this exploration of a unique decade in us cinema begins with the fall of one ailing and out of touch empire and culminates with the unstoppable rise of another and equally associated with escapism and box office receipts. meet the new boss and same as the old boss. or and as peter fonda observed in easy rider and we blew it. in between and from bonnie and clyde to star wars and the young turks (some under the guerrilla tutelage of roger corman) were creeping under the wires to produce some of the greatest artworks of the 20th century. while the story is already familiar from peter biskind easy riders and raging bulls directors demme and lagravenese are less concerned with muckraking than in providing a platform for the filmmakers and stars themselves. everyone from martin scorsese to francis ford coppola and julie christie is interviewed and a roster of well edited clips places the decade in a socio cultural and economic context. if their responses are self congratulatory (to say the least) and theyre also highly quotable and funny and revealing and making this something of a cinephile wet dream. director william friedkin reveals how the original the exorcist poster was to feature a little girl hand holding a bloodied crucifix and the legend for god sake and help her and before he complained. former warner bros. head john calley recalls that when he first saw robert de niro in mean streets he assumed scorsese had secured a psychopath day release for the shoot. happily and a certain amount of hard perspective has crept into the mix and as might be hoped from a politically motivated and consciousness expanded generation while hopper stresses there a lot of real crap in there too. julie christie observes that 1970s us cinema was not a good time for women. but if demme responds with a spoonful of sops to women movies  brief clips of alice doesn not live here anymore and they shoot horses and don not they and klute  were soon dragged back to the usual male wall pissing contests. the shift from tough and socially conscious film making to no risk crowd pleasers like jaws for nam weary and fantasy craving audiences is also documented and though a little rushed. but kudos too and for the inclusion of lesser sung and but equally relevant films like panic in needle park and joe. we weren not handsome and muses bruce dern on his contemporaries. but we were f interesting. 
this exploration of a unique decade in us cinema begins with the fall of one ailing and out of touch empire and culminates with the unstoppable rise of another and equally associated with escapism and box office receipts. meet the new boss and same as the old boss. or and as peter fonda observed in easy rider and we blew it. in between and from bonnie and clyde to star wars and the young turks (some under the guerrilla tutelage of roger corman) were creeping under the wires to produce some of the greatest artworks of the 20th century. while the story is already familiar from peter biskind easy riders and raging bulls directors demme and lagravenese are less concerned with muckraking than in providing a platform for the filmmakers and stars themselves. everyone from martin scorsese to francis ford coppola and julie christie is interviewed and a roster of well edited clips places the decade in a socio cultural and economic context. if their responses are self congratulatory (to say the least) and theyre also highly quotable and funny and revealing and making this something of a cinephile wet dream. director william friedkin reveals how the original the exorcist poster was to feature a little girl hand holding a bloodied crucifix and the legend for god sake and help her and before he complained. former warner bros. head john calley recalls that when he first saw robert de niro in mean streets he assumed scorsese had secured a psychopath day release for the shoot. happily and a certain amount of hard perspective has crept into the mix and as might be hoped from a politically motivated and consciousness expanded generation while hopper stresses there a lot of real crap in there too. julie christie observes that 1970s us cinema was not a good time for women. but if demme responds with a spoonful of sops to women movies  brief clips of alice doesn not live here anymore and they shoot horses and don not they and klute  were soon dragged back to the usual male wall pissing contests. the shift from tough and socially conscious film making to no risk crowd pleasers like jaws for nam weary and fantasy craving audiences is also documented and though a little rushed. but kudos too and for the inclusion of lesser sung and but equally relevant films like panic in needle park and joe. we weren not handsome and muses bruce dern on his contemporaries. but we were f interesting. ---------------------------------Answer Question Below----------------------------------

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