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tv   The Movies  CNN  July 14, 2019 5:00pm-6:00pm PDT

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>> amazing. my favorite, "titanic." i'm a sucker for good love stories. thank you very much. >> thank you. that's going to do it for me tonight. i'm ana cabrera. tune in. an all new episode of the cnn original series "the movies" starts right now. ♪ ♪
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♪ come on. >> robinson, apparently tired. doing fairly well. >> come on. come on, ray.
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>> a director and actor, find a story at the right time and the right place. and out comes this amazing combination of cinematic virility and absolute fear. it's like watching an animal. >> i think "raging bull" is a great title and the film fulfills the promise. the reality of the boxing and the great slow motion. all of the black and white gore and violence of the flashbulbs going off. when he designed the movie marty purposely didn't put a clutch on the film. there's no clutch. >> went down. never got me down, ray. >> "raging bull" a boxing movie for people who don't like boxing because it's really not about that. it's about this man, jake, who's based on a real person who's at war with himself. >> come on. harder. harder. >> i didn't really understand
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boxing but the character was interesting. just so contraire. as they say. he was just so -- difficult. >> what are you trying to prove? what does it prove? >> de niro, not afraid of negative carricks. as they say, to go those places. [ applause ] >> i was down to 152 in my prime and went up to 212. so i gained 60 pounds. it's not easy. the first 15 pounds, it's fun. then it's grudgery. >> go get 'em, champ. >> hmm. >> it's absolutely true that the movies are 1980 look like movies of the 1970s. we're very personal, passionate film micking rules and then to ordinary people, which was the movie that competed "raging bull" for best picture in 1980.
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this incredibly precise and very emotional study of a family in deep crisis. >> give me the camera. >> i didn't get it yet, beth. >> come on. give me the camera. >> give him the camera. >> i want a really good picture of the two of you. >> i really want a shot of you three men. give me the camera. >> not until i get a picture of you two. >> give her the goddamn camera! >> and people who cannot get in touch with their feelings and avoid the darker underpinnings. so i decided, i'd like to tell a story what people will do to avoid being seen for who they really are. i gave mary tyler moore the script. i can see you playing this. she was drawn to it. that hit me. some part of herself she was willing to expose that had not been exposed before and she wanted that chance. so she was given that chance. and she did a great job. >> kelvin -- >> in that moment where march
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mary tyler moore comes downstairs and asks her husband what's wrong. >> i don't know if i love you anymore. >> she goes upstairs and she's just -- there's something so moving to me about somebody who is so deeply repressed, cracking open. >> that's where the dam breaks. they gets struck by a truth she can't articulate. can't take it in. that's what that moment was about. >> then you look at some of these films of the 1980s, like "ordinary people" and like "blue velvet." those films are explicitly about how things look are not the way they really are. you have to understand, this was when ronald reagan became president and the idea was that after all sorts of traumas, particularly watergate and vietnam, we healed, but as the public pronouncement is, we're good again, our movies are telling us, no, we're not.
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no we are not. >> wendy? i'm home. >> i play this game. all your favorite filmmakers, alive or dead, were opening a movie on the same day. which movie would you see first? and for me it would be stanley cooper, because you're going to see something you never saw before. and he did that in, think about it, every genre he's going to make a horror movie. it's going to be "the" horror movie done in a way that you would not expect. >> mom -- >> it was as if i had been in the overlook hotel for 2.5 mo hours. creates a pacing, the way you're breathing, existing and in there. >> in all of the films, he controls you. >> and work in "the shining" broke new ground.
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the cam gave him a chance to put us in a scene that didn't have any time constraints. you get hypnotized behind that tries crick tricyc tricycle. you don't see his face. you're behind it. which leads to one of the scariest parts of the movie. >> hello, danny. >> "hello, danny. come and play with us." fantastic. >> and betting $4 million on its new movie "haven's gate" but after two years of preparation and eight months of production the picture yanked from american theaters after only one day. >> "heaven's gate" took almost a year to complete. the deer hunter film a success got a free hand. his producer said he was were out of control. the result a 3.5 hour bomb. >> a mistake through the heart
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of the era in hollywood. it's the cautionary tale that's about to say, no. no. the studio's going to step in here and this is not going to be another "haven's gate" and that's how the get the movies of the 1980s. ♪ >> you knew where you were when you first saw "empire strikes back" the "star wars" movie that took it to another level. "star wars" was huge, but "empire strikes back" was phenomenal. ♪ >> these established characters. you saw them mix in a way you hadn't in the previous film. >> i love you. >> i know. >> luke is transitioning into wanting to become a jedi knight. >> i saw it as this is the good act, because in classical dramatic philosophy you set the thing up in the first act.
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in the second act your heroes are put you in a nation is unresolvable. they're put in enormous jeopardy. you don't know how it's going to work out, and that is always the most interesting part of the story to tell. >> obi-wan never told you what happened to your father. >> he told me enough. >> he told me you killed him. >> actually first started working just me and george in the office are and george says to me, you know, darth vader is luke's father. >> i am your father. >> no shit. >> no! >> and it was about fathers and sons. about good and evil personified. >> it is your destiny. >> i thought that made the whole saga better instantly. ♪ ♪
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>> this ability to entertain and reach audiences more than one way with the same movie, i think that "saving private ryan" is a great example of that because it's exciting, it's thrilling, it's suspenseful. it also is a reminder of the price of that kind of warfare. the cost to the soul and who winds up living and dieing and bearing those scars in that kind of a conflict. johnson & johnson is a baby company. but we're also a cancer fighting, hiv controlling, joint replacing, and depression relieving company. from the day you're born we never stop taking care of you.
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is boost® delicious boost® high protein nutritional drink has 20 grams of protein, along with 26 essential vitamins and minerals. boost® high protein. be up for life. four of the biggest money-making films of recent chaims have come from george lucas and steven spielberg. friends as well. inevitable they would join talents and now have in an adventure film to be released this week. ♪ >> george says, i have something
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called araiders of the lost arc" an idea i have for a movie. a story of a maraudic adventurer with a hat and whip and committed to the movie based on one line of the story george told me and we sat around three days and basically made up the story from beginning to end. ♪ >> there there's a flin "raiders" that means a lot to me. buried there in the middle of a big action sequence they've lost control of arc of the kov nernt and indy says, no, i'm going to get it back. his friend says, how are you going to do it? >> to me, that was what life was like. we just make it up as we go. indiana jones is very good at that. >> we came up with an idea, like a truck chase. and then we figured, well, how do we get the truck chase in the movie? so we had these big kind of subjects and then we kind of
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reverse engineered in order for it to earn its place in the story. >> spielberg is a master of staging. even when they're moving very cut and cutting very quickly, you always know the lay of the land. >> ah. >> he can create suspense out of dames big and small. there's always the action the audiences can see but the characters can't see. but the audience is aware that not only is indy maybe going to get beaten to death by this enormous nazi, but also the whole thing might blow up. >> you wonder why your blood gets up when you watch him. it's craftsmanship and art. >> everybody in this town is talking about steven spielberg's latest film "e.t." i was there at 12:00 noon and thousands were waiting to get in in the street.
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>> the wait is you are hoes long in chicago. days long in los angeles. >> "e.t." has become the movie industry's biggest moneymaker ever. >> ah! >> i had the story, i was going to write between how the divorce between my mom and dad affected me and my three sisters and combined that with one about an alien himself divorced from his own species and is lost 3 million light years from home. >> i don't like his feet. >> can you imagine if that film didn't have those kids, every one of them. henry thomas, drew barrymore, robert mcnaughton. that's the secret sauce to that movie. >> i just want to say good-bye. >> all the kids had fallen in love with e.t. and i like to think e.t. had fallen in love with him. and that good-bye scene was genuine. those tears were real. >> you good. >> yes. >>'s steven spielberg movies are big blockbusters but personal
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stories. they are small stories told against a giant canvas. >> hair herthey're here. >> the 1980s i felt i was speaking to myself loving escapism. "poltergeist" was about all the things that scared me. a tree outside my house as a kid and scared 9 hell out of me. what happened in "poltergeist" tree comes in and grabs the kid. and "the goonies" discovered the riches saved their parents' home. stories about gremlins running around and tearing things up. just loving stories that were bizarre. >> anybody that has dreams are thoughts, fantasies, going back in time somewhere. and put it together for the modern age. >> you tell me you built a time
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machine? out of a delorean? >> i see it a time machine into a car, why not do it in style? >> a mistress as big a hit as it was when it came out. the real mystery is that it's indoor for decades. >> saturday night, we're sending you back to the future! >> simple idea which is what would it be like to see your parents when they were younger is something that obviously is multigenerational. >> you smoke, too? >> you're beginning to sound just like my mother. >> the only thing weird about the story, it's going back in time and meeting his mother and she falls in love with the son she hadn't yet had. that was pretty kinky for me. >> that's a pretty big bruise you have there. >> but they pulled it off. >> i was exhausted at the end of "back to the future" and then he
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maked "who framed roger rabbit" like he took "back to the future" and tripled it. >> any value? you're under -- >> there's a scene where donald duck and daffy duck are having a piano dual el at the same time penguins are serving drinks. if you look at the make of that scene it's utter complete total chaos. real actors pretending to the drinking. there's trays moving around on iron rods. >> that was ard has movie. sort of an ignorance is bliss category that movie should fall into because it's a movie no sane person would ever attempt to make. >> i love playing villains. i was a kid, the first walt disney film came out, there are dark moments in each of those and they scare the hell out of me. so it's payback. >> when i killed your -- i talked just like this!
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>> i got some moments there that -- being in their worst nightmares for the rest of their life. the trick to making that blend of live action animation is that the live action actor har to believe it. bob always believed that the rabbit was there. really an amazing performance. really one that actors should study, because it was made before a lot of cgi existed. old school moviemaking with physical special effects. "who framed roger rabbit?" is the most complicated movie ever made. >> tell me you plolost you sensf humor already? >> does this answer your question? ♪ >> let's it is! and tell anyone who'll listen...
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♪ even though the 1980s is often viewed as sort of an upbeat era it's the period when the united states came out of the doldrums of the '70s. still an underlying fear that that could all collapse at some point. you see that playing out in this host of apocalyptics subgenre of access films. [ whistle ]
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>> two days ago i saw a vehicle. you want to get outta here? talk to me. >> george miller's movies do an amazing trick of making this look beautiful in a terrifying way. you know? you watch "the road warrior" thinks i'd love to go there and think i would die within five minutes. >> it's the idea of this one man who regains his humanity when he loses everything. but then there's the filmmaking craft. to see those stunts play out in long shots. just absolutely incredible and visceral. it's so in-your-face. almost like a heavy metal rock 'n' roll movie. ♪ >> one of these features that seem all tool likely to come to pass where things don't work, a
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future that feels if things don't get better we're going to end up there. >> dammit, that convoy of personnel still hasn't come. i told you to deal with it. what the hell is this mess? an empty desk is an inefficient desk. >> the visual sensibility is so distinctive, an audacity to that movie you rarely see. >> arouses very strong reactions from people. that's what cinema should be about. exciting, stimulating, makes us think. i'm quite happy when a film does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. ♪ >> "blade runner" is based on dix novel a dream of electric sheep. the central question is what's the difference between humans and non-humans? is harrison ford non-human? can you fall in love with
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andro android? >> she doesn't know. >> beginning to suspect. >> how can it not know what it is? >> commerce is our goal. more human than human is our motto. >> the screen play was excellent. a rare entity. it told not only fascinating and a different story but was written and described as well. so you could smell the movie. >> i don't think there's any director who can encode content into the visual presence like ridley can. so that when you see the street markets it tells you that in the future, technology runs crossclass. that populations are tremendously mixed. there's overcrowding, poverty. projecting so much content into those images and you just soak it in. >> i was constantly beaten up every day. why is it raining? why do you want it to be at night? i said because that's the way i [ bleep ] want it. >> harrison ford thought his
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character was a human being, and ridley scott was planting clue cloos in the movie he actually was the replicant with implanted memories like a unicorn he daydreams about. >> harrison's in full denial today he is a replica. the end, the point of leaving that unicorn on the floor when he walks out, stops, picks it up and he nods. that nod is an ascent, this is correct. somebody knows about my most private dream. which is about a unicorn. duh. >> james cameron's "aliens" the perfect sequel, because it doesn't just repeat the first film. it takes elements of the first one, builds upon them, but then makes it into a different genre. >> that's inside the room. >> right, man, look. >> you're not reading it right.
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five meters, man. four -- what the hell. >> jim is a real innovator and real artist. i didn't -- he said, you know, it's hard to do two, because you've shown him. the alien. i'm going more military. >> ah! >> you feel like james cameron doesn't get enough credit as a screenwriter as well. "aliens" a template how to write a great blockbuster. >> my mommy always said there were no monsters, not real ones, but there are. >> yes, there are. >> back in those days, women weren't really permitted to be strong. so sigourney really broke the mold in the "alien" movies and one of the ways cameron let her figure out how to be as tough as she was was because she was
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protected her adopted child. >> there's real skill to building the perfect roller coaster. "aliens" is scaexample number o of ow brilliant action cinema can be. >> get away from her, you bitch! ♪ at visionworks, we guarantee you'll see great and look great. "guarantee". we say that too. you gotta use "these" because we don't mean it. if you don't love your glasses, we'll make it right. guaranteed. visionworks. see the difference. o♪ ozempic®! ♪ oh! oh! (announcer) people with type 2 diabetes are excited about the potential of once-weekly ozempic®. in a study with ozempic®, a majority of adults lowered their blood sugar and reached an a1c of less than 7 and maintained it.
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and the party that was obvious. you're on your own for the night. that's also obvious. two adults. ♪ >> "fatal attraction" was like a cautionary tale. the cheating husband and the mistress turns out to be insane and a stalker who murders bunnies and boils them, as a matter of fact. >> ah! >> glenn close's legacy is forever tied to this film and she's an incredible actress. >> what am i supposed to do? you won't answer my calls you change your number. i'm not going to be ignored, dan. >> in the original script, audience sympathies were more evenly balanced between the male character and the female
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character, but with each iteration, they made her such an extreme character. the original ending was that she was supposed to cut her own throat, but that did not satisfy test audiences. so they had the good wife kill the bad single woman. >> ah, that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcome addition and a damn pretty one, too, if i might add. >> thank you, sir. >> i mean that. you should see some of the crones that have been coming through here lately. right, violet? >> "nine to five" an idea of women coming together and being like, yes, my life has been ruined by egotistical bigoted men trying to hold me back. >> coffee, violet. now. >> this is when women were going into the workforce but they were
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still secretaries. they were still the subservient roles they weren't the boss of the company. >> oh. that's -- >> that's all right. i'll get it. >> what about you, dora lee? what's your fantasy for doing him in? >> me? well i think i'd like to just come riding up one day and give him a taste of his own medicine. >> i loved their female crom raadry and i loved dolly parton in that movie. she's like -- liquid gold. >> i got a gun out there in my purse and up to now i've been forgiving and forgetting because of the way i was brought up. tell you one thing. if you ever say another word about me or make another indecent proposal i'm going to get that gun of mine and i'm going to change you from a rooster to a hen with one shot! >> they, in time, realized nothing is ever going to change unless we change it. >> string him up. that male chauvinist sexually inappropriate guy. >> it was an important movie
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then. it's an important movie now. >> not since the movie network that hollywood brilliantly indicted the business of television like it does in broadcast news. the perfect anchor played by william hurt. how is it the star of the movie is neither the anchorman nor the network correspondent but an actress who many of you will never have seen until now. >> okay, bobbi. back to 9:56. the sound bite in the alley it starts. why are re going -- please, bobby. we're pushing! >> the first time i had seen on-screen a real female because she was flawed and allowed to be human and different and irascible, difficult. >> shrill, bossy, possibly bitch. there's a lot of words that people used that are pejorative to women that jane craig could
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kind of inhabit. >> what i love is polly's character, tears streaming down her face and then controllinging it, getting it together and going forward. >> i'm really struck by the courage that jim brooks showed in writing a character like that. >> it must be nice to always believe you know better. to always think you're the smartest person in the room. >> no. it's awful. >> the fact that movie exists and always will is a gift. >> wait. wait, wait, wait, i know we're having an -- >> buying me lunch? >> i hope you -- gregory, this -- ah -- [ coughing ] >> don't -- >> favorite client. >> have i? >> and it was a -- >> in here? swear to god? yes! >> oh, god. i beg you to get therapy.
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>> "tootsie" updating of the guy in the dress. taking a believable character and putting him in a fantastic situation. yet the reason is works is because every single thing in that movie could really happen. we show you at the beginning. he's a great actor. he happens to be a pain in the ass and then to prove in-of-to his agent he can get work he puts on a dress. >> it's almost like a play performed enough so that they knew where the gems were. >> don't you find being a woman in the '80s complicated? >> extremely. >> one of the hardest things to do in a comedy is have a comedy climax and all story threads come together at the same moment. >> i am not the daughter of dwayne and alma kimberly. no, i'm not. i'm edward kimberly the reckless brother of my sister anthony. >> ah! >> the climbmatic sdmecene in i
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a tea "tootsie" climax and turn that one action. >> "tootsie" is what people want movies to be and few filmmakers invest the time and the sweat and the integrity to go all the way. which "tootsie" does. >> that is one nutty oscar. the '90s brought us a new look at some previously thought to be well-known stories. >> den ve washington at the pinnacle of his movie stardom. his best performance, i think.
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one of the really great films of the '80s a "verdict." beautifully told by master director sydney le met, paul newman plays a kind of washed up lawyer who was an alcoholic kind of ambulance chaser. what makes it uniquely le met is even when its movie stars, big movie stars he manages to bring them down in the case of the "verdict" to the boston streets and you can see the stars in the movie, but they have not turned the movie into something glamorous but on the opposite
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have entered the drudge and reality of the world that le met's painting. >> oh, god. i never should have taken it. there was no way i could win. >> to hear newman, he shows you what he's made of as an actor. >> i think you guys are making a big mistake. reconsider get the principals back together again. >> calls the insurance company to rekind male the deal he turn down. >> okay. no. i understand. >> it's really one of the greatest pieces of acting i've ever seen in my life. no cuts. i mean, le met just goes, okay. here we go. >> so how's your life? >> great. how's yours? >> not so great. >> oh! we're telling the truth? >> the "big chill" about kids in college together, late '60s and are now no longer anti-establishment but actually are part of the establishment. and trying to reconcile that history with their present. >> movies aren't being made for
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adults. that's all "the big chill" is. it's an adult film. >> i had wanted to make a movie about something i was observing among my friends. this imagined power. we came out of power thinking we had was non-existent. ♪ i know you want to leave me >> when it first came out for this generation the children of the '60s very relevant. and then i would meet kids in high school. ten years after the movie came out, love that movie. ♪ please don't leave me >> it's about friendship. it's also about growing up. there's something in its essence that is timeless and universal. >> i'm marrying tomorrow. i thank god for him getting me out of here and i think it would be great if you bother showing up to are my wedding. hmm. >> that's -- that's right. i think you're right.
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that the hypocrisy was bothering me, too. >> "terms of endearment" adapted and directed by james l. brooks made you cry, laugh, it was the stuff of life. shirley maclaine plays aurora. gets involved with an astronaut played by jack nicholson. >> fly me to the moon! >> and they had an incredible comic chemistry. the romantic scenes between e them are hilarious. >> it's not my fault, but i'm sorry. >> you wanted to get me on my back. you just had to ask me. >> "terms of endearment" may be the first dramedy. a word we hear all the time. a movie that's funny and tragic simultaneously. >> time for a shot. do you understand? do something! all she has to do is hold on and it's -- my daughter's a ten.
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give her a shot. do you understand? give my daughter the shot! thank you very much. >> james brooks was able to take humor, tragedy, the best writing delivered beautifully by actors that careded so much that felt like life, it felt human. it felt funny. >> the winner is -- "terms of endearment." >> jim was in delicate shades of humanity before it was cool. >> oh, well. that was a lifetime ago. people change. >> well, i hope you change. >> i hope so, too. >> for your sake. >> and for yours. i'm sure you'll change. >> desired. namely a personality. >> look at woody's career in the '80s, theoretically should have been past his prime. how can he go on after "manhattan." wait, sowic and broadway danny rose.
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purple rose of cairo. by the time you get to crimes and misdemeanors woody allen expanded his sensibility. aung sanble piece with some humor in it and satire in it but not trying to get a laugh every second. >> it's a wonderful moral conundrum from a very original standpoint. i think that's why it holds up. >> you told me over and over again you'd leave people yum!. we made plans. >> i didn't. >> you did. i gave up things for you. business opportunities. >> i have dreams! >> "crimes and misdemeanors" is two parallel stories. one of which a terrific woody allen and mia farrow relationship joke best and the other one which is a serious examination of literal life and death themes. >> a guy is having an affair, and she's threatening to tell his wife and threatening to disrupt his world. so he, has a hit man kill her. >> realizing i had a woman
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killed and thought i was going to go to hell. >> woody -- he's constantly getting, you no know, shit on by life and just doing the right thing. >> deep in thought. >> hmm -- i was planning the perfect murder. >> his writing is very it always feels like he was thinking about some philosophical truth about human nature and says i want to write a movie about that. >> i'm not talking about reality. if you want a happy ending, you should go see a hollywood movie. >> you realize of course we could never be friends? >> why not? >> what i'm saying is, and this is not a come on in any way, shape, or form, is that men and women can't be friends because the sex part always gets in the way. >> nora efron wrote wh"when har
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met sally". >> every scene has to be good. you work and work and work. you torture yourself rewriting the script. >> i had known nora and i pitched the idea for the film about the dance that people go through to get together after they've both gotten out of long-term relationships. and they become friends and does sex come into the picture and does the rule of friendship? she said that's something i would be interested in. >> it's just that all men are sure it never happens to them and most women at one time or another have done it, so you do the math. >> you don't think that i can tell the difference? >> no. >> in the deli scene, when we first did it, meg rightfully was a little nervous about it. you've got crew members, you've got extras, people standing around. { moaning } >> are you okay? >> rob says here's what i want. he proceeds to have an orgasm
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that mighty joe young would be jealous of. i'm pounding the table. >> yes! yes! yes! >> and i realize, because my mother is sitting there, i'm having an orgasm in front of my mother. >> i'll have what she's having. need a few more reasons to switch? 1. do you like netflix? sure you do. that's why it's on us. 2. unlimited data. use as much as you want, when you want. 3. no surprises on your bill. taxes and fees included. so, if you have a discount, bring it to t-mobile. we'll match it and give you great benefits.
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. what do you care about mark ratner for? he's a 16-year-old usher in the movie theater. you have dated early guys. you work at the best food stand in the mall skand you are a clo personal friend of mine. >> there was so much reality in the script of "fast times". the way that cameron wrote it is that he went back to high school. >> i never graduated traditionally. so the idea was that could go back and have the senior year that i didn't have and write about what it is to be a high school student. i learned so much. the pop culture establishment, they don't know what's happening with kids right now. >> stacey, what are you waiting for? you're 15 years old. >> i did it when i was 13. >> it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you know they're having sex. and they're all working.
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it's fast food. it's fast adolescence. it's all disposable. and what are we doing to a generation that has to be adult at a younger and younger age? >> there are so many incredible people in the movie, a lot of careers get launched. judge rein hold to phoebe kates to jennifer jason leigh. a cast of stars where everyone walks out and says oh my god, sean penn. >> sean penn brought a lot of the vocabulary. if it's written as fiction, he turned into awesome, gnarly, all the classic words of the '80s. >> why don't you get a job? >> what for? >> you need money. >> all i need are some tasty waves, a cool buzz, and i'm fine. >> i think of myself at 19 and overseas a couple sem esseesterd
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now i'm back. kick boxing? i can see by your face no. my point is relax, your daughter will be safe with me for the next seven or eight hours. >> "say anything" is a romantic comedy for guys". rebellion takes many different forms and sometimes the rebellion takes the form of loving the woman they say you can't love. and you make your life's goal her. >> watch out for that glass. >> thanks. >> if moments make movies as they say for "say anything" it's the moment when lloyd holds the boom box and plays peter gabriel to woo her back. we had a hard time with the boom box. we tried it a couple different ways. he had a hard time holding it
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up. there was one version where it was on the car playing it. not as good. we finished the last shot of the last day. there's only a little light in the sky left. the light is disappearing. the shot's moving in on kusack and i see it through the camera. the anger, the resentment, the love, the pain, the glory, the adolescence. all of it was there in his face. we got lucky. it's dark and we're wearing sunglasses. hit it. >> the '80s was an incubator for new voices, new visionaries, new ideas. >> it was like the cultural hand grenade. someone set it off. >> you're looking at a higher rank, corporal. you'll obey and you'll like it. >> people had no idea there were soldiers fighting for the union. >> i remember thinking how does
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this grown up know everything about all of us? >> say hello to my little friend. ♪


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