1
00:00:00,581 --> 00:00:03,586
{\an8}- Attica! Attica! Attica!
- [people cheering]
2
00:00:03,684 --> 00:00:05,955
{\an8}[Gregory Nava]
Warner Bros. was always
pushing the boundaries.
3
00:00:06,054 --> 00:00:08,424
{\an8}They were always the studio
that took risks.
4
00:00:08,522 --> 00:00:11,828
{\an8}It's part of the DNA
of this place.
5
00:00:11,925 --> 00:00:15,598
{\an8}Warner Bros. was known
at that point for how
they treated their stars.
6
00:00:15,696 --> 00:00:18,868
{\an8}And they were really good
to directors.
7
00:00:20,801 --> 00:00:24,573
{\an8}We became part of the family
that way, like
a Warner Bros. family.
8
00:00:24,672 --> 00:00:27,677
{\an8}[Morgan Freeman] During
the creative renaissance
of the '70s,
9
00:00:27,775 --> 00:00:31,981
{\an8}Warner Bros. provided
a safe haven for storytellers.
10
00:00:32,080 --> 00:00:33,983
{\an8}Maybe we can cut a deal.
11
00:00:34,081 --> 00:00:37,353
{\an8}[Freeman] In the coming age
of blockbusters
and big business,
12
00:00:37,451 --> 00:00:40,123
{\an8}it was a family worth
fighting for.
13
00:00:40,221 --> 00:00:41,691
{\an8}[Oliver Stone] Warner Bros.
had a very good system.
14
00:00:41,789 --> 00:00:43,927
{\an8}They had good people.
They worked very hard
15
00:00:44,025 --> 00:00:45,929
{\an8}to make you happy too.
16
00:00:46,028 --> 00:00:47,897
{\an8}[James] Never rat
on your friends
17
00:00:47,996 --> 00:00:50,099
{\an8}and always
keep your mouth shut.
18
00:00:50,197 --> 00:00:51,600
[Tim Burton] There's no
denying the fact
19
00:00:51,699 --> 00:00:54,370
{\an8}that it's an industry
and a business, but...
20
00:00:54,469 --> 00:00:57,506
{\an8}there was a little bit more
humanity at Warner Bros.
21
00:00:58,573 --> 00:01:01,444
{\an8}Deal! [laughs]
22
00:01:01,542 --> 00:01:03,046
{\an8}[Matthew Modine]
In order for any business
23
00:01:03,145 --> 00:01:05,682
{\an8}to be successful,
you have to lead.
24
00:01:05,780 --> 00:01:08,351
{\an8}You're going to work harder
than you've ever worked before.
25
00:01:08,449 --> 00:01:10,553
{\an8}[Modine] You have to have
the courage to invest
26
00:01:10,651 --> 00:01:13,923
{\an8}in stories that have
never been told before.
27
00:01:15,323 --> 00:01:17,260
{\an8}[Freeman]
Amid corporate turmoil,
28
00:01:17,359 --> 00:01:21,564
{\an8}Warner Bros. needed to fortify
its studio machinery,
29
00:01:21,662 --> 00:01:26,535
{\an8}and chase the biggest,
boldest ideas to satisfy
audience demand.
30
00:01:26,634 --> 00:01:31,040
{\an8}It was just all about epic
filmmaking and giant
franchisable movies.
31
00:01:37,078 --> 00:01:38,782
{\an8}You never know
if you got a hit.
32
00:01:38,881 --> 00:01:39,916
{\an8}Meow.
33
00:01:41,349 --> 00:01:43,052
{\an8}And you're ready to die for me?
34
00:01:43,151 --> 00:01:44,888
{\an8}It's the job.
35
00:01:44,985 --> 00:01:46,990
{\an8}[Jon Chu] Going to the theater,
we felt like the whole world
36
00:01:47,087 --> 00:01:51,027
{\an8}was sort of descending
into this dark room
to watch this vision.
37
00:01:51,126 --> 00:01:52,461
{\an8}Hey, Data, where are you going?
38
00:01:52,560 --> 00:01:54,297
{\an8}- I'm setting booty traps.
- You mean booby traps.
39
00:01:54,395 --> 00:01:57,066
{\an8}That's what I said!
Booby traps! Be quiet! Shh.
40
00:01:57,165 --> 00:01:58,601
{\an8}[Ke Huy Quan]
My childhood is here.
41
00:01:58,699 --> 00:02:00,804
{\an8}That's what's so great about
these movies,
42
00:02:00,901 --> 00:02:04,140
{\an8}is I don't think it would
have been as good as it was
had we not had fun.
43
00:02:04,239 --> 00:02:06,175
{\an8}We were like
a family back then.
44
00:02:06,274 --> 00:02:08,645
{\an8}[Patty Jenkins]
It's bigger than an industry.
45
00:02:08,743 --> 00:02:13,216
{\an8}It's an incredibly powerful
force to make art
that speaks to the world.
46
00:02:13,315 --> 00:02:16,152
{\an8}The truth often poses
a threat to power,
47
00:02:16,250 --> 00:02:19,856
{\an8}and one often has
to fight power with great
risk to themselves.
48
00:02:19,955 --> 00:02:21,858
{\an8}There's such a long line
of people,
49
00:02:21,955 --> 00:02:25,461
{\an8}who have made just
some of their best films
at Warner Bros.
50
00:02:25,560 --> 00:02:28,331
{\an8}I told you I can only
show you the door.
51
00:02:28,430 --> 00:02:30,199
{\an8}You have to walk through it.
52
00:02:49,917 --> 00:02:53,489
[Freeman] In 1983,
Warner Communications suffered
53
00:02:53,588 --> 00:02:57,526
a $500 million loss
from the Atari collapse.
54
00:02:59,727 --> 00:03:03,599
To fend off corporate raiders
who prey on company debt,
55
00:03:03,697 --> 00:03:08,537
Steve Ross sacrificed
valuable assets,
including MTV.
56
00:03:10,605 --> 00:03:14,143
More regrettably,
he laid off staff.
57
00:03:14,242 --> 00:03:17,013
To safeguard against
future catastrophe,
58
00:03:17,112 --> 00:03:18,982
Ross siloed the business units
59
00:03:19,080 --> 00:03:21,084
into separate divisions.
60
00:03:21,182 --> 00:03:23,853
But to regain
shareholder confidence,
61
00:03:23,951 --> 00:03:27,256
he needed commercial hits
from his crown jewel,
62
00:03:27,356 --> 00:03:28,992
the movie studio.
63
00:03:30,658 --> 00:03:35,064
{\an8}The key to our industry and
maybe to most industries is
64
00:03:35,162 --> 00:03:39,135
{\an8}having good people,
and good people
can make anything happen.
65
00:03:39,233 --> 00:03:41,170
Having the relationships
66
00:03:41,268 --> 00:03:43,807
all the way through
with the artists
is very important to us,
67
00:03:43,905 --> 00:03:46,175
and creating an ambience,
68
00:03:46,274 --> 00:03:48,812
a creative atmosphere
where people want to work.
69
00:03:48,910 --> 00:03:51,748
[Freeman] From the ashes
of Atari's ruins
70
00:03:51,846 --> 00:03:55,418
rose a friendship between Ross
and Steven Spielberg.
71
00:03:55,516 --> 00:03:58,387
{\an8}The name of Hollywood's
hottest blockbuster director
72
00:03:58,487 --> 00:04:00,089
{\an8}attached to Warner Bros.
73
00:04:00,188 --> 00:04:03,059
{\an8}could turn
their fortunes around.
74
00:04:03,157 --> 00:04:06,229
{\an8}Ross won him over
with a promise.
75
00:04:06,327 --> 00:04:08,732
{\an8}"Make the films
you want to make."
76
00:04:08,830 --> 00:04:11,534
{\an8}Once Steven Spielberg
finds something he likes,
77
00:04:11,633 --> 00:04:14,570
{\an8}and he wants to make it,
it's hard to say no.
78
00:04:22,910 --> 00:04:25,348
{\an8}[Steven Spielberg] Gremlins
is a picture about
79
00:04:25,448 --> 00:04:26,582
{\an8}something that probably
80
00:04:26,681 --> 00:04:28,184
{\an8}could never happen
in real life.
81
00:04:29,284 --> 00:04:31,554
{\an8}Gremlins.
What a fairy tale. [laughs]
82
00:04:31,652 --> 00:04:34,190
{\an8}[Chris Columbus] Well,
I think the name "Gremlins"
caught Spielberg's eye
83
00:04:34,289 --> 00:04:38,127
{\an8}because Steven,
being a fan of old
Warner Bros. cartoons,
84
00:04:38,225 --> 00:04:42,666
{\an8}there is a cartoon,
I think it's a Bugs Bunny
cartoon, with gremlins.
85
00:04:42,764 --> 00:04:45,134
{\an8}Could that have been a...
86
00:04:45,233 --> 00:04:46,402
{\an8}[whispers] gremlin?
87
00:04:47,635 --> 00:04:49,372
[Columbus]
I probably saw it as a kid,
88
00:04:49,470 --> 00:04:51,507
forgot about it, so it was
a subconscious thing,
89
00:04:51,606 --> 00:04:56,040
and then I created
a whole mythology around
what gremlins were.
90
00:04:56,139 --> 00:04:57,613
[Randall] Probably the most
important thing,
91
00:04:57,713 --> 00:05:00,717
don't ever feed him
after midnight.
92
00:05:06,854 --> 00:05:08,825
[Columbus] Immediately,
once we started Gremlins,
93
00:05:08,923 --> 00:05:11,294
Steven and I were already
into the writing of Goonies.
94
00:05:11,393 --> 00:05:12,729
[gremlins cackling]
95
00:05:12,828 --> 00:05:16,165
Ready. And... shoot it!
Number one.
96
00:05:19,333 --> 00:05:22,171
{\an8}[Columbus] The films
I had set out to make,
Dog Day Afternoon
97
00:05:22,270 --> 00:05:24,240
{\an8}and all of those
types of films,
98
00:05:24,338 --> 00:05:28,277
{\an8}I was going to employ
what I had learned from
those films in the dialogue,
99
00:05:28,376 --> 00:05:31,514
{\an8}making sure that
they were always speaking
over each other,
100
00:05:31,612 --> 00:05:33,416
that they were very naturalistic,
101
00:05:33,509 --> 00:05:35,484
that they were saying things
that felt very real from a kid.
102
00:05:35,584 --> 00:05:37,153
- That's it, guys.
- What's it?
103
00:05:37,252 --> 00:05:39,689
Those three rocks out there.
Take a look, one, two, three.
104
00:05:39,787 --> 00:05:41,725
- You're right!
Let's go get 'em.
- Out there.
105
00:05:41,823 --> 00:05:43,226
[all shouting]
106
00:05:43,319 --> 00:05:45,294
[Quan] The Goonies is
about seven outcasts
107
00:05:45,393 --> 00:05:50,233
{\an8}who are on the verge
of losing their homes,
and they stumble upon
108
00:05:50,332 --> 00:05:51,367
a pirate ship...
109
00:05:51,461 --> 00:05:53,136
Oh, wow!
110
00:05:53,234 --> 00:05:57,173
[Quan] ...that takes them on
the greatest adventure
of their life.
111
00:05:57,272 --> 00:06:00,076
In fact, the famous Stage 16
112
00:06:00,175 --> 00:06:03,579
is where we built
that full-sized pirate ship.
113
00:06:03,678 --> 00:06:07,817
It's a Steven
Spielberg-produced movie,
with Dick Donner at the helm.
114
00:06:07,916 --> 00:06:09,485
[Richard Donner] I think
the uniquest part
115
00:06:09,584 --> 00:06:10,954
of working with
this many kids in the film
116
00:06:11,053 --> 00:06:13,790
{\an8}is that every night
I'm contemplating suicide.
117
00:06:15,323 --> 00:06:17,260
[Quan] I think
we all drove him crazy
118
00:06:17,359 --> 00:06:19,123
because it was just
so loud, you know,
119
00:06:19,227 --> 00:06:20,997
constantly fighting
and arguing.
120
00:06:21,096 --> 00:06:24,300
We would ride bikes on
the Warner Bros. backlot,
121
00:06:24,399 --> 00:06:27,236
just going around
from sound stage
to sound stages,
122
00:06:27,336 --> 00:06:28,571
knocking on doors...
123
00:06:30,038 --> 00:06:31,941
messing up people's shots,
124
00:06:32,040 --> 00:06:33,409
and we'd hear the AD go,
125
00:06:33,508 --> 00:06:35,611
"Oh, my God,
what are you guys doing here?"
126
00:06:35,710 --> 00:06:37,647
And we'd just tell them,
"We're the Goonies!"
127
00:06:37,746 --> 00:06:41,250
[all yelling]
128
00:06:41,348 --> 00:06:44,754
[Quan] Steven and Dick,
they were just like
this great father figure.
129
00:06:44,847 --> 00:06:48,792
I didn't see them
as the most successful
filmmakers of all time.
130
00:06:48,890 --> 00:06:52,228
They allowed us to be kids,
to be ourselves,
131
00:06:52,327 --> 00:06:53,863
and not actors.
132
00:06:54,430 --> 00:06:56,132
Everywhere I go,
133
00:06:56,231 --> 00:06:59,836
people of all colors,
of all ages,
134
00:06:59,933 --> 00:07:03,506
have come up to me and told me
how much they love The Goonies.
135
00:07:03,605 --> 00:07:05,809
Goonies never say die!
136
00:07:05,907 --> 00:07:06,810
It doesn't get old.
137
00:07:08,142 --> 00:07:09,846
{\an8}[Freeman] With Gremlins
and Goonies,
138
00:07:09,944 --> 00:07:11,748
{\an8}Spielberg re-energized
Warner Bros.
139
00:07:11,846 --> 00:07:15,752
{\an8}with a sense of adventure
and box office gold.
140
00:07:15,851 --> 00:07:17,987
{\an8}But, in addition
to making money,
141
00:07:18,085 --> 00:07:22,759
Steve Ross sought projects
that achieved
cultural capital.
142
00:07:22,857 --> 00:07:24,160
That same year,
143
00:07:24,259 --> 00:07:28,364
music mogul Quincy Jones,
also Ross' dear friend,
144
00:07:28,463 --> 00:07:31,434
urged Spielberg
to direct an adaptation
145
00:07:31,533 --> 00:07:37,006
{\an8}of Alice Walker's Pulitzer
Prize-winning novel,
The Color Purple.
146
00:07:37,104 --> 00:07:40,376
{\an8}[Jacqueline Stewart]
Totally uncharacteristic film
for any studio.
147
00:07:40,475 --> 00:07:42,545
{\an8}And another
characteristic gamble
148
00:07:42,644 --> 00:07:45,314
{\an8}on the part of
Warner Bros., to say,
149
00:07:45,413 --> 00:07:47,211
{\an8}"Yeah. This is something
that we're gonna invest
150
00:07:47,315 --> 00:07:49,653
{\an8}a significant amount
of money in.
151
00:07:49,752 --> 00:07:52,088
{\an8}This is a blockbuster
film director,
152
00:07:52,187 --> 00:07:55,725
{\an8}and we're going
to cast unknowns
in the key roles."
153
00:07:55,823 --> 00:07:59,696
Whoopi Goldberg's first film.
Oprah Winfrey's first film.
154
00:08:01,396 --> 00:08:03,332
[Oprah Winfrey]
It's been over 35 years,
155
00:08:03,426 --> 00:08:05,501
and I still can tear up
talking about it.
156
00:08:05,600 --> 00:08:09,739
{\an8}Because I never wanted
anything as much as I wanted
to be in The Color Purple.
157
00:08:11,406 --> 00:08:13,677
The arc of Celie's story,
158
00:08:13,775 --> 00:08:17,346
how she withstood the abuse,
159
00:08:17,444 --> 00:08:23,119
having the world look at
you, literally, and say,
"You sure is ugly,"
160
00:08:23,218 --> 00:08:26,455
and, in the midst of that,
161
00:08:26,554 --> 00:08:29,659
find a way
to believe in herself.
162
00:08:31,159 --> 00:08:33,196
{\an8}You told Harpo to beat me.
163
00:08:33,294 --> 00:08:35,932
Coming from a world
of abuse myself,
164
00:08:36,031 --> 00:08:37,333
so when I say...
165
00:08:37,432 --> 00:08:40,069
All my life I had to fight.
166
00:08:40,168 --> 00:08:42,438
...that is part of my story.
167
00:08:42,531 --> 00:08:48,377
There is a definitive
following of women,
168
00:08:48,477 --> 00:08:49,879
specifically Black women,
169
00:08:49,978 --> 00:08:53,349
who walked out of the
theater, who felt
170
00:08:53,442 --> 00:08:55,518
a little more emboldened themselves,
171
00:08:55,618 --> 00:08:57,620
a little more expanded.
172
00:08:57,720 --> 00:08:59,455
I'm gonna knock you up one...
173
00:09:03,186 --> 00:09:04,928
Everything you done to me...
174
00:09:07,562 --> 00:09:10,366
already done to you.
175
00:09:10,465 --> 00:09:12,601
[newscaster]
The Color Purple is
one of those movies
176
00:09:12,701 --> 00:09:14,570
people seem to be
talking about everywhere,
177
00:09:14,669 --> 00:09:17,641
and it's a movie
that some people
are getting upset about.
178
00:09:17,738 --> 00:09:19,676
[Winfrey] Warner Bros.
and Steven Spielberg
179
00:09:19,775 --> 00:09:22,045
and Quincy Jones
and Alice Walker
180
00:09:22,144 --> 00:09:23,980
all took a lot of heat.
181
00:09:24,077 --> 00:09:26,310
Black organizations
in particular
were criticizing it
182
00:09:26,413 --> 00:09:30,219
because they thought
it was detrimental
to the images of Black men.
183
00:09:30,318 --> 00:09:31,315
They need to change it.
184
00:09:31,419 --> 00:09:32,588
If that's the way all Black men
185
00:09:32,688 --> 00:09:33,890
are supposed to be,
it's not true.
186
00:09:33,989 --> 00:09:37,994
The rise of, you know,
domestic violence
187
00:09:38,093 --> 00:09:41,765
is real in the Black community,
and every other community,
188
00:09:41,862 --> 00:09:45,201
so I was happy that
the studio stood by it.
189
00:09:45,299 --> 00:09:49,706
[Freeman] The Color Purple
also signaled
Spielberg's evolution
190
00:09:49,804 --> 00:09:53,109
into a director of more
serious material.
191
00:09:53,207 --> 00:09:55,244
{\an8}- Jimmy!
- Mama!
192
00:09:55,342 --> 00:09:59,816
{\an8}I don't think I could have made
either Empire of the Sun
or Schindler's List
193
00:09:59,915 --> 00:10:03,286
{\an8}without the first big, for me,
194
00:10:03,385 --> 00:10:05,088
{\an8}stepping stone of Color Purple.
195
00:10:06,621 --> 00:10:08,491
{\an8}[Freeman] For decades to come,
196
00:10:08,590 --> 00:10:12,261
{\an8}the kinship between
Warner Bros. and Spielberg
only deepened.
197
00:10:12,360 --> 00:10:16,565
{\an8}Whether as a producer
or director,
he supplied the studio
198
00:10:16,664 --> 00:10:19,736
{\an8}with a variety
of crowd pleasers.
199
00:10:22,235 --> 00:10:26,042
1985 brought
another harbinger
of good fortune.
200
00:10:26,139 --> 00:10:31,180
An unlikely hero
from Warner Bros'.
own backyard.
201
00:10:31,279 --> 00:10:32,916
[Tim Burton] It was strange
growing up in Burbank
202
00:10:33,015 --> 00:10:37,620
{\an8}because the studios were
so close, yet so far away.
203
00:10:37,718 --> 00:10:43,259
Kind of magical,
impenetrable walls, you know,
that you drive by.
204
00:10:43,358 --> 00:10:46,462
We used to kind of
try to sneak
into the studios...
205
00:10:46,562 --> 00:10:47,831
[chuckling]
206
00:10:47,930 --> 00:10:49,598
...which was not
very easy to do.
207
00:10:49,698 --> 00:10:51,334
Excuse me, sir.
Do you have a pass?
208
00:10:51,432 --> 00:10:54,337
Oh, no, I'm sorry.
You can't enter
without a pass, sir.
209
00:10:54,436 --> 00:10:55,739
So the other fellow said,
210
00:10:55,838 --> 00:10:57,506
"What do you think I got
down here? A duck?"
211
00:10:57,606 --> 00:10:58,975
[all laughing]
212
00:10:59,074 --> 00:11:01,845
"A duck." [laughs]
213
00:11:01,943 --> 00:11:03,847
[Burton] I started out
as an animator,
214
00:11:03,945 --> 00:11:05,949
and then a couple
of short films,
215
00:11:06,041 --> 00:11:08,617
which was the thing
that probably helped me
to get my first feature,
216
00:11:08,717 --> 00:11:09,886
Pee Wee's Big Adventure.
217
00:11:09,985 --> 00:11:11,755
- [bell dings]
- [screams, chuckles]
218
00:11:16,224 --> 00:11:18,127
[chuckles]
219
00:11:18,226 --> 00:11:20,830
[Burton] Warner Bros. has
one of the best backlots.
220
00:11:20,929 --> 00:11:22,932
It was like a playground.
221
00:11:23,030 --> 00:11:27,470
What more fun could
you have, trashing
the Warner Bros. backlot?
222
00:11:27,964 --> 00:11:29,673
[screams]
223
00:11:29,770 --> 00:11:31,808
[Burton] It was an era
where things could
still surprise people,
224
00:11:31,906 --> 00:11:34,911
you know, kind of come out
of left field a little bit.
225
00:11:35,010 --> 00:11:35,845
Beetlejuice.
226
00:11:37,011 --> 00:11:38,147
{\an8}It's showtime!
227
00:11:38,247 --> 00:11:39,816
{\an8}[thunder cracking]
228
00:11:39,914 --> 00:11:41,751
[Burton] I think that happened
with Beetlejuice.
229
00:11:41,849 --> 00:11:44,553
People really didn't know
what it was, and it could
have gone either way.
230
00:11:45,120 --> 00:11:46,723
[shrieking]
231
00:11:46,821 --> 00:11:49,558
It felt like making
a Warner Bros. cartoon,
in a funny way.
232
00:11:49,657 --> 00:11:51,961
- Don't you hate it
when that happens?
- Let's go, Barbara.
233
00:11:52,060 --> 00:11:54,458
{\an8}[Freeman] Burton's
lower-budget escapades,
234
00:11:54,563 --> 00:11:56,299
turned into surprise hits
235
00:11:56,398 --> 00:11:59,235
at just the right moment.
236
00:11:59,334 --> 00:12:01,638
[male reporter]
Time and Warner executives
have endorsed
237
00:12:01,736 --> 00:12:05,074
the new law of survival
in the media universe.
238
00:12:05,173 --> 00:12:06,976
We are moving toward
239
00:12:07,074 --> 00:12:11,475
a handful, six, 12, companies
controlling information flow
in the free world.
240
00:12:11,579 --> 00:12:15,318
[Freeman] Still mired
in the financial fallout
caused by Atari,
241
00:12:15,417 --> 00:12:18,955
Steve Ross staked everything
on a potential merger
242
00:12:19,053 --> 00:12:22,125
with the publishing
powerhouse, Time Inc.
243
00:12:22,224 --> 00:12:26,229
As negotiations plodded along
for over two years,
244
00:12:26,327 --> 00:12:30,199
neither side knew
who would have the upper hand.
245
00:12:30,297 --> 00:12:33,903
At the same time,
Bob Daly and Terry Semel
were searching for
246
00:12:34,001 --> 00:12:37,641
a new kind of blockbuster
to flex the studio's muscle,
247
00:12:37,733 --> 00:12:42,445
and called upon a hero
from its DC pantheon.
248
00:12:42,544 --> 00:12:45,214
[Bob Daly] It had to be
a different type of Batman.
249
00:12:45,313 --> 00:12:48,017
And we worked on it
for a decade,
250
00:12:48,116 --> 00:12:49,953
but nothing ever materialized
251
00:12:50,052 --> 00:12:54,623
{\an8}until we decided to go
with Tim Burton to direct it.
252
00:12:54,723 --> 00:12:58,561
{\an8}You're not exactly normal,
are you?
253
00:12:58,661 --> 00:13:01,030
{\an8}It's not exactly
a normal world, is it?
254
00:13:01,129 --> 00:13:03,399
{\an8}[Leonard Maltin]
In the post-studio system
255
00:13:03,499 --> 00:13:05,301
{\an8}every film has become a gamble,
256
00:13:05,400 --> 00:13:10,106
so making a film
of the comic strip
character Batman
257
00:13:10,205 --> 00:13:11,908
was a risk.
258
00:13:12,006 --> 00:13:15,244
And trusting it
to Tim Burton, who was
still a fledgling director,
259
00:13:15,344 --> 00:13:17,046
was another risk.
260
00:13:17,145 --> 00:13:19,949
[Burton] Obviously,
the first really
big film I did
261
00:13:20,048 --> 00:13:22,686
in terms of budget
and awareness,
262
00:13:22,784 --> 00:13:24,387
and I felt the pressure of it.
263
00:13:24,486 --> 00:13:26,550
- ...67, take one!
- Action!
264
00:13:26,655 --> 00:13:29,325
And then
casting Michael Keaton,
265
00:13:29,424 --> 00:13:31,695
{\an8}who'd made his name
doing comedy,
266
00:13:31,794 --> 00:13:33,362
{\an8}was yet another risk
267
00:13:33,461 --> 00:13:36,332
{\an8}that provoked cries
of outrage from fans.
268
00:13:36,430 --> 00:13:40,036
{\an8}[Freeman] Batman
was the polar opposite
of Superman,
269
00:13:40,135 --> 00:13:43,272
{\an8}the aspirational hero
beloved by all.
270
00:13:43,371 --> 00:13:48,572
{\an8}Burton's Caped Crusader
masked a deeply flawed man.
271
00:13:48,677 --> 00:13:52,048
I loved the idea
of making it darker,
272
00:13:52,147 --> 00:13:54,083
the Jekyll and Hyde
nature of it.
273
00:13:54,183 --> 00:13:55,384
[screams]
274
00:13:55,483 --> 00:13:57,120
[Burton] We were kind of
charting new territory.
275
00:14:01,355 --> 00:14:03,626
[Daly] You make the movie,
keep your fingers crossed,
276
00:14:03,724 --> 00:14:06,930
and then you have to come up
with a good marketing campaign.
277
00:14:07,029 --> 00:14:10,266
[Freeman] Daly and Semel
devised a strategy
278
00:14:10,365 --> 00:14:12,635
that signaled a seismic event,
279
00:14:12,734 --> 00:14:14,638
one that couldn't be missed.
280
00:14:14,736 --> 00:14:17,506
Batman was also
very important,
for one reason.
281
00:14:17,605 --> 00:14:20,576
We were in the middle
of our merger agreement
with Time.
282
00:14:20,674 --> 00:14:23,579
{\an8}[Freeman]
The film's performance
could radically shape
283
00:14:23,679 --> 00:14:25,548
{\an8}the outcome of the merger.
284
00:14:25,647 --> 00:14:28,051
All eyes were on Batman.
285
00:14:28,149 --> 00:14:30,253
Wait until
they get a load of me.
286
00:14:30,353 --> 00:14:31,921
[crowd cheering]
287
00:14:32,014 --> 00:14:33,489
[male reporter] Some of
Hollywood's biggest stars
288
00:14:33,589 --> 00:14:35,091
turned out for the premiere,
289
00:14:35,190 --> 00:14:37,026
giving the event the glitter
of vintage Tinseltown.
290
00:14:38,693 --> 00:14:39,996
There's no other way
of putting it.
291
00:14:40,095 --> 00:14:42,932
This evening, Los Angeles
has gone bats.
292
00:14:43,030 --> 00:14:45,334
[Kim Basinger]
I don't think you could have
been prepared for this.
293
00:14:45,433 --> 00:14:48,504
{\an8}I'm sure they were imagining
a good box office.
294
00:14:48,604 --> 00:14:50,506
But to this extent?
295
00:14:50,604 --> 00:14:53,376
[Freeman] Batman
shattered opening
weekend records,
296
00:14:53,474 --> 00:14:56,145
became the year's highest
grossing film,
297
00:14:56,244 --> 00:15:00,850
and the studio's biggest
box office success to date.
298
00:15:00,948 --> 00:15:03,853
[male reporter] Studio boss
is a very rich and happy man.
299
00:15:03,952 --> 00:15:06,322
I loved it.
Loved every minute of it.
300
00:15:08,223 --> 00:15:10,593
[Chu] Batman had
a huge influence on me.
301
00:15:10,693 --> 00:15:12,461
{\an8}It was the first time
that I felt like
302
00:15:12,560 --> 00:15:17,000
{\an8}the story wasn't just on
the screen, but also,
like, came home with us.
303
00:15:17,098 --> 00:15:19,168
[Freeman] Batmania
ignited the sale
304
00:15:19,267 --> 00:15:23,006
of more than $500 million
worth of merchandise.
305
00:15:23,105 --> 00:15:26,142
Where does he get those
wonderful toys?
306
00:15:26,241 --> 00:15:28,411
[Chu] We got the toys,
the soundtrack,
307
00:15:28,509 --> 00:15:30,847
and to be a part
of a pop cultural moment
308
00:15:30,945 --> 00:15:33,016
where everybody had to show up.
309
00:15:33,114 --> 00:15:36,886
[Freeman] Warner Bros.
had revolutionized
the way films were marketed,
310
00:15:36,984 --> 00:15:41,490
which also promoted synergy
between the divisions
of the company.
311
00:15:41,589 --> 00:15:45,829
[Daly] Remember,
the deal with Time is,
they bought us.
312
00:15:46,395 --> 00:15:47,296
I'm Batman.
313
00:15:47,395 --> 00:15:49,065
[Daly] But once we had Batman,
314
00:15:49,163 --> 00:15:51,901
there was no question
who should run the place.
315
00:15:52,000 --> 00:15:55,338
[Freeman] Steve Ross
emerged the victor.
316
00:15:55,436 --> 00:15:57,941
He had orchestrated the deal
of the decade
317
00:15:58,039 --> 00:16:02,011
and transformed
the Warner Bros.
into a colossal force
318
00:16:02,110 --> 00:16:04,180
atop the entertainment world.
319
00:16:04,278 --> 00:16:07,350
[Terry Semel]
I think we had a real advantage
over many of our competitors,
320
00:16:07,449 --> 00:16:09,753
{\an8}and that is, we were
a stable company.
321
00:16:09,851 --> 00:16:11,287
{\an8}We could win or lose,
322
00:16:11,385 --> 00:16:14,057
{\an8}so sometimes we could lose,
but we would not go away.
323
00:16:15,257 --> 00:16:16,960
{\an8}[Freeman] One after the other,
324
00:16:17,053 --> 00:16:19,663
{\an8}Warner Bros. churned out
sequels to Batman.
325
00:16:19,761 --> 00:16:21,530
{\an8}Riddle me this.
326
00:16:21,629 --> 00:16:25,769
{\an8}[Freeman]
Even when the quality slumped,
event movies minted money
327
00:16:25,868 --> 00:16:29,773
{\an8}and validated
the franchise mindset.
328
00:16:29,871 --> 00:16:32,541
{\an8}Hollywood only hungered
for more.
329
00:16:32,641 --> 00:16:33,943
Do you really want to jump?
330
00:16:34,042 --> 00:16:35,444
Do you wanna?
331
00:16:35,543 --> 00:16:37,881
Well, then,
that's fine with me.
Come on!
332
00:16:43,279 --> 00:16:46,489
[Freeman]
Box office ticket sales
boomed yet again
333
00:16:46,583 --> 00:16:47,924
when director Richard Donner
334
00:16:48,022 --> 00:16:50,093
and action producer Joel Silver
335
00:16:50,192 --> 00:16:54,759
turned Lethal Weapon
into its own franchise.
336
00:16:54,862 --> 00:16:57,533
[Jenkins] I feel torn
about it because,
on the one hand,
337
00:16:57,632 --> 00:17:00,970
{\an8}I think that it paved the way
for a new genre of filmmaking,
338
00:17:01,069 --> 00:17:02,138
{\an8}which were tent poles.
339
00:17:02,237 --> 00:17:03,907
{\an8}On the other hand, sadly,
340
00:17:04,005 --> 00:17:06,109
{\an8}our industry often
all scuttles after
341
00:17:06,207 --> 00:17:08,311
{\an8}only one thing
at the same time.
342
00:17:08,408 --> 00:17:12,682
{\an8}Studios are addicted
to that success and
that success only, often.
343
00:17:12,781 --> 00:17:14,150
{\an8}It's like a gold rush.
344
00:17:14,249 --> 00:17:16,886
{\an8}They can't help but go
for the one sure thing.
345
00:17:16,985 --> 00:17:18,254
{\an8}[Freeman] But Daly and Semel
346
00:17:18,353 --> 00:17:20,223
{\an8}took their winnings
from safer bets
347
00:17:20,321 --> 00:17:23,326
{\an8}to bankroll their pursuit
of long shots.
348
00:17:25,226 --> 00:17:29,332
{\an8}Films that traded
popcorn entertainment
for prestige.
349
00:17:29,430 --> 00:17:32,902
{\an8}I've always known I was born
to dominate your sex
350
00:17:33,001 --> 00:17:35,538
{\an8}and avenge my own.
351
00:17:35,637 --> 00:17:39,308
{\an8}And the Oscar goes to
Dangerous Liaisons.
352
00:17:39,403 --> 00:17:40,209
{\an8}[crowd applauding]
353
00:17:40,308 --> 00:17:41,945
{\an8}You don't know what you want.
354
00:17:42,044 --> 00:17:44,080
{\an8}One minute you like me
and the next you don't.
355
00:17:44,179 --> 00:17:45,982
One minute you're ashamed
to be seen with me,
356
00:17:46,080 --> 00:17:47,884
the next, you think
I'm the best thing
that ever happened to you.
357
00:17:47,982 --> 00:17:50,486
- Geena Davis!
- Geena Davis,
The Accidental Tourist.
358
00:17:53,988 --> 00:17:55,558
[Ms. Daisy] You're speeding.
I can see it.
359
00:17:55,657 --> 00:17:59,095
{\an8}No, Miss Daisy, no, we only
doing about 19 miles an hour.
360
00:17:59,194 --> 00:18:01,064
{\an8}I like to go
under the speed limit.
361
00:18:01,162 --> 00:18:02,899
{\an8}We are hardly moving.
362
00:18:02,998 --> 00:18:05,034
{\an8}Might as well walk
to the Piggly Wiggly.
363
00:18:05,133 --> 00:18:09,138
{\an8}I'm pleased with
my association
with Warner Bros.
364
00:18:09,232 --> 00:18:12,876
They didn't spend much money
making Driving Miss Daisy,
365
00:18:12,975 --> 00:18:15,211
but they spent
a lot promoting it.
366
00:18:15,310 --> 00:18:17,546
[Jack Nicholson]
And the Oscar goes to...
367
00:18:17,646 --> 00:18:19,082
Driving Miss Daisy.
368
00:18:19,180 --> 00:18:22,351
Thank you, Richard D. Zanuck
and Lili Fini Zanuck.
369
00:18:22,450 --> 00:18:25,789
[Freeman]
Lauded with accolades
and loaded with cash,
370
00:18:25,887 --> 00:18:29,625
Warner Bros. found itself
firing on all cylinders.
371
00:18:29,723 --> 00:18:34,230
But ever since 1971,
the executive team resented
372
00:18:34,329 --> 00:18:37,500
having to share the lot
with Columbia Pictures.
373
00:18:37,599 --> 00:18:40,737
The joint venture
had long gone sour,
374
00:18:40,836 --> 00:18:42,672
and they looked for a way out.
375
00:18:42,770 --> 00:18:45,308
There was a lucky thing
that happened a few years later
376
00:18:45,406 --> 00:18:48,873
when our two producers
who were on Batman
377
00:18:48,976 --> 00:18:52,548
took the job to help run
what was then going
to be called Sony.
378
00:18:52,646 --> 00:18:56,119
[Freeman] Sony,
which had recently
purchased Columbia,
379
00:18:56,217 --> 00:18:58,487
{\an8}stole Jon Peters
and Peter Guber away
380
00:18:58,586 --> 00:19:01,124
{\an8}from Warner Bros.
in dramatic fashion.
381
00:19:01,222 --> 00:19:03,760
{\an8}A Hollywood hit and run.
382
00:19:03,858 --> 00:19:06,963
[Semel] And, of course
they violated their contract
with us.
383
00:19:07,056 --> 00:19:09,565
And, as a result of that,
the two of us together
384
00:19:09,664 --> 00:19:12,135
negotiated for
an extraordinary deal,
385
00:19:12,233 --> 00:19:15,204
which included a 100%
of this studio.
386
00:19:15,303 --> 00:19:17,273
Because of this break we got,
387
00:19:17,372 --> 00:19:19,342
which was
an unbelievable break,
388
00:19:19,441 --> 00:19:22,779
to let two producers
leave and get $750 million
worth of assets,
389
00:19:22,877 --> 00:19:24,580
it all worked out nicely.
390
00:19:24,679 --> 00:19:28,117
[Freeman] In 1990, after
a nearly 20-year marriage
391
00:19:28,216 --> 00:19:29,653
of inconvenience,
392
00:19:29,750 --> 00:19:33,322
Columbia Pictures
vacated the Burbank lot.
393
00:19:33,422 --> 00:19:35,224
It was time to party.
394
00:19:35,323 --> 00:19:37,560
[upbeat dance music playing]
395
00:19:39,460 --> 00:19:41,164
[Tom Selleck]
It's kind of stunning.
396
00:19:41,257 --> 00:19:42,927
I expected a little party,
you know, on a sound stage.
397
00:19:43,031 --> 00:19:45,201
This is show business personified.
398
00:19:46,900 --> 00:19:49,639
[Ross] Now all of the family
is under one roof.
399
00:19:49,738 --> 00:19:52,842
And it's called Warner Bros.
So exciting.
400
00:19:52,941 --> 00:19:55,144
I got David Wolper
to produce it.
401
00:19:55,243 --> 00:19:57,714
We invited 1,000 people.
402
00:19:57,813 --> 00:20:00,616
We had a parade.
Reagan was here.
403
00:20:00,716 --> 00:20:01,946
All the stars came.
404
00:20:02,050 --> 00:20:03,486
[upbeat dance music
continues playing]
405
00:20:06,887 --> 00:20:09,358
It was the best party
I've ever attended in my life.
406
00:20:09,458 --> 00:20:11,928
[applause]
407
00:20:12,027 --> 00:20:16,599
The symbol of the studio
has always been
408
00:20:16,698 --> 00:20:20,336
our illuminated landmark
water tower.
409
00:20:20,434 --> 00:20:27,010
And tonight it is our joy
to reignite
that beacon of light,
410
00:20:27,108 --> 00:20:30,513
to let the world know,
once again,
411
00:20:30,612 --> 00:20:34,217
that it is
the Warner Bros. Studio.
412
00:20:35,116 --> 00:20:37,453
One, two, three.
413
00:20:38,220 --> 00:20:41,024
[applause]
414
00:20:45,926 --> 00:20:48,698
[Freeman] The return
of the Warner Bros. shield
415
00:20:48,797 --> 00:20:50,633
restored the studio's identity
416
00:20:50,731 --> 00:20:54,203
and would rekindle
a connection with its roots.
417
00:20:54,302 --> 00:20:56,472
Ripping a page
from the founders' book,
418
00:20:56,570 --> 00:20:59,508
Ross, Daly, and Semel
next put their chips
419
00:20:59,607 --> 00:21:03,212
on a classic Warner gambit,
the wise guy flick.
420
00:21:06,580 --> 00:21:08,217
[Robert de Niro] As far back
as I can remember,
421
00:21:08,316 --> 00:21:10,053
I always wanted
to be a gangster.
422
00:21:11,386 --> 00:21:14,924
♪ I know I'd go
from rags to riches ♪
423
00:21:15,022 --> 00:21:19,729
{\an8}The people who ran Warners
had a certain understanding
of that kind of culture.
424
00:21:19,828 --> 00:21:23,833
{\an8}They felt more connected to it
in a certain way.
425
00:21:23,931 --> 00:21:25,969
{\an8}[Ben Mankiewicz] You could
certainly draw a through line
426
00:21:26,067 --> 00:21:27,336
{\an8}of Warner Bros. crime pictures
427
00:21:27,435 --> 00:21:29,238
{\an8}where you have
this rooting interest
428
00:21:29,337 --> 00:21:32,341
{\an8}that seems incongruous
with a good person.
429
00:21:32,440 --> 00:21:35,111
{\an8}But there's rooting interest
in the criminals.
430
00:21:35,209 --> 00:21:37,981
[Henry] You know,
we always called
each other good fellas.
431
00:21:38,079 --> 00:21:39,482
Like you'd say to somebody,
432
00:21:39,580 --> 00:21:41,484
"You're going to like this guy.
He's all right.
433
00:21:41,582 --> 00:21:43,953
He's a good fella.
He's one of us."
434
00:21:44,052 --> 00:21:45,989
You understand?
435
00:21:46,086 --> 00:21:47,423
[Scorsese] It was like a guy
telling a story
on a street corner.
436
00:21:47,521 --> 00:21:49,492
{\an8}And that's how I learned
about narrative.
437
00:21:49,590 --> 00:21:53,763
{\an8}It was how my father
told stories, my mother,
my friends.
438
00:21:53,861 --> 00:21:56,399
In this case, we took
Nick Pileggi's book, Wiseguy.
439
00:21:56,497 --> 00:21:59,602
We put images to it,
we made camera moves,
music, et cetera.
440
00:21:59,701 --> 00:22:01,437
And make it
with an energy level
441
00:22:01,536 --> 00:22:03,773
that would just
blow the place apart.
442
00:22:05,939 --> 00:22:10,513
But back in July 1990,
it was a war zone at a preview.
443
00:22:10,612 --> 00:22:12,448
What's the world coming to?
444
00:22:12,548 --> 00:22:14,383
[gunfire]
445
00:22:14,477 --> 00:22:17,353
[Scorsese] People were upset
because they weren't expecting
446
00:22:17,451 --> 00:22:20,623
that the violence in the film
was combined with humor.
447
00:22:20,722 --> 00:22:21,858
I'm funny how?
448
00:22:21,956 --> 00:22:23,793
I mean, funny like I'm a clown?
I amuse you?
449
00:22:24,626 --> 00:22:25,394
I make you laugh?
450
00:22:25,494 --> 00:22:27,563
I'm here to fucking amuse you?
451
00:22:27,662 --> 00:22:30,433
[Scorsese] But Warners
released the picture.
452
00:22:30,532 --> 00:22:31,835
And when finally it came out,
453
00:22:31,933 --> 00:22:33,970
people started laughing,
people were reacting,
454
00:22:34,068 --> 00:22:35,304
then we sat up.
455
00:22:36,404 --> 00:22:38,074
So, yeah, that's right.
456
00:22:38,167 --> 00:22:40,104
It was an extraordinary reaction.
457
00:22:40,207 --> 00:22:43,813
[Freeman] Goodfellas
reinvented the genre
Warner Bros. made famous
458
00:22:43,911 --> 00:22:48,112
and influenced every
Mafia picture that followed.
459
00:22:48,216 --> 00:22:50,286
Sixteen years later,
460
00:22:50,384 --> 00:22:54,390
{\an8}Scorsese would return
with another gritty
portrait of gangster life.
461
00:22:54,489 --> 00:22:58,394
{\an8}The Departed examined
the perils of power...
462
00:22:58,494 --> 00:23:01,464
and the price of loyalty.
463
00:23:01,562 --> 00:23:04,901
These twin benchmark films
were only made possible
464
00:23:05,000 --> 00:23:08,132
under the financial protection
of Warner Bros.
465
00:23:08,236 --> 00:23:09,739
And in the early '90s,
466
00:23:09,838 --> 00:23:12,541
no one supported
the studio family
467
00:23:12,640 --> 00:23:15,645
more than its godfather,
Steve Ross.
468
00:23:15,738 --> 00:23:18,581
[David Zaslav]
Steve Ross had a love
of this business,
469
00:23:18,679 --> 00:23:21,317
{\an8}but he also had a love
of being around
470
00:23:21,417 --> 00:23:22,652
great talent.
471
00:23:22,751 --> 00:23:24,754
And if you worked for Steve,
472
00:23:24,852 --> 00:23:27,857
he would love you
and you would never
want to leave.
473
00:23:27,955 --> 00:23:30,927
He was the head
of the corporation,
but he was a mensch.
474
00:23:31,025 --> 00:23:33,096
You would say,
"Steve, I need this or that,"
475
00:23:33,194 --> 00:23:34,630
even things like a plane.
476
00:23:34,728 --> 00:23:37,867
He'd send you a plane
if you asked for it.
477
00:23:37,965 --> 00:23:40,970
Steve Ross taught us to take
good care of all those people.
478
00:23:41,068 --> 00:23:44,373
It was one big family,
and we were doing
everything it took
479
00:23:44,467 --> 00:23:47,811
to keep the family together
of great talent.
480
00:23:47,909 --> 00:23:49,779
{\an8}[Kevin Costner] You know,
I came to Warner Bros.
481
00:23:49,878 --> 00:23:52,415
{\an8}because of Terry Semel
and Bob Daly.
482
00:23:55,984 --> 00:23:57,286
{\an8}And how they treated me.
483
00:23:58,752 --> 00:24:01,257
{\an8}[Maltin] They believed
in relationships,
484
00:24:01,357 --> 00:24:02,792
{\an8}long-term relationships,
485
00:24:02,890 --> 00:24:06,362
{\an8}that meant supporting
filmmakers and stars
486
00:24:06,461 --> 00:24:08,192
{\an8}in good times and bad.
487
00:24:08,296 --> 00:24:09,899
{\an8}It meant if they had one flop,
488
00:24:09,997 --> 00:24:13,136
{\an8}you didn't write them off
and kick them off the lot.
489
00:24:13,235 --> 00:24:16,305
{\an8}It meant, "We're in it with you
for the long haul."
490
00:24:22,142 --> 00:24:26,210
{\an8}[Freeman] The partner
who lasted the longest
and delivered the most
491
00:24:26,314 --> 00:24:29,085
{\an8}was none other
than Clint Eastwood.
492
00:24:29,178 --> 00:24:31,487
My name is
Gunnery Sergeant Highway.
493
00:24:31,585 --> 00:24:33,990
{\an8}I've drunk more beer
and pissed more blood
494
00:24:34,088 --> 00:24:35,324
{\an8}and banged more quiff,
495
00:24:35,424 --> 00:24:36,625
{\an8}and busted more...
496
00:24:38,492 --> 00:24:40,163
{\an8}than all you numbnuts
put together.
497
00:24:40,261 --> 00:24:43,632
{\an8}Clint Eastwood
deserves anything,
as far as I'm concerned.
498
00:24:43,732 --> 00:24:45,835
{\an8}He's the rock of the studio.
499
00:24:48,035 --> 00:24:50,073
{\an8}In all the movies
Clint Eastwood's made
at Warner Bros.,
500
00:24:50,172 --> 00:24:53,877
{\an8}he's never gone over budget.
Never gone over budget.
501
00:24:53,974 --> 00:24:56,646
{\an8}Terry and I visited
Clint Eastwood
on every single movie
502
00:24:56,745 --> 00:24:58,682
{\an8}when he was shooting it.
503
00:24:58,780 --> 00:25:01,017
{\an8}You know, he's the best.
504
00:25:01,116 --> 00:25:04,087
{\an8}Get the security.
Call security immediately.
505
00:25:04,186 --> 00:25:06,189
{\an8}[Semel] I can't wait to see you
in another Western.
506
00:25:06,288 --> 00:25:08,692
{\an8}- Yeah.
- Yeah, well, we'll do it.
507
00:25:08,789 --> 00:25:11,127
{\an8}[Clint Eastwood]
Terry and Bob were terrific.
508
00:25:11,226 --> 00:25:14,798
{\an8}And they're the ones
that gave me Unforgiven
to do.
509
00:25:17,499 --> 00:25:18,935
{\an8}How about it, Will?
510
00:25:20,102 --> 00:25:21,470
{\an8}How about what?
511
00:25:21,570 --> 00:25:24,874
How about being my partner?
512
00:25:24,973 --> 00:25:27,644
[Freeman] Daly and Semel
encouraged Eastwood
513
00:25:27,741 --> 00:25:31,275
to dust off an old script
from 1976.
514
00:25:31,379 --> 00:25:35,719
It was the story
of an aging outlaw
in the Old West,
515
00:25:35,816 --> 00:25:39,055
but Eastwood never felt
old enough to play him.
516
00:25:39,153 --> 00:25:44,327
I read it and I said,
"Jesus, this is really good.
I'd better do this."
517
00:25:44,425 --> 00:25:48,732
[Freeman] Unforgiven rectified
the traditional Western.
518
00:25:48,830 --> 00:25:51,968
Eastwood told a grim tale
of regret,
519
00:25:52,065 --> 00:25:56,439
one where the act of violence
harmed even the culprit.
520
00:25:57,205 --> 00:25:59,408
Take a drink, kid.
521
00:25:59,506 --> 00:26:02,011
[Eastwood] It wasn't just your
routine deal of the bad guys
come over the hill
522
00:26:02,110 --> 00:26:04,848
and the good guy
fights 'em off or whatever.
523
00:26:04,947 --> 00:26:08,451
It had this whole deal
of this bad history,
524
00:26:08,549 --> 00:26:11,187
and how he was
a haunted person.
525
00:26:11,286 --> 00:26:13,089
I've seen the angel of death.
526
00:26:13,188 --> 00:26:16,459
So the hero is everything
that isn't heroic.
527
00:26:17,225 --> 00:26:19,323
I don't deserve this.
528
00:26:19,427 --> 00:26:21,630
Deserve's got nothing
to do with it.
529
00:26:26,268 --> 00:26:27,704
Look down there.
530
00:26:27,803 --> 00:26:29,906
Look down at him.
You can't believe it.
531
00:26:30,005 --> 00:26:32,776
First thing you learn about
Clint is he works.
532
00:26:34,009 --> 00:26:34,911
Get him. Action.
533
00:26:35,010 --> 00:26:37,580
[Freeman]
He's really on the job.
534
00:26:37,679 --> 00:26:41,818
I don't think he's ever going
to say, "That was great.
Let's do one more."
535
00:26:41,917 --> 00:26:44,020
I like working with somebody
who's just,
536
00:26:44,118 --> 00:26:46,656
they know what they want,
they know when they get it, and...
537
00:26:46,755 --> 00:26:48,725
we're moving on.
538
00:26:48,823 --> 00:26:52,862
And when I saw Unforgiven
cut together,
he'd done it again.
539
00:26:54,462 --> 00:26:56,132
This is really a terrific film.
540
00:26:57,565 --> 00:27:01,638
It's one those
that's gonna last, I think.
541
00:27:02,504 --> 00:27:05,675
You better bury Ned right!
542
00:27:05,773 --> 00:27:09,112
Or I'll come back
and kill every one of you
sons of bitches.
543
00:27:09,210 --> 00:27:11,815
[Freeman] Unforgiven showcased
Eastwood's ability
544
00:27:11,912 --> 00:27:15,318
to walk the line between
the popular and the artistic,
545
00:27:15,417 --> 00:27:20,623
which certified his reputation
as a master director.
546
00:27:20,721 --> 00:27:25,261
As Eastwood entered
the third act of his career
with Warner Bros.,
547
00:27:25,360 --> 00:27:29,393
{\an8}he crafted more provocative,
critically acclaimed films.
548
00:27:29,498 --> 00:27:31,634
{\an8}Whether a neo-noir thriller...
549
00:27:32,835 --> 00:27:34,638
{\an8}a World War II epic...
550
00:27:34,736 --> 00:27:37,641
{\an8}or a knockout sports drama...
551
00:27:37,739 --> 00:27:40,644
{\an8}Eastwood toppled every genre.
552
00:27:40,742 --> 00:27:42,445
{\an8}[Frankie] It's not about
hitting it hard.
553
00:27:42,544 --> 00:27:43,913
It's how good you hit it.
554
00:27:46,081 --> 00:27:49,786
[Freeman] That reinvention
began in 1992,
555
00:27:49,885 --> 00:27:52,756
when Unforgiven
rode into the Oscars
556
00:27:52,854 --> 00:27:54,958
with nine nominations.
557
00:27:55,057 --> 00:27:58,662
Including Best Director
and Best Picture.
558
00:27:58,759 --> 00:28:02,598
And the Oscar
for the Best Picture of 1992
559
00:28:03,365 --> 00:28:07,036
goes to Clint Eastwood.
560
00:28:12,841 --> 00:28:15,044
I want to thank Bob Daly
and Terry Semel,
561
00:28:15,143 --> 00:28:18,347
the whole executive strata
over there.
562
00:28:18,446 --> 00:28:22,618
We lost... Warner Bros. lost
a great friend,
Steve Ross, this year.
563
00:28:22,718 --> 00:28:25,621
Steve did get
to see this picture,
564
00:28:25,721 --> 00:28:27,724
and he predicted this outcome,
565
00:28:27,823 --> 00:28:31,627
so I'll dedicate this
to Steve Ross.
566
00:28:32,660 --> 00:28:34,764
[Freeman]
Only four months prior,
567
00:28:34,857 --> 00:28:37,867
Steve Ross succumbed
to a secret seven-year battle
568
00:28:37,966 --> 00:28:39,335
with prostate cancer.
569
00:28:39,434 --> 00:28:43,707
His passing stunned
his studio family.
570
00:28:43,805 --> 00:28:46,509
I was shocked, just shocked.
571
00:28:46,608 --> 00:28:48,411
He was one of a kind.
572
00:28:48,509 --> 00:28:51,180
When he died, that was a big
loss for the company.
573
00:28:53,013 --> 00:28:55,551
[Meyer] I just remember him
being a great boss
574
00:28:55,651 --> 00:28:59,255
because he had confidence,
575
00:28:59,354 --> 00:29:00,824
he trusted you.
576
00:29:02,157 --> 00:29:06,262
{\an8}He loved people,
and he loved talent.
577
00:29:06,361 --> 00:29:09,232
[Eastwood] He had
just a tremendous
amount of charisma.
578
00:29:09,331 --> 00:29:12,969
He just knew how to make
everybody feel like
579
00:29:13,068 --> 00:29:15,705
this was the greatest place
in the world.
580
00:29:16,338 --> 00:29:17,573
But I miss him.
581
00:29:20,875 --> 00:29:22,611
[Daly] When Steve Ross died,
582
00:29:22,711 --> 00:29:25,782
I had an unlimited budget
583
00:29:25,880 --> 00:29:28,785
to do anything I wanted to do
in honor of Steve Ross,
584
00:29:29,918 --> 00:29:31,855
so I built
the Steve Ross Theater.
585
00:29:34,750 --> 00:29:37,260
And I decided,
when I'm building the theater,
586
00:29:37,359 --> 00:29:39,295
let's put a museum in.
587
00:29:41,163 --> 00:29:42,999
[Freeman] In that same spirit,
588
00:29:43,096 --> 00:29:46,469
Daly took the opportunity
to build a corporate archive
589
00:29:46,568 --> 00:29:49,939
that would restore
and showcase nearly
half a century's worth
590
00:29:50,038 --> 00:29:54,043
of costumes, props,
and mementos.
591
00:29:54,141 --> 00:29:58,614
{\an8}From then on, Warner Bros.
has rallied around every
effort to preserve,
592
00:29:58,714 --> 00:30:01,484
not only its physical history,
593
00:30:01,583 --> 00:30:03,286
but films themselves.
594
00:30:07,220 --> 00:30:10,660
[Scorsese] Myself, Spielberg,
a number of other people,
were afraid that
595
00:30:10,759 --> 00:30:12,829
the films themselves
would disappear.
596
00:30:12,928 --> 00:30:15,298
Literally disappear.
597
00:30:15,396 --> 00:30:17,466
I feel that the people
who made the films
598
00:30:17,565 --> 00:30:20,303
have a responsibility
to the rest
of the world, really.
599
00:30:20,401 --> 00:30:24,140
They have an obligation
to share that
for future generations,
600
00:30:24,940 --> 00:30:26,810
for our children.
601
00:30:26,908 --> 00:30:28,745
[Christopher Nolan]
Warner Bros.,
of all the studios,
602
00:30:28,843 --> 00:30:30,213
has always done a very good job
603
00:30:30,312 --> 00:30:33,817
{\an8}of protecting their assets
and future-proofing them
604
00:30:33,915 --> 00:30:35,618
{\an8}preserving their negatives.
605
00:30:35,716 --> 00:30:38,321
There's a lot of money
that has to go
into these processes,
606
00:30:38,419 --> 00:30:40,056
but they're
extraordinarily important.
607
00:30:42,056 --> 00:30:44,828
[Scorsese] Films allow us
to see ourselves, of course,
608
00:30:44,927 --> 00:30:47,697
see who we've been,
how we've evolved.
609
00:30:47,795 --> 00:30:51,500
There may be things
we don't like to see about
ourselves in the past.
610
00:30:51,599 --> 00:30:53,336
We don't really have
a chance of knowing
where we're going
611
00:30:53,435 --> 00:30:55,972
unless we know
where the hell we've been.
612
00:30:58,339 --> 00:31:02,078
[Freeman] The studio
never lost sight
of its moral duty.
613
00:31:02,177 --> 00:31:06,515
Like Harry and Jack Warner,
Daly and Semel chose projects
614
00:31:06,614 --> 00:31:10,353
{\an8}that critiqued recent
American history
on an epic scale.
615
00:31:11,553 --> 00:31:13,890
{\an8}Films of reckoning.
616
00:31:13,988 --> 00:31:16,292
{\an8}[Nava] One of the things
Stanley Kubrick
would always say is,
617
00:31:16,391 --> 00:31:20,296
{\an8}"If you make a movie that
everybody likes, you failed."
618
00:31:20,395 --> 00:31:23,432
{\an8}Because a great movie
has to get under people's skin.
619
00:31:23,531 --> 00:31:26,670
From now on, you will speak
only when spoken to.
620
00:31:26,767 --> 00:31:30,740
And the first and last words
out of your filthy sewers
will be "Sir."
621
00:31:30,839 --> 00:31:32,541
Do you maggots understand that?
622
00:31:32,641 --> 00:31:34,043
[all] Sir, yes, sir!
623
00:31:34,142 --> 00:31:35,979
Bullshit. I can't hear you.
624
00:31:36,077 --> 00:31:37,881
Sound off like you got a pair!
625
00:31:37,979 --> 00:31:39,949
[all] Sir, yes, sir!
626
00:31:40,047 --> 00:31:43,987
[Freeman] Stanley Kubrick
returned with
a razor-sharp examination
627
00:31:44,085 --> 00:31:48,124
of the Vietnam War,
and the wounds that linger.
628
00:31:48,223 --> 00:31:50,193
Kubrick stopped at nothing
to confront
629
00:31:50,291 --> 00:31:52,996
the hard truths
of human nature.
630
00:31:53,094 --> 00:31:55,598
Private Joker, why did you
join my beloved Corps?
631
00:31:55,698 --> 00:31:56,900
Sir, to kill, sir!
632
00:31:56,998 --> 00:31:58,835
- So you're a killer?
- Sir, yes, sir!
633
00:31:58,933 --> 00:32:00,436
Let me see your war face.
634
00:32:00,536 --> 00:32:02,171
[screams]
635
00:32:02,270 --> 00:32:05,308
You don't scare me. Work on it.
636
00:32:05,406 --> 00:32:08,177
[Modine]
For the first three months,
we never completed
637
00:32:08,276 --> 00:32:10,046
{\an8}anything that was
on the call sheet
638
00:32:10,144 --> 00:32:12,882
{\an8}that said what we were going
to film the next day.
639
00:32:12,981 --> 00:32:14,784
Could you stand the way
you do with your gun?
640
00:32:14,883 --> 00:32:16,552
Or simulate the gun?
641
00:32:16,651 --> 00:32:18,855
[Modine] He said,
"Who cares how many
takes I do?
642
00:32:18,953 --> 00:32:20,523
Would you ever go up to Picasso
643
00:32:20,622 --> 00:32:23,760
and say, 'Hey, Pablo, how many
strokes in that painting?'"
644
00:32:23,859 --> 00:32:25,161
[Kubrick]
Do something brilliant.
645
00:32:27,529 --> 00:32:30,599
[Daly] He is who he is.
He's an icon.
646
00:32:30,699 --> 00:32:32,635
You have to play
by their rules.
647
00:32:32,733 --> 00:32:35,438
John Calley was playing
by their rules long before
we got there.
648
00:32:35,536 --> 00:32:37,073
You think
we could change the rules?
649
00:32:37,172 --> 00:32:38,942
There was
no changing the rules.
650
00:32:39,040 --> 00:32:41,077
[Modine] I remember
having conversations
with Stanley
651
00:32:41,176 --> 00:32:44,513
about Warner Bros.,
Terry Semel and Bob Daly,
652
00:32:44,613 --> 00:32:46,482
that they had his back.
653
00:32:46,581 --> 00:32:48,985
It's very important
to have producers
that will say no,
654
00:32:49,084 --> 00:32:50,715
but producers
that will say yes.
655
00:32:50,819 --> 00:32:52,656
Should we try it?
Let's give it a crack.
656
00:32:52,753 --> 00:32:56,292
[Modine] Sometimes it's hard
to raise money and greenlight
657
00:32:56,390 --> 00:32:59,724
a picture that's going
to make people uncomfortable.
658
00:32:59,828 --> 00:33:01,698
People like Hollywood endings,
659
00:33:01,795 --> 00:33:05,134
but we live in a world
where that's not necessarily
the truth.
660
00:33:09,404 --> 00:33:12,976
[praying in Vietnamese]
Oh... my God...
661
00:33:13,074 --> 00:33:15,478
[Modine, in English]
There's an expression
they use in combat
662
00:33:15,576 --> 00:33:18,414
where somebody gets
a thousand-yard stare.
663
00:33:20,148 --> 00:33:22,085
When you see beyond this life
664
00:33:22,183 --> 00:33:24,420
because you've taken
somebody else's life.
665
00:33:24,920 --> 00:33:26,422
[gunshot]
666
00:33:26,521 --> 00:33:29,025
When I pulled the trigger
on that young girl,
667
00:33:29,123 --> 00:33:32,395
I wanted the audience
to feel Private Joker died.
668
00:33:32,493 --> 00:33:35,932
He was no longer
ever going to be
the boy that he was
669
00:33:36,030 --> 00:33:38,067
before he pulled the trigger.
670
00:33:40,368 --> 00:33:43,768
[Stone] I went to Nam
as a soldier in '67, '68,
671
00:33:43,872 --> 00:33:46,843
{\an8}and I saw things
that just shocked me.
672
00:33:48,543 --> 00:33:51,848
And you see a lot of ugliness
in your fellow man.
673
00:33:51,947 --> 00:33:53,316
When you come back from war,
674
00:33:53,414 --> 00:33:54,684
you just don't look
at people the same
675
00:33:54,783 --> 00:33:55,919
or relate to them the same way.
676
00:33:56,018 --> 00:33:57,754
You don't have friends.
677
00:33:57,851 --> 00:34:00,123
You don't trust anybody.
And then eventually
you get to the point
678
00:34:00,221 --> 00:34:02,191
where you don't trust
your government anymore.
679
00:34:03,692 --> 00:34:04,828
[gunshot]
680
00:34:06,161 --> 00:34:09,432
[indistinct, overlapping
news reports]
681
00:34:09,530 --> 00:34:11,768
[male reporter]
In Dallas, Texas,
three shots were fired
682
00:34:11,865 --> 00:34:15,304
at President Kennedy's
motorcade
in downtown Dallas.
683
00:34:15,403 --> 00:34:17,707
The first reports say
that President Kennedy
684
00:34:17,805 --> 00:34:21,210
{\an8}has been seriously wounded
by this shooting.
685
00:34:23,878 --> 00:34:27,216
{\an8}[Stone] Terry Semel
and Bob Daly came after me.
686
00:34:27,315 --> 00:34:29,919
{\an8}I sat down to dinner
with them one night,
687
00:34:30,013 --> 00:34:33,456
and I told them the story
of what I wanted to do.
688
00:34:33,554 --> 00:34:36,359
We're going to revisit
the events in the beginning,
689
00:34:36,457 --> 00:34:38,594
and, as the story goes along,
690
00:34:38,693 --> 00:34:43,266
we're going to show you
what really happened
in the last reel.
691
00:34:43,365 --> 00:34:45,234
They killed a president
of the United States,
692
00:34:45,333 --> 00:34:47,170
and they got away with it.
693
00:34:47,263 --> 00:34:50,439
[Freeman] Stone's pitch
was incendiary, but timely,
694
00:34:50,538 --> 00:34:53,710
marshaling the anger
that gnawed
at the country's psyche
695
00:34:53,807 --> 00:34:58,114
after Vietnam, Watergate,
and Iran-Contra.
696
00:34:58,211 --> 00:35:03,219
Stone raised
difficult questions
few had dared to ask.
697
00:35:03,318 --> 00:35:05,154
[Stone] Warners
was relatively conservative,
698
00:35:05,248 --> 00:35:09,358
but they were a studio willing
to take a risk at that time.
699
00:35:10,658 --> 00:35:13,858
Kevin was also known
as a conservative,
700
00:35:13,962 --> 00:35:16,332
so this was pretty scary
to him, perhaps.
701
00:35:16,431 --> 00:35:18,067
[Costner] One thing
I said with Oliver,
702
00:35:18,166 --> 00:35:19,803
I said, "If we can't
ever prove something,
703
00:35:19,900 --> 00:35:22,438
don't have me say,
'This is what happened,'
704
00:35:22,537 --> 00:35:25,574
{\an8}because we're trying to
fill in the blanks of history.
705
00:35:25,674 --> 00:35:28,077
Let me say, 'Let us suppose.'"
706
00:35:28,176 --> 00:35:29,578
And, you know, he honored that.
707
00:35:29,677 --> 00:35:32,015
Maybe Oswald
didn't even pull the trigger.
708
00:35:32,112 --> 00:35:36,052
Nitrate tests indicate
he hadn't even fired a rifle
on November 22nd.
709
00:35:36,151 --> 00:35:38,521
I feel like JFK was
almost like a fight
710
00:35:38,619 --> 00:35:41,024
that everybody knows
is going to happen
after the school.
711
00:35:41,121 --> 00:35:45,061
When you think about
the people that the Kennedys
had issues with.
712
00:35:45,160 --> 00:35:46,529
You are so naive.
713
00:35:46,628 --> 00:35:50,767
J. Edgar Hoover,
Castro, the CIA, FBI.
714
00:35:50,866 --> 00:35:51,935
[man] Oswald!
715
00:35:52,034 --> 00:35:53,569
[Costner] Not to mention Hoffa.
716
00:35:53,668 --> 00:35:55,338
They don't give a shit
if he gets killed.
717
00:35:55,437 --> 00:35:57,641
It's a mystery wrapped
in a riddle inside an enigma!
718
00:35:57,739 --> 00:36:01,110
They decided to not stop it
because they didn't like him.
719
00:36:01,209 --> 00:36:03,312
We're talking about
our government here.
720
00:36:03,411 --> 00:36:04,881
No. We're talking
about a crime, Bill,
721
00:36:04,980 --> 00:36:06,349
pure and simple.
722
00:36:06,448 --> 00:36:08,417
Now we're through
the looking glass here, people.
723
00:36:09,150 --> 00:36:10,386
White is black...
724
00:36:11,185 --> 00:36:12,355
and black is white.
725
00:36:14,388 --> 00:36:17,727
[Stone] We started the movie
and we had a tremendous amount
of interference
726
00:36:17,826 --> 00:36:19,362
from the press.
727
00:36:19,460 --> 00:36:21,698
They were knocking the film
before it was made.
728
00:36:21,797 --> 00:36:23,099
Washington Post,
729
00:36:23,198 --> 00:36:26,002
Newsweek, horrible stories.
730
00:36:26,100 --> 00:36:27,603
The film came out.
731
00:36:27,703 --> 00:36:30,039
Tremendously exciting reviews.
732
00:36:30,137 --> 00:36:33,977
But I got nailed on a lot
of shows, and people
were coming after me.
733
00:36:34,075 --> 00:36:37,146
Like flies they came,
and attacked and attacked.
734
00:36:37,245 --> 00:36:39,716
[Costner] I got death threats
about doing it,
735
00:36:39,814 --> 00:36:41,117
which kind of shocked me.
736
00:36:41,215 --> 00:36:43,219
This has become
a dangerous country, sir,
737
00:36:43,318 --> 00:36:47,023
when you cannot trust
anyone anymore, when you
cannot tell the truth.
738
00:36:47,122 --> 00:36:48,557
Warner Bros. was great,
739
00:36:48,656 --> 00:36:52,095
and I have to say,
they fought for the film.
740
00:36:52,193 --> 00:36:56,332
[Freeman] The outcry only drew
audiences into theaters.
741
00:36:56,431 --> 00:36:59,964
In turn, Warner Bros.
used the publicity
742
00:37:00,063 --> 00:37:01,805
as ammunition
to lobby Congress,
743
00:37:01,903 --> 00:37:07,777
which declassified JFK files
12 years sooner than expected.
744
00:37:07,876 --> 00:37:10,246
The film still sparks debate.
745
00:37:10,345 --> 00:37:15,318
[Stewart] JFK is a film
that really forces us
to think about
746
00:37:15,416 --> 00:37:17,286
what the political
possibilities could have been
747
00:37:17,385 --> 00:37:20,924
if many of our key
progressive leaders
748
00:37:21,023 --> 00:37:23,988
had not been gunned down.
749
00:37:24,092 --> 00:37:25,862
[interviewer] We still need
an action program
750
00:37:25,960 --> 00:37:28,497
that will eliminate these evils
that are in our community.
751
00:37:28,596 --> 00:37:31,100
Do you consider
yourself militant?
752
00:37:31,199 --> 00:37:33,970
[chuckles]
I consider myself Malcolm.
753
00:37:34,069 --> 00:37:36,139
{\an8}Oh, I say, and I say it again.
754
00:37:36,239 --> 00:37:37,440
{\an8}You've been had!
755
00:37:38,307 --> 00:37:39,342
You've been took!
756
00:37:40,141 --> 00:37:41,377
You've been hoodwinked!
757
00:37:41,944 --> 00:37:43,007
Bamboozled!
758
00:37:43,612 --> 00:37:44,547
Led astray!
759
00:37:44,646 --> 00:37:46,750
Run amuck!
760
00:37:46,848 --> 00:37:49,352
{\an8}[Freeman] During a year
of racial uprising,
761
00:37:49,450 --> 00:37:53,422
{\an8}Warner Bros. released
Spike Lee's
uncompromising saga
762
00:37:53,522 --> 00:37:55,224
{\an8}of an American leader
763
00:37:55,323 --> 00:37:58,227
{\an8}and his struggle
for Black liberation.
764
00:37:58,326 --> 00:38:00,897
{\an8}When Spike and I
first met at NYU,
765
00:38:00,996 --> 00:38:02,866
first day,
766
00:38:02,964 --> 00:38:06,030
there was only Spike, me,
and I think
two other Black folks.
767
00:38:06,134 --> 00:38:07,436
One of our dreams was actually
768
00:38:07,535 --> 00:38:09,939
to do The Autobiography
of Malcolm X.
769
00:38:10,038 --> 00:38:13,209
Didn't know if we would
ever get a chance to.
770
00:38:13,308 --> 00:38:15,178
And then we got the chance to.
771
00:38:15,276 --> 00:38:18,347
[Scorsese] Malcolm X
was an American epic,
beautifully made.
772
00:38:18,446 --> 00:38:20,784
Denzel Washington
is superlative.
773
00:38:20,881 --> 00:38:26,155
The emotion in it just flows
out of the edges of the screen.
774
00:38:26,253 --> 00:38:29,693
[Dickerson]
We wanted to put Malcolm
right in front of the people.
775
00:38:29,790 --> 00:38:33,329
Malcolm was not one man.
He was several people.
776
00:38:33,427 --> 00:38:35,198
His whole life was a journey.
777
00:38:35,297 --> 00:38:37,734
[people chanting]
We want justice!
We want justice!
778
00:38:37,832 --> 00:38:43,707
Malcolm X was a person
that spoke true truth to power.
779
00:38:43,805 --> 00:38:47,243
And what he was fighting for,
we're still fighting for.
780
00:38:47,336 --> 00:38:49,412
[Costner] I think
that Warner Bros. want to be
781
00:38:49,510 --> 00:38:52,415
more than just
about action movies,
782
00:38:52,515 --> 00:38:55,819
more than just about hits.
783
00:38:55,916 --> 00:39:00,084
To look at our past,
and do it effectively,
is to teach.
784
00:39:00,188 --> 00:39:03,760
{\an8}[Freeman]
Whether national icons
or local heroes,
785
00:39:03,859 --> 00:39:06,495
{\an8}Warner Bros. dramatized
true life stories
786
00:39:06,594 --> 00:39:10,299
{\an8}that have lasting impact
far beyond the box office.
787
00:39:10,398 --> 00:39:13,169
{\an8}[Edward James Olmos]
Thousands of teachers
all over America
788
00:39:13,267 --> 00:39:17,006
{\an8}have been using the film
for 35 years
789
00:39:17,105 --> 00:39:18,875
{\an8}in their classroom.
790
00:39:18,974 --> 00:39:20,877
Stand and Deliver, to me,
791
00:39:20,976 --> 00:39:26,783
has really become
what this art form can do
792
00:39:26,882 --> 00:39:28,084
at the highest level.
793
00:39:28,183 --> 00:39:29,518
There's nothing like it.
794
00:39:31,787 --> 00:39:33,622
[Freeman]
But Warner Bros. applied
795
00:39:33,721 --> 00:39:36,259
that same level
of social commentary
to television,
796
00:39:36,356 --> 00:39:41,998
where creators found
a more pervasive way
to blend fact and fiction.
797
00:39:42,097 --> 00:39:44,100
[enthusiastic greetings]
798
00:39:44,199 --> 00:39:50,439
{\an8}Murphy Brown
was an unusually
strong female lead.
799
00:39:50,538 --> 00:39:53,276
{\an8}She was
a television journalist,
800
00:39:53,374 --> 00:39:55,011
{\an8}very successful in her field.
801
00:39:55,104 --> 00:39:56,846
{\an8}You can do better than that.
Come on!
802
00:39:56,945 --> 00:40:00,717
{\an8}Everybody's talking about
sitcom character Murphy Brown.
803
00:40:00,815 --> 00:40:03,252
{\an8}It felt so current.
It felt so lively.
804
00:40:03,351 --> 00:40:05,188
{\an8}You had to tune in
to Murphy Brown
805
00:40:05,285 --> 00:40:08,725
{\an8}to see what the writers
were saying
about current events.
806
00:40:08,823 --> 00:40:13,562
{\an8}If you remember,
our vice-president at
the time made a blunder
807
00:40:13,661 --> 00:40:17,400
{\an8}because Murphy Brown
was having a baby
and wasn't married.
808
00:40:17,499 --> 00:40:19,163
{\an8}It became a big issue.
809
00:40:19,262 --> 00:40:23,072
{\an8}Bearing babies irresponsibly
is simply wrong.
810
00:40:23,171 --> 00:40:27,276
It doesn't help matters when
primetime TV has Murphy Brown.
811
00:40:27,376 --> 00:40:29,245
He is talking about you.
812
00:40:30,012 --> 00:40:31,514
There was a firestorm.
813
00:40:31,612 --> 00:40:36,285
It became this sort of
headline for days.
814
00:40:36,384 --> 00:40:40,857
{\an8}"Murphy has baby,
Quayle has cow!"
815
00:40:40,955 --> 00:40:44,794
We were not trying to negate
the importance of fathers.
816
00:40:44,893 --> 00:40:46,896
I didn't just wake up
one morning and say,
817
00:40:46,994 --> 00:40:50,233
"Oh, gee, I can't get in
for a facial. I might
as well have a baby."
818
00:40:50,331 --> 00:40:52,902
We were trying
to reflect the reality
819
00:40:53,000 --> 00:40:57,406
of what was happening
in the world at that time,
820
00:40:57,505 --> 00:41:00,076
and people
appreciated the writing
821
00:41:00,175 --> 00:41:02,411
and the ambition of it.
822
00:41:02,511 --> 00:41:05,915
Everything rang true.
823
00:41:06,014 --> 00:41:08,051
[Freeman]
As Murphy Brown took off,
824
00:41:08,149 --> 00:41:10,654
Warner Bros. purchased Lorimar,
825
00:41:10,751 --> 00:41:14,557
a production company
with a TV division so prolific
826
00:41:14,655 --> 00:41:18,728
{\an8}that it earned the nickname
the "fifth network."
827
00:41:18,827 --> 00:41:20,463
[Daly] When we acquired Lorimar,
828
00:41:20,561 --> 00:41:23,227
we ended up getting,
not only good assets,
829
00:41:23,332 --> 00:41:24,768
meaning shows,
830
00:41:24,867 --> 00:41:27,336
we ended up getting
unbelievable people.
831
00:41:27,435 --> 00:41:30,707
[Freeman] As big
as the hits that Lorimar
brought to Warner Bros.,
832
00:41:30,804 --> 00:41:34,944
it was a homegrown show
with a bunch of unknown actors
833
00:41:35,043 --> 00:41:37,714
that would become
the studio's biggest hit,
834
00:41:37,811 --> 00:41:41,117
and one of the greatest shows
in television history.
835
00:41:41,216 --> 00:41:43,586
["Friends" theme song playing]
836
00:41:45,888 --> 00:41:47,590
[Marta Kauffman]
When the six of them,
837
00:41:47,688 --> 00:41:49,458
for the first time
in the show, were together,
838
00:41:49,558 --> 00:41:51,861
{\an8}I got chills up my spine.
839
00:41:51,960 --> 00:41:53,930
How you doing?
840
00:41:54,028 --> 00:41:57,967
[David Crane]
It was like they'd worked
together for years.
841
00:41:58,066 --> 00:42:00,403
[both groan in relief]
842
00:42:00,502 --> 00:42:02,305
[both groan in relief]
843
00:42:02,403 --> 00:42:05,174
{\an8}You heard the material
just rise.
844
00:42:05,273 --> 00:42:06,575
{\an8}What is Chandler Bing's job?
845
00:42:06,674 --> 00:42:08,945
{\an8}Oh, oh! He's a transpons...
Transponster!
846
00:42:11,412 --> 00:42:14,583
That's not even a word!
847
00:42:14,682 --> 00:42:18,054
[Quinta Brunson]
It's not easy to write jokes
for six characters.
848
00:42:20,554 --> 00:42:22,692
{\an8}A Chandler line
is a Chandler line.
849
00:42:22,791 --> 00:42:24,193
{\an8}It can't be given to Joey.
850
00:42:24,293 --> 00:42:25,895
Oh, my God!
851
00:42:25,993 --> 00:42:29,293
That is so not the opposite
of taking somebody's underwear.
852
00:42:29,398 --> 00:42:31,034
[Ross] Here we go. Pivot!
853
00:42:31,933 --> 00:42:32,769
Pivot!
854
00:42:34,435 --> 00:42:37,974
- Pivot!
- Shut up, shut up, shut up!
855
00:42:38,073 --> 00:42:41,277
[Crane] You rarely in life
get any experience
856
00:42:41,376 --> 00:42:43,546
where everything
comes together.
857
00:42:43,645 --> 00:42:47,450
It's talented people,
who connect with the writing.
858
00:42:47,549 --> 00:42:48,617
It's lightning in a bottle.
859
00:42:48,717 --> 00:42:52,055
♪ Smelly cat, smelly cat ♪
860
00:42:52,148 --> 00:42:54,991
♪ What are they feeding you? ♪
861
00:42:55,090 --> 00:42:56,625
No, no, no. I'm sorry.
It's... [clears throat]
862
00:42:56,725 --> 00:42:59,829
♪ Smelly cat, smelly cat ♪
863
00:43:00,929 --> 00:43:03,266
Don't feel bad
'cause it's a hard song.
864
00:43:03,366 --> 00:43:04,600
Yeah.
865
00:43:06,034 --> 00:43:07,603
{\an8}[Kevin Bright]
After the first season,
866
00:43:07,702 --> 00:43:10,039
{\an8}we were the number one show
on television.
867
00:43:10,138 --> 00:43:13,276
{\an8}And the whole thing kind of
exploded at that point.
868
00:43:13,374 --> 00:43:17,747
But we felt the pressure
to keep telling
the story better.
869
00:43:17,846 --> 00:43:19,343
I can't have sex with you.
870
00:43:19,447 --> 00:43:21,584
- And why not?
- Because I'm in love
with Monica!
871
00:43:21,683 --> 00:43:23,347
You're-- You're what?
872
00:43:25,053 --> 00:43:27,090
[Freeman]
As the superstars aligned,
873
00:43:27,189 --> 00:43:31,327
their ensemble chemistry
created a cultural frenzy.
874
00:43:31,427 --> 00:43:33,062
Yeah, baby.
875
00:43:33,161 --> 00:43:36,465
[Freeman] The show averaged
25 million viewers a week,
876
00:43:36,564 --> 00:43:39,068
making it television's
number-one comedy
877
00:43:39,162 --> 00:43:40,904
for six straight seasons.
878
00:43:41,001 --> 00:43:42,906
[Channing Dungey]
It's a bunch of friends
hanging out in a cafe,
879
00:43:43,004 --> 00:43:45,041
{\an8}spending time with each other
and no one's on their phones
880
00:43:45,139 --> 00:43:47,744
{\an8}because, of course,
there weren't phones
when the show was made.
881
00:43:47,842 --> 00:43:49,713
They were filming a show
that very much spoke to
882
00:43:49,811 --> 00:43:51,347
the era that we were living in,
883
00:43:51,445 --> 00:43:53,449
but there's something
almost nostalgic about it
884
00:43:53,548 --> 00:43:55,451
for young people
who are watching
the show today.
885
00:43:55,549 --> 00:43:59,022
This is everybody.
This is Chandler,
and Phoebe, and Joey,
886
00:43:59,121 --> 00:44:01,490
- and you remember
my brother Ross?
- Sure.
887
00:44:01,590 --> 00:44:02,525
- Hey.
- Hi.
888
00:44:02,625 --> 00:44:03,993
- [gasps]
- [grunts]
889
00:44:04,092 --> 00:44:05,628
[Kauffman] In the beginning,
what struck me
890
00:44:05,727 --> 00:44:08,631
was how innocent
and naive they were.
891
00:44:08,730 --> 00:44:11,167
And maybe the show
was innocent and naive.
892
00:44:11,266 --> 00:44:13,269
As they aged, the show ages,
893
00:44:13,368 --> 00:44:16,940
and they're now facing
the realities of growing up.
894
00:44:17,039 --> 00:44:19,508
If the show is about
that time in your life
895
00:44:19,607 --> 00:44:21,044
when your friends
are your family,
896
00:44:21,143 --> 00:44:23,446
once you have family
of your own,
897
00:44:23,545 --> 00:44:25,614
it's no longer that time.
898
00:44:27,049 --> 00:44:28,217
Thank you.
899
00:44:28,317 --> 00:44:29,819
I guess this is it.
900
00:44:30,252 --> 00:44:31,454
Wow.
901
00:44:32,820 --> 00:44:34,658
This is harder
than I thought it would be.
902
00:44:34,755 --> 00:44:36,893
{\an8}[Freeman] The Friends
farewell remains
903
00:44:36,992 --> 00:44:41,197
{\an8}the most watched
television finale since 2004,
904
00:44:41,296 --> 00:44:46,970
when 52 million viewers
tuned in to say goodbye.
905
00:44:47,068 --> 00:44:53,643
[Kauffman] It was not just
the end of a series,
906
00:44:53,741 --> 00:44:56,579
it was the end of ten years
of relationships.
907
00:44:59,780 --> 00:45:01,751
It's the kind of TV
I really enjoy.
908
00:45:01,849 --> 00:45:06,189
TV that withstands
the test of time and
can bring people together.
909
00:45:08,289 --> 00:45:10,393
[Freeman] Yet when
Warner Bros. debuted another
910
00:45:10,491 --> 00:45:14,698
freshman cast of characters
in the fall of 1994,
911
00:45:14,797 --> 00:45:16,733
lightning struck twice.
912
00:45:17,900 --> 00:45:20,036
{\an8}[indistinct dialogue]
913
00:45:20,133 --> 00:45:23,940
{\an8}The frenetic medical drama
was the brainchild of
author Michael Crichton,
914
00:45:24,038 --> 00:45:27,711
but only after a referral
from Steven Spielberg
915
00:45:27,808 --> 00:45:30,146
did the project
find its way to Warner Bros.,
916
00:45:30,243 --> 00:45:34,450
where executives trusted
resident showrunner
John Wells
917
00:45:34,550 --> 00:45:35,885
to give it life.
918
00:45:35,984 --> 00:45:37,787
{\an8}We didn't have a large budget
to make the show.
919
00:45:37,886 --> 00:45:39,483
{\an8}We had to build the set
in a certain way
920
00:45:39,588 --> 00:45:40,924
and shoot it in a certain way,
921
00:45:41,022 --> 00:45:42,558
and that meant
that it looked real.
922
00:45:42,651 --> 00:45:44,627
- She's bleeding out!
- Carter, Chen, gown up!
923
00:45:44,726 --> 00:45:47,596
[Wells] So we had
real doctors, real nurses
as all of our extras.
924
00:45:47,695 --> 00:45:51,534
We had two doctors
who were also writers
on our writing staff.
925
00:45:51,633 --> 00:45:53,970
We did not change
any of the medical jargon.
926
00:45:54,068 --> 00:45:56,039
- Oh, man!
- Pressure's up to 90 palp!
927
00:45:56,137 --> 00:45:58,041
- Why wasn't he in restraints?
- I don't know.
928
00:45:58,140 --> 00:46:00,276
[Clooney]
John Wells rightly said,
929
00:46:00,373 --> 00:46:02,378
"It doesn't matter
if they don't understand
what you're saying
930
00:46:02,477 --> 00:46:06,615
{\an8}as long as they understand
what's going on
and root for the people."
931
00:46:06,715 --> 00:46:09,052
It was really just
one thing after another.
932
00:46:09,150 --> 00:46:11,587
You know, someone comes in,
go, go, go!
933
00:46:11,687 --> 00:46:14,223
And it was electric.
934
00:46:14,322 --> 00:46:16,159
BP's sky-high, 170 over 120.
935
00:46:16,258 --> 00:46:18,427
- What about anesthesia?
- No, there's no time.
936
00:46:18,526 --> 00:46:20,730
[Schneider]
Every television show
that came after ER
937
00:46:20,829 --> 00:46:22,231
that deals with medicine,
938
00:46:22,330 --> 00:46:25,068
{\an8}that deals with hospitals,
owes a credit to ER
939
00:46:25,166 --> 00:46:27,103
{\an8}for changing the game
in terms of the realism.
940
00:46:27,201 --> 00:46:29,038
Book an OR.
Get ready to send
Connor up.
941
00:46:29,137 --> 00:46:30,940
- Where's the foley?
- I'm working on it.
942
00:46:31,039 --> 00:46:32,508
[Schneider] The camera angles,
943
00:46:32,607 --> 00:46:35,812
the cinema verite style
of shooting, the action.
944
00:46:35,911 --> 00:46:37,113
- Hey!
- Move!
945
00:46:37,213 --> 00:46:39,683
Go! Go! Do it!
946
00:46:39,781 --> 00:46:41,484
[Schneider] It was chaos.
947
00:46:41,583 --> 00:46:43,386
[man] Get off of me!
948
00:46:43,484 --> 00:46:46,089
That's what a real
emergency room looks like.
949
00:46:46,187 --> 00:46:49,325
And television hadn't
really shown that before.
950
00:46:49,424 --> 00:46:51,227
[Wells] The show
took off right away.
951
00:46:51,325 --> 00:46:53,797
And by the third week,
we were the number one
952
00:46:53,895 --> 00:46:55,631
or number two show
in the country.
953
00:46:55,729 --> 00:47:00,536
Routinely, at that time,
we had 35 to 40 million
viewers a week.
954
00:47:00,635 --> 00:47:02,038
[Schneider] You had to go home
955
00:47:02,137 --> 00:47:04,307
and you had to watch
on Thursday nights.
956
00:47:04,406 --> 00:47:05,975
It was appointment television.
957
00:47:06,074 --> 00:47:08,211
It was an exciting time
at Warner Bros.
958
00:47:08,309 --> 00:47:13,082
Really, 'cause
that lot was magical.
959
00:47:13,181 --> 00:47:16,319
It just felt like
really new blood.
960
00:47:16,418 --> 00:47:18,582
Everybody would go
to the commissary to eat,
961
00:47:18,686 --> 00:47:21,290
and we'd all play
basketball outside
with the Friends cast,
962
00:47:21,389 --> 00:47:23,126
{\an8}with whoever was around.
963
00:47:23,224 --> 00:47:27,430
{\an8}Friends and ER
were quick phenomenons,
changed the game,
964
00:47:27,530 --> 00:47:28,932
{\an8}and quickly made NBC
965
00:47:29,030 --> 00:47:31,334
{\an8}the number-one network
in television.
966
00:47:31,432 --> 00:47:34,871
{\an8}When I was at NBC,
I was running the cable group,
967
00:47:34,969 --> 00:47:36,773
{\an8}as people tuned in
all around America.
968
00:47:36,871 --> 00:47:40,604
The majority of our content
was produced right here
on this lot.
969
00:47:40,708 --> 00:47:44,681
And we had established
the Thursday night that was
called "Must See TV."
970
00:47:45,647 --> 00:47:48,284
Must see TV, Warner Bros. TV.
971
00:47:48,383 --> 00:47:51,120
[Freeman] The company's
appetite only grew.
972
00:47:51,887 --> 00:47:53,556
In 1996,
973
00:47:53,655 --> 00:47:57,994
{\an8}Time Warner made Ted Turner
an offer he couldn't refuse.
974
00:47:58,093 --> 00:48:00,196
{\an8}Will it be a marriage
made in media heaven
975
00:48:00,295 --> 00:48:03,432
{\an8}that will provide quality
and not just quantity
for cable consumers?
976
00:48:03,531 --> 00:48:05,401
With Time Warner
and Turner Broadcasting
977
00:48:05,500 --> 00:48:08,632
for the proposed merger
of the two media giants.
978
00:48:08,737 --> 00:48:10,239
[Freeman]
The unified juggernaut
979
00:48:10,338 --> 00:48:13,877
took control of CNN, HBO,
and New Line Cinema.
980
00:48:13,974 --> 00:48:18,782
And in a twist of fate
that would have made
the founders proud,
981
00:48:18,880 --> 00:48:22,886
{\an8}Warner Bros. now owned
the MGM movie library.
982
00:48:22,984 --> 00:48:25,254
{\an8}Despite the company's
added weight,
983
00:48:25,353 --> 00:48:29,292
{\an8}Daly and Semel made sure
it didn't lose its soul.
984
00:48:29,390 --> 00:48:34,330
They embraced human stories
that made headlines.
985
00:48:34,429 --> 00:48:37,901
[reporter] She was a singer
with one name, Selena.
986
00:48:38,000 --> 00:48:41,304
Known as the
Mexican-American Madonna.
987
00:48:41,403 --> 00:48:44,273
But in this motel
in Corpus Christi, Texas,
988
00:48:44,372 --> 00:48:47,410
the former head
of her fan club killed Selena.
989
00:48:47,508 --> 00:48:51,414
Young fans across the country
were heartbroken.
990
00:48:51,512 --> 00:48:54,651
[Nava] Her death
was a tremendous loss
to our community,
991
00:48:54,750 --> 00:48:57,987
{\an8}and we wanted
to do everything we could
992
00:48:58,086 --> 00:49:02,859
{\an8}to try to make something
positive out of this tragedy.
993
00:49:02,956 --> 00:49:06,730
We went around town
pitching the idea of doing
a film about Selena,
994
00:49:06,827 --> 00:49:09,799
and a lot of people thought,
"Well, this is really
a movie for TV.
995
00:49:09,898 --> 00:49:12,335
This really isn't
a big movie, you know."
996
00:49:12,433 --> 00:49:15,338
I went into Warner Bros.,
and I told them the story
997
00:49:15,436 --> 00:49:19,876
about how I met
these two little girls
and they were Mexicanas.
998
00:49:19,975 --> 00:49:22,679
And I said,
"Why do you love Selena?"
999
00:49:22,778 --> 00:49:25,248
And they looked up at me
and they said,
1000
00:49:26,248 --> 00:49:28,351
"Because she looks like us."
1001
00:49:29,483 --> 00:49:32,088
They don't have
a Disney princess.
1002
00:49:32,186 --> 00:49:35,058
They never see themselves
on the screen.
1003
00:49:35,157 --> 00:49:37,026
I'm going to make
this film for them.
1004
00:49:38,259 --> 00:49:42,198
At the end of that pitch,
they were in tears,
1005
00:49:42,296 --> 00:49:44,901
{\an8}and they said,
"Yeah, let's do it."
1006
00:49:44,999 --> 00:49:49,105
{\an8}That takes a huge amount
of courage for a studio
to do such a thing.
1007
00:49:49,203 --> 00:49:53,042
But we couldn't just offer
the role of Selena to anybody.
1008
00:49:53,141 --> 00:49:56,545
We wanted to see
who could really do it.
1009
00:49:56,645 --> 00:49:57,914
All right. Here we go.
1010
00:49:58,013 --> 00:49:59,248
- [man 1] Rolling sound.
- [man 2] Quiet!
1011
00:49:59,348 --> 00:50:01,450
{\an8}Action.
1012
00:50:01,549 --> 00:50:06,055
{\an8}[Freeman] Nava chose
a relative unknown
named Jennifer Lopez.
1013
00:50:06,154 --> 00:50:07,590
Warner Bros. offered her
1014
00:50:07,688 --> 00:50:10,727
an unprecedented salary
of $1 million dollars
1015
00:50:10,824 --> 00:50:15,331
making her the highest paid
Latina actress ever.
1016
00:50:15,430 --> 00:50:17,466
She dedicated herself completely.
1017
00:50:17,565 --> 00:50:21,470
{\an8}Because she knew
that this was her shot,
1018
00:50:21,569 --> 00:50:24,407
{\an8}and she was keenly aware that
the hopes and dreams
1019
00:50:24,505 --> 00:50:27,543
of our entire community
and all those young Latinas
1020
00:50:27,637 --> 00:50:29,846
were riding on her shoulders.
1021
00:50:29,944 --> 00:50:32,048
[loud cheering]
1022
00:50:35,951 --> 00:50:38,454
How you doing, Houston, Texas?
1023
00:50:43,258 --> 00:50:44,994
[Nava] Jennifer
is a marvelous dancer.
1024
00:50:46,628 --> 00:50:50,867
She used her acting talent
to dance like Selena.
1025
00:50:56,271 --> 00:51:00,977
And the performance
is absolutely mind-boggling.
1026
00:51:09,484 --> 00:51:11,955
[Nava] She lived
and breathed Selena.
1027
00:51:13,488 --> 00:51:15,692
[Olmos] Doing that film
and what it meant
1028
00:51:15,785 --> 00:51:17,493
{\an8}was an advancement
of the culture
1029
00:51:17,591 --> 00:51:19,929
{\an8}in a way that had never
been seen before.
1030
00:51:20,027 --> 00:51:23,967
Selena still is one
of the few movies
that have been made
1031
00:51:24,064 --> 00:51:30,073
with Latino themes
and a Latina actress
leading the way.
1032
00:51:30,171 --> 00:51:34,077
[Nava] I really feel
that if you tell the story
of your village,
1033
00:51:34,176 --> 00:51:36,079
you tell the story
of the world.
1034
00:51:38,207 --> 00:51:40,416
[Freeman] But Warners
didn't yet realize
1035
00:51:40,515 --> 00:51:44,453
that authentic storytelling
would unlock the future.
1036
00:51:47,055 --> 00:51:49,893
Instead,
the media empire wagered
1037
00:51:49,991 --> 00:51:52,729
on the promise
of new technology.
1038
00:51:52,827 --> 00:51:55,464
[male reporter 1]
It's three times sharper
than VHS.
1039
00:51:55,562 --> 00:51:58,101
[female reporter] A revolution
is about to hit
the entertainment industry.
1040
00:51:58,198 --> 00:52:00,804
[male reporter 2] Now,
this is the wave
of the future right here.
1041
00:52:00,902 --> 00:52:03,940
[Freeman] In a move
that echoed
the dawn of sound,
1042
00:52:04,038 --> 00:52:09,946
Warner Bros. became
the first studio to embrace
a cutting-edge innovation.
1043
00:52:10,913 --> 00:52:12,949
[male narrator]
1044
00:52:15,083 --> 00:52:16,485
[male narrator continues]
1045
00:52:16,585 --> 00:52:17,420
Whoa!
1046
00:52:17,519 --> 00:52:18,354
[male narrator]
1047
00:52:23,657 --> 00:52:26,863
[female narrator] Say goodbye
to videotapes, hello to DVD.
1048
00:52:26,962 --> 00:52:28,331
[man] A digital video disc.
1049
00:52:28,429 --> 00:52:30,033
[woman] And sales are soaring.
1050
00:52:30,132 --> 00:52:31,768
[Freeman]
Warner Bros.' conviction
1051
00:52:31,865 --> 00:52:34,704
persuaded the entire industry
to follow suit.
1052
00:52:34,803 --> 00:52:36,505
Audiences went wild.
1053
00:52:36,604 --> 00:52:38,842
Rather than
just renting content,
1054
00:52:38,940 --> 00:52:40,509
they craved owning it.
1055
00:52:40,608 --> 00:52:43,412
The DVD ignited a huge
revenue engine
1056
00:52:43,511 --> 00:52:46,149
that would soon
outpace box office
1057
00:52:46,247 --> 00:52:49,118
and drive Hollywood
out of the analog age
1058
00:52:49,217 --> 00:52:52,555
and into a digital one.
1059
00:52:52,653 --> 00:52:57,360
Unfortunately, no one can be
told what the Matrix is.
1060
00:52:57,458 --> 00:52:59,362
You have to see it
for yourself.
1061
00:53:01,663 --> 00:53:04,067
[Keanu Reeves]
The Matrix was all about
1062
00:53:04,165 --> 00:53:08,171
{\an8}the beauty, importance...
1063
00:53:08,870 --> 00:53:12,075
{\an8}of the idea of the real.
1064
00:53:12,174 --> 00:53:15,544
{\an8}How do we talk about
what we are
and who we are?
1065
00:53:16,977 --> 00:53:21,150
{\an8}The Matrix was just so
cutting-edge and so profound.
1066
00:53:21,250 --> 00:53:23,086
It was insane.
1067
00:53:23,183 --> 00:53:25,054
That made you think
about the world
and the possibility that maybe
1068
00:53:25,153 --> 00:53:26,923
this is all a simulation
or something. [chuckles]
1069
00:53:27,021 --> 00:53:29,592
It's like,
"Well, I don't know."
It's really crazy.
1070
00:53:34,094 --> 00:53:37,366
[Freeman] Warner Bros.
invested big
in a dystopian vision
1071
00:53:37,465 --> 00:53:42,138
that felt very plausible
in a Y2K-fearing world.
1072
00:53:42,231 --> 00:53:45,308
The pair of writer-directors,
the Wachowskis,
1073
00:53:45,405 --> 00:53:51,314
imagined a future
ruled by machines
where humanity is imprisoned.
1074
00:53:51,413 --> 00:53:55,484
{\an8}You take the red pill,
you stay in Wonderland,
1075
00:53:55,583 --> 00:53:58,354
{\an8}and I show you how deep
the rabbit hole goes.
1076
00:53:58,453 --> 00:54:02,058
[Reeves] The Matrix's themes
are cautionary.
1077
00:54:02,157 --> 00:54:04,327
Systems of control,
1078
00:54:04,426 --> 00:54:08,993
who has it, who uses it,
ideas of revolution.
1079
00:54:13,000 --> 00:54:15,304
[Freeman] Far more
than a mere action movie,
1080
00:54:15,403 --> 00:54:21,310
The Matrix played
as a parable on paranoia,
truth, and liberation.
1081
00:54:21,404 --> 00:54:26,282
Its message rattled the psyche
and awakened the conscience.
1082
00:54:27,882 --> 00:54:33,322
The Matrix, to me,
was a Warner Bros. film.
1083
00:54:33,421 --> 00:54:36,059
You know,
it was science fiction,
1084
00:54:36,157 --> 00:54:38,427
but it gave back in other ways.
1085
00:54:38,526 --> 00:54:42,666
I've met people who say
they saw the first Matrix,
1086
00:54:42,764 --> 00:54:45,101
and they weren't the same,
you know?
1087
00:54:45,198 --> 00:54:49,639
They felt like they
could see the world
in a different way that,
1088
00:54:49,732 --> 00:54:53,342
at the core, made them
feel better. Like,
there's less confusion.
1089
00:54:53,441 --> 00:54:59,582
The films are a message
of love and, in a way,
to take care of each other.
1090
00:55:02,817 --> 00:55:05,822
[Freeman] One month before
The Matrix went viral,
1091
00:55:05,920 --> 00:55:08,624
another moment marked
the company's future.
1092
00:55:08,723 --> 00:55:12,929
Stanley Kubrick unveiled
his longtime
passion project,
1093
00:55:13,027 --> 00:55:15,098
Eyes Wide Shut.
1094
00:55:15,196 --> 00:55:18,034
{\an8}[Calley] Stanley called
and told me that he had
run it through the studio
1095
00:55:18,133 --> 00:55:21,905
{\an8}and that Terry and Bob
thought it was fantastic,
1096
00:55:22,003 --> 00:55:26,142
{\an8}and I could feel a sigh
of relief because
it had gone on forever.
1097
00:55:26,241 --> 00:55:28,111
And in some terrible way,
1098
00:55:29,410 --> 00:55:33,416
I feel that
he could let go then.
1099
00:55:33,514 --> 00:55:35,518
Then he died two days later
after he talked to me
1100
00:55:35,616 --> 00:55:37,754
and three days after he showed
it to Terry and Bob.
1101
00:55:41,456 --> 00:55:42,792
{\an8}[Freeman]
The creative partnership
1102
00:55:42,891 --> 00:55:47,430
{\an8}that symbolized an era
of artistry had ended,
1103
00:55:47,529 --> 00:55:49,833
{\an8}but the body of work endures.
1104
00:55:51,799 --> 00:55:54,904
{\an8}[Reeves]
I had never seen films
like that before.
1105
00:55:55,002 --> 00:56:02,511
{\an8}The production design,
the costumes, the cinema,
the detail,
1106
00:56:02,610 --> 00:56:05,849
{\an8}everything working together
for the vision of a filmmaker.
1107
00:56:07,681 --> 00:56:12,088
{\an8}I just wanted to be
in those movies,
wanted to play those roles,
1108
00:56:12,187 --> 00:56:13,790
{\an8}wanted to say those words.
1109
00:56:21,995 --> 00:56:24,734
[Freeman] A few months
after Kubrick's passing,
1110
00:56:24,833 --> 00:56:27,904
Daly and Semel
made an announcement.
1111
00:56:28,003 --> 00:56:29,973
[Daly] We decided
we were going to leave,
1112
00:56:30,071 --> 00:56:33,977
but I didn't want to tell
anybody until we opened
Eyes Wide Shut.
1113
00:56:34,075 --> 00:56:39,215
Because Stanley
only had a relationship
with Terry and I.
1114
00:56:39,314 --> 00:56:41,117
We wanted
to get the movie open,
1115
00:56:41,215 --> 00:56:45,689
get everything set,
before we told people
we weren't going to stay.
1116
00:56:45,787 --> 00:56:49,125
[Freeman] Leadership continuity
was rare in Hollywood,
1117
00:56:49,224 --> 00:56:52,461
{\an8}a place often fraught
with studio upheaval.
1118
00:56:52,560 --> 00:56:57,366
{\an8}But for two decades,
Daly and Semel exerted
a calming influence
1119
00:56:57,460 --> 00:57:01,470
{\an8}and championed more than
500 films together.
1120
00:57:01,569 --> 00:57:03,106
{\an8}[Clooney] They had a movie
that didn't open,
1121
00:57:03,204 --> 00:57:05,875
{\an8}and I asked them,
"Was somebody
gonna get fired for it?"
1122
00:57:05,973 --> 00:57:08,778
Because that's what happened
at all the other studios
at that point.
1123
00:57:08,876 --> 00:57:10,714
And they were like,
"Look, kid,
this is a crapshoot.
1124
00:57:10,812 --> 00:57:12,548
We've made really good movies
that've bombed
1125
00:57:12,646 --> 00:57:14,884
and we've made
really bad movies
that have been big hits.
1126
00:57:14,983 --> 00:57:17,153
And, you know, it's timing,
it's a lot of things."
1127
00:57:17,252 --> 00:57:18,888
And it worked for them.
1128
00:57:18,986 --> 00:57:21,791
They hired people they loved
and they stuck with them.
1129
00:57:21,890 --> 00:57:23,927
And they said,
"Okay, I trust you, you know."
1130
00:57:24,026 --> 00:57:26,830
That's why Kubrick stayed
as long as he did.
1131
00:57:26,929 --> 00:57:28,631
[Freeman] The days
of indulging artists
1132
00:57:28,730 --> 00:57:31,467
through thick and thin
were numbered.
1133
00:57:31,565 --> 00:57:34,003
Daly and Semel
made their farewell speech
1134
00:57:34,102 --> 00:57:38,307
{\an8}inside the Steve Ross Theater
to their Warner family.
1135
00:57:38,406 --> 00:57:40,609
[Semel] From time to time,
we've been accused
1136
00:57:40,709 --> 00:57:45,181
of being too generous
with people.
1137
00:57:45,278 --> 00:57:50,887
I think that's
the greatest thing that
we could ever be accused of.
1138
00:58:07,235 --> 00:58:08,905
{\an8}There are so many
extraordinary filmmakers
1139
00:58:09,004 --> 00:58:13,042
{\an8}who've worked under
the Warner Bros. banner.
1140
00:58:13,140 --> 00:58:17,613
{\an8}And I think it's a testament
to the structure
of how a studio works,
1141
00:58:17,712 --> 00:58:23,352
{\an8}that they can find a home
within what is often
portrayed in simplistic terms
1142
00:58:23,446 --> 00:58:26,289
{\an8}as a mere sort of
commercial machine.
1143
00:58:26,387 --> 00:58:32,328
{\an8}The fact that great art
comes through that system
is really remarkable.
1144
00:58:32,426 --> 00:58:37,300
{\an8}I think if Warner Bros.
ever loses that sense of
supporting individual voices,
1145
00:58:37,399 --> 00:58:39,836
{\an8}then it'll cease
to function correctly.
1146
00:58:43,639 --> 00:58:44,974
[Freeman] As the countdown
1147
00:58:45,073 --> 00:58:46,976
to the new millennium
crept closer,
1148
00:58:47,075 --> 00:58:50,780
{\an8}rumors spread of yet
another corporate shakeup,
1149
00:58:50,879 --> 00:58:54,450
{\an8}one that raised doubts
about endless growth
1150
00:58:54,550 --> 00:58:56,786
{\an8}in the Internet Age.
1151
00:58:56,884 --> 00:59:00,790
Warner Bros. braced
for an oncoming
identity crisis.
1152
00:59:06,328 --> 00:59:07,864
{\an8}[Neo] I don't know the future.
1153
00:59:07,961 --> 00:59:10,734
{\an8}I didn't come here to tell you
how this is going to end.
1154
00:59:11,667 --> 00:59:13,297
{\an8}Where we go from there...
1155
00:59:13,401 --> 00:59:14,838
{\an8}is a choice I leave to you.
1156
00:59:21,143 --> 00:59:23,307
[suspenseful music playing]