The Movies

ROBINSON APPARENTLY TIRED. COME ON.

A DIRECTOR, AN ACTOR, FIND A STORY AT THE RIGHT TIME IN THE

RIGHT PLACE. OUT COMES THIS AMAZING

COMBINATION OF CINEMATIC 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 SLOW MOTION AND ALL OF THE BLACK AND WHITE GORE AND THE

FLASHBULBS. WHEN HE DESIGNED THE MOVIE, HE

DIDN’T PUT A CLUTCH ON THE FILM. THERE’S NO CLUTCH.

GOING DOWN, MAN. YOU NEVER GOT ME DOWN.

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 AT WAR WITH HIMSELF.

HARDER. HARDER.

I DIDN’T UNDERSTAND BOXING. THE CHARACTER WAS INTERESTING.

HE WAS SO CONTRAIR. BOB DE NIRO, HE IS NOT AFRAID

OF THE NEGATIVE CHARACTERS, AFRAID TO GO TO THOSE PLACES.

I WAS DOWN TO 152. THEN I WENT UP TO 212.

I GAINED 60 POUNDS. IT’S NOT EASY.

FIRST 15 POUNDS, IT’S 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 FILM MAKING RULES.

HAD YOU 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.

GIVE ME THE CAMERA. I DIDN’T GET IT YET.

GIVE HER THE CAMERA. I WANT A REALLY GOOD PICTURE

OF THE TWO OF YOU. I WANT TO GET A SHOT OF THE

THREE OF YOU MEN. GIVE ME THE CAMERA.

NOT UNTIL I GET A PICTURE OF THE TWO OF YOU.

HANG ON A SECOND. GIVE HER THE GOD DAMN CAMERA.

IT 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 COULD SEE YOU PLAYING THIS. SHE WAS DROWN TO IT.

THAT TOLD ME THAT THERE IS SOME PART OF HERSELF SHE WAS WILLING

TO EXPOSE THAT HAD BEEN NOT EXPOSED BEFORE.

SHE WANTED THAT CHANCE. SO SHE WAS GIVEN THAT CHANCE.

SO DID A GREAT JOB. THAT MOMENT WHERE SHE COMES

DOWNSTAIRS AND ASKS HER HUSBAND WHAT’S WRONG.

I DON’T KNOW IF I LOVE YOU ANYMORE.

SHE GOES UPSTAIRS AND SHE’S - - 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 SHE CAN’T ARTICULATE.

SHE’S SO TAKEN BACK, SHE CAN’T ADJUST.

SHE CAN’T TAKE IT IN. THAT’S WHAT THAT MOMENT WAS

ABOUT. YOU LOOK AT SOME OF THESE

FILMS OF THE 1980s, LIKE "ORDINARY PEOPLE."

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.

THE IDEA WAS THAT AFTER ALL SORTS OF TRAUMA, PARTICULARLY

WATERGATE AND VIETNAM, WE HEALED.

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, OPENING A MOVIE

ON THE SAME DAY, WHICH MOVIE WOULD YOU SEE FIRST?

FOR ME IT WOULD BE STANLEY KUBRICK BECAUSE YOU ARE GOING TO

SEE SOMETHING YOU NEVER SAW BEFORE.

HE DID THAT IN - - THINK ABOUT IT - - EVERY GENRE.

HE WILL MAKE A HORROR MOVIE, IT’S THE HORROR MOVIE DONE IN A

WAY THAT YOU WOULD NOT EXPECT. TO ME "THE SHINING" IS ABOUT

DREAD. FROM THE VERY FIRST FRAME,

SOMETHING GRABS YOUR SOLAR PLEXUS AND PULLS ON IT.

NOBODY USES SILENCE LIKE STANLEY KUBRICK.

MA. IT WAS AS IF I HAD BEEN IN

THE HOTEL FOR 2 1/2 HOURS. HE CREATES A PACING WHERE IT

OVERTAKES THE WAY YOU ARE BREATHING AND THE WAY YOU ARE

EXISTING AND YOU ARE IN THERE. IN ALL KUBRICK FILMS, HE

CONTROLS YOU. KUBRICK STEADY CAM WORK IN "THE

SHINING" BROKE NEW GROUND. IT GAVE STANLEY A CHANCE TO PUT

US IN A SCENE THAT DIDN’T HAVE ANY TIME CONSTRAINTS.

YOU GET SO HYPNOTIZED BEING BEHIND THE TRICYCLE.

YOU ARE BEHIND IT. WHICH LEADS TO ONE OF THE

SCARIEST SHOTS IN THE MOVIE. HELLO, DANNY.

HELLO, DANNY. COME AND PLAY WITH US.

FANTASTIC. UNITED ARTIST WAS BETTING $40

MILLION ON ITS NEW MOVIE "HEFSHNESS" HEFSH

"HEAVENS GATE." IT HAS BEEN YANKED FROM AMERICAN

THEATERS AFTER ONE DAY. TOOK ALMOST A YEAR TO

COMPLETE. THE DIRECTOR, GOT A FREE HAND.

HIS PRODUCER SAID HE WAS OUT OF CONTROL.

THE RESULT, A 3 1/2 HOURS BOMB. IT’S A STAKE THROUGH THE

HEART. IT’S THE TALE OF THE STUDIO WILL

STEP IN. THAT’S HOW YOU GET THE MOVIES OF

THE 1980s. YOU KNEW WHERE YOU WERE WHEN

YOU SAW "THE EMPIRE STRIKES BACK."

IT WAS THE MOVIE THAT TOOK THE WHOLE THING TO ANOTHER LEVEL.

"STAR WARS" WAS HUGE. BUT "EMPIRE STRIKES BACK" WAS

PHENOMENAL PHENOMENAL.

THESE CHARACTERS, INTERMIX.

THIS IS A BUDDING ROMANCE BETWEEN SOLO AND PRINCESS LEIA.

I LOVE YOU. I KNOW.

LUKE IS TRANSITIONING INTO BECOMING A JEDI KNIGHT.

THIS IS THE GOOD ACT. 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

UNRESOLVEABLE UNRESOLVABLE.

THEY ARE PUT IN ENORMOUS JEOPARDY.

YOU DON’T KNOW HOW IT’S GOING TO WORK OUT.

THAT IS THE MOST INTERESTING PART OF THE STORY TO TELL.

HE NEVER TOLD YOU WHAT HAPPENED TO YOUR FATHER.

HE TOLD ME ENOUGH. HE TOLD ME YOU KILLED HIM.

WHEN WE STARTED WORK, IT WAS ME AND GEORGE IN THE OFFICE.

GEORGE SAYS TO ME, YOU KNOW, DARTH VADER IS LUKE’S FATHER.

I AM YOUR FATHER. NO SHIT.

IT WAS ABOUT FATHERS AND SONS, ABOUT GOOD AND EVIL PERSONIFIED.

IT IS YOUR DESTINY. THAT MADE THE SAGA BETTER

INSTANTLY.

FOUR OF THE BIGGEST MONEY MAKING FILMS OF RECENT TIMES

HAVE COME FROM TWO YOUNG, GIFTED FILMMAKERS, GEORGE LUKAS AND

STEEB STEVEN SPIELBERG.

IT WAS INEVITABLE THEY WOULD JOIN TALENT.

THEY HAVE IN AN ADVENTURE FILM TO BE RELEASED THIS WEEK.

CALLED "RAIDERS OF THE LOST ARK."

HE TOLD ME THIS STORY OF THIS ARCHAEOLOGIST WITH THE HAT AND

WHIP. I COMMITTED TO THE MOVIE BASED

ON A STORY GEORGE TOLD ME. THEN LARRY GEORGE AND I SAT

AROUND AND BASICALLY MADE UP THE STORY FROM BEGINNING TO END.

THERE’S A LINE THAT MEANS A LOT TO ME.

BURIED IN THE MIDDLE OF A BIG ACTION SEQUENCE.

THEY HAVE LOST CONTROL OF THE ARK.

INDY SAYS, I WILL GET IT BACK. 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 MAKE IT UP AS WE GO. INDIANA JONES IS VERY GOOD AT

THAT. WE CAME UP WITH AN IDEA, LIKE

A TRUCK CHASE. THEN WE FIGURED, HOW DO WE GET

THE TRUCK CHASE IN THE MOVIE? WE HAD THESE BIG SUBJECTS.

THEN WE REVERSE ENGINEERED IN ORDER FOR IT TO EARN ITS PLACE

IN THE STORY. SPIELBERG IS A MASTER OF

STAGING. WHEN THEY MOVE FAST AND CUT

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. THE AUDIENCE IS AWARE THAT NOT

ONLY IS INDY MAYBE GOING TO GET BEATEN TO DEATH BY THIS ENORMOUS

NAZI, BUT 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 "E. T.."

THERE WERE THOUSANDS OF PEOPLE IN THE STREET WAITING TO GET IN.

THE WAIT IS HOURS LONG IN CHICAGO.

DAYS LONG IN LOS ANGELES. "E. T." IS THE BIGGEST MONEY

MAKER EVER. I HAD THE STORY I WAS GOING

TO WRITE ABOUT HOW THE DIVORCE BETWEEN MY MOM AND DAD AFFECTED

ME AND MY THREE SISTERS. I COMBINED THAT WITH ONE ABOUT

AN ALIEN WHO IS DIVORCED FROM HIS OWN SPECIES.

IS LOST THREE 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?

THAT’S THE SECRET SAUCE TO THAT MOVIE.

I JUST WANT TO SAY GOOD-BYE. ALL THE KIDS HAVE FALLEN IN

LOVE WITH E.T. THE TEARS WERE REAL.

BE GOOD. YES.

STEVEN SPIELBERG MOVIES, THEY ARE BLOCKBUSTERS BUT THEY ARE

PERSONAL STORIES. THEY ARE SMALL STORIES TOLD

AGAINST A GIANT CANVAS. THEY’RE HERE.

I REALLY FELT I WAS SPEAKING TO MYSELF.

LOVING ESCAPISM. "POLTERGEIST

"POLTERGEIST" WAS ABOUT THINGS THAT SCARED ME.

I HAD A TREE THAT SCARED ME. WHAT HAPPENS?

A TREE GRABS THE KID. WHEN I MADE STORIES ABOUT

KIDDING ON ONE FINAL ADVENTURE AND DISCOVERS THE RICHES TO SAVE

THEIR PARENTS’ HOMES. STORIES ABOUT GREMLINS.

LOVING STORIES THAT WERE BIZARRE.

EVERYBODY HAS DREAM ORPHAN TA FANTASIES OF GOING BACK IN TIME.

IT WAS PUT TOGETHER FOR THE MODERN AGE.

YOU BUILT A TIME MACHINE OUT OF A CAR?

IF YOU ARE GOING TO BUILD A TIME MACHINE, WHY NOT DO IT WITH

IT WAS A MYSTERY IT WAS AS

BIG A HIT AS IT WAS WHEN IT CAME OUT.

WHAT THE REAL MYSTERY IS IS THAT IT ENDURED FOR DECADES.

WE’RE SENDING YOU BACK TO THE FUTURE.

SIMPLE IDEA. WHAT WOULD IT BE LIKE TO SEE

YOUR PARENTS WHEN THEY WERE YOUNGER IS SOMETHING THAT

OBVIOUSLY IS MULTI-GENERATIONAL. YOU SMOKE, TOO?

YOU ARE BEGINNING TO SOUND LIKE MY MOTHER.

THE ONLY THING WEIRD ABOUT THE STORY, IT’S GOING BACK IN

TIME AND MEETING A MOTHER AND SHE FALLS IN LOVE WITH A SON SHE

DOESN’T HAVE YET. THAT’S A BIG BRUISE YOU HAVE

THERE. THEY PULLED IT OFF.

I WAS EXHAUSTED AT THE END. THEN, HE MAKES "WHO FRAMED ROGER

RABBIT." YOU ARE UNDER ARREST.

THERE’S A SCENE WHERE DONALD DUCKY AND DAFFY ARE HAVING A

PIANO DUEL. PENGUINS ARE SERVING DRINKS.

IT’S COMPLETE AND TOTAL CHAOS. REAL ACTORS PRETENDING TO BE

DRINKING. TRAYS MOVING AROUND ON THESE

IRON RODS. THAT IS IGNORANCE IS BLISS

CATEGORY THAT THAT MOVIE SHOULD FALL INTO.

IT’S A MOVIE THAT NO SANE PERSON WOULD ATTEMPT TO MAKE.

I LOVE PLAYING VILLAGEEAINVIL FOR THE FIRST FILM THAT CAME

OUT, THERE ARE DARK MOMENTS THAT SCARE THE HELL OUT OF ME.

IT’S PAYBACK. REMEMBER ME?

I KILLED YOUR BROTHER. I GOT SOME MOMENTS IN THERE