Original subtitles

- I'm Roger Corman and I'd like to share with you

- I'm Roger Corman and I'd like to share with you

some great moments and memories of many of my films.

some great moments and memories of many of my films.

(energetic rhythmic music)

(energetic rhythmic music)

My thoughts about my favorite sequence

is in my own science fiction pictures,

is in my own science fiction pictures,

probably would start with "Battle Beyond the Stars"

probably would start with "Battle Beyond the Stars"

because that was the first film

because that was the first film

in which we had a fairly big budget

and we had access to some special effects

and we had access to some special effects

and we had access to some special effects

that were more sophisticated that had gone before.

that were more sophisticated that had gone before.

The really good sections of a science fiction

The really good sections of a science fiction

special effects arose in a strange kind of way.

special effects arose in a strange kind of way.

We had finished shooting.

We had finished shooting.

Everything was on schedule,

but we were falling behind in the special effects

but we were falling behind in the special effects

but we were falling behind in the special effects

and Gale Hurd, who was my ace assistant,

working out of our office here,

working out of our office here,

I asked Gale to go down to our studio

I asked Gale to go down to our studio

and stay a couple of days and find out why

and stay a couple of days and find out why

the special effects department was falling behind

the special effects department was falling behind

and she came back, after two days,

and she came back, after two days,

and she said, "Here is the reason.

and she said, "Here is the reason.

"The man you hired to head the special effects

"The man you hired to head the special effects

"did what many people will do,

"when they're looking for a job,

"when they're looking for a job,

"he somewhat exaggerated his experience

"he somewhat exaggerated his experience

"in special effects and he really isn't that experienced.

"in special effects and he really isn't that experienced.

"But there's a young kid there

"But there's a young kid there

"who hitchhiked in from Arizona.

"It's his first job in Hollywood

"It's his first job in Hollywood

"and he's really good.

"and he's really good.

"It's Jim Cameron.

"What you should do, you should promote Jim."

"What you should do, you should promote Jim."

So I went down to the studio,

So I went down to the studio,

talked to Jim for a while and I think this is the only time

talked to Jim for a while and I think this is the only time

on any picture where I gave somebody a raise

on any picture where I gave somebody a raise

in the middle of the picture.

I said, "Jim, I'm bumping you up on raise

I said, "Jim, I'm bumping you up on raise

"and you're gonna take care of the special effects."

"and you're gonna take care of the special effects."

And the special effects Jim did on that film

And the special effects Jim did on that film

were really brilliant.

were really brilliant.

He had been originally working on the models

He had been originally working on the models

of the spaceships and the models were excellent.

of the spaceships and the models were excellent.

I remember there was a sequence where

I remember there was a sequence where

the mother spaceship approaches a satellite

the mother spaceship approaches a satellite

the mother spaceship approaches a satellite

and that was pure special effects.

and that was pure special effects.

The shots and the spaceship or the satellite,

The shots and the spaceship or the satellite,

the cutting back and forth, I thought was

the cutting back and forth, I thought was

the best we had ever had in any picture.

the best we had ever had in any picture.

(lasers zapping)

(lasers zapping)

He then went on to do the battle scenes

and the battle scenes were just wonderful.

and the battle scenes were just wonderful.

(zapping lasers)

(explosion booming)

(explosion booming)

(energetic rhythmic music)

(energetic rhythmic music)

(whooshing engine)

(whooshing engine)

(clanking equipment)

(clanking equipment)

(dramatic suspenseful music)

(dramatic suspenseful music)

"Battle Beyond the Stars" had been our biggest success,

"Battle Beyond the Stars" had been our biggest success,

"Battle Beyond the Stars" had been our biggest success,

so needless-to-say, I wanted to do another similar film

so needless-to-say, I wanted to do another similar film

and I was very much involved in Freudian theory

and I was very much involved in Freudian theory

at that time, so I decided to do a science fiction story

at that time, so I decided to do a science fiction story

that would have some Freudian elements

that would have some Freudian elements

in which the antagonist, the evil force,

in which the antagonist, the evil force,

in which the antagonist, the evil force,

was actually the unconscious desires of the mind.

(twinkling otherworldly music)

(twinkling otherworldly music)

And on that picture, I promoted Jim,

And on that picture, I promoted Jim,

Jim Cameron, from what he had done

on "Battle Beyond the Stars" to really taking charge

on "Battle Beyond the Stars" to really taking charge

on "Battle Beyond the Stars" to really taking charge

of just about the whole thing.

He was art director, production designer,

He was art director, production designer,

head of special effects and second unit director.

head of special effects and second unit director.

It was his first work as a director

It was his first work as a director

and most people would not notice this,

and most people would not notice this,

but some of the style in "Galaxy of Terror",

but some of the style in "Galaxy of Terror",

but some of the style in "Galaxy of Terror",

Jim repeated in "Aliens" a few years later.

Jim repeated in "Aliens" a few years later.

(squishing)

(squishing)

The afternoon or early evening of the day before shooting,

The afternoon or early evening of the day before shooting,

I was going over the design of the spaceship with Jim

I was going over the design of the spaceship with Jim

and there was one wall of the spaceship

and there was one wall of the spaceship

which was a flat wall.

which was a flat wall.

I said to Jim, "I don't really like flat walls.

I said to Jim, "I don't really like flat walls.

"I like what you might call, articulation of the surface,

"I like what you might call, articulation of the surface,

"something to break it up."

He said, "Don't worry, Roger,

He said, "Don't worry, Roger,

"it'll be ready tomorrow morning."

So I figured, okay.

So I figured, okay.

I came in the next morning and the wall looked wonderful.

I came in the next morning and the wall looked wonderful.

It had all kinds of gauges and dials

It had all kinds of gauges and dials

and technical equipment, all over it.

and technical equipment, all over it.

And I said, "Jim, this is really great.

"You did this all last night, how did you do it?"

"You did this all last night, how did you do it?"

And he said, "I knew we were in a little problem with budget

And he said, "I knew we were in a little problem with budget

"so I didn't want to spend a lot of money.

"so I didn't want to spend a lot of money.

"I went to McDonald's and I bought some hamburger cartons,

"I went to McDonald's and I bought some hamburger cartons,

"cost $11.00 and I glued the hamburger cartons to the wall

"cost $11.00 and I glued the hamburger cartons to the wall

"cost $11.00 and I glued the hamburger cartons to the wall

"and then I spray painted them

"and then I spray painted them

"and then just got bits and pieces

"and then just got bits and pieces

"from the prop department and glued them all over."

"from the prop department and glued them all over."

And I thought, later on, the kind of guy

who can change a set completely for $11.00

who can change a set completely for $11.00

who can change a set completely for $11.00

is the same kind of guy

who can make the most expensive picture,

who can make the most expensive picture,

but do it correctly and use the money.

but do it correctly and use the money.

The casting was deliberate.

The casting was deliberate.

I was trying to appeal to a wide age bracket

I was trying to appeal to a wide age bracket

so I had Erin Moran, who appealed to young people

so I had Erin Moran, who appealed to young people

so I had Erin Moran, who appealed to young people

because she'd been on the TV show, Happy Days,

had Ray Walston, a veteran actor,

had Ray Walston, a veteran actor,

who had been a star on Broadway,

who had been a star on Broadway,

in addition to working in Hollywood,

in addition to working in Hollywood,

who had appealed to older people

and Edward Albert who was a straight leading man

and Edward Albert who was a straight leading man

and the concept was straight forward,

and the concept was straight forward,

appeal to the widest possible audience.

appeal to the widest possible audience.

- I will find a way to kill you

- I will find a way to kill you

for what you've done.

- Perhaps you will, but enough, Cabren.

- Perhaps you will, but enough, Cabren.

Why let your emotions rule now

Why let your emotions rule now

after showing such admirable control of your fear?

after showing such admirable control of your fear?

You already won the game.

- Game?

- Game?

- A children's game, Cabren.

This pyramid is an ancient toy,

This pyramid is an ancient toy,

a brilliant initiatory toy for the children

a brilliant initiatory toy for the children

of a vanished race to see their deepest fears

of a vanished race to see their deepest fears

and learn to control them.

and learn to control them.

- Oh, and there was one sequence,

it was sort of a Freudian concept to the picture

it was sort of a Freudian concept to the picture

it was sort of a Freudian concept to the picture

in which people were terrorized by their

in which people were terrorized by their

hidden unconscious desires and so we had a young girl

hidden unconscious desires and so we had a young girl

who was somewhat concerned about sex,

who was somewhat concerned about sex,

so we designed a creature to attack her

that had a somewhat phallic look to it

that had a somewhat phallic look to it

and that sequence got a great deal of attention.

and that sequence got a great deal of attention.

(dramatic orchestral music)

(dramatic orchestral music)

(energetic rhythmic music)

(energetic rhythmic music)

(energetic orchestral music)

(energetic orchestral music)

"War of the Satellites" was a direct consequence

"War of the Satellites" was a direct consequence

of the Russians putting up the first satellite.

of the Russians putting up the first satellite.

I'd seen it on television one night

I'd seen it on television one night

and the next morning, I went to Steve Broidy's office

and the next morning, I went to Steve Broidy's office

at Allied Artist and I said, "Steve,

at Allied Artist and I said, "Steve,

"I could have a satellite film

"ready to go into theaters in 60 days

"ready to go into theaters in 60 days

"ready to go into theaters in 60 days

"if you'll put up the money."

And he said, "How much do you want?"

I said, "I could do it for $50,000."

I said, "I could do it for $50,000."

He said, "Done."

He said, "Done."

Now today, it takes months and legal work

and everything else.

and everything else.

It was just a handshake.

He said he'd put up the $50,000.

He said he'd put up the $50,000.

We wrote the script, I think in about two weeks.

We wrote the script, I think in about two weeks.

I had an eight day shooting schedule.

I had an eight day shooting schedule.

Then, into post-production, and indeed, we were in theaters

Then, into post-production, and indeed, we were in theaters

two months after the first satellite went out.

two months after the first satellite went out.

(dramatic orchestral music)

(dramatic orchestral music)

For the special effects, I went to Jack Rayben

For the special effects, I went to Jack Rayben

who had done special effects for me before.

We were always working on very low budgets

We were always working on very low budgets

and of course, this was low budget as well,

and of course, this was low budget as well,

but Jack designed the spaceship

but Jack designed the spaceship

and did the special effects as such

and I think for the time and for the period

and I think for the time and for the period

in which it was made, the effects came out well.

in which it was made, the effects came out well.

- [Man] For the love of Pete,

you're running us right into that thing.

you're running us right into that thing.

- You got a better idea?

(engine whirring)

- "War of the Satellites" did surprisingly well.

- "War of the Satellites" did surprisingly well.

It was really right in the news at the right time.

It was really right in the news at the right time.

If that film had come out six months later,

If that film had come out six months later,

it might not have done as well,

it might not have done as well,

but those were the days when, not only on things like

but those were the days when, not only on things like

"War of the Satellites", but many pictures

"War of the Satellites", but many pictures

were sort of ripped out of the headlines.

Something was big in the news

Something was big in the news

and you could make a picture about it

and you could make a picture about it

and the key was to do the best job you could,

and the key was to do the best job you could,

but also do it as fast as you could.

- Activate plan B.

- Plan B?

- Plan B?

Reverse that or you'll destroy the ship.

- Don't be a fool.

- Don't be a fool.

You can't hurt me with that.

(gun blasts)

(gun blasts)

- And there was sort of a sub-text in the film as well.

- And there was sort of a sub-text in the film as well.

It had to do with competition between

It had to do with competition between

the Soviet Union and the United States

the Soviet Union and the United States

which would be interpreted as competition

which would be interpreted as competition

between communism and capitalism

between communism and capitalism

and the fact that both sides were working,

and the fact that both sides were working,

at least in that area, in good faith

at least in that area, in good faith

on scientific development and that

on scientific development and that

the future was going to be good.

the future was going to be good.

It changed my mind on that on a few other films

It changed my mind on that on a few other films

and the future was not quite so good.

and the future was not quite so good.

- We made it.

- [Radio] Sigma calling, Sigma calling,

- [Radio] Sigma calling, Sigma calling,

U.N. satellite control, do you read me, do you read me?

U.N. satellite control, do you read me, do you read me?

- UNSC calling Sigma, we read you, Sigma, we read you.

- UNSC calling Sigma, we read you, Sigma, we read you.

- UNSC calling Sigma, we read you, Sigma, we read you.

- We are passing through Andromeda at the speed of light.

- We are passing through Andromeda at the speed of light.

We've made it.

The whole universe is our new frontier.

(energetic rhythmic music)

(energetic rhythmic music)

(whooshing engine)

(zapping lasers)

(zapping lasers)

- Fire.

- Fire.

(zapping lasers)

(explosion blasting)

(explosion blasting)

- [Man] Two down.

(zapping lasers)

- Fire.

(zapping lasers) (dramatic music)

(zapping lasers) (dramatic music)

(zapping lasers) (dramatic music)

(explosion blasting)

(explosion blasting)

- [Roger] "Dead Space" came along a little bit later

- [Roger] "Dead Space" came along a little bit later

in our cycle of science fiction films.

in our cycle of science fiction films.

They were all doing well,

but as happens with cycles, it builds to something

but as happens with cycles, it builds to something

but as happens with cycles, it builds to something

and you have a big hit.

You continue similar types of films

You continue similar types of films

and they do a little bit less.

So we were working with a slightly lower budget,

So we were working with a slightly lower budget,

matter of fact, maybe considerably lower budget

matter of fact, maybe considerably lower budget

and we had had success with a picture called

and we had had success with a picture called

"Forbidden World" and I took some of the ideas from that

"Forbidden World" and I took some of the ideas from that

and my ace assistant at that time,

and my ace assistant at that time,

after Gale Hurd had left to marry Jim Cameron

after Gale Hurd had left to marry Jim Cameron

and Katherine came in, Katherine wrote the script

and Katherine came in, Katherine wrote the script

and I wanted to bring a little humor into it.

and I wanted to bring a little humor into it.

and I wanted to bring a little humor into it.

- Eh, we'll have to risk it.

Set course for Faybon.

Set course for Faybon.

How much trouble could a couple of scientists

How much trouble could a couple of scientists

get into anyway?

- If you're working on a cycle

- If you're working on a cycle

and you're trying to late in the cycle,

and you're trying to late in the cycle,

bringing humor into the picture helps a great deal.

bringing humor into the picture helps a great deal.

bringing humor into the picture helps a great deal.

It was a nicely made, low budget film

It was a nicely made, low budget film

that was successful for us.

To me, the most significant things was the fact

To me, the most significant things was the fact

that we did bring humor in it to change

that we did bring humor in it to change

some of the concepts and also Bryan Cranston

some of the concepts and also Bryan Cranston

played one of his first roles as a lead for us.

played one of his first roles as a lead for us.

Bryan worked for us on a number of films

Bryan worked for us on a number of films

before he hit the big time.

before he hit the big time.

- It's like any other virus,

a simple organism composed of a protein coat.

a simple organism composed of a protein coat.

- Cut the shit.

- Cut the shit.

- It's capable of growth, only in other living cells.

- It's capable of growth, only in other living cells.

- It's capable of growth, only in other living cells.

- He means us.

He wants to kill us.

He wants to kill us.

- Want is not quite right.

It exists to kill.

It exists to kill.

- I'm very much involved with the casting.

- I'm very much involved with the casting.

I work with the director and at that time,

I work with the director and at that time,

we didn't use casting directors, we didn't have the money.

we didn't use casting directors, we didn't have the money.

My assistant, the director and I would do the casting.

My assistant, the director and I would do the casting.

I would only be involved with the casting on the leads

I would only be involved with the casting on the leads

and then when you got into the supporting actors,

and then when you got into the supporting actors,

I left that totally to the director and my assistant.

I left that totally to the director and my assistant.

(alarm wailing)

(alarm wailing)

(gun blasts)

- Oh God.

- Oh God.

- We're gonna have to do better than that

if we're gonna stop this thing.

- The film followed our usual procedure.

- The film followed our usual procedure.

We maybe worked a little bit faster on that

We maybe worked a little bit faster on that

because we had our own production distribution company

because we had our own production distribution company

and I had a distribution date to fill

and I had a distribution date to fill

so we probably worked a little bit faster,

so we probably worked a little bit faster,

but I spent most of the time in pre-production.

but I spent most of the time in pre-production.

I'm a strong, strong believer in heavy work

I'm a strong, strong believer in heavy work

on pre-production so most of the major problems

on pre-production so most of the major problems

are at least theoretically start shooting.

are at least theoretically start shooting.

are at least theoretically start shooting.

So the director, having worked in pre-production

So the director, having worked in pre-production

and worked with the art director,

worked with me and so forth,

worked with me and so forth,

is ready to go in and shoot on the first day

is ready to go in and shoot on the first day

and Fred was very good at that.

and Fred was very good at that.

The shooting was our normal schedule at that time

which was three weeks.

which was three weeks.

The post-production was a little bit shorter than normal,

The post-production was a little bit shorter than normal,

but basically, it followed our usual pattern.

but basically, it followed our usual pattern.

(dramatic orchestral music)

(dramatic orchestral music)

(gun blasts)

(monster growling) (guns blasting)

(monster growling) (guns blasting)

(energetic rhythmic music)

(energetic rhythmic music)

"Deathsport" was the follow up to "Death Rays 2000".

"Deathsport" was the follow up to "Death Rays 2000".

- Loyal citizens of Helix, good day

- Loyal citizens of Helix, good day

and welcome to Deathsport.

- The story came together in a rather strange way.

- The story came together in a rather strange way.

- The story came together in a rather strange way.

I had seen an illustration in a science fiction magazine

I had seen an illustration in a science fiction magazine

of a futuristic warrior on a futuristic motorcycle

of a futuristic warrior on a futuristic motorcycle

and I thought it was really spectacular

and I'm a great believer on the artwork

and I'm a great believer on the artwork

for your poster, your ads and so forth,

for your poster, your ads and so forth,

so I bought that picture from the illustrator

so I bought that picture from the illustrator

so I bought that picture from the illustrator

and said to the art director,

and said to the art director,

the look of the warrior and the motorcycle

the look of the warrior and the motorcycle

we're going to build, has got to match this illustration.

we're going to build, has got to match this illustration.

we're going to build, has got to match this illustration.

I brought in a new young director,

Henry Suso, who had just graduated from S.C.

Henry Suso, who had just graduated from S.C.

Henry Suso, who had just graduated from S.C.

He did a very good job, but he was somewhat inexperienced

He did a very good job, but he was somewhat inexperienced

and it led to, maybe the craziest moment

and it led to, maybe the craziest moment

or one of the craziest moments I've ever had.

or one of the craziest moments I've ever had.

My policy is, I think I mentioned before,

My policy is, I think I mentioned before,

as a producer, is to be on the set

as a producer, is to be on the set

the first couple of days and then to be

in my office for the rest of the picture, available.

in my office for the rest of the picture, available.

I got an urgent phone call from the production manager

I got an urgent phone call from the production manager

I got an urgent phone call from the production manager

and he said, we were shooting out somewhere

out in San Fernando Valley.

out in San Fernando Valley.

He said, "You'd better get here right away.

"The director has pulled a gun on the leading lady."

"The director has pulled a gun on the leading lady."

"The director has pulled a gun on the leading lady."

I said, "I don't even want to ask you why.

"I'm racing to my car right now."

"I'm racing to my car right now."

By the time I got to the set,

By the time I got to the set,

Claudia Jennings was the leading lady and she was here.

Claudia Jennings was the leading lady and she was here.

On one side was Henry, with a gun

On one side was Henry, with a gun

and the other side was David Carradine

and the other side was David Carradine

with a Samurai sword.

with a Samurai sword.

When David saw Henry pull the gun,

When David saw Henry pull the gun,

for whatever reasons, I'll never know,

for whatever reasons, I'll never know,

something to do with interpretation on Claudia,

something to do with interpretation on Claudia,

he went back to his car and who knows why,

he went back to his car and who knows why,

he had a Samurai sword in the backseat of his car.

he had a Samurai sword in the backseat of his car.

He came out and he raised his Samurai sword

He came out and he raised his Samurai sword

and said to Henry, "You make any move with that gun

and said to Henry, "You make any move with that gun

"and I'm gonna cut your head off with the sword."

"and I'm gonna cut your head off with the sword."

And there I was and I thought,

And there I was and I thought,

well I've had a lot of problems here,

but I've never seen one like like this.

but I've never seen one like like this.

And I thought, I don't know what to do,

And I thought, I don't know what to do,

but the only thing I could think of is,

just start talking and I don't even remember

just start talking and I don't even remember

exactly what I said.

exactly what I said.

I had felt the thing to do, I just talk and talk and talk

I had felt the thing to do, I just talk and talk and talk

until everybody is bored with listening to me talk

until everybody is bored with listening to me talk

until everybody is bored with listening to me talk

and at that point, we defused the situation

and at that point, we defused the situation

and that's what we did.

Henry put away the gun.

Henry put away the gun.

David put away the Samurai sword

and they continued with the production.

and they continued with the production.

- You come to me and you need me.

- You come to me and you need me.

I go to you and I join you

for our union is real.

I become you now and you become me.

I become you now and you become me.

- Allan Arkush came into the picture after

- Allan Arkush came into the picture after

the principle photography was finished.

the principle photography was finished.

I felt the film was a little slow

I felt the film was a little slow

and frankly, a little bit dull

and frankly, a little bit dull

and I felt what we really needed was more action.

and I felt what we really needed was more action.

And Henry didn't really have that much experience.

And Henry didn't really have that much experience.

In fact, he had no experience in that area

In fact, he had no experience in that area

and Allan was an editor for us

and Allan was an editor for us

and a second unit director who had done action sequence.

and a second unit director who had done action sequence.

He went on to become a director for us

He went on to become a director for us

and has had a really wonderful career as a director.

and has had a really wonderful career as a director.

So I brought in Allan to do motorcycle chases,

So I brought in Allan to do motorcycle chases,

explosions, crashes and everything else

explosions, crashes and everything else

and I think I've forgotten exactly what I said to Allan,

and I think I've forgotten exactly what I said to Allan,

but it was something like this,

but it was something like this,

"When a motorcycle crashes, it must then explode."

"When a motorcycle crashes, it must then explode."

And we worked out this sequence,

And we worked out this sequence,

the way of shooting was, you had the crash of the motorcycle

the way of shooting was, you had the crash of the motorcycle

and you're covering it with a couple of cameras.

and you're covering it with a couple of cameras.

You then cut.

You then cut.

You then put in an explosive device

You then put in an explosive device

and you blow the whole thing up

and we had huge explosions and if you cut fast enough

and we had huge explosions and if you cut fast enough

and we had huge explosions and if you cut fast enough

from the medium shot to a close up

or a long shot to a medium shot,

or a long shot to a medium shot,

it looks like the explosion has taken place

it looks like the explosion has taken place

right at the moment of the crash.

right at the moment of the crash.

(engine roaring)

(explosion blasting)

(explosion blasting)

(high pitched humming engines)

(high pitched humming engines)

(explosion blasting)

(explosion blasting)

It was a minor thing that I somewhat regretted

It was a minor thing that I somewhat regretted

in "Deathsport" because the picture was,

in "Deathsport" because the picture was,

I thought, a little bit slow.

I thought, a little bit slow.

It was an R rated picture and I think maybe we had

It was an R rated picture and I think maybe we had

a little bit more nudity than the picture really required,

a little bit more nudity than the picture really required,

a little bit more nudity than the picture really required,

but I was doing everything I could, frankly,

but I was doing everything I could, frankly,

to jazz the picture up.

(yells loudly)

(yells loudly)

(grunting) (suspenseful music)

(grunting) (suspenseful music)

- You're not as good as your mother.

- You're not as good as your mother.

- But far better than you.

- But far better than you.

- To my great surprise, the picture was a solid success

- To my great surprise, the picture was a solid success

- To my great surprise, the picture was a solid success

and it's gone on to have success on DVD

and it's gone on to have success on DVD

and streaming and so forth.

Maybe it was a combination of the craziness

Maybe it was a combination of the craziness

of the whole thing, of the somewhat dull picture,

of the whole thing, of the somewhat dull picture,

of the whole thing, of the somewhat dull picture,

what I thought of as maybe a little bit too much nudity,

what I thought of as maybe a little bit too much nudity,

which I guess was all right and the wild explosions.

which I guess was all right and the wild explosions.

Allan really did a great job with the motorcycles.

Allan really did a great job with the motorcycles.

(engine humming)

(engine humming)

(energetic rhythmic music)

(energetic rhythmic music)

I had read an article somewhere that said that "Nightfall"

I had read an article somewhere that said that "Nightfall"

by Isaac Asimov, was the greatest science fiction story

by Isaac Asimov, was the greatest science fiction story

of all time and I thought, well,

of all time and I thought, well,

that certainly something I would be interested in,

that certainly something I would be interested in,

but I was working on something else at the time

but I was working on something else at the time

so my wife, Julie, actually produced the picture.

so my wife, Julie, actually produced the picture.

I just set up the beginning

I just set up the beginning

and then Julie took it from there.

and then Julie took it from there.

- I'm not really a science fiction person

- I'm not really a science fiction person

so I try to find, well what's the best?

You know, let me look at that because

You know, let me look at that because

I don't have a breadth of knowledge about it

which I do about, you know,

which I do about, you know,

some other aspects of literature which I enjoy

some other aspects of literature which I enjoy

and I actually called Harlan Ellison

and I actually called Harlan Ellison

to ask him about it and he said,

to ask him about it and he said,

"Whoever writes the screenplay will drive themselves,"

"Whoever writes the screenplay will drive themselves,"

excuse me, Harlan Ellison's words, "Bat shit."

excuse me, Harlan Ellison's words, "Bat shit."

I thought, well, really my first choice, as always,

I thought, well, really my first choice, as always,

for writing a screen play to ask the person

who wrote the story or wrote the book,

who wrote the story or wrote the book,

"Would you like to write it?"

So, I went to see Isaac Asimov in New York.

So, I went to see Isaac Asimov in New York.

So, I went to see Isaac Asimov in New York.

Big huge living room up near Lincoln Center.

Big huge living room up near Lincoln Center.

He had a desk that had 12 projects laid out,

He had a desk that had 12 projects laid out,

He had a desk that had 12 projects laid out,

each one had its own pile and those were

each one had its own pile and those were

the 12 projects he was working on.

the 12 projects he was working on.

And I said, "Well, I would really like if you would be

"interested to write the screenplay of "Nightfall"."

"interested to write the screenplay of "Nightfall"."

And I kind of was shaking in my boots

because, you know, it's Isaac Asimov

because, you know, it's Isaac Asimov

and he says, "My dear, you saw the projects

and he says, "My dear, you saw the projects

"on my desks, that's what I have to give my attention to.

"on my desks, that's what I have to give my attention to.

"And besides, I wrote was 17 years old,

"And besides, I wrote was 17 years old,

"so I moved on to other things."

- Where is the dark sun?

- It's gone.

Nightfall has begun.

(birds squawking) (dramatic music)

(birds squawking) (dramatic music)

(soft chanting)

(soft chanting)

- [Roger] I remember had gone on to be

- [Roger] I remember had gone on to be

a very good director in the United Kingdom,

a very good director in the United Kingdom,

had been my assistant on "The Tomb of Ligeia".

had been my assistant on "The Tomb of Ligeia".

He was very intelligent and I felt

He was very intelligent and I felt

I needed for "Nightfall", somebody who could bring

I needed for "Nightfall", somebody who could bring

a deeper, more complex development of the script.

a deeper, more complex development of the script.

So all I really did on "Nightfall"

So all I really did on "Nightfall"

was buy the story and then hire Paul

was buy the story and then hire Paul

was buy the story and then hire Paul

to write and direct the picture.

to write and direct the picture.

- So Paul Mayersberg finally said he would write the script

- So Paul Mayersberg finally said he would write the script

if he could direct the film and it was

if he could direct the film and it was

a very arduous process directing the script

because the story is rather simple.

because the story is rather simple.

It's about a planet that only sees darkness

It's about a planet that only sees darkness

once every 2,500 years.

It has six suns and when it sees darkness,

It has six suns and when it sees darkness,

the people go mad and out of the madness

the people go mad and out of the madness

comes what there is for the future generations.

comes what there is for the future generations.

So it had to be contained.

So it had to be contained.

I think three suns got written out of it (laughs)

out of the story and then Paul constructed a story

out of the story and then Paul constructed a story

that really was what the short story was about

that really was what the short story was about

which had to do with, you know, religion versus science.

which had to do with, you know, religion versus science.

- We can do nothing to prevent this,

- We can do nothing to prevent this,

but we can prepare for it.

but we can prepare for it.

Sor and his people are praying that we will panic

Sor and his people are praying that we will panic

and that is not what is going to happen.

and that is not what is going to happen.

- There will be destruction and madness

- There will be destruction and madness

and those without belief will suffer.

and those without belief will suffer.

- We will build ourselves an underground keep

- We will build ourselves an underground keep

to protect ourselves from the coming darkness.

to protect ourselves from the coming darkness.

We will work together

We will work together

and we will survive.

and we will survive.

- The faithful will survive.

- The faithful will survive.

The faithful will survive.

- The faithful will survive together.

- The faithful will survive together.

- Unfortunately, I believe there was a three week shoot

- Unfortunately, I believe there was a three week shoot

and it rained two weeks out of three.

- It had never rained in the Arizona desert

- It had never rained in the Arizona desert

more than something like 1/4 of an inch in a month.

more than something like 1/4 of an inch in a month.

During the time we were shooting,

it rained 3/4 of the time and rained out the set one time

it rained 3/4 of the time and rained out the set one time

it rained 3/4 of the time and rained out the set one time

and I remember Julie and Paul

and I remember Julie and Paul

just went through hell making that picture.

just went through hell making that picture.

The picture turned out, however,

The picture turned out, however,

to be very, very good.

to be very, very good.

Paul edited it and he and I had a slight disagreement

Paul edited it and he and I had a slight disagreement

on some of the ending sequences

on some of the ending sequences

which was unfortunate because I wanted

them to play a little bit faster than Paul did,

them to play a little bit faster than Paul did,

but the film was very successful

but the film was very successful

and it was a very good film and I give

and it was a very good film and I give

full credit to Julie and Paul for its success.

full credit to Julie and Paul for its success.

(thunder crashing) (wind gusting)

(thunder crashing) (wind gusting)

(thunder crashing) (wind gusting)

(bell ringing)

(bell ringing)

(splashing water)

(splashing water)

(bell ringing) (wind gusting)

(bell ringing) (wind gusting)

(splashing water)

(splashing water)

- I think, given those strictures,

- I think, given those strictures,

we did the best that we could

we did the best that we could

and it was too bad that we didn't have a bigger budget

and it was too bad that we didn't have a bigger budget

and more time and less rain and David Bernie was in it.

and more time and less rain and David Bernie was in it.

I think he was very good in the role of Aton

I think he was very good in the role of Aton

and that's "Nightfall". (chuckles)

and that's "Nightfall". (chuckles)

(gentle orchestral music)

(gentle orchestral music)

- So beautiful.

- Look at that.

(gentle orchestral music)

(gentle orchestral music)

- [Woman] What is it?

- We're still on the surface of things.

- We're still on the surface of things.

All our history, our progress

All our history, our progress

are nothing.

are nothing.

It's possible that nothing important has yet been said

It's possible that nothing important has yet been said

or even understood, it's possible.

or even understood, it's possible.

(uplifting orchestral music)

(uplifting orchestral music)

(energetic rhythmic music)

(energetic rhythmic music)

(slow dramatic orchestral music)

(slow dramatic orchestral music)

- His Highness, the emperor

- His Highness, the emperor

of the First Circle of the Universe.

- I come to you because my faithful robot, El,

has told me that you are the only one who can save us.

has told me that you are the only one who can save us.

has told me that you are the only one who can save us.

You know, you must be the best pilot in the whole galaxy.

You know, you must be the best pilot in the whole galaxy.

- I wasn't involved with the production of "Starcrash".

- I wasn't involved with the production of "Starcrash".

Max Waxberger, who is a friend of mine,

Max Waxberger, who is a friend of mine,

who was a European producer, but primarily sales agent,

who was a European producer, but primarily sales agent,

who was a European producer, but primarily sales agent,

had put together one of those Italian

had put together one of those Italian

co-productions where you get a subsidy from Germany,

co-productions where you get a subsidy from Germany,

you get another subsidy from France,

you pick up something from Italy and so forth

you pick up something from Italy and so forth

and he put together one of those international casts

and he put together one of those international casts

which was really rather interesting.

which was really rather interesting.

He had Christopher Plumber,

a very distinguished actor in it,

a very distinguished actor in it,

Carolyn Monroe, who had been one of the Bond girls

Carolyn Monroe, who had been one of the Bond girls

to provide a very sexy leading lady

to provide a very sexy leading lady

and it was a good action, futuristic science fiction film

and it was a good action, futuristic science fiction film

and it was a good action, futuristic science fiction film

at a time when those films were doing well.

at a time when those films were doing well.

So I simply bought the film.

We distributed it.

We distributed it.

It was successful for us and it was just that,

It was successful for us and it was just that,

it was a successful purchase and distribution.

it was a successful purchase and distribution.

- How much time is left, captain?

- How much time is left, captain?

- Half a quadrant to go, my lord.

(laughing evilly)

- You hear?

- You hear?

In less than an hour's time,

all that will be left of this planet will be

all that will be left of this planet will be

ashes and cosmic dust, forever.

ashes and cosmic dust, forever.

Then, you will be among the dead.

Then, you will be among the dead.

- The emperor will make you pay for this.

- The emperor will make you pay for this.

- (laughs) The emperor?

- (laughs) The emperor?

I forgot to inform you that the emperor

I forgot to inform you that the emperor

will be blown to pieces along with the rest of you.

will be blown to pieces along with the rest of you.

(laughing)

(laughing)

Now it will be just a matter of waiting.

Now it will be just a matter of waiting.

An hour goes by quickly.

- When I saw it, I sort of smiled,

- When I saw it, I sort of smiled,

'cause I could see the concept of actors

'cause I could see the concept of actors

from different countries and how Max

from different countries and how Max

had put the whole thing together,

but he had done it well and I thought,

but he had done it well and I thought,

"This is a good film.

"We can do business with this film."

"We can do business with this film."

- Well, it's done.

It's happened.

The stars are clear.

The stars are clear.

The planets shine.

The planets shine.

We've won.

Oh, some dark force, no doubt,

Oh, some dark force, no doubt,

will show its face once more.

will show its face once more.

The wheel will always turn,

The wheel will always turn,

but for now it's calm

but for now it's calm

and for a little time, at least,

and for a little time, at least,

we can rest.

(energetic rhythmic music)

(energetic rhythmic music)

- The background of "Battle Beyond the Stars"

- The background of "Battle Beyond the Stars"

was the tremendous success of "Star Wars".

was the tremendous success of "Star Wars".

I remember saying to my assistant at that time,

I remember saying to my assistant at that time,

John Davison, "We are in trouble.

John Davison, "We are in trouble.

"We've been making all of these low-budget

"We've been making all of these low-budget

"science fiction films and doing well,

"science fiction films and doing well,

"but the majors had figured out what they're doing

"but the majors had figured out what they're doing

"and they've done one of our films,

"and they've done one of our films,

"but they've done it bigger and better."

And I thought about it and I didn't really know

And I thought about it and I didn't really know

And I thought about it and I didn't really know

what to do 'cause I really did believe,

and still do believe, that "Star Wars"

and still do believe, that "Star Wars"

changed the whole concept of science fiction

changed the whole concept of science fiction

and I knew I couldn't continue making

and I knew I couldn't continue making

$50,000 and $75,000 science fiction pictures after that.

$50,000 and $75,000 science fiction pictures after that.

So I made a co-production deal with Warner Brothers

So I made a co-production deal with Warner Brothers

in which they put up part of the money

and got the foreign distribution,

and got the foreign distribution,

I put up the rest and took the U.S. and Canada.

I put up the rest and took the U.S. and Canada.

As a result, I had a little bit more money to work with.

As a result, I had a little bit more money to work with.

(dramatic orchestral music)

(dramatic orchestral music)

- What is it?

- What is it?

- Hear me beings of Akura,

- Hear me beings of Akura,

I am Sador of the Malnorie.

I am Sador of the Malnorie.

I have come with my forces to conquer you.

I have come with my forces to conquer you.

I have come with my forces to conquer you.

If you resist, I will crush you.

If you resist, I will crush you.

(lasers zapping) (pained yelling)

(lasers zapping) (pained yelling)

Merely a demonstration, beings of Akura.

Merely a demonstration, beings of Akura.

I will return in seven risings.

I will return in seven risings.

You are mine.

You are mine.

(dramatic orchestral music)

(dramatic orchestral music)

- I'd always remembered and loved Akria Kurosawa's picture,

- I'd always remembered and loved Akria Kurosawa's picture,

"Seven Samurai" so I thought, maybe there's a way

"Seven Samurai" so I thought, maybe there's a way

to do a science fiction picture in the future in space

to do a science fiction picture in the future in space

to do a science fiction picture in the future in space

and take the idea of these semi-outlaws

and take the idea of these semi-outlaws

who are hired and Kurosawa's picture,

who are hired and Kurosawa's picture,

to defend the village and we have, sort of,

to defend the village and we have, sort of,

space pirates and bandits and so forth

space pirates and bandits and so forth

were hired to protect a planet that's about to be invaded.

were hired to protect a planet that's about to be invaded.

We brought in John Saos, whom my assistant

We brought in John Saos, whom my assistant

and story editor, Francis Dole, had found.

and story editor, Francis Dole, had found.

She'd read a short story of John's

and thought he was very good.

and thought he was very good.

So I just told John the key point

So I just told John the key point

and he wrote the script and as a tribute

and he wrote the script and as a tribute

to Kurosawa, the name of the planet was Akura

to Kurosawa, the name of the planet was Akura

and we went from there.

- How would you like 10,000 mac laser fores

- How would you like 10,000 mac laser fores

and 40,000 charge slides?

and 40,000 charge slides?

They're paid for and haven't got the fuel to get 'em home.

They're paid for and haven't got the fuel to get 'em home.

- You're carrying weapons?

- They're hand weapons, the best we make.

- They're hand weapons, the best we make.

- We're going to need weapons.

- We're going to need weapons.

But we won't know how to use them.

But we won't know how to use them.

- Yeah.

- Yeah.

- And we'll probably need someone

- And we'll probably need someone

to teach us how to use them.

- Yes uh, I can see that.

- Yes uh, I can see that.

- And we did save your life.

- So many of these ideas come from strange originations.

- So many of these ideas come from strange originations.

I had bought, in the 1960's,

I had bought, in the 1960's,

a Russian science fiction picture

a Russian science fiction picture

and I remember Francis Coppola's first job

and I remember Francis Coppola's first job

was to cut the anti-American propaganda

was to cut the anti-American propaganda

out of the Russian science fiction picture

out of the Russian science fiction picture

and I called the picture, "Battle Beyond the Sun"

and I called the picture, "Battle Beyond the Sun"

and so when I was looking for a title,

and so when I was looking for a title,

"Battle Beyond the Sun" inevitably became

"Battle Beyond the Sun" inevitably became

"Battle Beyond the Stars".

"Battle Beyond the Stars".

- Well you did all right, Shawn.

Turn it loose for Akura.

(uplifting orchestral music)

(uplifting orchestral music)

- [Roger] James Horner, or Jamie,

as we knew him at that time,

as we knew him at that time,

was really chosen by my assistant, John Davison.

was really chosen by my assistant, John Davison.

I said to John, "I'm looking for a big score here.

I said to John, "I'm looking for a big score here.

"I want a classical score, but a modern classical score.

"I want a classical score, but a modern classical score.

"I want a classical score, but a modern classical score.

"I don't know that much about classical music.

"I don't know that much about classical music.

"Can you look around and find a young composer

"Can you look around and find a young composer

"who can get me that kind of score?"

"who can get me that kind of score?"

So I give full credit to John Davison

So I give full credit to John Davison

for finding Jamie Horner.

- All right, boys, the son's of bitches have landed.

Section two, get to your post.

Section two, get to your post.

Section five, next, section three, wait here.

Section five, next, section three, wait here.

Move in, kick ass, boys, kick ass!

Move in, kick ass, boys, kick ass!

(dramatic orchestral music)

(dramatic orchestral music)

(guns blasting)

(guns blasting)

Section two.

Section two.

(dramatic orchestral music) (people yelling)

(dramatic orchestral music) (people yelling)

(dramatic orchestral music) (people yelling)

(grunts)

(grunts)

- The budget was the highest I had ever had in my life.

- The budget was the highest I had ever had in my life.

I think it was about a million and a half dollars.

That was deliberate.

That was deliberate.

I just knew that I had to move up

I just knew that I had to move up

and that's why I made the deal with Warner Brothers

'cause I financed my own pictures

'cause I financed my own pictures

and I didn't have that kind of money to finance it myself,

and I didn't have that kind of money to finance it myself,

but I knew we had to move to a different level.

but I knew we had to move to a different level.

(dramatic orchestral music)

(dramatic orchestral music)

- This is Sador of the Malmurie.

- This is Sador of the Malmurie.

I command you to surrender.

I command you to surrender.

- [Woman] I'll surrender, you sorry son of a mutant.

- [Woman] I'll surrender, you sorry son of a mutant.

Five,

Five,

four,

(dramatic orchestral music)

(dramatic orchestral music)

(explosion blasts)

- Run it to the converter access.

- Run it to the converter access.

It's going to blow.

We're all gonna die.

We're all gonna die.

- That can't be.

I'm going to live forever.

I'm going to live forever.

(explosion blasting)

(explosion blasting)

I want to live forever.

(explosion blasting)

(explosion blasting)

- The film was very well reviewed.

- The film was very well reviewed.

It was a very good film.

It was a very good film.

George Lucas, who did "Star Wars"

George Lucas, who did "Star Wars"

was once asked about the number of films

was once asked about the number of films

that followed "Star Wars" because when

a picture is a big hit, there're always going to be

a picture is a big hit, there're always going to be

a number of films following.

a number of films following.

So he said, and I don't know whether

to take this good or bad, but he said,

to take this good or bad, but he said,

"The best of the films that followed "Star Wars"

"The best of the films that followed "Star Wars"

"was "Battle Beyond the Stars"."

"was "Battle Beyond the Stars"."

- We did it.

- We did it.

I can't believe it.

I can't believe it.

We really did it. (crying)

- But Saint Exmin and Cowboy--

- But Saint Exmin and Cowboy--

- Nanelia, the Akura believe that no form ends

- Nanelia, the Akura believe that no form ends

until all the lives that it has touched are in,

until all the lives that it has touched are in,

until all the good that it has done is gone.

They are now a part of Akura

They are now a part of Akura

and they'll always be with us.

and they'll always be with us.

(energetic rhythmic music)

(energetic rhythmic music)

[END CREDITS]

[END CREDITS]