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tv   The Movies  CNN  July 14, 2019 8:00pm-9:00pm PDT

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20 years. >> you want answers. >> i think we're entitled. >> i want the truth. >> you can't handle the truth. ♪ ♪ ♪
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♪ ♪ >> robinson, apparently tired, punched fairly well and rocked jake right to his heels. >> come on, ray. >> a director and actor finds a story at the right time in the
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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 flash bulbs going off. when he designed the movie, marty, he purposefully didn't put 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. it's 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.
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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, as i say, those places. [ applause ] >> 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. and then you had ordinary people which was the movie that defeated "raging bull" for best picture in 1980. this incredibly precise and very emotional study of a family in deep crisis.
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>> calvin, give me the camera. >> i didn't get it yet. >> dad, give her the camera. >> i want a really good picture of the two of you. >> 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 god damn camera. >> "ordinary people" centers on people who cannot get in touch with their feelings and who avoid the darker underpinnings. 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 so expose that has not been exposed before and she wanted that chance. and so she was given that chance. and she did a great job. >> kelvin? >> in that moment where mary tyler moore comes downstairs and she asks her husband what's wrong.
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>> 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, particularly watergate and vietnam, we healed, but as the public pronouncement is we're
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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 cooper because you're going to see something you never saw before, and he did that in, think about it, every genre. he's going to make a horror movie, it's going to be the horror movie done in a way that you would not expect. >> to me "the shining" isn't about horror, it's about dread.
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from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. >> he creates a pacing where it overtakes the way you're breathing and you're existing and you're in there. in all films, he controls you. >> steady cam work in "the shining" broke new ground. the steady cam 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. >> was betting $40 million on its new movie "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. the director's whose "deer hunter" film was a great success got a free hand. his producer said he was out of control. the result a three and a half-hour bomb. >> "heaven's gate" is a stake
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through the heart in hollywood. it's the cautionary tale that's all about to say, no, no, the studio's going to step in here and this is 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 another level -- "star wars" was huge but "empire strikes back" was phenomenal. these established characters, you saw them intermix in a way 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 that as this is the
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good act because in classical dramatic philosophy, you set the thing up in the first act, in the second act your heros 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! >> 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. ♪ (vo) morning, noon, night;
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then i left my business to combat climate change, fix our democracy, and hold president trump accountable. last year, we ran the largest youth voter mobilization in history - helping double turnout and win back the house. i'm tom steyer and i approve this message. let's make change happen! alice loves the smell of gain so much, she wished it came in a fabric softener too. [throat clears] say hello to your fairy godmother, alice. oh and look they got gain scent beads and dryer sheets too! yeah. you got your yeah?ork? hey, give me a kiss. [ kisses ] announcer: what's the role of a car company? go! announcer: to take your kids to and from school? mari... yes? what are you doing? don't forget your science project. announcer: we think it can be something bigger. announcer: this summer, during our drive bigger event, announcer: volkswagen is supporting america's teachers.
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according to america's biggest test. now with 5g evolution. the first step to 5g. more for your thing. that's our thing. four of the biggest money-making films of recent times have come from two young 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 idea about this sort of marauding archeologist adventurer with the hat and the
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whip and i committed to the movie based on one line 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. in the beginning of an 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 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
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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 indi maybe going to get beaten to death by this enormous nazi, but also, the whole thing might blow up. >> you wonder why your blood gets up when you watch them. it's craftsmanship and art. ♪ >> everybody in this town is talking about steven spielberg's latest film, "et." 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. >> "et" has become the movie industry's biggest money maker ever. >> i had this story i was going to write about how the divorce
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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. >> i just want to say good-bye. >> all the kids had fallen in love with et, and i like to think that et 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
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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. it used to scare the hell out of me. so what happens in "poltergeist?" the tree comes in the window and grabs the kid. i made stories about kids opposite one final adventure, "the goonies" going on an adventure to save their parents' homes, gremlins tearing up the town. just loving stories that were bizarre. >> everybody has dreams or thoughts, fantasies of going back in time somewhere. and he put it together for the modern age. >> you're 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
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a hit as it was when it came out, but the bigger mystery is that it endured for decades. >> saturday night 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? >> you're beginning to sound just like my mother. >> the only thing that was weird 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. >> 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
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piano duel. at the same time penguins are serving drinks. and if you look at the making 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 bliss category that movie should fall into because that'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
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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 movie-making with physical special effects. "who framed roger rabbit" is the most complicated movie ever made. >> don't tell me you lost your sense of humor already. >> does this answer your question? [farmers bell] (driver) relax, it's just a bug. that's not a bug, that's not a bug! (burke) hit and drone. seen it, covered it. at farmers, we know a thing or two because we've seen a thing or two. ♪ we are farmers. bum-pa-dum, bum-bum-bum-bum ♪ booking.com offers free so bookers can book now... and ask their boss later. [do you want breakfast or no?] free cancellations!
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even the 1980s is often viewed as sort of an up beat era, there was still this sort of underlying fear that could all collapse at some point. you see that playing out in this post apocalyptic sub genre of action films. >> you want to get out of here? you talk to me. >> george miller's movies did an amazing trick of making dystopia
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look beautiful in a terrifying way. you watch "the road warrior" and think i'd love to go there, and i think i'd die within five minutes. >> it's this story of one man who regains his humanity when he loses everything. but then there's the film making, to see those stunts played out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock and roll movie. >> it's a future where things don't work, it's a future that feels like if things don't get better we're going to end up there. >> dammit, lorrie, the personnel carries is still unaccounted for. i told you to deal with it.
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what the hell is this mess? an empty desk is an efficient desk. >> terry gilliam's visibility sensibility is so distinctive, there was an audacity to that movie that you rarely see. >> it arouses a strong reaction 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 cade dix novel, in and of itself, and the essential question of the novel 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
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tyrell. >> you could smell a movie. >> i don't think there's any director who can encode content into the visual presence so that when you see the street markets, it tells you that in the future technology runs cross class, that populations are mixed, there's overcrowding, there's poverty. he's projecting so much content into those images and you just soak it in. >> why is it raining? why do you want it to be at night? so i said because that's the way i bleep ple[ bleep ] want it. >> he was planting clues in the movie where he actually was the repliccant of like this unicorn
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he day dreams about. >> at the end the whole point of leaving that unicorn on the floor he walks out, picks it up and he nods. that nod is in a sense this is correct, somebody knows about my most private dream which is about a unicorn, duh. >> james comron's aliens, it makes it into a different genre. >> that's inside the room. >> well, you're not reading it right. >> 5 meters man, 4. what the the hell? >> jim is a real innovator and real artist. he said, you know, it's hard to do two he said because you've
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shown him the alien, so i'm going more military. >> you feel like james cameron doesn't get enough screen credit as a writer as well. >> my mommy says there's no monsters, no real ones but there are. >> yes, there are, dear. >> back in those days women weren't really permitted to be strong so she broke the mold. she was protecting newt, her adopted child. >> there's real skill to building the perfect roller coaster. "aliens" is an example number
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>> let's get the check. >> "fatal attraction" was like a cautionary tale. the cheating husband and the mitress turns out to be insane and stalker who murders bunnies and boils them as a matter of fact. >> glen's closest legacy is forever tied to this film, and she's an incredible actress. >> what am i supposed to do? you won't answer my calls. i'm not going to be ignored, dan. >> in the script the audience sympathies were more evenly balance between the male character and 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
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test audiences and so they had the good wife kill the bad, single woman. that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcome addition and a damn pretty one, too, i might add. >> thank you, sir. >> i mean that. you should see some of the crones coming through here. >> "9 to 5" was this movie before the me too movement. this idea of women coming together like, yes, my life has been ruined by egotistical bigoted men who are trying to hold me back. >> this is when women were going into the work force but they were still secretaries, they were still in subserveiant roles. they weren't the boss of the company. >> it's all right. i'll get it. >> what about you?
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what's your fancy for doing him in? >> me? well, i think i'd like to just come riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie and i loved dolly parton in that movie. she's like liquid gold. >> let's sit down. >> look, i got a gun out there in my purse. and up to now i've been forgiving and forgetting the way i was brought up. but you make another indecent proposal i'm going to get that gun of mine and change you from a rooster to a ham in one shot. >> they in turn realized nothing is going to change unless we change it. >> they string them up, that male chauvinist sexually inappropriate guy. it was an important then and an important movie now. >> like it does in broadcast news, the perfect modern anchor is played by oscar winner
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william hurt, so how is it that the star of this movie is neither the anchor man nor a network correspondent but an actress many of you would never have seen until now. >> the sound bite in the alley, it starts. 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 irascible, difficult, shrill, bossy, possibly bitch. there's a lot of words that people use that are pejorative to women that jane craig could inhabit. >> i love poly's character tears streaming down her face and controlling it. >> i'm really struck by the
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courage that brooks showed in writing a character like that. >> it must be nice to always know you're the smartest person in the room. >> it's awful. >> the fact that movie exists and always will is a gift. >> gregory, this -- it's michael dorsey, okay, my client. >> it's kind of an updating of a guy in a dress. you're take agbelievable character and putting him in a fantastic situation and yet the reason it works is because every
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single thing in that movie could really happen. we show you at the beginning. he's a great actor, he happens to be a pain in the ass. and then to prove to his agent he can get work, he puts on a play. >> it's almost like it's been performed enough so that they knew where the gems were. >> being a woman in the '80s is complicated. >> extremely. >> one of things to do in a movie is have a comedy climax and have all your threads come together in a single moment. >> the daughter of duane and -- kimberley. >> i'm edward kimberley, the reckless brother of my sister auntie. >> the climactic scene is this incredible moment where the main story pot and subplots all climax in turn on that one
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action. >> "tootsie" is what people want movies to be, and very few film makers invest the time and the sweat and integrity to go all the way which "tootsie" does. this is something big. this is something bigger. that is big. not as big as that. big. bigger. big. bigger.
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one of the really great films of the '830s is "the verdict." paul newman plays a washed up lawyer who say an alcoholic kind of ambulance chaser. what makes it uniquely lamet is 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, and 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 lamet's painting.
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>> i never should have taken it. there's no way i could win. >> 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. >> to see that scene where he's calling the insurance company to rekindle the deal that he turned down. >> okay. no, no, i understand. >> it's really one of the greatest pieces of acting i've ever seen in my life, that phone call. no cuts. i mean lamet just goes, okay, here we go. >> so how's your life? >> oh, great. how's yours? >> not so great. >> oh, we're telling the truth. >> these kids in college together in the late '60s and are no longer anti-establishment but actually are part of the establishment, trying to reconcile that history with their present. >> movies are being made for adults. >> i had wanted to make a movie
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about something i was observing among my friends. >> when it first came out i thought this will be for this generation, the children of the '60s, this will be very relevant and then i would meet kids in high school ten years after the movie came out saying i love that movie. it's about friendship. it's also about growing up. there's something in its essence that is timeless and universal. >> i think if this is your attitude you shouldn't bother showing up at my wedding. >> that's right. i think you're right. the hypocrisy was bother me too.
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>> "charms of endearment" directed and adapted by james l. brooks, it made you cry, made you laugh. it was the stuff of life. shirley mclain plays aroara, gets involved with an astronaut played by jack nicholson. 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 dramedy. it's a word we hear all the time. >> all she has to do is hold on.
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>> 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. >> how do you change? i hope so for your sake because that's something to be desired, namely a personality. >> in the '80s which theoretically should have been passed as prime, men think wait a minute there's also zellic and there's purple rose of cairo.
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>> it's got some humor in it and it's got some sapphire 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. >> you didn't. >> i gave up plans and opportunities. >> crimes and misdemeanors is two parallel stories, one of which is very traditional woody allen and me relationship joke fest, and the other one which is a serious examination of literal life and death themes. >> a guy is having an affair and she's threatening to tell his wife and threatening to disrupt his world. so he has a hit man kill her. >> realized i had a woman killed and i thought i was going to go to hell and then with woody,
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he's constantly getting shit on my life and he's doing the right thing. >> you look very deep in >> his writing is very strong for that reason. it always feels like he was thinking about some philosophical truth about human write a movie about that. t to >> 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 she got a lot of help from reiner writing the neurotic main character. that's because he was based on reiner. >> every scene has to be good.
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you work and work and work rewriting the 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? she said, well, that's something i would be interested in. >> you don't think that i could tell the difference? no. get out of here. >> in the deli scene, when we first did it, meg rightfully was a little nervous about it. you've got crew members, you've got extras, people standing around. >> rob says here's what i want. he proceeds to have an orgasm that mighty joe young would be jealous of. yes! oh, god!
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i'm pounding the table. >> yes! yes! yes! >> and i realize, because my mother is sitting there, i'm having an orgasm in front of my mother. >> i'll have what she's having. alice loves the smell of gain so much, she wished it came in a fabric softener too. [throat clears] say hello to your fairy godmother, alice. oh and look they got gain scent beads and dryer sheets too! lrouge signature sunsets matte lip stain eight new, warm shades. less texture, more colors. more paris. all-day matte. bare-lip sensation. rouge signature sunset. by l'oréal paris. we're worth it. (vo) imagine a visibly healthin 28 days. purina one. natural ingredients in powerful combinations. for radiant coats, sparkling eyes. purina one. one visibly healthy pet. try new digestive health with probiotics for dogs. (driver) relax, it's just a bug. that's not a bug, that's not a bug!
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play it cool and escape heartburn fast with new tums chewy bites cooling sensation. ♪ tum tum tum tums this ability to entertain and reach audiences more than one way with the same movie, i think that "saving private ryan" is a great example of that. because it's exciting, it's thrilling, it's suspenseful. it also is a reminder of the price of that kind of warfare,
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what do you care about mark ratner for? he's a 16-year-old usher in the movie theater.
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you have dated older guys. you work at the best food stand in the mall and you are a close personal friend of mine. >> there was so much reality in the script of "fast times." the way cameron wrote "fast times at ridgemont high" is he went back to high school. >> i never graduated traditionally. so the idea was that could go back and have the senior year that i didn't have and write about what it is to be a high school student. i learned so much. the pop culture establishment, they don't know what's happening with kids right now. >> stacey, what are you waiting for? you're 15 years old. >> i did it when i was 13. >> it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you know they're having sex. and they're all working. 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?
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>> there are so many incredible people in the movie, a lot of careers get launched. judge rein hold to phoebe kates to jennifer jason leigh. >> who ordered the double cheese and sausage? >> here it is. >> a cast of stars where everyone walks out and says oh my god, sean penn. >> sean penn brought a lot of the vocabulary. if it's written in the script like "bitchin," he turned into awesome, gnarly, all the classic words of the '80s. >> why don't you get a job? >> what for? >> you need money. >> all i need are some tasty waves, a cool buzz, and i'm fine. >> i think of myself at 19 and overseas a couple semesters, and now i'm back.
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kick boxing? i can see by your face no. my point is relax, your daughter will be safe with me for the next seven to eight hours, sir. >> "say anything" is a romantic comedy for guys. here's a story about how 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 they say you can't love. and you make your life's goal her. >> watch out for that glass. >> thanks. >> if moments make movies as they say for "say anything" it's the moment when lloyd holds the boom box and plays peter gabriel to try to woo diane court back. ♪ all my instincts, they return ♪ >> we had a hard time with the boom box. we tried it a couple different ways. he had a hard time holding it up. there was one version where it was on the car playing it. not as good. we finished the last shot of the
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last day of "say anything." there's only a little light in the sky left. the light is disappearing. 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. ♪ i am complete >> we got lucky. it's dark and we're wearing sunglasses. >> hit it. >> the '80s was an incubator for new voices, new visionaries, new ideas. >> it was like the cultural hand grenade. someone set it off. >> you're looking at a higher rank, corporal. you'll obey and you'll like it. >> people had no idea there were black soldiers fighting for the union. >> i just remember thinking, how does this grown-up know everything about all of us?
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>> i must break you. >> say hello to my little friend. ♪ ♪

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