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 music)

(upbeat music)

- I am drawn to the concept of powerful women,

- I am drawn to the concept of powerful women,

I probably got this from my mother

who was a very good athlete.

who was a very good athlete.

She was the women's tennis champion of Detroit

She was the women's tennis champion of Detroit

and I remember when I was very young,

and I remember when I was very young,

she was playing on a women's basketball team,

she was playing on a women's basketball team,

and at that time she said,

women's basketball was half-court basketball,

women's basketball was half-court basketball,

on the basis they felt women were too weak

on the basis they felt women were too weak

to run up and down the full length of the court

to run up and down the full length of the court

for an entire game and my mother was outraged,

for an entire game and my mother was outraged,

for an entire game and my mother was outraged,

and I totally agreed with her.

(sad music)

- The origin of "The Arena"

came from an article I was reading

came from an article I was reading

about ancient Rome, I'm somewhat of an amateur historian,

about ancient Rome, I'm somewhat of an amateur historian,

and it mentioned, as possibly comic relief,

and it mentioned, as possibly comic relief,

but they actually fought to the death,

but they actually fought to the death,

they occasionally had women gladiators,

and I thought that's a great idea for a picture,

and I thought that's a great idea for a picture,

and I thought that's a great idea for a picture,

and particularly we had had a lot of success

with Pam Grier and Margaret Markov as a team,

with Pam Grier and Margaret Markov as a team,

with Pam Grier and Margaret Markov as a team,

as two co-stars.

Pam was our great black star,

Pam was our great black star,

and she really was a star at that time,

and she really was a star at that time,

and Margaret was a tall blonde, blue-eyed girl,

and Margaret was a tall blonde, blue-eyed girl,

and Margaret was a tall blonde, blue-eyed girl,

and the idea of this blonde white girl

and the black girl, Pam Grier, together in action pictures

and the black girl, Pam Grier, together in action pictures

and the black girl, Pam Grier, together in action pictures

had been very successful for us.

had been very successful for us.

(battle music)

(battle music)

- I contacted my friend Mark Damon,

who had worked with me on a number of films

who had worked with me on a number of films

in the United States, and was producing pictures in Italy,

in the United States, and was producing pictures in Italy,

and I felt the logical place, of course,

and I felt the logical place, of course,

for a gladiatorial picture is in Italy

where I knew they had the sets, the costumes and everything

where I knew they had the sets, the costumes and everything

where I knew they had the sets, the costumes and everything

from other pictures, and I said I would co-produce it,

from other pictures, and I said I would co-produce it,

Mark would get the European rights

Mark would get the European rights

and I would get the foreign rights,

and I would get the foreign rights,

and I wanted Pam Grier and Margaret to play the lead.

and I wanted Pam Grier and Margaret to play the lead.

And he said he knew who Pam was, and yes,

And he said he knew who Pam was, and yes,

but he didn't want Margaret Markov,

but he didn't want Margaret Markov,

he wanted an Italian actress, and I said no,

he wanted an Italian actress, and I said no,

these films have always been successful

with these two girls as a team,

with these two girls as a team,

but we can write in a third lead

but we can write in a third lead

for an Italian actress to play another gladiator.

for an Italian actress to play another gladiator.

So against his will he accepted Margaret as the co-star.

So against his will he accepted Margaret as the co-star.

So against his will he accepted Margaret as the co-star.

At the end of the picture, he and Margaret got married.

At the end of the picture, he and Margaret got married.

- He'll free the winner.

- He'll consider it.

- Don't be a fool. Damarcus is not going to free anyone,

- Don't be a fool. Damarcus is not going to free anyone,

only the loser will be freed.

only the loser will be freed.

- You're right, we're all going to die one by one,

- You're right, we're all going to die one by one,

just like the men.

just like the men.

- Unless we fight.

- Like last night? I'm going to be free my way.

- Like last night? I'm going to be free my way.

- We, who are about to die, salute you.

- We, who are about to die, salute you.

(tense music)

(tense music)

- The pairing of Pam Grier and Margaret Markov

- The pairing of Pam Grier and Margaret Markov

was deliberate.

was deliberate.

I simply wanted to put together a white girl

I simply wanted to put together a white girl

and a black girl as the equal stars.

and a black girl as the equal stars.

And then we got a little bit lucky,

And then we got a little bit lucky,

in the fact that they really worked very well together,

in the fact that they really worked very well together,

there was a chemistry between them

there was a chemistry between them

that made them both stars.

that made them both stars.

Pam was a little bit greater than Margaret,

Pam was a little bit greater than Margaret,

but Margaret left to get married and gave up acting.

but Margaret left to get married and gave up acting.

(battle music)

(battle music)

(people shouting)

(people shouting)

- What stands out to me is really more of a producer's

- What stands out to me is really more of a producer's

concept, in that we had a rather low budget,

concept, in that we had a rather low budget,

but the production values were quite good.

but the production values were quite good.

I think it's a good looking picture,

I think it's a good looking picture,

but what also stands out is the performance of Pam Grier.

but what also stands out is the performance of Pam Grier.

Pam had a charisma that just connected with the audience.

Pam had a charisma that just connected with the audience.

The reaction was extremely good,

The reaction was extremely good,

commercially it was a solid success,

commercially it was a solid success,

and critically, it was very strange,

and critically, it was very strange,

the reviews were primarily pretty good,

the reviews were primarily pretty good,

but I remember there was one woman critic

but I remember there was one woman critic

who wrote a very interesting review.

who wrote a very interesting review.

Matter of fact, the review became almost an essay,

in which she said she went to see the picture,

in which she said she went to see the picture,

in which she said she went to see the picture,

feeling this was an that exploited women,

feeling this was an that exploited women,

but when she thought about the way the women were treated

but when she thought about the way the women were treated

in the film, and the women were treated the way

in the film, and the women were treated the way

male action stars were treated,

male action stars were treated,

she felt this was actually a pro-feminist film.

she felt this was actually a pro-feminist film.

(battle music)

- "The Hotbox" was actually a continuation

- "The Hotbox" was actually a continuation

of a series of pictures we started in 1970,

of a series of pictures we started in 1970,

when I started my own production and distribution company,

when I started my own production and distribution company,

New World Pictures.

New World Pictures.

I had a deal with an American who was producing

I had a deal with an American who was producing

a picture in the Philippines,

a picture in the Philippines,

and I got the American rights and co-produced it with him,

and I got the American rights and co-produced it with him,

and when I went there I found

there was a Philippine co-producer, Cirio Santiago,

there was a Philippine co-producer, Cirio Santiago,

there was a Philippine co-producer, Cirio Santiago,

who was really doing all of the work, not the American.

who was really doing all of the work, not the American.

So Cirio and I became friends and I made a deal directly

So Cirio and I became friends and I made a deal directly

with Cirio to make a film,

with Cirio to make a film,

and the film was called "The Big Doll House",

and the film was called "The Big Doll House",

which was about women in a tropical prison who break out.

which was about women in a tropical prison who break out.

- Wait for me!

- Wait for me!

- I said stop!

(gunshot)

(gunshot)

- So we continued with these films,

we started with "The Big Doll House",

we started with "The Big Doll House",

we then went to "The Big Bird Cage",

we then went to "The Big Bird Cage",

and we came up with every variation we could think of,

and we came up with every variation we could think of,

and one of the final variations was "The Hotbox".

and one of the final variations was "The Hotbox".

- We are the people's army of San Rosario.

- We are the people's army of San Rosario.

- You're the army of San Rosario?

- You're the army of San Rosario?

But we're the guests of this country,

we're nurses at your government medical center.

we're nurses at your government medical center.

- Senorita, we are the people's army,

- Senorita, we are the people's army,

the army you speak of, like the medical center you work at,

the army you speak of, like the medical center you work at,

is property of the government.

Neither work for the people of this country.

Neither work for the people of this country.

- Then you had us kidnapped.

- Then you had us kidnapped.

- Yes.

- Yes.

- But why?

- We have need of your services.

- What are you talking about, need of our services?

- What are you talking about, need of our services?

What the hell do you think will happen

What the hell do you think will happen

when the American council hears about this?

- Ciao. Si, Senorita. American citizens

- Ciao. Si, Senorita. American citizens

- Ciao. Si, Senorita. American citizens

but I do not give a god damn what your council will do.

but I do not give a god damn what your council will do.

but I do not give a god damn what your council will do.

You speak of rights, your government helped my government

You speak of rights, your government helped my government

steal my rights and their rights, now we take yours.

steal my rights and their rights, now we take yours.

- I had met Jonathan Demme when I was directing

- I had met Jonathan Demme when I was directing

a picture for United Artist called

a picture for United Artist called

"Von Richthofen and Brown",

which was a world war one flying picture,

which was a world war one flying picture,

and Jonathan was the United Artist person

and Jonathan was the United Artist person

and Jonathan was the United Artist person

writing publicity about the film,

and we became friends and I thought,

and we became friends and I thought,

he's really a very good writer,

he's really a very good writer,

and he was working with Joe Viola,

and he was working with Joe Viola,

who was a TV director.

who was a TV director.

So I thought why don't I go with Jonathan

So I thought why don't I go with Jonathan

to write and co-produce, and Joe to direct,

to write and co-produce, and Joe to direct,

and go to the Philippines.

and go to the Philippines.

The main thing I remember about that film,

which was quite successful incidentally,

which was quite successful incidentally,

was I got a call in the middle of the night

was I got a call in the middle of the night

from Jonathan, who I think did it deliberately

from Jonathan, who I think did it deliberately

in the middle of the night because of the time change,

in the middle of the night because of the time change,

and he said "Roger, we're right on schedule,

and he said "Roger, we're right on schedule,

"but we need one extra day for the big action

"but we need one extra day for the big action

"crossing the river scene, can we have the extra money

"crossing the river scene, can we have the extra money

"for the extra day?"

And I was half asleep, and I figured,

And I was half asleep, and I figured,

okay, if they're on schedule, it's one day, why not?

okay, if they're on schedule, it's one day, why not?

And I said yes, and I started to go back to sleep

And I said yes, and I started to go back to sleep

and I thought, wait a minute,

there's no big action scene crossing the river,

there's no big action scene crossing the river,

Jonathan and Joe had come up with the idea

Jonathan and Joe had come up with the idea

that the picture needed a big action scene

that the picture needed a big action scene

and they deliberately got me

and they deliberately got me

when I was half asleep, to say yes.

when I was half asleep, to say yes.

(gunshots and explosions)

(gunshots and explosions)

- Ambush! We're being ambushed, let's bring it on.

- Ambush! We're being ambushed, let's bring it on.

- Ambush! We're being ambushed, let's bring it on.

(gunshots)

(gunshots)

- They were right, the action scene really helped the film.

- They were right, the action scene really helped the film.

- They were right, the action scene really helped the film.

- Senor! Senor! Help!

She's dying, please, come help!

She's dying, please, come help!

- The "Hotbox" was very successful,

- The "Hotbox" was very successful,

every one of these pictures were successful.

every one of these pictures were successful.

When "Orange is the New Black" came out,

When "Orange is the New Black" came out,

there were a number of articles written

there were a number of articles written

in sort of minor magazines and so forth saying,

in sort of minor magazines and so forth saying,

"Orange is the New Black" is just the new "Big Doll House".

"Orange is the New Black" is just the new "Big Doll House".

- Hands up, motherfucker!

- Hands up, motherfucker!

- These films more or less stand up today,

- These films more or less stand up today,

they were low budget films,

they generally cost about a hundred thousand dollars,

they generally cost about a hundred thousand dollars,

maybe 150 if we were going crazy on the budget.

maybe 150 if we were going crazy on the budget.

maybe 150 if we were going crazy on the budget.

So the limitations do show but the ideas still hold.

So the limitations do show but the ideas still hold.

- "The Barbarian Queen" came about a little bit

the way Pam Grier became a star, because of fan mail.

the way Pam Grier became a star, because of fan mail.

the way Pam Grier became a star, because of fan mail.

We did a picture called "Deathstalker",

We did a picture called "Deathstalker",

which was a story of a fantasy in the middle-ages

which was a story of a fantasy in the middle-ages

about a strong warrior, and we put in one supporting role

about a strong warrior, and we put in one supporting role

for Lana Clarkson to play a woman warrior,

for Lana Clarkson to play a woman warrior,

for Lana Clarkson to play a woman warrior,

and the film was a solid success,

we ended up, I think,

we ended up, I think,

making "Deathstalker" two, three, and maybe even four,

making "Deathstalker" two, three, and maybe even four,

but we got fan mail on Lana Clarkson,

but we got fan mail on Lana Clarkson,

so I thought, we got the set and everything

so I thought, we got the set and everything

from "Deathstalker", let's make a film starring Lana,

from "Deathstalker", let's make a film starring Lana,

and we did the "Barbarian Queen",

and I think we went to "Barbarian Queen" two and three,

and I think we went to "Barbarian Queen" two and three,

that concept worked.

that concept worked.

- Anyone else?

Did you find my sister?

- No.

They left us nothing.

- Today was my wedding day,

now the only thing I have left is what might have been.

I'm going to get it back.

I'm going to get it back.

- A friend of mine was in distribution

- A friend of mine was in distribution

and he had met Alejandro Rosa and Hector Olivera,

and he had met Alejandro Rosa and Hector Olivera,

who had a production company in Argentina.

who had a production company in Argentina.

They wanted to do co-productions and frankly their cost

They wanted to do co-productions and frankly their cost

was considerably less than the United States,

was considerably less than the United States,

so I went to Argentina on that basis.

so I went to Argentina on that basis.

(triumphant music)

(triumphant music)

- They had their own studio, and they built a castle set

- They had their own studio, and they built a castle set

and a fighting arena set and everything,

and a fighting arena set and everything,

and when I saw it, I said these sets are great,

leave them up, we will use them again.

leave them up, we will use them again.

I would agree with the feminist critic

who started off before seeing the film,

who started off before seeing the film,

in saying this is an exploitation of women,

in saying this is an exploitation of women,

and then saw the film,

and then saw the film,

and realized this was the glorification of women

and realized this was the glorification of women

and that these, at least in my opinion,

and that these, at least in my opinion,

but I know that in many people's opinion,

but I know that in many people's opinion,

are very strong pro-feminist statements.

(shouting)

(shouting)

- So you wanna fight huh? All right

- So you wanna fight huh? All right

(splashing water)

(splashing water)

(swords colliding)

(swords colliding)

(battle music)

(battle music)

(grunting)

(grunting)

- Lana was a tall, very good looking girl who,

- Lana was a tall, very good looking girl who,

- Lana was a tall, very good looking girl who,

a little bit like Pam Grier, had a kind of chemistry working

a little bit like Pam Grier, had a kind of chemistry working

that resonated with the audience.

that resonated with the audience.

I think Lana could have gone on to be a major star

I think Lana could have gone on to be a major star

because she was beautiful, she was a good actress,

but she was six feet tall,

but she was six feet tall,

and she just overshadowed leading men

and she just overshadowed leading men

and it was difficult to cast her.

(tense music)

(tense music)

- Put her to death.

- Now!

(fighting sounds)

- TNT Jackson was another film, action film,

- TNT Jackson was another film, action film,

- TNT Jackson was another film, action film,

with a female lead to star Pam Grier,

with a female lead to star Pam Grier,

that we were going to shoot in the Philippines,

that we were going to shoot in the Philippines,

and I was paying Pam, I think around 25000 dollars a picture

and I was paying Pam, I think around 25000 dollars a picture

and I was paying Pam, I think around 25000 dollars a picture

which in those days was pretty good money

for a low budget film,

for a low budget film,

and Pam came in to see me before shooting and she said,

and Pam came in to see me before shooting and she said,

"Roger, I told you I would be in this film,

"Roger, I told you I would be in this film,

"but I've had an offer from many major

"but I've had an offer from many major

"to do a film for a hundred thousand dollars,

"to do a film for a hundred thousand dollars,

"and I don't know whether to take that

"and I don't know whether to take that

"or do the film with you."

"or do the film with you."

I said, Pam, take the hundred thousand dollars,

I said, Pam, take the hundred thousand dollars,

we will replace you, we will not find anybody as good

we will replace you, we will not find anybody as good

because you are unusual, but we will get somebody.

because you are unusual, but we will get somebody.

We actually found a very beautiful black actress

We actually found a very beautiful black actress

who'd been something of an athlete in high school,

who'd been something of an athlete in high school,

Jeanne Bell, and we cast her as TNT Jackson,

Jeanne Bell, and we cast her as TNT Jackson,

Jeanne Bell, and we cast her as TNT Jackson,

and I said to my ace assistant

and I said to my ace assistant

and head of all of our publicity, Jon Davison,

and head of all of our publicity, Jon Davison,

who's gone on to be a very prominent producer,

we've got to find a way to publicize Jeanne Bell

we've got to find a way to publicize Jeanne Bell

we've got to find a way to publicize Jeanne Bell

because everybody, at least in this area,

knows who Pam Grier is, but they've never heard of Jeanne.

knows who Pam Grier is, but they've never heard of Jeanne.

knows who Pam Grier is, but they've never heard of Jeanne.

So Jon said, "Let me think of something."

So Jon said, "Let me think of something."

And he said a few days later, "Come in tomorrow morning

And he said a few days later, "Come in tomorrow morning

"wearing a coat and tie."

"wearing a coat and tie."

And I didn't even want to ask him why, I wondered why.

And I didn't even want to ask him why, I wondered why.

So I came in the next day wearing a coat and tie

So I came in the next day wearing a coat and tie

and there was Jeanne all dressed up and made up

and there was Jeanne all dressed up and made up

and looking really beautiful,

and she didn't know what was going to happen either.

and she didn't know what was going to happen either.

Jon had found a plaster cast of a fist,

Jon had found a plaster cast of a fist,

Jon had found a plaster cast of a fist,

and he had painted it black,

and he gave it to me and he said, "Give the fist to Jeanne

and he gave it to me and he said, "Give the fist to Jeanne

and he gave it to me and he said, "Give the fist to Jeanne

"and both of you smile and I'll take a picture of you."

"and both of you smile and I'll take a picture of you."

And we both did it, having no idea what we were doing,

And we both did it, having no idea what we were doing,

And we both did it, having no idea what we were doing,

and I said, "Jon, now we've done it,

"tell us what we've done."

"tell us what we've done."

And Jon said, "You have just awarded Jeanne

And Jon said, "You have just awarded Jeanne

"the first annual Ebony Fist Award,

"the first annual Ebony Fist Award,

"for being the most beautiful black Kung-Fu fighter

"for being the most beautiful black Kung-Fu fighter

in the world."

in the world."

And Jeanne started to laugh, and I sort of grinned,

And Jeanne started to laugh, and I sort of grinned,

and when Jeanne left, I said to Jon,

and when Jeanne left, I said to Jon,

"Do you think we can get away with this?"

We got publicity everywhere,

We got publicity everywhere,

and the picture was a big success.

and the picture was a big success.

- Looks like you're giving me some competition.

- Looks like you're giving me some competition.

- Oh no, baby, not from me.

- Oh no, baby, not from me.

Listen honey, and you get it straight,

Listen honey, and you get it straight,

I'm not in your league,

I work standing up, not on my back.

I work standing up, not on my back.

- Really? How amusing, I've never really tried it that way.

(trumpets)

- I've always believed in the power of the catch-line.

- I've always believed in the power of the catch-line.

You have the title of the picture,

but on the poster, the trailers and everything,

but on the poster, the trailers and everything,

you have one line that sort of summarizes

you have one line that sort of summarizes

and tries to tell the picture.

and tries to tell the picture.

In addition to the Ebony Fist Award,

In addition to the Ebony Fist Award,

I said to Jon, "We really need a strong catch-line here."

I said to Jon, "We really need a strong catch-line here."

And he couldn't come up with one,

And he couldn't come up with one,

and Joe Dante tells a story of Jon calling him

and Joe Dante tells a story of Jon calling him

about three o'clock in the morning and said,

"Joe, I think I've got it. TNT Jackson,

"Joe, I think I've got it. TNT Jackson,

"She'll put you in traction, whaddya think?"

"She'll put you in traction, whaddya think?"

And Joe said, "It's great Jon, go back to sleep."

And Joe said, "It's great Jon, go back to sleep."

- [Narrator] TNT Jackson. She'll put you in traction.

- [Narrator] TNT Jackson. She'll put you in traction.

(funky music)

(fighting sounds)

(fighting sounds)

(pan flute music)

(pan flute music)

(police sirens)

(police sirens)

- Chief of Security. You haven't got a chance in hell.

- Chief of Security. You haven't got a chance in hell.

Why don't you come out before somebody gets hurt?

Why don't you come out before somebody gets hurt?

(rumbling train)

(rumbling train)

(gunshots)

(gunshots)

(gunshots)

(gunshots)

(squealing tires)

(squealing tires)

(loud explosion)

(loud explosion)

- By the time we did Silk, Cirio and I had done,

- By the time we did Silk, Cirio and I had done,

I don't know, maybe 10 films together,

I don't know, maybe 10 films together,

and almost all the ideas had come from me,

and almost all the ideas had come from me,

and Cirio understood a little bit of my thinking,

and Cirio understood a little bit of my thinking,

and it was actually his idea,

and it was actually his idea,

if we were going to have a strong female character,

if we were going to have a strong female character,

why not deliberately take a Dirty Harry kind of character,

why not deliberately take a Dirty Harry kind of character,

and make her a Honolulu policewoman,

and I said the whole point of working together

and I said the whole point of working together

and I said the whole point of working together

is that we're shooting in the Philippines.

is that we're shooting in the Philippines.

He said, "I can shoot the Philippines in such a way

He said, "I can shoot the Philippines in such a way

"that it looks like Hawaii, and what we'll do,

"that it looks like Hawaii, and what we'll do,

"we'll have Cec Verrell, who is very good as the lead,

"we'll have Cec Verrell, who is very good as the lead,

"as she flies to the will stop in Honolulu

"as she flies to the will stop in Honolulu

"as she flies to the will stop in Honolulu

"and I will fly with a cameraman from the Philippines,

"and I will fly with a cameraman from the Philippines,

"meet her in Honolulu and we'll spend a day,

"meet her in Honolulu and we'll spend a day,

"shoot some various shots of driving through Honolulu

"shoot some various shots of driving through Honolulu

"and everything, and then we'll continue on

"and everything, and then we'll continue on

"to the Philippines and shoot the rest of the film."

"to the Philippines and shoot the rest of the film."

Cirio and I were very good friends

and I was pleased to see his growth as a director.

and I was pleased to see his growth as a director.

and I was pleased to see his growth as a director.

He had been a director-producer,

and he was very strong as a Philippine producer.

and he was very strong as a Philippine producer.

His first work as a director was kind of okay,

His first work as a director was kind of okay,

His first work as a director was kind of okay,

but it was one of those things where he grew

but it was one of those things where he grew

with every film, as he began to understand

with every film, as he began to understand

what I was talking about

for an American and international audience.

for an American and international audience.

Unfortunately, he died young,

Unfortunately, he died young,

but he was becoming a very prominent director.

but he was becoming a very prominent director.

(gunshots)

(gunshots)

(engine revving)

(loud explosion)

(loud explosion)

- The initial reaction to "Silk" was very positive,

- The initial reaction to "Silk" was very positive,

we made "Silk 2", we made a couple of those.

we made "Silk 2", we made a couple of those.

we made "Silk 2", we made a couple of those.

The relationship to Cirio was very good,

I don't think we ever had a film that failed,

I don't think we ever had a film that failed,

every film was a success.

every film was a success.

We had a different lead,

We had a different lead,

at the suggestion of our sales manager,

at the suggestion of our sales manager,

who wanted, frankly, a sexier girl to play the lead.

who wanted, frankly, a sexier girl to play the lead.

She was good, but it was a mistake,

because Cec in the first film had the energy

because Cec in the first film had the energy

because Cec in the first film had the energy

that was really required,

that wasn't quite there in the second film.

that wasn't quite there in the second film.

(gunshots)

- You know, I don't know why they call you Silk.

- You know, I don't know why they call you Silk.

- 'Cause I'm so fucking smooth.

- 'Cause I'm so fucking smooth.

- 'Cause I'm so fucking smooth.

- I had made a film in 1975 called "Death Race 2000",

- I had made a film in 1975 called "Death Race 2000",

- I had made a film in 1975 called "Death Race 2000",

which was a futuristic race

which was a futuristic race

from New York to New Los Angeles,

from New York to New Los Angeles,

and it was an action film laid

and it was an action film laid

in a futuristic dystopian society.

in a futuristic dystopian society.

It was one of the biggest successes we ever had.

It was one of the biggest successes we ever had.

And, as a result, we did a number of dystopian films

And, as a result, we did a number of dystopian films

and in one of them, we thought we would go back

and in one of them, we thought we would go back

to our concept of strong women,

to our concept of strong women,

and put it into a dystopian future,

and put it into a dystopian future,

and the result was "The Sisterhood".

and the result was "The Sisterhood".

(tense music)

(swords colliding)

- Enough! We have nothing here worth dying for.

- Enough! We have nothing here worth dying for.

Go in peace.

- I was pleased with "The Sisterhood",

- I was pleased with "The Sisterhood",

I don't think it was one of our strongest films,

I don't think it was one of our strongest films,

but again the subject matter was so unusual,

but again the subject matter was so unusual,

to go into the future like "Mad Max",

to go into the future like "Mad Max",

which was done a few years after "Death Race",

which was done a few years after "Death Race",

but make the lead,

I should say the leads women, sold the film.

I should say the leads women, sold the film.

I should say the leads women, sold the film.

- Can you tell me about the sisterhood?

- Can you tell me about the sisterhood?

- The sisterhood is descended by women who won't be ruled

- The sisterhood is descended by women who won't be ruled

by men. Before the great war women were the equals of men,

did you know that?

did you know that?

- But who are you?

- But who are you?

- I was once just like you,

shunned by my people for my gift.

shunned by my people for my gift.

- You can talk to a hawk?

- No, there are many kinds of gifts.

- No, there are many kinds of gifts.

- No, there are many kinds of gifts.

Every woman in the sisterhood has one,

it's not something that happens to men.

it's not something that happens to men.

Mine is the ability to move small things

Mine is the ability to move small things

without touching them.

The Reverend Mother says that this is something

The Reverend Mother says that this is something

that people from the time before worked to create.

that people from the time before worked to create.

- But how do you know that?

- Not all knowledge from the time before has been lost.

- Not all knowledge from the time before has been lost.

The Reverend Mothers have complete control of their gifts.

The Reverend Mothers have complete control of their gifts.

They're very strong.

They're very strong.

- The songs say that you can travel the world as you please,

- The songs say that you can travel the world as you please,

and go where you wish, but how can you do that?

and go where you wish, but how can you do that?

No man allows a woman to come and go as she pleases.

No man allows a woman to come and go as she pleases.

- Men have nothing to say about what we do.

- Well, almost nothing.

- Well, almost nothing.

There is a rule about us not being allowed to carry weapons

There is a rule about us not being allowed to carry weapons

inside places like the inn.

But there's nothing in those rules about our being weapons.

But there's nothing in those rules about our being weapons.

- Once more, the commercial reaction was great,

- Once more, the commercial reaction was great,

the critical reaction was mixed,

the critical reaction was mixed,

as it was on most of these films,

as it was on most of these films,

where some of the critics understood what we were doing,

where some of the critics understood what we were doing,

and other critics simply did not.

and other critics simply did not.

(tense music)

- That one in there? He killed my brother.

- That one in there? He killed my brother.

I want to take my knife and just slit his throat.

I want to take my knife and just slit his throat.

- He'd break you in little pieces.

- He'd break you in little pieces.

(gunshots)

(eerie music)

- The theme of strong female leads

- The theme of strong female leads

was something I believed in,

but also it turned out to be very commercial.

but also it turned out to be very commercial.

but also it turned out to be very commercial.

I think it was because the men who liked to see action films

I think it was because the men who liked to see action films

also liked to see beautiful women,

also liked to see beautiful women,

and beautiful women in these action pictures

and beautiful women in these action pictures

fulfilled some thoughts I had about feminism,

fulfilled some thoughts I had about feminism,

and also resonated with the audience.

and also resonated with the audience.

- What should we do now?

(crowd shouting)

(crowd shouting)

(eerie harp music)

(eerie harp music)

- Sisters, have you lost faith?

- Sisters, have you lost faith?

Why do you resort to the old ways, and take up arms?

Why do you resort to the old ways, and take up arms?

Do you no longer trust in me?

Have I not seen you through the worst times?

Have I not seen you through the worst times?

Have I not seen you through the worst times?

Through the worst dangers.

Cast those weapons down, you do not need them at all.

Cast those weapons down, you do not need them at all.

Cast those weapons down, you do not need them at all.

Rise, sisters. You are free.

Rise, sisters. You are free.

Rise, sisters. You are free.

(chains breaking)

(chains breaking)

(eerie music)

(eerie music)

- Jonathan Demme and I were very good friends,

he'd written several scripts for me.

he'd written several scripts for me.

I knew he was a good writer,

I knew he was a good writer,

and I knew he worked with Joe Viola,

and I knew he worked with Joe Viola,

helping Joe as a director,

and these women in prison pictures we were always shooting

and these women in prison pictures we were always shooting

and these women in prison pictures we were always shooting

in the Philippines, and I thought,

we really need one in the United States here.

we really need one in the United States here.

And I thought, Jonathan is really talented,

And I thought, Jonathan is really talented,

let's go with Jon,

let's go with Jon,

let's give him his first shot at directing.

let's give him his first shot at directing.

- My rap is assault with a deadly weapon.

- My rap is assault with a deadly weapon.

I went after some bastard with a broken bottle.

I went after some bastard with a broken bottle.

- Did you...

- Kill him? Naw, cut his balls off instead.

- Kill him? Naw, cut his balls off instead.

- You did?

- You did?

- Didn't need the mothers anyway.

- Wow.

- Hey, what kind of girl do you think I am, anyway?

- Hey, what kind of girl do you think I am, anyway?

- Hey, what kind of girl do you think I am, anyway?

- Was that your sister?

- Was that your sister?

- Look, I'm not bothering you, so just get off my case.

- Look, I'm not bothering you, so just get off my case.

- I'm not on it yet, but you 'bout to get a taste.

- I'm not on it yet, but you 'bout to get a taste.

I'll knock your pretty little teeth so far down

I'll knock your pretty little teeth so far down

your throat you're gonna get a picket fence

around your asshole.

- I'm pretty good at..

- I'm pretty good at..

(women shouting)

(women shouting)

(women screaming)

- The casting was a little bit different

from what we'd had before, in which we had a number

from what we'd had before, in which we had a number

of young women as the prisoners,

of young women as the prisoners,

but Barbara Steele had starred for me

but Barbara Steele had starred for me

many years before in "The Pit and the Pendulum".

many years before in "The Pit and the Pendulum".

She was a very strong actress

She was a very strong actress

and Jonathan got the idea of having her play the warden,

and Jonathan got the idea of having her play the warden,

and she really made the film go,

and she really made the film go,

because she was a very complex character,

because she was a very complex character,

more complex than you would normally find

more complex than you would normally find

in this type of film.

Jonathan was very good with actors,

Jonathan was very good with actors,

he was good with the camera,

he was good with the camera,

but he was particularly good with actors,

but he was particularly good with actors,

and it was his idea to go with Barbara

and it was his idea to go with Barbara

because he saw a certain strength,

and a little bit of vulnerability with the strength,

and a little bit of vulnerability with the strength,

and a little bit of vulnerability with the strength,

which is what he wanted for the warden.

- Don't you realize the sicks that put you behind bars

- Don't you realize the sicks that put you behind bars

in the first place?

- Yeah!

- Yeah!

- Stealing to dress better for a man.

- Stealing to dress better for a man.

Fornicating to pack in the pockets of women using pimps.

Fornicating to pack in the pockets of women using pimps.

Fornicating to pack in the pockets of women using pimps.

Failing to eliminate a sexual rival.

- Yeah!

- Yeah!

- Give me contrition.

- Give me contrition.

- Contrition!

- Let's have redemption!

- Let's have redemption!

- Redemption.

- Repentance, repentance!

- Repentance, repentance!

- Repentance!

- Repentance!

- A wive's debt to society.

- A wive's debt to society!

(crowd screaming and applauding)

(crowd screaming and applauding)

- It was a very interesting looking film

- It was a very interesting looking film

because Jonathan, from the beginning,

because Jonathan, from the beginning,

had a great eye, he had the visual sense.

had a great eye, he had the visual sense.

We had a very good cinematographer, Tak Fujimoto,

We had a very good cinematographer, Tak Fujimoto,

who's gone on to be one of the major cinematographers

who's gone on to be one of the major cinematographers

who's gone on to be one of the major cinematographers

in Hollywood.

(gunshots)

(gunshots)

(tense music)

(tense music)

(gunshots)

(gunshots)

- Go! Go!

(gunshots)

(gunshots)

- Thanks for the lift.

- Thanks for the lift.

- Think nothing of it.

- Where we going?

- Where we going?

- It's better where I'm going.

- There wasn't any really fixed format,

- There wasn't any really fixed format,

but there was a general idea of what we were doing.

but there was a general idea of what we were doing.

Basically, there would be women,

who were in some sort of trouble,

who were in some sort of trouble,

and were forced to break out and fight against

and were forced to break out and fight against

whoever was oppressing them and defeat them,

whoever was oppressing them and defeat them,

and I remember several times I would get a first draft,

and I remember several times I would get a first draft,

and I remember several times I would get a first draft,

after what I generally did,

I would write a one or two page outline

I would write a one or two page outline

of the story and then give that to the writer,

of the story and then give that to the writer,

and several times I got back from the writer,

and several times I got back from the writer,

the women's boyfriends fought to get the girl out,

the women's boyfriends fought to get the girl out,

and I had to tell him no,

the girls must fight themselves to get themselves out.

the girls must fight themselves to get themselves out.

the girls must fight themselves to get themselves out.

(gunshots)

(gunshots)

- Damnit, I told you not to go back in there.

- Damnit, I told you not to go back in there.

Oh, fuck.

(tires squealing)

(tires squealing)

(gunshots)

(gunshots)

(groaning)

(groaning)

- Come on!

(gunshots)

(gunshots)

(country music)

(country music)

- I hate to mention it.

- I hate to mention it.

- The escapee? Don't worry.

They'll be back.

(upbeat music)

(upbeat music)

[END CREDITS]

[END CREDITS]