All language subtitles for Found.Emulsion.2022.1080p.WEBRip.x264.AAC-[YTS.BZ].en

Downloaded from
YTS.BZ

[MUSIC PLAYING]

Official YIFY movies site:
YTS.BZ

NARRATOR: Classic films are
being beautifully restored

so new audiences
can discover them.

Film restoration
takes time, money.

It can cost between $50,000
to half a million dollars

to restore a feature film
from color fading, scratches,

torn sprockets, shrinkage.

But these classic
films will continue

to stir our imagination,
tell us our history

in a firsthand,
entertaining manner.

But decay strikes at
lesser known films

as well, the films
very few talk about.

Will these films
be rescued as well?

[FILM WHIRRING]

Many classic films will
never see restoration--

victims to decay, fire, or even
discarded by their own makers.

Here are a few of
the many lost films.

[MUSIC PLAYING]

The harrowing lives of
World War I soldiers

was depicted in a
matter-of-fact way

in Over The Top, which was
produced by the Vitagraph

Studios in 1918.

And it starred real-life
Sergeant Arthur Guy Empey

in the lead role.

Over The Top opened
to tremendous acclaim.

However, this film is lost.

Possibly the greatest
film about Joan of Arc,

one of history's
most heroic women,

was The Passion of Joan of Arc.

The Passion of Joan of Arc
is a 1928 silent French film

by Carl Theodor Dreyer.

Innovative for its time,
it pioneered new shot types

like close-ups.
For a long time, it

was assumed to be lost forever
until, by a stroke of luck,

it was rediscovered in a closet
in the Dikemark Mental Hospital

in Oslo in 1981.

NARRATOR: Carl Dreyer's
camera pushed us

into the raw emotions
of Joan of Arc.

No makeup was used, so no
facial expression was hidden.

Maria Falconetti's
portrayal of Joan of Arc

is widely considered one
of the finest performances

of the silent film era.

The film had a sparse
release in 1928.

And a few years later, the
original negative was destroyed.

Dreyer recut the film
from second-best takes.

This lesser alternate
version of Joan of Arc,

which was also very rare,
was the only version

available until that broom
closet discovery in 1981.

[MUSIC PLAYING]

Maybe it was the much needed
cold Norwegian climate

that helped preserve the film.

Many films that
are considered lost

are lucky enough to survive
in private collections

like this one right here.

Now, it's very important
that these films

are kept in a
climate-controlled environment.

A lot of these films came
to the collector in bulk.

And the reels were not
labeled, or they were labeled

with guesswork on it like this.

Now, for films that are
not stored properly,

I brought along this
little guy right here.

It's beginning to warp.

And it's giving a vinegar
odor, which is called

vinegar syndrome.

So film collecting
is a great hobby--

one of the most enjoyable
hobbies you can get.

Stamps are nice.

Coins are nice.

You can look at them.

But when you watch a film,
you get excited by it,

at least I do.

So a lot of people
collect films.

The biggest problem
with collecting films

is that unlike other
things that you

can collect like
stamps and coins, which

you can keep indefinitely
and don't deteriorate,

motion picture films very
often do deteriorate.

And there's never any way to
find out which ones are going to

and which ones are not going to.

GLENN: You think you have some
films that are possibly one

the few surviving copies?

Very possibly, and perhaps
the only copy in existence--

I wouldn't know.

I just know that
they're pretty obscure.

The Rare and the IMDb doesn't
have one of them listed,

and the other one is
listed incorrectly.

Day, Dawn, and Dusk
are three fellows who

did musical parodies on operas.

And they're listed as
one person on the IMDb,

and no other information
about them at all.

GLENN: What about the other
one you were telling me about,

the one--?

The Bosses' Daughter?

It's just a few
people got together,

made a film, a musical film.

But it's 400 feet, you know.

It's a short film.

[MUSIC PLAYING]

What seems to be the--

[LAUGHS] She wants to know
what seems to be the trouble.

Pull her over a chair,
give her a seat,

and we'll tell her all about it.

Come on, fellas.

Get this chair.

She's too crass.

[PIANO MUSIC]

(SINGING) So what?

You're the boss' daughter

So what?

You ain't got a quarter

So what?

Don't give us no order

You don't mean a thing to me

So what?

Ain't we doing our duty?

Shut up.

Stop your beating duty

You don't mean a thing to me

[MUSIC PLAYING]

[APPLAUDS]

NARRATOR: A Nazi-produced
version of Titanic

was overloaded with
anti-capitalist propaganda

and crazed Nazi heroics,
making this film a historically

inaccurate curio.

This version of Titanic
is truly a firsthand look

at the twisted Nazi
ideology, which

despised all other
races, nationalities,

and ethnic groups.

It's a reason why we
need film history.

This Nazi Titanic
became very obscure.

It is believed that
Joseph Goebbels,

under the order
from Adolf Hitler,

had the film's director
murdered for insubordination.

So this may be the only
time in film history

where a film's director was
murdered by its producer.

Chop off his head!

NARRATOR: Bud Pollard was a
low-budget filmmaker in the late

1920s looking to make it big
with some exploitation film

shorts.

Pollard's first venture
into feature filmmaking

was this very bizarre,
low-budget Alice in Wonderland.

[MEOWS]

But I don't like mad people.

Come back.

I have something
important to say.

Now keep your temper.

NARRATOR: The harsh, low-budget
photography, minimal sets,

maximum overacting--

it makes this
Alice in Wonderland

look like it takes place in the
seedy section of the looking

glass.

You can't cut off my head!

Executioner, executioner!

Off with her head!

Come on, all of you!

Who's afraid of a
lousy pack of cards?

It's alive!

NARRATOR: It's 1932, and
major Hollywood studios

are churning out horror films
to outdo Universal's moneymaker,

Frankenstein.

Budd Pollard leaped onto
that horror bandwagon.

[SCREAMS]

This is what survives
of his 1932 shocker

The Horror, filmed in about
six days in Queens, New York.

[HORROR MUSIC]

[SCREAM]

The Horror barely
got released in 1932,

and only one print was struck.

[MUSIC PLAYING]

[SCREAMING]

Take it away!

Take it away!

NARRATOR: Pollard in 1944
recut the single print to make

a 44-minute film about
alcoholism called John

the drunkard.

That film was barely released.

So in 90 years, The Horror
has remained a semi lost film.

Budd Pollard's feature films
ran amok with cinema weirdness.

But Pollard also made
sincere, honest documentaries

about Depression era life,
such as Forgotten Men,

a short documentary which told
of unemployed and desperate war

veterans.

A film can be safely
stored in a library,

but unavailable to
the general public.

The film Hellzapoppin from
1941 is a surreal and manic

comic super spectacular
starring the comedy

team of Olsen and Johnson.

Currently, it cannot be seen in
the United States due to tangled

legal issues.

Then there's the case of Animal
Crackers, the second film

with the Marx brothers.

Quarreling legal battles
kept this film unseen,

except for bootleg
16-millimeter copies.

Finally, in 1974, Universal
released Animal Crackers

in beautiful
35-millimeter prints.

Alfred Hitchcock's wonderfully
quirky spy thriller The Secret

Agent, starring John
Gielgud and Peter Lorre,

exists mostly on
third-rate DVD versions.

It's because these low-grade
versions are out there

available, there's
very little interest

to spend all this money
to do a full restoration.

[MUSIC PLAYING]

Late silent film and
early sound cartoons

made by minor film studios
have a tough survival rate.

It's up to hard-working
cartoon historians

to make sure we could see
these bizarre animated takes

on our lives.

As a little kid being
interested in cartoons

and animation history, I came
across a problem very quickly

in that I was getting to see a
lot of the things that I really

liked, such as Mickey
Mouse, Betty Boo, Popeye,

that sort of thing-- big
names of the '30s and '40s.

But there were a lot of
films made in the silent era,

1920s and before.

And those films, by and
large, were very, very rare,

very difficult to see--

in many cases, considered lost.

And I was very frustrated to
find out that the only way

to possibly find some of
these earlier, rarer films

was to collect very old
film print copies of them.

Now, if you look in
the back of the room,

there's a 16-millimeter
film projector back there.

NARRATOR: Audience
members are encouraged

to scream and yell whenever a
strange or weird Santa appears.

[MUSIC PLAYING]

[AUDIENCE APPLAUDS]

I remember in the days before
home video, I went to school,

walked into a classroom and
saw the projector set up.

I knew I'd be seeing an
educational film, which

could be fun.

Educational films
have been around

since the early silent era.

The very first
educational films were

like this one about houseflies.

And it's told in a
very matter-of-fact,

unentertaining manner.

The majority of educational
films were like this--

the talking head shot.

But kids in the 1950s
loved their horror films.

And they loved
cartoon characters.

Then you have the
atomic scare films--

those films from the 1950s
that tell you you can survive

a nuclear blast if you
hide behind the couch.

Now, the classroom
films are becoming

more cinematic, more Hollywood.

(SINGING) We'll kill the
old red rooster when she comes

We'll kill the old red
rooster when she comes

We'll--

[SCREAMS]

[CRASH]

NARRATOR: Sometimes a film
noir style is used to teach,

such as this film
Hard Brought Up.

[MUSIC PLAYING]

Unfortunately, when schools and
colleges converted to showing

films on video, 16-millimeter
educational films were often

thrown into dumpsters.

In fact, we're very fortunate
to have these educational film

collectors that save what
was almost destroyed.

In the 1940s and '50s,
Hollywood made many films set

in suburbia--

a suburbia recreated
on a soundstage.

Home movies made by suburbanites
recorded an honest look of life

in 1940s and 1950s America.

[MUSIC PLAYING]

Regular 8-millimeter film
was introduced in 1932,

basically so the average person
can record on film what was

important to them--

their families, the
towns they lived in,

where they went on vacation.

Those who had regular
8-millimeter projectors or super

8 to show home movies could
also buy abbreviated versions

of feature-length films.

You got this 10-minute
reel of super 8 film,

usually black and
white, mostly silent.

And this is before VHS,
DVD, Blu-ray, streaming.

And the name of
this film again is?

KEITH: Oh, this would
be Django's Revenge,

with Terence Hill.

It was one of numerous
spaghetti westerns.

And this is a super
8-millimeter reduction.

And it's also been printed
up on black and white stock

as opposed to color, because
this film was shot in color.

NARRATOR: Even
though super 8 film

is on a very fragile,
thin piece of celluloid,

beginning filmmakers and
filmmakers on a budget

simply embraced this new medium.

The major camera companies all
manufactured super 8 cameras.

Their top-grade lenses allowed
for beautiful natural light

cinematography.

[MUSIC PLAYING]

Colored filters
allowed for filmmakers

to create unique images.

Kodak Ektachrome lets you
photograph in very low light.

[TENSE MUSIC]

I think my favorite
film stock in super 8

was black and white
Tri-X film, which

gave you a terrific image
with very soft grain.

[MUSIC PLAYING]

Most of the super 8 cameras
had an extra feature

that allowed for stop-motion.

[MUSIC PLAYING]

Many places today can convert
your 8-millimeter or super

8-millimeter films
to a digital format.

Hi, my name is Lenny
Tortora from L & L Camera.

I just want to let you know a
few of the services that we do

here, starting with
16-millimeter movie film,

8 millimeter, super 8.

We can convert everything to
either a thumb drive, or a DVD,

or--

[MUSIC PLAYING]

GLENN: All right.

Well, what creates,
like, that mold issue?

Well, that's if
someone stores it

let's say in a basement,
where there's moisture.

Usually, it's a water issue.

NARRATOR: A transfer to
digital isn't as safe

as many think it is.

An external hard
drive is something

like this, about this size.

And it could hold days'
worth of video information.

But if you drop this hard
drive, you're screwed.

If you don't have that backed up
anywhere, that's your only copy,

your video project's gone.

NARRATOR: In regular
8 and super 8 film,

the same piece of film that
went through your camera

is the same film you feed
through your projector.

Many times, a customer
will come in and tell me

once I transferred that they'd
just throw out the originals,

whether it be VHS,
mini, DVDs, whatever

it is, whatever the format is.

And I tell them,
I strongly suggest

that they don't do that
because of certain reasons.

You know, it could be
scratched, the DVDs.

External hard
drives like these

may become obsolete in
about two or three years.

We may not have this
sort of physical media.

10 years from now, everything
may be stored in pill form.

[EVIL LAUGH]

NARRATOR: in 1997, I made
a vampire film, Night.

[WOMAN SCREAMS]

And it was mastered
on U-matic video.

This is U-matic video.

This is now a long
obsolete video format.

Night has been remastered
on newer digital formats.

But the original U-matic video
master shows decay, like here.

To the many people who made
independent shorts or features

back 20, 30 years ago, whether
it was on film or video,

even if the film
didn't go anywhere,

make sure it's
backed up and saved.

It's part of you.

It's a part of history.

OK, we're going to talk--

I'll talk a little bit
about the difficulty of what

happens with the old equipment
that you might be using today

to view your products from
yesteryear-- a 16 millimeter

projector that is not operating
or not functioning well.

It is very, very
difficult to get

the parts to replace any
defective parts in a projector.

Getting a projector
fixed these days,

you're kind of going
to be pulling your hair

out attempting to do it.

NARRATOR: 1950s Hollywood
is best remembered

for their big-budget
spectaculars and treating mature

subjects in a polished,
rehearsed way.

Studios working on
much smaller budgets

went for more exploitive fare--

fashionable juvenile
delinquents,

girls in trouble, as well as
posters with warning labels

that made the film
look more enticing.

We started Cinefear
Video in 1990

in an effort to
draw up money to pay

for the publication of
The Exploitation Journal.

We were doing a fanzine at the
time called The Exploitation

Journal.

We needed to have
that bill covered.

And we decided, why not start
a rare and hard-to-find video

company and sell
copies of rare films

that were not out on the market?

There was a real demand
for that at the time.

We figured it would
be a great way

to make money and reinvest
that money into the publication

of The Exploitation Journal.

So, for instance,
this film over here,

The Mark of the Werewolf
starring Paul Naschy,

was released in this country as
Frankenstein's Bloody Terror.

However, the video cassettes
from Spain of this film

were the uncut version known
as The Mark of the Werewolf.

And over the years,
especially in the era of DVD

and now Blu-ray, a
lot of these films

have become readily
available through

much higher-grade transfers.

But back in the day, these
films weren't available.

So we made it our job
to make them available.

And through that, we were
able to sell the cassettes,

make some money, reinvest that
money into the publication

of The Exploitation Journal.

And that was how Cinefear
Video came to be.

MAN: Do you dare
to pit your sanity

against our Marathon of Fright?

NARRATOR: Many of these
low-budget exploitation

producers had the
smarts to cheaply finish

very quickly a film and get it,
as they'd say, into the can,

finished.

But did they know what to do
while their film sat there

in a can?

Certain film stocks do not
hold color well over time.

Eastman color prints, they have
a terrible tendency to turn red,

OK?

Very interesting-- with most
things, like refinishing wood,

the color red fades first.

So if you refinish a
piano, for example,

the red component of the
stain is what fades first,

and it turns to yellow.

However, with motion
picture films,

all the other colors
fade first, and you're

left with nothing but red.

So films deteriorate,
color films often.

Instead of a multi-colored
film, or a technicolor film,

or whatever kind of color,
instead of many colors,

you have one color,
which is usually red.

So therefore, a color film
becomes not a black and white

film, a red and white film.

NARRATOR: Low-budget
distributors like K. Gordon

Murray didn't take into
consideration long-term film

preservation.

They just wanted to make the
big bucks now, now, and now.

I was mentioning
K. Gordon Murray.

When he printed up
the Mexican fairy tale

films that he brought over,
which was shot in color,

he printed it up on
Eastman color stock.

And over the years, that
color would turn to red.

And he didn't care.

He'd keep-- he kept re-releasing
the films continuously

over the years with
the same prints.

He wasn't going to
go strike new prints.

GLENN: Turning more red, red?

Right.

And they were turning
redder and redder.

So there were people who saw
these films at later showings,

not just when-- when he first
showed them, they looked fine.

But he was continuously bringing
these films out every year.

That Mexican Santa Claus film,
he brought that out every year.

And each time he
brought it out, the film

was getting redder and redder.

And of course, it was getting
more and more beat up and more

and more scratched.

So people, they got used
to this over the years.

Like, many people
recall only seeing

a red version of that
film, even in the theater.

He did not strike a new print.

If it went red, it went red.

He just kept putting
it out there.

And he made a fortune
with Santa Claus.

It's a kiddie matinee film.

But it's also what we call,
in a sense, the kiddie market

or the kiddie
exploitation market.

And he took these very bizarre
either European-made films

or South American-made
films, and he released them

to the general audience,
to children, they became.

GLENN: Now, is he
responsible for the dubbing?

Absolutely, because he had
adults obviously dub the films.

It was an acting troupe
in Florida led by a fellow

by the name of Paul Nagle.

And Paul Nagle, not only did
he lend his voice to this,

but he was responsible for
the dubbing of these films.

That's what made something
like Puss in Boots

and The Little Red Riding
Hood films even more shocking.

Because the girl
would open her mouth--

and they really did
use a child actress--

but the voice of a seasoned
pro, a much older, seasoned pro

would come out of
the child's mouth.

And it just looked bizarre.

(SINGING) But I know I'll find
you near, [INAUDIBLE] granny

He can smell you

And I'll catch you--

KEITH: The films were
already surreal to start

with the sets and the
fact that it was all

done through no animation.

It was done live.

So they have a guy in
the big bad wolf suit.

And they had another
guy dressed as a skunk.

They put a midget in the
suit dressed as a skunk.

So this stuff was just weird
enough to look at as it was.

But then you get
this bizarre dubbing.

And very often, when they
were dubbing the films,

they weren't really per
se following the script.

A lot of it was ad-libbed,
which made it even weirder, OK?

It made it even more bizarre.

So we're talking about
a completely bizarre,

surreal experience.

Complete.

NARRATOR: Betamax was one of the
first real home video formats

where you could
actually own videotapes

of your favorite films.

And this was soon
replaced by VHS.

Once VHS videotapes came out,
privately-owned video stores

popped up all over the
world in the 1980s.

But soon, big
video rental chains

were overcrowding the
mom and pop stores.

Many films released
on VHS were never

released on DVD or Blu-ray.

The video stores started
to go out of business.

And what we started doing
for [INAUDIBLE] Video was we

started hitting these stores.

We were going up and
down at this point,

I would say, Merrick Road into
where Merrick Road becomes

Montauk Highway.

And we were hitting these
stores as they were closing.

And we were buying copies
of these movies that

were now out of print, that
were not in print at all.

I've done similar stuff.

I was able to pick up
a lot of these tapes

they were dumping for like, $5.

Right, that's exactly
what it was, Rich.

It was-- I remember paying I
think around $5.50 per title

from Inwood Video when they
were going out of business.

Certain places were
selling them for $3.

When DVD hit and
DVD became big, they

were selling them
for even less--

we're talking about $1
or $2-- because they just

wanted to get rid of them.

I'll give you an example,
something like this.

And we're talking about
the old big box videos.

But something like this,
Mellow Memories, OK?

And it says, footage
of the Carpenters,

John Denver, Neil Diamond, OK?

But if you take a
look at it, this

is also never saw
a release on DVD.

It's not to say that
some of this footage

might not have
ended up somewhere

else on some other
compilation on DVD.

But this did not end up on DVD.

But let me show you, Rich.

This is what I want to show you.

This will be an
eye-opener to you.

Woohoo!

Here we go.

Here's a treasure trove.

Here we go.

This was literally--

RICHIE: Cold storage.

Oh yeah, cold storage,
you better believe it.

This is literally Inwood Video.

You know how I found out, Rich?

The woman-- I said to the
woman-- the woman said,

we're not renting today.

We're going to be closed
for a couple of days.

I said, what for?

She said, for inventory.

And I knew that that
was sign language,

we're going out of business.

Are you selling
any of these tapes?

She goes, oh, yeah.

You could get them for $5.50.

Well, kaboom.

Here you go.

Bloodthirsty Butchers,
Torture Dungeon.

Imagine this for $5 and change.

The Killing of Satan,
which is a Filipino movie.

And these are in
pristine condition.

Look at this.

They are, they are.

And this is actually--
you know what, Rich?

If I'm not mistaken, this
one's actually a beta.

Whoa, whoa, whoa,
whoa, whoa, whoa.

That package, that's a great--

Oh, please.

Absolutely.

And let me even flip
it over for you, Glenn.

Hang on one second.

Let me flip this over
and I'll show it to you.

GLENN: All right, what--

OK, what makes this film fun?

Oh, the fact that it's insane.

Because it is a
Filipino movie, it

does not follow the American
standards of filmmaking.

So they throw everything at you.

This is a Dutch video cassette.

A friend of mine, a fellow by
the name of Jerry Veneman--

really nice guy,
lives in Holland.

And he had all of
these video cassettes.

And he ended up--

I ended up getting
them from him.

I think I just--

all I remember paying
for was the shipping.

He gave them to me.

He knew I had a business.

GLENN: What is Lion Man?

KEITH: Lion Man is--

it's kind of a medieval piece.

And he basically
gets raised by lions.

And he replaces his
hands with fake claws.

GLENN: Wow.

KEITH: And he ends
up using those to be

able to tear people to pieces.

[MUSIC PLAYING]

NARRATOR: The Fearful Invasion
of the Flying Saucers,

produced in Japan in 1956,
has apparently disappeared.

However, one 16-millimeter print
of the film wound up on eBay

and sold for the
equivalent of $25,000.

But then there's
no print that we

know of Gogola, India's
musical answer to Godzilla.

[MUSIC PLAYING]

Many grindhouse, exploitation,
and cult films have disappeared.

[MUSIC PLAYING]

[SCREAMS]

NARRATOR: Pornography has been
around since the cave days--

I'm not kidding.

The oldest surviving
pornographic film

was made in 1907.

[MUSIC PLAYING]

These films are
amateurishly made

under very hushed conditions.

[MUSIC PLAYING]

These were called stag films.

And they were lighthearted,
sexy mini stories.

These films could be either
very explicit or very chaste,

like this one from 1929
titled Why Girls Walk Home.

[MUSIC PLAYING]

Some of these softcore
filmmakers like Dwain Esper

disguised their sexy films as
documentaries of social ills,

such as his completely
off-the-wall 1934 horror

classic Maniac.

Or from another shifty
filmmaker, Tomorrow's Children.

Yes, the public utilities man.

Is this his son?

MAN: Yes, your honor.

Your honor, we ask--

Now, keep him perfectly quiet.

All right, Senator.

[SCREAMS] What are you doing?

NARRATOR: Then there's expose
of the nudist racket from 1937,

promising to rip the lid
off of those nudist camps.

These filmmakers
had imagination.

Young actresses in Hollywood
who were just starting out

could pick up some
extra money by posing

in these poolside
cheesecake short movies.

Here is future movie
star Cleo Moore.

A driving force in early
sexploitation films was horror.

[HORROR MUSIC]

NARRATOR: Confessions of
a Psycho Cat is different.

[MUSIC PLAYING]

NARRATOR: Stag
films were purchased

mostly by men who showed
them at bachelor parties

or at conventions.

But they couldn't just store
these stag films openly

in their living room
bookshelf or video shelf.

So they hid them.

When the stag film
collectors passed away

and the relatives
found these films,

relatives didn't know
what to do with them.

Most of them didn't even
know how to run a projector.

So they-- so stag films
are working their way

towards extinction.

OK, so here's the plot
to Mr. Peter's Pets.

So there's this bachelor
who runs a pet shop.

And he finds a potion
that can turn himself

into any animal he chooses
so he's able to sell himself

to his customers, who are always
young, beautiful female models.

In this scene, he turns
himself into a goldfish

so he can be purchased by
a young woman who likes

to nude sunbathe near goldfish.

Well, that's what we
were saying before, Glenn.

We were laughing about the
simplicity of that type of plot.

This man-- we said the man has
this ability, this fantastic

ability to turn
himself into an animal.

But rather than use this
for some other amazing feat,

his big thing is to get
around a nude woman.

That's the only way he can
get around the nude woman.

GLENN: Just to look at her.

Just to look at her.

Because as an animal,
he's not going

to be able to do
anything with her.

So to have him as a cat,
to have him as a fish--

it's almost like a bad old
burlesque joke from the era

of the burlesque days.

With the softcore
porn films, and then

even the early hardcore porn
films, for the longest time,

there was a need
to tell a story.

There was a need to create
what we call eroticism, OK?

NARRATOR: In the
1950s, Edward Wood Jr.

made low-budget feature films
that many consider to be

the worst films of all time.

I've seen worse.

By the 1970s, he was making
no-budget porno shorts.

Ed Wood props from his
feature-length porns ended up

in these 8-millimeter porns.

And one of them was
a pair of owl eyes,

that when you remove the eyes,
a guy could look through them.

It was a voyeur's delight.

So the girl in her apartment--
it's an 8-millimeter loop.

And the girl's in her apartment.

She has this owl picture,
but the eyes move.

It was almost like
the old spooky movie

house, the old-- like
a Bowery Boys movie,

like Spooks Run Wild, where
the painting is there,

but the eyes come out and you
could see somebody looking

through the eye sockets.

When he was making the
exploitation films that he made

in the 1950s-- because there was
a set limit to how far he could

go with things.

So my view, is that when Wood
got into the adult films,

it allowed him to cut loose.

So I don't look at it as
necessarily a bad point

in his life.

Do I believe that the
alcoholism brought him there

or kept him there?

Yeah, absolutely.

He became unreliable.

NARRATOR: Stag films continued
to be made into the 1970s

on very low budgets, often
with a dash of insanity.

[FILM WHIRRING]

You know what, Glenn?

We know how difficult it was
to shoot film, to process film,

to expose film properly.

So anytime someone
took the plunge

into filmmaking at that time,
you have to give them credit.

It's an easy world now
with iPhones and the cell

phones and the HD cameras.

And it's not the
challenge it was

when you were shooting films.

So any of these guys who pulled
these films off at that time

have to be given credit.

And the fact that there
was a lucrative market

to sexploitation exploitation.

Mr. Rabbit.

CHILD: It's a wonderful new
movie, but it's not for kids.

Bill Osco presents
Alice in Wonderland.

But once pornography
broke that boundary

and once we got into hardcore--

in many ways, I think it was
Dave Friedman who said it,

it took the fun out of it.

One type of
feature that I like?

GLENN: Other than feature films.

Other than feature
films, what do I like?

I like all kinds of films
because they're all interesting,

in one form or another.

I like documentaries because
you can learn something.

I like educational films
because you can learn something.

and I like how-to-do-it films
because you can learn something.

I like X-rated films
because you can have

a good time looking at them.

I don't know how much you can
learn from them, but you can--

It's interesting what
people decided to do.

You're looking at humanity here.

And you're looking at people
in the real world doing

real things, whether
it's a documentary,

or it's educational,
or it's a stag film.

NARRATOR: If space aliens
landed here and grabbed up

random reels of movie
film and watched them,

they would see our award-winning
Hollywood films, box office

champions, films made by the
greatest and most talented film

directors.

[MUSIC PLAYING]

Then they would see the
B-movies-- the quickly

made exploitation films, the
stag film, the home movies,

the experimental movies.

They would see underrated,
smaller classic films.

They would see
what makes us tick

in the right way
and the wrong way.

Through our various films, they
would learn a lot about us.

[MUSIC PLAYING]