[ 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 going to 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. over there. oh, thanks a lot. 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
you cut to outside and amber s sobbing, because that s just it. she s somebody who is not responsible enough to parent. you don t have to be interested in pornography to be interested in broken people. they ve been rejected by their family, they don t have a family. the moral center of the movie is about all these broken humans trying to make themselves whole. by finding a stitched together family when they don t have an actual family of their own. paul thomas anderson has never made the same movie twice. whenever you see a paul thomas anderson movie, like stanley cube rick, you know it s a paul thomas anderson movie. i m not sure there s more of a compliment. oh, come on, frank. what are you doing? what am i doing? yeah.
spike had the good fortune of casting denzel washington at the pinnacle of his movie stardom. i think it s his best performance. denzel washington is one of the all-time greats. what he does in his artistry, painting a portrait of an individual, it s astounding. if the so-called negro in america was truly an american citizen, we wouldn t have a racial problem. if the emancipation proclamation was authentic, we wouldn t have a race problem. watching a guy like denzel as malcolm x, top of the game, intimidating in many ways. mr. becket, come in. when we made philadelphia, he was malcolm x already. that was like starting a movie with marlon brando and having just seen the godfather the night before.
Back and stuff. how do you know this? jed s got cable. this movie is about a widower. that, i thought, was a brave choice. you saw people on screen working out a problem that weren t necessarily from the traditional american family. i left her by the telescopes. the great thing about nora is, when she was talking about the dynamics between men and women who are attracted to each other or need each other or searching for each other and don t really know it, she was a genius. i m the guy you don t usually see. i m the one behind the scenes. i m the sports i wanted to write a movie that begins where an 80s movie ended. what s going on? they fired jerry maguire. the script went right to tom cruise. he calls immediately. i love this script.
Sandler knocking out one movie after the next. sidney and scott are newlyweds. whoopedy do! if you look at the scenes that are memorable from something like wayne s world, they re big scenes. they re the heads bobbing back and forth. they re not afraid to do something big to get a laugh. smoking! and then all of a sudden, one day, this guy who is as big as the screen shows up. and it s jim carrey. and he turned into a top hollywood star because he is unafraid to be big. even as he s doing these over-the-top things where you think, well, he s talking through his behind, i m not going to watch this. excuse me, i d like to ass you a few questions. and yet there you are, you re