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tv   The Movies  CNN  January 22, 2022 10:00pm-12:00am PST

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cases directing films. you're also sort of getting big blockbusters, as hollywood will always have. it lays the groundwork for what we're going to see for the next 20 years. >> you want answers? >> i think i'm entitled. >> you want answers? >> i want the truth! >> you can't handle the truth! ♪ ♪ ♪ ♪ ♪ ♪
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♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ robinson, apparently tired,
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punched fairly well and rocked jake right to his heels. >> come on, ray. >> a director and actor finds a story at the right time in the right place. and out comes this amazing combination of cinematic virility and absolute fear. it's like watching an animal. >> "raging bull" is a great title. the film fulfills the promise. the reality of the boxing and the great slow motion, all of the black and white gore, the violence of the flush bulbs going off. when he designed the movie, marty purely, he didn't pickup a clutch on the film. there's no clutch. >> hey, ray, you never went down, ray. you never got me down, ray. >> it's a boxing movie for people who don't like boxing.
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because it's really not about that. it's about this man who was based on a real person who is really at war with himself. >> come on. harder. harder. >> i didn't really understand boxing, but the character was interesting. he was just so contraire, as they say. he was just so difficult. >> what are you trying to prove? what does it prove? >> bob de niro, he is not afraid of the negative characters, he's not afraid to go to those -- as they say, those places. >> i was down to 152. in my prime. and then i went up to 212. so i gained 60 pounds. that's not easy, though. the first 15 pounds is fun, then it's drudgery. >> go get 'em, champ. >> it's absolutely true that the movies of 1980 look like movies of the 1970s. very personal, very passionate filmmaking rules.
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then you had "ordinary people," the movie that defeated "raging bull" for best picture in 1980. this incredibly precise and very emotional study of a family in deep crisis. >> calvin, give me the camera. >> i didn't get it yet. >> come on, give me the camera. >> dad, give her the camera. >> i want a really good picture of the two of you. okay? >> no, but i really want to get a shot of the three of you men. give me the camera, calvin, please. >> not until i get a picture of the two of you. hang on a second. >> give her the goddamn camera! >> "ordinary people" centers on people who cannot get in touch with their feelings and who avoid the darker underpinnings. so i decided, i would like to tell a story about what people will do to avoid being seen for who they really are. i gave mary tyler moore the script. i said, look, i could see you playing this. she was drawn to it. and that really hit me because that told me that there is some part of herself that she was willing to expose that has not been exposed before, and she wanted that chance.
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and so she was given that chance. and she did a great job. >> calvin? >> in that moment where mary tyler moore comes downstairs and she 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. she gets hit by some truth that she can't articulate. she's so taken aback, she can't adjust, she 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,
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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. 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 kubrick, 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. >> to me "the shining" isn't about horror, it's about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. >> mom?
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>> it was as if i had been in the overlook hotel for 2 1/2 hours. he creates a pacing where it overtakes the way you're breathing and the way you're existing, and you're in there. in all kubrick films, he controls you. >> kubrick's steadycam work in "the shining" broke new ground. steadicam gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't have to see his face, you're behind it. which leads to one of the scariest shots in the movie. >> hello, danny. >> hello, danny. come and play with us. fantastic. >> united artists was betting $40 million on its new movie
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"heaven's gate," but after two years of preparation and eight months of production, the motion picture has been yanked from american theaters after only one day. >> "heaven's gate" took almost a year to complete. director michael camino, whose "deer hunter" film was a great success, got a free hand. his producer said he was out of control. the result, a 3 1/2-hour bomb. >> "heaven's gate" is a stake through the heart of the awe do you remember era in hollywood. it's the cautionary tale that's all about to say, no. no, the studio's going to step in here and it's not going to be another "heaven's gate." and that's how you get the movies of the 1980s. ♪ >> you knew where you were when you first saw "the empire strikes back." because it was the "star wars" movie that took the whole thing to a whole other level. "star wars" was huge but "empire strikes back" was phenomenal. these established characters, you saw them intermix in a way
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that you hadn't in the previous film. where there is this budding romance going on between han solo and princess leia. >> 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. in the second act, your heroes are put in a position that 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. >> when we actually started work, it was just me and george in the office, and george says to me, you know, darth vader is luke's father. >> i am your father. >> no shit! >> no!
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>> 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. d night c, with retinol + niacinamide. after 14 nights wrinkles start to be less visible and skin tone looks more even. the new revitalift pressed cream by l'oreal paris. your skin isn't just skin. it's a beautiful reflection of everything you've been through. dove body wash, with 5 skin conditioning ingredients, boosts skin's ceramides renewal for hydrated, visibly moisturized skin. renew the love with dove body wash.
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gifted filmmakers, george lucas and steven spielberg. they're friends as well, so it was inevitable those two would join talents, and they now have in an adventure film to be released this week. >> george says, i have something called "raiders of the lost ark." it's just an idea i have for a movie. he told me this story about this sot sort of marauding adventurer archaeologist with the hat and the whip. i committed to the movie based on a one-line story george told me. larry, george and i sat around for three days and basically made up the story from beginning to end. >> there's a line in "raiders" that means a lot to me. just buried there in the middle of a big action sequence. they've lost control of the ark of the covenant, and indy says, no, i'm going to get it back. and his friend says, how are you going to do it? >> i don't know. i'm making this up as i go. >> that, to me, was what life
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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 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 fast and cutting very quickly, you always know the lay of the land. >> he can create suspense out of details big and small. there's always the action that the audience can see but the characters can't see. so 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.
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>> you wonder why your blood gets up when you watch them. 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 today, and there were literally thousands of people in the street waiting to get in. >> the wait is hours long in chicago, days long in los angeles. >> "e.t." has become the movie industry's biggest moneymaker ever. >> i had this story i was going to write about how the divorce between my mom and dad affected me and my three sisters. and so i combined that with one about an alien who himself is 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 macnaughton? that's the secret sauce to that movie.
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>> 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 all of them. and that good-bye scene was genuine. those tears were real. >> be good. >> yes. >> steven spielberg movies, they're big blockbusters, but they are personal stories. they are small stories told against a giant canvas. >> they're here. >> in the 1980s, i really felt that i was speaking to myself. loving escapism. "poltergeist" was about all the things that scared me. i had a tree out my window as a kid. used to scare the hell out of me. so what happens in "poltergeist"? the tree comes in the house and grabs the kid. i made stories about kids opposite one final adventure, "the goonies" going on an adventure to save their parents' homes. suburban stories about gremlins
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running around and tearing things up. just loving stories that were bizarre. >> everybody has dreams or thoughts, fantasies of going back in time somewhere. and bob zemeckis put it together for the modern age. >> are you telling me that you built a time machine? out of a delorean? >> the way i see it, if you're going to build a time machine into a car, why not do it with some style? >> it's a mystery it was as big a hit as it was when it came out. but what the real mystery is that it's endured for decades. >> we're sending you back to the future! >> a simple idea which is what would it be like to see your parents when they were younger, is something that is obviously multigenerational. >> jeez, you smoke, too? >> marty, you're beginning to sound just like my mother. >> the only thing that was weird
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about the story, it's a boy going back in time and meeting his mother, and she falls in love with the son she hasn't yet had. that was pretty kinky for me. >> that's a big bruise you have there. >> ah! >> but they pulled it off. >> i was exhausted at the end of "back to the future." and then he makes "who framed roger rabbit?" it's like he took "back to the future" and tripled it. >> you're under arrest. >> there's a scene where donald duck and daffy duck are having a piano duel. at the same time penguins are serving drinks. and if you look at the making of of that individual scene, it's utter, complete, total chaos. there's real actors pretending to be drinking. there's trays moving around on these iron rods. >> that was a hard movie. that's a sort of ignorance is
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bliss category that 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 when the first walt disney films came out. there are dark moments in each of those that scare the hell out of me, so it's payback. >> remember me, eddie? when i killed your brother, i talked just like this! >> i got some moments in there that will be in their worst nightmares for the rest of their lives. >> the trick to making that blend of live action animation is that the live action actor has to believe it. bob always believed that the rabbit was there. it really is an amazing performance. i mean, it's really one that actors should study. >> because it was made before a lot of cgi existed, it was old-school moviemaking with physical special effects. "who framed roger rabbit?" is the most complicated movie ever made.
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one of the really great films of the '80s is "the verdict," written by david mamet. beautifully told by master director sidney lumet. paul newman plays a kind of washed-up lawyer who was an alcoholic kind of ambulance chaser. what makes it uniquely lumet is that even when it's movie stars, big movie stars, he manages to bring them down in the case of "the verdict" to the boston streets. you can see the stars in the movie, but they have not turned the movie into something glamorous, but on the opposite, have entered the drudge and reality of the world that lumet's painting. >> i never should have taken it. there's no way i could win. >> newman did what he was asked to do. he was often asked to just be the matinee idol, the leading man, be charming and witty and funny. when he does "the verdict," it makes you cry.
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here newman shows you what he's really made of as an actor. >> i think you guys are making a big mistake. i think you ought to reconsider. i think you ought to get the principals back together again. >> to see that scene where he's calling the insurance company to rekindle the deal that he turned down. reserve. >> okay. no, no. i understand. >> it's really one of the greatest pieces of acting i've ever seen in my lifetime, that phone call. no cuts. lumet just goes, okay, here we go. >> so how's your life? >> oh, great. how's yours? >> not so great. >> oh, we're telling truth. >> "the big chill," it's about these kids who were in college together in the 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 adults. that's all "the big chill" is, really, it's an adult film, and it tries to be as complex as life is. >> i had wanted to make a movie about something i was observing among my friends.
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this imagined power we came out of college thinking we had was nonexistent. ♪ i know you wanna leave me but i refuse to let you go ♪ >> i remember when it first came out i thought, well, this will be for this generation, the children of the '60s, this will be very relevant. then i would meet kids who were in high school, ten years after the movie came out, and they said, i love that movie. it's about friendship. it's also about growing up. there is something in its essence that is timeless and universal. >> i'm marrying him tomorrow. i thank god for flap for getting me out of here. i think if this is your attitude, you shouldn't bother showing up at my wedding. >> hm. that's right. no, i think you're right. the hypocrisy was bothering me, too.
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>> "terms of endearment" based on a book written by larry mcmurtry, adapted and directed by james l. brooks. it made you cry, it made you laugh. it was the stuff of life. >> just a minute. >> shirley maclaine plays aurora, gets involved with an astronaut played by jack ni nich nicholson. ♪ fly me to the moon, baby ♪ >> they just had this incredible comic chemistry. the romantic scenes between them are hilarious. >> it's not my fault, but i'm sorry. >> if you wanted to get me on my back, you just had to ask me. >> "terms of endearment" may be the first dromedy, a word we hear all the time, a movie that's funny and tragic simultaneously. >> it's time for her shot, you understand? do something. all she has to do was hold on to 10:00 and it's past 10:00. she's in pain, any daughter's in pain, give her the shot. do you understand me?
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>> if you're going to behave -- >> 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 cared so much. it felt like life, it felt human, it felt funny. >> the winner is "terms of endearment." >> jim was into the delicate shades of humanity before it was cool. >> oh, well, that was a lifetime ago. people change. >> what are you up to? well, i hope you've changed. >> i hope you have, too. >> i hope so for your sake because your personality left something to be desired, namely a personality. >> you look at woody's career in the '80s, which theoretically should have been past his prime because how can you go on after "manhattan"? then you think, oh, wait a minute. there's also "zelig." there's also "broadway danny rose." there's "purple rose of cairo." >> by the time you get to
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"crimes and misdemeanors," woody allen has expanded his sensibility. it's an ensemble piece, it's got some humor in it and it's got some satire in it, but he's 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 merriam. we made plans. >> we didn't. >> i gave up things for you, business opportunities. >> oh, dreams. >> "crimes and misdemeanors" is two parallel stories, one of which is a very traditional woody allen and mia farrow relationship jokefest, 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 hitman kill her. >> he realized, i had a woman killed and i thought i was going to go to hell and nothing happened.
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with woody, he's constantly getting, you know, shit on by life and he's just doing the right thing. >> you look very deep in thought. >> i was plotting the perfect murder. >> his writing is very strong for that reason. it always feels like he was thinking about some philosophical truth about human nature and says, oh, i want to write a movie about that. >> i'm talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we can 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 ephron wrote "when harry met sally" and got a lot of help from reiner creating the neurotic main character. that's because he was based on rob reiner. >> every scene has to be good. you work and work and work, torture yourself rewriting the
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script. >> i know nora, and i pitched this idea 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 if it does, does it ruin the friendship? and she said, well, that's something i would be interested in. >> he rips off my clothes. >> then what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you've been having since you were 12, exactly the same? >> well, sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comedy is, listen, you know they're going to be together, so how do you get them there and what's the roadblocks? it's all about the story, and it's all about the people. do you care about them? do you want them to be together? are you seeing what they're not seeing? >> it's just that all men are sure it never happened to them and most women at one time or another have done it, so you do the math. >> you don't think i can tell the difference?
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>> no. >> get out of here. >> in the deli scene, when we first did it, meg rightfully was a little nervous about it. you got crew members. you got extras. people standing around. >> ooh. >> are you okay? >> ohhhh. >> rob says, meg, here's what i want. he proceeds to have an orgasm that mighty joe young would be jealous of. >> yes, yes, oh, god. i'm pounding the table. >> yes! yes! yes! aah, aah! >> 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. , america's number one mascara ...creamy formula for 5x the volume. voluminous original mascara by l'oréal. my eyes are saying you're worth it. ♪"don't ya leave" by squeak e clean♪ [doorbell] ♪
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it's part of a trilogy, really, a musical trilogy that i'm doing in "d" minor, which i always find is really the saddest of all keys, really. i don't know why, but it makes people weep instantly. ♪ >> what do you call this? >> this piece is called "lick my love pump." >> the idea was we were going to do a mock documentary. we were going to make a satire of a rock 'n' roll band on tour. we basically had the tour outline, but essentially it was
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a very, you know, thin thumbnail sketch of what was going to happen. the whole movie is improvised. >> do the dead bird. get the dwarf cannolis, the little ones. >> i did the bird. >> don't talk back. huh? mime is money, let's go, move it! >> you had all these brilliant performances by all of them, and then rob put it all together and made it sing. >> people didn't know what we were doing. they thought it was a real documentary. when we first previewed it, people saw it, they said why would you make a movie about a band nobody ever heard of, and one that's so bad? ♪ working on a sex farm ♪ ♪ plowing through your bean field ♪ >> let's say you look at a prospective movie and it's a square, rob reiner has a way of turning it sideways, looking at it differently, and finding a way to enjoy it in a completely nonconventional way. >> he didn't fall? >> inconceivable. >> you keep using that word. i do not think it means that you think it means.
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>> "the princess bride" is a blend between romance, satire, adventure, swashbuckling. i mean, it's all mixed in and it's a very strange mixture, hard to capture. >> wesley, what about the r.o.u.s.s? >> rodents of unusual size? i don't think they exist. >> you have to walk a balance, you know? it's a fine line between stupid and clever. >> beat it or i'll call the brute squad. >> i'm on the brute squad. >> you are the brute squad. >> rob is a phenomenal director. his first movies one after the other, beauties, and took risks in different genres. to be in three of them, i'm really blessed. >> one half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be "airplane" or "the naked gun." you had ensemble comedies like "police academy," imports like "crocodile dundee," which was an enormous hit and "three men and
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a baby." the other is the rise of influence of "saturday night live" as an influence on film. >> there's 106 miles to chicago, we got a full tank of gas, half a pack of cigarettes, it's dark, and we're wearing sunglasses. >> hit it. >> john belushi and dan aykroyd, they made up these characters with the porkpie hat and the dark glasses. they did "the blues brothers" on "saturday night live" and got a huge response. so we got to make the movie. >> "saturday night live" is such a specific place. people started realizing, like, oh, this is where you're going to get your quality comedy, so then you started wanting to see those people in movies. >> i tell you what, i'm going to clean this up. >> you go ahead and clean up a little bit. looks fine to me. thanks for the dope. >> comedy is such a precious commodity. when you shake the pan looking for the nuggets, when they shine out like that, then you love them forever. people who understood how to be funny, they can be funny anywhere. ♪ if there's something strange in the neighborhood ♪ ♪ who you gonna call?
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♪ ghostbusters ♪ >> "ghostbusters" is a rare film because it combined sci-fi, action, and comedy. >> well, there's something you don't see every day. >> "ghostbusters" was written by dan aykroyd with harold ramis. on paper, it shouldn't work. but it does work because you have bill murray and dan aykroyd and rick moranis, and they're flawless. >> we've been going about this all wrong. this mr. stay puft is okay, he's a sailor, he's in new york. we get this guy laid, we won't have any trouble. >> bill's always explored what it means to escape sort of the constraints of convention. you feel in some way that you want to be as liberated as he is. ♪ ghostbusters ♪ >> instead of worshipping musicians, now we're worshipping these stand-up comedians and skit comedians. there is this idea that comedy in the '80s is going to be the new rock 'n' roll. >> all right.
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listen up! i don't like white people. i hate rednecks. you people are rednecks. that means i'm enjoying this shit. >> you got to remember when eddie murphy first started with "48 hours," he was 20 years old. then he does "trading places." then he does the blockbuster "beverly hills cop." >> eddie murphy in the '80s was comedy. he's such a perfect everyman and so likeable, even though he's kind of a shit. >> it wasn't about necessarily being the put-upon guy. it's being the guy smarter than the room. he's bugs bunny. >> you know, this is the cleanest and nicest police car i've ever been in in my life. this thing's nicer than my apartment. >> up until that point, hollywood movies that featured or starred a black artist, their color was always a plot point. in "coming to america," their color has nothing to do with the plot. >> oha, it is my 21st birthday.
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do you think perhaps just once i might use the bathroom by myself? >> most amusing, sir. wipers! >> he is a prince in a fictional african nation, and he decides he and his best friend, played by arsenio hall, are going to go to america so he can find himself a queen. if you want to find a queen, where do you go? you go to queens, nor. got to be full of queens, right? >> everybody who's seen "coming to america" embraced the movie. the movie is funny as hell. i think it's eddie murphy at his best. >> everyone is so lovely. give yourselves a round of applause, you're so lovely. everybody is so lovely. >> the one white person is actually played by eddie murphy. >> what about rocky marciano? >> oh, there they go. there they go. every time i start talking about boxing, a white man got to pull rocky marciano out their ass. >> who's the star of the picture? >> it's this young guy named eddie murphy, i think it is.
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>> oh, christ, i hate him. the kid with the filthy mouth? >> yeah, he's the one. >> oh, he's the worst. >> he can do these voices. he can do the physicalization. it speaks to the magnitude of his talent. is that not acting? is that not comic acting at the highest level? >> what do you know from funny, you bastard? to all the kisses... ...that led... ...to this one. celebrate every kiss, with kay. (burke) with farmers auto multi-policy discount, the more policies you have with us, the more you could save on your auto insurance. (man) hey, hon! (wife) hi, honey! (man) like what? (burke) well, you'd get a discount for insuring your jet skis... and boat...rv...life... ...home and more. you could save up to forty-five percent. (man) that's a whole lot of discounts. (burke) well, we offer coverage for a whole lot of things, and you could save a whole lot of something with farmers policy perks. (kid) sup, dad! (burke) seventeen-car garage you got there? ♪we are farmers♪ ♪bum-pa-dum, bum-bum-bum-bum♪
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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. there was still this sort of underlying fear that that could all collapse at some point. you see that playing out in this post-apocalyptic subgenre of action films. >> two days ago, i saw a vehicle that would haul that tanker. you want to get out of here? you talk to me. >> george miller's movies do an amazing trick of making dystopia look beautiful in a terrifying way. you know, you watch "the road warrior" and thinking, like, i'd love to go there. i think i would die within five minutes.
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>> 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 just play out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock 'n' roll movie. ♪ >> "brazil" is one of these futures that seem all too likely to come to pass. it's a future where things don't work. where the bureaucracy is ossified. it's a future that feels like if things don't get better, we're going to end up there. >> dammit, lorrie, that convoy of personnel carries is still unaccounted for. i told you to deal with it. what the hell is this mess? an empty desk is an efficient desk. >> terry gilliam's visual sensibility is so distinctive, there was an audacity to that
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movie that you rarely see. >> it arouses very strong reactions from people. i think that's what cinema should be about. it's exciting. it's stimulating. it makes us think. i'm quite happy to have a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. >> "blade runner" is based on phillip k. dick's novel, in and of itself, and the essential question of the in and of itself is, what's the difference between humans and nonhumans? is harrison ford a human? can you fall in love with an android? >> she doesn't know. >> she's beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at tyrell. more human than human is our motto. >> the screenplay was excellent. a rare entity because it told not only fascinating and different story, but it was written and described well. you could smell a movie. >> i don't think there's any
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director who can encode content into the visual presence, like ridley can. when you see the street markets, it tells you that in the future, technology runs cross-class. and populations are tremendously mixed. there's abovety. and you just soak it in. >> i was beaten up. why is it raining? why is it at night? that's the way i [ bleep ] want it. >> harrison ford thought his character was a human being and scott was planting clues in the movie that he actually was the replicant with memories of this unicorn he daydreams about.
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>> harrison's in full denial today that he's a replicant. at the end the whole point of leading that unicorn when he walks out, stops, picks it up and he nod, 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" is the perfect sequel because it doesn't just repeat the first film. it takes elements of the first one and builds upon it, but it then makes it into a different genre. >> can't be -- that's inside the room. >> it's reading right. look. >> you're not reading it right! >> 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. so i'm going more military.
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♪ [ screaming ] >> james cameron doesn't get enough credit as a screenwriter, as well. aliens is a template of how to write a great blockbuster. >> my mommy says there's no monsters. why are there no real one, but there are. >> yes, there are, aren't there? >> back in those days women weren't really permitted to be strong. so sigourney really broke the mold in the aliens movies and one of the ways cameron figured out to let her be as tough as she was was because she was protecting newt, her adopted child. [ screaming ] >> there's real skill to building the perfect roller coaster. "aliens" is an example number one of how brilliant action cinema can be. >> get away from her, you bitch! with aisles of ways to refresh and restyle.
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we were attracted to each other at the party. that was obvious. you had your home for the night, that's also obvious. ♪ >> we're to adults.
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♪ >> let's get the check. >> "fatal attraction" was a cautionary tale. the cheating husband and the mistress is a stalker that kills bunnies and boils them, as a matter of fact. glen close is forever tied to this film and she's an incredible actress. >> what am i supposed to do? you change your number. i'm not going to be ignored, dan. >> in the original script, the audience sympathies were split between the male character and the female 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 with test audiences. so they had the good wife kill
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the bad, single woman. [ shot fired ] >> that's hollywood. >> thank you, sir. i'm happy to be working here. >> 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 by here. right, violet? >> it was this 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 was when women were coming into the workforce, but they were still secretaries. they were still the subservient roles and they weren't the boss of the company. >> 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 come
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riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie, and i loved dolly parton in that movie. she's, like -- liquid gold. >> let's just sit down. >> look, i've got a gun out there in my purse and up until now i've been forgiving and forgetting because of the way i was brought up. but i'll tell you one thing, if you ever say one thing about me, or you make one more indecent proposal, i'm going to get that handgun of mine and i'll take you to a rooster in one shot. >> nothing will change unless we change it. >> they string him up, that male chauvinist, sexually inappropriate guy and they make changes to the workplace to be able to share hours and a day-care center. it was an important movie then and it's an important movie now. >> "working girl" looks like a
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fairy tale of a young woman becoming the princess that she secretly dreamed of being in her humble working-class upbringing would not allow her to be, but it's got serious points to make about women in the workplace. >> dress shabbily they notice the dress. dress impeccably, they notice the woman. coco chanel. >> how do i look? >> you look terrific. you might want to re-think the jewelry. >> traditionally, it's the man that's holding you down, but in this instance it turns out it's sigourney weaver. but she's been stealing all of tess' ideas in order to further herself. >> while i was laid up with broken bones, she rifled through my desk and has been passing it off as her idea. >> it was my idea. >> the melanie griffith character shows that once she was given the opportunity to show she was smart enough, she did. >> guess where i am?
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>> it's one of the greatest ending in the world. i'm here in my own office with my feet up because i made it. >> not since the movie "network" has hollywood so brilliantly indicted the business of television like it does in "broadcast news." the perfect modern anchor is played by oscar winner william hurt. so how is it that the star of this movie is neither the anchorman nor the network correspondent, but an actress who many of you will never have seen until now. >> okay, bobby. go back to 9:45:46, the sound byte in the alley. why were you in angola? >> please, bobby! we're pushing! >> it was the first time i had seen on screen a real female because she was flawed, and she was allowed to be human and different and irrascable, difficult, shrill, bossy, possibly bitch. there are a lot of words people use that are pejorative to women that jane craig could
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kind of inhabit. >> what i love is holly's character just tears streaming down her face and her controlling like that and getting it together and going forward. >> i'm really struck by the courage that jim brooks showed in writing a character like that. >> the f-14 is one of the most difficult planes to master. they're called tom cats. >> isn't the f-15 tom cat one of the most difficult machines for a pilot to master? >> to have a film about the high-integrity ideals of what it is to be a journalist and a woman in that business. >> it must be nice to always believe you're no better, to always think you're the smartest person in the room. >> no, it's awful. >> the fact that that movie exists and always will is a gift. >> wait a minute. wait, wait, wait. >> i'm new in town, and i was wondering if you wouldn't mind buying me lunch. >> gregory -- >> george, george, george, it's
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michael dorsey, okay? your favorite client. >> how are you? last time you got me a job, it was a tomato. >> nice -- yeah -- swear to god? >> michael? >> yeah. >> god, i beg you to get some therapy. >> "tootsie" is updating a guy in the dress. you're taking a believable character and putting him in a fantastic situation. and the reason it works is because every single thing in that movie could really happen. we show you at the beginning, he's a great actor and he happens to be a pain in the ass and then to prove to his agent that he can get work he puts on the dress. >> it's almost like a play that's been performed enough so that they knew where the gems were. >> do you find being a woman in the '80s complicated? >> extremely. >> one of the things to do in a comedy is to have a climax and have the story threads come
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together at the same moment. >> i am not emily kimberly, am the daughter of dwayne and alma kimberly. no, i'm not. i'm edward kimberly, the reckless brother of my sister anthony. [ screaming ] >> the climactic scene in tootsie was this incredible moment where the main story plot and then four or five different sub plots all climax and turn on that one action. >> "tootsie" is what people want movies to be and very few filmmakers invest the time and the sweat and the integrity to go all the way which "tootsie" does. >> that is one nutty hospital. (man 2 vo) i'm living longer. (vo) imbruvica is a prescription medicine for adults with cll or chronic lymphocytic leukemia. imbruvica is not chemotherapy- it's the #1 prescribed oral therapy for cll, proven to help people live longer. imbruvica can cause serious side effects, which may lead to death. bleeding problems are common and may increase with blood thinners.
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♪ she's a maniac, a maniac on the floor ♪ ♪ and she's dancing like she's never danced before ♪ >> she was a sexy welder who danced at night, but didn't take her clothes off. >> so, what's a dancer doing working as a welder? >> making a living. >> jennifer beals made that movie. she was everything. she was beautiful. she was strong, and she was sexy. >> it benefited from the beginnings of mtv because you would see videos of the songs of the "flashdance" soundtrack on mtv all the time. ♪ what a feeling ♪ >> that was the thing when the video was the trailer for the movie. and you can tell that the movie was designed with the video in mind. >> let's dance! ♪ >> kenny loggins, "footloose,"
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that was a huge hit. it was all over mtv. you watch the video and you're seeing kenny loggins in that? no. you're seeing lots of scenes of alienated high school kids dancing against the rules. >> i didn't see "footloose" until after i started dating kevin bacon. and then i rented it and i was like i see how people fell in love with him. and how cute was he in the high waisted jeans and the white tank? ♪ ♪ because i had the time of my life ♪ ♪ i never felt this way before ♪ >> they knew who was buying these moves was teenagers and the thing they wanted to do was buy the soundtrack so they can relive it. ♪ purple rain, purple rain ♪ >> "purple rain" hit me really hard. to this day i have yet to see a mainstream film that uses music as an emotion in such an incredible way.
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♪ i want to see you i want to see you ♪ ♪ in the purple rain ♪ >> what do you care about mark ratner for? he's a 16-year-old usher in the movie theater. you have dated older guys. you work at the best food stand in the mall and you're a close, personal friend of mine. >> there was so much reality in the script to "fast times". the way that cameron wrote "fast times at ridgemont high" is that he went back to high school. >> i never graduated traditionally. so the idea was i 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. >> stacy, 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
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short adolescence. they're having sex years before you know they're having sex, and they're all working. 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 rhinehold to phoebe kates and jennifer jason leigh. >> who ordered the double cheese and sausage? >> right here, dude. >> and a cast full of soon to be stars, he gives the performance that everyone walks out of the theater and says oh, my god, sean penn. >> sean penn in particular brought a lot of the vocabulary. if it's written in the script like fiction he turned into awesome, gnarly and all of the other classic words of the '80s. >> why don't you get a job, spicoli? >> what for? >> you need money. >> all i need are some tasty waves, a cool buzz and i'm fine.
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>> a couple things about myself. i'm 19, and been overseas a couple of semesters. i heard kick boxing is the sport of the future. and i'm the champion of the sport and i can see by your face, no. my point is you can relax because your daughter will be safe with me for the next seven to eight hour, sir. >> "say anything" is a romantic comedy for guys. here is the story of being an optimist and how that can sometimes be a revolutionary act. rebellion takes many different forms and sometimes the rebellion takes the form of loving the woman that they say you can't love. and you make you're 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 try to woo diane court back. ♪ all my instincts they return ♪
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>> we had a hard time with the boom box. we tried it a couple of different ways and he had a hard time holding it up so there was one version we did where the boom box was on the car playing it. not as good. we finished the last shot on the last day of "say anything." there was only a little light in the sky left and the light is disappearing and the shot's moving in on cusack, and i see it. 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. >> how's it going? >> how's what going? >> you know, things, life, whatnot. >> life is not whatnot and it's none of your business. >> the john hughes scripts. they just jumped off the page. they were funny. i remember reading "sixteen
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candles" in the back of my parents' car just cracking up. >> his movies were always something to look forward to. you knew that you would be entertained and you knew that you would see some version of yourself or what you wanted yourself to be. >> my father will come home and he'll see what i did. i can't hide this. he'll come home and he'll see what i did and he'll have to deal with me. >> he always got deep and even with "ferris bueller's day off" he got deep into the character and matthew's character was the wise fool. but allen ruck was troubled by this evil father. that was really moving. >> here we are. i want to congratulate you for being on time. >> excuse me, sir? >> i think there's been a mistake. i know it's detention, but i don't think i belong in here. >> "the breakfast club" is the teenage touch stone. it's the film about the tension
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of being a teenager and knowing that people in other cliques don't want to be your friend until you're locked in a room together. >> the first 20 minutes of "the breakfast club" is perfect film make, the way it's structured and the way the characters are introduced. it still is my favorite of the john hughes films just because i think it's so unique and nothing like that had ever been done. >> so on monday, what happens? >> are we still friends, you mean? we're friends now, that is. >> yeah. >> do you want the truth? >> yeah. i want the truth. >> i don't think so. >> the picture was saying to adults with those characters are saying to adults is please listen to my being upset because someone doesn't like me or i can't -- i don't have any friends or whatever. it looks relatively insignificant to you, but it's really hurting me.
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>> it was so powerful because people were talking about shit that they never talked about. kids were not talking about dark stuff in school and with their peers. ♪ don't you forget about me ♪ >> there weren't a lot of movies that spoke to teenagers, and it's just really surprising because who doesn't want to see this incredible period of time in a person's life where they're just changing so rapidly. and to see something that you relate to, i think that's really why the john hughes films are still so important. i just remember thinking how does this grown-up know everything about all of us? it was like he looked inside of all of us.
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♪ ♪ just take those old records off the shelf ♪ "risky business" really was everybody's intro to tom cruise. of course, it wasn't just the underwear and the dancing, but that certainly helped. >> are you ready for me? >> "risky business" really surprises people. they think it's a teen sex comedy because it literally is about a guy that opens a brothel
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in his parent's house, but it's an incredibly dark film about capitalism and about selling out. >> for someone with that limited a resume, to be able to walk in and actually make the complexity of the movie work, his all-american boyness with his dark side of impulses and you look at that performance and you think that guy will be a huge star. ♪ highway to the danger zone ♪ >> what people don't realize about "top gun" and we think about it this rah, rah, jingoistic movie, and it was about a man wrestling with his dad's legacy and feeling phony around all of these military that he's trying to impress. it's really a movie about masculine performance. tom cruz's decision post "top gun" really tells you who he was and who he wanted to be. >> some piece of work. >> you also have natural character.
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>> i've been telling her that. i have natural character. >> that's not what i said, kid. i said you are a natural character. you are an incredible flake. >> tom cruise, had the old and the new. this was the sequel to "the hustler". >> paul newman's character, he's a hustler. he's always going to hustle. what if he takes this young kid under his wing and corrupts him? and then he gets hustled? >> i showed you all i got. what the hell else do you want? that's it. that's all! >> tom cruise is terrific. newman finally gets an oscar for it. >> tom cruise has a very specific agenda in his career, to spend the '80s working with the best directors he can find and so he's going to work with scorcese and barry levinson. >> i'm not going to go back to cincinnati. you don't have to go to cincinnati to pick up boxer shorts. >> what did i say? >> kmart. you hear me, i know you hear me. >> you don't fool me with this
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shit for a second. >> too tight. >> did you [ bleep ] hear what i said? shut up! >> movie stars often need to prove over and over again they can act. i think he really proved to the world he can act and then some. >> i like having you for my big brother. >> yeah. ♪ >> let me see some i.d. all right. you're under arrest. >> the 1980s introduces us to the character of john rambo. one of the iconic cinematic heroes of that era. what people tend to forget was he was introduced in a way that was much more in line with '70s filmmaking. if you look at first "first blood" it is a very dark movie about how we let our veterans down and about how we do not know what to do with them when they get back.
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and we make killers and we turn them loose into america and that's a pretty heavy movie and even for a sylvester stallone it plays that realistically and the second film threw that out the window, page 1. >> sir? do we get to win this time? >> this time it's up to you. >> there was a desire to move past the perceived failures of the late '60s and the '70s. you can't re-write history, but at least we can go back and we can bring back these p.o.w.s. we can send back this representative of american might. >> i must break you. >> stallone had become so devoted to having the perfectly chiselled, ultra muscled upper body, at the same time that arnold schwarzenegger who, of course, had been a bodybuilder suddenly became an unlikely action star in the '80s, too. >> i don't know if prior to 1980 anyone would have had a firm visual image of what their favorite actor would have looked
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like with their shirt off. can you close your eyes and imagine jimmy stewart or montgomery cliff or even john wayne with their shirt off? >> it would be ridiculous for me to play outside of it and it would be crazy for dustin hoffman to try to be commando or to be conan or the terminator or to be rambo. it doesn't work, you know? people only accept you for certain things. >> there were a lot of ideas of returning to traditional notions of masculinity after the sensitive '70s. but these thing goes in cycles. and i think that by the late '80s we were ready for an action hero that was a little more sensitive. >> do you think you have a chance against us, mr. cowboy? >> yippie ka-yay [ bleep ]. >> "die hard" is as perfect in its own way as "casablanca." it is an action move where the action is great. it is a heist movie where the heist makes sense. you have john mclean who is not a superhero and a regular new
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york cop, but he's not only out of his element and he's out of his shoes. >> that's a great thing to do in an action movie, include something that everybody can sympathize with. >> i don't know what it's like to throw a chair or explosives down an elevator shaft, but i accidently trot on glass and it hurt. >> you watch him and you go, i see myself. this person who is flawed, but can overcome it which is a narrative that we all have about ourselves. if push came to shove i would show up. >> alan rickman's performance as hans grueber is one of the key movie performances of the '80s because of the idea that the villain could be intellectual. it wasn't a beefy villain who beat up our hero, but it was a guy who our hero had to outthink. >> a lot of action stars think it's cool it show no fear. to me, that's not a courageous person, that's a stupid person. the courageous person is the one
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who has fear and goes through it anyway. >> john, what the [ bleep ] are you doing? >> it isn't the size of the fireball. it's how much you care about the person running from the fireball. three times the electorlytes and half the sugar. ♪ pedialyte powder packs. feel better fast. we're getting destroyed out there. we need a plan! i have a plan... right now at t-mobile customers on magenta max can get the new iphone 13 and t-mobile will pay for it! upgrade to the iphone 13 on us.
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if i go to sleep right now, i can get more.... four hours. that's not good. what is time? time. time is just a construct. construct. construction. there is a crack. oh god are you kidding me?! oh god... hi, aren't you tired of this? -yes! good days start with good nights. seems like a good time to find out about both. why are you talking like that? is this an ad? are we in an ad?
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ten years ago i would have
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been a millionaire by this time. by this time i would have had my own boat, my own car, my own golf course. >> one thing the '80s was about was gangster capitalism and tony montana captures that desire for respect, for money, for influence, for power. >> oliver stone came into the '80s as a well-respected and well-paid screenwriter. this was the guy who had written "scarface" and who had a very alpha male voice and was making these sweaty, morally complicated films. >> you want to play rough? okay! say hello to my little friend! [ gunshot ] >> i thought it was excessive and cartoony until i started spending time in miami. after that it was a model of restraint.
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>> it really was a decade that was fueled by how much money can i make and how can i display it best? >> the point is, ladies and gentlemen, that greed, for lack of a better word, is good. greed is right. greed works. >> "wall street" is a movie about more than just gordon gecko. it's about a father and a son with different world views playing different roles in an ever-changing economy. >> he's using you, kid. he's got your prick in his back pocket, and you're too blind to see it. >> no. what i see is a jealous old machinist who can't stand the fact his son has been more successful than he was. >> you never had the guts to go out into the world and stake your own claim! >> it's the connection between wall street and main street. main street is martin sheen.
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main street are those people who will be affected by the decisions made by wall street. >> oliver stone is a guy saying the purpose of film, the purpose of cinema is to make political commentary about our society and he made some very compelling films in the process. >> what happened today is just the beginning. we're going to lose this war. >> come on. you really think so? us? >> we've been kicking other people's asses for so long i figure it's time we got ours kicked. >> "platoon" had this intensity and so much of that charlie sheen character oliver stone said was him, a patriotic kid who wanted to do his part and really had his eyes opened to the horror and i think it maintains that gut punch. >> i hope people go to see what the war was really like. that's the statement and once you see it, you have to think about it for yourself. think about what you think about
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war, and think about what it really is as opposed to the fantasy comic book stuff of "top gun." >> the attitude of the '70s had been to take out some of the scorn that the american public felt for the foreign establishment as it completely screwed up vietnam on the men returning home. >> i want my leg. can you understand that? i want to be treated like a human being. i fought for my country. i'm a vietnam veteran. >> there was an atonement for that in the '80s. there was a second wave of pictures that attempted to honor the service that these men had performed for their country. >> my father was -- a -- that the word? yeah? civilized? >> very good word. >> yeah? >> my father was a civilized man
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living in an uncivilized time. the civilized, they were the first to die. >> "sophie's choice" is, i think, the quintessential holocaust drama because it doesn't ever explicitly touch on the details of the horror. it's more about the dramatic implications of it. >> i'm going to tell you something now i have never told anybody. >> i never worked with anyone who was that confident, who trusted her instincts so thoroughly. >> she learned polish and german just for the film. she lost weight. that encompasses why meryl is so special. she manages to get to the heart of every single person she's playing. >> and the winner is marvelous meryl streep. [ applause ] >> you can ask meryl to do anything. she can make anything work.
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>> someone spiked my urine sample container. >> who? >> how do i know who? anybody could have done it! >> can you stay? >> for a day or so. >> for meryl, i can see she worked from a very deep place. and what she was really focused on was the truth of her character to where she had to get the language, the sound and her voice perfect. and she was adamant and she was relentless in that pursuit. >> people marry and it's not revolutionary. there's animals that mate for life. you use them for your and you don't let me use them for mine. >> the nominees for the performance of an actress in a leading role, meryl streep "out of africa." >> "a cry in the dark," meryl streep. >> she ended up transcending the job of an actor.
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she leapt into another area of becoming. she wasn't playing a woman with an australian accent. she was an australian mom. >> you're talking about my baby daughter not some object. >> most movie stars are not the greatest actors and most great actors don't become great movie stars, but meryl streep is both. >> what does that mean to you, movie star? >> oh, it means, katherine hepburn, bette davis, greta garbo. it doesn't mean me. three times the electorlytes and half the sugar. ♪ pedialyte powder packs. feel better fast. with quality that's guaranteed for life, bath fitter doesn't just fit your bath, it fits your high standards. why have over two million people welcomed bath fitter into their homes? it just fits. call now or visit bathfitter.com
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if you boys just turn on right around and head on back down that way and you let us head out where the real fighting is. >> young men are dying down that road. >> and it wouldn't be nothing but reds dying if they let the 54th in it. >> people had no idea that there were black soldiers fighting for the union in the civil war. >> you men move on. >> stripes on a [ expletive ] is like tits on a bull. >> you're looking at a higher
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rank, corporal and you'll obey and you'll like it. >> "glory" stars matthew broderick, but the movie belongs to denzel washington as a former slave who is now going to fight. he run away because he needs shoes. they do what they have to do. they whip him. >> proceed. >> he sits there and he takes his beating like a man. he does not scream. he does not flinch, but there's a moment when a single tear comes down his face and that's the moment when denzel wins the oscar. >> the idea of american legacy and what it really is is brought home to people when they see that. >> in the '80s, you had some big, sweeping, stunning epics that at the time were seen as the epotheosis of the movie form.
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these are substantial movies by great film makers. you have "the last emperor" and you have "ragtime," and there was "gandhi" which came out in 1982. >> we must defy the british. >> a lot of people were rooting for "e.t. the extraterrestrial" to win best picture, but fantasy and sci-fi don't usually win oscars. what wins oscars is epic. ♪ >> "amadeus" is a meditational genius. >> i know you work well, senor. do you know i actually composed some variations on a melody of yours. >> really? which one? >> mio caro adonne. >> i'm flattered. >> a funny, little tune. but it yielded good things. >> the protagonist is not mozart and he is actually deficient. he's not a great artist. he doesn't have great inspiration. he's jealous of mozart who does. >> shouldn't it be a bit more -- or this?
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♪ this. ♪ yes. ♪ >> the most intelligent and rational individual in the movie is the jealous figure who isn't particularly talented and the least rational and mature figure in the movie is the genius. >> when i saw "amadeus" there was humor to it and there was a liveliness to it and there was a nastiness to it, and tom holtz is so fantastic in that film. >> do you have it? >> not so fast. >> do you have it? >> one thing the '80s does for us, is it gives us some really remarkable filmmakers. you see, talent is there immediately. these directors are going to go on to have long careers and in some cases they're making small movies, but they get their start in the '80s. >> why don't you let me tape you? >> doing what? >> talking. >> about what? >> about sex. your sexual history, sexual
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preferences. >> stephen sodderberg's "sex, lies and videotape" is a coming-out party for one of the most prodigiously talented filmmakers ever. >> why are you doing this to yourself? are you going to answer me? >> no, please, don't do that? >> why not? >> why not? i just want to ask you a few questions. why do you tape women talking about sex, huh? >> that was a great example of something that was totally brand-new and it was very, very low budget and i felt it was so special. and it was a point of view that we just hadn't seen before. >> to deal openly with voyeurism and sexual dysfunction on screen screen was stunning to people and it was a trendsetter then and it's a movie that mattered a lot. ♪ >> his first film was "blood simple," which was a cross between a slasher film and a
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film noir. >> lover boy ought to lock the door. >> they knew that would be a great calling card. people would pay attention if they had enough scares. >> they make intensely cool and creative films. it always kind of feels a little bit like they've adapted a book that no one has ever heard of. >> every shot has been thought every note of music. the dialogue. and it's shocking. all of the time this shocks in the movies and visceral shocks and the moments of great humor. >> turn to the right. ♪ >> what's the matter, ed? ♪ >> my fiance left me. >> they had just finished writing "raising arizona" and they asked me to read it and i thought it was amazing. amazing. so funny. >> "raising arizona," as far as i'm concerned is the masterpiece.
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the idea of taking that 100-mile-per-hour preston surges dialogue and putting it with rednecks in arizona. >> you busted out of jail. >> no, ma'am, we were released on our own recognizance. >> we felt the institution no longer had anything to offer us. >> it was one of those films where you go oh, i didn't know you were allowed to do that. >> i will take these huggies and whatever cash you got. >> just the fact that this film is hurdling along with banjos and yodeling. i still don't have the courage to have a soundtrack with banjos and yodeling. and that was their second film. >> there's these people that come along and they have the same equipment and the same playing field and to take that and to make something fully aesthetically that is completely different than anything else you had seen is, like, a big deal. that's a triumph. ♪
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>> comedy in the '80s, my favorite niche subject is tim burton. ♪ >> i was never scared by any horror movie ever because i always liked them too much. do you know what i mean? i mean, things that scared me were going to school or seeing my relatives. >> i love tim burton because he's the best thing you can be as a director. he's completely unique. you start noticing the black and white stripes on things and just the vibe and you're, like, we've got something here with this guy. >> we did "beetlejuice" and his idea was that the living people were the scary and the dead people were the banal. >> they come from comedy and ifts i was lucky to work with people. it is a whole different energy when people are there and maybe some things but then it goes off
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and you start getting into it. he was great at that. he was like a pressure cooker. >> you like it? >> "bee"beetlejuice" is really gu under guarded. >> i can't figure out the algorithm behind it. >> but it works. ep your numb er. visit your local t-mobile store today.
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adopting you was the best decision in our life. and i am so proud to call you my son.
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what is going on here? had america gone mad for the movies? >> some of them buying bad shirts and hats and anything. the movie had not even opened. what's new with tim burton's movie, ""bat-man." i finished the movie and i saw the poster out on the street. it freaks me out. some of that imagery was horror
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than comic books. i like that about it. the light and the dark. it was my favorite of all characters because of those reasons. >> visually it is timeless. he consciously does not let you know where this is. it seems like the 40s and all of a sudden there is a car from the '70s. >> the idea of a comic book being made into a film, that's taken over the movie business. >> they could have predicted some of the big money bigger, "bat-man." who would have guessed a film about racism would be a national hit. >> what? >> into the '80s there were a
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push to have more diversity on screen. diversity on screen does not mean diversity behind the camera. you didn't have a lot of black film makers who were getting a chance to make films so you need spike lee at that point. >> kneel down. >> the right thing is one of the most important films in the history of cinema certainly as it pertains to the representation of race. >> it was like a cultural hand grenade. someone sets it off and you could not believer things were being said. they were not said in that way. >> what's your favorite basketball player? >> magic johnson. >> who's your favorite singer? >> prince. >> all you talk about is
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negative and this and that. >> it is such a time capsule. at the same time it is theme universal. everyone is interacting and it is funny. >> move back to massachusetts. >> i was born in brooklyn. >> it is creative, it is cultural and social and political and it has this edge to it. it has this provocation as part of its core. >> get his arms. >> it is enough, man. >> towards the end of the film, a young black man is murdered, do i retaliate or kickoff this riot and he wrestles with it for a split second. spike lee said, black people didn't ask him if mookie does
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the right thing. >> mookie represents black rage. this is where we are. not enough people credit the maturity of what he did in terms of posing a question that he then did not answer. a lot of people like to make films and button it up and making sure you feel a certain way about a certain thing and spike has always been determined to ask you a question, it force you to confrontation with your own feelings. >> '80s was an incubator for new voices and visionaries and new ideas. >> seize the day. >> cinema to me has always been an escape from whatever my life was at the time. >> what i really love in cinema is just to go and be swept away. it is a different world.
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>> there is something really special about being in a movie, you can sit in the back and feel everybody enjoying it. there is something really great about that. >> hey! >> this is why we love movies. we get to see portraits of people and how they deal with whatever the struggle is to be a human being. >> snap out of it. >> good period for american movies. there were comedies that had to do with real life were not over the top. there were dramas that took on tough subjects. there were jgenres had not been explored in that way. there were moreover load on us. the aesthetics gravitated the bigger and faster and louder. >> the only medium where you can present both stories and
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spectacles. only movies can do that. only movies can present the truth of human drama and transport you to a place that can't be seen in real life . welcome to our viewers in the united states and all around the world, appreciate your company, i am michael holmes, coming up here, the u.k. government alleging a plot by putin to install a puppet in ukraine. we are live in kiev with the latest. a police officer shot and killed in new york while responding to an incident. the latest shooting of america as gun violence continues to skyrocket. new data of a seriou

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