named martin scorsese wasit didn't st long.ndependent he later made "goodfellas."teven spielberg, francis ford coppola, brian depalma. though their early work was not mainstream hollywood, their later work would ultimately represent what hollywood did bes with works like "e.t.," "the godfather," and "the untouchables," blockbusters. we are going to look at a band of filakers who thought they could change the world, anthey did. "the film scho generation." (whizzing of rockets) (music playing) (screams) don't try it. buddy, look, the lady obviously doesn't wa -- look, creep, you wa a knuckle sandwich? (narrator) in the beginning, however, only two things distinguished them from old hollywood. they have beards, and they almost all went to film school. (steven spielberg) i never went to film school. but when i went to royce hall one day to see a film festival of combined ucla and usc student films, that's when i first saw george lucas's work, thx 1138, and i met george that day and i realized there was an entire generation coming out of nyu, usc, ucla and i was kind of

(martin scorsese) technique was not as important as what the film had to say.music playing) (brian de palma) we really were making street movies. marty was making movies about the lower east side, the italians of the lower east side. we'd have seen all the 16-millimeter documentaries that had shown us things we'd never seen before. and in the combination of the crazy things going on in the theatre with grotowski and environmental theatre and interacting with the audiences and that strong black movement, and anti-war movement. so all this stuff was churning around in one's consciousness. (brian de palma) this whole new way of involving an audience in a kind of visceral way they'd never done before. (policeman) what's his real name? (yelling) how does he know? freeman, martin freeman. i know him. my name is zinn, murray zinn. (overlapping dialogue) c'mon, martin! aahh! aahh! aahh! and the only thing we could do was try to express ourselves on film the way people around us were doing. we'd hoped that that would lead to making films in narrative. when we were in fi

the great -- >> martin scorsese. >> martin scorsese. you had there -- >> so many people. >> rose: and the thing with dreamworks didn't work out. you and david couldn't -- what? get along? >> my regard for david geffen is extremely high. i think that david geffen is one of the greatest not only showmen but one of the greatest businessmen that have ever -- >> rose: why couldn't you make it work at paramount? >> i don't -- i can't really give you a great answer for that other than the fact that when we bought dreamworks we made what we thought was a great deal. we had, as i said no development. >> rose: so you were buying development. >> we're trying to jump start -- at that time we needed the development. and the idea was that in five years we would be able to develop all of our own over those years so we really would need to go by -- >> rose: and you'd have steven spielberg. >> steven and the distribution of d.w.a.. >> rose: and the brains of david geffen. >> and the brains of david and the artistry of steven. it's extraordinary so the d

he has been a consultant to martin scorsese on "the gangs of new york" so that you know he can do more than write books. t is a professor at new york university. you can s him. he has been a fellow at the migration policy institute. i'm not going to list all nine of his books, all of which focus on either immigration or ethnic history, history of american medicine and public health, or both. his books include "silent "silents and -- travelers" and "huddled masses." he has served as president of the immigration and ethnic histories society and next week will become president of the organization of american historians. he chairs the statue of liberty foundation's history advisory committee and has been a consultant to many documentary films, museum exhibitions and the national park service. mae ngai is a professor at the university of chicago and has had every fellowship one can possibly imagine. author of "m possible subjects -- illegal aliens and the making of modern america." her books have won prizes but what's impressive about this one is that it has won prizes from six different or

critically acclaimed and armies of my hiscock conversation with scorsese, which is interviews with martin scorsese over several years than all of his great films. but our topic is the cold war hollywood and beyond. at the end what we do in the q&a who want to venture off, that's fine, too. so let's get started. their book is about how we forgot the cold war and maybe you can tell i was, why are we supposed remember the cold war and what exactly are we supposed to remember? >> what is our timeframe here? >> when richard starts tapping the table. >> i wanted to find out how americans are remembering the cold war and the project format the estate journey. i traveled this evening but preliminary question is what are we supposed to remember about the cold war and there is an official story of the cold war that democrats and republicans have agreed upon and that is the cold war was a good war, a war like world war ii, a battle between freedom and totalitarianism. right now this is same for republican ideas and democratic idea, but democrats are equal participants in the cold war and george bush articula