All language subtitles for C T f t T w R a J C S01E04 1080p WEB h264-CRACKLED_track3_[eng]

- [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]