The Movies

>>> WITH "GLADIATOR" THE PRODUCER SAID LISTEN, LOOK AT

THIS FIRST BEFORE YOU EVEN READ ANYTHING.

AND HE SHOWED ME THIS PAINTING. IT WAS THE CORNER OF CLEARLY A

COLISEUM. YOU HAVE PART ARMORED, STANDING

OVER A SLAVE WHO’S ABOUT TO GET KILLED.

HE’S LOOKING UP FOR PERMISSION AT A GUY WHO’S CLEARLY NEHRO

WHO’S DOING THAT. IN OTHER WORDS, KILL HIM.

I SAID, I’LL DO IT. HE WENT, YOU HAVEN’T READ THE

SCRIPT. I SAID I DON’T CARE.

I THINK WE CAN GET THIS RIGHT. LET’S DO IT.

>> WHAT IS IT GOING TO TAKE? ARE YOU NOT ENTERTAINED?

IS THIS NOT WHY YOU ARE HERE? >> AND LISTENED TO HALF A DOZEN

VOCALS WITH RIDLEY ABOUT RUSSELL.

I THOUGHT HE WAS REALLY A RAW TALENT WHO WAS, I THINK, JUST

DISCOVERING THE POWER HE HAD. >> SLAVE!

REMOVE YOUR HELMET AND TELL ME YOUR NAME.

>> HE’S MARVELOUS. >> RUSSELL’S BIG.

THAT HEART IN HIS VOICE. >> MY NAME IS MAXIMUS

DESIMUSBERIDIOUS. LOYAL SERVANT TO THE TRUE

EMPEROR MARCUS OHRYIOUS. FATHER TO A MURDERED SON.

HUSBAND TO A MURDERED WIFE, AND I WILL HAVE MY VENGEANCE IN THIS

LIFE OR THE NEXT. >> HE’S A CHARACTER ACTOR, AND

THAT’S, THAT’S WHAT HE LOVES IS TO, IS TO FULLY CREATE A

CHARACTER. >> OLD, WORTHLESS, DISCARDED.

>> AND WHILE YOU ROT THE WORLD WILL BURN TO ASHES.

>> YOU’RE NOT REAL! YOU ARE NOT REAL.

>> YOU’RE STILL TALKING TO ME, SOLDIER!

>> NO. LISTEN ‐‐

>> HE FINDS HIMSELF WITHIN THOSE CHARACTERS AND HE EMBODIES THEM

IN WAYS THAT JUST MAKE YOU LOSE YOURSELF IN THAT WORLD.

SO HE’S REALLY HELPING THE DIRECTOR TO CREATE AND TRANSPORT

BEYOND HIS OWN STATUS AND PRESENCE.

>> TWO THINGS THAT AGGRAVATE ME. BEING IGNORED AND BEING LIED TO.

>> I NEVER LIED. >> YOU TOLD ME THINGS WOULD BE

FINE. THEY’RE NOT.

I TRUSTED YOU. >> SORRY ABOUT THAT.

>> I DON’T NEED PITY. I NEED A PAYCHECK AND I’VE

LOOKED, BUT WHEN YOU SPEND THE PAST SIX YEARS RAISING BABIES

IT’S REAL HARD TO GET SOMEONE TO PAID YOU.

AM I TALKING TO FAST FOR YOU? >> AND JULIA ROBERTS PLAYING A

CHARACTER ABOUT GATHERING UP CLASS ACTION LAWSUITS AGAINST

POISONING WATER IN A COMMUNITY AND LYING ABOUT IT.

>> YOU GOT TO PROMISE ME WE’RE GOING TO GET THEM.

>> TO GET TO BE IN THE ORBIT OF STEVEN SODERBERGH AND JUST

FEELING LIKE YOU HAD FOUND YOUR PERSON, LIKE, WE JUST CAME

TOGETHER AT THE RIGHT TIME WITH THE RIGHT MATERIAL, AND ONE OF

HIS GREAT TALENTS IS CASTING PEOPLE.

AARON ECKHART AND ALBERT FINNEY. >> YOU’RE ERRATIC.

YOU SAY EVERY GODDAMN THING THAT COMES IN YOUR HEAD MAKE IT

PERSONAL AND IT ISN’T. >> NOT PERSONAL.

THAT IS MY WORK! MY SWEAT, MY TIME AWAY FROM MY

KIDS. IT THAT’S NOT PERSONAL I DON’T

KNOW WHAT IT ‐‐ >> A PERFORMANCE, SUPERB

PERFORMANCE, YOU GOT ALL OF JULIA ROBERTS IN THIS FILM.

>> AND THE OSCAR GOES TO ‐‐ JULIA ROBERTS.

>> THE OSCAR WHAT DOES IT MEAN?

I DON’T KNOW. DO WE WANT THEM?

OF COURSE WE DO. IT’S THIS GREAT PIECE OF

RECOGNITION THAT WILL STAND THE TEST OF TIME, AND IT’S A REALLY

SPECIAL MOMENT. >> AH!

I LOVE IT UP HERE! >> STEVEN SODERBERGH AND GEORGE

CLOONEY SENT ME THE SCRIPT FOR "OCEAN’S 11" THAT CAME WAY 20

DOLLAR BILL AND SAID, WE HEAR YOU GET 20 A PICTURE.

SO THEY WERE PAYING ME IN ADVANCE.

>> YOU’RE NOT WEARING YOUR RING.

>> I SOLD IT. I DON’T HAVE A HUSBAND OR DIDN’T

YOU GET THE PAPERS? >> MY LAST ‐‐

>> I TOLD YOU I’D WRITE. >> GEORGE CLOONEY IS THE ONE

THAT CONVINCED HIS FRIENDS TO BE HIS FELLOW CAST MEMBERS, AND IT

WAS JUST FUN. THERE’S SOMETHING VERY SPECIAL

ABOUT SEEING THIS KIND OF STAR POWER, THIS CHARISMA ON‐SCREEN.

>> WHAT DID YOU GUYS GET? A GROUP RATE OR SOMETHING?

>> STARS BECOME FOR A WHILE THE MOST DEPENDABLE ELEMENT IN

MOVIES, WHICH IS WHY THEIR SALARIES GO UP AND ALSO CHANGES

THE WHOLE CONTEXT OF MOVIES, BECAUSE THE POWER BALANCE IN

MOVIES CHANGES. >> COME ON.

I’M GOOD. >> IT CHANGES FROM AN INDUSTRY

THAT AT FIRST WAS STUDIO DRIVEN AND THEN WAS DIRECTOR DRIVEN TO

AN INDUSTRY THAT IS STAR DRIVEN. >> I HAVE ‐‐

>> BY CHANGING THE BALANCE IS CHANGES THE KIND OF MOVIES WE

GET. ONES THAT ULTIMATELY CENTRALIZE

THE STAR.

>> "TRAINING DAY." SHOW YOU AROUND.

YOU GET A TASTE OF THE BUSINESS. 38 CASES PENDING TRIAL.

250 ON THE LOG I CAN’T CLEAR. SUPERVISE I’VE OFFICERS.

FIVE PROBLEMS, YOU CAN BE NUMBER SIX IF YOU ACT RIGHT.

>> "TRAINING DAY" IS A SMALL FILM WITHOUT DENZEL’S PRESENCE.

THE ENERGY HE BRINGS TO TA ALONZO CHARACTER MAKES HIM

REALLY HARD TO TAKE YOUR EYES OFF OF.

>> 49, 998. SHOTS FIRED.

OFFICER DOWN. REPEAT, OFFICER DOWN.

5951 BAXTER STREET. >> CONGRATULATIONS, SON.

YOU’RE GOING TO GET A MEDAL OF VALOR FOR THIS I. DIDN’T SHOOT

IT. >> THE COP SAID YOU DID, BUT I

DIDN’T. YOU DID.

>> EVERY SCENE THERE FROM THE FIRST DAY WAS THE REASON WHY I

WANT TO MAKE MOVIES. I WAS JUST SO INTO WATCHING

THESE TWO GUYS’ PERFORMANCE I FORGOT TO YELL CUT SOMETIMES AND

THEY WOULD JUST KEEP GOING. >> PLAY THE PLAYER.

I’M YOU’RES SHOOT ME. >> DON’T DO IT.

DON’T DO TMPLTS NOW YOU ‐‐ YOU T HAVE IT IN YOU.

>> DENZEL GOT IN A FIGHT, PUT THE CIGARETTE DOWN.

THE SCENE WAS OVER. I SAW IT IN HIS EYES.

THE LENS, A LONG LENS. I COULD SEE SOMETHING HAPPENING.

HE WAS JUST ON FIRE, MAN. >> I’M THE MAN UP IN THIS PIECE!

YOU AIN’T NEVER SEE THE LIGHT IF YOU DON’T THINK IT’S

‐‐ I RUN SHIT HERE! YOU JUST LIVE HERE!

YEAH. NATS RIGHT.

YOU BETTER WALK AWAY. GO ON.

WALK AWE WAY, BECAUSE I’M GOING TO BURN THIS MOTHER

DOWN! KING KONG AIN’T GOT SHIT ON ME!

>> DENZEL IS A GIFT TO US. WATCHING HIM IN THE MOVIE, ONE

OF MY JOYS. >> FROM THE BOTTOM OF MY HEART I

THANK YOU ALL. 40 YEARS I’VE BEEN CHASING

SYDNEY FINALLY GIVE IT TO ME. WHAT THEY DO?

GIVE IT TO HIM THE SAME NIGHT. >> THE 2002 ACADEMY AWARDS IS

IMPORTANT, BECAUSE YOU HAVE DENZEL WASHINGTON WINNING BEST

ACTOR, HALLE BERRY WINNING FOR "MONSTER’S BALL" AND ALSO SIDNEY

POITIER GET AK LIFETIME ACHIEVEMENT AWARD.

>> AND THE FIRST 73 YEARS OF HISTORY OF THE OSCARS ONLY ONE

AFRICAN‐AMERICAN HAD EVER BEEN NAMED BEST ACTOR OR ACTRESS AND

NOW AFTER LAST NIGHT THE NUMBER IS THREE.

>> IT WAS JUST A GREAT MOMENT

FOR BLACK ACTORS, FOR BLACK CINEMA, AND THE STRUGGLE.

>>> LOOK AT THIS. AN ENTIRE GENERATION OF

CINDERELLAS AND THERE’S NO SLIPPER.

>> GIVE YOU A HEART? >> ALL I HAD TO DO IS LISTEN.

THAT’S WHAT BUDSTS YOU. >> I REALLY LOVED PLAYING ELAINE

MILLER IN "ALMOST FAMOUS." BASICALLY IT WAS A LOVE LETTER

TO HIS MOTHER. >> DON’T TAKE DRUGS.

>> DON’T TAKE DRUGS! >> IT’S ABOUT MY CHILDHOOD

GROWING UP IN FAMILY WHERE ROCK ’N’ ROLL WAS DEEPLY SUSPECT.

>> HE WAS THRUST AS A YOUNG BOY INTO THIS WORLD OF ROCK STARS

AND GROUPIES ON THE ROAD. >> LADIES AND GENTLEMEN!

>> SEEING THE FREEDOM AND THE HEARTBREAK THAT COMES ALONG WITH

THAT FREEDOM WAS REALLY EXQUISITE.

>> THERE WERE TWO SCENES. PENNY LANE DANCING TO THE WIND,

CAT STEVENS SONG. ON THE FLOOR OF THE EMPTY ARENA.

THAT FELT LIKE THE SOUL OF THE MOVIE.

ALSO, THE SCENE WHERE THEY’RE ON THE BUS SINGING "TINY DANCER" AS

A WAY OF KIND OF BRINGING THE BAND BACK TOGETHER.

>> WHAT I LOVE ABOUT CAMERON IS THAT HE IS A DEEPLY DEVOTED FAN

OF FILM, AND THE BEST OF HIS FILMS ARE BECAUSE OF THE WAY HE

STUDIED THEM AND THE LOVE THAT HE HAS FOR THE CRAFT.

AND I THINK "ALMOST FAMOUS" IS HIS BEST EXAMPLE OF THAT.

>> AWESOME. AWESOME MOVIE.

EVERYTHING ABOUT THAT MOVIE’S PERFECT.

CAME OUT NOBODY WANTED TO MAYBE MUSICALS.

IT WAS SUCH A TRAILBLAZER AS FAR AS HOW MUSICALS WERE SHOT.

AND ALSO THE TYPE OF MUSIC THAT WAS USED IN IT.

>> EVERY SONG IN "MOULIN ROUGE," IT WASN’T LIKE I GOT MY FAVORITE

COLLECTION TOGETHER AND WENT HERE’S A CATALOG OF SONGS.

>> THE MUSICAL NUMBERS ARE, IN FACT, PARTICULARLY DIFFICULT

CRAFT OF NOT BEING A POEM, WHICH IS WHAT MOST POP MUSIC IS, BUT

ACTUALLY THE MILLENNIUM, TELLING STORIES.

OF CHALLENGE IN THE RHYTHM OF IT.

WE HAD TO KIND OF SMASH THE DOOR IN OR REALLY GET IN YOUR FACE

>> WE HAD TO SAY, ARE YOU GOING TO ACCEPT THE CONTRACT AND COME

>> MUSICALS ARE CYCLICAL LIKE MANY OTHER GENRES AND I THINK

"MOULIN ROUGE" OPENED UP THE POSSIBILITY FOR MUSICAL CINEMA

AGAIN. >> ENEMY!

OPENED ON BROADWAY IN THE ’70s PEOPLE THOUGHT BOB FOSSE’S

VISION OF THE WORLD WAS TOO DARK AND CYNICAL BUT BY THE DAWN OF

THE 21st CENTURY HE WAS RIGHT ON IT.

>> LET’S GO. >> CHICAGO WAS THOUGHT TO BE

FUN, FILMABLE. PEOPLE HAD BEEN TRYING TO MAKE

AN ADAPTATION FOR YEARS AND WHAT ROB MARSHALL WAS ABLE TO DO TO

MAKE THE MUSICAL NUMBERS IN ROXY’S MIND, THE IDEA SHE WAS A

CHARACTER THAT WAS ENVISIONING MUSICAL NUMBERS WAS BRILLIANT.

TIME IS ALWAYS RIGHT FOR A GREAT MUSICAL.

WHEN YOU SEE THINGS LIKE THAT WORKING IN THE MARKETPLACE ‐‐

THEM. IT CERTAINLY EMBOLDENS

FILMMAKERS TO COME ALONG WITH THEIR OWN MUSICAL IDEAS

>> ANIMATION TOOK A REAL PIVOT AT A CERTAIN POINT.

>> PROVE IT. WHERE ARE THE OTHERS?

>> EAT ME. >> FILMMAKERS FIGURED OUT YOU

CAN BROADEN THE AUDIENCE FROM 3 TO 80.

NO ONE’S LEFT OUT. >> I’M TELLING YOU, BIG DAETD,

YOU’RE GOING TO BE SEEING THIS FACE ON TV A LOT MORE OFTEN.

>> REALLY? LIKE ON THE MOST WANTED?

>> HA, HA. YOU’VE BEEN JEALOUS OF MY GOOD

LOOKS SINCE THE FOURTH GRADE, PAL.

>> HAVE A GOOD DAY, SWEETIE. >> YOU TOO, HON.

>> I’M THE DUDE THAT PUT OUT "TOY STORY."