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♪
♪
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♪
♪
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>>> ROBINSON APPARENTLY TIRED.
>> COME ON.
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>> A DIRECTOR, AN ACTOR, FIND A
STORY AT THE RIGHT TIME IN THE
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00:02:03,223 --> 00:02:10,530
RIGHT PLACE.
OUT COMES THIS AMAZING
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COMBINATION OF CINEMATIC FEAR.
IT’S LIKE WATCHING AN ANIMAL.
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>> "RAGING BULL" IS A GREAT
TITLE.
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THE FILM FULFILLS THE PROMISE.
THE REALITY OF THE BOXING AND
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00:02:27,180 --> 00:02:30,250
THE SLOW MOTION AND ALL OF THE
BLACK AND WHITE GORE AND THE
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00:02:30,250 --> 00:02:32,550
FLASHBULBS.
WHEN HE DESIGNED THE MOVIE, HE
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00:02:32,552 --> 00:02:39,192
DIDN’T PUT A CLUTCH ON THE FILM.
THERE’S NO CLUTCH.
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>> GOING DOWN, MAN.
>> YOU NEVER GOT ME DOWN.
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>> IT’S A BOXING MOVIE FOR
PEOPLE WHO DON’T LIKE BOXING.
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IT’S NOT ABOUT THAT.
IT’S ABOUT THIS MAN WHO WAS
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BASED ON A REAL PERSON WHO IS AT
WAR WITH HIMSELF.
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>> HARDER.
HARDER.
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>> I DIDN’T UNDERSTAND BOXING.
THE CHARACTER WAS INTERESTING.
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HE WAS SO CONTRAIR.
>> BOB DE NIRO, HE IS NOT AFRAID
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OF THE NEGATIVE CHARACTERS,
AFRAID TO GO TO THOSE PLACES.
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>> I WAS DOWN TO 152.
THEN I WENT UP TO 212.
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I GAINED 60 POUNDS.
IT’S NOT EASY.
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FIRST 15 POUNDS, IT’S FUN.
THEN IT’S DRUDGERY.
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>> GO GET ’EM, CHAMP.
>> IT’S ABSOLUTELY TRUE THAT THE
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MOVIES OF 1980 LOOK LIKE MOVIES
OF THE 1970s.
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VERY PERSONAL, VERY PASSIONATE
FILM MAKING RULES.
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HAD YOU ORDINARY PEOPLE.
THE MOVIE THAT DEFEATED "RAGING
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00:03:56,837 --> 00:04:01,467
BULL" FOR BEST PICTURE IN 1980.
THIS INCREDIBLY PRECISE AND VERY
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00:04:01,475 --> 00:04:04,377
EMOTIONAL STUDY OF A FAMILY IN
DEEP CRISIS.
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00:04:04,377 --> 00:04:07,207
>> GIVE ME THE CAMERA.
>> I DIDN’T GET IT YET.
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>> GIVE HER THE CAMERA.
>> I WANT A REALLY GOOD PICTURE
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OF THE TWO OF YOU.
>> I WANT TO GET A SHOT OF THE
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00:04:12,753 --> 00:04:14,621
THREE OF YOU MEN.
GIVE ME THE CAMERA.
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00:04:14,621 --> 00:04:17,390
>> NOT UNTIL I GET A PICTURE OF
THE TWO OF YOU.
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HANG ON A SECOND.
>> GIVE HER THE GOD DAMN CAMERA.
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>> IT CENTERS ON PEOPLE WHO
CANNOT GET IN TOUCH WITH THEIR
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FEELINGS AND WHO AVOID THE
DARKER UNDERPINNINGS.
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I WOULD LIKE TO TELL A STORY
ABOUT WHAT PEOPLE WILL DO TO
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AVOID BEING SEEN FOR WHO THEY
REALLY ARE.
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I GAVE MARY TYLER MOORE THE
SCRIPT.
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I COULD SEE YOU PLAYING THIS.
SHE WAS DROWN TO IT.
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THAT TOLD ME THAT THERE IS SOME
PART OF HERSELF SHE WAS WILLING
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TO EXPOSE THAT HAD BEEN NOT
EXPOSED BEFORE.
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SHE WANTED THAT CHANCE.
SO SHE WAS GIVEN THAT CHANCE.
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SO DID A GREAT JOB.
>> THAT MOMENT WHERE SHE COMES
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DOWNSTAIRS AND ASKS HER HUSBAND
WHAT’S WRONG.
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00:05:02,435 --> 00:05:06,105
>> I DON’T KNOW IF I LOVE YOU
ANYMORE.
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00:05:06,106 --> 00:05:10,776
>> SHE GOES UPSTAIRS AND
SHE’S ‐‐ THERE’S SOMETHING SO
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MOVING TO ME ABOUT SOMEBODY WHO
IS SO DEEPLY REPRESSED CRACKING
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00:05:13,547 --> 00:05:19,017
OPEN.
>> THAT’S WHERE THE DAM BREAKS.
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SHE GETS HIT BY SOME TRUTH SHE
CAN’T ARTICULATE.
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SHE’S SO TAKEN BACK, SHE CAN’T
ADJUST.
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SHE CAN’T TAKE IT IN.
>> THAT’S WHAT THAT MOMENT WAS
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ABOUT.
>> YOU LOOK AT SOME OF THESE
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00:05:30,597 --> 00:05:35,867
FILMS OF THE 1980s, LIKE
"ORDINARY PEOPLE."
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00:05:35,869 --> 00:05:40,307
THOSE FILMS ARE EXPLICITLY ABOUT
HOW THINGS LOOK ARE NOT THE WAY
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THEY REALLY ARE.
YOU HAVE TO UNDERSTAND, THIS WAS
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WHEN RONALD REAGAN BECAME
PRESIDENT.
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00:05:48,381 --> 00:05:53,251
THE IDEA WAS THAT AFTER ALL
SORTS OF TRAUMA, PARTICULARLY
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00:05:53,253 --> 00:05:56,256
WATERGATE AND VIETNAM, WE
HEALED.
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00:05:56,256 --> 00:06:00,486
AS THE PUBLIC PRONOUNCEMENT IS
WE’RE GOOD AGAIN, OUR MOVIES ARE
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TELLING US, NO, WE’RE NOT.
NO, WE ARE NOT.
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>> WENDY, I’M HOME.
>> I PLAY THIS GAME.
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ALL YOUR FAVORITE FILMMAKERS,
ALIVE OR DEAD, OPENING A MOVIE
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ON THE SAME DAY, WHICH MOVIE
WOULD YOU SEE FIRST?
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00:06:20,180 --> 00:06:22,849
FOR ME IT WOULD BE STANLEY
KUBRICK BECAUSE YOU ARE GOING TO
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SEE SOMETHING YOU NEVER SAW
BEFORE.
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00:06:24,851 --> 00:06:29,456
HE DID THAT IN ‐‐ THINK ABOUT
IT ‐‐ EVERY GENRE.
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00:06:29,456 --> 00:06:32,656
HE WILL MAKE A HORROR MOVIE,
IT’S THE HORROR MOVIE DONE IN A
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WAY THAT YOU WOULD NOT EXPECT.
TO ME "THE SHINING" IS ABOUT
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DREAD.
FROM THE VERY FIRST FRAME,
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SOMETHING GRABS YOUR SOLAR
PLEXUS AND PULLS ON IT.
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00:06:46,840 --> 00:06:48,940
NOBODY USES SILENCE LIKE STANLEY
KUBRICK.
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00:06:48,942 --> 00:06:54,681
>> MA.
>> IT WAS AS IF I HAD BEEN IN
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00:06:54,681 --> 00:06:59,051
THE HOTEL FOR 2 1/2 HOURS.
HE CREATES A PACING WHERE IT
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00:06:59,052 --> 00:07:01,588
OVERTAKES THE WAY YOU ARE
BREATHING AND THE WAY YOU ARE
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00:07:01,588 --> 00:07:05,458
EXISTING AND YOU ARE IN THERE.
IN ALL KUBRICK FILMS, HE
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00:07:05,458 --> 00:07:12,498
CONTROLS YOU.
KUBRICK STEADY CAM WORK IN "THE
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00:07:12,499 --> 00:07:17,537
SHINING" BROKE NEW GROUND.
IT GAVE STANLEY A CHANCE TO PUT
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00:07:17,537 --> 00:07:21,707
US IN A SCENE THAT DIDN’T HAVE
ANY TIME CONSTRAINTS.
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00:07:21,708 --> 00:07:24,277
YOU GET SO HYPNOTIZED BEING
BEHIND THE TRICYCLE.
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00:07:24,277 --> 00:07:27,747
YOU ARE BEHIND IT.
WHICH LEADS TO ONE OF THE
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SCARIEST SHOTS IN THE MOVIE.
>> HELLO, DANNY.
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00:07:40,593 --> 00:07:43,596
>> HELLO, DANNY.
COME AND PLAY WITH US.
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FANTASTIC.
>> UNITED ARTIST WAS BETTING $40
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00:07:50,503 --> 00:07:55,273
MILLION ON ITS NEW MOVIE
"HEFSHNESS"HEFSH
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00:07:55,275 --> 00:07:57,477
"HEAVENS GATE."
IT HAS BEEN YANKED FROM AMERICAN
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00:07:57,477 --> 00:08:01,907
THEATERS AFTER ONE DAY.
>> TOOK ALMOST A YEAR TO
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COMPLETE.
THE DIRECTOR, GOT A FREE HAND.
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00:08:08,154 --> 00:08:11,391
HIS PRODUCER SAID HE WAS OUT OF
CONTROL.
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00:08:11,391 --> 00:08:17,261
THE RESULT, A 3 1/2 HOURS BOMB.
>> IT’S A STAKE THROUGH THE
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00:08:17,263 --> 00:08:24,270
HEART.
IT’S THE TALE OF THE STUDIO WILL
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00:08:24,270 --> 00:08:26,106
STEP IN.
THAT’S HOW YOU GET THE MOVIES OF
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THE 1980s.
>> YOU KNEW WHERE YOU WERE WHEN
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00:08:33,780 --> 00:08:36,149
YOU SAW "THE EMPIRE STRIKES
BACK."
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00:08:36,149 --> 00:08:40,919
IT WAS THE MOVIE THAT TOOK THE
WHOLE THING TO ANOTHER LEVEL.
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00:08:40,920 --> 00:08:45,220
"STAR WARS" WAS HUGE.
BUT "EMPIRE STRIKES BACK" WAS
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PHENOMENAL
PHENOMENAL.
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00:08:49,996 --> 00:08:55,766
THESE CHARACTERS,
INTERMIX.
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00:08:55,769 --> 00:09:02,239
THIS IS A BUDDING ROMANCE
BETWEEN SOLO AND PRINCESS LEIA.
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00:09:02,242 --> 00:09:05,178
>> I LOVE YOU.
>> I KNOW.
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00:09:05,178 --> 00:09:08,478
>> LUKE IS TRANSITIONING INTO
BECOMING A JEDI KNIGHT.
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00:09:08,481 --> 00:09:12,151
>> THIS IS THE GOOD ACT.
IN CLASSICAL DRAMATIC
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00:09:12,152 --> 00:09:14,220
PHILOSOPHY, YOU SET THE THING UP
IN THE FIRST ACT.
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00:09:14,220 --> 00:09:18,658
IN THE SECOND ACT, YOUR HEROES
ARE PUT IN A POSITION THAT IS
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00:09:18,658 --> 00:09:20,358
UNRESOLVEABLE
UNRESOLVABLE.
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00:09:20,360 --> 00:09:22,228
THEY ARE PUT IN ENORMOUS
JEOPARDY.
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00:09:22,228 --> 00:09:24,998
YOU DON’T KNOW HOW IT’S GOING TO
WORK OUT.
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00:09:24,998 --> 00:09:29,636
THAT IS THE MOST INTERESTING
PART OF THE STORY TO TELL.
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00:09:29,636 --> 00:09:31,296
>> HE NEVER TOLD YOU WHAT
HAPPENED TO YOUR FATHER.
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00:09:31,304 --> 00:09:38,244
>> HE TOLD ME ENOUGH.
HE TOLD ME YOU KILLED HIM.
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00:09:38,244 --> 00:09:42,248
>> WHEN WE STARTED WORK, IT WAS
ME AND GEORGE IN THE OFFICE.
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00:09:42,248 --> 00:09:48,888
GEORGE SAYS TO ME, YOU KNOW,
DARTH VADER IS LUKE’S FATHER.
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00:09:48,888 --> 00:09:55,188
>> I AM YOUR FATHER.
>> NO SHIT.
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00:09:55,195 --> 00:10:00,100
IT WAS ABOUT FATHERS AND SONS,
ABOUT GOOD AND EVIL PERSONIFIED.
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00:10:00,100 --> 00:10:04,137
>> IT IS YOUR DESTINY.
>> THAT MADE THE SAGA BETTER
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00:10:04,137 --> 00:10:11,737
INSTANTLY.
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>>> FOUR OF THE BIGGEST MONEY
MAKING FILMS OF RECENT TIMES
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HAVE COME FROM TWO YOUNG, GIFTED
FILMMAKERS, GEORGE LUKAS AND
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00:10:27,927 --> 00:10:28,727
STEEB
STEVEN SPIELBERG.
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00:10:28,728 --> 00:10:31,158
IT WAS INEVITABLE THEY WOULD
JOIN TALENT.
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00:10:31,164 --> 00:10:40,273
THEY HAVE IN AN ADVENTURE FILM
TO BE RELEASED THIS WEEK.
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♪
>> GEORGE SAYS, I HAVE SOMETHING
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CALLED "RAIDERS OF THE LOST
ARK."
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00:10:49,249 --> 00:10:53,186
HE TOLD ME THIS STORY OF THIS
ARCHAEOLOGIST WITH THE HAT AND
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00:10:53,186 --> 00:10:54,846
WHIP.
I COMMITTED TO THE MOVIE BASED
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00:10:54,854 --> 00:10:59,526
ON A STORY GEORGE TOLD ME.
THEN LARRY GEORGE AND I SAT
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00:10:59,526 --> 00:11:04,126
AROUND AND BASICALLY MADE UP THE
STORY FROM BEGINNING TO END.
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00:11:04,130 --> 00:11:08,168
>> THERE’S A LINE THAT MEANS A
LOT TO ME.
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00:11:08,168 --> 00:11:11,798
BURIED IN THE MIDDLE OF A BIG
ACTION SEQUENCE.
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00:11:11,804 --> 00:11:15,074
THEY HAVE LOST CONTROL OF THE
ARK.
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00:11:15,074 --> 00:11:18,878
INDY SAYS, I WILL GET IT BACK.
HOW ARE YOU GOING TO DO IT?
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00:11:18,878 --> 00:11:22,108
>> I DON’T KNOW.
I’M MAKING THIS UP AS I GO.
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00:11:22,115 --> 00:11:24,584
>> THAT TO ME WAS WHAT LIFE WAS
LIKE.
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00:11:24,584 --> 00:11:28,688
WE MAKE IT UP AS WE GO.
INDIANA JONES IS VERY GOOD AT
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00:11:28,688 --> 00:11:34,988
THAT.
>> WE CAME UP WITH AN IDEA, LIKE
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00:11:34,994 --> 00:11:39,032
A TRUCK CHASE.
THEN WE FIGURED, HOW DO WE GET
137
00:11:39,032 --> 00:11:44,470
THE TRUCK CHASE IN THE MOVIE?
WE HAD THESE BIG SUBJECTS.
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00:11:44,470 --> 00:11:46,870
THEN WE REVERSE ENGINEERED IN
ORDER FOR IT TO EARN ITS PLACE
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00:11:46,873 --> 00:11:56,149
IN THE STORY.
>> SPIELBERG IS A MASTER OF
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00:11:56,149 --> 00:11:58,418
STAGING.
WHEN THEY MOVE FAST AND CUT
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00:11:58,418 --> 00:12:04,057
QUICKLY, YOU ALWAYS KNOW THE LAY
OF THE LAND.
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00:12:04,057 --> 00:12:08,357
>> HE CAN CREATE SUSPENSE OUT OF
DETAILS BIG AND SMALL.
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00:12:08,361 --> 00:12:10,330
THERE’S ALWAYS THE ACTION THAT
THE AUDIENCE CAN SEE BUT THE
144
00:12:10,330 --> 00:12:15,268
CHARACTERS CAN’T SEE.
THE AUDIENCE IS AWARE THAT NOT
145
00:12:15,268 --> 00:12:20,538
ONLY IS INDY MAYBE GOING TO GET
BEATEN TO DEATH BY THIS ENORMOUS
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00:12:20,540 --> 00:12:25,540
NAZI, BUT THE WHOLE THING MIGHT
BLOW UP.
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00:12:25,545 --> 00:12:29,616
>> YOU WONDER WHY YOUR BLOOD
GETS UP WHEN YOU WATCH THEM.
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00:12:29,616 --> 00:12:37,286
IT’S CRAFTSMANSHIP AND ART.
>> EVERYBODY IN THIS TOWN IS
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00:12:37,290 --> 00:12:41,090
TALKING ABOUT STEVEN SPIELBERG’S
LATEST FILM "E. T.."
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00:12:41,094 --> 00:12:43,663
THERE WERE THOUSANDS OF PEOPLE
IN THE STREET WAITING TO GET IN.
151
00:12:43,663 --> 00:12:46,566
>> THE WAIT IS HOURS LONG IN
CHICAGO.
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00:12:46,566 --> 00:12:50,066
DAYS LONG IN LOS ANGELES.
>> "E. T." IS THE BIGGEST MONEY
153
00:12:50,069 --> 00:12:56,009
MAKER EVER.
>> I HAD THE STORY I WAS GOING
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00:12:56,009 --> 00:12:58,309
TO WRITE ABOUT HOW THE DIVORCE
BETWEEN MY MOM AND DAD AFFECTED
155
00:12:58,311 --> 00:13:03,149
ME AND MY THREE SISTERS.
I COMBINED THAT WITH ONE ABOUT
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00:13:03,149 --> 00:13:07,219
AN ALIEN WHO IS DIVORCED FROM
HIS OWN SPECIES.
157
00:13:07,220 --> 00:13:10,620
IS LOST THREE MILLION LIGHT
YEARS FROM HOME.
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00:13:10,623 --> 00:13:14,093
>> I DON’T LIKE HIS FEET.
>> CAN YOU IMAGINE IF THAT FILM
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00:13:14,093 --> 00:13:19,232
DIDN’T HAVE THOSE KIDS, EVERY
ONE OF THEM?
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00:13:19,232 --> 00:13:22,935
THAT’S THE SECRET SAUCE TO THAT
MOVIE.
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00:13:22,935 --> 00:13:28,705
>> I JUST WANT TO SAY GOOD‐BYE.
>> ALL THE KIDS HAVE FALLEN IN
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00:13:28,708 --> 00:13:34,908
LOVE WITH E.T.
THE TEARS WERE REAL.
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00:13:34,914 --> 00:13:40,386
>> BE GOOD.
>> YES.
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00:13:40,386 --> 00:13:45,016
>> STEVEN SPIELBERG MOVIES, THEY
ARE BLOCKBUSTERS BUT THEY ARE
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00:13:45,024 --> 00:13:48,127
PERSONAL STORIES.
THEY ARE SMALL STORIES TOLD
166
00:13:48,127 --> 00:13:54,597
AGAINST A GIANT CANVAS.
>> THEY’RE HERE.
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00:13:54,600 --> 00:13:59,038
>> I REALLY FELT I WAS SPEAKING
TO MYSELF.
168
00:13:59,038 --> 00:14:03,638
LOVING ESCAPISM.
"POLTERGEIST
169
00:14:03,643 --> 00:14:04,677
"POLTERGEIST" WAS ABOUT THINGS
THAT SCARED ME.
170
00:14:04,677 --> 00:14:07,947
I HAD A TREE THAT SCARED ME.
WHAT HAPPENS?
171
00:14:07,947 --> 00:14:12,017
A TREE GRABS THE KID.
WHEN I MADE STORIES ABOUT
172
00:14:12,018 --> 00:14:17,388
KIDDING ON ONE FINAL ADVENTURE
AND DISCOVERS THE RICHES TO SAVE
173
00:14:17,390 --> 00:14:21,990
THEIR PARENTS’ HOMES.
STORIES ABOUT GREMLINS.
174
00:14:21,994 --> 00:14:33,573
LOVING STORIES THAT WERE
BIZARRE.
175
00:14:33,573 --> 00:14:40,513
>> EVERYBODY HAS DREAM ORPHAN TA
FANTASIES OF GOING BACK IN TIME.
176
00:14:40,513 --> 00:14:43,015
IT WAS PUT TOGETHER FOR THE
MODERN AGE.
177
00:14:43,015 --> 00:14:48,545
>> YOU BUILT A TIME MACHINE OUT
OF A CAR?
178
00:14:48,554 --> 00:14:52,358
>> IF YOU ARE GOING TO BUILD A
TIME MACHINE, WHY NOT DO IT WITH
179
00:14:52,358 --> 00:14:54,758
STYLE?
>> IT WAS A MYSTERY IT WAS AS
180
00:14:54,761 --> 00:14:56,729
BIG A HIT AS IT WAS WHEN IT CAME
OUT.
181
00:14:56,729 --> 00:15:02,899
WHAT THE REAL MYSTERY IS IS THAT
IT ENDURED FOR DECADES.
182
00:15:02,902 --> 00:15:06,005
>> WE’RE SENDING YOU BACK TO THE
FUTURE.
183
00:15:06,005 --> 00:15:08,365
>> SIMPLE IDEA.
WHAT WOULD IT BE LIKE TO SEE
184
00:15:08,374 --> 00:15:11,010
YOUR PARENTS WHEN THEY WERE
YOUNGER IS SOMETHING THAT
185
00:15:11,010 --> 00:15:17,450
OBVIOUSLY IS MULTI‐GENERATIONAL.
>> YOU SMOKE, TOO?
186
00:15:17,450 --> 00:15:20,620
>> YOU ARE BEGINNING TO SOUND
LIKE MY MOTHER.
187
00:15:20,620 --> 00:15:24,620
>> THE ONLY THING WEIRD ABOUT
THE STORY, IT’S GOING BACK IN
188
00:15:24,624 --> 00:15:30,563
TIME AND MEETING A MOTHER AND
SHE FALLS IN LOVE WITH A SON SHE
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00:15:30,563 --> 00:15:31,898
DOESN’T HAVE YET.
>> THAT’S A BIG BRUISE YOU HAVE
190
00:15:31,898 --> 00:15:42,838
THERE.
>> THEY PULLED IT OFF.
191
00:15:42,842 --> 00:15:49,682
>> I WAS EXHAUSTED AT THE END.
THEN, HE MAKES "WHO FRAMED ROGER
192
00:15:49,682 --> 00:15:56,155
RABBIT."
>> YOU ARE UNDER ARREST.
193
00:15:56,155 --> 00:16:04,725
>> THERE’S A SCENE WHERE DONALD
DUCKY AND DAFFY ARE HAVING A
194
00:16:04,730 --> 00:16:08,400
PIANO DUEL.
PENGUINS ARE SERVING DRINKS.
195
00:16:08,401 --> 00:16:12,301
IT’S COMPLETE AND TOTAL CHAOS.
REAL ACTORS PRETENDING TO BE
196
00:16:12,305 --> 00:16:15,875
DRINKING.
TRAYS MOVING AROUND ON THESE
197
00:16:15,875 --> 00:16:19,178
IRON RODS.
>> THAT IS IGNORANCE IS BLISS
198
00:16:19,178 --> 00:16:21,378
CATEGORY THAT THAT MOVIE SHOULD
FALL INTO.
199
00:16:21,380 --> 00:16:28,020
IT’S A MOVIE THAT NO SANE PERSON
WOULD ATTEMPT TO MAKE.
200
00:16:28,020 --> 00:16:32,859
>> I LOVE PLAYING VILLAGEEAINVIL
FOR THE FIRST FILM THAT CAME
201
00:16:32,859 --> 00:16:35,289
OUT, THERE ARE DARK MOMENTS THAT
SCARE THE HELL OUT OF ME.
202
00:16:35,294 --> 00:16:46,239
IT’S PAYBACK.
>> REMEMBER ME?
203
00:16:46,239 --> 00:16:50,309
I KILLED YOUR BROTHER.
>> I GOT SOME MOMENTS IN THERE
204
00:16:50,309 --> 00:16:53,045
THAT WILL BE IN THEIR WORST
NIGHTMARES FOR THE REST OF YOUR
205
00:16:53,045 --> 00:16:57,775
LIVES.
>> THE TRICK TO MAKING THAT
206
00:16:57,783 --> 00:17:01,053
BLEND OF LIVE ACTION ANIMATION
IS THAT THE LIVE ACTION ACTOR
207
00:17:01,053 --> 00:17:05,892
HAS TO BELIEVE IT.
BOB ALWAYS BELIEVED THE RABBIT
208
00:17:05,892 --> 00:17:08,261
WAS THERE.
IT IS AN AMAZING PERFORMANCE.
209
00:17:08,261 --> 00:17:10,661
IT’S REALLY ONE THAT ACTORS
SHOULD STUDY.
210
00:17:10,663 --> 00:17:14,533
>> BECAUSE IT WAS MADE BEFORE A
LOT OF CGI EXISTED, IT WAS
211
00:17:14,534 --> 00:17:19,038
OLD‐SCHOOL MOVIE MAKING WITH
PHYSICAL SPECIAL AFFECT.
212
00:17:19,038 --> 00:17:20,938
"WHO FRAMED ROGER RABBIT" IS THE
MOST COMPLICATED MOVIE EVER
213
00:17:20,940 --> 00:17:24,440
MADE.
>> DON’T TELL ME YOU LOST YOUR
214
00:17:24,443 --> 00:17:33,986
SENSE OF HUMOR ALREADY.
>> DOES THIS ANSWER YOUR
215
00:17:33,986 --> 00:17:46,566
QUESTION?
216
00:17:50,169 --> 00:17:56,709
>>> ONE OF THE GREAT FILMS IS
"THE VERDICT."
217
00:17:56,709 --> 00:18:01,847
BEAUTIFULLY TOLD.
PAUL NEWMAN PLAYS A WASHED UP
218
00:18:01,847 --> 00:18:07,817
LAWYER WHO IS AN ALCOHOLIC
AMBULANCE CHASER.
219
00:18:07,820 --> 00:18:14,527
WHAT MAKES IT UNIQUE IS EVEN
WHEN IT IS BIG MOVIE STARS, HE
220
00:18:14,527 --> 00:18:18,757
MANAGED TO BRING THEM DOWN IN
THE CASE TO THE STREETS.
221
00:18:18,764 --> 00:18:22,434
YOU CAN SEE THE STARS IN THE
MOVIE, BUT THEY HAVE NOT TURNED
222
00:18:22,435 --> 00:18:24,904
THE MOVIE INTO SOMETHING
GLAMOROUS.
223
00:18:24,904 --> 00:18:34,280
ON THE OPPOSITE, HAVE ENTERED
THE DRUDGE AND REALITY.
224
00:18:34,280 --> 00:18:38,380
>> THERE WAS NO WAY I COULD WIN.
>> HE WAS ASKED TO BE THE
225
00:18:38,384 --> 00:18:40,853
LEADING MAN AND BE CHARMING AND
FUNNY.
226
00:18:40,853 --> 00:18:46,459
WHEN HE DOES "THE VERDICT," IT
MAKES YOU CRY.
227
00:18:46,459 --> 00:18:49,929
NEWMAN SHOWS YOU WHAT HE IS MADE
OF AS AN ACTOR.
228
00:18:49,929 --> 00:18:53,029
>> I THINK YOU ARE MAKING A BIG
MISTAKE.
229
00:18:53,032 --> 00:18:56,535
YOU SHOULD RECONSIDER.
>> TO SEE THAT SCENE WHERE HE IS
230
00:18:56,535 --> 00:18:58,235
CALLING THE INSURANCE COMPANY TO
REKINDLE THE DEAL HE TURNED
231
00:18:58,237 --> 00:19:02,337
DOWN.
>> NO, NO.
232
00:19:02,341 --> 00:19:07,446
I UNDERSTAND.
>> IT’S ONE OF THE GREATEST
233
00:19:07,446 --> 00:19:10,546
PIECES OF ACTING I HAVE SEEN.
NO CUTS.
234
00:19:10,549 --> 00:19:15,187
OKAY, HERE WE GO.
>> HOW IS YOUR LIFE?
235
00:19:15,187 --> 00:19:16,087
>> GREAT.
HOW IS YOURS?
236
00:19:16,088 --> 00:19:21,258
>> NOT SO GREAT.
>> WE’RE TELLING THE TRUTH?
237
00:19:21,260 --> 00:19:25,398
>> "THE BIG CHILL," ABOUT KIDS
IN COLLEGE TOGETHER AND ARE NOW
238
00:19:25,398 --> 00:19:28,467
NO LONGER ANTI‐ESTABLISHMENT BUT
ACTUALLY ARE PART OF THE
239
00:19:28,467 --> 00:19:31,567
ESTABLISHMENT.
TRYING TO RECONCILE THAT HISTORY
240
00:19:31,570 --> 00:19:35,970
WITH THEIR PRESENT.
>> MOVIES AREN’T BEING MADE FOR
241
00:19:35,975 --> 00:19:38,577
ADULTS.
THAT’S ALL "THE BIG CHILL" IS.
242
00:19:38,577 --> 00:19:40,707
IT’S AN ADULT FILM.
IT TRIES TO BE AS COMPLEX AS
243
00:19:40,713 --> 00:19:45,583
LIFE IS.
>> I WANTED TO MAKE A MOVIE
244
00:19:45,584 --> 00:19:51,190
ABOUT SOMETHING I WAS OBSERVING
AMONG MY FRIENDS.
245
00:19:51,190 --> 00:19:53,959
IMAGINE WE CAME OUT OF COLLEGE
THINKING WE HAD A POWER THAT WAS
246
00:19:53,959 --> 00:20:00,199
NON‐EXISTENT.
♪
247
00:20:00,199 --> 00:20:04,969
>> WHEN IT CAME OUT, I THOUGHT,
THIS WILL BE FOR THIS
248
00:20:04,970 --> 00:20:07,406
GENERATION, CHILDREN OF THE
’60s, THIS WILL BE VERY
249
00:20:07,406 --> 00:20:09,106
RELEVANT.
I WOULD MEET KIDS IN HIGH
250
00:20:09,108 --> 00:20:12,308
SCHOOL, TEN YEARS AFTER THE
MOVIE CAME OUT, LOVE THAT MOVIE.
251
00:20:12,311 --> 00:20:17,049
♪
IT’S ABOUT FRIENDSHIP.
252
00:20:17,049 --> 00:20:21,187
IT’S ABOUT GROWING UP.
THERE’S SOMETHING IN ITS ESSENCE
253
00:20:21,187 --> 00:20:27,857
THAT’S TIMELESS AND UNIVERSAL.
>> I’M MARRYING FLAP TOMORROW.
254
00:20:27,860 --> 00:20:29,895
I THINK IF THIS IS YOUR
ATTITUDE, YOU SHOULDN’T SHOW UP
255
00:20:29,895 --> 00:20:38,265
AT MY WEDDING.
>> THAT’S RIGHT.
256
00:20:38,270 --> 00:20:44,310
I THINK YOU ARE RIGHT.
THE HYPOCRISY WAS BOTHERING ME,
257
00:20:44,310 --> 00:20:49,980
TOO.
>> "TERMS OF ENDEARMENT,"
258
00:20:49,982 --> 00:20:52,451
ADAPTED AND DIRECTED BY JAMES L.
BROOKS.
259
00:20:52,451 --> 00:20:58,390
IT MADE YOU CRY.
IT WAS THE STUFF OF LIFE.
260
00:20:58,390 --> 00:21:04,530
SHIRLEY McCLANE GETS INVOLVED
WITH AN ASTRONAUT PLAYED BY JACK
261
00:21:04,530 --> 00:21:10,369
NICHOLSON.
THEY HAD THIS INCREDIBLE COMIC
262
00:21:10,369 --> 00:21:15,708
CHEMISTRY.
THE ROMANTICMILL
263
00:21:15,708 --> 00:21:16,776
HILARIOUS.
>> IT’S NOT MY FAULT.
264
00:21:16,776 --> 00:21:22,906
>> YOU WANTED TO GET ME ON MY
BACK, YOU JUST HAD TO ASK ME.
265
00:21:22,915 --> 00:21:31,924
>> "TERMS OF ENDEARMENT" MAY BE
THE FIRST DRAMEDY.
266
00:21:31,924 --> 00:21:36,128
>> DO SOMETHING.
ALL SHE HAS TO DO IS HOLD OUT
267
00:21:36,128 --> 00:21:38,297
UNTIL 10:00.
IT’S PAST 10:00.
268
00:21:38,297 --> 00:21:42,167
MY DAUGHTER IS IN PAIN.
GIVE HER THE SHOT.
269
00:21:42,168 --> 00:21:49,008
DO YOU UNDERSTAND?
GET MY DAUGHTER THE SHOT!
270
00:21:49,008 --> 00:21:53,008
THANK YOU VERY MUCH.
>> JAMES BROOKS WAS ABLE TO TAKE
271
00:21:53,012 --> 00:21:58,250
HUMOR, TRAGEDY, THE BEST
WRITING, DELIVERED BEAUTIFUL BY
272
00:21:58,250 --> 00:22:02,550
ACTORS THAT CARED SO MUCH.
IT FELT LIKE LIFE.
273
00:22:02,555 --> 00:22:05,457
IT FELT HUMAN.
IT FELT FUNNY.
274
00:22:05,457 --> 00:22:11,297
>> THE WINNER IS "TERMS OF
ENDEARMENT."
275
00:22:11,297 --> 00:22:14,227
>> JIM WAS INTO THE DELICATE
SHADES OF HUMANITY BEFORE IT WAS
276
00:22:14,233 --> 00:22:19,638
COOL.
>> THAT WAS A LONG TIME AGO.
277
00:22:19,638 --> 00:22:21,268
PEOPLE CHANGE.
>> I HOPE YOU CHANGED.
278
00:22:21,273 --> 00:22:26,078
>> AND FOR YOURS.
>> LEFT SOMETHING TO BE DESIRED.
279
00:22:26,078 --> 00:22:33,686
>> YOU LOOK AT WOODY’S CAREER.
IN THE ’80s, SHOULD HAVE BEEN
280
00:22:33,686 --> 00:22:38,856
PAST HIS PRIME.
WAIT A MINUTE.
281
00:22:38,858 --> 00:22:47,628
THERE’S "PURPLE ROSE OF CAIRO."
WOODY ALLEN HAS EXPANDED HIS
282
00:22:47,633 --> 00:22:49,333
SENSIBILITY.
IT’S GOT HUMOR IN IT.
283
00:22:49,335 --> 00:22:52,204
IT HAS SATIRE IN IT.
HE IS NOT TRYING TO GET A LAUGH
284
00:22:52,204 --> 00:22:56,942
EVERY SECOND.
>> IT’S A WONDERFUL CONUNDRUM.
285
00:22:56,942 --> 00:23:02,648
VERY ORIGINAL STANDPOINT.
I THINK THAT’S WHY IT HOLDS.
286
00:23:02,648 --> 00:23:04,717
>> YOU TOLD ME OVER AND OVER YOU
WOULD LEAVE HER.
287
00:23:04,717 --> 00:23:06,517
WE MADE PLANS.
I GAVE UP THINGS FOR YOU.
288
00:23:06,518 --> 00:23:12,688
>> DREAMS.
>> "CRIMES AND MISDEMEANORS" IS
289
00:23:12,691 --> 00:23:16,161
TWO PARALLEL STORIES.
ONE IS A TRADITIONAL WOODY ALLEN
290
00:23:16,161 --> 00:23:25,801
AND MIA FARROW AND THE OTHER IS
A SERIOUS EXAMINATION OF LIFE
291
00:23:25,804 --> 00:23:29,808
AND DEATH THEMES.
>> A GUY IS HAVING AN AFFAIR.
292
00:23:29,808 --> 00:23:32,838
SHE’S THREATENING TO TELL HIS
WIFE AND THREATENING TO DISRUPT
293
00:23:32,845 --> 00:23:37,983
HIS WORLD.
HE HAS A HIT MAN KILL HER.
294
00:23:37,983 --> 00:23:41,120
>> I HAD A WOMAN KILLED.
I THOUGHT I WAS GOING TO GO
295
00:23:41,120 --> 00:23:45,420
HELL.
NOTHING HAPPENED.
296
00:23:45,424 --> 00:23:49,929
WOODY IS CONSTANTLY GETTING SHIT
ON MY LIFE.
297
00:23:49,929 --> 00:23:55,868
HE IS DOING THE RIGHT THING.
>> YOU LOOK DEEP IN THOUGHT.
298
00:23:55,868 --> 00:23:58,168
>> I WAS PLOTTING THE PERFECT
MURDER.
299
00:23:58,170 --> 00:24:00,205
>> HIS WRITING IS VERY STRONG
FOR THAT REASON.
300
00:24:00,205 --> 00:24:04,875
IT ALWAYS FEELS LIKE HE WAS
THINKING ABOUT SOME
301
00:24:04,877 --> 00:24:05,907
PHILOSOPHICAL TRUTH ABOUT HUMAN
NATURE.
302
00:24:05,911 --> 00:24:07,611
I WANT TO WRITE A MOVIE ABOUT
THAT.
303
00:24:07,613 --> 00:24:11,983
>> I’M TALKING ABOUT REALITY.
IF YOU WANT A HAPPY ENDING, YOU
304
00:24:11,984 --> 00:24:16,789
SHOULD SEE A HOLLYWOOD MOVIE.
>> YOU REALIZE, OF COURSE, WE
305
00:24:16,789 --> 00:24:19,019
COULD NEVER BE FRIENDS.
>> WHY NOT?
306
00:24:19,024 --> 00:24:23,595
>> WHAT I’M SAYING IS ‐‐ THIS IS
NOT A COME ON IN ANY WAY, SHAPE
307
00:24:23,595 --> 00:24:25,555
OR FORM.
MEN AND WOMEN CAN’T BE FRIENDS
308
00:24:25,564 --> 00:24:30,002
BECAUSE THE SEX PART ALWAYS GETS
IN THE WAY.
309
00:24:30,002 --> 00:24:39,742
>> "WHEN HARRY MET SALARY "LYSAL
HE WAS BASED ON ROB REINER.
310
00:24:39,745 --> 00:24:43,849
>> EVERY SCENE HAS TO BE GOOD.
YOU WORK AND WORK AND WORK.
311
00:24:43,849 --> 00:24:46,279
YOU TORTURE YOURSELF.
>> I HAD KNOWN NORA.
312
00:24:46,285 --> 00:24:50,055
I PITCHED THIS IDEA FOR THIS
FILM ABOUT THE DANCE THAT PEOPLE
313
00:24:50,055 --> 00:24:53,625
GO THROUGH TO GET TOGETHER AFTER
THEY HAVE BOTH GOTTEN OUT OF
314
00:24:53,625 --> 00:24:59,655
LONG‐TERM RELATIONSHIPS.
THEY BECOME FRIENDS AND DOES SEX
315
00:24:59,665 --> 00:25:02,534
COME INTO THE PICTURE?
DOES IT RUIN THE FRIENDSHIP?
316
00:25:02,534 --> 00:25:05,938
THAT’S SOMETHING I WOULD BE
INTERESTED IN.
317
00:25:05,938 --> 00:25:07,868
>> HE RIPS OFF MY CLOTHES.
>> THEN WHAT?
318
00:25:07,873 --> 00:25:13,479
>> THAT’S IT.
>> THAT’S IT?
319
00:25:13,479 --> 00:25:17,879
A FACELESS GUY RIPS OFF YOUR
CLOTHES AND THAT’S THE SEX
320
00:25:17,883 --> 00:25:20,252
FANTASY YOU HAVE BEEN HAVING
SINCE YOU WERE 12?
321
00:25:20,252 --> 00:25:22,921
>> SOMETIMES I VARY IT A LITTLE.
>> WHICH PART?
322
00:25:22,921 --> 00:25:29,091
>> WHAT I’M WEARING.
>> A GOOD ROMANTIC COMET DID I
323
00:25:29,094 --> 00:25:30,462
IS,
COMEDY IS, HOW DO YOU GET THEM
324
00:25:30,462 --> 00:25:32,498
THERE?
IT’S ALL ABOUT THE STORY.
325
00:25:32,498 --> 00:25:34,998
IT’S ALL ABOUT THE PEOPLE.
DO YOU CARE ABOUT THEM?
326
00:25:35,000 --> 00:25:45,177
DO YOU WANT THEM TO BE TOGETHER?
.
327
00:25:45,177 --> 00:25:48,177
>> MOST WOMEN HAVE DONE IT.
>> YOU DON’T THINK I COULD TELL
328
00:25:48,180 --> 00:25:48,847
THE DIFFERENT?
>> NO.
329
00:25:48,847 --> 00:25:53,385
>> GET OUT OF HERE.
>> THE DELI SCENE.
330
00:25:53,385 --> 00:25:56,855
WHEN WE FIRST DID IT, MEG WAS A
LITTLE NERVOUS.
331
00:25:56,855 --> 00:26:04,295
CREW MEMBERS, EXTRAS, PEOPLE
STANDING AROUND.
332
00:26:04,296 --> 00:26:07,566
>> ARE YOU OKAY?
>> OH.
333
00:26:07,566 --> 00:26:11,036
>> ROB SAYS, HERE IS WHAT I
WANT.
334
00:26:11,036 --> 00:26:15,136
HE HAS AN ORGASM THAT MIGHTY JOE
YOUNG WOULD BE JEALOUS OF.
335
00:26:15,140 --> 00:26:18,010
YES, YES, I’M POUNDING THE
TABLE.
336
00:26:18,010 --> 00:26:23,715
>> YES, YES, YES.
>> I REALIZE, BECAUSE MY MOTHER
337
00:26:23,715 --> 00:26:27,345
IS SITTING ‐‐ I’M HAVING AN
ORGASM IN FRONT OF MY MOTHER.
338
00:26:27,352 --> 00:26:37,162
>> I WILL HAVE WHAT SHE’S
HAVING.
339
00:26:38,564 --> 00:26:48,574
MUSICAL TRILOGY I’M DOING.
IN D MINEOR WHICH IS THE SADDEST
340
00:26:48,574 --> 00:26:50,476
OF ALL KEYS.
I DON’T KNOW WHY.
341
00:26:50,476 --> 00:26:58,116
IT MAKES PEOPLE WEEP INSTANTLY.
>> WHAT DO YOU CALL THIS?
342
00:26:58,117 --> 00:27:01,347
>> THIS PIECE IS CALLED LICK MY
LOVE PUMP.
343
00:27:01,353 --> 00:27:04,389
>> WE WERE GOING TO DO A MOCK
DOCUMENTARY.
344
00:27:04,389 --> 00:27:06,558
A SATIRE OF A ROCK AND ROLL BAND
ON TOUR.
345
00:27:06,558 --> 00:27:10,496
WE BASICALLY HAD THE TOUR
OUTLINED.
346
00:27:10,496 --> 00:27:14,926
ESSENTIALLY, IT WAS A VERY THIN
THUMBNAIL SKETCH OF WHAT WAS
347
00:27:14,933 --> 00:27:19,603
GOING TO HAPPEN.
THE WHOLE MOVIE IS IMPROVISED.
348
00:27:19,605 --> 00:27:21,140
>> DO THE DEAD BIRD.
>> I DID THE BIRD.
349
00:27:21,140 --> 00:27:23,775
>> DON’T TALK BACK.
LET’S GO.
350
00:27:23,775 --> 00:27:25,575
COME ON.
>> YOU HAD BRILLIANT
351
00:27:25,577 --> 00:27:30,647
PERFORMANCES BY ALL OF THEM.
THEN ROB PUT IT ALL TOGETHER AND
352
00:27:30,649 --> 00:27:32,549
MADE IT SING.
>> PEOPLE DIDN’T KNOW WHAT WE
353
00:27:32,551 --> 00:27:34,751
WERE DOING.
THEY THOUGHT IT WAS A REAL
354
00:27:34,753 --> 00:27:36,788
DOCUMENTARY.
WHEN WE PREVIEWED IT, PEOPLE SAW
355
00:27:36,788 --> 00:27:40,425
IT AND SAID, WHY WOULD YOU MAKE
A MOVIE ABOUT A BAND THAT NOBODY
356
00:27:40,425 --> 00:27:43,495
EVER HEARD OF?
ONE THAT IS SO BAD.
357
00:27:43,495 --> 00:27:53,865
♪
>> LET’S SAY YOU LOOK AT A
358
00:27:53,872 --> 00:27:56,608
PERSPECTIVE MOVIE AND IT’S A
SQUARE.
359
00:27:56,608 --> 00:28:00,646
ROB REINERYNEEINER HAS A WAY OF
A WAY TO ENJOY IT IN A
360
00:28:00,646 --> 00:28:05,276
COMPLETELY NON‐CONVENTIONAL WAY.
>> HE DIDN’T FALL.
361
00:28:05,284 --> 00:28:11,590
INCONCEIVABLE.
>> I DO NOT THINK IT MEANS WHAT
362
00:28:11,590 --> 00:28:15,490
YOU THINK IT MEANS.
>> "THE PRINCESS BRIDE" IS A
363
00:28:15,494 --> 00:28:21,200
BLEND BETWEEN ROMANCE, SATIRE,
ADVENTURE, SWASHBUCKLING.
364
00:28:21,200 --> 00:28:23,030
IT’S MIXED IN.
IT’S A VERY STRANGE MIXTURE,
365
00:28:23,035 --> 00:28:32,578
HARD TO CAPTURE.
>> WHAT ABOUT ROUS?
366
00:28:32,578 --> 00:28:38,848
>> YOU HAVE TO WALK A BALANCE.
IT’S A FINE LINE BETWEEN STUPID
367
00:28:38,850 --> 00:28:41,587
AND CLEVER.
>> EAT IT OR I WILL CALL THE
368
00:28:41,587 --> 00:28:46,157
BRUTE SQUAD.
>> ROB IS A PHENOMENAL DIRECTOR.
369
00:28:46,158 --> 00:28:48,958
BEAUTIES.
TOOK RISKS.
370
00:28:48,961 --> 00:28:53,731
TO BE IN THREE OF THEM, I’M
BLESSED.
371
00:28:53,732 --> 00:28:58,737
>> ONE OF THE HALF ’80s WAS
DIFFERENT COMEDY.
372
00:28:58,737 --> 00:29:04,407
THERE WAS THE SPOOF THAT BECAME
POPULAR.
373
00:29:04,409 --> 00:29:13,849
"AIRPLANE" OR "MAKE ITTEDNAKED G
YOU HAD "CROCODILE DUNDEE."
374
00:29:13,852 --> 00:29:17,022
THE RISE OF "SATURDAY NIGHT
LIVE".
375
00:29:17,022 --> 00:29:22,227
>> IT’S 106 MILES TO CHICAGO.
WE HAVE A FULL TANK OF GAS, HALF
376
00:29:22,227 --> 00:29:27,227
A PAT OFCK OF CIGARETTES, IT’S D
AND WE’RE WEARING SUNGLASSES.
377
00:29:27,232 --> 00:29:32,302
>> THEY MADE UP THESE CHARACTERS
WITH A HAT AND GLASSES.
378
00:29:32,304 --> 00:29:38,010
THEY DID THE BLUES BROTHER ON
"SATURDAY NIGHT LIVE" AND GOT A
379
00:29:38,010 --> 00:29:41,647
HUGE RESPONSE.
>> IT’S SUCH A SPECIFIC PLACE.
380
00:29:41,647 --> 00:29:44,577
PEOPLE STARTED REALIZING, THIS
IS WHERE YOU ARE GOING TO GET
381
00:29:44,583 --> 00:29:47,619
YOUR QUALITY COMEDY.
YOU WANTED TO SEE THOSE PEOPLE
382
00:29:47,619 --> 00:29:49,449
IN MOVIES.
>> I WILL CLEAN THIS UP.
383
00:29:49,454 --> 00:29:55,227
>> YOU CLEAN UP A LITTLE BIT.
>> THANKS.
384
00:29:55,227 --> 00:29:57,627
>> COMEDY IS A PRECIOUS
COMMODITY.
385
00:29:57,629 --> 00:30:00,629
WHEN YOU SHAKE THE PAN LOOKING
FOR THE NUGGETS, WHEN THEY SHINE
386
00:30:00,632 --> 00:30:05,170
OUT LIKE THAT, THEN YOU LOVE
THEM FOREVER.
387
00:30:05,170 --> 00:30:07,439
PEOPLE WHO UNDERSTOOD HOW TO BE
FUNNY, THEY CAN BE FUNNY
388
00:30:07,439 --> 00:30:16,248
ANYWHERE.
♪
389
00:30:16,248 --> 00:30:19,848
>> "GHOSTBUSTERS" IS A RARE
FILM.
390
00:30:19,851 --> 00:30:25,791
THE SCI‐FI, ACTION AND COMEDY.
>> THERE’S SOMETHING YOU DON’T
391
00:30:25,791 --> 00:30:31,661
SEE EVERY DAY.
>> "GHOSTBUSTERS" WAS WRITTEN BY
392
00:30:31,663 --> 00:30:35,033
DAN AKROID.
IT SHOULDN’T WORK.
393
00:30:35,033 --> 00:30:38,970
BUT IT DOES WORK.
THEY ARE FLAWLESS.
394
00:30:38,970 --> 00:30:41,770
>> WE HAVE BEEN GOING ABOUT THIS
WRONG.
395
00:30:41,773 --> 00:30:44,042
HE IS A SAILOR.
HE IS IN NEW YORK.
396
00:30:44,042 --> 00:30:47,712
WE GET THIS GUY LAID, WE
WOULDN’T HAVE TROUBLE.
397
00:30:47,713 --> 00:30:53,852
>> BILL HAS EXPLORED WHAT IT
MEANS TO ESCAPE SORT OF THE
398
00:30:53,852 --> 00:30:56,152
CONSTRAINTS OF CONVENTION.
YOU FEEL IN SOME WAY THAT YOU
399
00:30:56,154 --> 00:31:00,192
WANT TO BE AS LIBERATED AS HE
IS.
400
00:31:00,192 --> 00:31:06,462
>> INSTEAD OF WORSHIPPING
MUSICIANS, WE’RE WORSHIPPING
401
00:31:06,465 --> 00:31:07,632
COMEDIANS.
COMEDY IS GOING TO BE THE NEW
402
00:31:07,632 --> 00:31:11,436
ROCK AND ROLL.
>> LISTEN UP.
403
00:31:11,436 --> 00:31:16,366
I DON’T LIKE WHITE PEOPLE.
I HATE REDNECKS.
404
00:31:16,375 --> 00:31:20,512
YOU PEOPLE ARE REDNECKS.
IT MEANS I’M ENJOYING THIS SHIT.
405
00:31:20,512 --> 00:31:25,150
>> WHEN EDDIE MURPHY STARTED
WITH "48 HOURS," HE WAS 20 YEARS
406
00:31:25,150 --> 00:31:27,386
OLD.
HE DOES "TRADING PLACES."
407
00:31:27,386 --> 00:31:33,556
THEN HE DOES "BEVERLY HILLS
COP."
408
00:31:33,558 --> 00:31:39,528
>> EDDIE MURPHY WAS COMEDY.
HE IS A PERFECT EVERY MAN AND SO
409
00:31:39,531 --> 00:31:42,331
LIKEABLE, EVEN THOUGH HE IS KIND
OF A SHIT.
410
00:31:42,334 --> 00:31:44,770
>> IT WASN’T ABOUT NECESSARILY
BEING THE PUT UPON GUY.
411
00:31:44,770 --> 00:31:48,340
IT’S BEING THE GUY SMARTER.
HE IS BUGS BUNNY.
412
00:31:48,340 --> 00:31:50,640
>> THIS IS THE CLEANEST AND
NICEST POLICE CAR I HAVE EVER
413
00:31:50,642 --> 00:31:56,012
BEEN IN.
NICER THAN MY APARTMENT.
414
00:31:56,014 --> 00:31:59,584
>> UP UNTIL THAT POINT,
HOLLYWOOD MOVIES THAT FEATURED
415
00:31:59,584 --> 00:32:05,323
OR STARRED A BLACK ARTIST, THEIR
COLOR WAS ALWAYS A PLOT POINT.
416
00:32:05,323 --> 00:32:10,028
IN "COMING TO AMERICA," THEIR
COLOR HAS NOTHING TO DO WITH THE
417
00:32:10,028 --> 00:32:12,728
PLOT.
>> IT IS MY 21st BIRTHDAY.
418
00:32:12,731 --> 00:32:17,001
DO YOU THINK JUST ONCE I MIGHT
USE THE BATHROOM BY MYSELF?
419
00:32:17,002 --> 00:32:21,339
>> MOST AMUSING, SIR.
WIPERS.
420
00:32:21,339 --> 00:32:25,177
>> HE IS A PRINCE IN A FICTIONAL
AFRICAN NATION.
421
00:32:25,177 --> 00:32:29,607
HE DECIDES THAT HE AND HIS BEST
FRIEND ARE GOING TO GO TO
422
00:32:29,614 --> 00:32:31,917
AMERICA SO HE CAN FIND HIMSELF A
QUEEN.
423
00:32:31,917 --> 00:32:34,186
IF YOU WANT TO FIND A QUEEN,
WHERE DO YOU GO?
424
00:32:34,186 --> 00:32:37,786
YOU GO TO QUEENS, NEW YORK.
IT HAS TO BE FULL OF QUEENS.
425
00:32:37,789 --> 00:32:41,426
>> EVERYBODY WHO HAS SEEN
"COMING TO AMERICA," EMBRACED
426
00:32:41,426 --> 00:32:48,426
THE MOVIE.
I THINK IT’S ETDDDIE MURPHY AT H
427
00:32:48,433 --> 00:32:51,269
BEST.
>> GIVE YOURSELVES A ROUND OF
428
00:32:51,269 --> 00:32:52,569
APPLAUSE.
>> THE ONE WHITE PERSON IS
429
00:32:52,571 --> 00:32:56,541
PLAYED BY EDDIE MURPHY.
>> WHAT ABOUT ROCKY?
430
00:32:56,541 --> 00:33:00,311
>> THERE THEY GO.
EVERYBODY TIME I START TALKING
431
00:33:00,312 --> 00:33:06,882
ABOUT BOXING, A WHITE MAN GOT TO
PULL ROCKY OUT OF THEIR ASS.
432
00:33:06,885 --> 00:33:12,991
>> YOUNG GUY NAMED EDDIE MURPHY.
>> I HATE HIM.
433
00:33:12,991 --> 00:33:15,927
THE KID WITH THE FILTHY MOUTH.
HE IS THE WORST.
434
00:33:15,927 --> 00:33:21,227
>> HE CAN DO VOICES.
HE CAN DO ‐‐ IT SPEAKS TO THE
435
00:33:21,233 --> 00:33:23,835
MAGNITUDE OF HIS TALENT.
IS THAT NOT ACTING?
436
00:33:23,835 --> 00:33:27,105
IS THAT NOT COMIC ACTING AT THE
HIGHEST LEVEL?
437
00:33:27,105 --> 00:33:40,645
>> WHAT DO YOU KNOW FROM FUNNY?
438
00:33:41,219 --> 00:33:45,819
>>> EVEN THOUGH THE 1980s IS
OFTEN VIEWED AS AN UPBEAT ERA,
439
00:33:45,824 --> 00:33:49,327
IT’S THE PERIOD WHEN THE UNITED
STATES CAME OUT OF THE DOLDRUMS
440
00:33:49,327 --> 00:33:52,127
OF THE ’70s.
THERE WAS A FEAR THAT THAT COULD
441
00:33:52,130 --> 00:33:55,500
COLLAPSE AT SOME POINT.
YOU SEE THAT PLAYING OUT IN THIS
442
00:33:55,500 --> 00:34:02,570
POST APOCALYPTIC SUB GENRE OF
ACTION FILMS.
443
00:34:02,574 --> 00:34:07,412
>> TWO DAYS AGO I SAW A VEHICLE
THAT WOULD HAUL THAT TANKER.
444
00:34:07,412 --> 00:34:12,250
YOU WANT TO GET OUT OF HERE?
YOU TALK TO ME.
445
00:34:12,250 --> 00:34:24,796
>> GEORGE MILLER’S MOVIES DO A
TRICK OF MAKING DISTOE INGING DY
446
00:34:24,796 --> 00:34:25,796
GOOD.
I THINK I WOULD DIE WITHIN FIVE
447
00:34:25,797 --> 00:34:29,927
MINUTES.
>> IT’S THE IDEA OF THIS ONE MAN
448
00:34:29,935 --> 00:34:35,140
WHO REGAINS HIS HUMANITY WHEN HE
LOSES EVERYTHING.
449
00:34:35,140 --> 00:34:38,176
THEN THERE’S THE FILM MAKING
CRAFT.
450
00:34:38,176 --> 00:34:43,576
TO SEE THE STUNTS PLAY OUT.
ABSOLUTELY INCREDIBLE.
451
00:34:43,582 --> 00:34:47,419
>> IT’S SO IN YOUR FACE.
IT’S ALMOST LIKE A HEAVIED ME
452
00:34:47,419 --> 00:35:00,799
METAL ROCK AND ROLL MOVIE.
>> "BRAZIL" SEEMED TOO LIKELY TO
453
00:35:00,799 --> 00:35:03,568
COME TO PASS.
IT’S A FUTURE WHERE THINGS DON’T
454
00:35:03,568 --> 00:35:06,068
WORK.
IT’S A FUTURE THAT FEELS LIKE IF
455
00:35:06,071 --> 00:35:09,708
THINGS DON’T GET BETTER, WE WILL
END UP THERE.
456
00:35:09,708 --> 00:35:13,208
>> THAT CONVOY OF PERSONNEL
CARRIERS IS UNACCOUNTED FOR.
457
00:35:13,211 --> 00:35:15,711
I TOLD YOU TO DEAL WITH IT.
WHAT IS THIS MESS?
458
00:35:15,714 --> 00:35:23,488
AN EMPTY DESK IS INEFFICIENT.
>> VISUAL SENSIBILITIES, SO
459
00:35:23,488 --> 00:35:26,188
DISTINCTIVE.
THERE WAS AN AUDACITY TO THAT
460
00:35:26,191 --> 00:35:28,226
MOVIE.
>> IT AROUSES STRONG REACTIONS
461
00:35:28,226 --> 00:35:30,526
FROM PEOPLE.
THAT’S WHAT CINEMA SHOULD BE
462
00:35:30,528 --> 00:35:31,058
ABOUT.
IT’S EXCITING.
463
00:35:31,062 --> 00:35:34,566
IT MAKES US THINK.
I’M HAPPY WITH A FILM THAT DOES
464
00:35:34,566 --> 00:35:40,436
THAT.
>> SMART FILMMAKERS CAN USE
465
00:35:40,438 --> 00:35:50,148
GENRE AS A TROJAN HORSE TO TALK
ABOUT OTHER THINGS.
466
00:35:50,148 --> 00:35:54,518
>> "BLADE RUNNER" IS BASED ON A
NOVEL.
467
00:35:54,519 --> 00:35:57,355
THE QUESTION OF THE NOVEL IS,
WHAT’S THE DIFFERENCE BETWEEN
468
00:35:57,355 --> 00:36:01,085
HUMANS AND NON‐HUMANS?
IS HARRISON FORD HUMAN?
469
00:36:01,092 --> 00:36:04,496
YOU CAN FALL IN LOVE WITH AN
ANDROID?
470
00:36:04,496 --> 00:36:06,726
>> SHE’S BEGINNING TO SUSPECT, I
THINK.
471
00:36:06,731 --> 00:36:10,231
>> HOW CAN IT NOT KNOW WHAT IT
IS IN.
472
00:36:10,235 --> 00:36:11,770
>> COMMERCE.
IT’S
473
00:36:11,770 --> 00:36:15,640
COMMERCE IS OUR GOAL HERE.
HUMAN IS OUR MOTTO.
474
00:36:15,640 --> 00:36:18,977
>> THE SCREENPLAY WAS EXCELLENT.
A RARE ENTITY BECAUSE IT TOLD
475
00:36:18,977 --> 00:36:23,107
NOT ONLY VERY FASCINATING AND
DIFFERENT STORIES, BUT IT WAS
476
00:36:23,114 --> 00:36:26,984
WRITTEN AND DESCRIBED, AS WELL.
>> SO YOU COULD SPELL SMELL THE
477
00:36:26,985 --> 00:36:30,455
MOVIE.
>> I DON’T THINK THERE’S ANY
478
00:36:30,455 --> 00:36:34,726
DIRECTOR WHO CAN ENCODE CONTENT
INTO THE VISUAL PRESENCE LIKE
479
00:36:34,726 --> 00:36:38,226
RIDLEY CAN.
SO THAT WHEN YOU SEE THE STREET
480
00:36:38,229 --> 00:36:43,599
MARKETS, THAT TELLS YOU THAT IN
THE FUTURE, TECHNOLOGY RUNS
481
00:36:43,601 --> 00:36:46,671
CROSS CLASS THAT, POPULATIONS
ARE TREMENDOUSLY MIXED.
482
00:36:46,671 --> 00:36:50,308
THERE’S OVERCROWDING, POVERTY.
HE’S PROJECTING SO MUCH CONTENT
483
00:36:50,308 --> 00:36:54,808
INTO THOSE IMAGES AND YOU JUST
SOAK IT IN.
484
00:36:54,813 --> 00:36:57,082
>> I WAS CONSTANTLY BEATEN UP
EVERY DAY.
485
00:36:57,082 --> 00:37:00,919
PEOPLE SAY WHY IS IT RAINING?
WHY DO YOU WANT IT TO BE NIGHT.
486
00:37:00,919 --> 00:37:05,457
>> I SAID BECAUSE THAT’S THE WAY
I WANT IT.
487
00:37:05,457 --> 00:37:08,887
>> HARRISON FORD THOUGHT HIS
CHARACTER DECKARD WAS A HUMAN
488
00:37:08,893 --> 00:37:13,163
BEING AND RIDLEY SCOTT WAS
PLANTING CLUES HE WAS THE
489
00:37:13,164 --> 00:37:16,468
REPRESENTPLY CAN’T WITH
IMPLANTED MEMORIES LIKE THIS YOU
490
00:37:16,468 --> 00:37:18,768
KNOW CORN THAT HE DAYDREAMS
ABOUT.
491
00:37:18,770 --> 00:37:23,140
>> HARRISON’S IN FULL DENIAL
TODAY HE’S A REPRESENTPLY CAN’T.
492
00:37:23,141 --> 00:37:26,141
THE WHOLE POINT OF LEAVING THAT
YOU KNOW I CORN ON THE FLOOR
493
00:37:26,144 --> 00:37:32,250
WHEN HE PICKS IT UP AND HE NODS,
THAT NOD IS ASCENT, THIS IS
494
00:37:32,250 --> 00:37:34,419
CORRECT.
SOMEBODY KNOWS ABOUT MY MOST
495
00:37:34,419 --> 00:37:43,659
PRIVATE DREAM WHICH IS ABOUT A
YOU KNOW I CORN, DUH.
496
00:37:43,661 --> 00:37:49,467
>> JAMES CAMERON’S "ALIENS" IS
THE PERFECT SEQUEL BECAUSE IT
497
00:37:49,467 --> 00:37:51,097
DOESN’T JUST REPEAT THE FIRST
FILM.
498
00:37:51,102 --> 00:37:55,607
IT TAKES ELEMENTS OF THE FIRST
ONE, BIDS UPON THEM AND MAKES IT
499
00:37:55,607 --> 00:38:00,877
INTO A DIFFERENT GENRE.
>> THAT’S INSIDE THE ROOM.
500
00:38:00,879 --> 00:38:05,517
>> LOOK.
>> YOU’RE NOT READING IT RIGHT.
501
00:38:05,517 --> 00:38:09,087
>> FIVE METERS, MAN.
FOUR.
502
00:38:09,087 --> 00:38:12,387
>> WHAT THE HELL?
>> JIM IS A REAL INNOVATOR AND
503
00:38:12,390 --> 00:38:16,060
REAL ARTIST.
I DID ONE, HE DID TWO.
504
00:38:16,060 --> 00:38:20,498
HE SAID IT’S HARD TO DO 2 HE
SAID BECAUSE YOU’VE SHOWN HIM
505
00:38:20,498 --> 00:38:29,507
THE ALIEN.
I’M GOING MORE MILITARY.
506
00:38:29,507 --> 00:38:32,707
>> YOU FEEL LIKE JAMES CAMERON
DOESN’T GET ENOUGH CREDIT AS A
507
00:38:32,710 --> 00:38:36,880
SCREEN WRITER, AS WELL.
ALIENS" IS THE TEMPLATE HOW TO
508
00:38:36,881 --> 00:38:39,981
WRITE A GREAT BLOCK BUSTER.
>> MY MOMMY ALWAYS SAID THERE
509
00:38:39,984 --> 00:38:45,190
WERE NOR MONSTERS, NO REAL ONES
BUT THERE ARE.
510
00:38:45,190 --> 00:38:50,560
>> YES, THERE ARE, AREN’T THERE?
>> BACK IN THOSE DAYS, WOMEN
511
00:38:50,562 --> 00:38:53,531
WEREN’T REALLY PERMITTED TO BE
STRONG.
512
00:38:53,531 --> 00:38:56,968
SOCY GORENY BROKE THE MOLD IN
THE ALIENS" MOVIES.
513
00:38:56,968 --> 00:39:04,038
ONE OF THE WAYS CAMERON FIGURED
OUT HOW TO LEFT HER BE AS TOUGH
514
00:39:04,042 --> 00:39:07,042
AS SHE WAS BECAUSE SHE WAS
PROTECTING NEWT, HER ADOPTED
515
00:39:07,045 --> 00:39:08,146
CHILD.
>> THERE’S REAL SKILL TO
516
00:39:08,146 --> 00:39:13,276
BUILDING THE PERFECT ROLLER
COASTER.
517
00:39:13,284 --> 00:39:17,989
ALIENS" IS AN EXAMPLE NUMBER ONE
OF HOW BRILLIANT ACTION CINEMA
518
00:39:17,989 --> 00:39:33,999
CAN BE.
>> GET AWAY FROM HER, YOU
519
00:39:37,275 --> 00:39:40,678
THAT WAS OBVIOUS.
YOU’RE ON YOUR OWN FOR THE
520
00:39:40,678 --> 00:39:49,218
NIGHT.
THAT’S ALSO OBVIOUS.
521
00:39:49,220 --> 00:39:59,597
TWO ADULTS.
>> FATAL ATTRACTION" WAS LIKE A
522
00:39:59,597 --> 00:40:01,597
CAUTIONARY TALE THAT THE
CHEATING HUSBAND AND THE
523
00:40:01,599 --> 00:40:05,599
MISTRESS TURNS OUT TO BE INSANE
AND A STALKER WHO MURDERS
524
00:40:05,603 --> 00:40:10,573
BUNNIES.
AND BOILS THEM AS A MATTER OF
525
00:40:10,575 --> 00:40:11,943
FACT.
>> GLENN CLOSE’S LEGACY IS
526
00:40:11,943 --> 00:40:16,648
FOREVER TIED TO THIS FILM AND
SHE’S AN INCREDIBLE ACTRESS.
527
00:40:16,648 --> 00:40:19,848
>> WHAT AM I SUPPOSED TO DO?
YOU WON’T ANSWER MY CALLS.
528
00:40:19,851 --> 00:40:23,087
YOU CHANGE YOUR NUMBER.
I’M NOT GOING TO BE IGNORED,
529
00:40:23,087 --> 00:40:25,156
DAN.
>> IN THE ORIGINAL SCRIPT,
530
00:40:25,156 --> 00:40:28,986
AUDIENCE SYMPATHIES WERE MORE
EVENLY BALANCED BETWEEN THE MALE
531
00:40:28,993 --> 00:40:32,397
CHARACTER AND THE FEMALE
CHARACTER.
532
00:40:32,397 --> 00:40:37,167
BUT WITH EACH ITERATION, THEY
MADE HER SUCH AN EXTREME
533
00:40:37,168 --> 00:40:39,968
CHARACTER, THE ORIGINAL ENDING
WAS THAT SHE WAS SUPPOSED TO CUT
534
00:40:39,971 --> 00:40:44,108
HER OWN THROAT.
BUT THAT DID NOT SATISFY TEST
535
00:40:44,108 --> 00:40:47,278
AUDIENCES.
AND SO THEY HAD THE GOOD WIFE
536
00:40:47,278 --> 00:40:57,348
KILL THE BAD SINGLE WOMAN.
>> THAT’S HOLLYWOOD.
537
00:40:57,355 --> 00:41:00,425
>> THANK YOU, SIR.
I’M HAPPY TO BE WORKING HERE.
538
00:41:00,425 --> 00:41:03,428
>> WELL, YOU’RE A WELCOME
ADDITION AND A DAMN PRETTY ONE
539
00:41:03,428 --> 00:41:05,358
TOO, IF I MIGHT ADD.
>> THANK YOU SIR.
540
00:41:05,363 --> 00:41:07,899
>> I MEAN THAT.
YOU SEE SOME OF THE KRONES
541
00:41:07,899 --> 00:41:12,637
COMING THROUGH HERE LATELY.
PATHETIC, RIGHT, VIOLET.
542
00:41:12,637 --> 00:41:16,767
>> 9 TO 5" WAS A MOO TOO MOVIE
BEFORE THE MOVEMENT.
543
00:41:16,774 --> 00:41:20,378
IT WAS THIS IDEA OF WOMEN COMING
TOGETHER AND BEING LIKE YES, MY
544
00:41:20,378 --> 00:41:26,978
LIFE HAS BEEN RUINED BY BIGOTED
MEN TRYING TO HOLD ME BACK.
545
00:41:26,985 --> 00:41:27,585
>> COFFEE, VIOLET.
NOW.
546
00:41:27,585 --> 00:41:30,085
>> THIS WAS WHEN WOMEN WERE
GOING INTO THE WORKFORCE BUT
547
00:41:30,088 --> 00:41:34,926
THEY WERE STILL SECRETARIES.
THEY WERE STILL THE SUBSERVIENT
548
00:41:34,926 --> 00:41:37,526
ROLES.
THEY WEREN’T THE BOSS OF THEMPAN
549
00:41:37,528 --> 00:41:39,758
>> OH ‐‐
>> IT’S ALL RIGHT.
550
00:41:39,764 --> 00:41:42,533
I’LL GET IT.
>> WHAT ABOUT YOU, DORA LEE?
551
00:41:42,533 --> 00:41:48,239
WHAT’S YOUR FANTASY FOR DOING
HIM
552
00:41:48,239 --> 00:41:49,769
HIM IN?
>> ME?
553
00:41:49,774 --> 00:41:54,212
WELL I THINK I’D LIKE TO COME
RIDING UP ONE DAY AND GIVE HIM A
554
00:41:54,212 --> 00:41:57,815
TASTE OF HIS OWN MEDICINE.
>> HAD I LOVED DOLLY PARTON IN
555
00:41:57,815 --> 00:42:02,045
THAT MOVIE.
SHE’S LIKE LIQUID GOLD.
556
00:42:02,053 --> 00:42:04,589
>> SIT DOWN.
>> LOOK, I GOT A GUN OUT THERE
557
00:42:04,589 --> 00:42:08,559
IN MY PURSE.
UP TO NOW, I’VE BEEN FORGIVING
558
00:42:08,559 --> 00:42:11,459
AND FORGETTING BECAUSE OF THE
WAY I WAS BROUGHT UP.
559
00:42:11,462 --> 00:42:15,466
IF YOU EVER SAY ANOTHER WORD
ABOUT ME OR MAKE ANOTHER
560
00:42:15,466 --> 00:42:19,296
INDECENT PROPOSAL, I’M GOING TO
CHANGE YOU FROM A ROOSTER TO A
561
00:42:19,303 --> 00:42:22,006
HEN WITH ONE SHOT.
>> THEY IN TIME REALIZE NOTHING
562
00:42:22,006 --> 00:42:25,476
IS EVER GOING TO CHANGE UNLESS
WE CHANGE IT.
563
00:42:25,476 --> 00:42:30,106
>> STRING HIM UP.
>> THAT MAIL CHUVIST SEXUALLY
564
00:42:30,114 --> 00:42:32,750
INAPPROPRIATE GUY AND THEY MAKE
CHANGES TO THE WORKPLACE TO BE
565
00:42:32,750 --> 00:42:35,887
ABLE TO SHARE HOURS AND A
DAYCARE CENTER.
566
00:42:35,887 --> 00:42:39,657
IT WAS AN IMPORTANT MOVIE THEN
AND NOW.
567
00:42:39,657 --> 00:42:44,295
>> WORKING GIRL" LOOKS LIKE A
FAIRY TALE OF A YOUNG WOMAN
568
00:42:44,295 --> 00:42:47,565
BECOMING THE FANTASTICALLY
GLAMOROUS PRINCESS SHE HAD
569
00:42:47,565 --> 00:42:52,695
ALWAYS SECRETLY DREAMED OF BEING
IN HER HUMBLE WORKING CLASS
570
00:42:52,703 --> 00:42:54,272
UPBRINGING WOULD NOT ALLOW HER
TO BE.
571
00:42:54,272 --> 00:42:57,909
BUT IT’S GOT SERIOUS POINTS TO
MAKE ABOUT WOMEN IN THE
572
00:42:57,909 --> 00:42:59,577
WORKPLACE.
>> DRESS SLABBILY, THEY NOTICE
573
00:42:59,577 --> 00:43:04,715
THE DRESS.
IMPECKCALLY, THEY NOTICE THE
574
00:43:04,715 --> 00:43:05,845
WOMAN.
COCO CHANEL.
575
00:43:05,850 --> 00:43:09,520
>> HOW DO I LOOK?
>> YOU LOOK TERRIFIC.
576
00:43:09,520 --> 00:43:13,390
YOU MIGHT WANT TO RETHINK THE
JEWELRY.
577
00:43:13,391 --> 00:43:16,561
>> TRADITIONALLY, IT’S THE MAN
THAT’S HOLDING YOU DOWN, BUT IN
578
00:43:16,561 --> 00:43:20,631
THIS INSTANCE, IT TURNS OUT
IT’SCY GORENY WE EVER, THAT
579
00:43:20,631 --> 00:43:25,036
SHE’S BEEN STEALING ALL OF TES’S
IDEAS IN ORDER TO FURTHER
580
00:43:25,036 --> 00:43:27,136
HERSELF.
>> WELL, I WAS LAID UP WITH
581
00:43:27,138 --> 00:43:30,768
BROKEN BONES.
SHE RIFLED THROUGH MY DESK,
582
00:43:30,775 --> 00:43:36,280
FOUND MY MEMO OUTLINING A RADIO
ACQUISITION AND PASSING IT OFF
583
00:43:36,280 --> 00:43:38,349
AS HER IDEA.
>> IT WAS MY IDEA.
584
00:43:38,349 --> 00:43:41,519
>> THE GRIFFITH CHARACTER SHOWS
ONCE SHE WAS GIVEN THE
585
00:43:41,519 --> 00:43:43,719
OPPORTUNITY TO SHOW SHE WAS
SMART ENOUGH, SHE DID.
586
00:43:43,721 --> 00:43:46,390
>> GUESS WHERE I AM.
>> IT’S ONE OF THE GREATEST
587
00:43:46,390 --> 00:43:49,290
ENDINGS IN THE WORLD.
I’M HERE IN MY OWN OFFICE WITH
588
00:43:49,293 --> 00:43:53,431
MY FEET UP BECAUSE I MADE IT.
>> NOT SINCE IS THE MOVIE
589
00:43:53,431 --> 00:43:56,300
"NETWORK" HAS HOLLYWOOD INDICTED
THE BUSINESS OF TELEVISION LIKE
590
00:43:56,300 --> 00:43:59,970
IT DOES IN BROADCAST NEWS.
THE PERFECT MODERN ANCHOR IS
591
00:43:59,971 --> 00:44:02,507
PLAYED BY OSCAR WINNER WILLIAM
HURT.
592
00:44:02,507 --> 00:44:06,077
SO HOW IS IT THAT THE STAR OF
THIS MOVIE IS NEITHER THE
593
00:44:06,077 --> 00:44:09,077
ANCHORMAN NOR THE NETWORK
CORRESPONDENT?
594
00:44:09,080 --> 00:44:13,480
BUT AN ACTRESS WHO MANY OF YOU
WILL NEVER HAVE SEEN UNTIL NOW.
595
00:44:13,484 --> 00:44:19,257
>> OKAY, BOBBY.
GO BACK TO 59459, WHY WERE YOU
596
00:44:19,257 --> 00:44:21,687
IN ANGOLA.
>> PLEASE, BOBBY.
597
00:44:21,692 --> 00:44:25,662
WE’RE PUSHING.
>> IT WAS THE FIRST TIME I HAD
598
00:44:25,663 --> 00:44:28,633
SEEN ON SCREEN A REAL FEMALE
BECAUSE SHE WAS FLAWED.
599
00:44:28,633 --> 00:44:36,807
AND SHE WAS ALLOWED TO BE HUMAN,
AND DIFFERENT AND IRASCIBLE.
600
00:44:36,807 --> 00:44:41,207
>> DIFFICULT, SHRILL, BOSSY.
POSSIBLY BITCH.
601
00:44:41,212 --> 00:44:45,516
THERE’S A LOT OF WORDS THAT
PEOPLE USE THAT ARE PEJORATIVE
602
00:44:45,516 --> 00:44:49,546
TO WOMEN THAT JANE CRAIG COULD
KIND OF INHABIT.
603
00:44:49,554 --> 00:44:55,092
>> WHAT I LOVE IS HOLLY’S
CHARACTER JUST TEARS STREAMING
604
00:44:55,092 --> 00:44:57,492
DOWN HER FACE AND THEN HER
CONTROLLING IT LIKE THAT AND
605
00:44:57,495 --> 00:44:59,597
GETTING IT TOGETHER AND GOING
FORWARD.
606
00:44:59,597 --> 00:45:04,667
>> I’M REALLY STRUCK BY THE
COURAGE THAT JIM BROOKS SHOWED
607
00:45:04,669 --> 00:45:09,539
IN WRITING A CHARACTER LIKE
THAT.
608
00:45:09,540 --> 00:45:13,978
>> THE F‐14 PLANE ARE CALLED
COMCASTS.
609
00:45:13,978 --> 00:45:18,148
>> ISN’T THE F‐14TOM CAUGHT ONE
OF THE MOST DIFFICULT MACHINES
610
00:45:18,149 --> 00:45:22,549
FOR A PILOT TO MASTER.
>> TO HAVE A FILM ABOUT THE HIGH
611
00:45:22,553 --> 00:45:26,023
INTEGRITY IDEALS WHAT IT IS TO
BE A JOURNALIST AND A WOMAN IN
612
00:45:26,023 --> 00:45:29,260
THAT BUSINESS.
>> IT MUST BE NICE TO BELIEVE
613
00:45:29,260 --> 00:45:32,960
YOU ALWAYS KNOW BETTER, TO
ALWAYS THINK YOU’RE THE SMARTEST
614
00:45:32,964 --> 00:45:36,467
PERSON IN THE WOULD ROOM.
>> NO, IT’S AWFUL.
615
00:45:36,467 --> 00:45:40,137
>> THE FACT THAT THAT MOVIE
EXISTS AND ALWAYS WILL IS A
616
00:45:40,137 --> 00:45:40,997
GIFT.
>> HI.
617
00:45:41,005 --> 00:45:43,841
>> WANT.
WAIT, WAIT A MINUTE.
618
00:45:43,841 --> 00:45:47,541
>> I WONDERED IF YOU WOULDN’T
MIND BUYING ME LUNCH.
619
00:45:47,545 --> 00:45:52,617
>> GREGORY ‐‐ STOP.
>> GEORGE, GEORGE, GEORGE.
620
00:45:52,617 --> 00:45:54,047
IT’S MICHAEL.
OKAY?
621
00:45:54,051 --> 00:45:58,021
YOUR FAVORITE CLIENT.
>> HOW ARE YOU?
622
00:45:58,022 --> 00:46:01,022
>> OH, NO, NO.
>> SWEAR TO GOD.
623
00:46:01,025 --> 00:46:03,194
>> MICHAEL?
>> YEAH.
624
00:46:03,194 --> 00:46:06,430
>> OH, GOD, I BEGGED YOU TO GET
SOME THERAPY.
625
00:46:06,430 --> 00:46:09,200
>> TOOTSIE IS AN UPDATING OF THE
GUY IN THE DRESS.
626
00:46:09,200 --> 00:46:12,800
YOU’RE TAKING A BELIEVABLE
CHARACTER AND PUTTING HIM IN A
627
00:46:12,803 --> 00:46:15,606
FANTASTIC SITUATION.
AND YET, THE REASON IT WORKS IS
628
00:46:15,606 --> 00:46:19,676
BECAUSE EVERY SINGLE THING IN
THAT MOVIE COULD REALLY HAPPEN.
629
00:46:19,677 --> 00:46:22,807
WE SHOW YOU AT THE BEGINNING,
HE’S A GREAT ACTOR.
630
00:46:22,813 --> 00:46:27,018
HE HAPPENS TO BE A PAIN IN THE
ASS AND THEN TO PROVE TO HIS
631
00:46:27,018 --> 00:46:29,518
AGENT THAT HE CAN GET WORK, HE
PUTS ON THE DRESS.
632
00:46:29,520 --> 00:46:32,657
>> IT’S ALMOST LIKE A PLAY
THAT’S BEEN PERFORMED ENOUGH SO
633
00:46:32,657 --> 00:46:37,927
THAT THEY KNEW WHERE THE GEMS
WERE.
634
00:46:37,928 --> 00:46:40,428
>> TRUTHFULLY, DON’T YOU FIND
BEING A WOMAN IN THE ’80s
635
00:46:40,431 --> 00:46:41,231
COMPLICATED.
>> EXTREMELY.
636
00:46:41,232 --> 00:46:47,602
>> ONE OF THE HARDEST THINGS TO
DO IN A COMEDY IS TO HAVE A
637
00:46:47,605 --> 00:46:50,374
CLIMAX AND HAVE ALL YOUR STORY
THREADS COME TOGETHER IN THE
638
00:46:50,374 --> 00:46:54,244
SAME MOMENT.
>> I AM NOT DAUGHTER.
639
00:46:54,245 --> 00:46:58,716
THE DAUGHTER OF DWAYNE AND ALMA
KIMBERLY.
640
00:46:58,716 --> 00:47:02,046
NO, I’M NOT.
I’M EDWARD, KIMBERLY, THE
641
00:47:02,053 --> 00:47:04,555
RECKLESS BROTHER OF MY SISTER
ANTHONY.
642
00:47:04,555 --> 00:47:07,455
>> HOLY.
>> THE CLIMACTIC SCENE IN
643
00:47:07,458 --> 00:47:10,158
TOOTSIE IS THIS INCREDIBLE
MOMENT WHERE THE MAIN STORY PLOT
644
00:47:10,161 --> 00:47:15,166
AND THEN FOUR OR FIVE DIFFERENT
SUBPLOTS ALL CLIMAX AND TURN ON
645
00:47:15,166 --> 00:47:18,666
THAT ONE ACTION.
TOOTSIE IS WHAT PEOPLE WANT
646
00:47:18,669 --> 00:47:21,869
MOVIES TO BE.
AND VERY FEW FILMMAKERS INVEST
647
00:47:21,872 --> 00:47:26,410
THE TIME AND THE SWEAT AND THE
INTEGRITY TO GO ALL THE WAY.
648
00:47:26,410 --> 00:47:39,990
WHICH TOOTSIE DOES.
>> THAT IS ONE
649
00:47:39,990 --> 00:47:49,030
♪
>> FLASH DANCE WAS A VERY BIG
650
00:47:49,033 --> 00:47:53,503
DEAL.
♪ SHE’S A MANIAC, MANIAC ON THE
651
00:47:53,504 --> 00:47:55,606
FLOOR ♪
♪ AND SHE’S DANCING LIKE SHE’S
652
00:47:55,606 --> 00:48:02,006
NEVER DANCED BEFORE ♪
>> SHE WAS A SEXY WELDER WHO ARE
653
00:48:02,012 --> 00:48:03,948
DANCED AT FLIGHT BUT DIDN’T TAKE
HER CLOTHES OFF.
654
00:48:03,948 --> 00:48:07,885
>> WHAT’S A DANCER DOING WORKING
AS A WELDER.
655
00:48:07,885 --> 00:48:10,145
>> A GIRL’S GOT TO MAKE A
LIVING.
656
00:48:10,154 --> 00:48:12,223
>> JENNIFER BEELS WAS AMAZING IN
THAT MOVIE.
657
00:48:12,223 --> 00:48:14,123
SHE WAS EVERYTHING.
SHE WAS BEAUTIFUL, SHE WAS
658
00:48:14,125 --> 00:48:19,263
STRONG AND SHE WAS SEXY.
>> IT REALLY BENEFITED FROM THE
659
00:48:19,263 --> 00:48:23,133
BEGINNINGS OF MTV BECAUSE YOU
WOULD SEE VIDEOS FROM THE SONGS
660
00:48:23,134 --> 00:48:28,305
FROM THE FLASH DANCE SOUND TRACK
ON MTV ALL THE TIME.
661
00:48:28,305 --> 00:48:31,905
♪ WHAT A FEELING ♪
>> THAT WAS THE THING WHERE THE
662
00:48:31,909 --> 00:48:35,009
VIDEO WAS VERY MUCH A TRAILER
FOR THE MOVIE AND YOU COULD TELL
663
00:48:35,012 --> 00:48:37,047
THE MOVIE WAS DESIGNED REALLY
WITH THE MOVIE IN MIND.
664
00:48:37,047 --> 00:48:44,955
>> LET’S DANCE.
♪
665
00:48:44,955 --> 00:48:49,655
>> KENNY LOGGINS, "FOOT LOOSE"
WAS A HUGE HIT.
666
00:48:49,660 --> 00:48:52,296
IT WAS ALL OVER MTV.
YOU WATCH THE VIDEO.
667
00:48:52,296 --> 00:48:54,996
ARE YOU SEEING KENNY LOG GINS IN
THAT?
668
00:48:54,999 --> 00:48:58,999
NO, LOTS OF SCENES OF ALIENATED
HIGH SCHOOL KIDS DANCING AGAINST
669
00:48:59,003 --> 00:49:02,239
THE RULES.
>> I DIDN’T SEE IT TILL AFTER I
670
00:49:02,239 --> 00:49:05,909
STARTED DATING KEVIN BACON.
I RENNED AND I WAS LIKE I SEE
671
00:49:05,910 --> 00:49:07,640
WHY PEOPLE FELL IN LOVE WITH
HIM.
672
00:49:07,645 --> 00:49:12,550
HOW CUTE WAS HE WITH THOSE HIGH
WASTED JEANS AND THAT LIKE WHITE
673
00:49:12,550 --> 00:49:19,457
TANK.
♪ BECAUSE I HAD THE TIME OF MY
674
00:49:19,457 --> 00:49:22,927
LIFE ♪
♪ AND I NEVER FELT LIKE THIS WAY
675
00:49:22,927 --> 00:49:23,427
BEFORE.
♪
676
00:49:23,427 --> 00:49:26,857
>> THEY KNEW WHO WAS BUYING
THESE MOVIES WAS TAKINGERS AND
677
00:49:26,864 --> 00:49:31,168
THE HICK THEY WANT TO DO AS SOON
AS THEY WATCH THE MOVIE IS BUY
678
00:49:31,168 --> 00:49:34,168
THE SOUND TRACK SO THEY CAN
RELIVE IT.
679
00:49:34,171 --> 00:49:36,271
>> PURPLE RAIN HIT ME REALLY
HARD.
680
00:49:36,273 --> 00:49:44,782
TO THIS DAY, I HAVE YET TO SEE A
MAINSTREAM FILM THAT USES MUSIC
681
00:49:44,782 --> 00:49:49,620
AS AN EMOTION IN SUCH AN
INCREDIBLE WAY.
682
00:49:49,620 --> 00:49:55,990
♪
♪ PURPLE RAIN ♪
683
00:49:55,993 --> 00:49:57,995
>> WHAT DO YOU CARE ABOUT MARK
FOR?
684
00:49:57,995 --> 00:49:59,855
HE’S A 16‐YEAR‐OLD USHER IN THE
MOVIE THEATER.
685
00:49:59,864 --> 00:50:03,534
HAVE YOU DATED OLDER GUYS.
YOU WORK AT THE BEST FOOD STAND
686
00:50:03,534 --> 00:50:09,874
IN THE MALL AND YOU ARE A CLOSE
PERSONAL FRIEND OF MINE.
687
00:50:09,874 --> 00:50:11,942
>> THERE WAS SO MUCH REALITY IN
THE SCRIPT TO FAST TIMES.
688
00:50:11,942 --> 00:50:16,112
THE WAY THAT CAMERON WROTE "FAST
TIMES AT RIDGEMONT HIGH" IS THAT
689
00:50:16,113 --> 00:50:20,651
HE WENT BACK TO HIGH SCHOOL.
>> I NEVER GRADUATED
690
00:50:20,651 --> 00:50:23,687
TRADITIONALLY.
SO THE IDEA WAS I COULD GO BACK
691
00:50:23,687 --> 00:50:26,557
AND HAVE THE SENIOR YEAR THAT I
DIDN’T HAVE AND WRITE ABOUT WHAT
692
00:50:26,557 --> 00:50:30,327
IT IS TO BE A HIGH SCHOOL
STUDENT.
693
00:50:30,327 --> 00:50:33,397
I LEARNED SO MUCH.
THE POP CULTURE ESTABLISHMENT,
694
00:50:33,397 --> 00:50:36,297
THEY DON’T KNOW WHAT’S HAPPENING
WITH KIDS RIGHT NOW.
695
00:50:36,300 --> 00:50:38,669
>> STACY, WHAT ARE YOU WAITING
FOR?
696
00:50:38,669 --> 00:50:41,469
YOU’RE 15 YEARS OLD.
>> I DID IT WHEN I WAS 13.
697
00:50:41,472 --> 00:50:43,872
IT’S NO HUGE THING.
IT’S JUST SEX.
698
00:50:43,874 --> 00:50:48,479
>> THESE KIDS ARE HAVING A SUPER
SHORT ADOLESCENCE.
699
00:50:48,479 --> 00:50:52,279
THEY’RE HAVING SEX YEARS BEFORE
YOU KNOW THEY’RE HAVING SEX.
700
00:50:52,283 --> 00:50:56,520
AND THEY’RE ALL WORKING.
IT’S FAST FOOD, IT’S FAST
701
00:50:56,520 --> 00:50:58,789
ADOLESCENCE.
IT’S ALL DISPOSABLE.
702
00:50:58,789 --> 00:51:02,089
AND WHAT ARE WE DOING TO A
GENERATION THAT HAS TO BE ADULT
703
00:51:02,092 --> 00:51:05,896
AT A YOUNGER AND YOUNGER AGE?
THERE ARE SO MANY INCREDIBLE
704
00:51:05,896 --> 00:51:10,366
PEOPLE IN THE MOVIE.
A LOT OF CAREERS GET LAUNCHED.
705
00:51:10,367 --> 00:51:15,737
JUDGE RYAN HOLT TO PHOEBE
INDICATES AND JENNIFER SAMPB
706
00:51:15,739 --> 00:51:16,839
LEE.
>> SAUSAGE.
707
00:51:16,840 --> 00:51:19,577
>> HERE IT IS.
>> IN A CAST FULL OF SOON TO BE
708
00:51:19,577 --> 00:51:23,347
STARS HE GIVES THE PERFORMANCE
THAT EVERYONE WALKS OUT OF THE
709
00:51:23,347 --> 00:51:26,147
THEATER AND SAID MY GOD, SEAN
PENN.
710
00:51:26,150 --> 00:51:29,620
>> SEAN PENN IN PARTICULAR
BROUGHT A LOT OF THE VOCABULARY.
711
00:51:29,620 --> 00:51:33,290
IF IT’S WRITTEN IN THE SCRIPT AS
LIKE FICTION, HE TURNED INTO
712
00:51:33,290 --> 00:51:36,727
AWESOME, NATURALLY, ALL THE
OTHER CLASSIC WORDS OF THE ’80s.
713
00:51:36,727 --> 00:51:39,797
>> WHAT’S YOUR JOB?
>> WHAT FOR?
714
00:51:39,797 --> 00:51:45,797
>> YOU NEED MONEY.
>> ALL I NEED ARE SOME TASTY
715
00:51:45,803 --> 00:51:52,176
WAVES, COOL BUZZ AND I’M FINE.
>> ABOUT MYSELF, I’M 19.
716
00:51:52,176 --> 00:51:55,076
I’VE BEEN OVERSEAS AND NOW I’M
BACK.
717
00:51:55,079 --> 00:51:59,249
HEARD OF KICK BOXING, SPORT OF
THE FUTURE?
718
00:51:59,249 --> 00:52:02,819
THE CHAMPIONS OF THE SPORT.
I CAN SEE BY YOUR FACE NO.
719
00:52:02,820 --> 00:52:05,856
YOU CAN RELAX BECAUSE YOUR
DAUGHTER WILL BE SAFE WITH ME
720
00:52:05,856 --> 00:52:07,816
FOR THE NEXT SEVEN TO EIGHT
HOURS.
721
00:52:07,825 --> 00:52:10,694
>> SAY ANYTHING IS A ROMANTIC
COMEDY FOR GUYS.
722
00:52:10,694 --> 00:52:14,398
HERE’S A STORY ABOUT BEING AN
OPTIMIST AND HOW THAT CAN BE
723
00:52:14,398 --> 00:52:17,868
SOMETIMES BE A REVOLUTIONARY
ACT.
724
00:52:17,868 --> 00:52:20,468
REBELLION TAKES MANY DIFFERENT
FORMS AND SOMETIMES IT TAKES THE
725
00:52:20,471 --> 00:52:25,141
FORM OF LOVING THE WOMAN THAT
THEY WILL SAY YOU CAN’T LOVE.
726
00:52:25,142 --> 00:52:28,812
AND YOU MAKE YOUR LIFE’S GOAL
HER.
727
00:52:28,812 --> 00:52:33,851
>> WATCH OUT FOR THAT GLASS.
>> THANKS.
728
00:52:33,851 --> 00:52:39,690
>> IF MOMENTS MAKE MOVIES AS
THEY SAY, FOR "SAY ANYTHING"
729
00:52:39,690 --> 00:52:44,260
IT’S THE MOMENT WHEN LLOYD HOLDS
A BOOM BOX AND PLAYS PETER
730
00:52:44,261 --> 00:52:48,098
GABRIEL TO TRY AND WOO DIANE
COURT BACK.
731
00:52:48,098 --> 00:52:49,828
>>.
>> WE HAD A HARD TIME WITH THE
732
00:52:49,833 --> 00:52:52,169
BOOM BOX.
WE TRIED IT A COUPLE DIFFERENT
733
00:52:52,169 --> 00:52:54,499
WAYS.
HE HAD A HARD TIME HOLDING IT
734
00:52:54,505 --> 00:52:55,806
UP.
THERE WAS ONE VERSION WHERE THE
735
00:52:55,806 --> 00:52:57,766
BOOM BOX IS ON THE CAR PLAYING
IT.
736
00:52:57,775 --> 00:53:01,178
NOT AS GOOD.
WE FINISHED THE LAST SHOT OF THE
737
00:53:01,178 --> 00:53:04,748
LAST DAY OF "SAY ANYTHING."
ONLY A LITTLE LIGHT IN THE SKY
738
00:53:04,748 --> 00:53:07,078
LEFT.
THE LIGHT IS DISAPPEARING.
739
00:53:07,084 --> 00:53:10,721
THE SHOT’S MOVING IN ON CUSACK,
AND I SEE IT.
740
00:53:10,721 --> 00:53:15,591
I SEE IT THROUGH THE CAMERA.
THE ANGER, THE RESENTMENT, THE
741
00:53:15,592 --> 00:53:19,029
LOVE, THE PAIN, THE GLORY, THE
ADOLESCENCE.
742
00:53:19,029 --> 00:53:24,099
ALL OF IT WAS THERE IN HIS FACE.
♪ I’M COMPLETE ♪
743
00:53:24,101 --> 00:53:28,371
>> WE GOT LUCKY.
>> HOW’S IT GOING?
744
00:53:28,372 --> 00:53:33,911
>> HOW’S WHAT GOING?
>> YOU KNOW, THINGS.
745
00:53:33,911 --> 00:53:35,245
LIFE.
WHAT NOT.
746
00:53:35,245 --> 00:53:38,845
>> LIFE IS NOT WHAT NOT AND IT’S
NONE OF YOUR BUSINESS.
747
00:53:38,849 --> 00:53:42,519
>> THE JOHN HUGHES SCRIPTS
JUMPED OFF THE PAGE.
748
00:53:42,519 --> 00:53:48,258
THEY WERE FUNNY.
I REMEMBER READING "16 CANDLES
749
00:53:48,258 --> 00:53:51,128
SBPT IN THE BACK OF MY PARENTS’
CAR CRACKING UP.
750
00:53:51,128 --> 00:53:54,598
>> HIS MOVIES WERE SOMETHING TO
LOOK FORWARD TO BECAUSE YOU KNEW
751
00:53:54,598 --> 00:53:58,468
YOU WOULD BE ENTERTAINED AND YOU
KNEW THAT YOU WOULD SEE SOME
752
00:53:58,469 --> 00:54:01,905
VERSION OF YOURSELF OR WHAT YOU
WANTED YOURSELF TO BE.
753
00:54:01,905 --> 00:54:03,935
>> MY FATHER WILL COME HOME AND
SEE WHAT I DID.
754
00:54:03,941 --> 00:54:10,247
I CAN’T HIDE THIS.
HE’LL COME HOME AND SEE WHAT I
755
00:54:10,247 --> 00:54:13,177
DID.
HE’LL HAVE TO DEAL WITH ME.
756
00:54:13,183 --> 00:54:18,288
>> HE ALWAYS GOT DEEP EVEN WITH
SOMETHING LIKE "FERRIS BUELLER’S
757
00:54:18,288 --> 00:54:19,857
DAY OFF" HE GOT DEEP INTO THE
CHARACTER.
758
00:54:19,857 --> 00:54:22,757
MATTHEW’S CHARACTER WAS THE WISE
FOOL BUT ALAN RAAK WAS TROUBLED
759
00:54:22,760 --> 00:54:26,497
BY THIS EVIL FATHER.
THAT WAS REALLY MOVING.
760
00:54:26,497 --> 00:54:31,297
>> HERE WE ARE.
>> I WANT TO CONGRATULATE YOU
761
00:54:31,301 --> 00:54:34,301
FOR BEING ON TIME.
>> EXCUSE ME, SIR.
762
00:54:34,304 --> 00:54:39,476
I THINK THERE’S BEEN A MISTAKE.
I KNOW IT’S DETENTION, BUT I
763
00:54:39,476 --> 00:54:44,606
DON’T THINK I BELONG IN HERE.
>> THE BREAKFAST CLUB" IS THE
764
00:54:44,615 --> 00:54:46,583
TEENAGE TOUCHSTONE.
IT’S A FILM THAT’S ABOUT THE
765
00:54:46,583 --> 00:54:50,287
TENSION OF BEING A TEENAGER AND
KIND OF KNOWING THAT PEOPLE IN
766
00:54:50,287 --> 00:54:52,856
OTHER CLIQUES DON’T WANT TO BE
YOUR FRIEND TILL YOU’RE LOCKED
767
00:54:52,856 --> 00:54:56,386
IN A ROOM TOGETHER.
THE FIRST 20 MINUTES OF THE
768
00:54:56,393 --> 00:55:01,398
BREAKFAST CLUB IS PERFECT
FILMMAKING.
769
00:55:01,398 --> 00:55:03,698
THE WAY IT’S STRUCTURED, THE WAY
THE CHARACTERS ARE INTRODUCED.
770
00:55:03,700 --> 00:55:08,370
IT STILL IS MY FAVORITE OF THE
JOHN HUGHES FILMS JUST BECAUSE I
771
00:55:08,372 --> 00:55:12,176
THINK IT’S SO UNIQUE AND NOTHING
LIKE THAT HAD EVER BEEN DONE.
772
00:55:12,176 --> 00:55:17,746
>> SO ON MONDAY, WHAT HAPPENS?
>> ARE WE STILL FRIENDS YOU
773
00:55:17,748 --> 00:55:20,117
MEAN?
>> FOR FRIENDS NOW THAT IS?
774
00:55:20,117 --> 00:55:22,447
>> YEAH.
>> DO YOU WANT THE TRUTH?
775
00:55:22,452 --> 00:55:28,091
>> YEAH, I WANT THE TRUTH.
>> I DON’T THINK SO.
776
00:55:28,091 --> 00:55:32,296
>> THE PICTURE WAS SAYING TO
ADULTS WHAT THOSE CHARACTERS ARE
777
00:55:32,296 --> 00:55:35,766
SAYING IS PLEASE LISTEN TO MY
BEING UPSET BECAUSE SOMEONE
778
00:55:35,766 --> 00:55:39,536
DOESN’T LIKE ME OR I CAN’T ‐‐ I
DON’T HAVE ANY FRIENDS OR
779
00:55:39,536 --> 00:55:42,536
WHATEVER.
LOOKS RELATIVELY INSIGNIFICANCE
780
00:55:42,539 --> 00:55:44,869
CAN’T TO YOU BUT IT’S REALLY
HURTING ME.
781
00:55:44,875 --> 00:55:48,278
>> IT WAS SO POWERFUL BECAUSE
PEOPLE WERE TALKING ABOUT SHIT
782
00:55:48,278 --> 00:55:51,948
THAT THEY NEVER TALKED ABOUT.
KIDS WERE NOT TALKING ABOUT DARK
783
00:55:51,949 --> 00:55:55,649
STUFF IN SCHOOL AND WITH THEIR
PEERS.
784
00:55:55,652 --> 00:56:00,522
♪ DON’T YOU FORGET ABOUT ME ♪
>> THERE WEREN’T A LOT OF MOVIES
785
00:56:00,524 --> 00:56:04,261
THAT SPOKE TO TEENAGERS AND IT’S
JUST REALLY SURPRISING BECAUSE
786
00:56:04,261 --> 00:56:09,431
WHO DOESN’T WANT TO SEE THIS
INCREDIBLE PERIOD OF TIME IN A
787
00:56:09,433 --> 00:56:13,203
PERSON’S LIFE WHERE THEY’RE JUST
CHANGING SO RAPIDLY AND TO SEE
788
00:56:13,203 --> 00:56:17,573
SOMETHING THAT YOU RELATE TO I
THINK THAT’S REALLY WHY THE JOHN
789
00:56:17,574 --> 00:56:20,477
HUGHES FILMS ARE STILL SO
IMPORTANT.
790
00:56:20,477 --> 00:56:24,707
>> I JUST REMEMBER THINKING, HOW
DOES THIS GROWN‐UP KNOW
791
00:56:24,715 --> 00:56:27,284
EVERYTHING ABOUT ALL OF US?
IT WAS LIKE HE LOOKED INSIDE OF
792
00:56:27,284 --> 00:56:31,224
ALL OF US.
793
00:56:42,599 --> 00:56:48,505
♪
♪ JUST TAKE THOSE OLD RECORDS
794
00:56:48,505 --> 00:56:52,875
OFF THE SHELF ♪
>> RISKY BUSINESS" REALLY WAS
795
00:56:52,876 --> 00:56:56,306
EVERYBODY’S INTRO TO TOM CRUISE.
OF COURSE, IT WASN’T JUST THE
796
00:56:56,313 --> 00:57:01,118
UNDERWEAR AND THE DANCING, BUT
THAT CERTAINLY HELPED.
797
00:57:01,118 --> 00:57:06,018
>> ARE YOU READY FOR ME RALPH?
>> RISKY BUSINESS" REALLY
798
00:57:06,023 --> 00:57:08,926
SURPRISES PEOPLE.
THEY THINK IT’S A TEEN SEX
799
00:57:08,926 --> 00:57:13,396
COMEDY BECAUSE IT’S A GUY WHO
OPENS A BROTHEL IN HIS PARTIES’S
800
00:57:13,397 --> 00:57:16,597
HOUSE BUT IT’S AN INCREDIBLY
DARK FILM ABOUT CAPITALISM AND
801
00:57:16,600 --> 00:57:18,769
SELLING OUT.
>> FOR SOMEONE WITH THAT LIMITED
802
00:57:18,769 --> 00:57:24,207
RESUME TO WALK IN AND ACTUALLY
MAKE THE COMPLEXITY OF THE MOVIE
803
00:57:24,207 --> 00:57:28,237
WORK, HIS ALL‐AMERICAN BOYNESS
WITH THIS DARK SIDE OF IMPULSES,
804
00:57:28,245 --> 00:57:31,815
YOU LOOKED AT THAT PERFORMANCE
AND THOUGHT THAT GUY’S GOING TO
805
00:57:31,815 --> 00:57:35,215
BE A HUGE STAR.
♪ HIGHWAY TO THE DANGER ZONE ♪
806
00:57:35,218 --> 00:57:40,588
WHAT PEOPLE DON’T REALIZE ABOUT
"TOP GUN" WE THINK OF IT AS THIS
807
00:57:40,590 --> 00:57:43,160
RAH‐RAH ACTION MOVIE.
BUT THE MOVIE THAT TOM CRUISE
808
00:57:43,160 --> 00:57:46,660
WAS MAKING IS A VERY SERIOUS
DRAMA ABOUT A MAN WHO IS
809
00:57:46,663 --> 00:57:50,233
WRESTLING WITH HIS DAD’S LEGACY
WHO FEELS LIKE HE HAS TO BE
810
00:57:50,233 --> 00:57:54,037
PHONY IN FRONT OF THESE MILITARY
GUYS HE’S TRYING TO IMPRESS.
811
00:57:54,037 --> 00:57:57,137
IT’S REALLY A MOVIE ABOUT
MASCULINE PERFORMANCE.
812
00:57:57,140 --> 00:58:00,610
TOM CRUISE’S DECISIONS POST TOP
GUN TELL YOU WHO HE IS AND HO
813
00:58:00,610 --> 00:58:02,779
WANTED TO BE.
>> YOU’RE SOME PIECE OF WORK.
814
00:58:02,779 --> 00:58:05,349
>> SOME PIECE OF WORK.
>> YOU’RE ALSO A NATURAL
815
00:58:05,349 --> 00:58:07,617
CHARACTER.
>> I’VE BEEN TELLING HER THAT.
816
00:58:07,617 --> 00:58:10,787
I’VE GOT NATURAL CHARACTER.
>> THAT’S NOT WHAT I SAID, KID.
817
00:58:10,787 --> 00:58:12,956
I SAIDED YOU ARE A NATURAL
CHARACTER.
818
00:58:12,956 --> 00:58:18,795
YOU’RE AN INCREDIBLE FLAKE.
>> PAUL NEW MAN AND TOM CRUISE
819
00:58:18,795 --> 00:58:23,465
HAD THE OLD AND THE NEW.
THIS WAS KIND OF THE SEQUEL TO
820
00:58:23,467 --> 00:58:26,167
THE HUSTLER.
>>> PAUL NEW MAN’S CHARACTER IS
821
00:58:26,169 --> 00:58:28,939
A HUSTLER.
HE’S ALWAYS GOING TO HUSTLE.
822
00:58:28,939 --> 00:58:32,439
WHAT IF HE TAKES THIS EWING ID
UNDER HIS WING ANCHOR ARE UPPED
823
00:58:32,442 --> 00:58:37,080
HIM AND THEN HE GETS HUSTLED.
>> I SHOWED YOU ALL I GOT.
824
00:58:37,080 --> 00:58:39,416
WHAT THE HELL ELSE DO YOU WANT.
>> THAT’S IT.
825
00:58:39,416 --> 00:58:41,776
THAT’S ALL.
>> TOM CRUISE IS TERRIFIC.
826
00:58:41,785 --> 00:58:45,222
NEW MAN FINALLY GETS AN OSCAR
FOR IT.
827
00:58:45,222 --> 00:58:49,926
>> TOM CRUISE HAS A VERY
SPECIFIC AGENDA IN HIS CAREER.
828
00:58:49,926 --> 00:58:52,896
TO SPEND THE ’80s WORKING WITH
THE BEST DIRECTORS HE CAN FIND.
829
00:58:52,896 --> 00:58:58,696
SO HE’S GOING TO WORK WITH
SCORSESE AND BARRY LEVINSON.
830
00:58:58,702 --> 00:59:01,271
>> NOT GOING BACK TO CINCINNATI.
YOU DON’T HAVE TO GO THERE TOO
831
00:59:01,271 --> 00:59:03,407
PICK UP BOXING SHORTS.
WHAT DID I SAY.
832
00:59:03,407 --> 00:59:04,737
>> KMART.
>> YOU HEAR ME.
833
00:59:04,741 --> 00:59:07,677
I KNOW YOU HEAR ME.
>> MY BOXER SHORTS.
834
00:59:07,677 --> 00:59:11,777
>> DON’T FOOL ME FOR A SECOND.
>> YOURS ARE TOO TIGHT.
835
00:59:11,782 --> 00:59:14,482
>> DID YOU HEAR WHAT I SAID?
SHUT UP!
836
00:59:14,484 --> 00:59:17,421
>> MOVIE STARS OFTEN NEED TO
PROVE OVER AND OVER AGAIN THAT
837
00:59:17,421 --> 00:59:19,689
THEY CAN ACT.
I THINK HE PROVED TO THE WORLD
838
00:59:19,689 --> 00:59:30,299
THAT HE COULD ACT AND THEN SOME.
>> MY BIG BROTHER.
839
00:59:30,300 --> 00:59:38,440
>> YEAH.
>> SEE SOME I. D.
840
00:59:38,442 --> 00:59:39,876
>> ALL RIGHT.
YOU’RE UNDER ARREST.
841
00:59:39,876 --> 00:59:43,846
>> THE 1980s INTRODUCES US TO
THE CHARACTER OF JOHN RAMBO, ONE
842
00:59:43,847 --> 00:59:47,177
OF THE ICONIC CINEMATIC FIGURES
OF THAT ERA.
843
00:59:47,184 --> 00:59:51,088
WHAT PEOPLE TEND TO FORGET IS
THAT HE WAS INTRODUCED IN A WAY
844
00:59:51,088 --> 00:59:55,188
THAT WAS MUCH MORE IN LINE WITH
’70s FILM MAKING.
845
00:59:55,192 --> 00:59:58,829
>> IF YOU WERE THE FIRST FIRST
BLOOD," IT IS A VERY DARK MOVIE
846
00:59:58,829 --> 01:00:02,929
ABOUT HOW WE LET OUR VETERANS
DOWN AND ABOUT HOW WE DO NOT
847
01:00:02,933 --> 01:00:06,670
KNOW WHAT TO DO WITH THEM AND WE
MAKE KILLERS AND TURN THEM LOOSE
848
01:00:06,670 --> 01:00:09,539
INTO AMERICA.
THAT’S A PRETTY HEAVY MOVIE.
849
01:00:09,539 --> 01:00:14,209
EVEN FOR A SYLVESTER STALLONE
ACTION FILM IT, PLAYS
850
01:00:14,211 --> 01:00:16,211
REALISTICALLY.
THE SECOND FILM THREW THAT OUT
851
01:00:16,213 --> 01:00:18,248
THE WINDOW PAGE ONE.
>> SIR.
852
01:00:18,248 --> 01:00:24,688
>> DO WE GET TO WIN THIS TIME?
>> THIS TIME IT’S UP TO YOU.
853
01:00:24,688 --> 01:00:28,558
>> THERE WAS A DESIRE TO MOVE
PAST THE PERCEIVED FAILURES OF
854
01:00:28,558 --> 01:00:32,558
THE LATE ’60s AND THE ’70s.
YOU CAN’T REWRITE HISTORY BUT AT
855
01:00:32,562 --> 01:00:35,866
LEAST WE CAN GO BACK.
AND WE CAN BRING BACK THESE
856
01:00:35,866 --> 01:00:38,735
P. O. W. s.
WE CAN SEND BACK THIS
857
01:00:38,735 --> 01:00:44,065
REPRESENTATIVE OF AMERICAN
MIGHT.
858
01:00:44,074 --> 01:00:48,444
>> STALLONE HAD BECOME SO
DEVOTED TO HAVING THE PERFECTLY
859
01:00:48,445 --> 01:00:52,716
CHISELED ULTRAMUSCLED UPPER
BODY.
860
01:00:52,716 --> 01:00:54,546
AT THE SAME TIME THAT ARNOLD
SCHWARZENEGGER WHO HAD BEEN A
861
01:00:54,551 --> 01:00:56,520
BODY BUILDER SUDDENLY BECAME AN
UNLIKELY ACTION STAR IN THE
862
01:00:56,520 --> 01:01:01,690
’80s, TOO.
>> I DON’T KNOW IF PRIOR TO 1980
863
01:01:01,691 --> 01:01:05,261
ANYONE WOULD HAVE HAD A FIRM
VISUAL IMAGE OF WHAT THEIR
864
01:01:05,262 --> 01:01:08,331
FAVORITE ACTOR LOOKED LIKE WITH
THEIR SHIRT OFF.
865
01:01:08,331 --> 01:01:12,001
CLOSE YOUR EYES AND IMAGINE
JIMMY STEWART OR MONTGOMERY
866
01:01:12,002 --> 01:01:16,840
CLIFT OR EVEN JOHN WAYNE WITHOUT
THEIR SHIRT ON, IT’S NOT
867
01:01:16,840 --> 01:01:19,509
ESPECIALLY CENTRAL TO THEIR
IMAGE AS ACTORS.
868
01:01:19,509 --> 01:01:21,978
>> IT WOULD BE RIDICULOUS FOR ME
TO PLAY SOMETHING OUTSIDE OF
869
01:01:21,978 --> 01:01:28,248
THAT ROLE AND CRAZY FOR DUSTIN
TO TRY TO BE COMMANDO OR BE
870
01:01:28,251 --> 01:01:30,620
TERMINATOR OR RAMBO.
IT DOESN’T WORK.
871
01:01:30,620 --> 01:01:32,420
THE PEOPLE ONLY ACCEPT YOU FOR
CERTAIN THINGS.
872
01:01:32,422 --> 01:01:36,526
>> THERE WAS A LOT OF IDEAS OF
RETURNING TO TRADITIONAL NOTIONS
873
01:01:36,526 --> 01:01:40,456
OF MASCULINITY AFTER THE
SENSITIVE ’70s BUT THESE THINGS
874
01:01:40,463 --> 01:01:45,402
GO IN CYCLES.
I THINK BY THE LATE ’80s WE WERE
875
01:01:45,402 --> 01:01:47,571
READY FOR AN ACTION HERO WHO WAS
A LITTLE MORE SENSITIVE.
876
01:01:47,571 --> 01:01:53,310
>> DO YOU THINK YOU HAVE A
CHANCE AGAINST US, MR. COWBOY.
877
01:01:53,310 --> 01:01:57,010
>> YIPPY KI YAY.
>> DIEHARD IS AS PERFECT IN ITS
878
01:01:57,013 --> 01:02:01,151
OWN WAY AS CASABLANCA.
IT IS AN ACTION MOVIE WHERE THE
879
01:02:01,151 --> 01:02:06,957
ACTION IS GREAT.
AS A HEIST MOVIE WHERE THE HEIST
880
01:02:06,957 --> 01:02:13,427
MAKES SENSE, YOU HAVE
DOWNMacLEAN WHO IS NOT A SUPER
881
01:02:13,430 --> 01:02:15,966
HERO, WHO IS A REGULAR NEW YORK
COP WHO IS NOT ONLY OUT OF HIS
882
01:02:15,966 --> 01:02:17,966
ELEMENT BUT HE’S OUT OF HIS
SHOES.
883
01:02:17,968 --> 01:02:21,968
>> THAT’S A GREAT THING TO DO IN
AN ACTION MOVIE IS INCLUDE
884
01:02:21,972 --> 01:02:24,507
SOMETHING WHICH EVERYBODY CAN
SYMPATHIZE WITH.
885
01:02:24,507 --> 01:02:28,537
>> I DON’T KNOW WHAT IT’S LIKE
TO THROW EXPLOSIVES DOWN BUT I
886
01:02:28,545 --> 01:02:30,280
ACCIDENTALLY TROD ON GLASS AND
IT HURT.
887
01:02:30,280 --> 01:02:33,580
>> YOU WATCH HIM AND YOU GO I
SEE MYSELF IN HIM.
888
01:02:33,583 --> 01:02:38,121
THIS PERSON WHO IS FLAWED BUT
CAN OVERCOME IT WHICH IS I THINK
889
01:02:38,121 --> 01:02:41,658
A NARRATIVE WE ALL HAVE ABOUT
OURSELVES.
890
01:02:41,658 --> 01:02:47,358
IF PUSH CAME TO SHOVE, I WOULD
SHOW UP.
891
01:02:47,364 --> 01:02:49,833
>> ALAN RICKMAN’S PERFORMANCE AS
HANS GROUP SER ONE OF THE KEY
892
01:02:49,833 --> 01:02:53,703
MOVIE PERFORMANCES OF THE ’80s
BECAUSE THE IDEA THAT THE
893
01:02:53,703 --> 01:02:57,607
VILLAIN COULD BE INTELLECTUAL,
IT WASN’T A BEEFY VILLAIN WHO
894
01:02:57,607 --> 01:03:01,507
BEAT UP OUR HERO BUT A GUY WHO
OUR HERO HAD TO OUTTHINK.
895
01:03:01,511 --> 01:03:05,781
>> A LOT OF ACTION STARS THINK
IT’S COOL TO SHOW NO FEAR.
896
01:03:05,782 --> 01:03:10,252
TO ME, THAT’S NOT A COURAGEOUS
PERSON, THAT’S A STUPID PERSON.
897
01:03:10,253 --> 01:03:14,391
THE COURAGEOUS PERSON HAS FEAR
AND GOES THROUGH IT ANYWAY.
898
01:03:14,391 --> 01:03:18,661
>> JOHN, WHAT THE ‐‐
>> IT ISN’T THE SIDES OF THE
899
01:03:18,662 --> 01:03:19,629
FIREBALL.
IT’S HOW MUCH YOU CARE ABOUT THE
900
01:03:19,629 --> 01:03:33,176
PERSON RUNNING FROM THE
FIREBALL.
901
01:03:33,176 --> 01:03:36,576
>>> I’M TELLING YOU, I SHOULD
HAVE COME IN TEN YEARS AGO.
902
01:03:36,579 --> 01:03:40,049
I’D HAVE BEEN A MILLIONAIRE BY
THIS TIME.
903
01:03:40,050 --> 01:03:44,620
BY THIS TIME, I’D HAVE HAD MY
OWN BOAT, MY OWN CAR, MY OWN
904
01:03:44,621 --> 01:03:47,490
GOLF COURSE.
>> ONE THING THE ’80s WAS ABOUT
905
01:03:47,490 --> 01:03:52,696
WAS GANGSTER CAPITALISM.
TONY MONTANA CAPTURES THAT
906
01:03:52,696 --> 01:03:55,896
DESIRE FOR RESPECT, FOR MONEY,
FOR INFLUENCE, FOR POWER.
907
01:03:55,899 --> 01:03:59,536
>> OLIVER STONE CAME INTO THE
’80s AS A WELL RESPECTED AND
908
01:03:59,536 --> 01:04:03,636
WELL PAID SCREENWRITER.
THIS WAS A GUY WHO HAD WRITTEN
909
01:04:03,640 --> 01:04:08,540
SCARFACE WHO HAD A VERY, VERY
ALPHA MALE VOICE AND WHO WAS
910
01:04:08,545 --> 01:04:11,414
MAKING SHE IS SWEATY MORALLY
COMPLICATED FILMS.
911
01:04:11,414 --> 01:04:14,617
>> DO YOU WANT TO PLAY ROUGH?
OKAY.
912
01:04:14,617 --> 01:04:20,156
SAY HELLO TO MY LITTLE FRIEND.
>> I THOUGHT IT WAS EXCESSIVE
913
01:04:20,156 --> 01:04:24,726
AND CARTOONY UNTIL I STARTED
SPENDING A LOT OF TIME IN MIAMI.
914
01:04:24,728 --> 01:04:27,628
AFTER THAT, I THOUGHT IT WAS A
MODEL OF RESTRAINT.
915
01:04:27,630 --> 01:04:32,200
>> IT REALLY WAS A DECADE THAT
WAS FUELED BY HOW MUCH MONEY CAN
916
01:04:32,202 --> 01:04:34,838
I MAKE AND HOW CAN I DISPLAY IT
BEST.
917
01:04:34,838 --> 01:04:39,808
>> THE POINT IS, LADIES AND
GENTLEMEN, THAT GREED FOR LACK
918
01:04:39,809 --> 01:04:48,579
OF A BETTER WORD, IS GOOD.
GREED IS RIGHT.
919
01:04:48,585 --> 01:04:51,454
GREED, WOULD.
>> "WALL STREET" IS A MOVIE
920
01:04:51,454 --> 01:04:53,456
ABOUT MORE THAN JUST GORDON
GEKKO.
921
01:04:53,456 --> 01:04:57,656
IT’S ABOUT A FATHER AND A SON
WITH DIFFERENT WORLD VIEWS
922
01:04:57,660 --> 01:05:03,266
PLAYING DIFFERENT ROLES IN AN
EVER‐CHANGING ECONOMY.
923
01:05:03,266 --> 01:05:07,496
>> HE’S GOT YOUR PRICK IN HIS
BACK POCKET BUT YOU’RE TOO BLIND
924
01:05:07,504 --> 01:05:10,874
TO SEE IT.
>> NO, WHAT I SEE IS A JULY LUS
925
01:05:10,874 --> 01:05:14,177
OLD MACHINIST WHO CAN’T STAND
THE FACT THAT HIS SON HAS BECOME
926
01:05:14,177 --> 01:05:18,077
MORE SUCCESSFUL THAN HE HAS.
>> WHAT YOU SEE IS A GUY WHO HAS
927
01:05:18,081 --> 01:05:21,618
NEVER MEASURED A GUY’S SUCCESS
BY THE SIZE OF HIS WALLET.
928
01:05:21,618 --> 01:05:24,387
>> THAT’S BECAUSE YOU NEVER HAD
THE GUTS TO GO OUT IN THE WORLD
929
01:05:24,387 --> 01:05:27,087
AND STAKE YOUR OWN CLAIM.
>> IT’S THE CONNECTION BETWEEN
930
01:05:27,090 --> 01:05:30,590
MAIN STREET AND WALL STREET.
MAIN STREET IS MARTIN SHEEN.
931
01:05:30,593 --> 01:05:33,430
MAIN STREET ARE THOSE PEOPLE WHO
WILL BE AFFECTED BY THE
932
01:05:33,430 --> 01:05:36,730
DECISIONS MADE BY WALL STREET.
>> OLIVER STONE IS A GUY SAYING
933
01:05:36,733 --> 01:05:41,571
THE PURPOSE OF FILM, THE PURPOSE
OF CINEMA IS TO MAKE POLITICAL
934
01:05:41,571 --> 01:05:46,341
COMMENTARY ABOUT OUR SOCIETY AND
HE MADE SOME VERY COMPELLING
935
01:05:46,342 --> 01:05:50,680
FILMS IN THE PROCESS.
>> WHAT HAPPENED TODAY IS JUST
936
01:05:50,680 --> 01:05:54,780
THE BEGINNING.
WE’RE GOING TO LOSE THIS WAR.
937
01:05:54,784 --> 01:05:59,022
>> COME ON.
YOU REALLY THINK SO?
938
01:05:59,022 --> 01:06:00,590
US?
>> WE’VE BEEN KICKING OTHER
939
01:06:00,590 --> 01:06:06,760
PEOPLE’S ASSES FOR SO LONG, I
FIGURE IT’S TIME WE GOT OURS
940
01:06:06,763 --> 01:06:09,032
KICKED.
>> "PLATOON" HAD THIS INTENSITY.
941
01:06:09,032 --> 01:06:12,435
SO MUCH OF THAT CHARLIE SHEEN
CHARACTER OLIVER STONE HAS SAID
942
01:06:12,435 --> 01:06:16,035
WAS HIM, WAS HIS EXPERIENCE
GOING INTO THE WAR AS A
943
01:06:16,039 --> 01:06:19,876
PATRIOTIC KID WHO WANTED TO DO
HIS PART AND REALLY HAVING HIS
944
01:06:19,876 --> 01:06:22,976
EYES OPENED TO THE HORROR.
AND I THINK IT MAINTAINS THAT
945
01:06:22,979 --> 01:06:25,309
GUT PUNCH.
>> I HOPE PEOPLE GO TO SEE WHAT
946
01:06:25,315 --> 01:06:28,485
THE WAR WAS REALLY LIKE.
THAT’S THE STATEMENT AND ONCE
947
01:06:28,485 --> 01:06:31,387
YOU SEE IT, YOU HAVE TO THINK
ABOUT IT FOR YOURSELF.
948
01:06:31,387 --> 01:06:33,017
THINK ABOUT WHAT YOU THINK ABOUT
WAR.
949
01:06:33,022 --> 01:06:36,960
THINK ABOUT WHAT IT REALLY IS AS
OPPOSED TO THE FANTASY COMIC
950
01:06:36,960 --> 01:06:40,730
BOOK STUFF OF "TOP GUN."
>> THE ATTITUDE OF THE ’70s HAD
951
01:06:40,730 --> 01:06:44,730
BEEN TO TAKE OUT SOME OF THE
SCORN THAT THE AMERICAN PUBLIC
952
01:06:44,734 --> 01:06:48,004
FELT FOR THE FOREIGN POLICY
ESTABLISHMENT AS IT HAD
953
01:06:48,004 --> 01:06:51,774
COMPLETELY SCREWED UP VIETNAM ON
THE MEN RETURNING HOME.
954
01:06:51,774 --> 01:06:54,210
>> I WANT MY LEG.
DO YOU UNDERSTAND?
955
01:06:54,210 --> 01:06:58,210
CAN’T YOU UNDERSTAND THAT.
>> I’M SAYING I WANT TO BE
956
01:06:58,214 --> 01:07:00,984
TREATED LIKE A HUMAN BEING!
I FOUGHT FOR MY COUNTRY.
957
01:07:00,984 --> 01:07:05,454
I’M A VIETNAM VETERAN!
>> THERE WAS AN ATONEMENT FOR
958
01:07:05,455 --> 01:07:07,724
THAT IN THE ’80s.
THERE WAS A SECOND WAVE OF
959
01:07:07,724 --> 01:07:10,860
PICTURES THAT I THINK ATTEMPTED
TO HONOR THE SERVICE THAT THESE
960
01:07:10,860 --> 01:07:18,530
MEN HAD PERFORMED FOR THEIR
COUNTRY.
961
01:07:18,535 --> 01:07:26,175
>> MY FATHER WAS A CIVILIZED
MAN.
962
01:07:26,175 --> 01:07:28,505
THAT’S A WORD, YEAH?
CIVILIZED?
963
01:07:28,511 --> 01:07:30,480
>> VERY GOOD WORD.
>> YEAH?
964
01:07:30,480 --> 01:07:36,450
MY FATHER WAS A CIVILIZED MAN
LIVING IN AN UNCIVILIZED TIME.
965
01:07:36,452 --> 01:07:39,155
THE CIVILIZED WAS THE FIRST TO
DIE.
966
01:07:39,155 --> 01:07:43,855
>> "SOPHIE’S CHOICE" IS I THINK
THE QUINTESSENTIAL HOLOCAUST
967
01:07:43,860 --> 01:07:49,265
DRAMA BECAUSE IT DOESN’T EVER
EXPLICITLY TOUCH ON THE DETAILS
968
01:07:49,265 --> 01:07:52,995
OF THE HORROR.
IT’S MORE ABOUT THE DRAMATIC
969
01:07:53,002 --> 01:07:55,738
IMPLICATIONS OF IT.
>> I’M GOING TO TELL YOU
970
01:07:55,738 --> 01:07:58,738
SOMETHING NOW.
I HAVE NEVER TOLD ANYBODY.
971
01:07:58,741 --> 01:08:05,648
>> I NEVER WORKED WITH ANYONE
WHO WAS THAT CONFIDENT WHO
972
01:08:05,648 --> 01:08:10,918
TRUSTED HER INSTINCTS SO
THOROUGHLY.
973
01:08:10,920 --> 01:08:14,020
>> SHE LEARNED POLISH AND GERMAN
JUST FOR THE FILM AND LOST
974
01:08:14,023 --> 01:08:18,361
WEIGHT.
THAT ENCOMPASSES WHY MAYORAL IS
975
01:08:18,361 --> 01:08:20,661
SO SPECIAL BECAUSE SHE MANAGES
TO GET TO THE HEART OF EVERY
976
01:08:20,663 --> 01:08:23,533
PERSON SHE’S PLAYING.
>> AND THE WINNER IS MARVELOUS
977
01:08:23,533 --> 01:08:33,843
MERYL STREEP.
>> YOU COULD ASK MERYL TO DO
978
01:08:33,843 --> 01:08:39,482
ANYTHING, SHE CAN MAKE ANYTHING
WORKING.
979
01:08:39,482 --> 01:08:40,917
> SOMEONE SPIKED MY ARE YOUR RIN
SAMPLE CONTAINER.
980
01:08:40,917 --> 01:08:43,217
>> WHO.
>> HOW DO I KNOW WHO IN ANYBODY
981
01:08:43,219 --> 01:08:47,357
COULD HAVE DONE IT.
>> CAN YOU STAY?
982
01:08:47,357 --> 01:08:51,787
>> FOR A DAY OR SO.
>> MERYL I COULD SEE THAT SHE
983
01:08:51,794 --> 01:08:54,664
WORKED FROM A VERY DEEP PLACE
AND WHAT SHE WAS REALLY FOCUSED
984
01:08:54,664 --> 01:08:57,433
ON WAS THE TRUTH OF HER
CHARACTER TO THE POINT WHERE SHE
985
01:08:57,433 --> 01:09:01,070
HAD TO GET THE LANGUAGE AND THE
SOUND AND THE VOICE PERFECT.
986
01:09:01,070 --> 01:09:05,308
AND SHE WAS ADAMANT AND SHE WAS
RELENTLESS IN THAT PURSUIT.
987
01:09:05,308 --> 01:09:08,138
>> PEOPLE MARRY, IT’S NOT
REVOLUTIONARY.
988
01:09:08,144 --> 01:09:09,846
THERE’S SOME ANIMALS THAT MATE
FOR LIFE.
989
01:09:09,846 --> 01:09:12,446
>> GEESE.
>> YOU KNOW, YOU USE THE DAMN
990
01:09:12,448 --> 01:09:15,318
ANIMALS FOR YOUR OWN ARGUMENT.
YOU WON’T LET ME USE THEM FOR
991
01:09:15,318 --> 01:09:17,318
MINE.
>> THE NOMINEES FOR PERFORMANCE
992
01:09:17,320 --> 01:09:24,327
BY AN ACTRESS IN A LEADING ROLE,
MERYL STREEP IN "OUT OF AFRICA."
993
01:09:24,327 --> 01:09:29,465
>> MAYORAL SFLEEP "IRON LADY."
>> FROM "A CRY IN THE DARK,"
994
01:09:29,465 --> 01:09:31,325
MERYL STREEP.
>> SHE ENDED UP TRANSCENDING IS
995
01:09:31,334 --> 01:09:36,105
THE JOB OF AN ACTOR AND LEAPT
INTO THIS OTHER REALM OF
996
01:09:36,105 --> 01:09:37,235
BECOMING.
SHE WASN’T PLAYING A WOMAN WITH
997
01:09:37,240 --> 01:09:42,410
AN AUSTRALIAN ACCENT.
SHE WAS AN AUSTRALIAN MOM.
998
01:09:42,412 --> 01:09:46,149
>> THEY’RE TALKING ABOUT MY BABY
DAUGHTER.
999
01:09:46,149 --> 01:09:49,285
NOT SOME OBJECT.
>> MOST MOVIE STARS ARE NOT THE
1000
01:09:49,285 --> 01:09:52,085
GREATEST ACTORS.
AND MOST GREAT ACTORS DON’T
1001
01:09:52,088 --> 01:09:54,518
BECOME GREAT MOVIE STARS.
BUT MERYL STREEP WAS BOTH.
1002
01:09:54,524 --> 01:10:00,163
>> WHAT DOES THAT MEAN TO YOU,
MOVIE STAR?
1003
01:10:00,163 --> 01:10:07,770
>> OH, IT MEANS, YOU KNOW,
KATHARINE HEPBURN, BETTE DAVIS,
1004
01:10:07,770 --> 01:10:12,310
GRETTA GARBO.
IT DOESN’T MEAN ME.
1005
01:10:24,954 --> 01:10:29,759
>>> IF YOU BOYS JUST TURN RIGHT
ON AROUND HEAD ON BACK THAT WAY
1006
01:10:29,759 --> 01:10:34,297
AND YOU LET US HEAD UP THERE
WHERE THE REAL FIGHTING IS.
1007
01:10:34,297 --> 01:10:38,627
>> MEN DYING UP THAT ROAD.
>> >> PEOPLE HAD NO IDEA THAT
1008
01:10:38,634 --> 01:10:41,804
THERE WERE BLACK SOLDIERS
FIGHTING FOR THE UNION IN THE
1009
01:10:41,804 --> 01:10:44,741
CIVIL WAR.
>> YOU MEN MOVE ON.
1010
01:10:44,741 --> 01:10:51,147
>> STRIPES ON A NIGGER.
TYKE TEATS ON A BULL.
1011
01:10:51,147 --> 01:10:54,847
>> YOU’RE LOOKING AT A HIGHER
RANK, CORPORAL.
1012
01:10:54,851 --> 01:10:59,589
YOU’LL OBEY AND YOU’LL LIKE IT.
>> "GLORY" STARS MATTHEW
1013
01:10:59,589 --> 01:11:03,489
BRODERICK BUT THE MOVIE BELONGS
TO DENZEL WASHINGTON AS A FORMER
1014
01:11:03,493 --> 01:11:06,796
SLAVE WHO IS NOW GOING TO FIGHT.
HE RUNS AWAY BECAUSE HE NEEDS
1015
01:11:06,796 --> 01:11:08,326
SHOES.
THEY DO WHAT THEY HAVE TO DO.
1016
01:11:08,331 --> 01:11:10,600
THEY WHIP HIM.
>> PROCEED.
1017
01:11:10,600 --> 01:11:15,438
>> HE SITS THERE AND HE TAKES
HIS BEATING LIKE A MAN.
1018
01:11:15,438 --> 01:11:18,908
HE DOES NOT SCREAM.
HE DOES NOT FLINCH.
1019
01:11:18,908 --> 01:11:23,846
BUT THERE’S A MOMENT WHEN A
SINGLE TEAR COMES DOWN HIS FACE.
1020
01:11:23,846 --> 01:11:27,516
THAT’S THE MOMENT WHEN DENZEL
WINS THE OSCAR.
1021
01:11:27,517 --> 01:11:30,987
>> THE IDEA OF AMERICAN LEGACY
AND WHAT IT REALLY IS IS BROUGHT
1022
01:11:30,987 --> 01:11:35,587
HOME TO PEOPLE WHEN THEY SEE
THAT.
1023
01:11:35,591 --> 01:11:41,831
>> THE ’80s YOU HAD SOME BIG
SWEEPING STUNNING EPICS THAT AT
1024
01:11:41,831 --> 01:11:48,638
THE TIME WERE SEEN AS THE
APOTHEOSIS OF THE MOVIE FORM.
1025
01:11:48,638 --> 01:11:50,706
THESE ARE SUBSTANTIAL MOVIES BY
GREAT FILMMAKERS.
1026
01:11:50,706 --> 01:11:56,506
YOU HAVE THE LAST EMPEROR.
AND YOU HAVE "RAGTIME."
1027
01:11:56,512 --> 01:11:59,849
AND THERE WAS "GANDHI" WHICH
CAME OUT IN 1982.
1028
01:11:59,849 --> 01:12:03,085
>> WE MUST DEFY THE BRITISH.
>> A LOT OF PEOPLE WERE ROOTING
1029
01:12:03,085 --> 01:12:08,255
FOR ET THE EXTRA TERRESTRIAL TO
WIN BEST PICTURE THAT YEAR BUT
1030
01:12:08,257 --> 01:12:12,127
YOU KNOW FANTASY AND SCI‐FI
DON’T USUALLY WIN OSCARS.
1031
01:12:12,128 --> 01:12:14,997
WHAT WINS OSCARS IS EPIC.
1032
01:12:14,997 --> 01:12:19,867
♪
>> AMADEUS IS A KIND OF
1033
01:12:19,869 --> 01:12:25,869
MEDITATION ON GENIUS.
>> I KNOW YOUR WORK SELL,
1034
01:12:25,875 --> 01:12:28,511
SIGNORE.
I ACTUALLY COMPOSED SOME
1035
01:12:28,511 --> 01:12:30,611
VARIATIONS ON A MELODY OF
YOURSELVES.
1036
01:12:30,613 --> 01:12:32,715
>> WHICH ONE.
>> I’M FLATTERED.
1037
01:12:32,715 --> 01:12:35,115
FUNNY LITTLE TUNE BUT IT YIELDED
SOME GOOD THINGS.
1038
01:12:35,117 --> 01:12:38,517
>> THE PROTAGONIST OF THE MOVIE
IS NOT MOZART.
1039
01:12:38,521 --> 01:12:43,291
IT IS SALLAIRERY WHO IS ACTUALLY
DEFICIENT.
1040
01:12:43,292 --> 01:12:46,996
HE’S NOT A GREAT ARTIST.
HE DOESN’T HAVE GREAT
1041
01:12:46,996 --> 01:12:50,426
INSPIRATION.
HE’S JEALOUS OF MOZART WHO DOES.
1042
01:12:50,433 --> 01:12:54,670
>> SHOULDN’T IT BE A BIT MORE ‐‐
OR THIS.
1043
01:12:54,670 --> 01:12:59,375
THIS.
♪ YES.
1044
01:12:59,375 --> 01:13:05,345
>> THE MOST INTELLIGENT AND
RATIONAL INDIVIDUAL IN THE MOVIE
1045
01:13:05,348 --> 01:13:09,418
IS THE JEALOUS FIGURE WHO ISN’T
PARTICULARLY TALENTED AND THE
1046
01:13:09,418 --> 01:13:13,218
LEAST RATIONAL AND MATURE FIGURE
IN THE MOVIE IS THE GENIUS.
1047
01:13:13,222 --> 01:13:17,692
>> WHEN I SAW "AMADEUS" THERE
WAS HUMOR TO IT, A LIVELINESS TO
1048
01:13:17,693 --> 01:13:21,831
IT, A NASTINESS TO IT.
TOM HOLTZ IS SO FANTASTIC IN
1049
01:13:21,831 --> 01:13:22,999
THAT FILM.
>> DO YOU HAVE IT.
1050
01:13:22,999 --> 01:13:24,729
>> NOT TOO FAST.
>> DO YOU HAVE IT.
1051
01:13:24,734 --> 01:13:30,239
>> THE ’80s GIVES US SOME REALLY
REMARKABLE FILMMAKERS.
1052
01:13:30,239 --> 01:13:33,439
YOU SEE TALENT IS THERE
IMMEDIATELY.
1053
01:13:33,442 --> 01:13:36,245
THESE DIRECTORS ARE GOING TO
HAVE LONG CAREERS.
1054
01:13:36,245 --> 01:13:39,615
IN SOME CASES THEY’RE MAKING
SMALL MOVIES BUT THEY GET THEIR
1055
01:13:39,615 --> 01:13:44,945
START IN THE ’80s.
>> WHY DON’T YOU LET ME TAPE
1056
01:13:44,954 --> 01:13:45,554
YOU.
>> DOING WHAT.
1057
01:13:45,554 --> 01:13:49,492
>> TALKING.
>> ABOUT WHAT?
1058
01:13:49,492 --> 01:13:54,997
>> ABOUT SEX.
YOUR SEXUAL HISTORY, SEXUAL
1059
01:13:54,997 --> 01:13:56,327
PREFERENCES.
>> STEVEN SODERBERGH’S VIDEOTAPE
1060
01:13:56,332 --> 01:14:03,406
IS COMING OUT HARDY FOR ONE OF
THE MOST PRODIGIOUSLY TALENTED
1061
01:14:03,406 --> 01:14:08,976
FILMMAKERS EVER.
>> WHY ARE YOU DOING THIS TO
1062
01:14:08,978 --> 01:14:10,308
YOURSELF?
>> ARE YOU GOING TO ANSWER ME.
1063
01:14:10,313 --> 01:14:12,513
>> NO, PLEASE, DON’T DO THAT.
>> WHY NOT.
1064
01:14:12,515 --> 01:14:16,485
>> REALLY, DON’T DO THAT.
>> I JUST WANT TO ASK YOU A FEW
1065
01:14:16,485 --> 01:14:18,145
QUESTIONS.
LIKE WHY DO YOU TAPE WOMEN
1066
01:14:18,154 --> 01:14:21,457
TALKING ABOUT SEX.
>> THAT WAS A GREAT EXAMPLE OF
1067
01:14:21,457 --> 01:14:23,157
SOMETHING THAT WAS TOTALLY
BRAND‐NEW AND IT WAS VERY, VERY
1068
01:14:23,159 --> 01:14:26,429
LOW BUDGET.
I FELT IT WAS SO SPECIAL AND IT
1069
01:14:26,429 --> 01:14:28,197
WAS A POINT OF VIEW WE HADN’T
SEEN BEFORE.
1070
01:14:28,197 --> 01:14:34,637
>> TO DEAL OPENLY WITH VOYEURISM
AND SEXUAL DYSFUNCTION ON SCREEN
1071
01:14:34,637 --> 01:14:38,167
WAS STUNNING TO PEOPLE AND IT
WAS A TRENDSETTER THEN AND IT’S
1072
01:14:38,174 --> 01:14:49,418
A MOVIE THAT MATTERED A LOT.
>> THE FIRST FILM WAS BLOOD
1073
01:14:49,418 --> 01:14:54,457
SIMPLE A CROSS BETWEEN A SLASHER
FILM AND A FILM NOIR.
1074
01:14:54,457 --> 01:14:56,926
>> OUGHT TO LOCK THE DOOR.
>> THEY KNEW THAT WOULD BE A
1075
01:14:56,926 --> 01:15:00,196
GREAT CALLING CARD.
PEOPLE WOULD PAY ATTENTION IF
1076
01:15:00,196 --> 01:15:05,066
THEY HAD ENOUGH SCARES.
>> THEY MAKE INTENSELY COOL AND
1077
01:15:05,067 --> 01:15:08,497
CREATIVE FILMS.
YOU COULD ALWAYS KIND OF FEEL A
1078
01:15:08,504 --> 01:15:12,074
LITTLE BIT LIKE THEY’VE ADAPTED
A BOOK NO ONE’S EVER HEARD OF.
1079
01:15:12,074 --> 01:15:14,877
>> EVERY SHOT HAS BEEN THOUGHT
OF, EVERY NOTE OF MUSIC, THE
1080
01:15:14,877 --> 01:15:19,815
DIALOGUE AND IT’S SHOCKING.
ALL THE TIME THIS SHOCKS IN
1081
01:15:19,815 --> 01:15:26,515
THEIR MOVIES, VISCERAL SHOCKS.
AND THEN MOMENTS OF GREAT HUMOR.
1082
01:15:26,522 --> 01:15:35,331
>> TURN TO THE RIGHT.
>> WHAT’S THE MATTER, ED?
1083
01:15:35,331 --> 01:15:38,067
>> LEFT ME.
>> THEY HAD JUST FINISHED
1084
01:15:38,067 --> 01:15:41,397
WRITING "RAISING ARIZONA."
AND ASKED ME TO READ IT AND I
1085
01:15:41,404 --> 01:15:43,506
THOUGHT IT WAS LIKE AMAZING.
AMAZING.
1086
01:15:43,506 --> 01:15:47,106
YOU KNOW, SO FUNNY.
>> RAISING ARIZONA AS FAR AS I’M
1087
01:15:47,109 --> 01:15:53,449
CONCERNED IS A MASTERPIECE.
THE IDEA OF TAKING THAT
1088
01:15:53,449 --> 01:15:57,787
100‐MILE‐AN‐HOUR PRESTON STYLE
DIALOGUE AND PUTTING IN THE RED
1089
01:15:57,787 --> 01:16:00,887
NECKS IN ARIZONA.
>> YOU BUSTED OUT OF JAIL.
1090
01:16:00,890 --> 01:16:05,290
>> NO, MA’AM.
WE RELEASED OURSELVES ON OUR OWN
1091
01:16:05,294 --> 01:16:06,862
RECOGNIZANCE.
>> WE FELT THE INSTITUTION NO
1092
01:16:06,862 --> 01:16:09,498
LONGER HAD ANYTHING TO OFFER US.
>> RAISING ARIZONA WAS ONE OF
1093
01:16:09,498 --> 01:16:13,168
THOSE FILMS WHERE YOU GO I
DIDN’T KNOW YOU WERE ALLOWED TO
1094
01:16:13,169 --> 01:16:16,199
DO THAT.
>> I’VE BEEN TAKING HUGGIES AND
1095
01:16:16,205 --> 01:16:18,874
WHATEVER CASH YOU GOT.
>> YOU THE JUST THE FACT THIS
1096
01:16:18,874 --> 01:16:23,245
FILM IS HURTLING ALONG WITH GAN
BANJOS AND YODELING, I STILL
1097
01:16:23,245 --> 01:16:28,245
DON’T HAVE THE COURAGE TO HAVE A
SOUND TRACK WITH BANJOS AND
1098
01:16:28,250 --> 01:16:30,686
YODELING.
AND THAT WAS THEIR SECOND FILM.
1099
01:16:30,686 --> 01:16:34,016
>> THERE’S THESE PEOPLE THAT
COME ALONG, THEY HAVE THE SAME
1100
01:16:34,023 --> 01:16:36,258
EQUIPMENT.
THEY HAVE THE SAME PLAYING FIELD
1101
01:16:36,258 --> 01:16:42,158
AND TO TAKE THAT AND TO MAKE
SOMETHING FULLY AESTHETICALLY
1102
01:16:42,164 --> 01:16:46,034
THAT IS COMPLETELY DIFFERENT
THAN ANYTHING YOU HAD SEEN IS
1103
01:16:46,035 --> 01:16:48,671
LIKE A BIG DEAL.
THAT’S A TRIUMPH.
1104
01:16:48,671 --> 01:16:53,809
♪
>> HA HA.
1105
01:16:53,809 --> 01:16:56,846
>> COMEDY IN THE ’80s MY
FAVORITE NEARBY SUBJECT IS TIM
1106
01:16:56,846 --> 01:17:04,416
BURTON.
>> I WAS NEVER SCARED BY ANY
1107
01:17:04,420 --> 01:17:07,790
HORROR MOVIE EVER BECAUSE I
ALWAYS LIKED THEM TOO MUCH.
1108
01:17:07,790 --> 01:17:10,726
DO YOU KNOW WHAT I MEAN?
I MEAN, THINGS THAT SCARED ME
1109
01:17:10,726 --> 01:17:14,156
WAS LIKE GOING TO SCHOOL OR
SEEING MY RELATIVES.
1110
01:17:14,163 --> 01:17:17,399
>> I LOVE TIM BURTON BECAUSE
HE’S THE BEST THING YOU CAN BE
1111
01:17:17,399 --> 01:17:19,835
AS A DIRECTOR.
HE’S COMPLETELY UNIQUE.
1112
01:17:19,835 --> 01:17:23,265
YOU START NOTICING THE BLACK AND
WHITE STRIPES ON THINGS AND JUST
1113
01:17:23,272 --> 01:17:26,976
THE VIBE AND YOU FEEL LIKE
REALLY GOT SOMETHING HERE WITH
1114
01:17:26,976 --> 01:17:34,216
THIS GUY.
>> WE DID BATE BEETLE JUICE AND
1115
01:17:34,216 --> 01:17:37,816
HIS BASIC IDEA WAS THE LIVING
PEOPLE WOULD BE SCARY AND THE HE
1116
01:17:37,820 --> 01:17:40,420
PEOPLE WOULD BE THE BANAL.
>> I WAS LUCKY TO WORK WITH
1117
01:17:40,422 --> 01:17:44,892
PEOPLE THAT HAD COME FROM COMEDY
THAT WERE GOOD AT IL PROVING.
1118
01:17:44,894 --> 01:17:47,663
MICHAEL, THAT’S THE BACKGROUND.
A WHOLE DIFFERENT ENERGY WHEN
1119
01:17:47,663 --> 01:17:51,033
PEOPLE ARE THERE AND THERE MAY
BE SOME WRITTEN THINGS BUT THEN
1120
01:17:51,033 --> 01:17:54,403
IT JUST GOES OFF AND I START
RIFFING AND GETTING INTO IT.
1121
01:17:54,403 --> 01:17:57,806
HE WAS GREAT AT THAT THE.
HE’S LIKE A PRESSURE COOKER.
1122
01:17:57,806 --> 01:18:03,806
>> DO YOU LIKE IT?
>> BEETLE JUICE" IS UNDERRATED.
1123
01:18:03,812 --> 01:18:07,616
AS WELL REGARDED AS IT IS, IT’S
STILL UNDERRATED BECAUSE IT
1124
01:18:07,616 --> 01:18:09,816
SHOULDN’T WORK.
LIKE I DON’T KNOW IF IT’S A
1125
01:18:09,818 --> 01:18:13,418
HORROR MOVIE SET IN A COMEDY OR
A COMEDY THAT’S A HORROR MOVIE.
1126
01:18:13,422 --> 01:18:16,759
I CAN’T FIGURE OUT THE ALGORITHM
BEHIND IT.
1127
01:18:16,759 --> 01:18:20,959
BUT IT WOULD.
♪
100769
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