>> 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! ♪ ♪

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪

♪ ♪ with "gladiator," a producer came into my office and said, listen, i want you to look at this first before you even read anything. and he showed me this painting. it was the corner of clearly the colosseum, so you've got someone standing over a slave who's about together killed.

he's looking up for permission at a guy who is clearly nero, who is doing that, in other words, kill him. and i said, i'll do it. he said, you haven't read the script. i said, i don't care, i think we can get this right, let's do it. >> are you not entertained? are you not entertained? is this not why you are here? >> i must have had half a dozen phone calls with ridley about russell. thought that he was a really raw talent who was, i think, just discovering the power he had. >> slave, you will remove your helmet and tell me your name. >> he's marvelous. russell's big thing is that heart he has in his voice.

>> my name is maximus decimus meridius, commander of the armies of the north, loyal servant to the true emperor, marcus aurelius, father to a murdered son, husband to a murdered wife. and i will have my vengeance, in this life or the next. >> he's a character actor, and that's what he loves is to fully create a character. >> i'm not a soldier. >> worthless, discarded. >> there's no mission. >> then while you rock and drool, the world will burn to ashes. >> you are not real. you are not real. >> you're still talking to me, soldier. there's no mission. >> he finds himself within those characters, and he embodies them in ways that make you lose yourself in that world. so he's really helping the director to create and transport beyond his own status and presence.

>> there's two things that aggravate me, mr. masry. being ignored and being lied to. >> i never lied. >> you told me things would be fine. they're not. i trusted you. >> i'm sorry about that. >> i don't need pity. i need a paycheck. and i've looked. but when you've spent the past six years raising babies, it's real hard to convince someone to give you a job that pays worth a damn. are you getting every word of this down, honey, or am i talking too fast for you? >> "erin brockovich" is a true story starring julia roberts about a paralegal gathering up clients for a class action lawsuit against a company that was poisoning the water in a community and then lying about it. >> we're going to get them, erin, aren't we? you got to promise me that we're going to get them. >> to get to be in the orbit of steven soderbergh and just feeling like you had found your person, like we just came together at the right time with the right material, and one of his great talents is casting people.

aaron eckhardt and albert finney. >> you're erratic. you say any goddamn thing that comes into your head. you make this personal, and it isn't. >> not personal? that is my work, my sweat, my time away from my kids. if that's not personal, i don't know what is. >> it's a complex, layered performance. it's a thoughtful performance. it's a purposeful performance. you got all of julia roberts in this film. >> and the oscar goes to julia roberts. >> the oscars, what does it mean? i don't know. do we want them? of course we do. it's this great piece of recognition that will stand the test of time, and it's a really special moment. >> i love it up here. >> steven soderbergh and george clooney sent me the script for "ocean's eleven" that came with a $20 a bill and said, we hear you get 20 a picture, so they

were paying me in advance. >> you're not wearing your ring. >> i sold it. i don't have a husband, or didn't you get the papers? >> my last day inside. >> i told you i'd write. >> george clooney is the one that convinced his friends to be his fellow cast members, and it was just fun. there's something very special about seeing this kind of star power, this charisma on-screen. >> what, did you guys get a group rate or something? >> stars become, for a while, the most dependable element in movies, which is why their salaries go up, and it also changes the whole context of movies because the power balance in movies changes. >> i'm fine. i'm cool. i'm good. >> it changes from an industry that at first was studio driven and then was director driven, to an industry that is star driven.

>> i have made fire. i have made fire! >> by changing the balance, it changes the kind of movies we get, ones that ultimately centralize the star. >> today's a training day, officer hoyt. i'll show you around, give you a taste of the business. you know? i've got 38 cases pending trial, 63 in active investigation. another 250 on the log i can't clear. i supervise five officers. that's five different personalities, five sets of problems. you can be number six if you act right. >> "training day" is an otherwise small film without denzel's presence. and the energy that denzel brings to that alonzo character makes him really hard to take your eyes off of. >> 1149, 998, shots fired. officer down. repeat, officer down, 5951 baxter street. >> congratulations, son.

you're going to get a medal of valor for this. >> i didn't shoot him. >> a room full of cops said you didn't. >> but i didn't. >> you did. >> every scene i did with him from that first day was the reason why i want to make movies. i was just so into watching these two guys' performance that i forgot to yell cut sometimes, and they would keep going. >> player to player, pimp to pimp, i'm letting you shoot me, nigger. >> don't do it. don't do it. >> i don't believe you got it in you. >> there was a scene where they got in a fight, and denzel put the cigarette down. he picked it back up, and i was about to yell cut because the scene was over, and he kept going. he lit it, and i saw it in his eyes. on the lens. it was a long lens, and i could see something happening. he was just on fire, man. >> i'm the man up in this space. you'll never see the light of [ bleep ]. who the [ bleep ] do you think

you [ bleep ] with? i'm the police. i run shit here. you just live here. yeah, that's right. you better walk away. go ahead and walk away because i'm going to burn this mother [ bleep ] down. king kong ain't got shit on me. >> denzel is a gift to us. watching him in the movies is one of my joys. >> from the bottom of my heart, i thank you all. 40 years i've been chasing sidney. they give it to me. what do they do? they give it to him the same night. >> the 2002 academy awards is important because you have denzel washington winning best actor, halle berry winning for "monster's ball," and also sidney poitier getting a lifetime achievement award. >> in the first 73 years of history of the oscars, only one african american had ever been named best actor or actress, and now after last night, the number is three.

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>> all i have to do is listen. that's what lester banks said. >> i know this is a hobby. >> i really loved playing elaine miller in "almost famous" with cameron crow. he wrote it. it was basically a love letter to his mother. >> don't take drugs. >> it's about my childhood growing up in a family where rock 'n' roll was deeply suspect. ♪ >> he was thrust as a young boy into this world of rock stars and groupies on the road. >> ladies and gentlemen! >> seeing the freedom and the heartbreak that comes along with that freedom was really exquisite. ♪ where i'll end up i think only god really knows ♪ >> there are two scenes. there's penny lane dancing, the cat stevens song. the floor of the empty arena. that felt like the soul of the

movie. also the scene where they're on the bus singing "tiny dancer" as a way of kind of bringing the band back together. ♪ hold me closer tiny dancer ♪ >> i have to go home. ♪ count the headlights on the highway ♪ >> you are home. >> what i love about cameron is that he is a deeply devoted fan of film, and the best of his films are because of the way he studied them and the love that he has for the craft. and i think "almost famous" is his best example of that. ♪ there was a boy, a very strange and jaunted boy ♪ >> baz luhrmann's "moulin rouge," awesome. awesome movie. everything about that movie is perfect.

♪ >> at the time when "moulin rouge" came out, nobody wanted to make musicals. it was such a trailblazer as far as how musicals were shot and also the type of music that was used in it. ♪ >> every song in "moulin rouge," it wasn't like i got my favorite record collection together and went, here's a catalog of songs, let's find a narrative. ♪ the french are glad ♪ >> the musical numbers are, in fact, that particularly difficult craft of not being a poem, which is what most pop music is, but actually they're linear. they're telling story. ♪ a kiss on the hand ♪

♪ diamonds ar girl's best friend ♪ >> there had to be a degree of challenge in the rhythm of it. we had to kind of smash the door in or really get in your face about the music. ♪ roxanne ♪ ♪ where does my heart lie ♪ >> we had to say, are you going to accept the contract and come with us or not? ♪ believe me when i say ♪ >> musicals are cyclical like many other genres, and i think "moulin rouge" opened up the possibility for musical cinema again. >> five, six, seven, eight. ♪ >> when "chicago" originally opened on broadway in the '70s, people thought that bob fossty's vision of the world was too dark and cynical. but by the dawn of the 21st century, he was right on it.

♪ to do that jazz ♪ >> let's go, baby. >> "chicago" was thought to be unfilmable. people had been trying to make an adaptation for years. and what rob marshall was able to do to make the musical numbers in roxy's mind, the idea that she was a character envisioning musical numbers, was brilliant. ♪ he had it comin', he had it comin' ♪ ♪ he only had himself to blame ♪ ♪ if you'd have been there, if you'd have seen it ♪ ♪ i bet you would have done the same ♪ >> i'm a firm believer that the time is always right for a great musical. ♪ and you, and you, and you are gonna love me ♪ >> when you see things like that working in the marketplace. ♪ you are the dancing queen ♪

>> and audiences having a real interest in them, it certainly emboldens filmmakers to come along with their own musical ideas. ♪ ♪ >> animation took a real pivot at a certain point. >> now, tell me, where are the others? >> eat me. >> filmmakers figured out you could broaden the audience from three to 80. no one's left out. >> i'm telling you, big daddy, you're going to be seeing this face on tv a lot more often. >> yeah? like on metropolis' most wanted? >> you've been jealous of my good looks since the fourth grade, pal. >> have a good day, sweetie. >> you too, hon. >> i'm the dope who turned down "toy story," so when pixar called about the next film, i went, i'll do it.

i could hear the laughter on the other side. >> hey, thanks a lot. i'll be here all week. remember, tip your waitresses. >> pixar films are exceptionally sophisticated, not only in terms of visuals but in terms of script, in terms of humor in terms of characterization. >> wally! wally! aww! >> no one does it as consistently as pixar. they work miracles almost every time out. >> "incredibles" was pixar's first pg-rated computer animated film, and it was considered a risky thing. it's an action film but people assume because he's animated, it's a certain kind of film. that tells me the media needs to bust out a little bit more. >> brad's characters are real and accessible, and i think that

was new with "the incredibles." it was the polarity of what's mundane and what's heroic being slammed up against each other. >> which exit do i take? >> traction avenue. >> that will take me downtown. i take 7, don't i? >> don't take 7! >> pixar is, to me, the best because they will dare to be really real. look at the opening of "up." it's a beautifully poetic sequence and sets the table for the movie to come. it begins very cheerfully and then goes somewhere incredibly sad. >> the capturing of that relationship from, you know, beginning to end, it gets everything. it makes you cry, and it gives you the sense of loss in a way that's so powerful. >> and this was the opening of the movie. i was coming in here to laugh,

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♪ do you live here? >> look, mister. i'm going to dial 911, and you are not going to move. zoey, hand me the phone. >> no, you don't understand. i'm a friend of your daughter's.

>> yeah, i don't think so. my daughter is in the city, and you like wandered in here high on ecstasy? >> honestly, if you just -- >> stay there. i was in the israeli army. i can break you in half. >> nancy meyers invented a kind of filmmaking that is glossy, that's fun, that's romantic, and that acknowledges the lives of the women who are watching the movies. >> why is it that you broads want all or nothing? >> i don't know. we're just goofy when it comes to love. >> her movies are really fantasy movies. they're just the fantasies of different people. >> someone's having a party tonight. >> oh, yeah. >> usually women, usually of a certain age, and their fantasies are ones we don't often get to see on the big screen. >> no, you're not. >> oh, yes, i am. i am having an affair with agnes adler's husband.

>> you have traditionally masculine males who actually listen to and learn from their female counterparts. >> no, see? too much. >> okay. good note. >> that's an irresistible message to the female audience. >> on my wedding night, my mother, she said to me, greek women, we may be lambs in the kitchen, but we are tigers in the bedroom. >> eww, please let that be the end of your speech. >> what is going on here? why isn't anybody ready? the photographer's here. >> the genesis of "my big fat greek wedding" is that i grew up so surrounded by love and opinions and aunts with mustaches telling me when i should get married and when i should have a baby. at the time it was so annoying. then i realized, i could write a story out of this. >> here, eat some rice.

>> i don't want -- i'm good, i'm good. >> no i'm good. i could snap you like a chicken. >> i thought we would be shown in greek church basements, and then i couldn't believe we got released in theaters. >> everyone, this is ian. >> ian! >> they're calling it the little movie that could. "my big fat greek wedding" has been a big fat hit at the box office this summer. >> opa! >> it was the top-grossing romantic comedy and independent film of all time. >> oh, you're so beautiful. >> she was able to turn her charming one-woman show into a global phenomenon. i mean, what's not to aspire to if you write romantic comedies and movies about women? >> can you keep a secret? i'm trying to organize a prison break. i'm looking for like an accomplice. we'd have to first get out of this bar, then the hotel, then the city, and then the country. are you in, or are you out? >> i'm in.

>> "lost in translation" is sofia coppola's second film after "the virgin suicides," and it's beautiful. >> in "lost in translation" she tells a story that's so distilled and so personal, and so universal at the same time, of the lonely woman missing her husband in the hotel and this extraordinary friendship that she strikes up with the character played by bill murray. >> for relaxing times, make it suntory time. >> bill murray had given us a clue as to his dramatic side. you started seeing that side of him more. he is playing a celebrity. he is playing a well-known movie actor but one who is sort of dead inside. and this friendship that he strikes up with this younger woman brings him back to life in a way. >> i don't want to leave. >> so don't. stay here with me. we'll start a jazz band.

>> that movie and his performance in particular, i was very relieved to see a comedian doing that. when you actually get more out of the human being that is a comedian, it's fascinating. >> my name is joel barish, and i'm here to race clementine kruczynski. >> jim carey in "eternal sunshine of the spotless mind," he was great in that film because he's a great comedian and a great star. he has every conceivable tool that actors have, and he knows how to use each one at their own right level. >> i want to call it off. can you hear me? i don't want this anymore. i want to call it off. >> charlie kaufman is one of those writers at his strongest when he's working with the right director. i feel like when he and michel gondry get together, that's when you really see what he can do. >> look where we are. >> "eternal sunshine of the spotless mind" makes you feel

good about hollywood, makes you feel that it's not always the lowest common denominator that sometimes something really unusual and smart can stand out. >> bye, joel. >> i love you. >> meet me in montauk. >> it's a film that believes in love, fights the naivete of believing in love, then at the end comes to this resolution where maybe true romance is agreeing that your relationship's going to be difficult. >> ennis. >> your folks stopped at ennis? >> delmar. >> nice to know you, ennis delmar. >> when i first read the story "brokeback mountain," i knew it was powerful. i felt that it would upend many people's view of two young men being in love and the constraints and the challenges that they would have. >> this is a one-shot thing we've got going on here.

>> it's nobody's business but ours. >> you know i ain't queer. >> me neither. >> a lot of the gay movies up to that point were either kind of cult movies that existed in this gay universe that made gay people seem weird or evil or suspect or kinky. and "brokeback mountain" was one of the first movies that felt like a mainstream hollywood romance. >> i've got to go. >> i was so frustrated they kept calling it the gay cowboy movie. it was not that. it was this haunting, beautiful, tragic love story of two men who are essentially just trying to exist. >> it's heartbreaking before you even get to the end because you're rooting for them, and

jack seems to be willing to try in a way that ennis delmar just can't. >> i wish i knew how to quit you. >> why don't you -- why don't you just let me be, huh? >> people ask me all the time, what was the theme of "brokeback"? i said it's summed up in one word, and that word is compassion. whatever their beliefs were, i wanted people to come away from that experience feeling that it had shifted them emotionally somehow but they weren't quite sure how. i wanted them to be deeply affected by it the way i was affected by it. it's the subway series menu. 12 irresistible subs. the most epic sandwich roster ever created.

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♪ "there will be blood" is my favorite p.t. anderson film, and daniel plainview played by daniel day-lewis is a character

i still can't wash off. i can't -- there's not enough soap to wash off the memory of that character. >> i think paul thomas anderson is one of america's finest filmmakers. all the films that he's made bring you into a world that is utterly unique with characters who are repellent and really attractive all at the same time. >> you look like a fool, don't you, dilford? >> yes. >> yes. yes, you do. >> we already knew daniel day-lewis was a phenomenal actor, but daniel day-lewis and paul thomas anderson together, it's pretty perfect. >> the great thing with daniel, especially in that film, is that it's intense, but it's also really fun.

it's mischievous fun and, you know, that was a great part for that kind of devilish mischievous to come out. >> i drink your milkshake. i drink it up. >> don't bully me, daniel. >> with him, i saw a person working another way. once he was in character and people always say, he stays in character. it's kind of a mythology. well, it's easier, maybe not for the actor, but it's easier for me. it's not the actor, it's this character. i'm talking to bill the butcher. >> somebody steals from me, i cut off his hands. he offends me, i cut out his tongue. he rises against me, i cut off his head, stick it on a pike, raise it high up so all in the streets can see. that's what preserves the order of things. >> daniel, once i saw him work that way, there was an intensity there that was very delicate.

>> i am the president of the united states of america clothed in immense power. you will procure me these votes. >> he just was a miracle as abraham lincoln. i'm so honored that he finally said yes after my pursuing him for ten years. daniel's one of the greatest actors who ever acted in front of a camera. >> it's a mess, ain't it, sheriff? >> if it ain't, it will do till the mess gets here. >> "no country for old men" is based on a cormack mccarthy novel. it's set in a border community. josh brolin plays a freelance ranch hand who finds this suitcase of money in the aftermath of a drug deal that has gone awry. >> what's in the satchel? >> it's full of money. >> that will be the day. where did you get the pistol? >> at the gettin' place. >> cormac had visualized it as a film.

i think it's an extraordinary collaboration between a novelist and filmmakers. >> it's just a beautiful film from start to finish, but it's the way they wrote their villain that really makes it, i think, the best movie of the 21st century. i mean, i still think about him flipping the coin at the gas station. >> you know what date is on this coin? >> no. >> 1958. it's been traveling 22 years to get here, and now it's here. and it's either heads or tails. and you have to call it. >> look, i need to know what i stand to win. >> everything. >> how's that? >> you stand to win everything. call it. >> all right. heads, then. >> well done.

>> the cohn brothers are incredibly evocative because they're purposefully, i think, trying to bust up a norm. their "true grit" is an absolutely perfect motion picture. >> trying those cheap shells on me again. >> i thought you were going to say the sun was in your eyes. that is to say, your eye. >> you've got filmmakers who begin in the late '80s or '90s who are just determined to always make the movies they want to make. as much as studios gain control and as much as money becomes the coin of the realm, the spirit of the 1970s, the idea that the filmmaker could still be the one in charge will continue to sustain itself through the work that they do. >> royal tennenbaum bought the house on archer avenue in the winter of his 35th year. >> a wes anderson movie is meticulously composed, beautifully designed and curated

down to the last detail, and tends to take place in a world that's almost a bubble, that's sort of siloed off from the outside world. >> let me ask you something. why would be a review make the point of saying someone is not a genius? you think i'm especially not a genius? you didn't even have to think a minute, did you? >> real originality in filmmakers is pretty rare, and i think wes had it literally from inception. >> what's all this lumber for? >> we're building a tree house. >> where? >> right here. >> there is a level of invention in his stories that feels incredibly generous. you go, where does he come up with these ideas, these little details that fill out this whole universe? it almost feels like a compulsive quality. >> compliments of herr mengele. >> it's both inspiring and a little intimidating as a screenwriter, because it's so rich in its invention. >> each and every man under my command owes me 100 nazi scalps, and i want my scalps.

and all y'all will get me 100 nazi scalps taken from the heads of 100 dead nazis, or you will die trying. >> nein, nein, nein! >> quentin tarantino, there is just stuff in all his screenplays, like "inglourious basterds," that extrapolate on things that should not land as cleanly as they do. >> tarantino in the 2000s is giving us the ending to the story that we wish history had given us with "inglourious basterds" and "django unchained." the bad guys in history lose. >> he had the singular ability to write these original movies that were often very violent, but they were also referencing

old movies while completely reinventing the form and making it possible for audiences to find them accessible and entertaining. and that's really hard to do. and he did it over and over and over again, continues to do it. >> django! you uppity son of a -- ♪ he's the guy who's the talk of the town ♪ hey! it's me! your dry skin!

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good luck, harry potter. >> when harry potter came out, it was right after 9/11. and, people needed to go escape to a world of wizardry and magic. >> oh look! >> welcome to hogwarts! >> there was tremendous

anticipation for this film. of course, we met with j o rowling and were very careful to run everything by her and make sure we had her blessing because she wasn't sure she wanted to make the movies at all. >> i took warner brother's word they would be very true to the book and they have been and i'm very happy. >> harry potter is this young boy who not only does he think nothing is special about him, but he is mistreated. >> there is no such thing as magic. >> and then, to find out you are actually the heir of this amazing wizarding family and you are unique and special and you have this whole destiny in front of you, that's every child fantasy. >> curious. very curious. >> the harry potter film franchise like the harry potter book franchise was something that really defined a generation.

>> welcome home. >> the design of hogwarts. the whole world building of the harry potter movies is really impressive. especially in the later movies when they had a consistent directtorial style. >> the audience gets comfort seeing it over and over again. >> flying. >> harry! >> it certainly underscored the importance of literary properties if you are faithful to the underlying source material. the audiences will embrace it. lord of the rings is one of those rare examples of a film that lives up to the hype. and lives it to it three times in a row. >> are you frightened? >> yes. >> not nearly frightened enough. i know what hunts you. >> it is one of the craziest achievements of modern film

making. the insane gamble to make these three epic, huge fantasy films all together. >> you shall not pass! >> peter jackson, an incredible visionary director. he was in charge of seven separate film units shooting the various story lines. how he kept all of that together is unbelievable. >> he could write about these amazing battles and amazing fantastical worlds. and what jackson was able to do was make that seem real in a way that you had not really seen in fantasy films before. >> my precious. >> when i met with peter and fran walsh, they said look, we want an actor to play the role of gollum so who is playing

frodo and sam will not make decisions for gollum as a character. there is a new technology called motion capture. i fell in love with it. it was a real epiphany when i was able to move as gollum and see the avatar of gollum moving in realtime with my physical performance. >> you were not so very different from a hobbit once, were you? smeagol. >> what did you call me? >> the lord of the rings trilogy is this marker of the 2000s . it is changing technology. it is introducing you to actors who are now household names and it is an epic that i don't think that we felt in culture since the original star wars films. >> master baggins. i suggest you keep up. >> if you look at the number

one box office hit from 2001 onward, with the exception of american sniper in 2014, every single one of them is a franchise film. >> welcome to the caribbean, love. >> the studio executives started seeing that is the direction we want to go. >> they are not looking for a single project. they want the next franchise. they want something that is not going to give them one hit film, but give them a series of hit films. that they can spin off. >> i think what paul greengrass did in the bourn films was reimagine the way action films have been shot. he just push it is boundaries. >> can you open the door? ethan? >> i can't get enough of the mission impossible franchise. it clearly, they have such ambition to make each one

better than the last one. >> i don't think there is any question we will look back on this at the age of franchises. comedies, you get three hanger movies. four men in black movies. >> does that come standard? >> it came with a black dude, but he kept getting pulled over. >> there is always more content to be made. >> ready? >> ready. >> steady. go! love entwined. exclusively at kay. what happens to your body language when you use dove dry spray? [laughing] it shows. try dove dry spray. our weightless formula with 1/4 moisturizers is effective and kind to skin. leaving you feeling instantly dry and confident.

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cheryl, it's cindy. remember when olive was here, she was runner up at little miss sunshine. the girl who won had to forfeit her crown. anyway, now she has a place in the state contest in rodondo beach! [ screaming ] >> little miss sunshine was the first script i wrote where i started with the ending and reverse engineered the rest of the story. >> ms. louisiana. and the new miss america. >> one day i'm sitting at home watching tv and there is footage of this little child beauty pageant. i thought wouldn't it be great

if an unconventional girl got up and busted out and rocked the house? i know that is a good ending. i know that will be a good ending. >> ♪ the boys in the band. >> everybody in the theater was laughing at the same time. and to me, there is nothing else better than that. >> ♪ the girl's all right with me. >> and only movies can do that. to get everybody in one room laughing together. it is like you are communing with the gods basically. the gods of laughter. >> yes. like you. i like sex. it's nice. >> borat is a very

interestingmockumentary. sacha baron cohen plays the character. >> my name is borat. >> good. i'm not used to that, but that's fine. >> you can't measure the impact of putting that character in a real setting where reality and fiction and comedy and drama and all these different things merge to such an original way. and, sasha as borat, that is the breakthrough performance of the modern times. he was like a method actor and had to have a lot of touch stones so he could do the performance. because, he is not acting with other actors, he is not on a set. he has to pretend he is this character. and, they have to believe it. >> we are on air right now doing the weather. >> because the second they don't believe it, the scene is over. the big part of the fun of the movie was we were robbing banks comedically. and, when we were done, the

giddiness, the exhilaration of that experience was unmatched. >> frank! >> hey, honey! hey! >> what the hell are you doing? >> we are streaking! we are going up through the quads of the gymnasium. >> who is streaking? >> there's more coming. >> frank? get in the car. >> everybody's doing it. >> now. >> okay. >> just hearing will's name puts a smile on my face. i remember him making old school and everybody got that taste of like, oh, you want to see a [bleep] genius on a movie screen? here you go, here is will ferrell. >> sorry, i can't ride with you the rest of the way up but this is where my dad works. oh, forgot to give you a hug. >> he is very aware of where the laughs are. what the rhythm of the scene is. he comes from snl. >> santa is coming to town. >> oh my god!

>> he can flow with the scene. change it. he is like a jazz musician who can improvise around it as opposed to somebody who is reading off sheet music. >> ladies and gentlemen, can i have your attention? i have just been handed an urgent and horrifying news story. and i need all of you to stop what you are doing and listen. cannon ball! >> i love anchorman so much. at that time, this was a big deal he was making a movie that was his and adam mccay's sense of humor. it was all the goofy hit he does best all wrapped in one. >> ron. where are you? >> i'm in a glass case of emotion. >> he is going to put corningstone on! he's going to put corningstone on! >> i have to do the news! >> a lot of what we think of

now as 2000s comedy is somewhere in anchor man. where you are talking about writers, directors, producers, costars, cameos. but i think apatao steered what comedy would become. >> ready? >> yeah. >> ishi ni san. >> oh, you [bleep]! oh, i'm sorry. i'm sorry. that's just your job. >> i think judd changed the landscape of comedy in the 21st century completely. >> i'm pregnant. >> [bleep] >> what? >> what? >> i'm pregnant. >> with emotion? >> his comedy infused with the heart of jim brooks but with

the outrageousness that is just going to absolutely kill. it is going to bring the house down. [ music [ singing ] >> bridesmaids come out and it is surreal. you feel as though these are real women. >> ew, you had sex with him. >> we had an adult sleepover. >> oh, did you let him sleep over in your mouth? >> annie? >> i'm sorry. >> you are unbelievable. >> he kept putting it near my face. >> they do that don't they? >> they do that. let us offer. if we don't offer. >> slap it away. >> i couldn't it. >> that scene with kristin in the beginning, i'm really proud of that one in that i feel like it does capture their chemistry. and, you understand their friendship so quickly in their

familiarity with each other. >> what is that? >> i got engaged. >> what in. >> he asked me last night. >> it showed female relationships in their entirety. in their awful unattractive some days i love you though i hate you side of female relationships and it revolutionized the idea of what could be female and what could be funny. >> you got food poisoning from that restaurant didn't you? >> no, i had the same thing she had and i feel fine. >> oh my. okay. >> oh no. >> nothing is happening. >> the poop scene, that wasn't even in the script. >> no, not the bathroom. everybody go outside! i'm serious! >> at rehearsal, judd and paul came up with the idea. what if you eat some really bad food and get sick? >> it's happening. >> up until that point, it is very rare to see women being women in a hard core comedy. and that movie is unprecedented because of it. >> it happened. it happened. >> and think how many people's

careers have been made by that movie. >> you want to get back in that restroom and not rest? >> no. i have to get back to my seat. >> yeah, you got to get back on my seat. >> melissa mccarthy got an oscar nomination for that part because she is such a force of nature. >> oh, hey, good news! good news, i found his balls! in a clear sack! shove those back up there. >> oh my god. melissa mccarthy. i mean, she is a genius. and, she is not just funny. she can do anything.

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these ideas don't get old. >> unwrap the stories behind everything we love to watch at christmas. a two-hour special event. tis the season, the holidays on screen. tomorrow at 8:00 on cnn. up ahead, was pandora. you grew up hearing about it. but i never figured i would be going there. >> with avatar, james cameron wants to bring back the spectacle of the 3d movie. and, it is geared toward the theatrical experience which i figure is part of james cameron's genius. he wants to make a movie that makes you have to see it in a theater. >> you should see your faces. >> studios were really in love with preexisting intellectual properties. avatar was an idea he had been ruminating on for a long time. it's original. and, that is a wildly risky

thing to do at that budget level. >> i remember taking my then nine-year-old son to see it and we just sat there in 3d awe. to be so immersed in that world was mind blowing. everything felt real. everything felt tangible. it felt like this world existed. >> avatar came out and became the highest grossing movie of all time for the second time in james cameron's career. and, it is interesting that at the same time, james cameron's ex-wife katherine bigelow directed a movie that couldn't have been more different. >> everything looks okay when i get down there. i will set it up. give these people something to think about. >> i want them to know if they will leave a bomb on the side of the road. >> sounds good. >> in making the hurt locker, what katherine did was essentially make a war film as

a suspense thriller. shifted the parameters of the war film so you don't get the big battle sequences. it is just the one person going into the realm of danger. >> oh boy. >> bigelow is just a master of building suspense. she is taking the violence apart to look at something deeper. what would drive these men to want to disarm bombs? and how it becomes an addiction. >> this is suicide land. >> katherine knows exactly what she wants. she is incredibly inventive. intrepid. never reckless. but, always experimenting. she is a great, great film artist. >> now in our count down to the

oscars, director kathryn bigelow is the fourth woman nominated for best director and would be the first to win the award. >> as we get toward oscar season where the big rival is james cameron's avatar, her ex- husband has made the biggest movie of all time. there is this underdog quality. and obviously, the milestone quality of bigelow being up for best director that make it is movie this unstoppable force. >> well, the time has come. kathryn bigelow. >> what's interesting about her is that she was very happy for the recognition from her peers. but then, again, she didn't want to pivot and be the poster woman for women in hollywood. not everybody wants to carry that mantle. she isn't wearing her gender on her sleeve. she is a film maker making

films. >> joseph signed over everything. if he doesn't show at trial, see, the way the deal works is y'all going to lose this place. got some place to go? >> i'll find them. >> girl, i've been look.ing. >> patience is required. but, when it works, it is absolutely where i want to be working. because i do want to tell stories from everyday life. that's the place one can do that. >> i don't know where he is at. >> winter's bone still stands as one of the best indies of that time. it gets the grand jury prize at sun dance. a great honor for a small movie by a not well known director

and got a lot of oscar nominations. >> it had a compelling presence in jennifer lawrence. this is the birth of an extraordinary career. >> i volunteer. i volunteer as tribute! >> i believe we have a volunteer! >> jennifer lawrence goes from being this fresh faced in winter's bone to becoming the face of a massive franchise in the hunger games movies. >> thank you. for your consideration. >> and then, an oscar darling with silver linings play book. >> forget i offered to help you. forget the entire [bleep] idea because that must have been [bleep] crazy because i'm so much crazier than you. >> keep your voice down. >> i'm just the crazy with a dead husband. >> shut [bleep]

up. >> she was great. i love jennifer. her character was so powerful and strong. and, she did it so well. >> now you like her, dad? >> i have to say i do. yep. >> when she wins the oscar for silver linings playbook, it makes perfect sense. she is not just a figure in the tradition of the great movie stars of the past, but somebody who is funny, and witty, and real. who it seems like can do anything she sets her mind out to do. in the projects that power our economy. from the plains to the coasts, we help americans invest for their future. and help communities thrive.

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so where are you? you are some hotel room. you wake up and you are in a motel room. there's the key. maybe it feels like the first time you have been there. but perhaps? >> memento is a fractured narrative neo noir about someone who lost their memory played by guy pierce. >> you you about my condition. >> every time i see you. >> it is a kinetic fast fun moving. an introduction to a film maker with a hell of a lot of talent. with chris nolan, you see this guy having a great time making a movie and seeing what he can

get away with. he is playing with structure and telling a tragic story and telling it through the eyes of a character we sympathize with without knowing nothing about. >> i use routine to make my life possible. me? yeah. i not a reason. >> i love chris' films. it is a rarefied air to occupy the place where you are so cinematically intelligent and popular at the same time. >> the batman films had been done a number of times. it is risky to bring back a film and make another origin story. but chris nolan came in and met with me and walked me through the entire story beat by beat and a green lit it in the room.

>> christopher nolan gave the batman story a mythical dimension. and a very gritty in the moment kind of reality. >> what? >> he knew what he was doing in casting christian bale and making it a realistic portrayal of batman where you could believe this was how a billionaire kid became the dark knight. >> good evening, ladies and gentlemen. we are tonight's entertainment. >> in the dark knight, heath ledger chose to play the joker

as a genuine psychopath. in a way that raised the stakes for the entire property. >> a fresh interpretation. i instantly kind of had something up my sleeve which happen today be exactly what chris was looking for. >> the joker has always been a somewhat ambiguous character. but what heath ledger did was make him malevolent. >> i told you. i'm a man of my word. >> there is a scene in the movie where the joker has stolen millions of dollars and just burns it all. because that's meaningless to him. he just want to create chaos. >> all you care about is money. this town deserves a better class of criminal. and i'm going to give it to them. >> heath ledger changed how villains are portrayed in superhero movies. it is a heartbreaking performance because it reminds

you of what the next 50 years would have been like for that guy as an actor on screen. >> because they legitimize the superhero movie so much, there is this ruinous effect where studios are like great, this is it. this is the backbone of the box office strategy now. for your consideration, the jericho. >> when i was hired to do ironman, i liked the idea it was an older character. that it wasn't somebody with an origin story of being an ordinary person and becoming super human. >> i will throw these in with a purchase of 500 million or more. >> he was unlikable, successful, having a crisis of conscience. and, the big thing that made it all work was the casting of robert downy jr. i think without him, we wouldn't be talking about that movie.

>> let's face it, this is not the worst thing you have caught me doing. >> anybody who is a robert downy jr. fan which i had been from is very beginning it was a no brainer. john favereau was an exciting film maker. iron man was an exciting character. they got it lined up and they got it right. >> our collaboration along with everybody who worked on iron man created a template for the tone, the sensibility and the way that the marvel universe could be reflected in an accurate way to what stanley had come up with. >> the idea of so many superheros in one movie, this has never been done before. >> the avengers had the biggest u.s. opening ever this weekend. the first movie to make $200 million in one weekend alone. >> outside of comic books where

they do that world building i don't know if there has ever been another cinematic experience that is intricately written as the marvel universe. the new stardom is the brand. marvel is arguably the biggest star in the history of movies. and, i would take that argument. and say nothing comes close. no movie star has ever come close to being as big as marvel is in motion pictures today. ♪ love entwined. exclusively at kay. my name is joshua florence, and one thing i learned being a firefighter is plan ahead.

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the best result possible. ♪ call one eight hundred, eight million ♪ look at that. these people don't know what you are capable of. >> i had been a huge admirer of alejandro's stuff and birdman was as joyous an experience of making a film as i ever hoped to have. >> i'm sorry if i'm popular, mike. >> popularity is the absolutely little cousin of prestige. >> i don't even know what that

means. >> i don't know what was in the water around mexico city, but alejandro, alfonso, guillermo del toro. that talent was unlike anything. >> it was a process we shared between each other. doing the writing process, we kept on sharing our screen plays and being brutally honest with each other. then, during shooting we were like support groups. we suffered so much, we need to talk to someone else who suffered a little bit more. >> these film makers don't come out of a void. they come out of a country with a rich cinematic tradition. so they bring a very special perspective which has evolved over a long period of time. >> pan's labyrinth took people by storm. if they weren't interested in

horror, they might not know what he was doing. he puts horror with fairy tale so it becomes an accessible mainstream movement with dark fantastical elements he has been working on for years. >> the universal monsters are cinema history. so much of what he does comes from those old movies. >> i can see the love of those monsters in his films and you can hear when he talks about it. you know, it is special. and, shape of water is like clearly his creature from the black lagoon. he is an appreciator of the old

school movie making. he never lost the 12-year-old geeky fan boy within himself. and i think that is why audiences can relate to his work so much. >> what you are seeing is the lot of directors using established genres to do something that is actually very id owe sin cattic. alfonso cueron is able to make movies like that. like gravity. spectacular. has to be seen on the big screen. but is a very intimate human movie. >> i know. we're all going to die. everybody knows that. but i'm going to die today. funny that, you know, to know. but the thing is i'm still scared. i'm really scared. >> he is a fascinating director

because he is smart. gifted. and does all kinds of films. >> what's interesting about children of men, you had all these small around person relationships in the middle of this dystopian future. >> people found it almost immediately and recognized what a powerful work it was. and now, when you talk about the best films of the 2000s it is always in that conversation. >> she is pregnant. >> it's a miracle isn't it? >> with his long time cinematographer who is known as this kind of magician of the camera, he was just able to do these things that no one had done before. i was speaking the other day with someone who is an industry professional and he had said he and several people he knew

decided to become film makers when they saw the car scene in children of men. >> we are driving the car. there are fires on the hill. the camera would move overhead. so i think for us as actors it was exciting. the camera manages to flow to where it need to be. it leaves you saying how the hell did he do that? the story telling comes first. they just compliment each other so beautifully.

>> they understand that film should be an experience usual medium. that you can feel like you are in some kind of horrible survivor story in the midst of very rugged wilderness. it pulls on your heart strings. pulls your heart out and kicks you while you are down. you are gutted. you are gutted by his films. but, you can't look away. >> jesus christ, jesus christ, what happened? >> they are these emotional personal films that really i think energize film in general.

>> alejandro. >> tonight's big winners included director alejandro inyari for the revenant. he won last year for birdman. it is the first time a doctor has won back to back oscar ins 60 years. >> these are the guys that everybody is talking about. these are the movies that are exciting people. that are really moving story telling forward. they have won best director five out of six years running. they are making a major impact on the american film series. >> i'm an immigrant many, many of you. and i think that the greatest thing that our industry does is to erase the line ins the sand. we should continue doing that. and the world chooses to make them deeper.

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12 years a slave is this really sophisticated representation of slavery which

had not always been the case. there is a very checkered history of the representation of slavery in cinema. and this film i think got it right. >> help! help me! help me! somebody help me! >> it was base on a true story of a free black man who gets kidnapped and put into slavery and it made people pay attention in a different kind of way. >> i ain't got no comfort in this life. if i can't buy mercy from you, i'll beg it. >> it's not the easiest film to watch. as no steve mcqueen movie is. he is such a great director. particularly in his ability to present it to you in this really cold reality. which i think ultimately is frightening. but that speaks to how

compelling a film steve mcqueen is able to create in terms of speaking to the horrors of slavery. >> it is rare that african american history becomes the subject of mainstream cinema. so, it is important, not just for its performances and how well crafted it is, but it is drawing our attention to black history. >> the president doesn't want us to march today. but we must march. we must stand up. we must make a massive demonstration of our moral certainty. >> the reason i think eva's achievement in selma is so special and so powerful is that she knew you could not tell dr. martin luther king jr. 's story in its entirety in a two-hour

motion picture. you instead pick a moment in their lives that speaks to the kind of person they were. >> selma does a really good job of not only humanizing martin luther king, but representing the tension around the voting rights act that maybe gets missed when people say johnson signed the civil rights act and the voting rights act which is true, but it was contentious. ♪ now you masters of war. >> black cinema actually goes in cycles. i think it is great that we are having this reurgency. but it's not the first time i have seen it. what point do we have to stop saying this is not a fluke? people want to see these stories. how many fast and the furious movies, how many straight out

of compton, when does it stop becoming a trend? that's the conversation that needs to shift. it's also the type of stories that are being told. >> give me your head. relax. i've got you. i promise you. i'm not going to let you go. hey man. i got you. >> moonlight puts barry jenkins on the map as a major film maker. it follows this character. we see him as a child. as a teenager, then as an adult dealing with what it means to be black and gay in america. and, knowing how you have to operate in a world that still denigrates you. >> waiting for you. >> it is so intimate about the character. it says so much in the subtlest ways and the littlest moments

that seem to be fleeting but become part of the baggage you carry through your entire life. >> who gets to tell these stories? that gets important. there is a sense you want women to tell the stories, you want people of color to tell their own stories. it literally is changing the complexion of hollywood. ryan kubler gets attention doing fruitvail station. about the police involved shooting of a young black man in oakland. >> oh my god. oh my god. what did you do to him? did you [bleep] kill him? what did you do to him? >> as a resident of the bay area, able to bring a certain approach and focus to these

issues because it is local, but it is also universal. >> ryan is really amazing because you go from this intimate powerful story. and, when word was getting around he wanted to do his own rocky movie. >> one step at a time. >> taking on that story and writing it and directing it, ryan managed to honor the spirit of the rocky movies. it is filled with incredible virtiousity. >> the leap this guys has made from the fruitvale station, creed, and escalates again with black panther. >> let's go! >> did you think this was a

funeral? >> it became very apparent this was going to be a game changer. >> they are attracting a frenzy around the country. >> when you are so thirsty for this representation and you get it, you glut on it. people want to see this movie over and over again. my uncle and my aunt who i don't think have been to the movie theater in 20 years were like well, we are going. fod of up to $26,000 per employee, even if you got ppp. and all it takes is eight minutes to find out. then we'll work with you to fill out your forms and submit the application. that easy. innovation refunds has helped businesses like yours claim over $1 billion in payroll tax refunds. but it's only available for a limited time. go to innovationrefunds.com to learn more.

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♪ hey, hey, come give us a hug before you go. >> hugs. come on. >> mom, hug her. that's what she's there for. >> at the time, to depict a same-sex couple with a normal, thriving family was considered -- was like shocking. >> i felt like i had a nugget of something that i was really interested in. i believed in it. i didn't know really what it was. it was not formed. it was just a concept of these two women raising these kids who are becoming teenagers, and now they could meet this sperm donor father, and what would happen if. >> i love you guys, and i love your mom. and that's the truth.

sometimes you hurt the ones you love the most. i don't know why. >> what lisa did so beautifully and tenderly was she brought something to popular culture that was wildly entertaining but really about how all marriages and all families are very much the same. >> just you should just go to city college, you know, with your work ethic. just go to city college and then to jail and then back to city college. and maybe you'd learn to pull yourself up and not expect everybody to -- ahh! >> "lady bird" is greta gerwig's feature debut. she wrote and directed it. it stars saoirse ronan and it's a semi-autobiographical story about a young woman coming of age in lovely sacramento. >> a reading from the book of genesis. >> not to put too much pressure on lady gerwig, but she's the hope. she's been this ray of light for so long as an actress and a writer, so it's only natural now that she's directing her films. >> you are so infuriating. >> please stop yelling. >> i'm not yelling.

oh, perfect. >> do you love it? >> she's a humanist, and her films are so funny. and they're cinematic. ♪ >> it's a very quintessential mother/daughter story but also feels very personal. how come there haven't been more movies like that? that's a really interesting time of life for a lot of girls, and it's been ignored. >> sean baker is a very inventive, independent filmmaker. he first was on my radar screen for his movie "tan jen reason" which he shot entirely with an iphone and which captured women in a trans community in los angeles. >> the world can be a cruel place. >> yeah, it's cruel. don't even got a penis. that's pretty damn cruel, don't you think? >> i want to tell universal stories. i want to tell stories with universal themes.

as an audience member, i feel the most satisfied when a filmmaker has taken me to a place i've never been to before. >> are you ready? >> "get out," the ultimate horror movie in my opinion. you know, what is the greatest horror in this country? racism. so now you have "get out" and you have an interracial couple going to meet her parents for the first time. >> so how long has this been going on, this -- this thang? how long? >> if you take the idea of 400 years of american racism and this constant sense of the wider culture stealing from you, of taking your food and your culture and your music, and you take that to sort of the horrible extreme, to literally inhabiting you and stealing your literal body -- >> now sink into the floor.

>> wait, wait, wait. >> sink. >> i think "get out" is effective for me anyway because i had no idea what it was about. then when i realized what it was sale, saying, and it was scaring me while it was saying it -- i thought it was the greatest directorial debut i had seen in several years. >> man, i told you not to go in that house. >> finally we are seeing a little more diversity among the people who are making the decisions about what movies to make and the people who are literally making the movies. they are telling their stories. they are telling stories that no one in hollywood could tell except for them. and the movies are going to be better for it.

audiences are already understanding that. >> there is still something about being told a story. a movie is something that's been really handcrafted. it's a mosaic that's been carefully pieced together. it just creates this opportunity to totally lose yourself. it's a little bit like entering a dream. >> it's light and shadows thrown against a wall and bounced back at audiences that don't know what they're about to receive. >> these images live in our consciousness, that stays in our minds the way music is recalled in our heads. those images replay, and we live our lives by them. >> it brings all the elements of all of our senses together. there's really nothing else like it. >> even though you're doing something incredibly personal and in many ways incredibly

selfish because you're doing something you love so much, and then it gets out there in the world, and it can change people's trajectories. >> when you can go somewhere that you can pretty much guarantee you're going to be able to set your worries aside for that period of time, it's like a drug. it's like a drug. >> it's just a direct conduit straight into your soul. >> i grew up wanting to be in the movies. it was all about the movies. >> since the dawn of man, we like to get around a fireplace and commune in story together so we can feel for a few hours that we're human together. tonight, television takes a look at itself.