All language subtitles for C T f t T w R a J C S01E01 1080p WEB h264-CRACKLED_track3_[eng]

- 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]