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[ sound of gunfire ] as far back as i can remember, i always wanted to be a gangster. goodfellas is like, fasten your seatbelts, i m going to kick the shit out of you for two and a half hours, and you re going to love it. there have been so many gangster movies, so many mob movies. is it really possible that in 1990 martin scorsese will be able to make a gangster movie that has something to say that hasn t already been said a million times? it s gonna be a good summer! and you watch the movie and you re like, yeah! see you later, thanks. what are you doing? you re leaving your car? he watches the car for me. we tried to capture the exuberance of that world. it s dangerous and threatening, but they re having a wonderful time. goodfellas was the nuts and bolts of the mob. it was the mob as a job. what do you do? what? what do you do? i m in construction. and the balance of these two families, of your mob family and your ....
Indie black filmmaking can have. kristin! what? don t answer me what. turn that tv off. i don t care what it is, no tv on a school night! we talked about the spike lee films, john singleton films, but also it was a period when black female filmmakers are making some really interesting things. you have daughters of the dust, julie dash s film, examining the gullah culture, black culture that hearkens back several hundred years. and that movie s beautiful. you also have a movie like just the girl. you re too cute to be a gentlemen, right? you don t have to be like that. whatever, whatever. it s a quote, unquote hood movie, but a hood movie from the perspective of a young girl. people think of new black realism as the hood genre. but actually there s a range of socioeconomic experience being shown in black cinema of the 90s. ....