oh, christ, i hate him. the kid with the filthy mouth? yeah, he s the one. oh, he s the worst. he can do these voices. he can do the physicalization. it speaks to the magnitude of his talent. is that not acting? is that not comic acting at the highest level? what do you know from funny, you bastard? to all the kisses. .that led. .to this one. celebrate every kiss, with kay. (burke) with farmers auto multi-policy discount, the more policies you have with us, the more you could save on your auto insurance. (man) hey, hon! (wife) hi, honey! (man) like what? (burke) well, you d get a discount for insuring your jet skis. and boat.rv.life. .home and more. you could save up to forty-five percent. (man) that s a whole lot of discounts. (burke) well, we offer coverage for a whole lot of things, and you could save a whole lot of something with farmers policy perks. (kid) sup, dad! (burke) seventeen-car garage you got there? we are farmers bum-pa-dum, bum-bum-bum-bum
the princess bride is a blend between romance, satire, adventure, swashbuckling. i mean, it s all mixed in and it s a very strange mixture, hard to capture. wesley, what about the r.o.u.s.s? rodents of unusual size? i don t think they exist. you have to walk a balance, you know? it s a fine line between stupid and clever. beat it or i ll call the brute squad. i m on the brute squad. you are the brute squad. rob is a phenomenal director. his first movies one after the other, beauties, and took risks in different genres. to be in three of them, i m really blessed. one half of the 80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be airplane or the naked gun. you had ensemble comedies like police academy, imports like crocodile dundee, which was an enormous hit and three men and
york cop, but he s not only out of his element and he s out of his shoes. that s a great thing to do in an action movie, include something that everybody can sympathize with. i don t know what it s like to throw a chair or explosives down an elevator shaft, but i accidently trot on glass and it hurt. you watch him and you go, i see myself. this person who is flawed, but can overcome it which is a narrative that we all have about ourselves. if push came to shove i would show up. alan rickman s performance as hans grueber is one of the key movie performances of the 80s because of the idea that the villain could be intellectual. it wasn t a beefy villain who beat up our hero, but it was a guy who our hero had to outthink. a lot of action stars think it s cool it show no fear. to me, that s not a courageous person, that s a stupid person. the courageous person is the one
these are substantial movies by great film makers. you have the last emperor and you have ragtime, and there was gandhi which came out in 1982. we must defy the british. a lot of people were rooting for e.t. the extraterrestrial to win best picture, but fantasy and sci-fi don t usually win oscars. what wins oscars is epic. amadeus is a meditational genius. i know you work well, senor. do you know i actually composed some variations on a melody of yours. really? which one? mio caro adonne. i m flattered. a funny, little tune. but it yielded good things. the protagonist is not mozart and he is actually deficient. he s not a great artist. he doesn t have great inspiration. he s jealous of mozart who does. shouldn t it be a bit more or this?
it was so powerful because people were talking about shit that they never talked about. kids were not talking about dark stuff in school and with their peers. don t you forget about me there weren t a lot of movies that spoke to teenagers, and it s just really surprising because who doesn t want to see this incredible period of time in a person s life where they re just changing so rapidly. and to see something that you relate to, i think that s really why the john hughes films are still so important. i just remember thinking how does this grown-up know everything about all of us? it was like he looked inside of all of us.