character, just tears streaming down her face, and then her controlling it like that and getting it together and going forward. i m really struck by the courage that jim brooks showed in writing a character like that. the f14 is one of the most difficult planes to master. they re called tomcats. george, isn t the f14 tomcat one of the most difficult machines for a pilot to master? to have a film about the high integrity ideals of what it is to be a journalist and a woman in that business. it must be nice to always believe you know better, to always think you re the smartest person in the room. no, it s awful. the fact that that movie exists and always will is a gift. hi. wait a minute. wait wait wait a minute. i m new in town and i m awfully lonely. i wondered if you wouldn t mind buying me lunch. wait, wait, hold on. you can t co uh, uh, gregory, this it s okay. it s okay. george, george, george, george.
was humor to it, there was a liveliness to it, there was a nastiness to it. tom hulce is so fantastic in that film. do you have it? not too fast. do you have it? one thing the 80s does for us is it gives us some really remarkable filmmakers. you see talent is there immediately. these directors are going to go on and have long careers. in some cases, they re making small movies, but they get their start in the 80s. why don t you let me tape you? doing what? talking. about what? about sex. your sexual history, sexual preferences. steven soderbergh s sex, lies, and videotape is the coming-out party for one of the most prodigiously talented filmmakers ever. why are you doing this to yourself? you gonna answer me? no, please, don t do that. why not? no, really, don t, don t. why not? i just want to ask you a few questions. like, why do you tape women talking about sex, huh? that was a great example of
jim is a real innovator and real artist. i did 1, he did 2. and he said, you know, it s hard to do 2, he said, because you ve shown him, the alien. so i m going more military. you feel like james cameron doesn t get enough credit as a screenwriter as well. aliens is the template of how to write a great blockbuster. my mommy always said there were no monsters, no real ones. but there are. yes, there are, aren t there? back in those days, women weren t really permitted to be strong, so sigourney really broke the mold in the aliens movies. and one of the ways that cameron figured out to let her be as tough as she was, was because she was protecting newt, her adopted child. there s real skill to building the perfect roller coaster. aliens is example number one
audience can see, but the characters can t see. so the audience is aware that, not only is indy maybe gonna get gets up when you watch him. it s craftsmanship and art. everybody in this town is talking about steven spielberg s latest film, e.t. i was there at 12:00 noon today, and there were literally thousands of people in the street waiting to get in. the wait is hours long in chicago, days long in los angeles. e.t. has become the movie industry s biggest moneymaker ever. i had this story i was gonna write about, how the divorce between my mom and dad affected me and my three sisters. and so, i combined that with one about an alien who himself is divorced from his own species and is lost 3 million light-years from home. i don t like his feet. can you imagine if that film didn t have those kids? every one of them? henry thomas, drew barrymore, robert mcnaughton. that s the secret sauce to this movie.
their movies, visceral shocks, and then moments of great humor. turn to the right. what s the matter, ed? my fiancé left me. they had just finished writing raising arizona , so they asked me to read it and i thought it was, like, amazing. amazing. you know, so funny. raising arizona , as far as i m concerned, is a masterpiece. the idea of taking that 100 mile an hour preston sturges-style dialogue and putting it in the mouths of, like, rednecks in arizona. you busted out of jail. no, ma am, we released ourselves on our own recognizance. what evelle here is trying to say is that we felt the institution no longer had anything to offer us. raising arizona was one of those films where you go, oh, i didn t even know you were allowed to do that. i ll be taking these huggies and whatever cash you got. just the fact that this film is hurtling along with banjos and yodeling.