Seg 1: Kevin on Titanic:
Watching the boat break, I remember thinking for the longest time that some of it wasn't digital, like they were actually dropping people from large heights. But then I found out that a lot of that stuff was just digitally created and I was amazed. Visual
ly
it's amazing.
When they were making Titanic, everyone talked about the boat... the boat looks amazing, you gotta see the boat. Then around somewhere
in the middle of the run it changed. It's like Leonardo DiCaprio, you gotta see him.
They don't care about the boat, the big boat breaking, they cared about Jack. So in the end I think your stars and your stories are always going to kind of win out as long as there's something at the heart of it.
Kevin on Clueless and Teen Flicks:
Clueless made a LOT of money. Did really well. Started that whole teen movement over again.
I guess at a certain point the slacker thing got kind of tired and then people sitting in coffee houses wearing flannel and going like this [put's his head in his hands and feigns dispair] all the time...
...And suddenly movies weren't about the slacker generation anymore, they were about high school kids.
You're kind of happy when you see Ryan Phillipe get a hook, you know? You're just like like, "Allright, take the pretty guy out, let's move along, let's kill the chick from 'Party of Five' next."
Kevin on John Singleton and 'Boyz N the Hood':
The movie was kind of like... opened the door to a lot of movies that dealt with problems in urban society. So whereas Spike Lee brought Blacks to the forefront, but didn't really touch on gangster mentality, John was able to bring that into light and was
followed by people like the Hughes Brothers.
Kevin on 'Pulp Fiction':
The first time I saw 'Pulp Fiction' I was kind of lucky. We were over at the Cannes, the Film Festival with 'Clerks'. You felt like you were there for the beginning of something... a movement or something that would make an impact.
The Sundance Film Festival:
VO: ...Quentin Tarantino, along with Richard Linklater, Robert Rodriguez, Alison Anders and Kevin Smith are all discovered there.
Hollywood invades looking foe the next big thing. Overnight, young directors go from Zero to Hero.
Kevin: I'd say a large portion of that has to do with the notion, not just with what Quentin did with 'Pulp Fiction', but just a notion that almost anybody could be a filmmaker.
Miramax Films:
VO: The company that distributes 'Pulp Fiction' leads a movement away from blockbuster films. Investing in low budget film with maverick directors, Miramax wins big.
[insert 'One time I called this girl mom' clips from Clerks]
Kevin: They've been really good to me and bunch of other filmmakers and gotten films spotlighted that probably wouldn't have had attention before. They make event films, without the event film budget.