you don t want it after you get what you want, you don t want it. that s a perfect number because that s really her story, too. because after you get what you want, you don t want what you wanted she had money and the lights and the costumes and the fans. but there was something missing. she doesn t want to be stuck at fox making stereo type movies. i could have sworn you were a dramatic actress. i think that s impossible. what i d like to do is to be a good actress. when you want that, you re not necessarily going to find it in hollywood. there s no business like show biz opens to great fanfare. but marlyn is nowhere to be seen. marlilyn monroe didn t show p for her own movie premiere. her mind and life were already somewhere else. she is incognito. she was in a big black coat sneaking away to start a life in new york. she didn t tell anybody anything and nobody knew. marlyn walked out as a decoloration, of independence. she wanted control of her
after you get what you want, you don t want it, that s a perfect number, because that s really her story too. because after you get what you want you don t want what you wanted she had money and the lights and the costumes and the fans. i know you but there was something missing. she doesn t want to be stuck at fox making stereotype movies. i could have sworn you were a dramatic actress. you think that s impossible. what i d like to do is be a good actress. when you want that, you re not necessarily going to find it in hollywood. there is no business like show business opens to great fanfare. but marilyn is nowhere to be seen. marilyn monroe didn t show up for her own movie premiere. her mind and her life were already somewhere else. she is incognito. as zelda zonk. zelda zonk was a beautiful woman in a black bobbed wig, sneaking away from l.a. to start a new life in new york. she didn t tell anybody anything. nobody knew. marlyn walked out a
marilyn monroe, blond bombshell. get out the fire house. hollywood super star. the late marilyn monroe. tragic victim. the story of marilyn monroe is an talentic tragedy. when we talk about marilyn monroe, it s always about poor marry listen, this vulnerable passive woman who is being destroyed by hollywood. that s the way the story frames her. after a reckoning in hollywood, it s time to reframe her story. now it can hit pause and roll it back a bit and ask ourselves, okay, what is it that we think we know? she was quite ahead of her time. and she was very much an architect of her own fame. you must think i was born yesterday. her performances are layered. they re funny. they re tenner the. they are human. they feel modern. she had a deep inner life. she was an artist. she was a poet. she was a business woman. what a power broker she was, renegotiating her contract, creating her own production company, getting films made. it s rather instruments
[ 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
robinson, apparently tired, punched fairly well and rocked jake right to his heels. come on, ray. a director and actor finds a story at the right time in the right place. and out comes this amazing combination of cinematic virility and absolute fear. it s like watching an animal. raging bull is a great title. the film fulfills the promise. the reality of the boxing and the great slow motion, all of the black and white gore, the violence of the flush bulbs going off. when he designed the movie, marty purely, he didn t pickup a clutch on the film. there s no clutch. hey, ray, you never went down, ray. you never got me down, ray. it s a boxing movie for people who don t like boxing. because it s really not about that. it s about this man who was based on a real person who is 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