All language subtitles for C T f t T w R a J C S01E02 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

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]