Original subtitles

- [Roger] I'm Roger Corman and I'd like

- [Roger] I'm Roger Corman and I'd like

to share with you some great moments and memories

to share with you some great moments and memories

of many of my films.

(upbeat jazz music)

(upbeat jazz music)

I think all art, and that includes cinema as an art form,

I think all art, and that includes cinema as an art form,

reflects a time in which it's made.

reflects a time in which it's made.

Good art, or even I should say great art,

Good art, or even I should say great art,

not only reflects the time in which it's made

not only reflects the time in which it's made

but it has a universal appeal.

but it has a universal appeal.

So, it can be looked at or read a hundred years

So, it can be looked at or read a hundred years

or a thousand years later and you're still dealing

or a thousand years later and you're still dealing

with certain aspects of humanity.

with certain aspects of humanity.

I would hesitate to use the word art in relationship

I would hesitate to use the word art in relationship

to all of my films.

to all of my films.

I've never really thought of myself as an artist,

I've never really thought of myself as an artist,

I thought of myself as a craftsman.

I thought of myself as a craftsman.

I make films, as a craftsman.

I make films, as a craftsman.

If occasionally arises to the level

If occasionally arises to the level

of art, that's great.

But I don't want to over estimate what I've done.

But I don't want to over estimate what I've done.

But I don't want to over estimate what I've done.

- Just thought you might be interested in a deal.

- [Man] Wait a minute, kid.

- [Man] Wait a minute, kid.

What kind of a deal?

- What difference does it make?

You said you didn't know him.

You said you didn't know him.

- [Man] What kind of a deal?

- [Man] What kind of a deal?

- A big deal.

A million dollars.

- I formed with my brother Gene a small company

- I formed with my brother Gene a small company

called the film group.

called the film group.

That film group stayed in business for a few years

That film group stayed in business for a few years

and then frankly I was working so much as a director

and then frankly I was working so much as a director

and my brother was making a number of films for television

and my brother was making a number of films for television

and we folded.

and we folded.

But it was an interesting experiment at the time.

- [Teacher] Would you answer the question please?

- [Teacher] Would you answer the question please?

- Yes sir, the speech is from Act Five, Scene One

- Yes sir, the speech is from Act Five, Scene One

delivered to Horatio and the Gravedigger.

delivered to Horatio and the Gravedigger.

- Very good,

- Very good,

if some of the others of you would emulate Marvin,

concentrate your efforts towards learning something

concentrate your efforts towards learning something

you might all be a lot better off.

(school-bell rings)

(school-bell rings)

- You could say that the films made by the film group

- You could say that the films made by the film group

reflected society.

But they also reflected my interpretation

But they also reflected my interpretation

of the commercial reality which was that the audience

of the commercial reality which was that the audience

of the commercial reality which was that the audience

was primarily young, teenagers and young adults.

was primarily young, teenagers and young adults.

And I wanted to appeal to that audience.

And I wanted to appeal to that audience.

(upbeat jazz music)

(upbeat jazz music)

(romantic jazz music)

(romantic jazz music)

- You're kind of special.

Well look, I'm serious.

Well look, I'm serious.

I've kind of wanted to say this to you for a long time.

I've kind of wanted to say this to you for a long time.

- Betty you go out with Vince.

- Betty you go out with Vince.

He's sort of the star of the whole school.

He's sort of the star of the whole school.

- Boys like Vince will never amount to anything.

- Boys like Vince will never amount to anything.

- Betty will you go out with me?

- Betty will you go out with me?

- I practically asked you out, haven't I?

- I practically asked you out, haven't I?

- We had very little money, so I chose an aspiring

- We had very little money, so I chose an aspiring

screenwriter who was a friend of mine, Joel Rapp,

screenwriter who was a friend of mine, Joel Rapp,

to write and direct "High School Big Shot"

to write and direct "High School Big Shot"

on a 40,000 budget.

on a 40,000 budget.

It did reflect certain aspects of society

It did reflect certain aspects of society

and weirdly enough it reflects something of society

and weirdly enough it reflects something of society

today because it's a story of a kid who's

today because it's a story of a kid who's

sort of a top student in High School but he's very poor

sort of a top student in High School but he's very poor

sort of a top student in High School but he's very poor

and he needs a scholarship to go to college.

and he needs a scholarship to go to college.

And for reasons beyond his control he loses what should

And for reasons beyond his control he loses what should

have been his scholarship he ends up working on a very

have been his scholarship he ends up working on a very

low paid job and turns to crime.

low paid job and turns to crime.

I'm stealing it.

- You're what?

- You're what?

Oh look, cut it out, will you?

Oh look, cut it out, will you?

You haven't even got the nerve to lie.

You haven't even got the nerve to lie.

- I mean it Betty, I'm stealing a million dollars.

- Look, you shouldn't joke about these things Marve.

- I'm not joking, I found out where there's gonna

- I'm not joking, I found out where there's gonna

be a million dollars cash and I've worked out a plan

be a million dollars cash and I've worked out a plan

to steal it.

- You're really serious, aren't you?

You'd really do that for me?

You'd really do that for me?

- Betty,

I'm in love with you.

I'm in love with you.

- [Roger] This gave us a way to,

put together a crime-action picture and make a little

put together a crime-action picture and make a little

statement that resonates today where we're talking

statement that resonates today where we're talking

about inequality.

The people who go to college get an average salary

The people who go to college get an average salary

The people who go to college get an average salary

of a rather high level.

The less educated get a lower salary

The less educated get a lower salary

and live on a lower level and without thinking that much

and live on a lower level and without thinking that much

and live on a lower level and without thinking that much

that far ahead "High School Big Shot" reflects that.

that far ahead "High School Big Shot" reflects that.

- A million bucks!

- A million bucks!

- [Man] Forget the money, let's get out of here.

- [Man] Forget the money, let's get out of here.

I am loaded down with snow, remember?

I am loaded down with snow, remember?

(police siren wailing)

(police siren wailing)

(pistol shots firing)

(pistol shots firing)

(water splashes)

(water splashes)

- Why?

- (crying) I don't know Harry, I'm sorry.

- (crying) I don't know Harry, I'm sorry.

- (crying) I don't know Harry, I'm sorry.

Forgive me Father.

(police siren wailing)

(police siren wailing)

(upbeat jazz music)

(upbeat jazz music)

- Oscar Williams was a young black film maker

- Oscar Williams was a young black film maker

who just graduated from the American Film Institute

who just graduated from the American Film Institute

and he'd written a screenplay for "The Final Comedown"

and he'd written a screenplay for "The Final Comedown"

and he'd written a screenplay for "The Final Comedown"

and he was partnered with Billy D. Williams,

who at that time, was an aspiring young actor

who at that time, was an aspiring young actor

they knew that I was sponsoring

they knew that I was sponsoring

and working with young filmmakers.

and working with young filmmakers.

They brought the screenplay to me.

They brought the screenplay to me.

- [All] We hold these truths to be self-evident,

- [All] We hold these truths to be self-evident,

that all men are free and equal.

that all men are free and equal.

(police sirens wailing) (gun shots firing)

- [Roger] This is the early days of new early pictures

- [Roger] This is the early days of new early pictures

- [Roger] This is the early days of new early pictures

and new black films were doing well.

and new black films were doing well.

And again, there was something you eye and many people did

And again, there was something you eye and many people did

so they were ripping stories out of the headline.

so they were ripping stories out of the headline.

This was a violent story of a black nationalist group

This was a violent story of a black nationalist group

that ends up in a gun fire with the police

that ends up in a gun fire with the police

and it was very well written.

and it was very well written.

I thought there was a quality to it that was

I thought there was a quality to it that was

above the standard exploitation film as such.

above the standard exploitation film as such.

Matter of fact I never though of it as that kind of film

Matter of fact I never though of it as that kind of film

at all.

I thought it was a serious and good film.

I thought it was a serious and good film.

- Hey, I can understand, I am not in your skin.

- Hey, I can understand, I am not in your skin.

- Hey, I can understand, I am not in your skin.

Johnny, I'm in another world, I would like to know.

Johnny, I'm in another world, I would like to know.

Johnny, I'm in another world, I would like to know.

- You'd like to know?

One day, if you lived in my skin one day,

One day, if you lived in my skin one day,

One day, if you lived in my skin one day,

you'd blow your fucking brains out.

you'd blow your fucking brains out.

You'd like to know.

- I don't understand?

- I don't understand?

- Yeah, turn black Monday morning.

- Yeah, turn black Monday morning.

(shower door slamming)

(shower door slamming)

- We sent the film out it got very interesting reviews

- We sent the film out it got very interesting reviews

because the Black Panthers and so forth were in the news

because the Black Panthers and so forth were in the news

at the time.

at the time.

I of course was aware of that and we were praised

I of course was aware of that and we were praised

in some places.

In other places,

In other places,

it was stated that we were advocating violence,

it was stated that we were advocating violence,

which of course we were not, but there was violence

which of course we were not, but there was violence

in the film.

It was really Oscar's film.

It was really Oscar's film.

The concept of telling a story through flashbacks

The concept of telling a story through flashbacks

the way in which was it was involved on the street.

the way in which was it was involved on the street.

I talked to him a little bit about all experiences.

I talked to him a little bit about all experiences.

A shooting on the street in natural locations

A shooting on the street in natural locations

and so forth.

But it was a very good film and I give credit

But it was a very good film and I give credit

to Oscar and Billy D.

- [Policeman] This is the police, drop your weapons.

- [Policeman] This is the police, drop your weapons.

You people have one minute to come out with your hands

You people have one minute to come out with your hands

above your heads.

above your heads.

- (groaning in pain) Yeah, let's shoot.

- (groaning in pain) Yeah, let's shoot.

- I got to be throwin' gas in here.

- I got to be throwin' gas in here.

(shotgun cocking)

(shotgun cocking)

- What are we gonna do?

- Shoot.

- [Policeman] We'll give you 30 seconds to come out.

- [Policeman] We'll give you 30 seconds to come out.

- I'm not.

- I believe that films can make a slight difference.

- I believe that films can make a slight difference.

I don't kid myself that a picture is going

to change the world, but I think films can influence

to change the world, but I think films can influence

the public a little bit.

the public a little bit.

And I like the fact that this was a black film that was

And I like the fact that this was a black film that was

made by blacks.

I was the only white guy around and my work was secondary.

I was the only white guy around and my work was secondary.

I was the only white guy around and my work was secondary.

(upbeat jazz music)

(audience cheering)

(audience cheering)

What attracted me was simply a review

What attracted me was simply a review

I had read of it, which was a very good review,

I had read of it, which was a very good review,

praised the book very highly and I thought,

praised the book very highly and I thought,

I don't think anybody's made a picture of cockfighting.

I don't think anybody's made a picture of cockfighting.

Here is a chance to do something really new and it's

Here is a chance to do something really new and it's

got all of the action with the cockfighting and the milieu

got all of the action with the cockfighting and the milieu

of the people around it.

of the people around it.

The book by Charlies Willeford was very, very well written.

The book by Charlies Willeford was very, very well written.

I went into it with high expectations.

(upbeat country music)

(upbeat country music)

(upbeat country music)

- [Man] Like people, every game cock has

to be handled differently.

to be handled differently.

You know a chicken's brain's about the size of a bb.

But within those brains there is an infinite variety

But within those brains there is an infinite variety

of character and personality traits.

of character and personality traits.

The game cock is the most stupid creature on earth

The game cock is the most stupid creature on earth

and the most intelligent fighter.

I ran the cocks.

The game cock has fight fast and the running strengthens

The game cock has fight fast and the running strengthens

his legs.

I ran him 20 times the first day, 30 the second.

I ran him 20 times the first day, 30 the second.

I ran him 20 times the first day, 30 the second.

Increasing the number of runs 10 a day until they reach

a hundred.

a hundred.

Now he can run like a striped-ass ape.

(upbeat country music)

(upbeat country music)

(upbeat country music)

- Monte Hellman was my choice as director.

- Monte Hellman was my choice as director.

He made some changes that I was not completely

He made some changes that I was not completely

He made some changes that I was not completely

happy with, but by and large, I think the screenplay,

happy with, but by and large, I think the screenplay,

which was written by Charles Willeford and with some

which was written by Charles Willeford and with some

modifications by Monte was a good screenplay.

modifications by Monte was a good screenplay.

- We have got to make a decision

- We have got to make a decision

about what to do with our lives

about what to do with our lives

until you've been to a cockfight or seen me

until you've been to a cockfight or seen me

in the cockpit, we won't ever have any understanding.

in the cockpit, we won't ever have any understanding.

I'm sending you two tickets to the Lilysville tournament

I'm sending you two tickets to the Lilysville tournament

for March the 15th and 16th.

for March the 15th and 16th.

With all my love,

With all my love,

Frank.

P.S. You've got to give me a fighting chance.

P.S. You've got to give me a fighting chance.

- [Roger] I've worked with Monte Hellman several times

- [Roger] I've worked with Monte Hellman several times

over the years, he's a friend of mine.

I think he's a very good director, as a matter of fact,

I think he's a very good director, as a matter of fact,

he approaches being a great director.

he approaches being a great director.

Of the directors who started with me, so many of them

Of the directors who started with me, so many of them

have gone on to win Academy Awards and everything.

have gone on to win Academy Awards and everything.

I always felt that Monte should have gotten greater

I always felt that Monte should have gotten greater

recognition than he has.

recognition than he has.

(audience groveling)

(audience groveling)

- [Man] Get ready!

- [Man] Get ready!

(audience shouting)

(audience shouting)

- I wanted Warren Oates particularly for the lead

- I wanted Warren Oates particularly for the lead

and I knew that Warren and Monte were good friends,

and I knew that Warren and Monte were good friends,

so part of my arrangement with Monte was that he had

so part of my arrangement with Monte was that he had

to convince Warren to play the lead.

to convince Warren to play the lead.

And Warren read the role and loved it

And Warren read the role and loved it

and was really brilliant, I think, in the role.

and was really brilliant, I think, in the role.

and was really brilliant, I think, in the role.

As the second lead we both liked Harry Dean Stanton

As the second lead we both liked Harry Dean Stanton

who was also a friend of ours and the picture was very well

who was also a friend of ours and the picture was very well

cast I thought they brought, they lived the roles.

cast I thought they brought, they lived the roles.

That's the mighty sandspurrer, huh?

(Jack laughs)

(Jack laughs)

Welp, what kind of money we talkin' about for this hen?

Welp, what kind of money we talkin' about for this hen?

You want a hundred dollars?

You want a hundred dollars?

Shit, I figured I'm takin' you for at least a thousand.

Shit, I figured I'm takin' you for at least a thousand.

I'm riskin' my 200 dollar ace against your

I'm riskin' my 200 dollar ace against your

100 dollar bet.

I don't know.

I'll tell you what I'll do, I'll put up another

900 dollars against your car and trailer.

900 dollars against your car and trailer.

Easy money.

(lighter wheel flicks)

(lighter wheel flicks)

(Hen cawing loudly)

(Hen cawing loudly)

- That's the car and trailer plus the hood, okay?

I'll catch you later.

- But I've been working in Europe with Néstor Almendros

- But I've been working in Europe with Néstor Almendros

who was a great cameraman.

who was a great cameraman.

And we were going to be shooting the picture in Georgia

And we were going to be shooting the picture in Georgia

and I thought, wait a minute, if I'm flying the cameraman

and I thought, wait a minute, if I'm flying the cameraman

from Los Angeles to Georgia, it doesn't cost much more

from Los Angeles to Georgia, it doesn't cost much more

to fly a cameraman from Paris to Georgia.

to fly a cameraman from Paris to Georgia.

So I called Néstor and Paris and said,

So I called Néstor and Paris and said,

Néstor you wanna come to Georgia and shoot this film?

Néstor you wanna come to Georgia and shoot this film?

He said, "I'd be happy to come there but I don't have

He said, "I'd be happy to come there but I don't have

"a green card."

"a green card."

I said Néstor, we're gonna be shooting in the red hills

I said Néstor, we're gonna be shooting in the red hills

of Georgia, nobody out there even knows

of Georgia, nobody out there even knows

what a green card is.

- I don't want you to touch me, ever.

- I don't want you to touch me, ever.

I should have washed you in the rain long ago.

I should have washed you in the rain long ago.

You are not the man I fell in love with,

You are not the man I fell in love with,

now I know you never were.

I didn't watch those poor chickens fightin',

I watched your face.

I watched your face.

No pity, no love, nothin'.

No pity, no love, nothin'.

I think that bird has more of a heart than you ever

will have.

will have.

He sure as hell has more of a voice.

He sure as hell has more of a voice.

- [Roger] I thought the film was a very good film.

- [Roger] I thought the film was a very good film.

I had great expectations for it.

It did not do well.

I came to a conclusion, there was a reason nobody

I came to a conclusion, there was a reason nobody

had ever made a cockfighting picture.

had ever made a cockfighting picture.

The reason was, nobody wanted to see a cockfighting picture.

The reason was, nobody wanted to see a cockfighting picture.

But I still think it's a good film.

(upbeat jazz music)

(upbeat jazz music)

(car horns honking)

(car horns honking)

- Hey!

- Frank, how are you?

- How you doin' baby, how's business?

- How you doin' baby, how's business?

- Okay.

- Yeah, well that's good, how's the kids.

- Yeah, well that's good, how's the kids.

- Just fine, fine, thank you.

- Lookin' beautiful.

- Lookin' beautiful.

- You're not looking too bad yourself.

- Take care now!

- Take care now!

- All right, you're a punk, aren't you?

- All right, you're a punk, aren't you?

- Hard to say what anyone is.

- I only mention it because personally speaking

- I only mention it because personally speaking

I could could never bring myself to pay.

I could could never bring myself to pay.

- People make love for so many crazy reasons,

why shouldn't money be one of em'?

why shouldn't money be one of em'?

- "Saint Jack" was brought to me by Peter Bogdanovich

- "Saint Jack" was brought to me by Peter Bogdanovich

who had started his career as my assistant

who had started his career as my assistant

and directed his first film "Targets" for me.

and directed his first film "Targets" for me.

Hugh Heffner had bought the book and had hired

Hugh Heffner had bought the book and had hired

Peter to write the screenplay

Peter to write the screenplay

and then for one reason or another backed away

and then for one reason or another backed away

and then for one reason or another backed away

and decided he didn't want to make it.

(people chattering)

(people chattering)

- Hey honey, what are you drinkin'?

- Hot chocolate, Sunny.

- Welcome to Singapore.

- Welcome to Singapore.

- Thank you.

- Do you like your stay in Singapore?

- Do you like your stay in Singapore?

- Oh, they love it, don't you fellas?

- Curious, fascinating.

- You're English?

- Yes, I am.

- Yes, I am.

- Oh, I am very interested in Englishman.

- Oh, really, and I'm thinkin', you're Chinese?

- Oh, really, and I'm thinkin', you're Chinese?

- Yes I'm Chinese.

- Yes I'm Chinese.

- Were you born here in Singapore?

- Yeah, born in Singapore, lived in Singapore,

- Yeah, born in Singapore, lived in Singapore,

dined in Singapore.

dined in Singapore.

- A friend of mine from the US thinks you're very beautiful.

- A friend of mine from the US thinks you're very beautiful.

- Oh, the American?

- Yes.

- I'm very interested in American men.

- I'm very interested in American men.

- Isn't it getting kind of late?

- Isn't it getting kind of late?

- Oh, let the lady have a hot chocolate.

- It's all right.

- [Roger] I worked a little bit on the script with Peter,

- [Roger] I worked a little bit on the script with Peter,

but essentially it was project.

but essentially it was project.

It was a good script to start with.

He improved it and made, really, an excellent film.

He improved it and made, really, an excellent film.

He improved it and made, really, an excellent film.

It won one of the top awards at the Venice film festival

It won one of the top awards at the Venice film festival

and did very well for us.

and did very well for us.

- It was a General in the Civil War.

- It was a General in the Civil War.

Thought it'd be a very good idea, if his men had a little

Thought it'd be a very good idea, if his men had a little

sexual activity to relieve the,

sexual activity to relieve the,

So, he went to Lincoln, and he convinced him to send a bunch

So, he went to Lincoln, and he convinced him to send a bunch

of girls up to the front.

of girls up to the front.

Now, this General's name was Hooker.

Now, this General's name was Hooker.

- [Jack] Oh yeah?

- Yeah.

- Yeah.

All the armies still in the cathouse business, Jack,

All the armies still in the cathouse business, Jack,

but I guess you wouldn't be interested in that.

but I guess you wouldn't be interested in that.

- [Roger] I was involved only in the casting of the lead.

- [Roger] I was involved only in the casting of the lead.

Peter and I jointly agreed on Ben Gazzarra for the lead.

Peter and I jointly agreed on Ben Gazzarra for the lead.

The other roles were all cast by Peter,

The other roles were all cast by Peter,

primarily from England, because of his lead in Singapore

primarily from England, because of his lead in Singapore

during the Vietnam War.

during the Vietnam War.

- Last time I went back they passed a bill making

- Last time I went back they passed a bill making

homosexuality legal.

I said to my wife, let's get out of here before they

I said to my wife, let's get out of here before they

make it compulsory.

make it compulsory.

(men laughing)

- Why so offended, Jack?

- Why so offended, Jack?

- I'll take care of what, you want a drink William?

- Well,

- Well,

I don't believe we've met, Yardley.

- Leigh, L-E-I-G-H.

- L-E-I-G-H not old, I believe.

- L-E-I-G-H not old, I believe.

- [Roger] Jack operated a whole house in Singapore

- [Roger] Jack operated a whole house in Singapore

- [Roger] Jack operated a whole house in Singapore

catering primarily to American soldiers on leave.

catering primarily to American soldiers on leave.

I remembered, Peter and I were on complete agreement

I remembered, Peter and I were on complete agreement

on every thing except one thing.

on every thing except one thing.

He didn't want any nudity in the film.

He didn't want any nudity in the film.

And I said, Peter, this is a whorehouse,

And I said, Peter, this is a whorehouse,

what do you mean, we're gonna make a film in a whorehouse

what do you mean, we're gonna make a film in a whorehouse

and nobodies gonna be nude?

He won me over, we never did have any nudity,

He won me over, we never did have any nudity,

but I still think there should have been something

but I still think there should have been something

somewhere.

The actual production was difficult in Singapore,

The actual production was difficult in Singapore,

but again, I went to a French cameraman,

I brought in Peter Cattrall who was a French producer

I brought in Peter Cattrall who was a French producer

who was a friend of mine to be the line producer.

who was a friend of mine to be the line producer.

who was a friend of mine to be the line producer.

He brought in a French cameraman Patrice Chéreau,

who was an excellent cameraman and did wonderful work.

who was an excellent cameraman and did wonderful work.

who was an excellent cameraman and did wonderful work.

The only problem, and I shouldn't say we had production

The only problem, and I shouldn't say we had production

problems, the only problem were there were certain scenes,

problems, the only problem were there were certain scenes,

and there was a censor there that we knew these scenes

and there was a censor there that we knew these scenes

would not pass the censor.

would not pass the censor.

So we did what was obvious, we gave the censor a slightly

So we did what was obvious, we gave the censor a slightly

re-written script in which those scenes were not there

re-written script in which those scenes were not there

and then we shot them.

and then we shot them.

Nobody really noticed it, I think of it in Singapore,

Nobody really noticed it, I think of it in Singapore,

at the time that we didn't shoot the script exactly

at the time that we didn't shoot the script exactly

as submitted.

as submitted.

The film had an excellent reaction,

The film had an excellent reaction,

the reviews were uniformly good to brilliant on its opening

the reviews were uniformly good to brilliant on its opening

in New York.

I treated it the way I treated art films.

I treated it the way I treated art films.

With our commercial films, as I said, we would go out

With our commercial films, as I said, we would go out

with a hundred prints and move them around the country

with a hundred prints and move them around the country

with the art films, Bergman and Truffaut and so forth,

with the art films, Bergman and Truffaut and so forth,

we would open one theater in New York,

we would open one theater in New York,

one theater in Los Angeles, wait for the reviews

one theater in Los Angeles, wait for the reviews

and then build the whole campaign around the reviews.

and then build the whole campaign around the reviews.

And that's what we did with "Saint Jack".

And that's what we did with "Saint Jack".

We treated it as an art film, played it in all the

We treated it as an art film, played it in all the

art houses, and then moved it over to commercial theaters.

art houses, and then moved it over to commercial theaters.

art houses, and then moved it over to commercial theaters.

- I have an interesting book, Mr. Flowers.

- What are you selling?

- What are you selling?

- This is our sex material, Swedish.

- This is our sex material, Swedish.

- Swell.

Anything else I can do for you boys?

Anything else I can do for you boys?

- We have a stash in the car, would you care to choose?

- We have a stash in the car, would you care to choose?

- You choosem'

- Oh Mr. Flowers, everybody has their own preference

- Oh Mr. Flowers, everybody has their own preference

in sex.

I like this, maybe you don't like.

I like this, maybe you don't like.

- All right boys let's get it over with before I drop kick

- All right boys let's get it over with before I drop kick

this little cocksucker down the hill.

- Peter started with me as my assistant and worked as

- Peter started with me as my assistant and worked as

my assistant and did some second unit shooting

my assistant and did some second unit shooting

on the "Wild Angels".

on the "Wild Angels".

I then backed him on "Targets", his first film,

I then backed him on "Targets", his first film,

which was a very good film.

It propelled him into a major career where he had

It propelled him into a major career where he had

It propelled him into a major career where he had

hit after hit after hit.

I think his career had slowed down a little bit

I think his career had slowed down a little bit

when "Saint Jack" came up and he really believed

when "Saint Jack" came up and he really believed

when "Saint Jack" came up and he really believed

in the project.

I think the legacy of "Saint Jack" is very good.

I think the legacy of "Saint Jack" is very good.

It stands up, it is a good film.

It stands up, it is a good film.

As I said earlier, films reflect the time

As I said earlier, films reflect the time

in which they're made, but they also should have

in which they're made, but they also should have

some universal quality.

some universal quality.

I think "Saint Jack" does have that.

I think "Saint Jack" does have that.

I think it's one of the best films I was ever connected

I think it's one of the best films I was ever connected

with and one of the best films Peter directed.

(cars roaring)

(cars roaring)

- Anything I should do, sir?

- Anything I should do, sir?

- Let's get out of here.

(upbeat jazz music)

(electric-acoustic music)

(electric-acoustic music)

- After the success, some great, some less,

- After the success, some great, some less,

- After the success, some great, some less,

of our sort of semi-art like "Saint Jack",

of our sort of semi-art like "Saint Jack",

"I Never Promised You a Rose Garden", and so forth.

"I Never Promised You a Rose Garden", and so forth.

I felt this was a type of film that we should be making.

I felt this was a type of film that we should be making.

Burt Dragmann, who was actually a real estate developer

Burt Dragmann, who was actually a real estate developer

from Cleveland, who wanted to be a producer, had developed,

from Cleveland, who wanted to be a producer, had developed,

from Cleveland, who wanted to be a producer, had developed,

I don't remember if it was a screenplay or an outline,

I don't remember if it was a screenplay or an outline,

with Penelope Spheeris who I'd never seen

with Penelope Spheeris who I'd never seen

but I saw her picture Western Civilization",

but I saw her picture Western Civilization",

and I thought it was brilliant.

and I thought it was brilliant.

He put me together with Penelope and I got along

He put me together with Penelope and I got along

with her very well.

with her very well.

She was really a great director and has gone on

to have a great career.

to have a great career.

(hard rock music)

(hard rock music)

And again, you dealt with a theme that had worked with us.

And again, you dealt with a theme that had worked with us.

And again, you dealt with a theme that had worked with us.

It was delinquent youths and this was a story

It was delinquent youths and this was a story

of teenage frankly, delinquents, living in one those houses

of teenage frankly, delinquents, living in one those houses

of teenage frankly, delinquents, living in one those houses

and I don't want to say adventures but you could say

and I don't want to say adventures but you could say

they're adventures would happen to em'.

they're adventures would happen to em'.

It was a very straightforward, hard, and somewhat depressing

It was a very straightforward, hard, and somewhat depressing

film.

But, I just thought it was a good subject

But, I just thought it was a good subject

and I had great faith in Penelope, so we went ahead

and I had great faith in Penelope, so we went ahead

with the film.

(hard rock music)

(hard rock music)

Penelope's origins were in documentary filmmaking

Penelope's origins were in documentary filmmaking

and she told me she did not want to go for actors

and she told me she did not want to go for actors

in the film.

in the film.

She wanted to really find delinquent youths

She wanted to really find delinquent youths

and put them in the film and have them play

and put them in the film and have them play

themselves.

I wasn't positive of that but again I had great faith

I wasn't positive of that but again I had great faith

in her and I thought the theory was very good.

in her and I thought the theory was very good.

I thought, this is a good experiment let's try this

I thought, this is a good experiment let's try this

and see if it works and it works.

and see if it works and it works.

She got excellent performances from people

She got excellent performances from people

who were not actors.

(car trunk slams)

(car trunk slams)

(car engine humming)

(car engine humming)

- Yeah he came out to T.R. one time to check it out,

- Yeah he came out to T.R. one time to check it out,

told everbody it was my Father.

told everbody it was my Father.

They laughed him right out the door.

Parents are so lame.

What's that?

What's that?

- My mom's diary, listen to this.

May 10th, 1968,

May 10th, 1968,

Dear Diary, Mark and I are going to be very happy here,

Dear Diary, Mark and I are going to be very happy here,

air is clean, skies are blue, and all the houses

are brand new and beautiful.

are brand new and beautiful.

They call it suburbia and that words perfect

They call it suburbia and that words perfect

'cause it's a combination of the word suburb and utopia.

'cause it's a combination of the word suburb and utopia.

- [Driver] They didn't realize they'd be a slum

to the future.

- [Passenger] I'm sure with Mark's job at Locke I'll never

- [Passenger] I'm sure with Mark's job at Locke I'll never

have to work again.

(laughs) I wish.

(laughs) I wish.

Oh, and by the way diary, we want to have a child soon,

Oh, and by the way diary, we want to have a child soon,

suburbia's a great place for children.

If it's a boy we're gonna name him Evan Mark Johnson.

If it's a boy we're gonna name him Evan Mark Johnson.

You know sometimes I wish you would of have had an abortion.

You know sometimes I wish you would of have had an abortion.

- Oh yeah, they were illegal in those days.

- Oh yeah, they were illegal in those days.

(hard rock music)

(hard rock music)

- People sometimes talk about some obscure film as a cult

- People sometimes talk about some obscure film as a cult

- People sometimes talk about some obscure film as a cult

favorite or something.

"Suburbia" really is a cult favorite.

"Suburbia" really is a cult favorite.

It came out, did well, got good reviews,

It came out, did well, got good reviews,

but has sort of remained on the radar.

but has sort of remained on the radar.

People talked to me about it when they go to film festivals

People talked to me about it when they go to film festivals

and so forth.

When we re-issued it on DVD and so forth, it did well.

When we re-issued it on DVD and so forth, it did well.

When we re-issued it on DVD and so forth, it did well.

It really has stood the test of time.

- So I think it's best for all of you to go back

to your homes until this thing blows over.

to your homes until this thing blows over.

- You don't seem to understand, most of us don't have homes

- You don't seem to understand, most of us don't have homes

to go back to.

- My parents are dopers and the state won't even let me

- My parents are dopers and the state won't even let me

go home.

All they do is shove me in foster homes.

All they do is shove me in foster homes.

- Let me tell you, that sucks big eggs.

- Let me tell you, that sucks big eggs.

- What do you do here all day?

- Nothin'.

- Nothin'.

- Watch TV.

- Don't you want to make anything of yourselves?

- Don't you want to make anything of yourselves?

- [Boy] What's to make?

- Well, there's families for one thing, careers, college.

- Well, there's families for one thing, careers, college.

- Families, everyone knows families don't work.

- Families, everyone knows families don't work.

- College?

- College?

Most of us couldn't afford lunch in High School.

- What do you kids do for money?

- What do you kids do for money?

- Take bribes off cops.

- Take bribes off cops.

(everyone laughs)

(everyone laughs)

- Please Mr. Policeman, don't make us leave our home,

- Please Mr. Policeman, don't make us leave our home,

we'll be good from now on, we promise.

- Yeah this is the best home most of us ever had.

- Yeah this is the best home most of us ever had.

- Besides, if we didn't have each other we wouldn't have

- Besides, if we didn't have each other we wouldn't have

anything.

- [Roger] Penelope was very involved in Punk rock.

- [Roger] Penelope was very involved in Punk rock.

I had been involved a little bit with the early days

I had been involved a little bit with the early days

of rock and roll and so I appreciated punk rock

of rock and roll and so I appreciated punk rock

but it was really her choice to go with,

but it was really her choice to go with,

I don't know if you would call them established bands,

I don't know if you would call them established bands,

but more or less established punk rock bands.

but more or less established punk rock bands.

And I think The Score was really very good.

And I think The Score was really very good.

As a matter of fact The Score inspired a record another

As a matter of fact The Score inspired a record another

group made, a record called "Suburbia",

group made, a record called "Suburbia",

inspired by "Suburbia".

inspired by "Suburbia".

I was involved a little bit with Penelope

I was involved a little bit with Penelope

in the final draft.

But this was Penelope's film, she wrote it, she directed it,

But this was Penelope's film, she wrote it, she directed it,

it's her film.

(people shouting)

(people shouting)

- Hasta luego, shit face.

- Hasta luego, shit face.

(car tire screeches) (child laughs)

(car tire screeches) (child laughs)

- [Man] Oh, shit!

(everyone screaming)

(everyone screaming)

(tires screeching)

(car bangs)

(car bangs)

(car engine humming)

(car engine humming)

(car engine revs)

(car engine revs)

(sad acoustic music)

(sad acoustic music)

(upbeat jazz music)

(upbeat jazz music)

- Amy Jones had directed "Slumber Party Massacre"

- Amy Jones had directed "Slumber Party Massacre"

for me.

for me.

And she had done a brilliant job.

The work was far superior to what you would expect

The work was far superior to what you would expect

The work was far superior to what you would expect

from the title.

It was really a very, very good film

It was really a very, very good film

and was even recognized as such by a number of critics

and was even recognized as such by a number of critics

who normally wouldn't even touch a film with that title.

who normally wouldn't even touch a film with that title.

So I realized I was dealing, as we had done

So I realized I was dealing, as we had done

before sometimes, with the beginning career

before sometimes, with the beginning career

of a really good director.

of a really good director.

So, I said to Amy, I'd liked to work with you again,

So, I said to Amy, I'd liked to work with you again,

do you have any ideas of your own?

do you have any ideas of your own?

And she came up with the idea of ""Love Letters"

And she came up with the idea of ""Love Letters"

and I thought it was a very good script and we'd had

and I thought it was a very good script and we'd had

success with as I said, films that sort of bridged the gap

success with as I said, films that sort of bridged the gap

success with as I said, films that sort of bridged the gap

between art house and commercial and "Love Letters"

between art house and commercial and "Love Letters"

seemed to fit that category and so we made "Love Letters".

seemed to fit that category and so we made "Love Letters".

- At moments I have the egocentric idea that I love you

enough intensely and strongly enough to hold us together,

enough intensely and strongly enough to hold us together,

enough intensely and strongly enough to hold us together,

though we're separated for so much at the time,

I am torn and hurried by your absence and driven

I am torn and hurried by your absence and driven

by the loneliness without you.

by the loneliness without you.

Continually burned by the physical need of you

Continually burned by the physical need of you

but at the same time you are my warmth and my energy

but at the same time you are my warmth and my energy

and the goodness of the world to me.

and the goodness of the world to me.

I will shamelessly do whatever I can to keep you loving me.

I will shamelessly do whatever I can to keep you loving me.

- Wow, when did all this go on.

- 1965.

- How old were you?

- How old were you?

- About six.

- About six.

- I thought "Love Letters" was a very personal,

very powerful woman's story

very powerful woman's story

at a time when there weren't that many pictures

at a time when there weren't that many pictures

in which the woman was the full lead.

in which the woman was the full lead.

(soft piano music)

(soft piano music)

(dark gloomy music)

(dark gloomy music)

- You know, I never really thought of it before,

- You know, I never really thought of it before,

but Amy was coming off of a horror film

but Amy was coming off of a horror film

"Slumber Party Massacre" and Jamie Lee Curtis was coming

"Slumber Party Massacre" and Jamie Lee Curtis was coming

off of a horror film "Halloween".

off of a horror film "Halloween".

All I was thinking was that Jamie Lee Curtis was a good

All I was thinking was that Jamie Lee Curtis was a good

young actress who'd come off of a success of a million

young actress who'd come off of a success of a million

budget film.

budget film.

And Amie and I agreed on what Jamie, we send her the script,

And Amie and I agreed on what Jamie, we send her the script,

and had a meeting with her because it was a nudity edit.

and had a meeting with her because it was a nudity edit.

She agreed to do the nudity,

She agreed to do the nudity,

she recognized what a good script was,

she recognized what a good script was,

and just talking to Amy, they got along very well,

and just talking to Amy, they got along very well,

she knew that they could work well together.

she knew that they could work well together.

- You're so like her.

(gun shot fires)

- The budget was around 500,000 dollars.

When I started New World in 1970, our budgets were

When I started New World in 1970, our budgets were

a hundred to 150,000 dollars and we gradually built up

a hundred to 150,000 dollars and we gradually built up

as the years went along.

- I thought, I thought the script was so good.

- I thought, I thought the script was so good.

and I had so much faith in Amy and I knew that Jamie

and I had so much faith in Amy and I knew that Jamie

would be good in the film.

would be good in the film.

I thought it was worth gathering the extra money.

I thought it was worth gathering the extra money.

- Anna, I just made love with my wife.

(door slamming)

(door lock jingles)

(door lock jingles)

(Anna crying)

(Anna crying)

Anna?

Anna this is crazy, would you please open the door?

Anna this is crazy, would you please open the door?

(door knob jingling)

Anna, (door pounding)

Anna, (door pounding)

Anna open the door.

Anna! (loud knocking)

Anna! (loud knocking)

Anna!

Sweetheart.

(Anna crying)

Forgive me, I'm sorry.

- "Love Letters" is one of those films I really believed

in.

in.

I thought at that time and still think that it was

I thought at that time and still think that it was

an excellent film and would do very well commercially.

an excellent film and would do very well commercially.

- She was the love of my life, you see.

- She was the love of my life, you see.

You'll understand.

Maybe you've been in love the way we were.

Maybe you've been in love the way we were.

- No,

- No,

not like that,

not like you.

(upbeat jazz music)

(upbeat jazz music)

- "I Never Promised You a Rose Garden" originated

- "I Never Promised You a Rose Garden" originated

with Dan Blatt who had bought the rights

with Dan Blatt who had bought the rights

and he had a screenplay and he had half the financing

and he had a screenplay and he had half the financing

he came to me and asked me if I'd like to co-produce

he came to me and asked me if I'd like to co-produce

it with him, distribute it, and put up the other half

it with him, distribute it, and put up the other half

of the financing.

of the financing.

I knew the novel, I liked the screenplay very much

I knew the novel, I liked the screenplay very much

and I thought, here's a chance to make possibly

and I thought, here's a chance to make possibly

an American version of the art films we were distributing

an American version of the art films we were distributing

for Bergman and Fellini and so forth.

for Bergman and Fellini and so forth.

I felt the project was in that category as it were

I felt the project was in that category as it were

I felt the project was in that category as it were

and it was a good but somewhat difficult experiment

and it was a good but somewhat difficult experiment

for us.

for us.

But I thought it was worth taking because I thought

this might open up a whole new market for us.

this might open up a whole new market for us.

- Oh, suffer now victim.

But remember now our basic law, not a word of us to anyone.

But remember now our basic law, not a word of us to anyone.

Not a word of our sacred words.

Not a word of our sacred words.

(door creaks open)

(door creaks open)

- Debra?

- I really wasn't thinking about "One Flew Over the Cuckoo's

Nest" I was simply aware that this was a best selling novel

Nest" I was simply aware that this was a best selling novel

Nest" I was simply aware that this was a best selling novel

that to a certain extent was resold.

that to a certain extent was resold.

It was a very good script with some reservations

It was a very good script with some reservations

on my part.

They had signed Anthony Page, a very good British director

They had signed Anthony Page, a very good British director

They had signed Anthony Page, a very good British director

and I felt all the elements were there to make a film

and I felt all the elements were there to make a film

that could be both commercial ann truly art house film.

that could be both commercial ann truly art house film.

(jail door slams)

(jail door slams)

(train chugging)

(train chugging)

(voices whispering)

(voices whispering)

- I don't think mental illness is a taboo subject

but it's a very difficult subject to deal with.

but it's a very difficult subject to deal with.

(wood clanking)

(man shouting)

(man shouting)

(woman shouting)

(woman shouting)

(voices whispering)

(voices whispering)

- Katherine Quinlann for the lead and B.B. Anderson

- Katherine Quinlann for the lead and B.B. Anderson

for the psychiatrist were the first choices

for the psychiatrist were the first choices

and they were wonderful.

and they were wonderful.

I think every performance in that film was good,

I think every performance in that film was good,

I think it was a tribute to the screenplay,

I think it was a tribute to the screenplay,

to the actors themselves, and to Tony Page

to the actors themselves, and to Tony Page

for the way he was able to integrate and bring all those

for the way he was able to integrate and bring all those

performances together.

performances together.

- [Woman] It's Christmas again.

- [Woman] It's Christmas again.

(pencil snaps)

(pencil snaps)

- [Woman] You created this cult and you can destroy them.

- [Woman] You created this cult and you can destroy them.

You're stronger than they are.

You're stronger than they are.

If you give up easy you'll be able to feel in this world.

If you give up easy you'll be able to feel in this world.

Don't call off the fight, you can win.

Don't call off the fight, you can win.

You are strong enough but you have to make the choice.

You are strong enough but you have to make the choice.

- There was one startling moment I do remember

- There was one startling moment I do remember

where we're in this mental hospital and the patients talk

where we're in this mental hospital and the patients talk

about this woman who has successfully completed

about this woman who has successfully completed

her treatment and gone back into the real world

her treatment and gone back into the real world

and then wham, she's brought back in screaming

and then wham, she's brought back in screaming

and yelling and she is clearly insane.

and yelling and she is clearly insane.

(bed frame slams)

(bed frame slams)

- You goddamn idiot, you forgot to lock the door!

- You goddamn idiot, you forgot to lock the door!

(patients screaming)

(patients screaming)

- [Roger] The critic reaction was very good.

The screen play was nominated for an academy award

The screen play was nominated for an academy award

and I think deservedly so.

and I think deservedly so.

The critics praised the film and particularly

the screenplay and the performances.

the screenplay and the performances.

(woman screaming)

(woman screaming)

(head pounding)

(head pounding)

(heavy breathing)

I think the film was a good experiment.

I think the film was a good experiment.

It was well received critically it was a moderate success

It was well received critically it was a moderate success

and it was a way to move into a different type of film.

and it was a way to move into a different type of film.

and it was a way to move into a different type of film.

I had hoped that it might be a bigger success than it was

I had hoped that it might be a bigger success than it was

but it did well, it was critically acclaimed,

but it did well, it was critically acclaimed,

we walk away from it and say, "good job",

we walk away from it and say, "good job",

go on to the next picture.

(upbeat mariachi music)

(upbeat mariachi music)

(jazz rock music)

(jazz rock music)

[END CREDITS]

[END CREDITS]