The rest is history and the end of times known as Michael Bay.

The Age of Aquarius and the auteurs gave way to high-concept hits driven by the corporate bottom line and toy tie-ins. “Now,” the director John Milius exulted, “power lies with the filmmakers.” Alas, that power went to their heads, and filmmakers indulged themselves into a creative dead ends (“At Long Last Love”) and financial calamities (“One From the Heart”). Just in the nick of time a new movie-savvy generation of directors, influenced by European art cinema, stormed the studios and reinvigorated American cinema with their independent visions. It goes something like this: By the early 1960s the old studio system was in shambles, run by old men who, out of touch with the times-they-are-a-changin’, were churning out pricey duds like “Cleopatra” to shrinking, indifferent audiences. THE story of what is often called New Hollywood, the era of the easy riders, raging bulls, to borrow the title of Peter Biskind’s 1998 best seller, has been told numerous times.

Cinema studio 1 new york