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

some great moments and memories

of many of my films.

(funky instrumental music)

(funky instrumental music)

I think, through history, people

have always been drawn to the outlaw.

have always been drawn to the outlaw.

Through history, there has always been an upper class

Through history, there has always been an upper class

Through history, there has always been an upper class

that essentially screws the rest of the people.

that essentially screws the rest of the people.

- I ain't leavin' my land.

- Don't plan to, don't plan to.

- Don't plan to, don't plan to.

- Put down that gun, Daniel Stokes.

- [Woman] You get outta here, Sheriff!

- [Woman] You get outta here, Sheriff!

We ain't got no other place to go to!

- [Sheriff] The law is the law.

- [Sheriff] The law is the law.

You are officially evicted!

You are officially evicted!

- The hell you say.

- [Deputy] He's gonna shoot!

(guns bang)

(guns bang)

- [Woman] Danny!

(guns bang)

(guns bang)

- The outlaw represents the oppressed people

- The outlaw represents the oppressed people

fighting against the upper class,

fighting against the upper class,

and I think, for that reason, people do identify,

and I think, for that reason, people do identify,

and I think, for that reason, people do identify,

some of them objectively, they know they're being taken,

some of them objectively, they know they're being taken,

other people unconsciously do it,

other people unconsciously do it,

but I think there is a drama and a glamor,

but I think there is a drama and a glamor,

to a certain extent, there.

to a certain extent, there.

(funky instrumental music)

(funky instrumental music)

(laughing)

- Oops.

- Oops.

- The origin of Big Bad Mama,

which I made, I think, in '74,

which I made, I think, in '74,

was the fact that in 1970,

was the fact that in 1970,

I started my own production and distribution company,

I started my own production and distribution company,

New World Pictures.

Until that time, I'd been an independent director,

Until that time, I'd been an independent director,

Until that time, I'd been an independent director,

producer, making three, four, five films a year.

producer, making three, four, five films a year.

Almost all of these pictures were my ideas,

Almost all of these pictures were my ideas,

and I couldn't come up with 10, 11 good, original ideas

and I couldn't come up with 10, 11 good, original ideas

and I couldn't come up with 10, 11 good, original ideas

every year, so I started to think back

every year, so I started to think back

to previous films I had made that were successful,

to previous films I had made that were successful,

and I thought maybe I can remake one of those

and I thought maybe I can remake one of those

or at least take an idea from that.

or at least take an idea from that.

(banging)

(banging)

I'd made about six, seven, eight years earlier,

I'd made about six, seven, eight years earlier,

a picture called Bloody Mama,

a picture called Bloody Mama,

which was about a southern woman

played by Shelly Winters,

played by Shelly Winters,

whose farm is repossessed during the Depression,

whose farm is repossessed during the Depression,

and she turns, with her sons, to bank robbing.

and she turns, with her sons, to bank robbing.

It was a true story.

It was a true story.

It was based on Ma Barker.

It was based on Ma Barker.

It was a big success,

so I simply thought, maybe I can find

so I simply thought, maybe I can find

something like that,

something like that,

and I came up with the title of Big Bad Mama.

and I came up with the title of Big Bad Mama.

So this was one of the things were I had the title

So this was one of the things were I had the title

before I even had the story.

It was the biggest budget picture New World had made

It was the biggest budget picture New World had made

up until that time,

up until that time,

but I was fairly confident because I knew

how well Bloody Mama had done,

how well Bloody Mama had done,

how well Bloody Mama had done,

and I thought if Bloody Mama can do this,

why can't Big Bad Mama do it?

why can't Big Bad Mama do it?

(twangy bluegrass music)

(twangy bluegrass music)

Angie Dickinson was my first choice for the role

Angie Dickinson was my first choice for the role

because I wanted a good actress

because I wanted a good actress

who was very attractive,

who was very attractive,

who had a certain amount of star value,

who had a certain amount of star value,

but who was getting a little bit older,

because she had two young daughters.

because she had two young daughters.

So I couldn't have a 20-yeah-old leading lady,

So I couldn't have a 20-yeah-old leading lady,

so Angie fit exactly that role.

so Angie fit exactly that role.

I sent it to her, I sent the script to her,

I sent it to her, I sent the script to her,

and, to my surprise, she accepted immediately.

and, to my surprise, she accepted immediately.

The nudity was, at least in my mind,

The nudity was, at least in my mind,

a problem, a potential problem.

a problem, a potential problem.

This was one of the reasons I was not positive

This was one of the reasons I was not positive

that Angie would accept the role,

that Angie would accept the role,

but it was really a good role for a leading lady

but it was really a good role for a leading lady

of her age.

But I remember she discussed the nudity

But I remember she discussed the nudity

very, very carefully, in detail, with me.

very, very carefully, in detail, with me.

She said she wanted an absolutely closed set,

She said she wanted an absolutely closed set,

only the immediate number of crew that were necessary,

only the immediate number of crew that were necessary,

and she would only go so far with the nudity.

and she would only go so far with the nudity.

And I agreed to everything she asked for.

And I agreed to everything she asked for.

And I agreed to everything she asked for.

Came the day of the shooting,

she took off all her clothes,

she took off all her clothes,

and shot the whole scene,

and went beyond what we anticipated.

and went beyond what we anticipated.

It was Bill Shatner who finally started to say,

It was Bill Shatner who finally started to say,

wait a minute, maybe we're going too far in this scene.

wait a minute, maybe we're going too far in this scene.

I first cast Angie, and then I cast the other roles,

I first cast Angie, and then I cast the other roles,

and Bill had played the lead in The Intruder for me

a number of years earlier,

a number of years earlier,

so I went to Bill, Bill Shatner,

so I went to Bill, Bill Shatner,

and he immediately accepted,

and then to Tom Skerritt, and he accepted, as well.

and then to Tom Skerritt, and he accepted, as well.

and then to Tom Skerritt, and he accepted, as well.

So I had my three leads in place.

So I had my three leads in place.

- Thank you.

- It's seldom I have the pleasure

of seeing such a lovely lady as you,

and then I commit a social blunder.

and then I commit a social blunder.

- Oh, it wasn't your fault.

I guess I was hurrying to get my bet down.

I guess I was hurrying to get my bet down.

- Allow me to introduce myself.

- Allow me to introduce myself.

William J. Baxter, Louisville, Kentucky.

- Wilma McClatchie.

- Wilma McClatchie.

Oh, Fort Worth.

- It would be an honor, Mrs. McClatchie,

- It would be an honor, Mrs. McClatchie,

if you'd allow me to escort you to the bettin' window.

if you'd allow me to escort you to the bettin' window.

- Why, thank you.

- Basically, I thought it was just a good story,

- Basically, I thought it was just a good story,

but, on the other hand, my point of view

has always been to the liberal side,

has always been to the liberal side,

so I was expressing some of my own political viewpoints.

so I was expressing some of my own political viewpoints.

so I was expressing some of my own political viewpoints.

I've always been very careful, however,

I've always been very careful, however,

to keep that in the background,

to keep that in the background,

or sort of the subtext.

The text was the excitement of the bank robbing

The text was the excitement of the bank robbing

and the action and the shooting.

and the action and the shooting.

And, underneath that, was a political statement

And, underneath that, was a political statement

for those who were interested in political statements.

for those who were interested in political statements.

The critical reaction was very good.

Angie, particularly, got excellent reviews,

Angie, particularly, got excellent reviews,

and Bill Shatner and Tom Skerritt, the co-stars,

and Bill Shatner and Tom Skerritt, the co-stars,

and Bill Shatner and Tom Skerritt, the co-stars,

were treated well by the critics.

(guns bang)

(guns bang)

(groaning)

(groaning)

(guns bang)

(guns bang)

funky instrumental music)

I had made Big Bad Mama in '74,

I had made Big Bad Mama in '74,

and it was an even bigger success than I thought,

and it was an even bigger success than I thought,

so I thought, let's go again,

so in '75, once more, I came up with a title,

so in '75, once more, I came up with a title,

and this time it was Crazy Mama.

and this time it was Crazy Mama.

But I was working on several projects at the time,

But I was working on several projects at the time,

so I set up, but my wife Julie

so I set up, but my wife Julie

really produced the film.

really produced the film.

- [Announcer] The race is still in progress.

- [Announcer] The race is still in progress.

- Hi. - Hi.

- Hi there.

See that one up there?

See that one up there?

See that one?

It looks just like an 11.

Okay, Shawn, tie him up.

Okay, Shawn, tie him up.

Look, where's the money?

Where's the money? - Down there.

- Where? - Down there.

- Where?

- Where?

Get it, get it, Cheryl, get it.

(horn blares)

(horn blares)

Get him way down there.

'cause I don't want anything to happen to ya.

'cause I don't want anything to happen to ya.

You know.

- Just stay down there, just stay down there

or you're gonna get hurt.

or you're gonna get hurt.

- The most important thing about Crazy Mama

- The most important thing about Crazy Mama

- The most important thing about Crazy Mama

was that Julie was pregnant when she produced it,

was that Julie was pregnant when she produced it,

and I remember one day, I was going someplace

and I remember one day, I was going someplace

to scout a location for another picture,

and we had breakfast,

and we had breakfast,

and after breakfast, we had an early breakfast,

and after breakfast, we had an early breakfast,

I went off to scout this location,

I went off to scout this location,

and Julie went to the set.

I was told that, on the set, she started

I was told that, on the set, she started

I was told that, on the set, she started

having labor pains,

and they said, here's a car,

and they said, here's a car,

go to the hospital right away,

go to the hospital right away,

and this is great my wife is,

and this is great my wife is,

with labor pains, she insisted on going over

with labor pains, she insisted on going over

the next day's schedule, working out the call sheet,

the next day's schedule, working out the call sheet,

the next day's schedule, working out the call sheet,

doing all the work,

and when the labor pains became too intense,

and when the labor pains became too intense,

she then went to the hospital.

she then went to the hospital.

I think what attracted Cloris Leachman to the lead

I think what attracted Cloris Leachman to the lead

was that the role was extremely well written.

was that the role was extremely well written.

I contributed a little bit,

I contributed a little bit,

but it was primarily Julie and Bob Thom

but it was primarily Julie and Bob Thom

who wrote the script,

who took away the concept

of the mother with the young daughters and so forth

of the mother with the young daughters and so forth

and, instead, took a middle-aged woman,

and, instead, took a middle-aged woman,

and had her mother, the grandmother, and the mother,

and had her mother, the grandmother, and the mother,

rather than the mother and the daughters.

rather than the mother and the daughters.

The part was very complex but had a great deal of humor.

The part was very complex but had a great deal of humor.

It was just a good role for an actress.

It was just a good role for an actress.

I think Cloris took it on that basis.

- We're going back to Jerusalem, Arkansas.

- We're going back to Jerusalem, Arkansas.

- What the heck for?

- I'm goin' to buy back our farm!

- I'm goin' to buy back our farm!

- [Woman] What?

- I'm gonna buy it with good, solid, honest cash,

- I'm gonna buy it with good, solid, honest cash,

and nobody can't never take it away from us again.

- You, have you got any idea

- You, have you got any idea

where we're gonna be tonight?

- Yes, you're gonna be in

- Yes, you're gonna be in

Las Vegas.

- I was quite determined to have a woman director.

- I was quite determined to have a woman director.

And I went looking for women directors,

And I went looking for women directors,

and it was very hard to find women directors

and it was very hard to find women directors

who had any experience because they weren't,

you know, if you look even today,

you know, if you look even today,

it's one of the areas that has not corrected itself,

it's one of the areas that has not corrected itself,

which is the percentage of women directors

in the industry.

So now I went to Shirley Clarke,

So now I went to Shirley Clarke,

and Shirley Clarke came in

and she went pretty far down the line

and she went pretty far down the line

in pre-production,

and she was extremely uncomfortable.

and she was extremely uncomfortable.

It was not her kind of film.

It was not her kind of film.

She had done these very gritty,

She had done these very gritty,

she did Cool World, about gangs in Chicago,

she did Cool World, about gangs in Chicago,

she did the Portrait of Jason,

about, you know, it was that side of the tracks

about, you know, it was that side of the tracks

about, you know, it was that side of the tracks

stories that she told in this very gritty way,

stories that she told in this very gritty way,

and that's not really what Crazy Mama was.

and that's not really what Crazy Mama was.

And the more uncomfortable she became,

And the more uncomfortable she became,

various members of the crew were coming and saying,

you know, saying the same kind of thing to me.

you know, saying the same kind of thing to me.

It's not the film she should be doing.

It's not the film she should be doing.

So I called her in one day and I said,

Shirley, you just seem so uncomfortable,

Shirley, you just seem so uncomfortable,

and she said, I can't do it.

and she said, I can't do it.

So the rumor went out that she got fired,

So the rumor went out that she got fired,

but she certainly didn't.

It just wasn't the right film for Shirley.

It just wasn't the right film for Shirley.

And Jonathan Demme happened to be in the building

And Jonathan Demme happened to be in the building

'cause he was gonna do another film,

'cause he was gonna do another film,

and he got dragooned into it.

And then, of course, he took it on with gusto.

And then, of course, he took it on with gusto.

You know, it became kind of a romp.

You know, it became kind of a romp.

Jonathan and then Evelyn, his wife,

Jonathan and then Evelyn, his wife,

was the second unit director,

his then wife Evelyn Purcell.

his then wife Evelyn Purcell.

And I think the two of them did a very good job

And I think the two of them did a very good job

of making this film in a very short period of time.

of making this film in a very short period of time.

It was in a lot of locations

and had a lot of actors in it.

and had a lot of actors in it.

And Jonathan being Jonathan got friends

And Jonathan being Jonathan got friends

who came in and took bit roles,

who came in and took bit roles,

like John Millius and Dennis Quaid and Bill Paxton.

It certainly showed, I think, Jonathan's abilities

It certainly showed, I think, Jonathan's abilities

to good light,

to good light,

and some of the things that he was able to show

and some of the things that he was able to show

in that film that certainly showed up in the movies

in that film that certainly showed up in the movies

that he did down the line.

that he did down the line.

- [Cop] Drop those guns, ladies!

(guns bang)

(guns bang)

- You just don't understand. - Mama!

- You just don't understand. - Mama!

- I'm the last lady of this particular land.

- I'm the last lady of this particular land.

- Mama!

Mama!

Mama!

(guns bang)

Mama!

Mama!

Mama!

(gun bangs)

(gun bangs)

Mama!

- It did a fraction less at the box office

- It did a fraction less at the box office

than Big Bad Mama, but was very successful.

than Big Bad Mama, but was very successful.

The fact that it was a little bit off,

that's to be expected when you're sort of working

that's to be expected when you're sort of working

on a cycle of films.

on a cycle of films.

You know that the second, the third, fourth

You know that the second, the third, fourth

will drop a little bit.

But for us it was a very successful film.

But for us it was a very successful film.

(funky instrumental music)

(funky instrumental music)

- And, you, get over here with the rest of 'em.

And put your hands above your head.

And put your hands above your head.

All right, everybody just stay calm,

don't do anything foolish,

don't do anything foolish,

'cause I'm gonna be outta here in just a few minutes.

Thanks.

- In '74, we had a success with Big Bad Mama.

- In '74, we had a success with Big Bad Mama.

In '75, we had a success with Crazy Mama.

In '75, we had a success with Crazy Mama.

So in '76, we went again.

So in '76, we went again.

But, again, we wanted a change.

But, again, we wanted a change.

You can't repeat yourself.

You take certain themes,

You take certain themes,

but there's a variation on the theme.

but there's a variation on the theme.

This time, the idea was to take two attractive young women

This time, the idea was to take two attractive young women

and make them the leads,

and make them the leads,

say, as Butch Cassidy and the Sundance Kid,

say, as Butch Cassidy and the Sundance Kid,

if they were both women.

if they were both women.

And that was the key to the picture.

And that was the key to the picture.

(bluesy piano music)

(bluesy piano music)

(booming)

(booming)

- Margaret!

No!

- That might not be the end of it, ma'am.

- That might not be the end of it, ma'am.

- She's still in there, I know it!

- She's not. - I know it!

Oh, Margaret!

Oh, Margaret!

- [Cop] Hold her, men.

- Look.

- Oh my God.

- Oh my God.

Oh my. - Unbelievable.

Oh my. - Unbelievable.

Damn.

Damn.

- Ellie-Jo. - Yeah?

- How'd we do?

- Enough for vacation.

- Enough for vacation.

- Hot damn, girl.

- [Roger] It was a surprisingly big success for us,

- [Roger] It was a surprisingly big success for us,

and I think it was possibly

and I think it was possibly

because we had two beautiful young girls

because we had two beautiful young girls

as the leads.

- [Woman In Pink] I got an idea.

- [Woman In Pink] I got an idea.

- What?

- Let's rob another bank.

- Let's rob another bank.

- You gotta be kiddin' me.

- No, I'm not.

- No, I'm not.

You and me, together.

We, we've pulled it off once already.

We, we've pulled it off once already.

- Shit!

Yeah, but come on, it was a crazy thing to do.

Yeah, but come on, it was a crazy thing to do.

- Course it was a crazy thing to do,

and you and I can do it again.

and you and I can do it again.

- With dynamite, I suppose?

- With dynamite, I suppose?

- Of course with dynamite!

- Our first choice for one of the girls

- Our first choice for one of the girls

was Claudia Jennings.

was Claudia Jennings.

She had been in several pictures for us before,

and I thought she was very good.

and I thought she was very good.

Claudia was beautiful, and she was a very good actress,

Claudia was beautiful, and she was a very good actress,

and she was set right from the beginning.

and she was set right from the beginning.

Jocelyn Jones was the result of casting, audition,

Jocelyn Jones was the result of casting, audition,

Jocelyn Jones was the result of casting, audition,

and so forth,

and she worked very well with Claudia.

and she worked very well with Claudia.

There was a chemistry between the two of them

There was a chemistry between the two of them

that really came forward.

- Aw, no.

- Aw, no.

You look awful.

You look awful.

I don't believe this.

- [Woman] What?

- [Woman] What?

- The two women, tentatively identified

- The two women, tentatively identified

by police as Candy Morgan,

an escapee from Texas State Women's Penitentiary,

an escapee from Texas State Women's Penitentiary,

and Ellie-Jo Turner, an Alpine bank teller,

are also being sought in connection

are also being sought in connection

with the murder of a bank guard in Forney.

with the murder of a bank guard in Forney.

- From a commercial standpoint,

- From a commercial standpoint,

I probably should've made a sequel to that

because it was successful,

because it was successful,

but, frankly, I myself was getting tired

but, frankly, I myself was getting tired

of women outlaws.

of women outlaws.

- It's too easy.

(gun clicks)

- You're right.

(tires screech)

(tires screech)

(siren wails)

(siren wails)

- [Cop] Hold your fire.

- Hands up, ladies, high above your heads, let's go.

- Hands up, ladies, high above your heads, let's go.

- [Ellie-Jo] Candy, the gun, the gun!

(gun bangs)

(gun bangs)

- The ending was always in the script.

Michael wrote a really good script.

Michael wrote a really good script.

As a matter of fact, a number of years later,

As a matter of fact, a number of years later,

I saw Thelma and Louise, and I thought,

I saw Thelma and Louise, and I thought,

wait a minute, this is a remake

of The Great Texas Dynamite Chase.

of The Great Texas Dynamite Chase.

(twangy instrumental music)

(twangy instrumental music)

(engine roars)

(engine roars)

(booming)

(booming)

(twangy instrumental music)

(twangy instrumental music)

(funky instrumental music)

(funky instrumental music)

The Lady in Red was one of our more expensive films

The Lady in Red was one of our more expensive films

because of, simply, the problems

of recreating the period in the 1930s.

of recreating the period in the 1930s.

I wouldn't say it was an exact continuation

I wouldn't say it was an exact continuation

of Big Bad Mama and so forth.

of Big Bad Mama and so forth.

It was a number of years later.

It was a number of years later.

But it did bring back the idea

But it did bring back the idea

of the woman as outlaw.

of the woman as outlaw.

But we were really working from history.

And there we started with the title.

And there we started with the title.

I like the title, the title was my idea.

I like the title, the title was my idea.

And Julie took it from there.

And Julie took it from there.

Julie produced the film,

and I thought did an extremely good job.

and I thought did an extremely good job.

and I thought did an extremely good job.

She cast the film very, very well,

She cast the film very, very well,

with Pamela Sue Martin as the lady in red,

Robert Conrad as Dillinger,

Robert Conrad as Dillinger,

Robert Conrad as Dillinger,

and Louise Fletcher as the madame of the whorehouse.

and Louise Fletcher as the madame of the whorehouse.

(gun bangs)

(gun bangs)

- Okay, on the running board.

We're going for a little spin.

We're going for a little spin.

(guns bang) (alarm rings)

(guns bang) (alarm rings)

- The company seemed to be doing really well

- The company seemed to be doing really well

with movies about gangsters,

with movies about gangsters,

and when I actually did the research

and found the book about Boxcar Bertha,

and found the book about Boxcar Bertha,

I was looking for other women gangsters,

I was looking for other women gangsters,

and I couldn't really find, you know,

I thought it would be really easy.

I thought it would be really easy.

Then we could have a whole slew of them.

And I called a friend of mine

And I called a friend of mine

who worked in the district attorney's office,

and I said, help me find women gangsters,

and I said, help me find women gangsters,

and he said, you won't really find them.

I said, why not, and he said,

I said, why not, and he said,

well, because the way women and children were treated,

well, because the way women and children were treated,

unless they were really notorious gangsters,

unless they were really notorious gangsters,

they didn't put it in print.

The press didn't pick up on it,

it was just understood.

it was just understood.

So this was a story about the woman

who was with Dillinger when he died,

who was with Dillinger when he died,

and so that was the kind of segue

and so that was the kind of segue

into a woman in the gangster world.

into a woman in the gangster world.

(dramatic instrumental music)

(dramatic instrumental music)

(dramatic instrumental music)

John Sayles is,

John Sayles is,

what should I say?

what should I say?

He is kind of a consummate writer, director, filmmaker,

He is kind of a consummate writer, director, filmmaker,

and, not only that, but I didn't realize

and, not only that, but I didn't realize

and, not only that, but I didn't realize

the depth of his knowledge about history

until we did the wraparound for the film Lady in Red.

until we did the wraparound for the film Lady in Red.

And his background in history

And his background in history

that, even when you're not so aware of it,

that, even when you're not so aware of it,

that, even when you're not so aware of it,

it lends itself to the ballast of the film.

it lends itself to the ballast of the film.

For example, Louise Fletcher's character

For example, Louise Fletcher's character

is German accent.

So, this was in the 1930s,

So, this was in the 1930s,

so it was like after the first world war,

so it was like after the first world war,

so it was like after the first world war,

and there was still a thing about Germans

and there was still a thing about Germans

because they had been on the other side.

because they had been on the other side.

And then we were, of course, seeing

that it was revving up to what became the next world war,

that it was revving up to what became the next world war,

so the fact that she was German

so the fact that she was German

was a very interesting choice.

- Look, fellas, I admit, I've been a wrong character,

- Look, fellas, I admit, I've been a wrong character,

but I am getting it right now.

but I am getting it right now.

I got this diner,

I got this diner,

and it's 100% legit.

- Six counts of common prostitution

- Six counts of common prostitution

between 1918 and 1924.

- Then the Balducci affair.

- Then the Balducci affair.

- What?

- What?

- A death in your Orleans Street operation,

in which a Mr. Roco Balducci was involved.

in which a Mr. Roco Balducci was involved.

- Oh, no you don't.

No dice.

No dice.

Maybe you ship me off, but I go in one piece.

Maybe you ship me off, but I go in one piece.

- [Julie] I think the way he dealt

with the plight of women in the workplace

with the plight of women in the workplace

was just phenomenal.

was just phenomenal.

You know, the woman is not allowed to go to the bathroom

You know, the woman is not allowed to go to the bathroom

when she has her period.

You hadn't seen anything like that before,

You hadn't seen anything like that before,

but it was so real and so true.

but it was so real and so true.

- I said back to the machine!

- You got rid of both of 'em, didn't you, Patek?

- You got rid of both of 'em, didn't you, Patek?

You sent Mae to the hospital

and we all know why.

and we all know why.

We're all replaceable ain't we, Patek?

- You're fired, sweetheart, take a walk.

- You're fired, sweetheart, take a walk.

- Oh, yeah, somebody don't want your grubby paws on 'em,

they lose their job!

they lose their job!

Big fuckin' man pushin' a lot of hungry girls around!

Big fuckin' man pushin' a lot of hungry girls around!

- You go quietly girl, or I'll toss you out on your ear.

- You just try it, big man!

- You just try it, big man!

- Anybody tell ya to stop workin'?

- Anybody tell ya to stop workin'?

Put those machines on.

- [Worker] Fuck you, Patek!

- [Worker] Fuck you, Patek!

- Who said that?

- I said it.

- I said it.

- [Worker] I said it.

- I said it.

- I said it.

And what are you gonna do about it?

And what are you gonna do about it?

- [Julie] And what could've been just a kind

- [Julie] And what could've been just a kind

of straight exploitation picture,

of straight exploitation picture,

I think was lifted to an entirely new level.

(shouting) (banging)

(shouting) (banging)

- Rosie!

- Rosie!

Rosie, up here!

- Lew Teague was the director.

- Lew Teague was the director.

It was his first job as a director,

It was his first job as a director,

but he'd been the editor on Cock Fighter,

but he'd been the editor on Cock Fighter,

a picture directed by Monte Hellman.

The cameraman was a slightly unusual way to go.

The cameraman was a slightly unusual way to go.

The cameraman was a slightly unusual way to go.

It was Daniel Lacambre, a French cameraman.

It was Daniel Lacambre, a French cameraman.

I'd worked with him in Europe several times,

I'd worked with him in Europe several times,

so I just called Daniel in Paris, and said,

so I just called Daniel in Paris, and said,

Daniel, I can give you an economy ticket to Los Angeles,

Daniel, I can give you an economy ticket to Los Angeles,

you wanna come and shoot a film here?

He said, sure, and he came and shot a number

He said, sure, and he came and shot a number

of films in the United States for us.

of films in the United States for us.

- [Man] You try and get even,

you never get ahead.

you never get ahead.

- You should've been Gabon's lawyer.

(brassy instrumental music)

(brassy instrumental music)

(brassy instrumental music)

(shattering)

(shattering)

(screaming)

(guns bang) (screaming)

(guns bang) (screaming)

(guns bang) (screaming)

(wailing)

(wailing)

- I think Pamela Sue Martin is a very, very good actress

- I think Pamela Sue Martin is a very, very good actress

and she has a combination of vulnerability and strength

and she has a combination of vulnerability and strength

and she has a combination of vulnerability and strength

that comes together and just draws you in

that comes together and just draws you in

and makes you wanna know what happens to her,

and makes you wanna know what happens to her,

makes you care about her,

makes you care about her,

carries you to the end of the film.

carries you to the end of the film.

And I think that she was up with Robert Conrad,

And I think that she was up with Robert Conrad,

and she held her own all the way, I would say.

and she held her own all the way, I would say.

It was her film.

- I guess I'm gonna die rich, huh, Polly?

- I guess I'm gonna die rich, huh, Polly?

(groans)

(groans)

I don't wanna die in jail.

I don't wanna die in jail.

Polly, help me out.

Polly, help me out.

Polly, goddamn it, help me out!

Polly, goddamn it, help me out!

(gun bangs)

- In those days, he was still Jamie Horner,

- In those days, he was still Jamie Horner,

but I think if you look at some of the romantic music

but I think if you look at some of the romantic music

that he wrote, you can see why he went on

to do Titanic.

to do Titanic.

(sweet instrumental music)

(sweet instrumental music)

You can just see the roots of it right there,

You can just see the roots of it right there,

and he was a dream to work with.

and he was a dream to work with.

Everybody liked working with Jamie.

I'm just sorry that he's not still composing music.

I'm just sorry that he's not still composing music.

(sweet instrumental music)

(sweet instrumental music)

- That's it, that's it.

- That's it, that's it.

- I'm sorry. - You, you go get it.

(funky instrumental music)

(funky instrumental music)

(funky instrumental music)

- I had made Big Bad Mama in, I think, '74,

- I had made Big Bad Mama in, I think, '74,

- I had made Big Bad Mama in, I think, '74,

and I did Big Bad Mama II in '87.

and I did Big Bad Mama II in '87.

The reason for the time lapse

The reason for the time lapse

was simply that I had felt that we had played

was simply that I had felt that we had played

enough of this type of film

enough of this type of film

and I didn't wanna make any more.

and I didn't wanna make any more.

But now a number of years had passed,

But now a number of years had passed,

and I thought, well, maybe it's time

to go back to the well, as it were.

to go back to the well, as it were.

to go back to the well, as it were.

(tense instrumental music)

(tense instrumental music)

- Foreclosure notice, duly served,

- Foreclosure notice, duly served,

September 27, 1934.

September 27, 1934.

Come on, Mrs. McClatchie,

gather up your girls.

It's over.

- You're wrong, Sheriff.

- You're wrong, Sheriff.

It ain't over at all.

(ominous instrumental music)

(ominous instrumental music)

- Now, it was interesting on the title

because when I made Big Bad Mama,

because when I made Big Bad Mama,

because when I made Big Bad Mama,

people didn't think of saying Big Bad Mama two.

people didn't think of saying Big Bad Mama two.

What you did, you took a similar title.

What you did, you took a similar title.

For instance, when I did Big Bad Mama,

I went to Crazy Mama.

I went to Crazy Mama.

I remember when I did Death Race,

I remember when I did Death Race,

the sequel was Death Sport, it wasn't Death Race two.

the sequel was Death Sport, it wasn't Death Race two.

But, somehow, during the intervening years,

But, somehow, during the intervening years,

people started calling pictures number two and so forth.

people started calling pictures number two and so forth.

And I thought, well, Big Bad Mama

And I thought, well, Big Bad Mama

is actually rather well remembered

is actually rather well remembered

because we were doing business in DVD,

which was just starting around that time,

which was just starting around that time,

so I said, okay, we can go with Big Bad Mama II.

so I said, okay, we can go with Big Bad Mama II.

- Sorry, mama.

- Sorry, mama.

- Honey, you still don't have the hang of it yet.

- Honey, you still don't have the hang of it yet.

All it takes is a little target practice.

All it takes is a little target practice.

(gun rattles)

(gun rattles)

Go!

- [Roger] The budget was a little bit more expensive,

- [Roger] The budget was a little bit more expensive,

simply because it was more difficult

to find the old cars and things like that

to find the old cars and things like that

this many years later.

this many years later.

- Go!

(guns bang)

(guns bang)

(tires screech)

(tires screech)

(gun bangs)

- Did you get that?

- Did you get that?

(cheering)

Okay, that's our front page.

Okay, that's our front page.

- I used Jim Wynorski as a director a number of times,

- I used Jim Wynorski as a director a number of times,

and I knew he was very good,

and I knew he was very good,

and I knew he was also very flexible.

and I knew he was also very flexible.

So I talked to Jim about this and said,

So I talked to Jim about this and said,

I want the film to look as if it's made today,

I want the film to look as if it's made today,

but I want the style to bring us back a little bit

but I want the style to bring us back a little bit

to the original Big Bad Mama,

to the original Big Bad Mama,

and I knew that he would be able to find

and I knew that he would be able to find

that middle ground, as it were.

- Your car keys, please.

- Your car keys, please.

And your wallet.

And your pants.

- My pants?

- My pants?

- Matter of fact, you better give me everything.

- Matter of fact, you better give me everything.

I figure a naked man is gonna have

a real problem hitchin' in these parts.

a real problem hitchin' in these parts.

- I don't know, Mama.

- I don't know, Mama.

I wouldn't mind givin' him a ride.

- Yeah, Mama, can't we take him with us?

- Yeah, Mama, can't we take him with us?

He looks real nice.

- Girls, I've seen his type before.

- Girls, I've seen his type before.

- Girls, I've seen his type before.

He only looks like trouble.

- Well, that's everything, Mrs. McClatchie.

- Well, that's everything, Mrs. McClatchie.

Thank you.

Be sure you tell the porter,

Be sure you tell the porter,

no starch in the shorts.

It, uh, causes shrinkage.

It, uh, causes shrinkage.

- I can see where that could be

a problem for you, Mr. Pearson.

a problem for you, Mr. Pearson.

- [Roger] The reviews were mixed.

Most of them were good.

Most of them were good.

Couple of 'em commented on the fact

that maybe Angie Dickinson should not have been doing

that maybe Angie Dickinson should not have been doing

nude scenes, but I think the reason

nude scenes, but I think the reason

she did the nude scenes,

she did the nude scenes,

she was essentially saying, look at me now,

she was essentially saying, look at me now,

I'm this many years older,

I'm this many years older,

and I still look great.

and I still look great.

- You ever were, maybe more so.

- And you'd have a whole new series of articles.

- And you'd have a whole new series of articles.

- So what do you say?

- So what do you say?

But you better make up your mind quick.

Your bubbles are startin' to melt.

- All right, Pearson.

Meet me at the county fair tomorrow night at eight o'clock.

Meet me at the county fair tomorrow night at eight o'clock.

But, remember,

But, remember,

any cross-ups, and I'll put a bullet through your brain.

any cross-ups, and I'll put a bullet through your brain.

- It did well at the box office.

Not quite as well as the original Big Bad Mama,

Not quite as well as the original Big Bad Mama,

but it was very successful for us.

but it was very successful for us.

(grunting)

(grunting)

(shattering)

(tense instrumental music)

(tense instrumental music)

- It'll be okay.

(chuckles)

(chuckles)

(gun bangs)

(groaning)

(groaning)

(guns bang)

Mama.

Mama.

- Don't worry, babies,

we go to a better place.

(funky instrumental music)

(funky instrumental music)

- Almost all of the pictures we made were my ideas.

- Almost all of the pictures we made were my ideas.

- Almost all of the pictures we made were my ideas.

Dillinger and Capone was one of the few that was not.

Dillinger and Capone was one of the few that was not.

It was a spec script written by Mike Druxman,

It was a spec script written by Mike Druxman,

and he wrote it specifically for us.

and he wrote it specifically for us.

He understand the type of film, he told me,

He understand the type of film, he told me,

he understood the type of films we were making,

he understood the type of films we were making,

and he studied them, and he wrote Dillinger and Capone

and he studied them, and he wrote Dillinger and Capone

as a spec script and sent it only to us.

as a spec script and sent it only to us.

And I read it one night.

And I read it one night.

He gave it to us one afternoon,

I read it that night,

I read it that night,

and I bought it the next morning.

I said, Mike, you've written exactly what we want.

I said, Mike, you've written exactly what we want.

I said, Mike, you've written exactly what we want.

Among the various things I liked about the script

Among the various things I liked about the script

was the fact that it was totally original,

but it starts with something that actually happened,

but it starts with something that actually happened,

which was the killing of John Dillinger.

which was the killing of John Dillinger.

- [Woman] They shot John Dillinger.

- [Woman] They shot John Dillinger.

- [Roger] Which we had dealt with a number of years before

- [Roger] Which we had dealt with a number of years before

in The Lady in Red.

Now, actually Dillinger was killed at that time,

Now, actually Dillinger was killed at that time,

but Mike took the idea

but Mike took the idea

that a mistake was made.

that a mistake was made.

Dillinger was not killed,

Dillinger was not killed,

and we start with the killing of Dillinger,

and we start with the killing of Dillinger,

and then we cut to a number of years later.

and then we cut to a number of years later.

We find he is still alive,

We find he is still alive,

trying to lead a simple, straightforward life,

trying to lead a simple, straightforward life,

and into his life comes the other great gangster,

and into his life comes the other great gangster,

Al Capone.

Al Capone.

And I thought the whole idea is so wild,

And I thought the whole idea is so wild,

but I thought so good,

we definitely are gonna make this film.

we definitely are gonna make this film.

- Abby, you know I have a past.

- Abby, you know I have a past.

Maybe it's time you heard the whole story.

- No.

- No.

We agreed.

Past is the past.

- [Man] Well, in case you haven't heard, sir,

there's a depression going on

there's a depression going on

and a war breakin' out overseas.

- I'm Al Capone.

- I'm Al Capone.

I made the depression, I fought my own war.

I made the depression, I fought my own war.

I was the King of Chicago before you were in diapers.

I was the King of Chicago before you were in diapers.

- It ain't the same out here anymore, sir.

- What ain't the same?

- Things have changed.

- Things have changed.

- Oh, things have changed?

What, people don't like their broads, huh?

What, people don't like their broads, huh?

They, they don't like their hooch?

They don't like the ponies?

I'll tell ya something, young man,

I'll tell ya something, young man,

if you had the balls to live half the life

that I've lived, you'll learn one thing about people,

people don't change.

They're always willin' to pay good money

They're always willin' to pay good money

to have their dirty laundry done for 'em.

to have their dirty laundry done for 'em.

- [Man] Somebody else is takin' out the cleanin' now.

- You think I'm forgotten?

- You think I'm forgotten?

- No, sir, I don't.

- No, no, you think I'm washed up.

You think some piss ant tax man with a little green visor

You think some piss ant tax man with a little green visor

You think some piss ant tax man with a little green visor

has brought down the King of Chicago?

- No, Mr. Capone! - Yeah!

- No, Mr. Capone! - Yeah!

Listen, I'm Al Capone.

- [Roger] The casting was very easy.

It was a good script.

It was a good script.

These were two great characters.

These were two great characters.

I went with Marty Sheen because I had known him

I went with Marty Sheen because I had known him

for a number of years,

and we had almost worked together

and we had almost worked together

on a picture previously,

and I went for F. Murray Abraham for Capone

and I went for F. Murray Abraham for Capone

and I went for F. Murray Abraham for Capone

simply because he was a brilliant actor.

(grumbling)

(grumbling)

- You rat!

You, come on!

You don't look like a man who robbed 57 banks.

You don't look like a man who robbed 57 banks.

- You don't like the kingpin of Chicago.

- But I was.

And I will be again.

Just like you, I'm back from the dead.

Just like you, I'm back from the dead.

Except it wasn't you who died, was it, big John?

I mean, how could anyone not recognize

I mean, how could anyone not recognize

the great, the legendary John Dillinger?

the great, the legendary John Dillinger?

Even the stupid feds couldn't make a mistake like that

Even the stupid feds couldn't make a mistake like that

unless,

unless the dead body was close,

very close,

very close,

like a brother.

- I think Dillinger and Capone

is really one of our best films,

is really one of our best films,

and I think it's because the script was so good,

and I think it's because the script was so good,

and Marty and Abraham were so excellent.

and Marty and Abraham were so excellent.

Jon Purdy did a very good job as director.

Jon Purdy did a very good job as director.

- [Man] Go, go!

- [Man] Go, go!

(booming)

(booming)

That's all!

- [Roger] There was a very good critical reaction,

particularly in Europe.

particularly in Europe.

You know, it's strange, sometimes European critics,

You know, it's strange, sometimes European critics,

and it's almost always the critics in Paris,

and it's almost always the critics in Paris,

who knows why,

who latch onto American pictures,

who latch onto American pictures,

particularly they seem to like American low budget films

particularly they seem to like American low budget films

particularly they seem to like American low budget films

that have something original to say.

- Now look at that man.

If you pull that trigger, you'll be killing yourself, son.

If you pull that trigger, you'll be killing yourself, son.

Not Al Capone.

- But he was gonna kill my mom!

- I could take that gun away from ya.

- I could take that gun away from ya.

But this has to be your choice.

Sam!

That a boy.

That a boy.

That a boy.

(funky instrumental music)

(funky instrumental music)

- Shakedown was sort of a co-creation

- Shakedown was sort of a co-creation

between Brian Katkin, who wrote and directed, and me.

between Brian Katkin, who wrote and directed, and me.

It actually had its origin

It actually had its origin

in something that had happened a number of years earlier.

in something that had happened a number of years earlier.

There was a major earthquake in San Francisco,

There was a major earthquake in San Francisco,

and I remember, as soon as I heard about it,

and I remember, as soon as I heard about it,

I had a camera crew drive all night

I had a camera crew drive all night

from Los Angeles to San Francisco

from Los Angeles to San Francisco

to photograph the end of the quake,

to photograph the end of the quake,

essentially, the aftermath, the destruction of the quake.

essentially, the aftermath, the destruction of the quake.

We had this really great earthquake footage,

We had this really great earthquake footage,

and we made a picture I think called Quake,

and we made a picture I think called Quake,

or something like that, with it,

or something like that, with it,

and I thought, you know, this footage is so good,

maybe we can use it again.

maybe we can use it again.

Came up with a pretty wild story

Came up with a pretty wild story

Came up with a pretty wild story

about a virus and an FBI man

about a virus and an FBI man

who's going into a bank vault,

and, at the same time, there's a robbery of the bank.

and, at the same time, there's a robbery of the bank.

and, at the same time, there's a robbery of the bank.

(screaming)

(grunting)

(grunting)

(guns banging) (screaming)

(guns banging) (screaming)

- [Man] Hit the fuckin' ground!

Get every motherfuckin' body in here!

Get every motherfuckin' body in here!

Watch that bitch!

(guns banging)

(guns banging)

(groaning)

(groaning)

(screaming)

Grab the money, rab the motherfuckin' money!

Grab the money, rab the motherfuckin' money!

- [Roger] And a cult leader, very well played

- [Roger] And a cult leader, very well played

by Ron Perlman, comes in,

and it was, essentially, throw everything you can

and it was, essentially, throw everything you can

at the screen on this one.

at the screen on this one.

- My brethren,

it begins.

it begins.

- [Brethren] Yeah!

- Maybe we threw too many things at that particular script

- Maybe we threw too many things at that particular script

because there were so many things in it,

because there were so many things in it,

it was so complex,

it was so complex,

it was very difficult to fit them all together,

and we had to trim and cut to get down

and we had to trim and cut to get down

to the length we could shoot

to the length we could shoot

in our usual three week shooting schedule.

in our usual three week shooting schedule.

(grunting)

(shouting)

(shouting)

(tense instrumental music)

(tense instrumental music)

(gun clicks)

- [Woman] You son of a bitch!

You killed my brother!

You killed my brother!

(tense instrumental music)

(tense instrumental music)

(guns bang)

(guns bang)

Go to hell!

- In regard to the special effects,

- In regard to the special effects,

what we did was our usual procedure.

what we did was our usual procedure.

I like to shoot effects realistically on the set

I like to shoot effects realistically on the set

as much as possible,

but at the same time, I know there's some effects

but at the same time, I know there's some effects

that are gonna have to be done in post-production.

that are gonna have to be done in post-production.

But, also, we had the effects of the earthquake

But, also, we had the effects of the earthquake

already there before we made the film.

already there before we made the film.

(crashing) (shouting)

(crashing) (shouting)

(crashing) (shouting)

(tires screeching)

(tires screeching)

(rumbling)

(rumbling)

I thought we were helped very much

by the performances.

by the performances.

Wolf Larson as the FBI agent,

and Ron Perlman as the semi-crazed cult leader,

and Ron Perlman as the semi-crazed cult leader,

and Ron Perlman as the semi-crazed cult leader,

really brought a dramatic intensity.

really brought a dramatic intensity.

There was really a strong performance from both of them.

There was really a strong performance from both of them.

- Mr. Federal Bureau of Instigation,

- Mr. Federal Bureau of Instigation,

I will send each of them to God's kingdom

I will send each of them to God's kingdom

unless you give me back my file!

unless you give me back my file!

- Stick your head out.

- Stick your head out.

(whimpering)

(gun bangs)

(gun bangs)

(crying)

(crying)

- God

- God

promised me a tool,

promised me a tool,

a plague unlike any that has ever scourged the earth.

a plague unlike any that has ever scourged the earth.

In his name, we trade

In his name, we trade

the lives of a few

for the salvation of many.

for the salvation of many.

- This film was a success.

It wasn't quite as big a success

It wasn't quite as big a success

as some of the others,

but I'll take any success.

but I'll take any success.

(funky instrumental music)

(funky instrumental music)

[END CREDITS]

[END CREDITS]