Original subtitles

- I'm Roger Corman, and I'd like to share with you

- I'm Roger Corman, and I'd like to share with you

some great moments and memories of many of my films.

some great moments and memories of many of my films.

(upbeat funky music)

(upbeat funky music)

I think the outsider is a bigger portion of society

I think the outsider is a bigger portion of society

than we think it is.

than we think it is.

Society, to a large extent, is dominated

Society, to a large extent, is dominated

as we know by the upper classes, which means

as we know by the upper classes, which means

that everybody else within the framework of society

that everybody else within the framework of society

is an outsider.

It can be emphasized even more by teenagers

It can be emphasized even more by teenagers

who naturally rebel and become outsiders.

who naturally rebel and become outsiders.

(dramatic music)

(dramatic music)

I felt putting together the teenage instinct for rebellion

I felt putting together the teenage instinct for rebellion

plus the conscious or unconscious knowledge

plus the conscious or unconscious knowledge

plus the conscious or unconscious knowledge

that almost everybody is an outsider

to a highly structured society

to a highly structured society

would be both creatively satisfying as a way to work

would be both creatively satisfying as a way to work

would be both creatively satisfying as a way to work

and frankly very commercial.

(upbeat waltz music)

(upbeat waltz music)

I may have been unconsciously an outsider

I may have been unconsciously an outsider

because on the surface I was an insider.

because on the surface I was an insider.

In high school there were certain social clubs

In high school there were certain social clubs

that were vaguely important.

I was a member of one of those clubs.

I was a member of one of those clubs.

In college I was in a fraternity.

In college I was in a fraternity.

So I was on the surface within the system

So I was on the surface within the system

not an outsider, but for whatever reasons within me

not an outsider, but for whatever reasons within me

I always rebelled.

I always rebelled.

(police sirens wailing)

(police sirens wailing)

- [Officer] Hold it! Hold it there!

- [Officer] Hold it! Hold it there!

- Also, my own career as a filmmaker

- Also, my own career as a filmmaker

it's essentially been as an outsider,

it's essentially been as an outsider,

as an independent filmmaker.

as an independent filmmaker.

I've worked occasionally with major studios,

I've worked occasionally with major studios,

I've gotten along well with them,

but I prefer to make my own decisions

but I prefer to make my own decisions

and stand by my decisions, whether they're right or wrong.

and stand by my decisions, whether they're right or wrong.

and stand by my decisions, whether they're right or wrong.

From the beginning the youth market.

From the beginning the youth market.

The audience was primarily youths, teenagers,

The audience was primarily youths, teenagers,

going up late twenties and maybe early thirties.

going up late twenties and maybe early thirties.

The major studios, because their stars were older,

The major studios, because their stars were older,

were making films for older people,

were making films for older people,

and I thought they were missing the fact

and I thought they were missing the fact

that the audience is young.

Together with my brother Gene, we formed a small company

Together with my brother Gene, we formed a small company

called the Film Group.

called the Film Group.

We had very little money, so we made

We had very little money, so we made

some really inexpensive films,

averaging maybe 40 to $50,000 a picture.

averaging maybe 40 to $50,000 a picture.

One of those films, "Cry Baby Killer"

One of those films, "Cry Baby Killer"

starred Jack Nicholson in his first role in a picture.

starred Jack Nicholson in his first role in a picture.

- Don't make me.

- Don't be a fool, kid.

- Don't be a fool, kid.

You think I would carry a real gun?

You think I would carry a real gun?

(gunshots firing)

(gunshots firing)

- [Officer] You had to go inside.

- [Officer] You had to go inside.

All right, kid. Drop it.

All right, kid. Drop it.

- As the director I felt I learned how to work

with the camera, with editing, with the technical aspects

with the camera, with editing, with the technical aspects

fairly quickly, but I didn't know that much about acting

fairly quickly, but I didn't know that much about acting

and I felt I should enroll in an acting class,

and I felt I should enroll in an acting class,

not to be an actor, but simply so that as a director

not to be an actor, but simply so that as a director

I could relate better with actors.

I could relate better with actors.

And from the very beginning of that acting class

And from the very beginning of that acting class

I thought Jack Nicholson was not only the most talented

I thought Jack Nicholson was not only the most talented

I thought Jack Nicholson was not only the most talented

within the class, but really one of the most talented

within the class, but really one of the most talented

young actors I'd ever seen.

- He's lying.

- He's lying.

He's just saying that so I'll give up.

He's just saying that so I'll give up.

- Boy, that little baby ain't done you no harm.

- Shut up! (baby crying)

- Shut up! (baby crying)

Nobody's talking me out of here!

Shut up and sit back where you belong, both of you!

Shut up and sit back where you belong, both of you!

- Joe.

- Got it, Rick.

- Got it, Rick.

There he is, folks.

The boy with the gun.

The boy with the gun.

The crowd is going crazy, the police can't hold them back!

The crowd is going crazy, the police can't hold them back!

(crowd shouting)

(shouting) (glass shatters)

(shouting) (glass shatters)

(gunshots firing) (people screaming)

(gunshots firing) (people screaming)

(baby crying)

- Keep him quiet, can't you?

- He's hungry!

- He's hungry!

- Is that my fault?

- That you're a mad beast? An animal?

- That you're a mad beast? An animal?

- Mrs. Maxton.

- What's the matter with you?

- What's the matter with you?

You afraid of hurting his feelings,

this monster with a gun?

this monster with a gun?

Murderer degenerate!

- Shut up!

- Shut up!

- Filthy, filthy, filthy degenerate!

- I beg you to shut up!

- I beg you to shut up!

(baby crying)

(baby crying)

Oh god.

I'm sorry, Ma'am.

I didn't think about his being hungry.

I didn't think about his being hungry.

We can't let him get hungry at a time like this, can we?

We can't let him get hungry at a time like this, can we?

Go to the window please.

Go to the window please.

The window!

Can't you understand plain English?

Tell them to get a bottle of milk for the baby!

Tell them to get a bottle of milk for the baby!

(funky upbeat music)

(funky upbeat music)

- The decision to make "The Wild Angels"

- The decision to make "The Wild Angels"

was a conscious movement away from what I'd been doing.

was a conscious movement away from what I'd been doing.

I'd been making a series of Edgar Allen Poe films

I'd been making a series of Edgar Allen Poe films

which I shot entirely within the studio

which I shot entirely within the studio

and AIP wanted me to make another Edgar Allen Poe film

and AIP wanted me to make another Edgar Allen Poe film

and AIP wanted me to make another Edgar Allen Poe film

and I said I'm starting to repeat myself.

and I said I'm starting to repeat myself.

I want to go outside the studio,

I want to go outside the studio,

I want to shoot in the streets,

and I was aware of the counterculture,

and I was aware of the counterculture,

and I was aware of the counterculture,

the beginnings of the rebelliousness of the 1960s,

the beginnings of the rebelliousness of the 1960s,

and I was aware of the Hell's Angels who were getting

and I was aware of the Hell's Angels who were getting

a great deal of attention in the press,

a great deal of attention in the press,

and I felt they represented a rebellion

and I felt they represented a rebellion

from the lower level of society,

from the lower level of society,

to a certain extent rejected by society,

so they created their own society.

so they created their own society.

I remember that I wanted it to be as accurate a portrayal

I remember that I wanted it to be as accurate a portrayal

as could be made of the Angels,

as could be made of the Angels,

so I arranged to meet them, and went to several

so I arranged to meet them, and went to several

so I arranged to meet them, and went to several

of their parties with Chuck Griffith, the writer,

of their parties with Chuck Griffith, the writer,

and we were always brought the marijuana.

and we were always brought the marijuana.

The reaction to the film was truly amazing.

The reaction to the film was truly amazing.

I was told it was the highest grossing

I was told it was the highest grossing

low budget picture ever made.

low budget picture ever made.

We made it for about $300,000

We made it for about $300,000

and the total gross must have exceeded ten million

and the total gross must have exceeded ten million

when you included television later on, DVD and so forth,

when you included television later on, DVD and so forth,

it was just incredible.

it was just incredible.

After the success of "The Wild Angels"

it was clear that I was going to be making

it was clear that I was going to be making

some sort of a sequel, not only was I doing it,

some sort of a sequel, not only was I doing it,

a number of people were doing it,

a number of people were doing it,

and there was a whole cycle of I don't know how many

and there was a whole cycle of I don't know how many

outlaw biker films came out,

and I wanted to make the film just very inexpensively

and I wanted to make the film just very inexpensively

and I wanted to make the film just very inexpensively

because I was working on other things

actually primarily "The Trip" at the time

actually primarily "The Trip" at the time

and I was aware of the really good work being done

and I was aware of the really good work being done

at different film schools, and I had a connection

at different film schools, and I had a connection

to the UCLA film school, so I hired Bruce Clark,

to the UCLA film school, so I hired Bruce Clark,

to the UCLA film school, so I hired Bruce Clark,

a young film directorial student

a young film directorial student

to write and direct the film, and he used

to write and direct the film, and he used

a number of UCLA drama students as members of the gang,

a number of UCLA drama students as members of the gang,

plus a couple of professional actors.

plus a couple of professional actors.

- You're nothing.

You're nothing.

You're nothing but a big, filthy, ugly, no-class,

You're nothing but a big, filthy, ugly, no-class,

good-for-nothing, bastard!

good-for-nothing, bastard!

(shouting)

You don't have anything on your hands!

You don't have anything on your hands!

(screaming)

(screaming)

(fly buzzing)

(fly buzzing)

(shouts)

- All right, bitch.

- All right, bitch.

All right, now this bitch is officially turned out.

All right, now this bitch is officially turned out.

All right, now this bitch is officially turned out.

She's become the new mama for this here motorcycle gang.

She's become the new mama for this here motorcycle gang.

She's become the new mama for this here motorcycle gang.

- Every film is risky, but I felt this was

- Every film is risky, but I felt this was

a really pretty safe biker films were hot,

a really pretty safe biker films were hot,

this was a very low-budget version,

and Bruce was very talented.

and Bruce was very talented.

I thought he wrote a very good script

I thought he wrote a very good script

and directed it very well.

We of course had no money for permits

We of course had no money for permits

or any of that stuff.

or any of that stuff.

We just went out and shot,

and I told Bruce if anybody approaches you

and I told Bruce if anybody approaches you

just tell them it's a student film at UCLA

just tell them it's a student film at UCLA

and we had to shoot some of the film in Las Vegas

and we had to shoot some of the film in Las Vegas

which was a highly unionized town

which was a highly unionized town

and also needed a lot of permits to shoot there,

and also needed a lot of permits to shoot there,

and I said Bruce, just go there and shoot

and I said Bruce, just go there and shoot

until the police shut you down,

until the police shut you down,

which is what he did.

(upbeat funky music)

(upbeat funky music)

In 1970 I started my own production distribution company

In 1970 I started my own production distribution company

New World Pictures, and I now had to make more films

New World Pictures, and I now had to make more films

New World Pictures, and I now had to make more films

to feed the distribution company,

to feed the distribution company,

and this was a little bit late in the biker cycle,

and this was a little bit late in the biker cycle,

but I felt there was still something there to be done.

but I felt there was still something there to be done.

I had met Jonathan Demme who was a publicity writer

I had met Jonathan Demme who was a publicity writer

for United Artists, on a picture I'd made

for United Artists, on a picture I'd made

for United Artists, and I thought he was very talented,

for United Artists, and I thought he was very talented,

so I asked him to write the script.

so I asked him to write the script.

He brought in his friend Joe Viola to direct it.

He brought in his friend Joe Viola to direct it.

The basic idea was straightforward.

The basic idea was straightforward.

It was conflict between two biker gangs.

It was conflict between two biker gangs.

(engines rumbling)

(engines rumbling)

- General, I've invited these brother road rats along

- General, I've invited these brother road rats along

to join us for the evening's festivities.

to join us for the evening's festivities.

- It is a very tough film, but in addition

- It is a very tough film, but in addition

the R rating had come in just a couple of years earlier,

the R rating had come in just a couple of years earlier,

so we took the opportunity to put a little bit

so we took the opportunity to put a little bit

of nudity in it, and that at least was novel

of nudity in it, and that at least was novel

because the biker films, most of them were made

because the biker films, most of them were made

before the R rating and didn't have that.

before the R rating and didn't have that.

And I was very pleased with the film.

I thought it was a violent, strong film.

I thought it was a violent, strong film.

But Jonathan had written and Joe directed very well

But Jonathan had written and Joe directed very well

But Jonathan had written and Joe directed very well

insight into the characters.

(tense music)

(tense music)

- [General] Oh we're just overjoyed at seeing you again.

- [General] Oh we're just overjoyed at seeing you again.

Ain't we boys?

- Just like a couple of law shoot.

- Just like a couple of law shoot.

Welcome back, boys!

(menacing music)

(menacing music)

Now you didn't figure we'd split without saying goodbye

now did you?

now did you?

Huh?

(engine revving)

(engine revving)

- Okay, boys.

Give 'em the tour.

Give 'em the tour.

(whooping)

(whooping)

(screaming)

(grunting)

(grunting)

(people shouting)

(people shouting)

- Well, well, well.

- Well, well, well.

You boys look a little dusty!

(laughing)

(laughing)

Give 'em some water!

- As usual, we went with unknown young actors,

- As usual, we went with unknown young actors,

- As usual, we went with unknown young actors,

and Scott Glenn was somebody both Jonathan and I knew,

and Scott Glenn was somebody both Jonathan and I knew,

and we felt that he was the best at that time

and we felt that he was the best at that time

of the young people we knew.

of the young people we knew.

He was excellent in the picture.

He was excellent in the picture.

- What about you?

You with them hippie chicks who chopped up

You with them hippie chicks who chopped up

all them Hollywood dudes in LA?

- I don't even think we're talking about the same thing.

- I don't even think we're talking about the same thing.

What I don't understand, what I'm asking about,

What I don't understand, what I'm asking about,

is why all of the violence?

- I ride where I want, and I wear what I want,

get stoned when I want.

get stoned when I want.

How long you think I could make it like that

any citizen come along and think he could fuck with me?

any citizen come along and think he could fuck with me?

- Yeah.

Yeah, I dig your problem.

Yeah, I dig your problem.

But I just don't think your solution is right.

But I just don't think your solution is right.

- Shit.

What works is what's right.

What works is what's right.

(engine revving)

(engine revving)

- Get the fuck out of here man,

we're gonna get wiped out.

we're gonna get wiped out.

- Oh fuck! - Henry!

- The picture was a bigger success than I anticipated

- The picture was a bigger success than I anticipated

because, as I said, it was late in the biker cycle,

because, as I said, it was late in the biker cycle,

and what I was looking for was just a good film

and what I was looking for was just a good film

that could fill the distribution pattern

that could fill the distribution pattern

and make a little money.

and make a little money.

It did better than that, it made quite a bit of money.

It did better than that, it made quite a bit of money.

And I think it was partially because of how well it was made

And I think it was partially because of how well it was made

and the fact that there was a little bit of controversy

and the fact that there was a little bit of controversy

in the fact that it frankly was a tougher film

in the fact that it frankly was a tougher film

where some of the biker films had gotten a little soft.

where some of the biker films had gotten a little soft.

(lively rock music) (bikers cheering)

(lively rock music) (bikers cheering)

(lively rock music) (bikers cheering)

(engine revving)

(whooping)

(whooping)

(funky upbeat music)

(funky upbeat music)

"Black Oak Conspiracy" was a deliberate attempt on my part

"Black Oak Conspiracy" was a deliberate attempt on my part

to vary the type of picture that New World had been making.

to vary the type of picture that New World had been making.

We'd concentrated so much on action, plus some horror,

We'd concentrated so much on action, plus some horror,

some science fiction, I felt maybe we should get

some science fiction, I felt maybe we should get

some science fiction, I felt maybe we should get

a little bit closer to just a straight drama.

a little bit closer to just a straight drama.

- Hey Gary, get out of there!

- Hey Gary, get out of there!

What's he doing?

What's he doing?

Get out of there!

Cut! Cut!

Cut! Cut!

Get him out!

(people shouting)

(people shouting)

Why? Who told you go in there?

Why? Who told you go in there?

Who told you to go in there?

Who told you to go in there?

- Get the water!

- Look at him! - I did it!

- Get him the water!

- Get him the water!

(shouting)

(shouting)

- [Man] He's okay!

- How'd it go?

- How'd it go?

- I don't know.

- I had met Jesse Vint who I thought was a really

- I had met Jesse Vint who I thought was a really

very good actor, but also very intelligent,

very good actor, but also very intelligent,

just talking with him, and I was talking with him

just talking with him, and I was talking with him

about this idea of doing some sort of a drama

about this idea of doing some sort of a drama

I felt getting away from a big city

I felt getting away from a big city

doing something in a small town,

doing something in a small town,

and he came up with the original story,

and he came up with the original story,

being an actor himself, it was a story of a young man

being an actor himself, it was a story of a young man

who comes to Hollywood, tries to be an actor,

who comes to Hollywood, tries to be an actor,

fails, and returns to the small town

fails, and returns to the small town

which he had been considering doing himself.

which he had been considering doing himself.

which he had been considering doing himself.

- [Director] He waited for the shot!

He waited for it!

He waited for it!

I mean, who's gonna believe that?

I mean, who's gonna believe that?

We're gonna have to do it over.

We're gonna have to do it over.

Do you have another car?

No, look at it!

- Hard to believe this used to be my house.

- Hard to believe this used to be my house.

I lived here all my life.

- Hi.

- Hey.

What are you gonna do here?

- Clearing out this garbage.

- Clearing out this garbage.

- I don't want you to do that right now.

- I don't want you to do that right now.

- What do you mean?

- I used to live here when I ...

- I used to live here when I ...

- Well I'll be damned.

- Well I'll be damned.

How you doing Jingo?

How you doing Jingo?

- Morning Homer.

- Well, it's good to see you boy.

How'd things out in Hollywood land?

How'd things out in Hollywood land?

- Why don't you cut the comedy, Harrison?

- Why don't you cut the comedy, Harrison?

- All right, I will.

That's a fair request.

I'm gonna cut right to it.

I'm gonna cut right to it.

You're gonna get off here.

In fact, I don't ever wanna see your face

around here again.

around here again.

- Well, this is my mother's property, and my mother--

- Hey, if the Hancock said off, now that means off.

- Hey, if the Hancock said off, now that means off.

- I tell you what Harrison?

Why don't you try throwing me out yourself?

- That's it.

- That's it.

That's it!

(shouting)

- Jingo.

- Jingo.

He's trespassing Sheriff, this is private property.

He's trespassing Sheriff, this is private property.

- You don't have a hair on your ass, do you?

- Hold it!

Hold it!

Hold it now!

Hold it now!

- They tore down his house, Sheriff.

- You keep your nose out of it, schoolteacher.

- You keep your nose out of it, schoolteacher.

Jingo.

Once in your life, use your head and get in the car

Once in your life, use your head and get in the car

and get out of here.

Come on.

Come on.

You listen up to me this one time

You listen up to me this one time

because this is the only time I'm gonna tell you.

because this is the only time I'm gonna tell you.

Number one, I don't like your ass.

I never have.

I never have.

And there are a lot of people in this county

who feel the same way.

who feel the same way.

And number two, lot of people in this county

are happy to see Ben and Marnie come here

are happy to see Ben and Marnie come here

because a lot of them are eating better

than they ever have before.

than they ever have before.

And number three, if I catch you so much as spitting

And number three, if I catch you so much as spitting

on the sidewalk, you're gonna be breaking rocks

before you can turn around.

before you can turn around.

Now get off this property!

- Where the hell have you been?

- Where the hell have you been?

- Oh.

Your mother didn't receive a dime

for selling her farm, Jingo.

for selling her farm, Jingo.

- How is that possible?

- They had a deal with the nursing home.

- They had a deal with the nursing home.

Free medical care.

They promised her they'd take care of her

for the rest of her life.

for the rest of her life.

- No, she wouldn't do that.

- No, she wouldn't do that.

- I brought in Bob Keljin to direct

who I knew was a very good young director,

who I knew was a very good young director,

and Jesse actually co-produced the film himself,

and Jesse actually co-produced the film himself,

and Jesse actually co-produced the film himself,

so Jesse was a triple threat man on this one.

so Jesse was a triple threat man on this one.

He acted, he wrote the original story,

He acted, he wrote the original story,

and he was a co-producer.

Karen Carlson was very good as the actress,

Karen Carlson was very good as the actress,

and Seymour Cassel in what might have been his first film,

and Seymour Cassel in what might have been his first film,

and Seymour Cassel in what might have been his first film,

or at least one of his first films,

was extremely good in it.

was extremely good in it.

He brought a real complexity to the bad guy.

He brought a real complexity to the bad guy.

- Dark roads, probably Sheriff Grimes,

- Dark roads, probably Sheriff Grimes,

in fact, I'm sure Sheriff Grimes is involved in it.

in fact, I'm sure Sheriff Grimes is involved in it.

They've been conspiring to steal the land

from these people.

from these people.

They get them in that nursing home

and they make them sicker,

and make a deal with them.

and make a deal with them.

They give them free medical service for their land,

like they did your mama.

like they did your mama.

Then they turn around and sell it to the mining company

for a bigger profit.

for a bigger profit.

(dark foreboding music)

(dark foreboding music)

(tense music)

- I was very pleased with the film.

- I was very pleased with the film.

Once more, the idea of going to a small town

Once more, the idea of going to a small town

and shooting on location worked more and more and more.

and shooting on location worked more and more and more.

I was becoming convinced that for most films,

I was becoming convinced that for most films,

I was becoming convinced that for most films,

studios were old fashioned.

(gunshot fires)

(gunshot fires)

We didn't need studios.

We didn't need studios.

Natural locations were simply better.

Natural locations were simply better.

- There's no way out of here except for over me.

- There's no way out of here except for over me.

And that ain't gonna happen.

And that ain't gonna happen.

(gunshot fires)

(gunshot fires)

Should have taken the money and left, Jingo!

Should have taken the money and left, Jingo!

Now it's too late.

Now it's too late.

(crashing)

(crashing)

(upbeat funky music)

(upbeat funky music)

- "Nashville Girl" was a departure

from what we'd been doing.

from what we'd been doing.

We'd been doing some fairly tough pictures

We'd been doing some fairly tough pictures

at the start of New World Pictures.

at the start of New World Pictures.

I wanted to vary this a little bit,

and I had read somewhere, which I didn't know,

and I had read somewhere, which I didn't know,

that country western music actually outsold

that country western music actually outsold

that country western music actually outsold

pop music in the record business.

pop music in the record business.

♪ From Maine to Mexico

♪ The reason why I want her at home ♪

♪ The reason why I want her at home ♪

♪ The reason why I want her at home ♪

♪ My baby's got more curves than this winding mountain road ♪

♪ My baby's got more curves than this winding mountain road ♪

♪ And that's why I keep these big wheels rolling on ♪

♪ And that's why I keep these big wheels rolling on ♪

♪ And that's why I keep these big wheels rolling on ♪

And Peer Oppenheimer was a friend of mine

And Peer Oppenheimer was a friend of mine

who was an independent producer-writer

who was an independent producer-writer

and I was talking with him, and we both thought

and I was talking with him, and we both thought

it'd be interesting to make a picture

it'd be interesting to make a picture

about country music, and Peer wrote and produced the film,

about country music, and Peer wrote and produced the film,

Gus Trikonis, who had worked with me before, directed it,

Gus Trikonis, who had worked with me before, directed it,

and it was simply a straightforward music-biz story

and it was simply a straightforward music-biz story

transformed from Hollywood or Broadway to Nashville.

transformed from Hollywood or Broadway to Nashville.

The story of a young girl who comes to Nashville

and makes her way up in the music business.

and makes her way up in the music business.

(gentle country music)

(gentle country music)

♪ Put your life in music

♪ Put your life in music

♪ Put your life in music

♪ Let love be a song

♪ Let love be a song

♪ Let hope be the highway that you travel on ♪

♪ Let hope be the highway that you travel on ♪

♪ Give your hand to someone who needs it to hold ♪

♪ Give your hand to someone who needs it to hold ♪

♪ Give your hand to someone who needs it to hold ♪

♪ Let your arms be a shelter when their world turns cold ♪

♪ Let your arms be a shelter when their world turns cold ♪

I had scouted Nashville for another film a few years earlier

I had scouted Nashville for another film a few years earlier

I had scouted Nashville for another film a few years earlier

which was never made, but I thought it was

which was never made, but I thought it was

a really interesting locale, and both Peer and I felt

a really interesting locale, and both Peer and I felt

the film should be shot in Nashville.

the film should be shot in Nashville.

We had very nice cooperation from everybody there,

We had very nice cooperation from everybody there,

and Peer and Gus picked locations

and Peer and Gus picked locations

including actual recording studios and so forth

including actual recording studios and so forth

to give it a true feeling of reality.

to give it a true feeling of reality.

The film photographically was a very good-looking film,

The film photographically was a very good-looking film,

it was a very honest looking film.

it was a very honest looking film.

We had almost a documentary look of Nashville as it was.

We had almost a documentary look of Nashville as it was.

- Isn't that Johnny Rodriguez?

- Isn't that Johnny Rodriguez?

- Yeah. Shh.

- Okay.

All right, there's a take.

All right, there's a take.

(dreamy country music)

♪ As I read the letter

♪ As I read the letter

- The reaction to the film was quite good.

- The reaction to the film was quite good.

It was a moderate success, so we were all pleased

It was a moderate success, so we were all pleased

in the United States, and to our surprise

in the United States, and to our surprise

it was bigger than we expected in Europe.

it was bigger than we expected in Europe.

It turned out there was a fandom in Europe

It turned out there was a fandom in Europe

for American country music that we didn't even

for American country music that we didn't even

know anything about.

know anything about.

♪ Solid as a rock, we're sitting on top ♪

♪ Of our building blocks of love ♪

♪ Of our building blocks of love ♪

♪ Of our building blocks of love ♪

♪ A is all the little things you do ♪

♪ A is all the little things you do ♪

♪ B I was born to be with you

♪ B I was born to be with you

♪ C is the caring for all the world to see ♪

♪ C is the caring for all the world to see ♪

♪ C is the caring for all the world to see ♪

♪ D is devotion between you and me ♪

♪ D is devotion between you and me ♪

♪ D is devotion between you and me ♪

♪ Building blocks

♪ Building blocks

♪ One on top of the other, they keep stacking up ♪

♪ One on top of the other, they keep stacking up ♪

♪ One on top of the other, they keep stacking up ♪

Because the film was R rated,

there was some nudity within the film,

there was some nudity within the film,

there was some nudity within the film,

which might have been, I wouldn't say controversial,

which might have been, I wouldn't say controversial,

but I would say interesting, because it was

such a young girl doing it.

such a young girl doing it.

Monica I thought portrayed it very well

Monica I thought portrayed it very well

within her character, so it didn't seem as if

within her character, so it didn't seem as if

these couple of scenes were exploitation.

these couple of scenes were exploitation.

They seemed to really come from the story itself

They seemed to really come from the story itself

and from her character.

and from her character.

- What did you do to her?

- I slapped her stupid little face,

- I slapped her stupid little face,

which is what I should have done to you

the first time you started acting uppity.

- You ain't gonna slap her again.

- You ain't gonna slap her again.

You ain't gonna slap me either,

because I'm through.

because I'm through.

You don't own me.

- Oh, yes I do.

- Oh, yes I do.

I've got you under contract for another five years,

and you're gonna do what I tell you to do.

and you're gonna do what I tell you to do.

- Well, if being Melody Mason means singing to your tune,

- Well, if being Melody Mason means singing to your tune,

you can take back your contract.

You can take back your royalties,

You can take back your royalties,

and you can take back your whole goddam character

and you can take back your whole goddam character

that you created.

I can go back to being Jamie Barker,

I can go back to being Jamie Barker,

and if that means starting all over again,

then that's what I do.

I can make it on talent alone,

I can make it on talent alone,

and if I can't, I'll find some other way

and if I can't, I'll find some other way

of earning a living.

- You just can't walk out of your contract!

- You just can't walk out of your contract!

- [Woman] Jeff.

- You know what you can do with your contract?

- You know what you can do with your contract?

You can take your contract

You can take your contract

and shove it up your ass.

and shove it up your ass.

(upbeat funky music)

(upbeat funky music)

(grunting)

(grunting)

(crowd cheering)

(crowd cheering)

- I was aware of the growing popularity

- I was aware of the growing popularity

of martial arts films, and stars like Bruce Lee

of martial arts films, and stars like Bruce Lee

and Jean-Claude Van Damme and others,

and Jean-Claude Van Damme and others,

and I thought this is a natural for us.

and I thought this is a natural for us.

Let us make a martial arts film.

Let us make a martial arts film.

(dramatic music)

(men chanting)

The actual shooting of the film was straightforward.

The actual shooting of the film was straightforward.

We shot in the Philippines, where I'd shot

We shot in the Philippines, where I'd shot

a number of films.

Terry Winkless directed, who had directed for me before,

Terry Winkless directed, who had directed for me before,

and I knew could do the job.

and I knew could do the job.

(men grunting) (shouting)

(men grunting) (shouting)

(men grunting) (shouting)

(bones cracking)

(bones cracking)

The most interesting thing about it all to me

The most interesting thing about it all to me

was the casting, because I knew I couldn't afford

was the casting, because I knew I couldn't afford

was the casting, because I knew I couldn't afford

one of the reigning stars of martial arts film,

so thinking back to using the Hell's Angels

so thinking back to using the Hell's Angels

so thinking back to using the Hell's Angels

in of "Wild Angels" and so forth, I thought

in of "Wild Angels" and so forth, I thought

why don't I get a real kickboxing champion

why don't I get a real kickboxing champion

to play the lead?

to play the lead?

I will have somebody who's known

to the kickboxing fans, and they know

to the kickboxing fans, and they know

we're dealing with reality this time,

we're dealing with reality this time,

so I contacted a number of people

so I contacted a number of people

in the kickboxing world.

We brought in a number of true champions

We brought in a number of true champions

We brought in a number of true champions

for the auditions.

These were the worst auditions I've ever had

These were the worst auditions I've ever had

in my life.

These guys were so inept at acting,

These guys were so inept at acting,

it was hard to keep a straight face.

All I could do was say I must sympathize with these guys.

All I could do was say I must sympathize with these guys.

All I could do was say I must sympathize with these guys.

They don't know anything about acting at all,

but they're doing the best they can.

but they're doing the best they can.

Don "The Dragon" Wilson, world's light heavyweight champion,

Don "The Dragon" Wilson, world's light heavyweight champion,

was almost passable, and he seemed like a good guy,

was almost passable, and he seemed like a good guy,

was almost passable, and he seemed like a good guy,

so I talked with him and explained what we were doing

so I talked with him and explained what we were doing

and I said you'll star in the film,

but first I'm going to send you to acting school,

but first I'm going to send you to acting school,

and he understood, and he went to acting school,

and he understood, and he went to acting school,

and then because we didn't have much time,

and then because we didn't have much time,

I had a friend of mine who was a good actor

I had a friend of mine who was a good actor

give him private coaching, so he emerged

give him private coaching, so he emerged

to actually give a decent performance in the film,

to actually give a decent performance in the film,

and of course the kickboxing stuff was excellent

and of course the kickboxing stuff was excellent

because he brought in other champions.

because he brought in other champions.

- Come on, how'd you really get it?

- Okay, come here.

All right, there were ten guys right?

All right, there were ten guys right?

And they surrounded me with knives,

all of them had knives.

all of them had knives.

(boys gasping)

(crowd cheering)

(crowd cheering)

(speaking foreign language)

(speaking foreign language)

(cheering) (applauding)

(cheering) (applauding)

- Go to your corners.

You there, you over there.

You there, you over there.

(dramatic music)

- [Announcer] Proud of you.

Congratulations-- (crowd cheering)

Congratulations-- (crowd cheering)

let's go on to lesson six.

- The film was even more successful than I thought.

- The film was even more successful than I thought.

It was one of the more successful films

It was one of the more successful films

we had ever made at New World,

we had ever made at New World,

so we went immediately into a sequel

so we went immediately into a sequel

which was a variation of the original.

That was very successful, too

That was very successful, too

so we went for another one, but this time

so we went for another one, but this time

we didn't want to do a variation

we didn't want to do a variation

of the original, we felt we should simply

put Don in a whole different story,

put Don in a whole different story,

and I think we went up to "Bloodfist" 6 or 7,

and I think we went up to "Bloodfist" 6 or 7,

and I think we went up to "Bloodfist" 6 or 7,

something like that, always starring Don

something like that, always starring Don

who by that time had become a star,

who by that time had become a star,

sort of a star of B pictures as it were.

- You box.

We kickbox.

We kickbox.

Who has the advantage?

Who has the advantage?

Man with two clubs,

or with four?

or with four?

- Oh, I forgot.

One of the things I had said

One of the things I had said

when I said I would go with Don "The Dragon"

when I said I would go with Don "The Dragon"

I said think about,

to our staff when we were going over this,

to our staff when we were going over this,

think about this like westerns.

think about this like westerns.

Westerns had their great stars.

Westerns had their great stars.

John Wayne, Gary Cooper, Burt Lancaster and so forth,

John Wayne, Gary Cooper, Burt Lancaster and so forth,

but there were also Roy Rogers and Gene Autry

but there were also Roy Rogers and Gene Autry

and Hopalong Cassidy who were B picture stars.

and Hopalong Cassidy who were B picture stars.

and Hopalong Cassidy who were B picture stars.

We are going to create a Roy Rogers

We are going to create a Roy Rogers

or a Gene Autry of kickboxing,

or a Gene Autry of kickboxing,

and that's what we did with Don.

(lively rock music)

Every film was successful, but as happens

Every film was successful, but as happens

in these cycles, each film was a little bit

in these cycles, each film was a little bit

less successful the one before,

less successful the one before,

so by the time we got to seven

so by the time we got to seven

it was successful, but it was only moderately successful,

it was successful, but it was only moderately successful,

and I felt it's time to retire "Bloodfist"

and I felt it's time to retire "Bloodfist"

and move on to something else.

and move on to something else.

(crowd cheering)

(crowd cheering)

(funky upbeat music)

(funky upbeat music)

"The Spy Within" was made a number of years

"The Spy Within" was made a number of years

after I founded New World.

after I founded New World.

I felt that we were staying too close to certain genres

I felt that we were staying too close to certain genres

and we should try to vary what we were doing,

and we should try to vary what we were doing,

and I started thinking of different genres,

and I started thinking of different genres,

different types of films, and I just came up with the idea

different types of films, and I just came up with the idea

of a spy story.

Spy stories are always good,

Spy stories are always good,

but again, you want to do something different.

but again, you want to do something different.

(dramatic music)

(dramatic music)

(grunting)

(grunting)

(grunting)

(grunting)

(gunshots firing)

(gunshots firing)

- Go! Now!

- The spy was a woman who was a killer,

- The spy was a woman who was a killer,

and the person she was trying to kill

and the person she was trying to kill

was a demolition expert who had done some things

was a demolition expert who had done some things

that the CIA did not particularly like.

that the CIA did not particularly like.

- I just want to, um,

I mean I appreciate everything you did.

I mean I appreciate everything you did.

(sighs) I'm sorry, I'm not saying this very well.

(sighs) I'm sorry, I'm not saying this very well.

- Thanks.

- Yeah. Thanks.

- Yeah. Thanks.

- Will Rickman.

- Will Rickman.

- Alex Canis.

- Pleased to meet you.

- Yeah.

Um, say you wouldn't like to go get

Um, say you wouldn't like to go get

a cup of coffee, would you?

- Sure.

- And I think Scott Glenn and Teresa Russell

- And I think Scott Glenn and Teresa Russell

were just brilliant in their performances.

were just brilliant in their performances.

- You're not very good at this, are you?

- You're not very good at this, are you?

- Having coffee?

- Or small talk, flirtation,

- Or small talk, flirtation,

seduction.

- I'm not seducing anybody.

- Of course you're not.

- Of course you're not.

I am.

(tires squealing)

(tires squealing)

- I brought Steve Railsback in as a director.

- I brought Steve Railsback in as a director.

He'd acted in a number of films for us

He'd acted in a number of films for us

and always been very good,

and had talked to me various times

and had talked to me various times

about the ways in which the pictures were made and so forth

about the ways in which the pictures were made and so forth

and I thought he's an intelligent young man

and I thought he's an intelligent young man

who I know will be good with actors

who I know will be good with actors

because this is more of a personal dramatic story

because this is more of a personal dramatic story

and he can get the performances, and just the way

and he can get the performances, and just the way

he talks about how films are made, the production,

he talks about how films are made, the production,

the structure and so forth, I thought if I talk with him,

the structure and so forth, I thought if I talk with him,

give him my usual lectures on directing and so forth,

give him my usual lectures on directing and so forth,

give him my usual lectures on directing and so forth,

I think he could be a good director.

I think he could be a good director.

And he did an excellent job.

(tires squealing) (dramatic music)

(tires squealing) (dramatic music)

(tires squealing) (dramatic music)

- Shit.

- Shit.

- Blue wagon, beige van.

Don't stop at any lights.

Don't stop at any lights.

- What about cops?

- What about cops?

- If we don't shake these guys

we may want to get arrested.

we may want to get arrested.

- Who are you?

- Someone with a past.

Just caught up.

Oh, come on.

Oh, come on.

You don't have a death wish, you have a life with.

You don't have a death wish, you have a life with.

Like me.

- A life wish?

- Yeah.

(glass shatters)

(glass shatters)

- For "The Killer Spy" Theresa Russel's career

- For "The Killer Spy" Theresa Russel's career

was just starting, but she was on her way up

was just starting, but she was on her way up

and I felt we could get somebody who was really good here

and I felt we could get somebody who was really good here

and I felt we could get somebody who was really good here

who I think is going to be a big star in the future,

who I think is going to be a big star in the future,

but at this stage I can afford, because she's climbing.

but at this stage I can afford, because she's climbing.

- Come on, would it be so bad?

Us getting away together?

Us getting away together?

(tense music)

(tense music)

- J.B.

(dramatic music)

(dramatic music)

- [Alex] Are you okay?

- Yeah, yeah, yeah.

- You're hurt.

- You're hurt.

(panting)

- You got it.

- You got it.

- Shit.

- Do you want me to do it?

- No.

(explosion booms)

(explosion booms)

- Come on.

- The film turned out very well

- The film turned out very well

and all of the planning worked, which doesn't always happen.

and all of the planning worked, which doesn't always happen.

(light inspiring music)

(light inspiring music)

- [Rick] We all think about leaving it all behind,

- [Rick] We all think about leaving it all behind,

but actually doing it.

God you're beautiful.

God you're beautiful.

You are beautiful.

You are beautiful.

I wanna know everything about you.

I wanna know everything about you.

Everything, everything you love.

Food, music, anything.

Food, music, anything.

What's your favorite color?

(Alex chuckles)

(Alex chuckles)

- [Rick] Blue.

What's yours?

- [Rick] Blue.

- [Rick] Blue.

- [Alex] There, you see?

- [Alex] There, you see?

I knew we had something in common.

(giggling)

(giggling)

(upbeat funky music)

(upbeat funky music)

[END CREDITS]

[END CREDITS]