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00:00From the beginning of filmmaking and persists through two centuries.
00:05In the early 80s, there was this wonderful explosion of highly imaginative, highly ambitious science fiction.
00:13Suddenly all sorts of stories that were prohibitive, because technologically they weren't possible, were suddenly possible now.
00:19When I think of science fiction, I think of stories in any medium that tell us what we could be and warn us about where we're going.
00:33Escaping when you're a little kid or teenager into the world of science fiction is a great way to start to come to terms with your own personality, who you are, where you fit in the world.
00:45And they become really important benchmarks in how you remember your youth.
00:51For the next decade or so across the 80s, that amalgamation of science fiction and fantasy seemed to be the driving force.
01:01Science fiction became direct, straightforward, provocative, clear.
01:07Any idea that anybody had, if you set it on another planet, or set it in the future, set it in dystopia, you could get the money to do it.
01:17Art shows us what can be and what ought to be.
01:21That is what science fiction, at its best, is all about, is showing us the world of tomorrow and how human life can be better in the future than it is right now.
01:37That's the magic of sci-fi now.
01:39People were just channeling their beliefs, their fears, their nightmare scenarios into these stories, and now we're at an age where in the modern day it's all about lack of privacy and how the internet and the machines are going to take over and we're going to become dehumanized to the point where we're just slaves to the machines.
02:07It's an interesting cycle to have walked through.
02:10At some point all of this stuff is going to be implanted into our heads somewhere and we'll just think something and there it'll be in front of us. Why not?
02:18I would like to ask a question. Will I dream?
02:21Of course you will dream.
02:22Some of the things that have come to fruition are very scary.
02:26The thing about Blade Runner that is so powerful for me is just the visual storytelling.
02:43The production design, the cinematography, the choreography is so outstanding, it's so beautiful.
02:53It looks really cool, but it is everything we have warned you against.
02:58A new life awaits you in the off-world colony.
03:02Ridley Scott's brother, Frank, had died.
03:05And one of the reasons Ridley Scott made Blade Runner, because he was trying to work his grief out the only way he knew, which was making a film.
03:12So it was going to be imbued with that darkness.
03:16Replicants are like any other machine. They're either a benefit or a hazard. If they're a benefit, it's not my problem.
03:23It's about our own lifespans.
03:25You were made as well as we could make you, but not to last.
03:29The light that burns twice as bright burns half as long.
03:33If we create a slave race, does that make us God? What is our moral duty to that? What makes us human? Is it memory?
03:42Incredibly detailed themes about existence.
03:46How can it not know what it is?
03:48Commerce is our goal here at Tyrell. More human than human is our motto.
03:53I love the replicants.
03:55I think, Sebastian. Therefore, I am.
03:59Because they're the most human characters in the film.
04:02They've got the most life to them, and it's kind of an irony.
04:05My birthday is April 10, 2017. How long do I live?
04:08Four years.
04:09Something is very human about them. Self-preservation.
04:12Wanting to matter beyond the role as the slave or as a second-class citizen.
04:19I mean, this really is anecdotal.
04:23You think I'm a replicant, don't you?
04:26I felt that my character, Rachel, was the heart and soul of that picture.
04:33You play beautifully.
04:35Walking in to do Blade Runner, I thought I was going to meet Han Solo.
04:40Harrison could be funny on a dime if he wanted to be, but he doesn't take prisoners.
04:45He say you break, Runner.
04:47Tell him I'm meeting.
04:49Rutger had a certain sort of dynamo personality, and the character did as well.
04:55And one of my favorite lines is, after he gets hit in the head, he goes,
04:59That's the spirit, you know?
05:01That's the spirit!
05:03And he made it very iconic.
05:05Quite an experience to live in fear, isn't it?
05:08I said to Ridley, Why the unicorn?
05:11And he says, Well, I think I'm going to make another movie after this about unicorns.
05:15And I don't think this character is really human.
05:18I think he's not human.
05:20And I went, Really?
05:22You know?
05:23I don't think they ended up making that the case, because I don't think the executives felt that you could have a leading man that wasn't human.
05:31I remember seeing Blade Runner in the theater, thinking to myself, My God, what is that narration?
05:37It's horrible.
05:38They don't advertise for killers in a newspaper.
05:42That was my profession, ex-cop.
05:45It looked like somebody had fooled around with it other than a director.
05:49Replicants weren't supposed to have feelings.
05:52Neither were Blade Runners.
05:54Ridley Scott shared with me the studio was so concerned that no one was going to know what kind of movie they were watching,
06:02that they insisted that he put the narration up at the beginning.
06:05This is what he said to me.
06:07He and Harrison conspired with each other to make it the worst piece of narration they could possibly record
06:14in order to get the studio to say, We can't even use this. It's just so awful.
06:18The report would be routine retirement of a replicant, which didn't make me feel any better about shooting a woman in the back.
06:25But they ended up using it.
06:27The precedent hadn't been set for a film like Blade Runner.
06:31I think that was probably ahead of its time.
06:33That's sort of the brilliant part about Ridley.
06:36He's constantly thinking and imagining and ripping things up in his mind.
06:40That's what makes him the artist that he is.
06:43His brain went there.
06:45Like tears in rain.
06:51John Battam is among the last of the utilitarian directors.
06:58He could just direct anything.
07:00Action, comedy, light comedy, romance.
07:02You name it, John Battam could do it.
07:04Short Circuit proved this as much as anything else.
07:07Short Circuit.
07:08I am a lion.
07:10It's part ET.
07:11Only instead of it being an alien, it's a robot.
07:14Welcome to my planet.
07:15And you got Steve Gutenberg and Ally Sheedy and the guy who was supposed to be Indian American, but is actually being played by Fisher Stevens.
07:25There's only being wires and several mechanisms and other such machine type apparatus for the beat of sake.
07:31Today, I'm not sure you could get away with that.
07:34Where are you from anyway?
07:35Bakersfield originally.
07:37No, I mean your ancestors.
07:39Oh, damn it.
07:40Pittsburgh.
07:41Ally Sheedy, as a young girl, I looked up to, I loved and adored.
07:46Malfunction.
07:48Oh, you can talk.
07:49Short Circuit is a caretaker friendship bond.
07:53This concept of this robot finding his humanity.
07:58I need information.
07:59I must learn everything.
08:00I am alive.
08:02Holy crap, you can read.
08:05And he has this quirky, outgoing, weird personality, much like me, that was based on all of the movies and pop culture that he had picked up.
08:15Disguise.
08:16Camouflage.
08:18Hi.
08:19Number five.
08:20There's a sense of joy to that movie and a sense of life and a sense of adventure.
08:25It's built as a military weapon of war that can destroy things with like a single laser bolt.
08:33Hello, bozos.
08:35But as a kid, you don't see that.
08:37You don't think about that.
08:38You just like, he's alive.
08:43Johnny Five.
08:44It's just like, no, I'm gonna smell flowers and hang out and dance or make friends or whatever, which was really neat premise.
08:52One of my favorite moments in that movie is when he accidentally steps on the grasshopper.
08:57Look what you did!
08:58Error!
08:59And he has this moment where he realizes that he's mortal.
09:03Disassemble.
09:05Dead.
09:07Disassemble.
09:09Dead!
09:10Being aware of your own mortality is one of the deepest, most profoundly human things and that drives us and that makes us what we are.
09:18Well, of course I know it's wrong to kill, but who told you?
09:23I told me.
09:24What Shirt Circuit does really, really well, it makes you feel for this metal.
09:29It's got some, you know, wonky little eyebrows or whatever and he's cute in his own sort of way, but he's metal, right?
09:35And yet by the end of that movie, you're like, no, Johnny Five is alive.
09:39You can't disassemble him.
09:41Don't jump! Don't jump! He's alive! He's alive!
09:45You feel for it.
09:46And it's hard to know sometimes whether that's just another part of the way that humans are hardwired to sort of anthropomorphize things.
09:54Or whether that's a thing that we're going to have to really sort of worry about in the future.
09:58Maybe Johnny.
09:59Yeah!
10:00Johnny Five!
10:02That's cool.
10:12Tron.
10:15He's a programmer, but he gets sucked into this world and ends up taking the whole system down.
10:21Woohoo!
10:22Little guy.
10:23What a concept.
10:25What if we went down in there and there was actually a world?
10:31I auditioned for Star Wars.
10:33I didn't get that one.
10:35I looked at this and I said, well, it's kind of looks like space.
10:39Okay.
10:40I felt a part of a pioneering effort.
10:43And Steven Lisberger, the creator of this, I call him Yoda.
10:48Everything was hanging on this.
10:50That's a lot of responsibility.
10:53We could miserably fail.
10:54Or we could wildly succeed.
10:55If you look at the performances by Jeff Bridges, Bruce Boxleitner, Cindy Morgan, who had to act in front of nothing.
11:11So what am I looking at?
11:13Okay, you're looking at the solar sailor.
11:15Here's a sketch.
11:17Go stop this thing!
11:19Okay.
11:20We wore hockey helmets and motocross shoulder pads.
11:26We were wearing what a male ballet dancer would wear.
11:29It was probably the early thong.
11:31A male thong?
11:32Tron was a warrior.
11:36He dominated the game grid.
11:39Who's that guy?
11:40That's Tron.
11:41He fights for the users.
11:44I would get my frisbee and we'd play with our discs, like just the battles and stuff, and pretend I had a light cycle.
11:55They loved the light cycles.
11:57I never saw it.
11:58It was a stick in front of me with a crossbar.
12:02We were all standing there and they kind of went .
12:05We bent over and that was it.
12:07And I did the whole chase like that.
12:14Finish the game!
12:16No!
12:17David Warner, who played the villain Sark, who I had to have my final big battle with, was not a physical guy.
12:23So, he had to be doubled through most of it.
12:32People were encouraged to put what they call Easter eggs.
12:37One of the compositors had put in Pac-Man.
12:42We loved it.
12:43The solar sailor going over the landscape and seeing the outline of Mickey Mouse.
12:50What a great idea!
12:53Alan.
12:54Where did you hear that name?
12:56Well, that's your name, isn't it?
12:58The name of my user.
12:59When I saw the final product, I felt like a proud father.
13:05And it was basically an F you to the rest of Hollywood.
13:09You thought we couldn't do it?
13:11Yeah.
13:12Well, how do you like us now?
13:15For those kids and all those arcades throughout the country and the world, they got it.
13:21And I knew then that we had a revolutionary thing.
13:25It's not going to be appreciated now.
13:28But it will be.
13:29End of line.
13:30We are creating machines that mimic human behavior, the human body, human intelligence.
13:45In Saturn 3, you see the biomimicry of Hector, the machine, taking on its human creator's ideas and psychopathy.
14:00Certainly the way Saturn 3 was sold leaned heavily on alien, robots, science, all that kind of stuff.
14:06But it leaned even more heavily on Farrah Fawcett and that absolutely stunning smile of hers.
14:11And the fact that all of us were enamored of Farrah from Charlie's Angels.
14:15I had that poster. Everybody had that poster.
14:17And the idea that Farrah Fawcett might be wearing something sexy or nothing at all definitely got my young self out to see Saturn 3.
14:25The movie you got, however, was a completely different movie.
14:28You're quite an event in our lives.
14:30Well, I guess you don't get many drop-ins on Saturn 3.
14:33Hardly ever, especially not from Earth.
14:35We are on a space station that is slick and designed and shiny and colorful.
14:39And all the edges are smoothed out.
14:41All of the ideas that might have been initiated by alien are gone by the time you get to the finished product of Saturn 3.
14:48We get to see Kirk Douglas naked a lot.
14:51But not Farrah Fawcett.
14:55That'll kind of forward thinking.
14:56Doesn't it disgust you to be used by him, to be touched by an old man? Can't you feel the decay?
15:02The notion that he wanted to express his virility, that he's still a leading man, that he's still an action star.
15:08Kirk Douglas was very particular about that, about that in terms of the notion of men, of male movie stars and actors and the way that they should come off in film.
15:17I'm glad you didn't ask him to shake hands.
15:18It's a complicated film. You got Stanley Donan, the singing in the rain director, directing this sort of science fiction opera with this crazy over-sexed robot.
15:32He's probably not the right director for that. The production designer, John Barry, he was probably the correct person. The scenario was based on his stories, but Kirk didn't like John. And so got him fired and had Stanley Donan hired.
15:50So you have Kirk Douglas, who doesn't like John Barry. He gets rid of him. And then you have Stanley Donan, who doesn't like Harvey Keitel's voice. Now we have this weird sort of quasi British voice coming out of Harvey Keitel's face.
16:02Why won't you talk?
16:05Why not? What have I done wrong?
16:07All of these decisions just sort of led to something of a mess of a movie.
16:262010 is based on Arthur C. Clark's novel, 2010 Odyssey 2, which is itself a sequel to the film version of 2001.
16:33It has the thankless task of being a sequel to the greatest science fiction film ever made.
16:39The last thing you want to do is make the sequel to 2001 and piss off Arthur C. Clark or Stanley Kubrick.
16:46I would not do the film unless Kubrick said okay and Arthur C. Clark said okay.
16:51And Stanley Kubrick to me is one of the great directors or the greatest director that's ever lived. I am not.
16:57The only way to do it was to make a film that honestly could not be compared to 2001.
17:04They're different in every possible way.
17:09Kubrick, and he said just make sure it's yours. Just make sure you make your film.
17:14Roy Scheider plays Haywood Floyd, who was originally portrayed by William Sylvester in 2001.
17:20He has an opportunity to go out to Jupiter and determine what actually happened with the crew of the Discovery.
17:29Scheider, along with Jean Lithgow and Bob Balaban, hitch a ride aboard a Russian spacecraft captained by Helen Mirren.
17:35What has happened to American bravery?
17:38It's alive and well, thank you very much.
17:40It's happened to Russian common sense.
17:43This is the height of the Reagan era, and here's a film about Russians and Americans doing a joint venture in space.
17:49In Arthur's book, everybody got along famously. I thought it would be interesting to have all hell break loose on Earth and have it become serious.
18:00All American personnel are ordered to leave Soviet territory immediately or they will be placed under arrest.
18:05It plays with the Cold War thing, the early 80s paranoia that we had, but it also takes Hal, who is essentially the villain in 2001, and kind of reprograms him to be the hero.
18:19The hero.
18:20Do you want me to stay with you?
18:22No. It is better for the mission if you leave.
18:26Keir DeLay returns to reprise his role as Dave Bowman.
18:33And Douglas Rain returns to voice Hal, the computer.
18:37Dr. Floyd?
18:38Yes?
18:39Would you like to play a game of chess? I play very well.
18:42I'm sure you do.
18:43I had recorded Douglas first, so when Keir did his scenes,
18:48he did him with Hal.
18:50I'm afraid.
18:51Don't be.
18:52We'll be together.
18:54And he came to me afterwards in tears, because when he did 2001,
18:58he did it with a Cockney's third assistant director.
19:01Opened the pod bay doors, Hal.
19:03Sorry, Dive.
19:05Can't do that, Dive.
19:06We used the docking ring in the Leonov to attach to the Discovery.
19:13For a trip back home.
19:15Roy Scheider was a joy.
19:17What I equipped with Roy was he was always in the sun.
19:20He would be outside the studio with a reflector.
19:23The crew put a sign that said Scheider Beach outside the stage.
19:28In 2001, the monolith was a sentinel.
19:31It's an alarm that goes off that tells some other intelligence
19:36that somebody has stepped on the moon.
19:38I certainly think they left a lot to people's own interpretation.
19:46In 2010, the monolith is a basic life form building block.
19:50I think it's kind of futuristic DNA.
19:53I tried to make a science feasible film.
19:55I just wanted to make a film that was completely different,
19:57so it could not rightfully be compared to 2001,
20:01because I can't be compared to Stanley Kubrick.
20:03It's as simple as that.
20:06What's going to happen?
20:08Something wonderful.
20:16What would you do if you had everything you wanted?
20:19Universal Pictures presents a John Hughes film, Weird Science.
20:23It's purely sexual.
20:26Weird Science really resonated with me
20:27because I have an awkward kid who loved technology.
20:30And just to think of, I could suddenly become cool.
20:36It was the teenage Frankenstein.
20:41So they created this beautiful woman.
20:44I think that was probably every geek's dream.
20:55What would you little maniacs like to do first?
20:57I think what he was best at, John Hughes,
21:00is teenage angst and being left out.
21:03His compassion for that, it really resonated, I think,
21:06to a lot of people.
21:11Yo! Check us out!
21:12Teenage life.
21:14Thank God I'm not there anymore.
21:17Oh, God.
21:18You made me.
21:20You control me.
21:23Kelly LeBrock, she had a sense of humor and a sexuality
21:28and a confidence and a personality.
21:31I can be a real serious bitch.
21:33It was elevated, her portrayal of the character,
21:36and it made everything come together
21:39the way it was supposed to.
21:41You guys had better loosen up.
21:48One of the themes is be careful what you wish for.
21:56Using all of our technology to do something wrong
21:59and then not being able to control it.
22:01Then having the consequences, which is me.
22:03Tossed off into any good books lately, have we?
22:07Warner Brothers were going to sue their ass off
22:09if I looked like Wes.
22:11And yet they got me to look as close like Wes
22:13as is humanly possible.
22:16No!
22:20I walked around that set when I came onto it at Universal.
22:24Like a two-story house that could be pulled into two halves
22:27to film in.
22:28A real two-story house.
22:29And when they needed to have a rocket to go through it,
22:33they actually had a rocket.
22:34This actual shell of a rocket was built under stage 26
22:43at Universal to come up hydraulically
22:46and pierce the actual floor of the set of the house.
22:51And it was a one-time shot.
22:53A big deal, this scene.
22:56Right when John calls action,
22:58Anthony Michael Hall farts a silent but deadly.
23:03It had to be a several hundred thousand dollar moment
23:07that got ruined by a fart.
23:10That's not cool, man.
23:12If you watch the movie real closely,
23:15we did the scene again and they lowered the rocket
23:18and we had to do all of our action backwards
23:22and then they ran it backwards for the final cut.
23:34It was massive anarchy at the end of that movie.
23:37That movie truly is almost like the cat in the hat.
23:40She is the cat in the hat!
23:46Oh my God, Weird Science Forever to me
23:48is now going to be Dr. Seuss.
23:50When are you going to learn people like you for what you are,
23:53not for what you can give them?
23:56The ultimate theme of Weird Science was be yourself
23:59and you'll still get the girl.
24:01I love you!
24:02I love you!
24:04It may not be that girl, but you'll still get the girl.
24:09Drop and give me 20.
24:10Introducing Dorothy R. Stratton, Playboy's Playmate of the Year as your favorite gal.
24:25Galaxina. I couldn't tell you the plot of that at all.
24:29It was Dorothy Stratton, right? I mean, that's all you need to know.
24:32She was delightful to watch.
24:34When I look at Galaxina, what I see is possibility.
24:38All kinds of possibilities.
24:41There's one relationship in that movie that works and rings as true and real.
24:46And it's the relationship between Galaxina and Steven Mock's character.
24:50He plays Thor.
24:51You're a machine and I'm a human being.
24:55Which is just another kind of machine, really.
24:58They fall in love, but they can't really be in love because she's an android.
25:02But she figures out how to correct something so that she can have human feelings.
25:06I love you, Sergeant Thor.
25:13Those moments between those two actors are the realest moments in that movie.
25:17In Galaxina, we see the first idea of sexbot in artificial intelligent machines.
25:24How will they feel if they develop self-awareness?
25:29Where is the line?
25:30It really pulls at our psychology.
25:32I really think those provocative stories are important for us.
25:35What it all adds up to is something that's not quite as good as those individual pieces.
25:39But those individual pieces that are stuck in my head.
25:42Name's Mr. Spot.
25:44Star Trek, Star Wars.
25:46A little bit of Alien.
25:47And all of the movies that were made before it, they were way, way better.
25:51At least two tropes exist in film of Galaxina.
25:53These sort of representations of the cantina from Star Wars,
25:56where all of these creatures from all over the universe are.
26:03And the image of that spacecraft coming across the screen and going on forever.
26:09All kinds of nutty things going on in that movie.
26:11I will probably remember forever.
26:13I will remember that alien coming out of Avery Shriver's mouth forever.
26:20At Galaxina, sadly, the thing that hangs over it more than anything is the murder of Dorothy Stratton.
26:25It's hard to think of the movie without remembering what happened to her.
26:29I really appreciate Galaxina, not just because of what happened to Dorothy, but because there was something suggested in that movie.
26:39That there could have been more there, and there might have been more in the future for her.
26:43You know, when we talk about facial recognition, deep fake technologies, artificial intelligence that could potentially take over the planet.
26:59These are the kinds of things that were forecast in the 80s sci-fi films that are just now starting to break.
27:05Deep fakes. This is an existential issue.
27:11Because we're going to come back to the idea of, do you trust your fellow man?
27:15The running man.
27:20It's not the deep fake that's going to make the difference.
27:23It's the guy behind the deep fake.
27:25Right now, you don't even have to do a deep fake.
27:27Just tell the same lie over and over and over again, and you're in.
27:32To me, that's the disturbing part.
27:34Not the ability to sing the siren's song.
27:37It's the people who are seduced by it.
27:39Running man definitely predicted deep fake technologies.
27:43They created this phony fight.
27:54Running man was more to show how sick, I think, we as society can actually stoop to.
28:01That entertainment knows no boundaries.
28:04We don't give a damn what it is as long as we get entertained by it in the end.
28:09A pretty sick thing to have sitting in our systems, isn't it?
28:14I'll be back. Only in a rerun.
28:17What running man did, it predated reality TV.
28:22The running man, America's favorite game show.
28:27Running man is kind of dead on to what happened to reality TV.
28:32Only in the case of the running man, the reality was termination.
28:37Which we haven't fortunately got to, but I'll say, yet.
28:42It's time to start running!
28:46Richard Dawson was your perfect comedic bad guy.
28:50He was just playing the role he did on Family Feud.
28:53Come on, let's play the feud. Let's go.
28:56It made perfect sense to me.
28:58I'd like you to volunteer to appear on tomorrow's broadcast.
29:03Halfway through filming Predator, Arnold came up to me on the set.
29:07And he said, my next film this fall is called The Running Man.
29:10There's a part in there you're perfect for.
29:12This is a sport of death and honor.
29:15Go to the gladiators!
29:17By the time my part got there, they were on their third director.
29:21Fortunately for me, that director was Paul Michael Glazer.
29:26David, here in the locker room, there's a lot of excitement here.
29:32Captain Freedom, my character in Running Man, he was the greatest stalker of all time.
29:37And he got old, and like all old stalkers, he ends up with a microphone.
29:43Are you ready for pain? Are you ready for suffering?
29:47Running Man was on the edge of technology predicted in the movie that has become reality today.
29:54Maria Conchita goes into her apartment and starts turning things on by voice.
29:59Well, that's a common practice now.
30:01Kitchen, toast and coffee. ICS Channel One.
30:07We've already reached the Running Man stage of technology.
30:11Take your memory. Take it easy game.
30:13There's a very crude 1980s style sort of digital frame to make you think that one person is there when in actuality it's someone else.
30:22You'll never know the difference.
30:24I ended up fighting Peter because Arnold wouldn't take a suplex.
30:28He made Peter do it instead of him.
30:32Let one out there, didn't I?
30:35I'll always cherish this. I get to go to my death as being one of only a handful of people who've ever killed Arnold Schwarzenegger on screen.
30:54Tom Selleck, Cynthia Rose, Gene Simmons, Runaway.
31:03Runaway was directed by Michael Crichton.
31:06It's a futuristic cop movie about robots that are programmed to kill people.
31:13I played the bad guy. No, really? A guy named Luther.
31:24I said, drop your gun.
31:29I'm not kidding, asshole.
31:31The way I auditioned is he said, look into my eyes with intensity that you're going to kill me.
31:37So I just looked at his face. He says, OK, you got the job.
31:40I never read for the part. I just did a lot of brooding.
31:49Kiss meets the mantle of the park.
31:56Other than that, yeah, Runaway was Gene's first villain role for sure.
32:01I loved Magnum P.I. and I also loved Kiss growing up. Gene and his crazy tongue.
32:07I remember when I met him the first time, I was like, do you really have a goat's tongue sewed onto your own?
32:13And he's just like, no, it's just really long. The ladies love it, right?
32:18Ah!
32:19Hey. Come on, tiger.
32:23Lights out.
32:25The father-son scenes with Tom Selleck, they came out real.
32:28It wouldn't kill you to get married again, you know.
32:31I know. It wouldn't kill you to go to sleep.
32:34The heart of the story and finding that underlying humanity and connection and relatability to the characters in these stories.
32:41One of the aspects of being a science fiction fan was a fascination with what science can bring us in the world of tomorrow.
32:52What might be. What could be.
32:55Hello. I'm Johnny Catt.
32:58It is a forecast into our future.
33:01A lot of science fiction writers are writing and developing technologies that end up becoming real in the future.
33:09Advanced technology.
33:11In the movie, with my gun, which I have in my collection, I have that original gun.
33:16You shoot the bullet and it goes around and finds you. Heat seeking.
33:23You think of all the things that were figments of someone's imagination. Motion trackers.
33:30Who would have thunk? And now we're almost reliant on GPS.
33:35What about tracking? We can check his exact location at all times with one of these.
33:39The phone, which is not a phone. It's a phone. It's a camera. It's your day runner. It has a tape measure.
33:45It's everything. It's your entire life. I never thought I'd be wearing a computer on my wrist. It's just laughable.
33:54Our computers and our iPhones are actually more powerful than the computer that was in the Apollo missions, right?
34:00Which is mind boggling.
34:03In Runaway, there was that almost internet before its time.
34:08The drone technology.
34:13Police are preparing a floater camera which will enter the house in an attempt to locate the runaway 912 and the infants.
34:18Little remote control cars.
34:26One down.
34:27The spiders that shot acid.
34:33Those were remote control. Really neat.
34:35There was a couple different kinds. Some would jump. Some would scurry.
34:40I wanted a spider so bad.
34:44Dad, are you coming to get me?
34:46Kids in dangerous situations. Yeah, the 80s were a little more free with that.
34:52Let him go. Now!
34:56He's gonna let him get killed by these crazy acid blowing up spiders and it's pretty dark.
35:02The spiders will let you in but they won't let you out.
35:05I can't have any witnesses. It's too messy.
35:08The spiders have been programmed to kill the first person that comes out of the elevator.
35:12He's just like, what? Bobby!
35:14Bobby!
35:16I thought it was good. I thought it came off well.
35:19Is the movie a triple-A movie? No.
35:21But my kids saw it and they gave me a thumbs up. That's good enough.
35:26Yay!
35:36From the producers of Jaws and the director of Splash.
35:42Cocoon.
35:43One of the things I think was very evident in the 80s, we saw a lot of young heroes.
35:48We saw a lot of youth in this physical prowess.
35:53What Cocoon did in a very interesting way, call into this social standard of what old means.
36:01A movie like Batteries Not Included really wouldn't exist without the proof of concept that Cocoon was able to supply to the industry.
36:11Everything's happening so fast.
36:14I absolutely love Cocoon, beautiful Ron Howard film.
36:18It's a science fiction film about aliens, but not really.
36:22Cocoon is about aging. It's about life.
36:25Don Amici, Jessica Tandy, Hume Cronin were these aging actors.
36:30Will you still love me when I can't keep up with you?
36:32Of course. I love you now and you can't keep up with me.
36:36Wilfred Brinley, who played one of the older gentlemen in the movie, was only 50 years old during the making of that film.
36:43Shoulders and get on down.
36:45They're in this old folks home and doing what they're doing.
36:47And every now and again they would go over to the swimming pool and just fool around and have some fun.
36:51What they don't realize is that at the bottom of the pool are these cocoons.
36:58What are rocks doing in a pool?
37:01These older folks start to feel rejuvenated.
37:04They can do things they couldn't do before.
37:06Do you think there's cocaine in that pool?
37:08There might be.
37:10They would do their favorite things. They would go dancing. They would go try to fix the thing they regretted.
37:16Some enchanted evening.
37:19Brian Dennehy peels back his bodysuit and reveals these sort of really magical aliens.
37:25These sort of glowing beings that float through the sky.
37:28These older folks were offered the opportunity to leave Earth with these aliens and live forever.
37:37Forever?
37:38We don't know what forever means.
37:41The question in Cocoon becomes, is this cheating human mortality?
37:46Is our clock supposed to run out?
37:48It's a deeply, deeply moving film.
37:53Can you help me?
37:54I adored Cocoon.
37:56Ron Howard is able to get to the heart of the man's struggle, or the woman's struggle, and be able to overcome it.
38:07One of the things I love about Ron Howard is that he's a true storyteller.
38:11If it's a comedy, or a drama, or it's in the future, or if it's in the past, or if it's right here in this very moment.
38:18The way nature's been treating us, I don't mind cheating her a little.
38:21I feel like Ron Howard cares about how the audience feels at the end of the movie.
38:33In the 80's there were several shrinking movies, which I guess somehow that became funny.
38:50Honey I Shrunk the Kids, The Incredible Shrinking Woman, and Inner Space.
38:54And they were all good.
38:55Now how about a big hand for the little lady, The Incredible Shrinking Woman.
39:03This is a take on the book Incredible Shrinking Man.
39:07The top news story of the day continues to be The Incredible Shrinking Woman.
39:11Honey I'm sure there must be some logical explanation.
39:13The satire on advertising.
39:16Galaxy glue, galaxy glue.
39:20She's a tiny housewife, but she has to deal with all these products coming at her.
39:24The glue, the solvent, your bubble bath, talcum powder, shampoo.
39:28It was making fun of these products that are fed to them like this is going to make your life better.
39:33It's called Tres Naturale.
39:39And what had started to happen with the women's movement is they're going, I don't want to make my life at home better that much.
39:44I want to be out of here.
39:45Making dinner or doing the laundry is not all I want to do.
39:50Judith, I don't think this is such a good idea.
39:53Lily Tomlin, she's perfect because she's a comedian and she can embody the craziness of that.
40:00She has this insane range.
40:02And you better lay off the buttons, Buster.
40:04I'm in it for like a very short amount of time.
40:06I'm advertising soap, but they cut it.
40:10When Lily hid in the Barbie dream house, it's so great because that's an iconic thing from a girl's childhood.
40:16To be the size of your doll, it's all about the insignificance.
40:21Off the furniture!
40:24And why are you grinning at, you big creep?
40:27The dolls, if they were bigger than you, life size, they would be terrifying.
40:33Mother!
40:34You, you, wait a minute.
40:36I'm running.
40:37Blast off.
40:38Lily gets smaller and smaller and then falls into the garbage disposal, which is, first of all, everyone's nightmare.
40:45Like when you drop something in the garbage disposal and you have to reach in and take it out.
40:49There's like a built-in terror.
40:51That's the big actual visual point, that she's not a factor anymore.
40:57She's just doing her job and she's becoming smaller and smaller as a person.
41:02I'm gonna lose my life!
41:04And it's the war that women then started to feel like, this isn't my life. I don't want this to be my life.
41:10I'm sick of products. I'm sick of advertising.
41:13You're talking about my work!
41:15See, I love things that have themes like that.
41:18Or champagne, perhaps.
41:20Dance! Work what you did!
41:24Dennis Quaid, Martin Short.
41:31Give yourself a shot of adventure.
41:35Inner Space.
41:37Inner Space is about technology gone awry.
41:40The first person that can put someone inside someone's body and use them to kill them is the winner.
41:47When Inner Space came to me, it was a picture that Peter Goober and John Peters owned.
41:52And it was not a comedy.
41:54It was a straight spy movie with the plot of a guy who gets shrunk down and put inside another guy.
41:59I suggested, diplomatically, that people would laugh at this idea.
42:04Then they came back and they had hired Jeffrey Boehm, who was a very good writer.
42:08And he had come to it with a different idea, which was,
42:12what would happen if Dean Martin was shrunk down and injected into Jerry Lewis?
42:17And that was something that, as a Martin and Lewis fan of my youth, I could certainly relate to.
42:22And I said, yes, now this works. Now it's funny.
42:25That's when Steven Spielberg became involved.
42:29When Fantastic Voyage was made, it used the best technology.
42:34Everything in it was cutting edge for the time.
42:40When we did Inner Space, of course, the technology has improved so much.
42:45And we've gone so far ahead in leaps and bounds.
42:49I loved all the practical stuff in that movie.
42:54Just relax, Jack. I thought there was something going on in here.
42:58And how realistic they looked prior to the advent of any sort of computer graphics.
43:06Entering Bloodstreet.
43:08You know, things like him flowing through the bloodstream with the red blood cells,
43:15or seeing out of Martin Short's eyes.
43:18Firing optic sensor.
43:25And then you have the battle inside the car, where there's a very clever use of forced perspective.
43:29I can't do that!
43:32Working with Martin Short, if you do ten takes, take ten is like from a different movie than take one.
43:37He likes to discover. He likes to try new things.
43:40Jack, you just digested the bad guy.
43:46He and Dennis are never on screen together except at the very end.
43:49But yet it wasn't going to work to pre-record Dennis' dialogue, or pre-record Marty's dialogue.
43:53So our sound guy, Ken King, came up with an idea that allowed them to talk to each other during takes.
43:58So whenever I did a scene with Marty, Dennis would still be there off screen.
44:01And they could talk to each other, and they could improvise.
44:04In here, inside you, inside your body.
44:07Somebody help me!
44:10I'm possessed!
44:12One of the reasons that their relationship in the movie works so well
44:15is because it's actually a real relationship that they were having at the moment.
44:19You are seeing parts of my body that I will never get to see.
44:26Yeah, believe me, you're not missing all that much.
44:28I love my character in the film.
44:30Just a malevolent presence.
44:32He didn't talk.
44:33He was just there.
44:35In my hand.
44:36I had a multitude of things, which was kind of fun.
44:42A gun, a flamethrower, an automatic submachine gun, which we don't see because that scene was taken out of the film.
44:50And the sex toy.
44:52Yeah, the sex toy.
44:54It's very quick, but you'll see it.
44:59They had this rig that they put me in.
45:01Then they lower it down into the floor, which is where I get shrunk down.
45:09I have a fear of claustrophobia.
45:12I was sweating bullets.
45:14I really hated it.
45:16It went very smoothly, and everybody liked the movie when they saw it.
45:25And the only thing that happened was they had that terrible ad campaign, and so it didn't make any money.
45:29But aside from that, it was a great experience.
45:31I think that for every new technology, for every sci-fi idea, you can find a movie that's hopeful about what that's gonna do to transform the world,
45:40and a movie that's terrified about how this thing is gonna destroy everything.
45:45There isn't a single sci-fi concept where you can't find both of those kinds of movies.
45:59I got a huge kick out of Honey, I Shrunk the Kids.
46:02What an absolute silly idea that I thought was really well handled.
46:08You don't realize how terrifying all the little things around you can be until you're smaller than everything.
46:15Honey, I Shrunk the Kids is about a scientist, played by Rick Moranis, who accidentally shrinks his kids,
46:20and they have to traverse this backyard in order to get back home and fight all sorts of dangers in this backyard now that they're this big.
46:28I shrunk the kids.
46:29What?
46:30And the Thompson kids, too. They're about this big. They're in the backyard.
46:33What?!
46:34Threw them out with the trash.
46:35It's a deadlift on the Richard Matheson story, The Incredible Shrinking Man, which was one of my favorite sci-fi movies when I was a kid.
46:42Matheson was very ahead of his time. There's allusions to that movie in it.
46:47There are sequences where they're fighting certain insects as an homage to those movies of the past.
46:54Poor Honey, I Shrunk the Kids, the movie was called Teenie Weenies and gave me an opportunity to work with my buddy Joe Johnston on his first theatrical feature film.
47:04There was a big scorpion scene.
47:09What we essentially did was that, fighting an ant and going after these children, and the ant comes to the rescue.
47:18Stop-motion creatures.
47:20We don't want camera moves to drive the performance. We want the performance to drive the camera.
47:25And then there was another unit down in Los Angeles with Dave Allen that was doing the other scenes with the ant.
47:34One of the things about making movies in the 80s that people today don't necessarily understand is how many different solutions to things you had to find.
47:42You couldn't just throw it into a computer and that's it.
47:45You had to use forced perspective, miniatures, bigatures, and sometimes in a single scene you might have an animatronic ant the kids are riding on and then a close-up that's just the head that's an entirely different prop.
47:56And you had to really sort of think about how you were going to do every single shot in a movie and come up with a different, unique solution.
48:05Thanks for the lift, Andy.
48:07It has this aesthetic that is not quite realistic looking in a lot of places, but it 100% works for the movie and the tone of the movie that they're telling you.
48:14These giant blades of grass look exactly how they should look for that movie.
48:22The great thing about knowing the movie was done practically is that you know that at some point there was actually a kid swimming around in a giant bowl of milk using a giant Cheerio as a life preserver.
48:32Don't eat me!
48:33Don't eat me!
48:36Some of us felt like the world was getting a little too cynical for its own good, a little too self-aware for its own good.
48:41A movie like Honey, I Shrunk the Kids was just like, look, let's just go enjoy ourselves and enjoy the innocence and sweetness of the world.
48:47It's always got a place on my shelf for that reason.
48:50Nick, I've got six hours to get home, get big, and get to the mall.
48:54There is more technological advance in the past 50 years than there is in all of recorded history up to 50 years ago, and that will continue.
49:04Arthur C. Clarke's definition that any advanced technology will be indistinguishable from magic.
49:10What we think of today as impossible and magical in 15 or 20 or even a thousand years will be commonplace.
49:18We just don't know what's around the corner.
49:24And it's bound to be something that will blow our minds, right?
49:28I would only hope that humankind would continue to be inspired by the possibilities of the future.
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