tv The Movies CNN January 8, 2022 10:00pm-12:00am PST
>> reckon the town will get along without us? >> i was young enough to bounce, i would go with you. >> "the last picture show" was a movie that however old i was when i saw it, i said, this movie is about me. this movie is about us. this movie is about america as we are right now, here in the mid '70s, not as we were back in the early 1950s. >> do you think "the last picture show" is a john ford movie? >> no. i think it's a peter r bogdanoh type movie. >> peter loved movies. but had a very strong sensibility. he spoke to a new generation, both visually and emotionally. >> orson welles read the script, i would like everything to be sharp. he said, you will never get it in color. what do i do? shoot it in black and white.
>> "the last picture show" is the movie that made me fall in love with movies. it just blew my mind. it's about everything that holds you back. it's about being young. >> there's heartbreak. wisdom that comes of age. and young people discovering how fast time goes. >> in "the last picture show," there was a quality of reality. there's no feeling of watching a performance but of experiencing another human being. >> really, it's a story about america. about the death of a way of life. >> so, clour closing the show? >> nobody wants to come to shows no more. baseball in the summer. television all the time. >> maybe a necessary death of an old hollywood that had to die to make way for a new generation of filmmakers to tell new stories. >> at the end of the '60s, hollywood was ballooning budgets up to catastrophic size. >> i'll tell you what, i'll even
pay for it in cash. >> fine. >> so, it opens the door for smaller movies. and when the budget's lower, the artistic freedom tends to be higher. >> play misty for me. >> misty? >> all of a sudden, there was this young group of directors that came along and started blowing up the bridges behind them the way things used to be and now we're trying new ways. see if it works. >> "french connection" was about a couple of new york cops doing a hard hustle and busting a bunch of low life scumbag drug dealers. >> that car is dirty. >> billy shot the film like a documentary. he found a way to make it so real. it really influenced me. my favorite gene hackman performance. >> gene hackman was so filled with anger. it just made me so happy to see that kind of life.
boiling. >> the car chase was undeny bly actually happening in real time. this was the greatest car chase in a film that wasn't supposed to be about a car chase. >> the new hollywood coming out was angry and young. and that anger changes the whole aesthetic of hollywood. >> there was something about movies in the '70s. they just were all very tangible. you felt like you were really in it. >> these dark, dark films that life is shit. and that's the punch line. >> movies are uglier. they are dirtier. they are more uncomfortable. they are more dangerous. they are more vietnam. >> we were starting to deal with the counterculture and taking it seriously, because we were young, we were part of the
counterculture. >> "patton" was a film about world war ii and connects with the greatest generation. it's also a film about reconsidering war and connects with the vietnam generation. >> you are just a god damn coward. >> and it is told with irony by this young screenwriter named francis ford coppola. coppola had his foot in old hollywood before that. he made a big warner brothers musical. >> i was very unhappy during the production, because you didn't get to cast, you didn't get to pick the art director, you didn't do the final postproduction and out of my frustration, one of the h highlights of the picture is a skinny kid that would come and watch what i was doing and became a friend of mine was the only one more ofless my contemporary and that was george lucas.
>> student films are the only hope. they are beginning to realize that students know what they are doing. >> these guys saw hollywood as death. they were all very influenced by the fresh new wave in european films. that's how francis saw himself. his fantasy was that he was going to make a series of these out of hollywood movies with lucas and other people they attracted. they decided to start their own studio. >> just back off. >> the first movie is by george lucas. he makes "thx 1138." it's a flop. it goes over everybody's head. and that's a problem. >> it almost ended lucas' career before it started. so they were running into trouble. >> at the same time, paramount was running out of money. so, i said, look, what would happen if we bought the rights to some really interesting commercial novels and married
that material to all these bright young filmmakers out there? >> when paramount came along and offered francis "the godfather," which he didn't want to do, he turned it down. >> i reminded francis with annoying frequency that he was broke. and that he had to take my offer to direct this picture. >> so, what happens next? coppola takes the paying gig, which might be the most beloved movie of all time. ♪ (laughter) a stove that inspires magnificent hot cocoa. and a perfect ski-in ski-out. but the thing they'll remember forever? grandpa coming out of retirement to give a few ski lessons. the time to plan your get together is now. find it on vrbo. ♪
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♪ "the godfather" is unquestionably one of the great movies of all time. its narrative sweep, the beauty with which it's made, the quality of its acting. all of those things are undeniable. >> godfather. >> the film is about power. it's about the succession of power. it's about morality. it's about responsibility. the fact that it's about a mafia family is just the dressing of it. >> al pacino's character is the youngest son.
he understands what's going on with his family. he explains it in cold blooded detail to kay right there. >> my father made him an offer he couldn't refuse. >> what was that? >> luca held a gun to his head and my father assured him thats either his brains or his signature would be on the contract. >> he is an innocent. he was quiet. he was shy. he was outside. he was not in the inner circle. >> that's my family. it's not me. >> he kind of deludes himself into believing that. but everything starts to change when his father is almost murdered. the family has to take revenge. and michael decides he will do it. >> let's set the meeting. >> one of the things i related to was how he loved his family. and what he would do. he would do anything for his family.
>> he's there in that restaurant. and you see that look in his eye, to say that either he knows he's going to shoot him or he doesn't know, he's trying to decide, he's going to get up and walk out. it's going to change his life forever. right after this happens, nothing is ever going to be the same again. >> how do you let go of what you have been raised in? and can you let go? or do you just become another one of the line of the same thing? >> i never -- i never wanted this for you. >> you really cared about these people. you understood the godfather's wanting his son to be separate from all of the crime. you understood his sadness when that didn't seem possible. >> senator, governor. >> it's very much a story about
america, about both the promise and the destroyed promise of america. >> i saw that film four times in five days. and up until that point, i had always thought that "lawrence of arabia" was the greatest film ever made until the first "godfather." >> and then coppola wound up making a sequel that was perhaps even better than the first one. >> what we see in "the godfather part ii" is michael as he's evolving and becoming more ruthless and powerful than his father could have imagined. >> you won. you want to wipe everybody out? >> i don't feel i have to wipe everybody out. just my enemies. that's all. >> at the same time, it's intercut with the story of his father as a young man played by robert de niro becoming a powerful mob leader in new york.
>> i studied what brando had done in "the godfather" in gestures and whatever he'd done, expressions. i had to try to create the thing that he had. >> i will make an offer you won't refuse. don't worry. >> it's very canny to have half the movie be this irresistible young man trying to figure out, first legitimately and then otherwise, how do i make it in america? >> everything don did was for his family, where as michael, everything he does is about making money and accumulating power. >> he rationalizes by saying, this is for the family. but ultimately, he destroys the family. >> this is the product of francis ford coppola. you feel his sensibility.
and this is the great revolution of the 1970s. >> it became very clear to the studios, if we could have a box office success with "the godfather," imagine what else these guys can do if we give them a chance. >> the whole school of filmmakers that came up in hollywood in the '70s really were roger gorman's godchildren. >> he started making movies for exploitation companies. they were very low budget. >> suddenly, i had a group from ucla, sc, and nyu of young filmmakers. they learned on the set while directing. >> working with roger corman, it's like a college. you're tired, you're distracted and everything -- doesn't matter. you're shooting. >> francis coppola, ron howard,
brian de palma, and me, began with roger. the new hollywood is unthinkable without roger. >> when i was making "grand theft auto," he said, ron, you keep doing a good job for me on this picture and you will never have to work for me again. i guess i never did work for roger again. i'm forever grateful for the opportunity he gave me. >> martin scorsese made a few small films in the late '60s. people started to pay attention when he does "mean streets." >> i wanted to make films about an area where i grew up. i didn't really see organized crime. i was living in it. >> he burst upon the scene with a kind of frankness, violence, and a restlessness to find the rhythms of the streets. that don't feel anything like a movie. >> how much money you got from michael tonight? >> i got nothing.
>> "mean streets" came out of some events that occurred to me and my friends, associating with people that can be detrimental to you, yet there's love involved there. >> the first time you sort of see robert de niro dancing around like everybody else, you're like, what the [ bleep ] is that, who is that? >> that ain't nothing wrong with me. i'm feeling fine. >> it was about friendship and loyalty. it was one of those movies that resonated with me because it reminded me of the same situation that i was in, just different color people. >> "taxi driver" reflected the world that i knew. the steam coming from the streets. the nighttime of the city. it's always night. especially for a guy who wants to drive a cab at night. >> how is your driving record? >> it's clean. it's real clean, like my conscience. >> you going to break my chops? >> the conflict in the travis character to me was in de niro. and we knew that there was a truth to it. >> why won't you talk to me?
why don't you answer my calls? you think i don't know you are here. >> marty lets people do -- he gets the best out of them because he lets them go as far as they can go. >> i love him. >> it's a story about a guy who has a psychological decent into hell. and finds redemption through an act of self-sacrifice and violence. >> the idea had been growing in my brain for some time. >> he decides to assassinate a presidential candidate. >> true force, all the king's men cannot put it back together again. >> and then he turns this crusade to rescue a child prostitute played by the 14-year-old jody foster. >> get me out of here, all right? >> he seems heroic. but he isn't. >> the fearlessness of that performance. de niro was not interested in being sexy or pretty. just being real. travis is, of course, one of the
great characters of 20th century film. >> you talking to me? you talking to me? >> i remember sitting at his feet -- >> you talking to me? >> and him beginning this phrase, "are you talking to me?" >> you talking to me? >> not just something that i improved and worked on -- i don't know, just seemed right. the mirror and so on. >> well, i'm the only one here. >> i saw it happen and i saw him -- i saw him transform. >> okay.eroni flatbread is a mouthwatering explosion of yes. craft? yes! heartiness? yes! living life to the flavor-fullest? heck yes. panera. live your yes. now $1 delivery. why do dermatologists worldwide recommend la roche-posay? effective skincare like la roche-posay double repair face moisturizer delivers double-action to help repair skin's barrier and provide 48-hour hydration for healthy-looking skin.
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♪ non-existence. black emptiness. >> what did you say? >> i was just planning my future. >> in that period of time, there were two things that were really important to you. an ali fight and a woody movie. woody allen was the first comedian who did everything. >> this is sharon. >> hello. >> woody allen created this character who is always out of his element no matter what, whether in south america in the 1970s or sleeper in the future or russia in the 19th century.
>> his only intention with those films was to get laughs. >> this is annie hall. >> by 1977, he wanted to make a different kind of movie. and it just blew everybody away. >> driving a tad rapidly. >> don't worry, i'm a very good driver. >> "annie hall" was about people meeting, getting together, breaking up, getting back together. >> he was jewish. she was decidedly not jewish. >> you are what grammy hall would call a real jew. >> thank you. >> annie hall is the best relationship movie, i think, ever made. if you want to just take all the truths of a relationship, how it can work and not work, i think "annie hall" nailed it. >> i'm in a bad mood, okay? >> he told that story non-chronologically. it took risks in the style of filmmaking. >> i can't believe this family. >> there are moments he is talking directly into the camera. >> nothing like my family.
you know, the who are like oil and water. >> he shows both what his family talks about and does and what her family talks about and does. with these wonderful split screens. >> how often do you sleep together? >> do you have sex often? >> hardly ever. maybe three times a week. >> constantly. i would say three times a week. >> we think of "annie hall" as being woody allen's movie. but really, it's diane keaton who created this great character of annie hall. >> oh, well. la de da. >> she had her own sense of style and she kind of steals the show. >> oh, lovely. >> swept the academy awards, which is rare for a comedy. it won best picture, best writer, best director, and best actress for diane keaton. >> i remember seeing it during college and being in tears at the end. not because it was sad, but because i couldn't take the
artistry. it's this beautiful symphony. >> there was really this feeling of, how can you top "annie hall" and in many ways, "manhattan" did it. first of all, it stands out right away because of that beautiful black and white photographer by the great gordon willis. and of course you had that score by george gershwin opening with "rhapsody in blue." >> it showed new york in the most romantic way. in a way that new york wasn't thought about in the '70s. >> hi. what are you doing here? >> well, i'm here, of course i'm here. >> here is a movie set mostly in little dialogue scenes between cynical, nervous intellectuals on a giant wide screen. >> isn't it beautiful out? >> there's this amazing sequence where they end up sitting on this little bench and you see the 59th street bridge above them. i made it my business when i was in college to find that bench. >> this is really a great city. i don't care what anybody else
says. >> those are the kind of things that those movies made you do. you saw something amazing. in a part of the city that you've never been in. and you would try to find them. >> "manhattan" was a comedy, but it's all the questions he loves. it's questions about mortality. >> why is life worth living? it's a very good question. >> so, if you remove all the baggage of him as a comedy filmmaker and just watch it straight on, it's beautiful. >> mel brooks, why did you make "blazing saddles"? >> for money. >> "blazing saddles" is a classic western spoofing westerns and it's one of the most subversive comedies that come out in the '70s. it's a movie that mel brooks cowrites with richard pryor about a black sheriff coming to this town and the town people not wanting him to be there. >> i love "blazing saddles" because it is such a
revolutionary film. it deals with race with a sense of humor and candor. >> richard pryor was supposed to play the sheriff. but warner brothers wouldn't insure him, because he was an exuberant experimental in chemicals. and mel walked off the movie. i can't make it without richie. i can't do it. and it was richard pryor who said, no, you have to make this movie. and you have to cast this guy. look how dard hik his skin is. he would terrify those people. >> i would like you to meet the new sheriff. >> i would be delighted. wow. >> i've got to talk to you, come here. can't you see that that man is a ni -- wrong person, forgive me. >> the story was the strand to hang the pearls. the pearls were all of the jokes. >> look at that. steady as a rock. >> yeah, but i shoot with this hand.
>> they were satirical, they were puns. they were sexual. they were sight gags. >> kinky. >> he even broke the fourth wall and the cast is running out of warner brothers, i mean, it was just crazy. >> cut! >> i asked him, is it a movie you could make today? he said, i could barely make it then! >> dr. frankenstein. >> "young frankenstein" is a brilliant satire. >> frankenstein. >> and mel went to extraordinary lengths to get the details right. the look of it, the black and white. >> why did you make it in black and white? >> it was a homag e to the horrr classic. i had to be done in black and white if we were going to do it properly. >> it's alive, it's alive! it's alive!
>> he took that genre, did it perfectly and then bent it. >> what knockers. >> oh, thank you, doctor. >> "young frankenstein" is a masterpiece, in my opinion, and beautiful. i was so in love with gene wilder. he is so sexy in that movie. i used to tell people that i will marry gene wilder when i grow up. >> excuse me, sir, is this the delta house? >> sure. >> "animal house" was the first raunchy coming of age sex comedy. it was just frat boys. just running around doing crazy, crazy stuff. that was lampoon humor. it's edgy. it's borderline or over the line racist, sexist, all those things. >> mine's bigger than that. >> i beg your pardon?
>> oh, my cucumber. >> and we're making fun of that. smartly. so, that was -- that was what we did. >> john belushi was one of the breakout stars from "saturday night live." he had such energy and power. it was, you know, fireball. ♪ >> the part was written for john. >> "animal house" not only was a massive success, but it started a genre that spread like wildfire. wildfire. >> let's do it!izer delivers double-action to help repair skin's barrier and provide 48-hour hydration for healthy-looking skin. laroche posay ♪ you pour your heart into everything you do, which is a lot. so take care of that heart with lipton. because sippin' on unsweetened lipton
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♪ hey. it's me. hey. hey, i'm a police officer! police officer! >> really the classic new york director. he put the streets and the energy of new york on the screen in a way that no one else has ever done better. >> officer serpico. >> that thing on your lip, it goes. and get a haircut. >> based on a true story. it's a police officer who just cannot stomach the corruption he sees around him. >> i don't take one, right? >> frank. let's face it, who can trust a cop who don't take money? >> he breaks the code of silence
and exposes what's happening and the e lekffects on his life are catastrophic. >> i like you. i don't want to see anything happen to you. >> like other movies we saw in the era, it showed someone with flaws. but he was somebody who was rising to the occasion. >> i ought to cut your tongue out. >> al pacino is always on fire. >> it's safe -- >> it's safe, with my ass on the line, it's safe. >> your ass is always on the line. >> then that's my business, all right? >> the appeal is that energy, that fire, that integrity. which allows him to move into all sorts of different kinds of roles, from "the godfather" to y afternoon." >> nobody move. >> they reteamed for "dog day afternoon." >> that's all there is. >> it's about this guy who tried to rob a bank in new york in
1972. >> they picked it up this afternoon. >> she's telling you the truth. >> everything that could go wrong goes wrong. >> right now i can see you. >> who is it? >> cops. >> "dog day ofafternoon," i had never seen anything like it. >> oh, wow, wait a minute. i have to go to the toilet. >> the kindness and humanity of the bank robbers was so new and entertaining. >> who has to go to the bathroom? >> i do, too. >> see, now they all want to go. >> this was the kind of upending of all the presents of the bank robbery film. >> you get that idea of criminal as -- >> hello, see? i just saw myself. why am i doing it? >> yes. >> doing what? >> robbing a bank. >> oh. >> it's one of those movies where you are rooting for the bad guys. because the bad guys aren't that bad. >> he doesn't look very tough to me. does he look tough to you?
>> that. >> it's a hugely important film. the black panther party said it was the cultural representation of the black revolution. >> sweetbank is a hustler but he's galvanized or politicized when he watches police brutalize a young man. he decides to take the police officers down physically and violently. as a result, he is on the lamb. you know as a film-goer, he's going to get caught. he is going to be convicted. he is going to be shot by the police. none of those things happen. i remember seeing that movie. people were cheering because they had never seen anything like that. and that becomes a moment when black filmmakers kind of look and say, oh, we can tell those stories now, can't we? >> absolute best movie theme song of all time has to be "shaft." isaac hayes tells you everything
you want to note about the movie, about the character. ♪ who's the cat there's danger all about ♪ ♪ shaft ♪ >> "shaft" is a private investigator. he has his hands in mainstream society as well as the underworld. and of course, his leather game throughout that film is amazing. >> gordon parks, who directed the film, is a great photographer. in many ways, "shaft" is a projection of parks. but he made him a superhero. >> these movies set the tone for what comes to be known as the black-sploitation era. >> the queen to me of the 1970s was pam greer. >> she was playing a black heroine. there were never black women who got to be assertive, who had guns and took on villains and as
a black girl, as i was at the time, seeing this larger than life beautiful woman coming out triumphant at the end was amazing. >> what i love about pam greer is that she is bad ass, but she's sexy at the same time. >> she was really a unique presence at that time. guys interested in her as a sex symbol. people interested in her as a feminist symbol. people interested in her as a movie star. she was that present in the culture. >> people in the black community embraced brew lee primarily because he wasn't another sort of white guy. >> in 1970, you went into a black person's basement, they might have posters up. posters were big then. you might have malcolm x. you might have jim brown. every black household had bruce lee. pruce bruce lee was sing
singlehandedly one of the reasons why all kids in the suburbs were trying to kick each other in the nuts. >> everybody wants to be bruce lee. nobody wanted to study karate for as long as you needed to to be bruce lee. which is a lot. so take care of that heart with lipton. because sippin' on unsweetened lipton can help support a healthy heart. lipton. stop chuggin'. start sippin'. why do dermatologists worldwide recommend la roche-posay? effective skincare like la roche-posay double repair face moisturizer delivers double-action to help repair skin's barrier and provide 48-hour hydration for healthy-looking skin. laroche posay ♪ three times the electorlytes and half the sugar. ♪ pedialyte powder packs. feel better fast. this is your home. this is your family room slash gym.
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graffiti" in 1972, but it was set in 1962, there had been a cultural shift. it was like ancient history. >> i'm going to let you take care of my car. >> the acting in that movie was kind of my coming of age story. >> zit makeup. >> hey, come on. >> it's my favorite george lucas movie. the simplicity of the storytelling is what i really appreciated about it. he's saying, here's what the last night i remember in high school being like. >> i have a new car. >> hey! >> it was hilarious to watch their night of crisis. are you going to go off and see the world? are you going to stay where it's safe? >> we're finally getting out of this turkey town and now you want to crawl back into your cell, right? >> it signals to me that movies were getting made in different ways and told in different styles. it was really anti-hollywood. >> got to crew easy, baby. >> the other thing about that movie is that all these actors were nobodies at the time.
>> the biggest name in that movie was ronnie howard who played opie as a kid. there was cindy williams and harrison ford, richard dreyfuss. they all became stars. >> i just saw a vision. i saw a goddess. >> the '70s ushers in a new type of leading man that is funny, charming, irritating. they're cute. >> you go down there if you have the nerve. >> dustin hoffman walks on the screen, he didn't say hero. he just says, well, this is an interesting-looking guy. >> the fact that he didn't look like a leading man gave him tremendous latitude to be in all kinds of different movies. >> you've said that you don't have the leading man charisma. how could you say that in view of your leading man success? >> had i been someone like clint eastwood or burt reynolds or someone who has a charismatic image that they portray, no matter what film they're in, i
resist don't that. i don't want to let an audience know just by virtue of the fact that i'm in it, don't worry, i'm going to come out all right. i don't want them to know whether i'm coming out all right. >> you should have know to not draw on me. >> coming out of the world of roger corman movies comes jack nicholson, who is also not conv conventionally handsome, but he is sexy. one of the things that's sexy about him is that there's a little madness there. >> the most beautiful part of the day. >> his craziness is emotional. it's sometimes physical. but it's not like he is such a big guy that we're afraid he is going to hurt someone. >> you want me to hold the chicken. >> i want you to hold it between your knees. >> so, his outlets for rage, like in the famous scene in "five easy pieces" -- >> ah! >> makes us love him even more. >> seems to think you're an innocent man. >> well, i've been accused of a lot of things before, but never
that. >> in "chinatown," he's a private investigators. he thinks he knows how the world works. >> how'd you get past the guard? >> well, tell you the truth, i lined a little. >> to see someone that wised up having to deal with a lack of wisdom is really one of the dynamics that makes "chinatown" so exciting. >> you're a very nosey fellow, huh? with the intricacy, with the detail and also fantastic acting. >> most people never have to face the fact. the right time, the right place they're capable of anything. >> they all had their settings at the same setting. and jack starred i think in one
of the most perfect movies i've ever seen. >> i was fortunate. gasps in the audience. i leaned forward and i said, jack, i'm so sorry and he leaned back and he looked at me and he said, that's okay, he said i'm a shoe in next year for cookoo's nest. >> one flew over the coo coo's nest, a man who was confined to a mental institution who probably shouldn't be there. >> if mr. mcmurphy doesn't want to take his medication orally i'm sure we can have it arranged he can have it some other way. >> it's can his spirit be brokeç and can his example help other
people in the institution? >> mcmurphy was maybe the equipment essential role for jack nicholson. it was a part he could be completely wild and crazy and bounce off-the-walls and bring that kind of unhinge d energy. >> there was a sensibility back then of being fed up with authority, its rigidity. >> i want that television set turned on right now. >> and that's nurse ratchet. so this is film about a rebel. >> who do you think you are for christ's sake? crazy or something? well, you're not. you're not. you're no crazier than the
average asshole walking around on the streets and that's it. >> it's this combination of intelligence, menace and self-conviction. you just -- you just who he is. >> and the winner is jack nicholson. >> i'd like to thank my agent who advised me ten years ago i had no business being an actor. thank you. with olay body, i feel fearless in my skin. why do dermatologists worldwide recommend la roche-posay? effective skincare like la roche-posay double repair face moisturizer delivers double-action to help repair skin's barrier and provide 48-hour hydration for healthy-looking skin. laroche posay dove 0% is different. we left aluminum out and put 48 hour freshness
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♪ every director looks at "jaws" and thinks degree of difficulty 10, hit to miss ratio, you know, 0. steven spielberg hit every, 10 out of 10 on all fronts. >> we know all about you, chief. you don't go in the water at all, do you? >> jaws was a popular novel about a shark attack on cape cod. what steven spielberg did he made this the kind of shark movie that alfred hitchcock might have made.
>> spielberg ups the ante with that picture, how to basically tantalize the audience with the fear something might happen or it's about to happen, but nothing does happen. and then you catch them off-guard when something does happen. >> the theme from jaws means i'm going to scare the shit out of you and come get you. >> he went to the piano, just took a couple of fingers, and he went da, da, da, da, da. and i thought, oh, my god, he's going to wreck my movie. oh, my god, it's over. i thought the film had almost wrecked my life. it was so impossible to make, and suddenly i'm getting a score with three fingers on the low keys?
>> i came to the first day of scoring, and i realized if this film is going to be successful 50% of the success of the film is going to be because of what just heard, and that's exactly what happened. >> the first time you get a sense of how big the shark is you're immediately worried about those guys on the boat. they're going to die. >> we're going to need a bigger boat. >> jaws hit me when i was 15. the electricity in that theater was unsurpassed. the popcorn flies, to watch them jump out of their seats, to see women scream, we'd never seen anything like it. >> what happened? >> japanese slammed two torpedos. >> and then he settled down and let three actors go to it with just quiet dialogue.
>> didn't see the first shot for about half an hour. >> it was this camaraderie amongst these characters that elevated what the movie was. >> 316 men come out. >> jaws is a friggin masterpiece. >> jaws was the first real gigantic blockbuster, heavily advertised, open on a billion screens at the same time. it became a cultural milestone immediately. it changed everything. >> it was even more in my dna to make close encounters than it was to make jaws. i was always into ufos as a kid, always looking up at the sky wondering when one was going to land in my front yard. still hasn't happened, by the
way. >> i must think about that film at least once a day. maybe it's remembered or thought of as a science fiction film. but the thing that i respond to the most is the domestic drama, the kids in that family and their response to their father becoming unhinged. >> when he becomes so obsessed he starts to create a grand canyon between his family and himself. >> while the movie has this wondrous optimism about what is in the heavens, it also has this really sophisticated darkness about what it is to have touched that world and how once you've tasted or seen something no one
else would believe there is no going back. >> it's this gigantic special effects laden personal film. there's no one else that could have made that movie but spielberg. >> i remember as a kid watching and thinking i'd go. how would you not go? heartiness? yes! living life to the flavor-fullest? heck yes. panera. live your yes. now $1 delivery. ♪ when you have nausea, ♪ ♪ heartburn, ingestion, upset stomach... ♪ ♪ diarrheaaaa.♪ try pepto bismol with a powerful coating action. for fast and soothing relief. pepto bismol for fast relief when you need it most.
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most of the big people in the industry look at you as a maverick at best, a troublemaker at worst. do you agree to that? unpredictable, self-indulgent. >> yeah, and i think it scares them a little bit that they feel they may not have control. >> robert altman's movie are almost anti-movie or anti-story. they're not these two hour perfect things. i think he as an artist knew inherently that was bull.
>> he had mash, california split, he had nashville. in every movie he wants to capture a sense of really being there. >> when you first see you can smell that film, the steam and the piss and the cooking and all the different things that were going on in this town. it's such a beautiful film. and the absolute heart break in all of it -- >> i think people underestimate the tremendous empathy he had an a filmmaker. he loved people if they were flawed, terrible, wonderful. he celebrated real humanity. >> he's overlapping voices. he's letting the camera drift
around. he may not be on the person even talking. these were unprecedented things at the time. >> there's been ensemble movies and ensemble movies and then there's nashville that sits firmly at top. >> "nashville" is a political movie. it deals with a political campaign. and the sense in which this country is both divided and deluded. >> it's nashville. >> he was taking boundaries with film making at that point and pushing it, pushing it good. >> he was crazy, stoned all the time but a brilliant filmmaker.
>> ruth gordon and bud played in it, an 80-year-old woman and an 18-year-old suicidal young man. >> he learned how to live with the idea we all will die at some point and we don't know when, and it's so beautiful. i can hardly talk about it without choking up. >> that sound track mattered a lot to that movie. there was this marriage of weirdness, darkness, death, comedy, sex and ted stevens was just sort of a magical thing, you know? >> really interested in the eccentric and outsider and misunderstood. and i think in all his films you
could see threads of that. >> what about me. >> what about you? you're different. >> i am? >> you're great. >> for me the best of ashby's work is shampoo which told a political story and a romantic story and a sexual story. >> he's a super handsome dude, at the peak of his super handsomeness. yes, he's getting laid but he's also not connecting. in the context of this political thing going on with nixon. >> he did care about all the women that he was banging, yet he couldn't stop banging them all. >> i mean i'm all my feet all day long and they're only talking about one thing. that's all that's on their minds. that's all i ever hear about that. don't you know that? >> it was sad and moving and
funny and sexy and real. >> giving a great performance as a mysterious man whose only experience with life comes from watching television and tending his garden. >> on television, mr. president, you look much smaller. >> because of this simpleton sellers played it was a way to show the folly of society. >> you don't play games with words. >> it was another side of peter sellers from his pink panther films, and you get to see him not doing a lot. and by not doing a lot he projected so much. >> it's the ashby elixir. he's able to tell a gentle story that resonates hugely, and he lets you add it up. >> if you're an artist you're not really interested in success per se. >> john was just everything,
actor, writer, director, producer, maverick. >> are you kidding? >> what i find so special is his exploration of relationships, his passion for the human condition and how we interact with one another. >> come over here. >> he crafted this company of actors that always worked together so you could see the support that it gave his film making. >> and i don't think you would have it without jenna rolens. >> jenna rolens has an incredible presence. it seemed like wherever she was she just took over a room in this very dignified way but wasn't afraid to have fun. >> i got a great idea. when you get home from school
we're going to have a party. >> it's about a man and a woman in a loving marriage that's beset by the woman's personality. >> you think there's something wrong with me or something? >> she had this energy about her, but you slowly see it unraveling. >> it's kind of devastating. but, wow, what a performance. it was really refreshing to see a movie that put a woman directly at the center. >> thank you for everything. >> this was right at the beginning of the woman's movement and i found the script for alice. the studio said who do you want to direct it? >> to make this film main street you should talk to the studio about hiring him. >> so i asked to meet marty, and i said i want to tell this story from a woman's point of view.
and i can't tell from watching this film if you know anything about women, do you? and he said no, but i'd like to learn. >> i was trying to deal with it just as a person, and i had no one as a guide. >> boy, you really need someone to talk to. >> alice doesn't live anymore, it was a revelation for me because there had been no films about single moms. >> how long you think we'll have to stay in this hell hole? >> she not only has all this heart but she's funny and she's strong. >> would you mine if you turn around for me? >> turn around why? >> i want to look at you. >> i felt the early films took the vail off it and people are messy and complicated and you could still love them. >> '70s cinema had an interest in reality. you started to have actresses
who had a completely believable quality to them. >> the movies that happened in a zeitgeist at exactly the right moment. her husband leaves her for a younger woman, and the whole movie is the aftermath of that. >> she had this kind of strength and femininity and vulnerability and she's dimensional. >> i just want to see how it feels to make love with someone that i'm not in love with. >> how does it feel? >> sort of nasty. >> in the '70s there weren't too many female directors let alone female writer, director, actors. so elaine may is one of the great triple threats of the 20th century. >> in the '50s and early '60s elaine may and mike nichols were a big comedy team.
>> mike nichols went onto direct the graduate. and elaine may was a screen writer and she was tired of directors changing her work, so she decided she should direct her own film. >> oh, she's perfect. >> it made you feel you could tell a great funny story, and it didn't feel like, oh, this is just girl's stuff. >> with the heart break kid elaine may ushered in what i like to call uncomfortable comedy, which is now the norm. >> the premise is charles groeden, jewish guy marries genie berlin who happens to be elaine may's daughter, and then he meet kelly who's sibel shepherd and wants to have an affair with her during his
honeymoon. >> i've been waiting for a girl like you all my life. >> you want to punch him and you want to shake him and make him wake up. >> what you're saying is if i want kelly i'm going to have to put up a hell of a fight then? is that a -- >> my father used to be yelling at me like you can't make movies. where is there any woman that's made a movie, and i finally was able to say that one. ♪ pedialyte powder packs. feel better fast.
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here it is so hot. >> and i think he's a little bit undercelebrated just because he happened today have found his language in the musical. >> only the 1970s can give you a musical set in 1930s germany when nazism is on the rise and not soft pedal any of it. it's a musical inasmuch as it has musical numbers, but it's really not a musical at all
because all the music takes place in the context of this sort of sleazy club. >> it's the subtle changes you see where the swastikas are popping up in the audience and the content on the stage starts taking a turn toward the darker and more anti-semitic. >> you know what's coming. all the music, all the culture, all the cruelness, every kind of sexuality. all this is going to go away. and then that song first it's just this young sweet voiced boy singing. and very slowly but surely we see that, oh, no, these a nazis
singing. >> that's what cab ray is about, how something like this can happen. >> that year he was nominated for the godfather and he won. >> being characteristically pessimist and cynic this and some of the other nice things that have happened to me in the last couple of days may turn me into some sort of hopeful optimist and ruin my whole life. >> the general premise is a man who's working himself to death. >> here was this incredibly complicated character who was so talented and so charming. and the way the movie was
constructed put you so inside the feeling of him. >> nothing i ever do is good enough. >> it's biographical but it's a drive for perfection that can never be achieved. >> and became very interested in death and hospital behavior and the meaning of life and death and those kind of subjects. >> that's really his love story in the movie. it's with death. >> rocky horror picture show was initially a flop. fox released it, people didn't get it. they didn't know what to make of it. >> it's about a couple lost on the highway, and it just gets so weird.
♪ why don't you stay for the night or maybe a bite ♪ >> the rocky road picture show was a tradition that played only at midnight, and it was like some cabaret vaudeville p participatory experience. >> how many times have you seen it? >> around 100. >> this is my first time. >> it's one of the rites of passage. yeah, it's okay it's the rocky horror picture show. >> in saturday night fever was
the to the capture the whole disco phenomenon in a way that was exhilarating. >> you didn't have to be a disco fan to be caught up in the "saturday night fever"" bee gees moment. >> tony the character in the film is finished with high school. he's working full time at a paint store and he has to decide what he wants to do with his life. >> watch the hair. you know, i work on my hair a long time and you hit it. >> his only release, his only claim to fame in the local area and also to his own personality is being the best disco dancer in that town. >> "saturday night fever" is a terrific film actually and it has a lot of psychological drama in it. >> i did it. >> come on.
>> in "saturday night fever" john travolta's character is telling an extremely dark and gritty story. in "grease," he's not. >> i love "grease," the musical. it shows you a high school that i didn't go to, but the songs are timeless. ♪ boy and girl meet but uh-oh those summer nights ♪ >> olivia newton-john was amazing in that role. you really believe that she feels i want to break out of my shell. >> then in order to win over the guy, she has to become a slut. she looks pretty good. >> tell me about it, tud. >> it's problematic looking back at it now in terms of the ultimate message that it sends. >> becoming who this man wants you to be and you'll be happy but you'll do it in song at a carnival so it's okay. ♪ ♪ we'll always be together ♪
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>> i did not know a woman who was not in love with robert redford and even i had to admit, that is the best looking human being i've ever seen ever, ever ever. >> he was one of the most underappreciated actors in america because he was so handsome. >> his artistry as an actor is unparalleled. he had this expertise and confidence that made him even more good looking, if you ask me. >> come on, it will be fun. we can all be disgusting and decadent and eat eggs benedict and vote republican. >> even though he was the golden boy, he was actually inside a much, much different person. he cared about politics deeply. he cared about the environment deeply. >> and in the '70s stars started to take advantage of the power they had to follow their own inclinations. >> marvin wants me to go into politics. >> in "the candidate" which he made with the director michael richie his character gets talked into running for senator.
>> this country cannot house its houseless. feed it's foodless. >> i think it felt important at that time because i could see the country shifting. suddenly we were beginning to elect people by how they looked rather than what they really stood for. >> now declared young bill mackay the winner. >> i win, but what have i really won. >> marvin, what do we do now? >> we never discussed what i would do if i won. now what am i going to do. that's how i wanted to end the film. >> the conversation came out in 1974 in the shadow of watergate. >> pay attention. >> as it turns out what we call paranoid politics was actually really happening. there were people conspiring to control events. so you start to see movies that reflect that. >> independence day is very meaningful to me because
sometimes i've been called too independent for my own good. >> paralex view, it's the story of whether or not lee harvey oswald, sirhan sirhan, james earl ray acted alone in those assassinations or whether it was a conspiracy. >> it's much bigger than that. whoever is behind this is in the business of assassins. >> during the filming, the watergate hearings are going on. that's all we talked about every day. we couldn't wait to get to the set to watch the hearings and shoot the movie. parallex view was so much about politics and corruption in government. it was a confluence of energy that was going on through the whole thing. >> break down the security there. >> what are you doing? >> three days of the condor again, you have this feeling of the man against big government.
>> we wanted to make it kind of semi documentary style and my character has to run for his life to figure out what is going on. >> actors like redford and warren beatty who were both very political they start to find a way to make a commercial vehicle that involves this kind of dark undercurrent of american society. >> who are you? >> in three days of the condor, the question is, who will win. can the press undo these dark forces? >> what? what did you do? >> i told them a story. >> "all the president's men" answers that question. >> did he confirm it. >> absolutely. >> bill bradley. >> the film is based on a book by woodward and bernstein that was written before richard nixon resigned with, and in the film, redford and hoffman represent the role that woodward and bernstein actually played in unraveling the watergate cover-up in 1972.
>> i had great respect for journalism and that made me interested in making a film. "all the president's men" became not so much about just following nixon, it was more about who the two guys that dug underneath like gofers to get to the truth. >> you guys are about to write a story that says the former attorney general, the highest ranking law enforcement officer in this country is a crook. just be sure you're right. >> it's a movie about competent people doing their jobs even when it appears that powerful entities you're taking on are obviously going to crush you. >> this won't take long at all. >> please go away, okay? please leave before they see you. >> what do you mean by they? >> alan really knew how to create a sense of paranoia and suspense. you can hardly even take a full
breath when you see that movie for the first time. >> nothing's riding on this except the first amendment of the constitution, freedom dream of the press and maybe the future of the country. >> the movie is venerated for enshrining the importance of journalism at its best. holding powerful interests to account. and finding out what's true. >> the american people are turning sullen. they've been clobbered on all sides by vietnam, watergate, inflation, the depression. they turned off, shot up, and nothing helps. >> "network" is about a television network run amok. >> i would like at this moment to announce that i will be retiring from this program in two weeks time because of poor ratings. since this show is the only thing i had going for me in my life, i have decided to kill myself. >> we have this long-time anchorman howard beal and he has a melt down on live television. >> get him off. >> what's the matter with you fellows? >> what they discover is that melt down makes people watch the show.
>> tv is show biz, max. and even the news has to have a little showmanship. >> god, you are serious. >> so network is also about what we're willing to watch. >> stick your head out of the window, open it, and stick your head out and yell i'm as mad as hell and not going to take this anymore. >> peter finch is speaking at every man. >> and it's a reaction to an america that is questioning their own personal morality. >> rocky, do you believe that america is the land of opportunity? >> yeah. >> rocky gives us faith. it's a david and goliath story but also quintessentially an american story. it's how we want to believe the country functions. >> you got heart but you fight like -- >> it's much more a drama than a movie about boxing. > why do you want to fight? >> because i can't sing or dance. >> it's about this goofy guy getting an unexpected shot and this really awkward woman that
he falls in love with and then the relationship that he forges with this old school tough guy trainer. >> women weaken legs. >> yeah, but i really like this girl, you know? >> then let her train you. >> there's a nobility in rocky to try for a dream even if it doesn't work out. ♪ >> it made me want to be a boxer. i had a gray sweatshirt and i went out running thinking i was going to be like rocky. i probably got like 100 feet and i was like, god. and i remember coming home and my mother was very sweet and she said to me, you know, rocky was the screenwriter of the movie. i thought that sounds better than drinking raw eggs and running every morning. why don't i be a screenwriter. ♪ >> sylvester stallone was a struggling actor that nobody knew but he wrote this script which is all heart. he was completely broke, but he wouldn't sell it to hollywood
unless he could be in it. >> rocky's coming back now. >> in the end even though he loses you feel like we got through it. >> at the end of the '70s, we had been through some stuff. >> rocky. >> so rocky becomes a metaphor for the human spirit. >> and the winner is "rocky." >> rocky wins best picture in 1977 which is crazy because when you realize 1977 is the same year that "network," "taxi driver," "all the president's men" and "bound for glory" are up for best picture and "rocky" takes it, this kind of feel good film. >> to all the rockys in the world, i love you. um, she's eating the rocket. ♪ lunchables! built to be eaten.
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when "the deerhunter" comes out, the country's emotional scars from vietnam are still fresh. >> oh. >> stanley, sometimes your sense of humor ain't funny. >> ""the deerhunter"" was about working class guys going to war and what happens and it was so powerful and strong. >> we're going airborne. >> right. >> they have ideas about why they're fighting and what they expect. and what they find is just horror.
>> when "the deerhunter" came out, it really shocked people. >> so much of that movie is about the deadening of life in the process of surviving life. >> some people thought that that film was too difficult, too raw, but i felt that realism was necessary for people to understand what happened. >> would you go if you had the chance again? >> "coming home" opens with veterans around a pool table. it was so important to ashby that he communicate the reality of the veteran that he simply said go. improvise. >> we come back and say what we did was a waste, what happened to us was a waste. some of us can't live with it. >> and it completely legitimizes
everything to come. >> what are you doing here, bender? why aren't you out on golf course teeing up balls? doing something you're good at? >> trying to keep busy, that's all. >> sure it gives you something to talk about over martinis how you're helping out the poor cripples. >> in some ways jane fonda plays america in "coming home." >> i don't think i deserve that luke, at all. >> she changes as she views the effect of the war on the men around her. >> she wants to listen to you. and she wants to understand you. >> this is a powerful movie because it's not a political diatribe. it's about human beings. >> so the notion that francis ford coppola who had made "the godfather" movies was taking on vietnam, that was part of why there had been so much discussion that francis was going to be making this movie and it turned into this epic nightmare odyssey. >> it was this potential
disaster and martin sheen had had a heart attack and the lore, the prelore, there was a lot of drama what we were going to see on screen. that was "apocalypse now," and the movie blew my mind. >> the lights are down, you see -- and then finally the screen comes up. it was like wow. ♪ this is the end ♪ >> it's a stranger kind of a film that more and more apocalypse becomes like a dream or a nightmare in which you're dealing with things like morality and good and evil. so to me, the real issue was that it would be beautiful and that it would in some way throw light on the subject. >> i love the smell of napalm in the morning. >> unlike a lot of the vietnam movies that came later which tried to be more realistic, this seemed surreal.
>> someday this war's going to end. >> the fight hadn't gone how they expected. it wasn't a traditional war and it felt very hazy and a lot of them were high. and it felt like an apt metaphor for what the war was like for many, many people. >> this is a powerful indictment of war but it's also a disturbing journey to the darkest reaches of our own human soul. >> i think just in terms of a movie that scares you, "the exorcist" is the best. there was nothing else like this. >> "the godfather" was the biggest grossing film of all time in 1972 surpassing "gone with the wind" from 1939. when did the godfather get surpassed?
one year later by the exorcist. can you believe this? he doesn't call his daughter on her birthday. he doesn't give a shit. >> the great thing is it presents itself as a domestic drama which then turns into a super natural horror film. >> mother! >> it was important for me to be as relatable as possible so the audience could feel what it felt like to have your child turn into this monster. >> who are you? >> ah! >> william friedkin was going to make a film that was about real people. when you do that and add this reality, you had the people in the audience absolutely losing their minds. >> i'm so scared. the bed was shaking. >> oh. >> the thing that really surprises me is people faint.
i mean i've never in my life known a movie where people would faint. it's hard to make people faint. >> almighty father. >> you walked into the theater and you really thought man, am i going to survive the next two hours watching this. and sometimes no. >> "alien" is 100% a haunted house movie. these guys are in a haunted house and there's a monster in the house and one by one they get killed. >> what made it what it was was execution. it really got you on a no pun intended on a gut level. >> how you doing? >> terrific. next stupid question. >> the great thing about "alien" it trusts the patience of the audience. by the time you get to the famous sequence the audience already have their hearts in their mouths because of the slow tick tick tick of the roller coaster going up.
>> when that blood blew, the reaction was appropriately stunned, and i always remember standing on one side of the preview and the people sitting slid down into their seats and were holding each other. >> she had the stuff to hold her own as a strong female lead character that made headlines in 1979. the hero is a woman. that was groundbreaking.
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i love "star wars." i saw it in oregon on opening night, and from the very beginning where the little ship goes over and then this giant ship pursues it, it's like the little fish and the big ship, your sympathy immediately goes to the little fish. and the audience burst into applause, and that never happened. two minutes later darth vader makes his entrance. nobody knows darth vader from anything, and the audience simultaneously boos and hisses
like it's a silent movie. >> now i am the master. >> "star wars" is out of the mind of george lucas who just wanted to make a space opera. it was a huge risk. >> a fantasy about luke skywalker and a space dog and a robot. nobody understood or knew what he was going to do or doesn't really make sense on the page. >> i'm a member of the imperial senate on a diplomatic mission. >> take it away. >> "star wars" is really yet just another manifestation of a very old story. >> the force? >> the root of it were samurai films and also westerns. but i think the magic comes from when you mix the old myths with
very new technology. >> it totally blew me away. it just transported me in ways i really had never quite experienced before. >> the force will be with you always. >> it was also really moving, and it ended with a tremendous sense of victory against incredible odds. >> we left the theater kind of clearing tears away from our eyes from that triumphant emotional finale. >> remember the force will be with you always. >> and it was another huge two hour line here. and we looked at each other and said you want to see it again and she said yeah. >> i remember when george went to the telephone and got the news all the 10:00 a.m. shows
across america have sold out. and that's when it went from a hip movie to a cultural phenomenon. >> it essentially is a fun movie to watch. it's been a long time since people have been able to go to the movies and see a sort of straightforward, holewholesome, adventure. >> excuse me. >> as we move out of the '70s and into the '80s we start to see something a lot more glamorous, a lot more produced. what starts to disappear is the flawed leading man. >> why won't i be afraid? >> we see instead stories that are going to make big heroes out of someone who does a good thing. >> america needed to believe in a hero again, and we found out there are heroes everywhere. >> what's wrong? >> the future.
>> what's the matter with it? ♪ >> you can just sit down for the rest of your life and watch movies from the '70s, and they're amazing. >> the shakeup of what we were going through in the '70s and the expectations and stereotypes we had about our own nation and the myths we had swallowed, there was no way american cinema could not reflect that. >> all the movies that came out were very inventive and really rich and smart. people were trying for something different. >> it was an extraordinary time. we were all playing off each other, and there was no doubt we were changing things. >> we had all these enormously talented, creative, ambitious film makers being given money to go out and make the picture they
wanted to make. >> thank you. >> the convergence of commercial film making was an independent sensibility. we never really had that before, and it opened up a whole new vista for american film. hello to ow viewers in the united states and around the world. i'm lynda kinkade, good to have you with us. the global surge of corid cases is paralyzing health care providers now in a position of rationing resources and having to choose which patients to care for. and novack djokovic at risk of deportation in australia. new it tails over his covid status escalates the controversy. plus the president of kazakhstan calling on he