Transcripts For CNN The Movies 20240706 : comparemela.com

♪ ♪ ♪ >> come on! come on, come on, what are you staring for? come on! >> robinson apparently tired, punched with a fairly well and rocked jake lamotta right to his heels. >> come on, ray. >> a director and actor find a story at the right time and the right place. and out comes this amazing combination of cinematic virility and absolute fear. it's like watching an animal. >> i think "raging bull" is a great title and the film fulfills the promise. the reality of the boxing and the great slow motion, all the black and white gore. the violence of the flashbulbs going off. when he designed the movie, marty purposefully, he didn't put a clutch on the film. there's no clutch. >> hey, ray, never went down, man. you never got me down, ray. >> "raging bull" is a boxing movie for people who don't like boxing because it's really not about that. it's about this man, jake lamotta, who was based on a real person, who's really at war with himself. >> come on. harder. harder. >> i didn't really understand boxing, but the character was interesting. he was just so contraire, as they say. he was just so difficult. >> what are you trying to prove? what does it prove? >> rob de niro, he's not afraid of the negative characters. he's not afraid to go to those, as they say, those places. >> i was down to 152 in my prime and then i went up to 212. so i gained 60 pounds. it's not easy, though. the first 15 pounds, it's fun. then it's drudgery. >> got get 'em, champ. >> it's absolutely true that the the movies of 1980 look like movies of the 1970s. were very personal, very passionate filmmaking rules. and then when "ordinary people," which was the movie that defeated "raging bull" for best picture in 1980, this incredibly precise and very emotional study of a family in deep crisis. >> calvin, give me the camera. >> no, i didn't get it yet, bev. >> come on, give me the camera. >> dad, give her the camera. >> i want a really good picture of the two of you, okay? >> no, but i really wanna get a shot of the three of you men. give me the camera, calvin, please. >> not until i get a picture of the two of you. >> cal! >> hang on a second. >> give her the god[bleep] camera! >> "ordinary people" centers on people who cannot get in touch with their feelings and who avoid the darker underpinnings. so i like to tell a story about what people will do to avoid being seen for who they really are. i gave mary tyler moore the script and i said, "look, i can see you playing this." she was drawn to it, and that really hit me 'cause that told me that there is some part of herself that she was willing to expose that had been not exposed before, and she wanted that chance, and so she was given that chance, and she did a great job. >> calvin? >> that moment where mary tyler moore comes downstairs and she asks her husband, "what's wrong?" >> i don't know if i love you anymore. >> she goes upstairs and she's just -- there's something so moving to me about somebody who is so deeply repressed, cracking open. >> that's where the dam breaks. she gets hit by some truth that she can't articulate. she's so taken back, she can't adjust, she can take it in. that's what that moment was about. >> then you look at some of these films of the 1980s, like "ordinary people", and like "blue velvet," those films are explicitly about how things look are not the way they really are. you have to understand, this was when ronald reagan became president, and the idea was that after all sorts of traumas, particularly watergate and vietnam, we healed, but as the public pronouncement is, "we're good again," our movies are telling us, "no we're not. no, we are not." >> wendy? i'm home. >> i play this game. all your favorite filmmakers, alive or dead, were opening a movie on the same day, which movie would you see first? and for me, it would stanley kubrick, because you're gonna see something you never saw before, and he did that in, think about it, every genre. he's gonna make a horror movie, it's gonna be the horror movie done in a way that you would not expect. >> to me, "the shining" isn't about horror. it's about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. >> mom! >> it was as if i had been in the overlook hotel for two and a half hours. he creates a pacing where it overtakes the way you're breathing and the way you're existing, and you're in there. in all kubrick films, he controls you. >> kubrick's steady cam work in "the shining" broke new ground. the steady cam gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't even see his face. you're behind it, which leads to one of the scariest shots in the movie. >> hello, danny. >> "hello, danny. come and play with us." it's fantastic. >> united artists was betting $40 million on its new movie, "heaven's gate", but after two years of preparation and eight months of production, the motion picture's been yanked from american theatres after only one day. >> "heaven's gate" took almost a year to complete. director michael cimino, whose "deer hunter" film was a great success, got a free hand. his producer said he was out of control. the result? a three and a half hour bomb. >> "heaven's gate" is a stake through the heart of the auteur era in hollywood. it's the cautionary tale that's held up to say, "no, no, the studio's gonna step in here and this is not gonna be another 'heaven's gate'." and that's how you get the movies of the 1980s. >> you knew where you were when you first saw "the empire strikes back," because it was the "star wars" movie that took the whole thing to a whole other level. "star wars" was huge. but "empire strikes back" was phenomenal. these established characters, you saw them intermix in a way that you hadn't in the previous film, where there's this budding romance going on between han solo and princess leia. >> i love you. >> i know. >> luke is transitioning into wanting to become a jedi knight. >> i saw it as, "this is the good act," because in classical dramatic philosophy, you set the thing up in the first act. in the second act, your heroes are put in a position that is unresolvable. they're put in enormous jeopardy. you don't know how it's gonna work out. and that is always the most interesting part of the story to tell. >> obi-wan never told you what happened to your father. >> he told me enough. he told me you killed him. >> when we actually started work, it was just me and george in the office, and george says to me, "you know, darth vader is luke's father." >> i am your father. >> no [bleep]? >> noooo! >> it was about fathers and sons and about good and evil personified. >> it is your destiny. >> i thought that made the whole saga better instantly. er this? but i spoke to our advisor, and our vanguard investments are on track. “we got this, babe.” so go do what you love. thanks for being our superhero. only at vanguard, you're more than just an investor—you're an owner. giving you flexibility to follow your dreams. that's the value of ownership. science proves quality sleep is vital to your mental, emotional, and physical health. and we know 80% of couples sleep too hot or too cold. introducing the new sleep number climate360 smart bed. the only smart bed in the world that actively cools, warms, and effortlessly responds to both of you. our smart sleepers get 28 minutes more restful sleep per night. proven quality sleep. only from sleep number. i brought in ensure max protein with 30 grams of protein. those who tried me felt more energy in just two weeks. uhhhh... here, i'll take that. [woo hoo!] ensure max protein, with 30 grams of protein, one gram of sugar and nutrients for immune health. ♪ ♪ celebrate every kiss. with 20-40% off engagement, wedding and anniversary rings. only at kay. meet three sisters. the drummer, the dribbler, and the day-dreamer... the dribbler's getting hands-on practice with her chase first banking debit card... the drummer's making savings simple with a tap... ...round of applause. and this dreamer, well, she's still learning how to budget, so mom keeps her alerts on full volume. hey! what? it's true! and that's all thanks to chase first banking. freedom for kids. control for parents. one bank with tools for both, all with no monthly service fee. chase. make more of what's yours. lily! welcome to our third bark-ery. oh, i can tell business is going through the “woof”. but seriously we need a reliable way to help keep everyone connected from wherever we go. well at at&t we'll help you find the right wireless plan for you. so, you can stay connected to all your drivers and stores on america's most reliable 5g network. that sounds just paw-fect. terrier-iffic i labra-dore you round of a-paws fic i labra-dore you i labra-dore you round of a-paws at&t 5g is fast, reliable and secure for your business. >> four of the biggest money-making films of recent times have come from two young gifted filmmakers -- george lucas and steven spielberg. they're friends as well, so it was inevitable that these two would join talents, and they now have in an adventure film to be released this week. >> george says, "i have something called 'raiders of the lost ark'. it's just an idea i have for a movie." they told me about this sthave movie." they told me about this story of this sort of marauding adventure archeologist with the hat and the whip. and i committed to the movie just based on the one-line story george told me. and then, larry, george, and i, we just sat around for three days and basically made up the story from beginning to end. >> there's a line in "raiders" that means a lot to me. just buried there in the middle of a big action sequence. they've lost control of the ark of the covenant and indy says, "no, i'm gonna get it back." and his friend, says, "how are you gonna do it?" >> i don't know, i'm making this up as i go. >> that to me was what life was like. we just make it up as we go. and indiana jones is very good at that. >> we came up with an idea, like a truck chase, and then we figured, "well, how do we get the truck chase in the movie?" so we had these big kind of subjects and then we kind of reverse-engineered in order for it to earn its place in the story. >>pi selberg is a master of staging. even when they're moving very fast and cutting very quickly, you always know the lay of the land. >> he can create suspense out of details big and small. and there's always the action 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. >> i just want to say goodbye. >> all the kids had fallen in love with e.t., and i like to think e.t. had fallen in love with all of them. and that goodbye scene was genuine. those tears were real. >> be good. >> yes. >> steven spielberg movies -- they're big blockbusters, but they are personal stories. they are small stories told against a giant canvas. >> they're here. >> with the 1980s, i really felt that i was speaking to myself, loving escapism. "poltergeist" was about all the things that scared me. i had a tree out my window as a kid, used to scare the [bleep] hell out of me. so what happens in poltergeist? the tree comes into the house and grabs the kid. i made stories about kids on one final adventure as "the goonies" and discover the riches that save their parents' homes. suburban stories about gremlins running around and tearing things up. just loving stories that were bizarre. >> everybody has dreams or thoughts, fantasies of going back in time somewhere, and bob zemeckis put it together for the modern age. >> are you telling me that you built a time machine out of a delorean? >> the way i see it, if you're gonna build a time machine into a car, why not do it with some style? >> it was a mystery that it was as big a hit as it was when it came out, but what the real mystery is, is that it's endured for decades. >> next saturday night, we're sending you back to the future! >> this simple idea, which is, "what would it be like to see your parents when they were younger?" is something that obviously is multi-generational. >> geez! you smoke too? >> marty, you're beginning to sound just like my mother. >> the only thing that was weird about the story, it's a boy going back in time and meeting his mother, and she falls in love with the son she hasn't yet had. that was pretty kinky for me. >> that's a-a big bruise you have there. >> but they pulled it off. >> i was exhausted at the end of "back to the future". and then, he makes "who framed roger rabbit". it's like he took back to the future and tripled it. >> eddie valiant, you're under arrest. b-r-r-r-r. >> here! >> there's a scene where donald duck and daffy duck are having a piano duel, at the same time penguins are serving drinks. and if you look at the making of, of that individual scene, it's utter, complete total chaos. there's real actors pretending to be drinking, there's trays moving around on these iron rods. that was a hard movie. that's sort of an ignorance is bliss category that that movie should fall into, 'cause that's a movie that no sane person would ever attempt to make. >> i love playing villains. when i was a kid and the first walt disney films came out, there are dark moments in each of those that scare the hell out of me. so it's payback. >> remember me, eddie? when i killed your brother, i talked just like this! >> i got some moments in there that will be in their worst nightmares for the rest of their life. >> the trick to making that blend of live action and animation is that the live action actor has to believe it. bob always believed that the rabbit was there. it really is an amazing performance. i mean, it's really one that actors should study. >> because it was made before a lot of cgi existed, it was old school movie-making with physical special effects, "who framed roger rabbit" is the most complicated movie ever made. >> don't tell me you lost your sense of humor already. argh! >> does this answer your question? ♪ every search you make ♪ ♪ every click you take ♪ ♪ i'll be watching you ♪ - [narrator] the internet doesn't have to be so creepy, the duckduckgo app, lets you search and browse pria blocking most trackers all forf your search history is never tracked, so it can't be shared. and when you leave search, duckduckgo helps keep companies from watching you as you brows. join tens of millions of people making the easy switch by downloading the app today. duckduckgo, privacy simplified. one of the really great films of the '80s is "the verdict," written by david mamet. beautifully told by master director sidney lumet. paul newman plays a kind of washed up lawyer who is an alcoholic, kind of ambulance-chaser. what makes it uniquely lumet is that even when it's movie stars, big movie stars, he manages to bring them down, in the case of "the verdict," to the boston streets, and you can see the stars in the movie, but they have not turned the movie into something glamorous, but on the opposite, have entered the drudge and reality of the world that lumet's painting. >> oh, god, i never should have taken it. there's no way i could win. >> newman did what he was asked to do, and he was often asked to be the matinee idol and the leading man and be charming and witty and funny. and when he does "the verdict," you know, it makes you cry. i mean, here, newman shows you what he's really made of as an actor. >> i think you guys are making a big mistake. i think you ought to reconsider. i think you ought to get the principles back together again. >> to see that scene where he's calling the insurance company to rekindle the deal that he turned down. >> okay. no, no. i understand. >> it's really one of the greatest pieces of acting i've ever seen in my life, that phone call. no cuts. i mean, lumet just goes, "okay. here we go." >> so, how's your life? >> oh, great. how's yours? >> not so great. >> oh, we're telling the truth? >> "the big chill's" about these kids who were at college together in the late '60s and are now no longer anti-establishment, but actually are part of the establishment and trying to reconcile that history with their present. >> movies aren't being made for adults. that's all "the big chill" is really. it's an adult film, and it tries to be as complex as life is. i had wanted to make a movie about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent. >> i know you wanna leave me. but i refuse. >> when it first came out, i thought, "well, this will be for this generation. the children of the '60s, this will be very relevant," and then i would meet kids who were in high school 10 years after the movie came out, said, "i love that movie." ♪ please don't leave me, girl, don't you go ♪ >> it's about friendship. it's also about growing up. there's something in its essence that is timeless and universal. >> i'm marrying flap horton tomorrow. i thank god for flap for getting me out of here, and i think if this is your attitude, you shouldn't bother showing up at my wedding. >> hmm. that's -- that's right. >> no, i think you're right, that the hypocrisy was bothering me too. >> "terms of endearment", based on a book by larry mcmurtry, adapted and directed by james l. brooks. it made you cry. it made you laugh. it was the stuff of life. >> just a minute. >> shirley maclaine plays aurora. she gets involved with an astronaut, played by jack nicholson. >> fly me to the moon! >> they just had this incredible comic chemistry. the romantic scenes between them are hilarious. >> it's not my fault, but i'm sorry. >> if you wanted to get me on my back, you just had to ask me. >> "terms of endearment" may be the first dramedy. you know, it's a word we hear all the time. a movie that's funny and tragic, simultaneously. >> it's time for her shot. you understand? do something! all she has to do is hold out until 10:00! and it's past 10:00! she's -- it's 10:00! my daughter's in pain! give her the shot! do you understand me? >> if you're going to behave -- >> give my daughter the shot! thank you very much. >> james brooks was able to take humor, tragedy, the best writing, delivered beautifully by actors that cared so much. it felt like life. it felt human. it felt funny. >> the winner is "terms of endearment". >> jim was into the delicate shades of humanity before it was cool. >> oh, well, that was a long time ago. you look wonderful, you do. >> people change. >> well, i hope you have changed. >> i hope you too. >> i hope for your sake because your personality left something to be desired, namely a personality. >> you look at woody's career in the '80s, which, you know, theoretically, should have been past his prime, because how can you go on after "manhattan"? and then you think, "oh, wait a minute, there's also 'zelig', there's also 'broadway danny rose', there's 'the purple rose of cairo'." >> by the time you get to "crimes and misdemeanors", woody allen has now expanded his sensibility. it's an ensemble piece, it's got some humor in it, and it's got some satire in it, but he's not trying to get a laugh every second. >> it's a wonderful moral conundrum from a very original standpoint. i think that's why it holds up. >> you told me over and over again you'd leave miriam. we made plans. >> i didn't. >> you did. i gave up things for you. business opportunities. >> oh, pipe dreams. >> "crimes and misdemeanors" is two parallel stories, one of which is a very traditional woody allen and mia farrow relationship joke-fest, and the other one, which is a serious examination of literal life and death themes. >> a guy is having an affair and she's threatening to tell his wife and threatening to disrupt his world. so he has a hit man kill her. >> martin landau realized it, like, "i had woman killed and i thought i was gonna go to hell and nothing happened." whereas woody is constantly getting, you know, shit on by life, and he's just doing the right thing. >> you look very deep in thought. >> i was plotting the perfect murder. >> his writing is very wrong for strong for that reason. it always feels like he was thinking about some philosophical truths about human nature and says, "oh, i want to write a movie about that." >> and i'm talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we could never be friends. >> why not? >> what i'm saying is -- and this not a come-on in any way, shape or form -- is that men and women can't be friends because the sex part always gets in the way. >> nora ephron wrote "when harry met sally," and she got a lot of help from reiner creating the neurotic main character. that's because he was based on rob reiner. >> every scene has to be good. you work and work and work, you torture yourself rewriting a script. >> i'd known nora and i pitched this idea for this film about the dance that people go through to get together after they've both gotten out of long-term relationships, and they become friends, and does sex come into the picture? and if it does, does it ruin the friendship? and she said, "well, that's something i would be interested in." >> he rips off my clothes. >> then what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you've been having since you were 12? exactly the same. >> well, sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comedy is, "listen, you know they're gonna be together. so how do you get them there?" and what's the road blocks? it's all about the story and it's all about the people. do you care about them? do you want them to be together? are you seeing what they're not seeing? >> it's just that all men are sure it never happened to them, and most women at one time or another have done it, so you do the math. >> you don't think that i could tell the difference? >> no. >> get outta here. >> in the deli scene, when we first did it, meg, rightfully, was a little nervous about it. you've got crew members, you got extras, people standing around. >> ooh. >> are you okay? >> oh. >> rob says, "meg, here's what i want." he proceeds to have an orgasm that mighty joe young would be jealous of. >> "yes, yes! oh, god!" i'm pounding the table. >> yes! yes! yes! ah! oh! >> and i realized, 'cause my mother is sitting there, i'm having an orgasm in front of my mother. >> i'll have what she's having. as a business owner, your bottom line is always top of mind. so start saving by switching to the mobile service designed for small business: comcast business mobile. flexible data plans mean you can get unlimited data or pay by the gig. all on the most reliable 5g network. with no line activation fees or term contracts. saving you up to 60% a year. and it's only available to comcast business internet customers. so boost your bottom line by switching today. comcast business. powering possibilities. it's part of a trilogy, really, a musical trilogy that i'm doing in d minor, which i always find is really the saddest of all keys, really. i don't know why, but it makes people weep instantly to play a -- >> what do you call this? >> well, this piece is called "lick my love pump". >> the idea was we were gonna do a mock documentary. we were gonna make a satire of a rock and roll band on tour. we basically had the tour outlined, but essentially, it was a very, you know, thin thumbnail sketch of what was gonna happen. the whole movie is improvised. >> do the dead bird. changes. get the dwarf cannolis, the little ones. okay. >> all right. i did the bird. >> come on, don't talk back, huh? mime is money. let's go. come on. move it. >> you had these brilliant performances by all of them, and then rob put it all together and made it sync. >> people didn't know what we were doing. they thought it was a real documentary, and when we first previewed it, people saw it and they said, "why would you make a movie about a band that nobody ever heard of, and one that's so bad?" ♪ working on a sex farm ♪ ♪ employing through your bean field ♪ >> let's say you look at a prospective movie and it's a square. rob reiner has a way of turning it sideways, looking at it differently and finding a way to enjoy it in a completely non-conventional way. >> he didn't fall? inconceivable. >> you keep using that word. i do not think it means what you think it means. >> "the princess bride" is a blend between romance, satire, adventure, swashbuckling. i mean, it's all mixed in and it's a very strange mixture. hard to capture. >> westley, what about the r.o.u.s.s? >> rodents of unusual size? i don't think they exist. ooh. >> you have to walk a balance, you know. it's a fine line between stupid and clever. >> beat it or i'll call the brute squad. >> i'm on the brute squad. >> you are the brute squad. >> rob is a phenomenal director. his first movies, one after the other, beauties, and took risks and different genres. to be in three of them, i'm really blessed. >> one half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be "airplane!" or "the naked gun". you had ensemble comedies like "police academy." you had imports, "crocodile dundee", which was an enormous hit. and "three men and a baby." the other story of the decade is the rise of "saturday night live" as an influence on film. >> it's 106 miles to chicago. we got a full tank of gas, half a pack of cigarettes. it's dark, and we're wearing sunglasses. >> hit it. >> john belushi and dan aykroyd, they made up these characters with the pork-pie hat and dark glasses. they did the blues brothers on "saturday night live" and got a huge response. so we got to make the movie. >> "saturday night live" is such a specific place. people started realizing, like, "oh, this is where you're gonna get quality comedy." so then you started wanting to see those people in movies. >> well, i tell you what. i'm gonna clean this up. >> you good ahead, clean up a little bit. it looks fine to me. thanks for the dope. >> comedy is such a precious commodity, and when you shake the pan looking for the nuggets, when they shine out like that, then you love them forever. people who understood how to be funny, they can be funny anywhere. >> if there's something strange, in your neighborhood. who you gonna call? >> ghostbusters! >> "ghostbusters" is a rare film because it combines sci-fi, action, and comedy. >> well, there's something you don't see every day. >> "ghostbusters" was written by dan aykroyd with harold ramis. on paper, it shouldn't work. but it does work because you have bill murray and dan aykroyd and rick moranis, and they're flawless. >> we've been going about this all wrong. this mr. stay-puft is okay. he's a sailor, he's in new york. we get this guy laid, we won't have any trouble. >> bill's always explored what it means to escape sort of the constraints of convention. you feel in some way that you want to be as liberated as he is. >> ghostbusters! >> instead of worshipping musicians, now we're worshipping these stand-up comedians and these skit comedians. there's this idea that comedy in the '80s is gonna be the new rock 'n' roll. >> all right, listen up! i don't like white people. i hate rednecks. you people are rednecks. that means i'm enjoying this shit. >> you gotta remember when eddie murphy first started with "48 hours," he was 20 years old. then he does "trading places" and then he does the blockbuster, "beverly hills cop." >> eddie murphy in the '80s was comedy. he's such a perfect everyman and so likeable, even though he's kind of a shit. >> it wasn't about necessarily being the put-upon guy. it's being the guy smarter than the room. you know, he's bugs bunny. >> you know, this is the cleanest and nicest police car i've ever been in, in my life. this thing's nicer than my apartment. >> up until that point, hollywood movies that featured or starred a black artist, their color was always a plot point. in "coming to america," their color has nothing to do with the plot. >> oha. it is my 21st birthday. you think perhaps just once i might use the bathroom by myself? >> most amusing, sir. wipers! >> he is a prince in a fictional african nation, and he decides that he and his best friend, played by arsenio hall, are going to go to america so he can find himself a queen. if you want to find a queen, where do you go? you go to queens, new york. it's got to be full of queens, right? >> everybody who's seen "coming to america" embraced the movie. the movie is funny as hell. and i think it's eddie murphy at his best. >> it feels so lovely to be here tonight. what a beautiful -- give yourselves a round of applause. you're so lovely. everyone's so lovely. >> there's barely a white person in that cast and the one white person is actually played by eddie murphy. >> what about rocky marciano? >> oh, there they go. there they go! every time i start talking about boxing, a white man gotta pull rocky marciano out their ass. >> who was your star in that picture? >> it's this young guy named eddie murphy, i think it is. >> oh, christ, i hate him! the kid with the filthy mouth? >> yeah, he's the one. >> oh, he's the worst. >> he can do these voices, he can do the physicalization. it speaks to the magnitude of his talent. is that not acting? is that not comic acting at the highest level? >> what do you know from funny, ya bastard? lily! welcome to our third bark-ery. oh, i can tell business is going through the “woof”. but seriously we need a reliable way to help keep everyone connected from wherever we go. well at at&t we'll help you find the right wireless plan for you. so, you can stay connected to all your drivers and stores on america's most reliable 5g network. that sounds just paw-fect. terrier-iffic i labra-dore you round of a-paws at&t 5g is fast, reliable and secure for your business. ya know, if you were cashbacking you could earn on everything with just one card. chase freedom unlimited. so, if you're off the racking... ...or crab cracking, you're cashbacking. cashback on flapjacks, baby backs, or tacos at the taco shack. nah, i'm working on my six pack. switch to a king suite- or book a silent retreat. silent retreat? 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you talk to me. >> george miller's movies do an amazing trick of making dystopia look beautiful in a terrifying way. you know, you watch "the road warrior" and thinking, like, "i'd love to go there. i think i would die within five minutes." >> it's the idea of this one man who regains his humanity when he loses everything. but then there's the filmmaking craft. to see those stunts just play out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock 'n' roll movie. >> "brazil" is one of these futures that seem all too likely >> "brazil" is one of these futures that seem all too likely to come to pass. it's a future where things don't work, where the bureaucracy is ossified. it's a future that feels like if things don't get better, we're gonna end up there. >> dammit, larry! that convoy of personnel carriers is still unaccounted for. i thought i told you to deal with it. and what the [bleep] is this mess? an empty desk is an efficient desk. >> terry gilliam's visual sensibility is so distinctive. there was an audacity to that movie that you rarely see. >> it arouses very strong reactions from people, and i that think that's what cinema should be about. it's exciting. it's stimulating. it makes us think. i'm quite happy to have a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. >> "blade runner" is based on philip k. dick's novel "do androids dream of electric sheep?", and the central question of the novel is, "what's the difference between humans and non-humans? is harrison ford a human? can you fall in love with an android?" >> she doesn't know. >> she is beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at tyrel. "more human than human" is our motto. >> the screenplay was excellent, a rare entity because it told not only a very fascinating and different story, but it was written and described as well, so you could smell the movie. >> i don't think there's any director who can encode content into the visual presence like ridley can, so that when you see the street markets, it tells you that in the future, technology runs cross-class, that populations are tremendously mixed, there's overcrowding, there's poverty. he's projecting so much content into those images, and you just soak it in. >> i was constantly beaten up every day. people would say, "why is it raining always? why do you want it to be at night?" so i said, "'cause that's how i [bleep] want it." >> harrison ford thought that his character, deckard, was a human being, and ridley scott was planting clues in the movie that he actually was a replicant with implanted memories like this unicorn that he daydreams about. >> harrison's in full denial today that he is a replicant. at the end, the whole point of leaving that unicorn on the floor when he walks out, stops, picks it up, and he nods. that nod is an assent, "this is correct. somebody knows about my most private dream, which is about a unicorn." duh. >> james cameron's "aliens" is the perfect sequel because it doesn't just repeat the first film. it takes elements of the first one it builds upon them, but it then makes it into a different genre. >> six. >> it can't be. that's inside the room. >> it's reading right, man. look. >> well, you're not reading it right. >> five meters, man. four. what the hell? >> 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 of how brilliant action cinema can be. >> get away from her, you bitch! we were attracted to each other at the party. that was obvious. you're on your own for the night. that's also obvious. we're two adults. >> let's get the check. >> "fatal attraction" was like a cautionary tale. you know, the cheating husband, and the mistress turns out to be insane and a stalker, who murders bunnies and boils them, as a matter of fact. >> glenn close's legacy is forever tied to this film, and she's an incredible actress. >> well, what am i supposed to do? you won't answer my calls. you change your number. i'm -- i'm not gonna be ignored, dan. >> in the original script, audience sympathies were more evenly balanced between the male character and the female character, but with each iteration, they made her such an extreme character. the original ending was that she was supposed to cut her own throat, but that did not satisfy test audiences. and so they had the good wife kill the bad single woman. ah, that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcome addition, and a damn pretty one too, if i might add. >> thank you, sir. >> now, i mean that. you should see some of the crones that have been coming through here lately. real pathetic. right, violet? >> "9 to 5" was a me-too movie before the me-too movement. it was this idea of women coming together and being like, "yes, my life has been ruined by egotistical, bigoted men who are trying to hold me back." >> coffee, violet. now. >> this was when women were going into the workforce, but they were still secretaries. they were still these subservient roles. they weren't the boss of the company. >> oh, the pencil. >> it's all right. i'll get it. >> what about you, doralee? what's your fantasy for doing him in? >> me? well, i think i'd like to just come riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie and i love dolly parton in that movie. she's like liquid gold. >> let's just sit down and -- >> look, i got a gun out there in my purse, and up 'til now, i've been forgiving and forgetting because of the way i was brought up, but i tell you one thing, if you ever say another word about me or make another indecent proposal, i'm gonna get that gun of mine and i'm gonna change you from a rooster to a hen with one shot. >> they, in time, realize nothing is ever going to change unless we change it. >> they string him up, that male chauvinist, sexually inappropriate guy, and they make changes to the workplace to be able to share hours and a daycare center. it was an important movie then, it's an important movie now. >> mr. turkle's line. >> "working girl" looks like a fairy tale of a young woman becoming a fantastically glamorous princess that she'd always kind of secretly dreamed of being and her humble, working-class upbringing would not allow her to be. but it's got serious points to make about women in the workplace. >> "dress shabbily, they notice the dress. dress impeccably, they notice the woman." coco chanel. >> um, how do i look? >> you look terrific. you might want to rethink the jewelry. >> traditionally, it's, you know, the man that's holding you down, but in this instance, it turns out it's sigourney weaver. that she's been stealing all of tess' ideas in order to further herself. >> while i was laid up with broken bones, she rifled through my desk, found my memo outlining a trask radio acquisition, and has been passing it off as her idea. >> it was my idea. >> the melanie griffith character shows that once she was given the opportunity to show that she was smart enough, she did. >> guess where i am? >> it's one of the greatest endings in the world. "i'm here in my own office with my feet up 'cause i made it." >> not since the movie "network" has hollywood so brilliantly indicted the business of television like it does in "broadcast news." the perfect modern anchor is played by oscar winner william hurt. so how is it that the star of this movie is neither the anchorman nor the network correspondent, but an actress who many of you will never have seen until now? >> okay. bobby. go back to 9:45/46. the sound bite in the alley, it starts, "so why are we going to angola?" >> we could go all -- >> please, bobby, we're pushing. >> it was the first time i had seen onscreen a real female because she was flawed and she was allowed to be human and different and irascible. >> difficult, shrill, bossy, possibly bitch. there's a lot of words that people use that are pejorative to women that jane craig could kind of inhabit. >> what i love is holly's 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. it's michael dorsey, okay? your favorite client. how are you? last time you got me a job, it was a tomato. >> oh, no, no, no. >> yeah. >> no, no, no, no, no. >> swear to god. >> michael? >> yeah. >> oh, god, i begged you to get some therapy. >> "tootsie's" kind of an updating of the guy in the dress. you're taking a believable character and putting him in a fantastic situation, and yet the reason it works is because every single thing in that movie could really happen. we show you at the beginning, he's a great actor, he happens to be a pain in the ass, and then to prove to his agent that he can get work, he puts on a dress. >> it's almost like a play that's been performed enough so that they knew where the gems were. >> truthfully, don't you find being a woman in the '80s complicated? >> extremely. >> one of the hardest things to do in a comedy is to have a comedy climax and to have all your story threads come together at the same moment. >> i am not emily kimberly, the daughter of duane and alma kimberly. no, i'm not. i'm edward kimberly, the reckless brother of my sister anthea. >> no! >> holy [bleep]! >> the climactic scene in "tootsie" is this incredible moment where the main story plot and then four or five different sub-plots all climax and turn on that one action. >> "tootsie" is what people want movies to be, and very few filmmakers invest the time and the sweat and the integrity to go all the way, which "tootsie" does. >> that is one nutty hospital. lomita feed is 101 years old this year and counting. i'm bill lockwood, current caretaker and owner. when covid hit, we had some challenges like a lot of businesses did. i heard about the payroll tax refund, it allowed us to keep the amount of people that we needed and the people that have been here taking care of us. see if your business may qualify. go to getrefunds.com. you've already put a parlay on this game. with the life parlay you placed to make it here. you bet you wouldn't burn breakfast. you bet your lucky jersey wouldn't shrink. and you bet on your driver's questionable detours and sense of direction. all these bets you made had to be perfect, but you pulled it off and here you are. so try betting on america's #1 sportsbook. all customers get a no sweat same game parlay on the nfl playoffs this weekend fanduel, make every moment more. and mine's unlisted. try boost® high protein with 20 grams of protein for muscle health versus 16 grams in ensure® high protein. boost® high protein. now available in cinnabon® bakery-inspired flavor. learn more at boost.com/tv ♪ "flashdance" was a very big deal. ♪ she's a maniac, maniac on the floor ♪ ♪ and she's dancing like she's never danced before ♪ >> she was a sexy welder who would dance at night but didn't take her clothes off. >> so what's a dancer doing working as a welder? >> a girl's gotta make a living. >> jennifer beals was amazing in that movie. she was everything. she was beautiful, she was strong, and she was sexy. >> it really benefited from the beginnings of mtv, because you would see videos from the songs from the "flashdance" soundtrack on mtv all the time. ♪ what a feelin' ♪ >> that was the thing where the video was very much a trailer for the movie, and you could tell that the movie was designed really with the video in mind. >> let's dance! >> kenny loggins, "footloose," that was a huge hit. it was all over mtv. you watched the video. are you seeing kenny loggins in that? no, you're seeing lots of scenes of alienated high school kids dancing against the rules. >> i didn't see "footloose" until after i started dating kevin bacon, and then i rented it and i was like, "oh, i see why people fell in love with him." how cute was he with those high-waisted jeans and that, like, white tank? ♪ because i've had the time of my life ♪ ♪ no, i've never felt this way before ♪ >> they knew who was buying these movies, is teenagers, and the thing they want to do as soon as they watch the movie is then go get the soundtrack so they can relive it. ♪ purple rain, purple rain ♪ >> "purple rain" hit me really hard. to this day, i have yet to see a mainstream film that uses music as an emotion in such an incredible way. ♪ i only want to see you ♪ ♪ only want to see you, purple rain ♪ >> stace, what do you care about mark ratner for? i mean, he's a 16-year-old usher in the movie theater. you have dated older guys. you work at the best food stand in the mall. and you are a close personal friend of mine. >> there was so much reality in the script of "fast times". the way that cameron wrote "fast times at ridgemont high" is that he went back to high school. >> i never graduated traditionally, so the idea was i could go back and have the senior year that i didn't have and write about what it is to be a high school student. i learned so much. the pop culture establishment, they don't know what's happening with kids right now. >> stacy, what are you waiting for? you're 15 years old. i did it when i was 13. it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you know they're having sex, and they're all working. it's fast food. it's fast adolescence. it's all disposable. and what are we doing to a generation that has to be adult at a younger and younger age. >> there are so many incredible people in the movie. a lot of careers get launched. judge reinhold to phoebe cates and jennifer jason leigh. >> who ordered the double cheese and sausage? >> right here, dude. >> in a cast full of soon-to-be stars, he gives the performance that everyone walks out of the theater and says, "oh, my god, sean penn." >> sean penn in particular brought a lot of the vocabulary. if it's written in the script as like, "bitchin," he turned it into awesome, gnarly, all the other classic words of the '80s. >> why don't you get a job, spicoli? >> what for? >> you need money. >> all i need are some tasty waves, a cool buzz, and i'm fine. >> i'll tell you a couple of things about myself. i'm 19. i've been overseas for a couple of semesters. now i'm back. i'm an athlete, so i rarely drink. kick boxing. ever heard of kick boxing, sport of the future? don "the dragon" wilson, benny "the jet" urquidez, murray smith? some of the champions of the sport. i can see by your face, no. but my point is you can relax because your daughter will be safe with me for the next seven to eight hours, sir. >> "say anything's" a romantic comedy for guys. here's a story about being an optimist and how that can sometimes be a revolutionary act. rebellion takes many different forms, and sometimes the rebellion takes the form of loving the woman that they say you can't love. >> whoa. >> and you make your life's goal her. >> watch out for that glass. >> thanks. >> if moments make movies, as they say, for "say anything...", it's the moment when lloyd dobler holds a boom box and plays peter gabriel to try to woo diane court back. ♪ all my instincts, they return ♪ >> we had a hard time with the boom box. we tried it a couple of different ways. he had a hard time holding it up, so there was one version we did where the boom box is on the car playing it. not as good. we finished the last shot of the last day of "say anything..." there's just only a little light in the sky left. the light is disappearing. the shot's moving in on cusack, and i see it. i see it through the camera. the anger, the resentment, the love, the pain, the glory, the adolescence. all of it was there in his face. ♪ i am complete ♪ ♪ in your eyes ♪ >> we got lucky. >> how's it going? >> how's what going? >> you know, things, life, whatnot. >> life is not whatnot, and it's none of your business. >> the john hughes scripts, they just jumped off the page. they were funny. i remember reading "sixteen candles" in the back of my parents' car, just stretched out on the seat, cracking up. >> his movies were always something to really look forward to because you knew that you would be entertained, and you knew that you would see some version of yourself or what you wanted yourself to be. >> my father will come home. he'll see what i did. i can't hide this. he'll come home and he'll see what i did, he'll have to deal with me. >> he always got deep. even with something like "ferris bueller's day off," you know, he got deep into the alan ruck character, and matthew's character was the wise fool, but alan ruck was troubled by this evil father. that was really moving. >> here we are. i want to congratulate you for being on time. >> excuse me, sir? i think there's been a mistake. i know it's detention, but, um, i don't think i belong in here. >> "the breakfast club" is the teenage touchstone. it's a film that's about the tension of being a teenager and kind of knowing that people in other cliques don't really want to be your friend until you're locked in a room together. >> the first 20 minutes of "the breakfast club" is perfect filmmaking, the way that it's structured, the way the characters are introduced. it still is my favorite of the john hughes films, just because i think it's so unique and nothing like that had ever been done. >> so on monday, what happens? >> are we still friends, you mean? if we're friends now, that is. >> yeah. >> you want the truth? >> yeah, i want the truth. >> i don't think so. >> the picture was saying to adults, what those characters are saying to adults is, "please listen to me. my being upset because someone doesn't like me, or i don't have any friends or whatever, looks relatively insignificant to you, but it's really hurting me." >> it was so powerful because people were talking about shit that they didn't -- they never talked about. kids were not talking about dark stuff in school and with their peers. ♪ don't you forget about me ♪ >> there weren't a lot of movies that spoke to teenagers, and it's just really surprising because who doesn't want to see this incredible period of time in a person's life where they're just changing so rapidly? and to see something that you relate to, i think that's really why the john hughes films are still so important. >> i just remember thinking, "how does this grown-up know everything about all of us?" it was like he looked inside of all of us. introducing the new sleep number climate360 smart bed. the only smart bed in the world that actively cools, warms and effortlessly responds to both of you. our smart sleepers get 28 minutes more restful sleep per night. proven quality sleep. only from sleep number. ♪ what will you do? 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[woo hoo!] ensure max protein, with 30 grams of protein, one gram of sugar and nutrients for immune health. i work hard, and i want my money to work hard too. so, i use my freedom unlimited card. earning on my favorite soup. aaaaaah. got it. earning on that éclair. don't touch it, don't touch it yet. let me get the big one. nope. - this one? - nope. - this one? - yes. - no. - what? - the big one. - they're all the same size. wait! lemme get 'em all. i'm gonna get 'em all! earn big with chase freedom unlimited. how do you cashback? chase. make more of what's yours. ♪ just take those old records off the shelf ♪ >> "risky business" really was everybody's intro to tom cruise. of course, it wasn't just the underwear and the dancing. but that certainly helped. >> are you ready for me, ralph? >> "risky business" really surprises people. they think it's a teen sex comedy because it is literally about a guy who opens a brothel in his parents' house. but it's actually an incredibly dark film about capitalism and about selling out. >> for someone with that limited a resume, to be able to kind of walk in and actually make the complexity of the movie work, his all-american boyness with this dark set of impulses, you looked at that performance and were like, "okay, that guy's gonna be a huge star." ♪ highway to the danger zone ♪ >> what people don't really realize about "top gun" is we think of it as, like, this like rah-rah jingoistic action movie. but the movie that tom cruise was making is a very serious drama about a man who's wrestling with his dad's legacy, who feels like he has to be phony in front of all these military guys he's trying to impress. it's really a movie about masculine performance. tom cruise's decisions post-"top gun" really tell you who he is and who he wanted to be. >> you're some piece of work. >> i'm some piece of work. >> you're also a natural character. >> i've been telling her that. you know, i got natural character. >> no. that's not what i said, kid. i said you are a natural character. you're an incredible flake. >> paul newman and tom cruise had the old and the new. this was kinda like a sequel to "the hustler." >> let's see some heavy legend action here. >> paul newman in character, he's a hustler. he's always going to hustle. what if he takes this young kid under his wing and corrupts him, and then he gets hustled? >> i showed you all i got. i showed you my ass in here. now what the [bleep] else you want? that's it! that's all! >> tom cruise is terrific and newman finally gets an oscar for it. >> tom cruise has a very specific agenda in his career. to spend the '80s working with the best directors he can find. and so he's gonna work with scorsese and barry levinson. >> we're not going back to cincinnati. you don't have to go to cincinnati to pick up boxer shorts. >> oak and burnett in cincinnati. >> what did i say, ray? >> it's k-mart. >> what did i -- you hear me. i know you hear me. >> my boxer shorts at my -- >> you don't fool me with this shit for a second. >> yours are too tight. >> ray! did you [bleep] hear what i said? shut up! >> movie stars often need to prove over and over again that they can act. i think he really proved to the world that he could act and then some. >> i like having you for my big brother. >> yeah. >> let me some i.d. all right. you're under arrest. >> the 1980s introduces us to the character of john rambo, who's one of the iconic cinematic figures of that era. but what people tend to forget is that he was introduced in a way that was much more in line with '70s filmmaking. >> if you look at the first "first blood", it is a very dark movie about how we let our veterans down and about how we do not know what to do with them when they come back. we make killers, and then just turn them loose into america. that's a pretty heavy movie, and even for a sylvester stallone action film, it plays all that very realistically. the second film threw that out the window page one. >> sir, do we get to win this time? >> this time, it's up to you. >> there was a desire to move past the perceived failures of the late '60s and the '70s. you can't rewrite history, but at least we can go back and we can bring back these p.o.w.s. we can send back this representative of american might. >> i must break you. >> stallone had become so devoted to having the perfectly chiseled, ultra-muscled upper body. at the same time that arnold schwarzenegger, who of course, had been a body builder, suddenly became an unlikely action star in the '80s too. i don't know if prior to 1980, anyone would have had a firm visual image of what their favorite actor looked like with their shirt off. i mean, can you close your eyes and imagine jimmy stewart or, you know, montgomery clift or, you know, even john wayne without their shirt on? it's not especially central to their image as actors. >> it will be ridiculous for me to play something outside of that role, and it will be crazy for dustin hoffman to try to be "commando" or to be conan or to be terminator or to be rambo. it doesn't work, you know? so the people only accept you for certain things. >> there was a lot of ideas of returning to traditional notions of masculinity after the sensitive '70s, but these things go in cycles, and i think that by the late '80s, we were ready for an action hero who was a little more sensitive. >> do you really think you have a chance against us, mr. cowboy? >> yippee-ki-yay, [bleep] >> "die hard" is as perfect in its own way as "casablanca". it is an action movie where the action is great. it is a heist movie where the heist makes sense. you have john mcclane, who is not a superhero, who is a regular new york cop, who is not only out of his element, but he's out of his shoes. >> that's a great thing to do in an action movie, is include something which everybody can sympathize with. i don't know what it's like to throw a chair with explosives down an elevator shaft, but i have accidentally trod on glass, and it hurt. >> you watch him and you go, "i see myself in him, this person who is flawed, but can overcome it," which is, i think, a narrative that we all have about ourselves. like, "well, if push came to shove, i would show up." >> alan rickman's performance as hans gruber is one of the key movie performances of the '80s because of the idea that the villain could be intellectual. it wasn't a beefy villain who beat up our hero, but was a guy who our hero had to out-think. >> a lot of action stars think it's cool to show no fear. to me, that's not a courageous person. that's a stupid person. the courageous person is the one who has fear and goes through it anyway. >> oh, john, what the [bleep] are you doing? >> it isn't the size of the fireball, it's how much you care about the person running from the fireball. works hard at hour one and twice as hard when you take it again the next day. so betty can be the... barcode beat conductor. ♪ go betty! ♪ let's be more than our allergies! zeize the day. with zyrtec. will you pause it real quick? (mumbles) just sold the car to carvana. what? all i had to do was answer a couple questions and got a real offer in seconds. then, they just picked up the car and paid me right on the spot. sell your car at carvana dot com today. i'm telling you, i-i should have come in ten years ago. i'd have been a millionaire by this time. by this time, i'd have had my own boat, my own car, my own golf course. >> one thing the '80s was about was gangster capitalism, and tony montana captures that desire for respect, for money, for influence, for power. >> oliver stone came into the '80s as a well-respected and well-paid screenwriter. this was a guy who had written "scarface", who had a very alpha male voice, and who was making these sweaty, morally-complicated films. >> do you wanna play rough? okay. say hello to my little friend. >> i thought it was excessive and cartoony until i started spending a lot of time in miami. after that, i thought it was a model of restraint. >> it really was a decade that was fueled by "how much money can i make and how can i display it best?" >> the point is, ladies and gentlemen, that greed, for lack of a better word, is good. greed is right. greed works. >> "wall street's" a movie about more than just gordon gekko. it's about a father and a son with different world views, playing different roles in an ever-changing economy. >> he's using you, kid. he's got your prick in his back pocket, but you're too blind to see it. >> no. what i see is a jealous old machinist who can't stand the fact that his son's become more successful than he has. >> what you see is a guy who never measured a man's success by the size of his wallet! >> that's because you never had the guts to go out into the world and stake your own claim! >> it's the connection between wall street and main street. main street is martin sheen. main street are those people who'll be affected by the decisions made by wall street. >> oliver stone is a guy saying, "the purpose of film, the purpose of cinema is to make political commentary about our society." and he made some very compelling films in the process. >> what happened today is just the beginning. we're gonna lose this war. >> come on. you really think so? us? >> we've been kicking other people's asses for so long, i figure it's time we got oured kicked. >> "platoon" had this intensity. so much of that charlie sheen character oliver stone has said was him, was his experience going into the war as a patriotic kid who wanted to do his part and really having his eyes opened to the horror, and i think it maintains that gut punch. >> i hope people go to see what the war was really like. you know, that's a statement, and once you see it, you have to think about it for yourself. think about what you think about war. think about what it really is, as opposed to the fantasy comic book stuff of "top gun." >> the attitude of the '70s had been to take out some of the scorn that the american public felt for the foreign policy establishment as it had completely screwed up vietnam, on the men returning home. >> i want my leg, you understand? can't you understand that? all's i'm saying is i want to be treated like a human being! i fought for my country. i am a vietnam veteran. >> there was an atonement for that in the '80s. there was a second wave of pictures that i think attempted to honor the service that these men had performed for their country. >> yeah, my father was a civilized man. uh, that's a word, yeah? civilized? >> very good word. >> yeah? my father was a civilized man living in an uncivilized time. the civilized, they was the first to die. >> "sophie's choice" is i think the quintessential holocaust drama because it doesn't ever explicitly touch on the details of the horror. it's more about the dramatic implications of it. >> i'm going to tell you something now i have never told anybody. >> i've never worked with anyone who was that confident, who trusted her instincts so thoroughly. >> she learned polish and german just for the film. she lost weight. that encompasses why meryl is so special, because she manages to get to the heart of every single person she's playing. >> and the winner is marvelous meryl streep. [ cheers and applause ] >> you could ask meryl to do anything. she can make anything work. >> somebody spiked my urine sample container. >> who? >> boy, well, how do i know who? anybody could have done it. >> can you stay? >> for a day or so. >> well, meryl, i could see that she worked from a very deep place and what she was really focused on was the truth of her character, to the point where she had to get the language and the sound and the voice perfect. and she was adamant and she was relentless in that pursuit. >> people marry. it's not revolutionary. there's some animals that mate for life. >> geese. >> you know, you use the damn animals for your own argument. you won't let me use them for mine. >> the nominees for performance by an actress in a leading role, meryl streep in "out of africa". >> meryl streep in "ironweed". >> from "a cry in the dark", meryl streep. >> she ended up transcending the job of an actor. she leapt into this other realm of becoming. she wasn't playing a woman with an australian accent. she was an australian mom. >> we're talking about my baby daughter. not some object. >> most movie stars are not the greatest actors. and most great actors don't become great movie stars. but meryl streep is both. >> what does that mean to you - movie star? >> oh, it means, you know, katharine hepburn, bette davis, and contains high quality protein to help manage hunger and support muscle health. try boost® today. hi, i'm lauren, i lost 67 pounds in 12 months on golo. golo and the release has been phenomenal in my life. it's all natural. it's not something that gives you the jitters. it makes you go through your days with energy, and you're not tired anymore, and your anxiety, everything is gone. it's definitely worth trying. it is an amazing product. get refunds.com powered by innovation refunds can help your business get a payroll tax refund, even if you got ppp and it only takes eight minutes to qualify. i went on their website, uploaded everything, and i was blown away by what they could do. getrefunds.com has helped businesses get over a billion dollars and we can help your business too. qualify your business for a big refund in eight minutes. go to getrefunds.com to get started. powered by innovation refunds. the day you get your clearchoice dental implants makes every day... a "let's dig in" day... mm. ...a "chow down" day... a "take a big bite" day... a "perfectly delicious" day... - mm. 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>> oh, really? which one? >> "mio caro adone". >> well, i'm flattered. >> a funny little tune, but it yielded some good things. >> the protagonist of the movie is not mozart. the protagonist of the movie is salieri, who is actually deficient. he's not a great artist. he doesn't have great inspiration. he's jealous of mozart, who does. >> shouldn't it be a bit more -- or this? this. yes. >> the most intelligent and rational individual in the movie is the jealous figure who isn't particularly talented, and the least rational and mature figure in the movie is the genius. >> when i saw "amadeus," there 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 something that was totally brand-new, and it was very, very low budget. and i just felt it was so special, and it was a point of view that we just hadn't seen before. >> to deal openly with voyeurs and sexual dysfunction on screen was stunning to people, and it was a trendsetter then, and it's a movie that mattered a lot. >> joel and ethan's first film was "blood simple". it was kind of a cross between a slasher film and film noir. >> lover boy oughta lock the door. >> they knew that that would be a great calling card. people would pay attention if they had enough scares. >> they make intensely cool and creative films. it always kind of feels a little bit like they've adapted a book that no one's ever heard of. >> every shot has been thought about, every note of music, the dialogue, and it's shocking. all the time, there's shocks in 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. ♪ i still don't have the courage to have a soundtrack with banjos and yodeling. and that was their second film. >> there's these people that come along. they have the same equipment. they have the same playing field. and to take that and to make something fully aesthetically that is completely different than anything else you had seen is like a big deal. that's a triumph. >> comedy in the '80s, my favorite niche subject is tim burton. >> i was never scared by any horror movie, ever, because i always liked them too much. do you know what i mean? 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has america gone mad for the movies? apparently, some of us have. they were buying bat shirts, bat hats, bat anything, and the movie hadn't even opened. >> what's new with tim burton's movie, "batman", is that a mechanical marketing machine begins to tease this movie a year in advance. >> i'm finishing a movie and i'm seeing a poster for it out there on the street. it kind of freaks me out, you know? it's like, the movie's not done yet. for me, "batman," the root of some of that imagery was more horror than it was like comic books, and so i like that about it, and i like the kind of split personality nature of the light and the dark. for me, it was definitely my favorite of all the comic book characters because of those reasons. >> visually, it's timeless. he consciously doesn't let you know where this is. it seems like the '40s, and then all of a sudden, there's like a car from the '70s and he's just using everything. >> we were lucky the movie was made before there was any superhero [bleep] going on. it felt like kind of new territory at the time. >> "batman" begat all of what we see now. the idea of a comic book being made into a film, that's taken over the movie business. >> now you could have predicted some of the big money makers. "batman", "ghostbusters 2", "indiana jones". but who would have guessed a modestly-budgeted film about racism, set in a black neighborhood of brooklyn, would be a national hit? >> mookie! >> what? >> how come you ain't got no brothers up on the wall here? >> man, ask sal, alright? >> into the '80s, there was certainly a push to have more diversity onscreen, but diversity onscreen doesn't necessarily mean diversity behind the camera, and you didn't really have a lot of black filmmakers who were getting a chance to make films. so you really do need spike lee at that point. >> don't start no [bleep], alright? >> vito's down. vito's down, alright? alright? >> yeah. >> "do the right thing" is one of the most important films in the history of cinema, certainly, as it pertains to the representation of race. >> it was like a cultural hand grenade. someone set it off and you just couldn't believe the things that were being said in that film. they were all under the surface, but they just, they weren't said in that way. >> pino, who's your favorite basketball player? >> magic johnson. >> who's your favorite movie star? >> eddie murphy. >> and who's your favorite rock star? prince. you're a prince freak. >> boss. bruce. >> prince. >> bruce. >> pino, all you ever talk about is "[bleep] this and [bleep] that." and all your favorite people are so-called [bleep]. >> it's such a time capsule of new york in that era. at the same time, its theme's universal. everyone's interacting, and it's funny. >> why don't you move back to massachusetts? >> i was born in brooklyn. >> no! >> it's creative, it's cultural, it's social. >> stay black! >> it's political, and it has this edge to it. it has this provocation as part of its core. >> get his arm, get his arm. gary, that's enough. gary, that's enough, man. >> towards the end of the film, mookie is sort of presented with this choice. a young black man has been murdered. do i retaliate? do i basically kick off this riot? and he wrestles with it for a split second. and spike, when he talks about it, he says, you know, "black people don't ask him if mookie did the right thing." >> hey! >> noooo! >> what mookie represents at the end of that movie is black rage. it was important, i think for spike to say, "this is where we are." >> not enough people credit the maturity of what he did in terms of posing a question that he then did not answer. lots of people like to make films and button it up, making sure that you feel a certain way about a certain thing, and spike has always been determined to ask you a question. it forces you into confrontation with your own feelings. >> son of a [bleep] >> the '80s was a time when so many new filmmakers got their start. the '80s was an incubator for new voices, new visionaries, new ideas. >> seize the day. gather ye rosebuds while ye may. >> cinema, to me, has always been an escape from whatever my life was at the time. >> what i really love in cinema is just to go and be swept away. it's a different world. >> there's something really special about being in a movie you can sit in the back and feel everybody enjoying it. there's something really great about that. >> hey! >> this is why we love movies. we get to see portraits of people and how they deal with whatever this struggle is to be a human being. >> snap out of it! >> the '80s was a good period for american movies. there were comedies that had to do with real life, weren't over the top. there were dramas that took on tough subjects. >> goodbye. >> there were genres that hadn't been explored in that way. >> but at the same time, there's just more overload on us. the aesthetic gravitated to bigger, faster, and louder. >> it's the only medium where you can present both story and spectacle. only movies can do that. only movies can present the truth of human drama and then transport you to a place that can't be seen in real life. hello and welcome to our viewers joining us here in the united states and all around the world, i'm rosemary church. >> just ahead on "cnn newsroom" -- >> gun violence needs to stop. there's too much o

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