic experience being shown in black cinema of the '90s. ♪ bow wow wow ♪ >> whether we're talking about some of the black romantic comedies, family films like "soul food," or films like "waiting to exhale" and "how stella got her groove back," what i think of as companion films that celebrate sisterhood. and that's a whole other element that hasn't really made its way into mainstream cinema. >> hello. hello. >> from the early days of will smith's career, he was incredibly smart about figuring out how to become the superstar

he wanted to become. and he chose the one role he thought nobody expected him to play, a gay hustler in "six degrees of separation." >> i pick a name, you tell me everything about them. where they live, secrets, everything. and for every name, you get a piece of my clothes. >> will smith became a triple threat. there aren't many who can do action, drama, and comedy. >> now, back up, put the gun down, and give me a pack of tropical fruit bubbleicious. >> and will smith is that guy. >> i would say that tom cruise is the first person to figure out the power of using the international box office to turn yourself into the biggest star anyone has ever seen. will smith looked at that and said, i'm going to do the same thing. what translates well abroad? movies with sci-fi aliens. so that is what he did.

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what's your name? >> what do you want it to be? vivian. my name is vivian. >> vivian. >> i remember meeting gary marshall for the first time and being so nervous. making this movie with him was hysterical. we didn't really have a complete script. i remember one day looking at richard and said, what are we doing? i said, gary, what are we doing? he goes, be funny. action. >> well done! >> well done! >> did we think it was going to be a huge success? not necessarily. >> hi. hello. do you remember me? >> no, i'm sorry. >> i was in here yesterday. you wouldn't wait on me.

>> oh. >> you work on commission, right? >> yes. >> big mistake. big, huge. i have to go shopping now. >> "pretty woman" makes julia roberts a major star. that smile, that interaction richard gere. that improvised little thing with the jewelry box and the pearls in it. >> gary said, just touch it, it's the most amazing thing you've ever seen and he said to richard, just -- oh! >> we fall for her and we fall like a ton of bricks. >> oh, it's the bride and the woman she'll never live up to. >> she rises through the decade but really ends up with three megarom-coms. >> um, can i help you? >> no thanks, i'll just look around. >> richard curtis says he wrote

it with me in mind. and i love when writers say that. i don't care if it's true. it's hard to find really great, original material that hold a real performance and the comedy and the physical comedy than some thread of love that you're trying to accomplish. i'm also just a girl. standing in front of a boy. asking him to love her. romantic comedy is a genre that i love. i think i just was really lucky that they were making a big resurgence at a time when i was at the ready. >> the romantic comedy gets its jump start and you have a number of people who are especially adept at the form of the romantic comedy. you have sandra bullock, you have hugh grant, you have meg ryan, and you have tom hanks.

>> she made everything beautiful. and it's just tough this time of year, i mean, any kid needs a mother. >> could it be that you need someone just as much as jonah does? >> yes. >> nora prepared movies like no other director. we would work for weeks. every line was specifically found or written or perfected. >> it was like magic. >> magic. >> nora was unafraid to take something that felt particular, but then cover it in unfamiliar territory. >> get a new wife, you're going have sex with her, huh? >> i certainly happen to. >> will she scratch up your back? >> what? >> in the movies, women are always scratching up the men's

back and stuff. >> how do you know this? >> jed's got cable. >> this movie is about a widower. that, i thought, was a brave choice. you saw people on screen working out a problem that weren't necessarily from the traditional american family. >> i left her by the telescopes. >> the great thing about nora is, when she was talking about the dynamics between men and women who are attracted to each other or need each other or searching for each other and don't really know it, she was a genius. >> i'm the guy you don't usually see. i'm the one behind the scenes. i'm the sports -- >> i wanted to write a movie that begins where an '80s movie ended. >> what's going on? >> they fired jerry maguire. >> the script went right to tom cruise. he calls immediately. i love this script.

i'll read it with you and you tell me if i'm right for it. >> don't worry -- don't worry. i'm not going to do what you all think i'm going to do, which is flip out. >> and basically i've been geeking out over his performance ever since. >> right, right, jerry maguire, how you doing? >> jerry maguire. how am i doing? i'm sweating, dude. >> cuba and tom just deliriously happy actors. >> loshow me the money. >> they were just landing blows on each other. >> jerry, you better yell. >> show me the money! >> and that scene just kind of exploded. >> congratulations, you're still my agent. >> that film really spoke to me so deeply, because it's the young single mom with this precocious little kid. >> you know the human head

weighs eight pounds? >> and bringing a guy into that picture -- i love how much cameron believes in romance. >> i was so anxious to do one line. "you complete me." there were times i read that in the script and i thought, fantastic. and other times, is this too econ ch cheesy. and tom said, just give me a shot at it. >> i love you. you complete me. and i just -- >> shut up. just shut up. you had me at hello. you had me at hello. >> i look around, everybody's crying. grizzled guys holding cable are, like -- [ sniffing ] and i was like -- i you this i

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♪ this guy's going through all the eggs, look. this has been going on for 20 minutes now. >> what is he looking for? >> said he has to find the perfect dozen. >> perfect dozen? >> yeah, each egg has to be perfect. >> in the '90s, you could feel

this excitement that there was something happening here. there started to become a genuine independent film movement. and sun dance film festival, sun dance institute had everything to do with it. >> the idea of starting sun dance was that i felt that i'd grown up being apart of the major film industry, because that's all there was and i was very fortunate to be part of that. but as time went on, i became more aware of other stories that could be told. they could be told by people that are less inclined to be comm commercialal ly attractive. they were different. offbeat. >> women are lonely in the '90s. it's our new phase. we'll live. >> they weren't looking at who made the movies. they were looking at the movies. they had a commitment to showing films with very specific authentic voices. >> there was a sudden recognition because of the success of films that came out

of that festival and it drove such a profound change into mainline hollywood. >> say, man. you got a joint? >> uh -- no, not on me, man. >> it would be a lot cooler if you did. >> just like "american graffiti," "dazed and confused" was this complete euphoric look at young people before they have to become adults. >> there's other high school movies. there's a million of them. but there's very few that really gives you an honest depiction of that time in your life. >> you ready to bust some ass? >> and then you see all these fantastic actors who started out in "dazed an confused." >> that's what i love about these high school girls, man. i get older -- they stay the same age.

>> richard cast all these fabulous girls. >> seniors? >> those characters, i adored. they just felt like real girls to me. >> let me tell you this -- the older you do get, the more rules you have to follow. you just have to keep living, man. >> the beauty of linkbeletter i his touch. it's lightning in a bottle. >> all right, everybody cough up some green. come on, throw in a buck. >> no, i don't tip. >> you don't tip? >> i don't believe in it. >> you don't believe in tipping? >> i was trying to be a writer and a filmmaker and i read "reservoir dogs" and i thought it was clearly written by somebody who was 67 years old and somebody who had gotten out

of jail and wrote his life story. >> harvey keitel was the guy that pushed it through to us. it allowed us to discover quentin tarantino. >> who care what your name is. >> yeah, that's easy for you to say, you're mr. white, you have a cool-sounding name. look, if it's no big deal to be mr. pink, you want to trade? >> hey, nobody's trading with anybody. this isn't a [ bleep ] city council meeting, you know? >> it was clearly focused on vio violence, very prevalent in our country. it was really going to underscore it. for me, that was a breakthrough moment. >> so [ bleep ] bad. is it bad? >> as opposed to good? >> here, violence and brutal violence comes with a heavy at times dose of comedy. >> you know what they call a quarter pounder with cheese in france? >> no. >> tell him, vincent. >> royale with cheese. >> royale with cheese. you know why they call it that? >> because of the metric system?

>> check out the big brain on brad. >> "pulp fiction" was this fever dream of a screen play and it was the screen play itself that was this mild, hairy bug. it was like a tarantula. you just had to look at it. look at the size of that thing. >> just forget it. >> that's an impossibility. trying to forget anything as intriguing as this would be an exercise in futility. >> is that a fact? >> and look at what john travolta does. look at uma thurman. bruce willis. it was slick, it was fast. it had no convention to it whatsoever. it just rewrote the rules of the way you can make film. >> die you [ bleep ]! >> you constantly have to pay attention, because you have all these characters who are somehow connected and you have to figure it out as the movie goes on. >> i love you, pumpkin. >> i love you, honey bunny.

>> everybody, this is a robbery. >> you know a tarantino film the minute you see it. it's such a fanfare of a new kind of filmmaker. ♪ >> "swingers" came out of this kind of cocktail '50s nostalgia culture in l.a. and it kind of became a phenomenon. >> so, what do you guys do? >> well, i'm a comedian. >> when i started writing "swingers," i didn't know it was going to be a movie or a full script. i was just having fun writing stuff that i got a kick out of and i kept going with it. >> when you go up to talk to a man, i don't want you to be the guy in the pg-13 movie, everyone's really hoping makes it happen. i wasn't you to be like the guy in the rated r movie, the guy you're not sure whether or now you like that, you're not sure where he's coming from. you're a bad man. you're a bad man. you're a bad man. bad man. >> it was sort of that indie

co comedy. when the movie finally came out, it hit the culture in a big way. >> see, babe, it's not that hard. because your lives are forever entwined. ♪ love entwined. exclusively at kay. (woman 1) i just switched to verizon business unlimited. it's just right for my little business. unlimited premium data. unlimited hotspot data. (woman 2) you know it's from the most reliable 5g network in america? (vo) when it comes to your business, not all bars are created equal. so switch to verizon business unlimited today. ♪ subway's drafting 12 new subs for the all-new subway series menu the new monster has juicy steak and crispy bacon. but what about the new boss? it looks so good it makes me hangry! settle down there, big guy the new subway series.

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animation was disney's brand, but in the early '80s rngs they were really adrift. and "little mermaid" was the hit what showed what these movies could do. and that kicked off a total revolution in the animation world. >> and now, we invite you to relax, let us pull up a chair, as the dining roll proudly presents your dinner. >> when audiences see these movies, they haven't seen animation like this in decades. ♪ pie and pudding en flambe ♪ >> the disney studio re-examines the templates of "snow white," "pin n "pinocchio," bam bi. and in the process of doing that, returns the disney

animation to end fundamental. ♪ 10,000 years will give you such a crick in the neck ♪ >> and because they are done with cleverness and with great use of music, which disney specialized in, they capture the same magic. ♪ circle of life ♪ >> "the lion king" is interesting because it's a very old tale that's been retold in different ways. but it emerged to something special and i think became bigger than the sum of its parts. ♪ "hakuna mata ♪ ♪ it means no worries for the rest of your days ♪ >> it just clicked with the right animators, the right directors, the right music. ♪ i just can't wait to be king ♪ >> people were ready for that kind of story, that kind of epic

scale. and you can see the beginnings of cg in the background for certain things like the stampede. it's one of those things where the stars align and it hits the culture in a way that's impactful. ♪ >> pixar changed the game, i mean, i remember going to see "toy story" and i went and saw it twice. >> there seems to be no sign of intelligent life anywhere. >> hello? >> comedy wasn't talking down to kids. it was for everybody. >> look, we're all very impressed with andy's new toy. >> toy? >> t-o-y, toy. >> excuse me, i think the word you're searching for is space ranger. >> the word i'm searching for i can't say because there's preschool toys precept. >> getting kind of tense, aren't you? >> when i saw "toy story," i was

just blown away. >> impressive wing spap. very good. >> the technology was nice and interesting, but that wasn't what blew me away. what blew me away was that here were new characters -- >> to infinity and beyond! >> the film was contemporary, it was not a musical. and it was done with all of the sincerity of the walt era. >> you actually think you're the buzz lightyear? oh, all this time i thought it was an act. hey, guys, look. it's the real buzz lightyear. >> you're mocking me, aren't you? >> anybody wanting to study screenwriting should watch pixar movies. i just think they're beautifully, beautifully written. >> well, if you knew him, you'd understand. >> let me guess. andy's a real special kid. and to him, you're his buddy, his best friend. and when andy plays with you, it's like -- even though you're not moving, you feel like you're alive.

because that's how he sees you. >> you absolutely believe these characters had an internal life. they felt like being a toy was a job that they were proud of, that was just a brilliant premise. and it was executed perfectly. ♪ somewhere deep inside of these bones ♪ ♪ an empty ♪ >> there's something so beautiful about bringing inanimate objects to life. drawn animation is the same kind of thing, but there's something about stop motion that is just so beautiful and strong. ♪ what's this ♪ ♪ what's this ♪ ♪ there's powder everywhere ♪ ♪ i must be dreaming ♪ ♪ wake up jack ♪ ♪ this isn't fair ♪ ♪ what's this ♪ >> tim burton has managed to take the most macabre things and make them so fun and so heartbreaking. and beautiful. no one has that as tettic.

you don't have to wonder for ten seconds if it's a tim burton film. >> i have a present for you. >> "edward scissorhands" is kind of frankenstein story. >> tim brought the character to life through a concept drawing. i've seen tim draw a character with two strokes of a brush and you knew who they were. >> dad, look. >> i'll be darn. >> with tim and his characters, there's always a real connection with him and johnny depp. >> there's kind of a way of speaking without speaking and communicating, which is why he was edward scissorhands. goes back to silent movies,

where people communicate with their eyes. i feel some connection to him or winona ryder. there's something about the intensity of the gaze. it's acting. >> we're going to be working together? really? worst film you ever saw? well, my next one will be better. hello? >> "ed wood" is such a sweet movie. it's not cloying. it's just completely cool and crazy. >> he's a monster. can you imagine what that guy would look like in a movie? >> johnny depp plays a real life character, ed wood, who is famously known as the worst film director of all time. his character is so perfect. you just love him for his enthusiasm. >> all right, friends. prepare for scene 32. >> mr. wood? where's the cockpit, sir? >> you're standing in it. places. >> ed wood, when he was making

it, he thought he was making "star wars." you think it's going to be the greatest, most amazing thing. >> ed wood was not made as a joke. it was lovingly made in appreciation of what that guy had done. >> these actors and artists, they really love their craft and that kind of weird sort of sense of family you get in film. this felt very close to me. it just felt like my own life. bunch of weirdos making a movie. >> this is the one. this is the one i'll be remembered for. ♪hey♪ ♪ ♪are you ready for me♪ ♪are you ready♪ ♪are you ready♪

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♪ go! go home! bad wolf. >> when you think of the '90s, you do think of actors in the director's chair. you think of kevin costner, you think of jodi foster, you think of mel gibson. and you think of clint eastwood, who finally gets his due in the '90s. >> "unforgiven" is a miraculous film in many ways. the legacy in eastwood's case of all the spaghetti westerns and the westerns and the "dirty harry" films is landed on this moment of frailty.

>> did pa used to kill folks? >> my agent called, said, clint eastwood has made an offer. clint eastwood eastwood? yes. you'll be his partner in this western. well shucks. tell him i'll think about it. ha ha ha. i remember, there was three men you shot, not two. >> well, i ain't like that no more, ned. i ain't no killing fool. >> clint eastwood and morgan freeman, who have been professional killers and are sick of violence, they don't want to do it anymore, but they get dragged back into it. >> i killed women and children. killed just about everything that walks or crawled at one time or another. and i'm here to kill you, little bill. for what you did to ned. >> clint is maybe the best director i've ever worked with. i love the way he does it. he's quick. he's decisive.

just beautiful. >> there are directors in this period like michael mann who are the rebels within the studio system. the guys that are just doing it directly. >> what am i doing? i'm talking to an empty telephone. >> i don't understand. >> because there was a dead man on the other end of this [ bleep ] line. >> he provides us an opportunity to finally see robert de niro and al pacino on screen together doing a scene together. >> what do you say i buy you a cup of coffee? >> the scene in the diner, all three of us, bobby, al and myself, we knew it was the nexus of the whole faiilm. >> busted back, and you -- >> you must have worked some crews. >> i worked all kinds. >> it's one of my favorite scenes between these two guys.

they finally come together. and i think we did a good job with it. i do what i do best. i take scores. you do what you do best, try to stop guys like me. >> they are not taking their eyes off each other. it's almost reflexive. >> i will not hesitate. not for a second. >> people want to see great actors telling you the truth. guys like michael mann would punch you in the gut. they would make a movie counter to everything else. >> you want your own wife kidnapped? >> yeah. >> i think "fargo" is a perfect movie in every way. the screenplay is perfect. the execution of it is perfect. the performances are absolutely perfect. >> oh, geez. >> it was written for me. i got very excited. they said joel came home from work and started working on something, there's a part for you. we got a shooting. these folks drive by. there's a high speed pursuit,

ends here. and then it's execution type deep. joel and ethan's scripts are publishable works of literature. the scene in "fargo" where marriage is interrogating the two strippers. >> hey, said they they were going the twin cities? >> yeah? >> yeah. >> is that useful to you? >> yeah. >> yeah. >> yeah. >> it was punctuated and written in the rhythm that we played it. and it's -- it's beautiful. >> and the oscar goes to -- >> ethan and joel coen, "fargo. ". >> "fargo" was really embraced at the academy awards. what do they do? they do something completely different. >> sometimes there's a man -- well, he's the man, for his time and place. >> "the big lebowski."

one of my favorite stories is how long it took jeff bridges to agree to do it. joel and ethan wrote it for him, sent it to him. it's great. not sure if i can do this. i just remember them thinking -- how -- how could he not? and obviously he came to that conclusion himself. >> wait, let me explain something to you. i am not mr. lebowski. you're mr. lebowski. i'm the dude. so, that's what you call me, you know? that or his dudeness or duder or, you know, el duderino, if you're not into the whole brevity thing. >> it's the only time in my life where i haven't been able to look an actor in the eye, because he was so funny. >> jeffrey. >> maud? >> love me. >> that's my robe. >> "big lebowski" is the most quotable movie of my generation. >> that rug really tied the room

together, did it not? >> the coen brothers are subversive filmmakers. they're revolutionary bomb throwers, but you are kind of pleased that the bomb landed on your front porch. >> they've kept control of their films from the beginning. in a way that allowed them to really explore any genre that they wanted to go into. and i think by exploring the genre, they subverted it. >> filmmaker. >> really? >> yeah. i make adult films. >> where i grew up was the porno capital of the world, so, i would know what a regular film shoot would look like and then i would know the difference, because if it were a van. that's where "boogie nights" came from. funny enough. >> who is dirk diggler? >> that's a new kid at the club. >> good name. >> when i got paul's script, i

called my agent, i said, are you punking me? it was an x-rated script. they said, it's going to be r. i said, no. th no way. i'm in. >> in used to argue with paul, amber should die. she can't die. she would, she probably would. i don't know if she would have survived all of that. >> are you my mom? >> yes, honey. yes. >> she kind of assumes the m mantle of parenting in this world. i mean, she's not actually taking care of them, she's play acting. what we're talking about then is coming to an agreement on the custody of andrew. >> yes. >> the thing that i really love about the scene as she's fighting for custody, the judge says, have you been arrested? >> when was the last time you were arrested and what was the charge?

>> you cut to outside and amber's sobbing, because that's just it. she's somebody who is not responsible enough to parent. >> you don't have to be interested in pornography to be interested in broken people. they've been rejected by their family, they don't have a family. the moral center of the movie is about all these broken humans trying to make themselves whole. by finding a stitched together family when they don't have an actual family of their own. >> paul thomas anderson has never made the same movie twice. whenever you see a paul thomas anderson movie, like stanley cube rick, you know it's a paul thomas anderson movie. i'm not sure there's more of a compliment. >> oh, come on, frank. what are you doing? >> what am i doing? >> yeah.

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♪ "the piano" was ravishing and also uncompromising. it's a really visceral movie.

you feel the weight of the fabric, the dampness of the air and the moss. and it's so inherently jane. >> jane is a filmmaker from new zealand who shot this very intimate movie in her home country starring holly hunter, harvey keitel and a very young anna pack win. >> it was kind of diintimacy th jane pulled us into as an audience. she has a voice not to be denied. >> it's my mother's piano. >> it's an extraordinary performance in a film. and also holly is a very accomplished pianist. it's within of those perfect roles for the perfect actor. >> this movie established jane campion. she won at cannes and became the second woman to be nominated for

an oscar for directing. >> your father's been wounded. >> the '90s was the best time for women directors. they infused a kind of sensibility that made it really enjoyable. you were hanging out with other filmmakers, saying wow, how many movies can i make? how many women can i work with? >> you still haven't figured out what riding waves is all about, have you? it's a state of mind. >> they don't want to be acknowledged as a female director. i fought my whole career to be acknowledged as a filmmaker, not a black filmmaker. i'm sure a lot of them women are saying, don't call me a female director. i'm a director. >> i'm a bad therapist. do you hear me? i am a bad therapist. i'm making these people worse. >> walking and talking was inspired by the time my best friend was getting married. >> so fake-looking. it looks like a barbie ring, frank.

>> they were a perfect match. i loved them both. but i felt very lonely. >> it's not fake. frank gave it to me. >> i thought that was funny. >> we're engaged. >> yeah. >> we're going to get married. >> whoa! >> i think of her comedies as comedies of embarrassment. her characters want to be better people, but they're just not. >> are you crazy? i had sex with you two weeks ago and now you're asking me why i haven't rented lately? >> i don't know, i didn't know what to say. >> i just don't know anyone who is better at setting up that kind of situation that makes us all squirm because they're so human. >> i don't know why dion's going out with a high school boy. they're like dogs. you have to clean them and feed them. they're like these nervous creatures that jump and slobber all over you. ew. get off of me. as if! >> when i was writing "clueless"

i hung around beverly hills high school a lot. there was a teacher there that taught debate and he let me hang out in his class, so, you heard it. >> in conclusion, may i please remind you that it does not say rsvp on the statue of liberty. thank you very much. >> amy is giving these girls their own vocabulary. >> hello? it was his 50th birthday. >> whatever. >> oh, my god, i'm totally bugging. >> they're changing the lexicon of teen girls all over the world. >> do you have any idea what you're talking about? >> no. why, do i sound like i do? >> even though cher is this perfect, fantastic, aspiration al creation, amy sees her as a real girl. >> can i just see the beginning again? >> in "a league of their own," penny marshall looks at the role of women, the changing role of women in world war ii. >> girls can't play ball!

>> batting fifth and playing -- >> men were fighting on the battlefields, but there was still a hunger for professional baseball. "a league of their own" is about women baseball players. it's iconic and the lines are iconic and the performances are iconic. >> i told them it was their patriotic duty to get out of the kitchen and go to work and now when the men come back, we'll send them back to the kitchen. >> what should we do, send th r their kitchen? >> it was a movie about female empowerment, how powerful women are when they unite. and how many stories we still have to tell. >> she's under it. what did she do?s just a cold. if you have high blood pressure, a cold is not just a cold. coricidin is the #1 doctor recommended

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i love the original "terminator," but the sequel

blew it out of the water, as far as i was concerned. that chase in the l.a. river with that truck and, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it's okay, mom. he's here to help. it's okay. >> it's got heady ideas about time travel and about the space-time continuum, all that fancy stuff. but it is also a story about being relentless, and jim as a filmmaker is relentless. >> when james cameron got to t2, he was interested in expanding his palette, particularly to include these new digital tools. it was wildly groundbreaking. cameron was working with industrial light and magic.

and they were really kind of inventing this process of cgi as they went. >> when you first heard that stephen spielberg would be making a movie about a place where dinosaurs were brought back to life, your first response would be -- i can't wait to see that. >> where's the goat? >> amazing just how long it takes before the t-rex comes out. he makes you wait for it. and wait for it. and wait for it. i don't know what a dinosaur really looks like in real life.

i think it looks like "jurassic park." >> he was right all the time. >> what steven spielberg understands is that dinosaurs are awesome. >> but it was the same feeling that had as a 7-year-old watching "jaws" for the first time, when you would see them leap up and eat the leaves off the trees. >> we're going to make a fortune with this place. >> i mean, that's what spielberg does as a filmmaker, he makes you go -- ah. >> a lot of the enthusiasm for cgi comes from filmmakers seeing in "jurassic park" what that technology could do for their story telling.

>> "titanic" is a throwback in so many ways to the big blockbusters of the '50s and '60s. not just in its scope and in its scale, but also that it was talked about in the way that we talked about "cleopatra." we're putting everything we have into this giant boat and is it going to sink? >> the budget at that point hit a thin, unheard of, $200 million. >> leo dicaprio had done "what's eating gilbert grape" and his "romeo and juliet" had not come out yet. there was some nervousnesse, ca he do this thing? >> the studio thought they were in terrible, terrible trouble. it was going to be an enormous disaster and it turned out to be the biggest movie of all time. >> i'm the king of the world! >> titanic really had eve everything. it was an epic, old fashioned movie.

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

>> whoa. >> "the matrix" changes everything. you have the embrace of eastern cinema into western cannon. and you've got them making their actors do the stunts themselves. ♪ kiaeanu reeves had done "speed" and "point break" but this is a different level of action star. this was six months of training that every actor had to go through. one of the things that you get when you're having the actors do their own stunts, you can film closeups of the face while a punch is being taken, while a punch is being thrown. the action itself becomes storytelling.

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i want to tell you my secret now. >> okay.

>> i see dead people. >> i remember in '99, everyone i knew, everyone in our crowd, was working on something that felt exciting and felt like it had a generational voice in it. >> i'm scared to close my eyes. i'm scared to open them. >> it was very clear that something was in the water that year. ♪ here i come to save the day ♪ >> it felt like the final exam for the 20th century. it's like, the bell's about to ring, everybody's trying to get their good thing in before the century ends. >> you have this really interesting combination of young filmmakers swinging for the fences and showing people what they could do, as well as more established figures like michael mann with "the insider" just finding a new gear. >> i have to put my family's welfare on the line, my friend, and what are you putting up? you're putting up words. >> words. while you've been dicking around some [ bleep ] company golf tournaments, i've been out in the world giving my word and

backing it up with action. >> i'd stack '99 up against any year in american filmmaking in terms of a real cohort of great filmmakers dropping really significant work. >> hey, mr. mccallister. >> not wasting any time, are you, tracy? >> you know what they say about the early bird. >> yeah, i do. >> "election" is the second movie of alexander payne. it's about this high school student council election in omaha. reese witherspoon's tracy flick, she is someone you almost want to root for because of her passion and her drive. yet also, she has a little too much ambition. >> they know this country was built by people just like me who work very hard and don't have everything handed to them on a silver spoon. >> what's brilliant about "election" is that you're getting voice-over from three or four different perspectives. >> who knew how high she would climb in life? how many people would suffer because of her? i had to stop her. >> alexander payne made a very american movie. and the performances in

"election" of matthew broderick and reese witherspoon, terrific. >> looks like you could use a cupcake. >> it's a remarkable film. >> who are you? >> "boys don't cry" is based on a true story about brandon tina, a young man who was a trans man living in a small community. he fell in love with a woman. they had a relationship. and other people discovered that this was a trans man and not a cis man and sexually assaulted and murdered him. >> "boys don't cry," just a phenomenal movie. no studio would have made that movie. it was a game changer in terms of american cinema, in terms of what was made before and what was made afterwards. >> 1999 was just such a great year in independent cinema. you look at that lineup of films from "virgin suicides" to "three kings" to "being john malkovich." >> there's a tiny door in my

office, maxine, it's a portal. and it takes you inside john malkovich. you see the world through john malkovich's eyes. be then after about 15 minutes, you're spit out into a ditch on the side of the new jersey turnpike. >> "being john malkovich," it's a great combination. spike jonze, charlie kaufman. they kind of remind people that movies can be so much more. >> what happens when a man goes through his own portal? >> we'll see. >> it's a metafictional dive into literally the brain of john malkovich, who is in the movie playing himself. >> malkovich, malkovich! ♪ malkovich malkovich ♪ >> it's one of those movies that's impossible to describe, and it just sounds like you're piling one absurdity upon another. but it somehow all coheres into this crazy and beautiful film. >> i want you to do me a favor. >> yeah, sure. >> i want you to hit me as hard as you can.

>> what? >> i want you to hit me as hard as you can. >> sometimes a piece of material finds a filmmaker who is uniquely possessed of the chops to do it right. "fight club" -- it's hard to imagine anybody who had a better dna than him for that film. >> the first rule of fight club is, you do not talk about fight club. the second rule of fight club is, you do not talk about fight club. >> we were doing the kind of film we'd all hoped to do. >> trust me. everything's going to be fine. >> i felt "fight club" could be one of those things that becomes a marker for the way we felt at a certain time. it connected right where we wanted it to connect, and it's still growing. and that's exciting. that's kind of -- for me, that's the highest aspiration.

>> in the '90s you get these trends and these moments that are going to carry on for the next few decades. you have this moment of really promising black filmmakers who are coming up. you have women's voices coming more to the forefront, in that they're writing films and in cases directing films. you're getting big blockbusters, as hollywood will always have. it sort of lays the groundwork for what we're going to see for the next 20 years. >> you want answers? >> i think i'm entitled. >> you want answers? >> i want the truth! >> you can't handle the truth! ♪ ♪