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two torpedos in our side, chief. >> and then he settled down and let three actors go to it with just quiet dialogue. >> this will end down in 12 minutes. didn't see the first shot for about half an hour. >> it was this camaraderie amongst these characters that elevated what the movie was. >> so 1,100 men went in the water. 316 men come out. the sharks took the rest, june the 29th, 1945. >> "jaws" is a frigging masterpiece. >> "jaws" was the first real gigantic blockbuster. heavily advertised, opened on a billion screens at the same time. it became a cultural milestone immediately. it changed everything. >> it was even more in my dna to
make "close encounters" than "jaws." i was always into ufos as a kid and looking up at the sky wondering when one was going to land in my front yard. it still hasn't happened, by the way. >> i must think about that film at least once a day. maybe it's remembered or thought of as a science fiction film. ♪ >> but the thing that i respond to the most is the domestic drama. the kids in that family and their response to their father becoming unhinged. >> well, i guess you've noticed something a little strange with dad. >> when he becomes so obsessed he starts to create a grand canyon between his family and himself. >> while the movie has this is wondrous optimism about what is
in the heavens, it also has this is really sophisticated darkness about what it is to have touched that word. and how once you've tasted or seen something no one else would believe, there is no going back. >> it's this gigantic special effects laden personal film. there's no one else that could have made that movie but spielberg. >> i remember as a kid watching "close encounters" and thinking i'd go. how would you not go? can't see what it is yet.re? what is that? that's a blazer? that's a chevy blazer? aww, this is dope. this thing is beautiful. i love the lights. oh man, it's got a mean face on it. it looks like a piece of candy. look at the interior. this is nice. this is my sexy mom car. i would feel like a cool dad.
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most of the big people in the industry look at you as a maverick at best, a troublemaker at worst. you'll agree to that. >> yeah. >> unpredictable, self-indulgent bob altman. >> yeah, and i think it scares them a little bit that they feel they may not have control. >> i'll call the police. >> robert altman's movies were almost anti-movie or anti-story. they're not these two-hour perfect bang. i think he as an artist just knew inherently that that was bullshit. >> robert had an unbelievable run in the '70s. he had he "mash," "california split," "the long good-bye,"
"nashville" and "mccabe and mrs. miller." in every movie he wants to the capture a sense of spontaneity and simultaneous at that why i the sense of really being there. >> when you first see mccabe and mrs. miller, you can smell that film. >> just the steam and the piss and the cooking and all of the different things that were going on in this town. it's such a beautiful film. the absolute heart break in all of it. >> well, i guess if a man's fool enough to get with a woman, she ain't going to think much of him. >> i think people underestimate the amount of empathy he had as a filmmaker. he loved people. if they were flawed, if they were terrible, if they were wonderful. he celebrated real humanity. >> killing anybody this week. >> he's overlapping voices, he's letting the camera drift around. he may not be on the person even talking. >> aren't there any rock and roll stations in nashville? >> these were unprecedented things. >> elliott, it's gold. >> there's been ensemble movies and then there's "nashville" which sits firmly at the top.
>> i was talking about the christy minstrels just this morning and now we are have julie christie here. >> "nashville" is a political movie. it deals with a political campaign, in both the sense that this country is both divided and deluded. >> you all take it easy now. it's nashville. >> he was taking boundaries of film making at that point and pushing, pushing good, you know. >> i love the work of hal ashby. he was a real iconoclast, crazy stoned all the time but a brilliant filmmaker. >> harold, please. >> i knew that hal ashby would understand the somewhat weirdities that were present in "harold and maude." >> what are you doing when you aren't visiting funerals? >> ruth gordon and bud played an 80-year-old woman and an 18-year-old suicidal young man. >> life.
>> it was a love story with the two oddest possible people. ♪ there's is a million things to do ♪ >> he learns how to live with the idea that we all will die at some point and we don't know when and it's so beautiful, i can hardly talk about it without choking up. ♪ i can see >> that soundtrack mattered a lot to this movie. it was this marriage of weirdness, darkness, death, comedy, sex and cat stevens was just sort of a magical thing, you know? ♪ so shine, shine, shine >> hal ashby is really interested in the eccentric and the outsider and the misunderstood. i think in all his films, you could see threads of that. >> what about me? >> what about you? you're different. >> i am? >> you're great. >> for me, the best of ashby's work is "shampoo" which told a political story and a romantic story and a sexual story.
>> warren beatty plays a fabulous beverly hills hairdresser and warren beatty, you know, super handsome dude. he's at the peak of his super handsomeness. yes, he's getting laid, but he's also not connecting. it captures a kind of spiritual malaise. >> in the context of this political thing going on with nixon. >> he did care about all the women that he was banging. yet, he couldn't stop banging them all. >> i mean i'm on my feet all day listening to women talk and all that's on their minds is how some guy [ bleep ] them over. that's all that's on their minds. that's all i ever hear about. >> it was sad and funny and sexy and moving and real. >> "being there" is a satiric comedy with peter sellers giving a great performance as a mysterious man whose only experience with life comes from watching television and tending his garden.
>> on television, mr. president, you look much smaller. >> because of this simpleton that sellers played, it was a way to show the folly of society. >> you don't play games with words. >> it was another side of peter sellers from those pink panther films. you got to see him not doing a lot, and by not doing a lot he projected so much. >> it's the ashby elixir, he's able to tell a gentle story that resonates hugely and he lets you add it up. >> if you're an artist you're not really interested in success, per se. >> john cassavetes was oh, just everything. actor, writer, director, producer, maverick. > i love you. i love you. >> are you kidding? >> what i find so special about cassavetes is his exploration of
relationships, his passion for the human condition and how we interact with one another. >> come over here. >> cassavetes crafted this company of actors that always worked together so you could see the support that it gave his filmmaking. he worked with peter faulk, ben gazzara, he was married to jenna rowlands. i don't think you would have cassavetes without jenna rowlands. >> jenna rowlands has an incredible presence. it seemed like wherever she was, she just took over a room in this very dignified way but wasn't afraid to have fun. >> i got a great idea. when you get home from school, we're going to have a party. >> "a woman under the influence" is about a man and a woman in a loving marriage that's beset by the woman's personality. >> think there's something wrong with me or something?
think i'm wacko or something? >> she has this energy about her but you slowly see it unraveling. it's kind of devastating. but, wow, what a performance. >> it was really refreshing to see a movie that put a woman directly at the center. >> god bless you. thank you for everything. >> this was right at the beginning of the women's movement, and i found this script for alice. the studio said who do you want to direct it? >> francis coppola told ellen there's this is kid who made this film "mean streets." you should talk to the studio about hiring him. >> i asked to meet marty and i said i want to tell this story from a woman's point of view. i can't tell from watching this film if you know anything about women. do you? he said, no, but i'd like to learn. >> i was trying to deal with it just as a person. and i had ellen as a guide. >> boy. you really need someone to talk
to, don't you? >> "alice doesn't live here anymore," it was a revelation for me because there had been no films about single moms. >> how long do you think we'll have to stay in this hellhole? >> she's not only got all this heart but she's funny and she's strong. >> would you mind that turn around for me? >> turn around for you? why? >> i want to look at you. >> well, look at my face. i don't sing with my ass. >> i felt like that was one of the early films i saw that took the veil off of it and said people are messy and complicated and you can still love them. >> god, waitress. >> '70s cinema had an interest in reality and so you started to have actresses who had a completely believable quality to them like jill clayburgh. >> "an unmarried woman" was a movie that happened in the zeitgeist at exactly the right moment. >> she a good lay? >> her husband leaves her for a younger woman, and the whole movie is the aftermath of that.
>> she had this kind of strength and femininity and vulnerability and she's dimensional. >> i just want to see how it feels to make love to someone that i'm not in love with. >> how does it feel? >> sort of empty. >> in the '70s, there weren't too many female directors. let alone female writer/director/actors, so elaine may is one of the great triple threats of the 20th century. >> in the '50s and early '60s, elaine may and mike nichols were a big comedy team. >> mike nichols went on to direct "the graduate" and elaine may was a screenwriter, and she was tired of directors changing her work so she decided she should direct her own film. >> she's perfect.
>> "a new leaf" made you feel like you could tell a great funny story and it didn't feel like, oh, this is just girl's stuff. ♪ >> with "the heartbreak kid," elaine may ushered in what i like to call uncomfortable comedy which is now the norm. >> you going to see us in 50 years? >> the premise is charles grodin, jewish guy marries jeannie berlin who happens to be elaine may's daughter. >> that's my stool. >> and then he meets kelly who is cybil shepherd and wants to have an affair with her during his honeymoon. >> i've been waiting for a girl like you all my life. >> charles grodin just breaks your heart because you just want to punch him and you just want to shake him and make him wake up. >> if i may, sir, in other words, what you're saying is that if i want kelly, i'm going to have to put up a hell of a fight that is. is that --
>> he's a nut. >> my father used to be yelling at me like you can't make movies. where is there any woman that's made a movie and i finally was able to say uh, that one. we call it the mother standard of care. it's something we take personally, and believe in passionately. it's the idea that if our mothers were diagnosed with cancer, how would we want them to be treated? that's exactly how we care for you. with answers and actions. to hear your concerns, quiet your fears, lift your spirits. with teams of cancer experts and specialists, delivering advanced treatment options
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♪ bye-bye >> only the 1970s can give you a musical set in 1930s germany when naziism is on the rise and not soft pedal any of it. >> it's a musical in as much as it has musical numbers but it's really not a musical at all because all the music takes place within the context of this sort of sleazy club. >> it's the subtle changes that we see where the swastikas start popping up in the audience and the content from the stage starts taking a turn toward the darker and more anti-semitic. ♪ >> you know what's coming. all the music, all the culture, all the coolness, every kind of sexuality, all of this is going to go away. ♪
>> and then that song "of tomorrow belongs to me," first it's just this young sweet voice voiced voice singing and then very slowly but surely we see that oh, no, these are nazis singing. ♪ >> that's what "cabaret" is about, how something like this can can happen. >> you still think you can control them? >> that year bob fosse was nominated against coppola for the "godfather" and he won. >> bob fosse for "cabaret." >> he characteristically pessimist and cynic, this and some of the other nice things that have happened to me in the last couple days may turn me into some sort of hopeful optimist and ruin my whole life. >> the general premise of bob
fosse's "all that jazz" is a man who is working himself to death. >> it's showtime, folks. ♪ they say the neon lights are bright on broadway ♪ >> here was this incredibly complicated character who was so talented and so charming and the way the movie was constructed put you so inside the feeling of him. >> nothing i ever do is good enough. >> it's autobiographical but his kind of manic drive for perfection that can never be achieved. ♪ we tried to warn you somehow >> you didn't listen, daddy. you didn't listen. >> he had a heart attack. >> i had a heart attack and open heart surgery and i became very interested in death and hospital behavior and the meaning of life and death and those kinds of subjects. >> hey. ♪ death is in ♪ death is in
>> that's really his love story in the movie is with death. >> "rocky horror picture show" was initially a flop. >> hello. >> fox released it. people didn't get it. they didn't know what to make of it. ♪ >> it's about a couple lost on a highway and it just gets so weird. ♪ why don't you stay for the night and maybe a bite ♪ ♪ i could show you my favorite >> "rocky horror picture show" was a tradition that played only at midnight and it was like some cabaret, vaudeville participatory experience. >> how many times have you seen it? >> about 56. >> around 100. >> this is my 301st time.
>> that was one of the rights of passage to adulthood the first time your parents would say yeah, you can go out and see a midnight movie and yeah, it's okay if it's "the rocky horror picture show." >> "saturday night fever" was the me of to capture the whole disco phenomenon in a way that was exhilarating. ♪ burn, baby, burn > in "saturday night fever," the music was essential to the story but wasn't part of the performance of the characters in the story. ♪ don't know why i'm surviving every lonely day ♪ >> that was a complete shift in how musicals were adapted. john travolta is not singing and dancing. he's just dancing and the music is part of the narrative. >> let's go. >> right on. ♪ >> you didn't have to be a disco fan to be caught up in the "saturday night fever"" bee gees moment. >> tony, the character in the film, is finished with high school. he's working full-time at a paint store and he has to decide what he wants to do with his life. >> watch the hair. you know, i work on my hair a
long time and you hit it. >> his only release, his only claim to fame in the local area and also to his own personality is being the best disco dancer in that town. >> you see, "saturday night fever" is a terrific film actually and it has a lot of psychological drama in it. >> i did it. >> come back. come back in. come on. >> in "saturday night fever", john travolta's character is telling an extremely dark and gritty story. in "grease," he's not. ♪ grease lightning >> i love "grease," the musical. it shows you a high school that i didn't go to, but the songs are timeless. ♪ boy and girl meet but uh-oh those summer nights ♪ >> olivia newton-john was amazing in that role. ♪ tell me more, tell me more >> you really believe that she feels i want to break out of my shell. >> then in order to win over the guy, she has to become a slut.
she looks pretty good. >> tell me about it, stud. >> it's problematic looking back at it now in terms of the ultimate message that it sends. ♪ you better shape up >> become who this man wants you to be and you'll be happy but you'll do it in song at a carnival so it's okay. ♪ ♪ we'll always be together and they're flying off. what? why are they flying? ♪ >> it doesn't make any sense. it doesn't matter. at the alzheimer's association walk to end alzheimer's, we carry flowers that signify why we want to end the disease. and we walk so that one day, there will be a white flower for alzheimer's first survivor. join the fight at alz.org/walk.
>> he was one of the most underappreciated actors in america because he was so handsome. >> his artistry as an actor is unparalleled. he had this expertise and confidence that made him even more good looking, if you ask me. >> come on, it will be fun. we can all be disgusting and decadent and eat eggs benedict and vote republican. >> even though he was the golden boy, he was actually inside a much, much different person. he care about politics deeply. he cared about the environment deeply. >> and in the '70s stars started to take advantage of the power they had to follow their own inclinations. >> marvin wants me to go into politics. >> in "the candidate" which he made with the director michael richie his character gets talked into running for senator. >> this country cannot house its houseless. feed it's foodless.
>> i think it felt important at that time because i could see the country shifting. suddenly we were beginning to elect people by how they looked rather than what they really stood for. >> now declared young bill mackay the winner. >> i win, but what have i really won? >> marvin, what do we do now? >> we never discussed what i would do if i won. now what am i going to do? that's how i wanted to end the film. >> "the conversation" came out in 1974 in the shadow of watergate. >> pay attention. >> as it turns out what we call paranoid politics was actually really happening. there were people conspireing to control events. so you start to see movies that reflect that. >> independence day is very meaningful to me because sometimes i've been called too independent for my own good.
>> "paralex view," it's the story of whether or not lee harvey oswald, sirhan siran, james earl ray acted alone in these assassinations or whether it was a conspiracy. >> it's much bigger than that. whoever it behind that is in the business of assassins. >> during the filming, the watergate hearings are going on. that's all we talked about every day. we couldn't wait to get to the set to watch the hearings and shoot the movie. "paralex view" was so much about politics and corruption in government. it was a confluence of energy that was going on through the whole thing. >> break down the security there. >> what are you doing? >> three days of the condor again, you have this feeling of the man against big government. >> we wanted to make it kind of semi documentary style and my character has to run for his life to figure out what is going on. >> actors like redford and warren beatty who were both very
political they start to find a way to make a commercial vehicle that involves this kind of dark undercurrent of american society. >> who are you? >> in "three days of the condor," the question is, who will win? can the press undo these dark forces? >> what? what did you do? >> i told them a story. >> "all the president's men" answers that question. >> did he confirm it. >> absolutely. >> bill bradley. >> the film is based on a book by woodward and bernstein that was written before richard nixon resigned with, and in the film, redford and hoffman represent the role that woodward and bernstein actually played in unraveling the watergate cover-up in 1972. >> i had great respect for journalism and that made me interested in making a film. "all the president's men" became not so much about just following nixon, it was more about who the two guys that dug underneath
like gofers to get to the truth. >> you guys are about to write a story that says the former attorney general, the highest ranking law enforcement officer in this country is a crook. just be sure you're right. >> it's a movie about competent people doing their jobs even when it appears that powerful entities you're taking on are obviously going to crush you. >> this won't take along at all. >> please go away, okay? will you please leave before they see you? >> what did you mean by they? >> what do you mean threw. how to create a sense of paranoia and suspense. you can hardly even take a full breath when you see that movie for the first time. >> nothing's riding on this except the first amendment of
the constitution, freedom of the press and maybe the future of the country. >> the movie is venerated for enshrining the importance of journalism at its best. holding powerful interests to account. and finding out what's true. >> the american people are turning sullen. they've been clobbered on all sides by vietnam, watergate, inflation, the depression. they turned off, shot up, and nothing helps. >> "network" is about a television network run amok. >> i would like at this moment to announce that i will be retiring from this program in two weeks' time because of poor ratings. since this show is the only thing i had going for me in my life, i have decided to kill myself. >> we this longtime anchorman howard beal and he has a meltdown on live television. >> get him off. >> what's the matter with you fellows? >> what they discover is that melt down makes people watch the show. >> tv is show biz, max. and even the news has to have a little showmanship. >> god, you are serious. >> so "network" is also about what we're willing to watch. >> stick your head out of the window, open it, and stick your head out and yell i'm as mad as
hell and not going to take this anymore. >> peter finch is speaking at every man. >> and it's a reaction to an america that is questioning their own personal morality. >> rocky, do you believe that america is the land of opportunity? >> yeah. >> "rocky" gives us faith. it's a david and goliath story but also quintessentially an american story. it's how we want to believe the country functions. >> you got heart, but you fight like a god damn ape. >> it's much more a drama than a movie about boxing. > why do you want to fight? >> because i can't sing or dance. >> it's about this goofy guy getting an unexpected shot and this really awkward woman that he falls in love with and then the relationship that he forges with this old school tough guy trainer. >> women weaken legs. >> yeah, but i really like this girl, you know? >> well, let her train you!
>> there's a nobility in rocky to try for a dream even if it doesn't work out. ♪ >> it made me want to be a boxer. i had a gray sweatshirt and i went out running thinking i was going to be like rocky. i probably got like 100 feet and i was like, god. ♪ and i remember coming home and my mother was very sweet and she said to me, you know, rocky was the screenwriter of the movie. i thought that sounds better than drinking raw eggs and running every morning. and boxing. why don't i be a screenwriter. ♪ >> sylvester stallone was a struggling actor that nobody knew but he wrote this script which is all heart. he was completely broke, but he wouldn't sell it to hollywood unless he could be in it. >> rocky's coming back now. >> in the end even though he loses you feel like we got through it. >> at the end of the '70s, we
had been through some stuff. >> yo, adrian! >> so "rocky" becomes a metaphor the human spirit. >> and the winner is "rocky." >> "rocky" wins best picture in 1977 which is crazy because when you realize 1977 is the same year that "network," "taxi driver," "all the president's men" and "bound for glory" are up for best picture and "rocky" takes it, this kind of feel-good film. >> to all the rockys in the world, i love you. it's amazing what you can uncover with your dna results from ancestry. i was able to discover one cousin, reached out to him, visited ireland, met another 20 cousins. they took me to the cliffs of moher, the ancestral home, the family bar. it really gives you a sense of connection to something that's bigger than yourself. new features.
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just text listen9 to 500500. when "the deer hunter" comes out, the country's emotional scars from vietnam are still fresh. >> oh. >> hey, stanley, sometimes your sense of humor ain't funny. >> "the deer hunter" was about working-class guys going to war and what happens and it was so powerful and strong.
>> we're going airborne. >> right. >> they have ideas about why they're fighting and what they expect. and what they find is just horror. >> when "the deer hunter" came out, it really shocked people. >> so much of that movie is about the deadening of life in the process of surviving life. >> some people thought that that film was too difficult, too raw, but i felt that realism was necessary for people that understand what happened. >> would you go if you had the chance again? >> "coming home" opens with veterans around a pool table. it was so important to ashby that he communicate the reality of the veteran that he simply said "go.
improvise." >> we come back and say what we did was a waste, what happened to us was way waste. some of us can't live with it. >> and it completely legitimatizes everything to come. >> what are you doing here, bender? why aren't you out on golf course teeing up balls? doing something you're good at? >> trying to keep busy, that's all. >> sure it gives you something to talk about over martinis, how you're helping out the poor cripples. >> in some ways jane fonda plays america in "coming home." >> i don't think i deserve that luke, at all. >> she changes as she views the effect of the war on the men around her. >> she wants to listen to you. and she wants to understand you. >> this is a powerful movie because it's not a political diatribe. it's about human beings. >> so the notion that francis ford coppola who had made "the godfather" movies was taking on vietnam, that was part of why there had been so much
discussion about "apocalypse now," that the great francis coppola was going to be making this movie and it turned into this epic nightmare odyssey. >> it was this potential disaster and martin sheen had had a heart attack and the lore, the prelore, there was a lot of drama what we were going to see on screen. that was "apocalypse now," and the movie just blew my [ bleep ] mind. >> the lights are down, you see -- and then finally the screen comes up. it was like wow. ♪ this is the end >> it's a stranger kind of a film that more and more apocalypse becomes like a dream or a nightmare in which you're dealing with things like morality and good and evil. so, to me, the real issue was that it would be beautiful and that it would in some way throw light on the subject.
>> i love the smell of napalm in the morning. >> unlike a lot of the vietnam movies that came later which tried to be more realistic, this seemed surreal. >> some day this war's going to end. >> the fight hadn't gone how they expected. it wasn't a traditional war and it felt very hazy and a lot of them were high. and it felt like an apt metaphor for what the war was like for many, many people. >> this is a powerful indictment of war, but it's also a disturbing journey to the darkest reaches of our own human soul. >> i think just in terms of a movie that scares you, "the exorcist" is the best. there was nothing else like this.
>> "the godfather" was the biggest grossing film of all time in 1972 surpassing "gone with the wind" from 1939. when did "the godfather" get surpassed? one year later by "the exorcist" can you believe this? he doesn't call his daughter on her birthday. >> he probably can't get through the circuits. >> oh, circuits my ass. he doesn't give a shit. >> the great thing is it presents itself as a domestic drama which then turns into a super natural horror film. >> mother! >> it was important for me to be as relatable as possible so the audience could feel what it felt like to have your child turn into this monster. >> who are you? >> ah! >> william friedkin was going to make a film that was about real people. when you do that and add this reality, you had the people in
the audience absolutely losing their minds. >> i'm so scared. the bed was shaking. i've never seen anything like it. >> oh. >> the thing that really surprises me is people faint. i mean i've never in my life known a movie where people would faint. it's hard to make people faint. >> holy lord. almighty father. >> you walked into the theater and you really thought man, am i going to survive the next two hours watching this. and sometimes no. >> "alien" is 100% a haunted house movie. these guys are in a haunted house and there's a monster in the house and one by one they get killed. >> what made it what it was was execution. it really got you on a no pun intended on a gut level. >> how you doing? >> terrific. next silly question. >> the great thing about "alien" is it trusts the patience of the audience.
by the time that you get to the famous chest burster sequence, the audience have their hearts in their mouths because of the slow tick, tick, tick, tick of the roller coaster going up. >> when that blood blew, the reaction was appropriately stunned. i always remember standing on one side of the preview, and the people weren't sitting. they were slid down into their seats and holding each other tightly. >> ridley scott has an unknown stage actress named sigourney weaver. she had the stuff to hold her own as this strong female lead character that made headlines in 1979. the hero is a woman. that was groundbreaking. is skincare from around the world better than olay? to find out, olay faced the world. we tested our vitamin b3 formula
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♪ i loved "stars wars." i saw it in oregon on opening night. from the very beginning where the little ship goes over and then this giant ship pursues it. it's like the little fish and the big fish. your sympathy immediately goes to the little fish. the audience bursts into applause. and that never happens. two minutes later, darth vader makes his entrance. ♪ nobody knows darth vader from anything, and the audience simultaneously boos and hisses like it's a silent movie. >> now, i am the master. >> only a master of evil.
>> "stars wars" is out of the mind of george lucas who just wanted to make a space opera. it was a huge risk. >> help me, obi-wan kenobi. >> a fantasy about luke skywalker and a space dog and a cute robot that spoke in bleeps and bloops. >> what you talking about? >> nobody understood or knew what he was going to do. it doesn't make sense on the page. >> i'm a member of the imperial senate on a diplomatic mission. to alderon. >> you're part of the alliance and a traitor. take her away. >> "star wars" is another manifestation of a very old story. >> vader was seduced by the dark side of the force. >> the force? >> the roots of it where in samurai films and also westerns. >> yes, i bet you have. >> but i think the magic comes from when you mix the old myths with the very new technology. it totally blew me away. i mean, it just transported me
in ways i really had never quite experienced before. >> the force will be with you always. >> it was also really moving, and it ended with a tremendous sense of victory against incredible odds. ♪ >> stand by. >> we left the theater kind of clearing tears away from our eyes from that triumphant emotional finale. >> remember the force will be with you always. >> and it was another huge two-hour line here. and we just looked at each other and said do you want to see it again? and she said, yeah. >> i remember when george went to the telephone and got the news that all the 10:00 a.m. shows across america had sold out. and that's when it went from a hit movie to a cultural phenomenon. >> it essentially is a fun movie to watch.
it's been a long time since people have been able to go to the movies and see a sort of straightforward wholesome, fun adventure. ♪ >> excuse me. >> that's a bad outfit. >> as we move out of the '70s and into the '80s we start to see something a lot more glamorous, a lot more produced. what starts to disappear is the flawed leading man. >> because you're not afraid of things. >> afraid of things? why would i be afraid? >> we see instead stories that are going to make big heroes of someone who does a good thing. >> america needed to believe in a hero again, and we found out that there are heros everywhere. >> what's wrong? >> the future. >> what's the matter with it? ♪
>> you can just sit down for the rest of your life and watch movies from the '70s and they're amazing. >> the shake-up of what we were going through in the '70s and the expectations and the stereotypes that we had had about our own nation and the myths that we had swallowed, there was no way that american cinema could not reflect that. >> you son of a bitch! don't you sell america to me! >> all the movies that came out were very inventive and really rich and smart. people were trying for something different. >> it was an extraordinary time. we were all playing off each other. and there was no doubt we were changing things. >> we had all these enormously talented, creative, ambitious filmmakers being given money to go out and make the picture that they wanted to make. >> thank you. >> the convergence of commercial filmmaking with an independent sensibility. we'd never really had that
before. and it opened up a whole new vista for american film. this is cnn breaking news. breaking news this morning on monday. welcome to our viewers in the united states and around the world. this is "early start." i'm dave briggs. >> i'm christine romans. it is monday, july 29th. we begin with breaking news in california. a family, a food festival in california farm festival turned into a deadly scene of terror. >> what's going on? what's going on? >> is that fire? >> what the [ bleep ]'s going on? >> oh, shooting. >> a gunman firing round after round at the