dna than him for that film. the first rule of fight club is you do not talk about fight club. 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 thought 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, 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 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 can understand the choices they make. let s keep going. what do you mean? go! they looked at each other and they both knew. are you sure? it s kind of the culmination of both 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.
that film embodies everything that makes tom great. he s a 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. 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
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. 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. come on, jack. when you look at the film jfk, the movie is about what we can trust and who we can trust.
great murders. i shot the whole film very documentary style. it was the first film i had ever shot like that. and it became less of a film, more of just a life 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. god bless you. god bless you. oskar schindler was a deal maker and he didn t really care that much for his workers. but there was an inevitable