Original subtitles

- I'm Roger Corman (upbeat music)

- I'm Roger Corman (upbeat music)

and I'd like to share with you some great moments

and memories of many of my films.

and memories of many of my films.

(upbeat music)

(upbeat music)

The obsessive scientist pushing the boundaries

of science is really the modern version

of science is really the modern version

of science is really the modern version

of what has happened throughout all of mankind.

of what has happened throughout all of mankind.

It's a quest for our knowledge of the universe.

It's a quest for our knowledge of the universe.

Who are we?

Who are we?

Where did we come from?

What does the universe consist of?

What does the universe consist of?

(dramatic music)

(dramatic music)

- Supposing a more powerful form of royal jelly

- Supposing a more powerful form of royal jelly

could be obtained, from the queen wasp for example.

I mean, well, do you suppose that might have

some rejuvenating effect on a human being?

some rejuvenating effect on a human being?

- I'd stay away from wasps if I were you, Miss Darwin.

- I'd stay away from wasps if I were you, Miss Darwin.

Socially the queen wasp is on level

Socially the queen wasp is on level

with a black widow spider.

They're both carnivorous, they paralyze their victims,

They're both carnivorous, they paralyze their victims,

and then take their time devouring them alive.

and then take their time devouring them alive.

- I think the concept of the scientist

- I think the concept of the scientist

trying to improve society and something goes wrong

trying to improve society and something goes wrong

is again a continuation of what has happened

is again a continuation of what has happened

throughout all of mankind.

throughout all of mankind.

(suspenseful music)

I think there's a certain cynicism here,

I think there's a certain cynicism here,

an awareness of how many times attempts to improve

an awareness of how many times attempts to improve

an awareness of how many times attempts to improve

the lot of humanity have failed.

(dramatic music)

(dramatic music)

(upbeat music)

(upbeat music)

(man screaming)

(man screaming)

(glass breaking)

(glass breaking)

"Forbidden World" had a straightforward origin.

New World Pictures was a production distribution company

New World Pictures was a production distribution company

New World Pictures was a production distribution company

and we had to make enough pictures

to feed the distribution company.

to feed the distribution company.

I could see at one point that we were going

I could see at one point that we were going

to be short on pictures for distribution.

to be short on pictures for distribution.

We had so much money invested in films,

We had so much money invested in films,

we didn't have a great deal of money.

we didn't have a great deal of money.

So I thought, let's make a science fiction picture

So I thought, let's make a science fiction picture

taking some special effects from one film,

taking some special effects from one film,

using some sets from another film,

using some sets from another film,

and make a low budget science fiction picture

and make a low budget science fiction picture

purely to, as we used to say, feed the dinosaur.

purely to, as we used to say, feed the dinosaur.

Make a film to feed the distribution company.

Make a film to feed the distribution company.

(suspenseful music)

(suspenseful music)

(woman screaming)

(creature grumbling)

(creature grumbling)

(weapon zapping)

(weapon zapping)

(woman screams)

(woman screams)

Despite its straight commercial origin,

Despite its straight commercial origin,

everybody working on "Forbidden World,"

as with all of our pictures I think,

as with all of our pictures I think,

did their best to do as good a job as they could.

did their best to do as good a job as they could.

did their best to do as good a job as they could.

The picture turned out to be quite good

and quite successful.

and quite successful.

- This creature's intelligent.

- This creature's intelligent.

- How do ya figure that?

- Simple.

- Simple.

It destroyed all our contact with the outside world,

our launchpad control, and yet it left us (coughing)

our launchpad control, and yet it left us (coughing)

our launchpad control, and yet it left us (coughing)

air to breathe.

air to breathe.

- The cast was very good. - It's in the med room.

- [Roger] The cast were a group of young actors

- [Roger] The cast were a group of young actors

who did not have names,

who did not have names,

but several had worked with us before.

I knew they were good actors.

I knew they were good actors.

- Ooh.

- Ooh.

It's reducing us to a simple protein.

It wants to use us as food.

It wants to use us as food.

- Why doesn't it just eat us and get it over with?

- These experiments always seem to go wrong.

- These experiments always seem to go wrong.

I don't know what's wrong with science,

I don't know what's wrong with science,

but in motion pictures something always goes wrong.

but in motion pictures something always goes wrong.

A genetic experiment goes wrong

A genetic experiment goes wrong

and it becomes a science fiction horror story.

and it becomes a science fiction horror story.

We did not have a great deal of money,

We did not have a great deal of money,

so I felt let's push the effects, push the gore

so I felt let's push the effects, push the gore

a little bit to try to make up for this.

a little bit to try to make up for this.

Actually, it was nominated for three Saturn Awards.

Actually, it was nominated for three Saturn Awards.

It was nominated for Best Low-Budget Picture,

It was nominated for Best Low-Budget Picture,

It was nominated for Best Low-Budget Picture,

Best Make-up, and Best Special Effects.

Best Make-up, and Best Special Effects.

(control panel beeping)

(control panel beeping)

- Pam.

- Pam.

(Pam gasps)

(Pam gasps)

- This was Allan Holzman's first film as a director

- This was Allan Holzman's first film as a director

and he was following in our usual practice.

and he was following in our usual practice.

He had been an editor for us.

He was a very good editor.

He was a very good editor.

As I recall, he shot a couple of test scenes for something,

As I recall, he shot a couple of test scenes for something,

showing that he had potential as a director.

showing that he had potential as a director.

And based upon that, I simply promoted him

And based upon that, I simply promoted him

from editor to director, and he became a very good director.

from editor to director, and he became a very good director.

(explosion booms)

(explosion booms)

(woman screams)

(woman screams)

(creature growls)

(woman screaming)

(woman screaming)

(laser zapping)

(laser zapping)

The preview screening, the picture was going very well,

The preview screening, the picture was going very well,

but there was one sequence that got a bad laugh.

but there was one sequence that got a bad laugh.

Allan Holzman, the director, was slumped in the seat,

Allan Holzman, the director, was slumped in the seat,

and I as always at sneak previews, was making notes.

and I as always at sneak previews, was making notes.

and I as always at sneak previews, was making notes.

I just made my notes.

And Allan was crestfallen after the screening,

And Allan was crestfallen after the screening,

And Allan was crestfallen after the screening,

and I said, "Allan, it's very simple.

"We're just gonna cut that scene out,"

"We're just gonna cut that scene out,"

and I think there was one other scene that played on this.

and I think there was one other scene that played on this.

We simply are gonna trim this picture,

We simply are gonna trim this picture,

and the picture then played very well.

and the picture then played very well.

(creature gurgling)

(creature gurgling)

(woman whimpers)

(woman whimpers)

(creature gurgling)

(creature gurgling)

(eerie music)

(eerie music)

In general, when we finished shooting a picture,

In general, when we finished shooting a picture,

that was it.

that was it.

There was never any money to go back and reshoot

There was never any money to go back and reshoot

or do something big in post-production.

or do something big in post-production.

The most we could do in post-production

was maybe work a little bit on the special effects

was maybe work a little bit on the special effects

and so forth, but essentially,

and so forth, but essentially,

what you shot was what you got.

what you shot was what you got.

(upbeat music)

(upbeat music)

"Screamers" came about in a rather strange way.

"Screamers" came about in a rather strange way.

It was an Italian picture produced

It was an Italian picture produced

by an Italian company called Medusa.

by an Italian company called Medusa.

They gave it to an American distribution company,

They gave it to an American distribution company,

I think it was United Pictures.

- [Man In Black Coat] We're going to the Cave of the Dead.

It's full of ghosts, the natives claim,

It's full of ghosts, the natives claim,

spirits of human sacrifices made

spirits of human sacrifices made

to protect their treasure against people like you.

to protect their treasure against people like you.

- [Roger] United shot a prologue to the film,

- [Roger] United shot a prologue to the film,

trimmed it somewhat, changed the title.

trimmed it somewhat, changed the title.

I think the title was "Something Waits in the Dark,"

I think the title was "Something Waits in the Dark,"

and the picture failed.

and the picture failed.

(ominous music)

(ominous music)

Medusa took it back from United, and because we'd had

Medusa took it back from United, and because we'd had

some success in distributing science fiction pictures,

some success in distributing science fiction pictures,

they offered it to us and asked us

they offered it to us and asked us

if we would re-release it.

if we would re-release it.

It had not played that many theaters,

so we thought with a little bit of editing,

so we thought with a little bit of editing,

we did very little to it, and a new title

we did very little to it, and a new title

we did very little to it, and a new title

we still would have the majority of theaters

in the United States to play.

in the United States to play.

- My God, what is it?

- My God, what is it?

(suspenseful music)

- I believe that we're looking at the city

- I believe that we're looking at the city

of the lost continent of Atlantis.

- We changed the title to "Screamers,"

put together a rather wild trailer and ad,

put together a rather wild trailer and ad,

put together a rather wild trailer and ad,

and re-released the film and did reasonably well with it.

and re-released the film and did reasonably well with it.

- It's a biological solution to the greatest problem

- It's a biological solution to the greatest problem

mankind has ever faced.

One day, and in the not too distant future,

One day, and in the not too distant future,

when with this Earth is no longer able

to feed its overpopulated billions, a new race,

to feed its overpopulated billions, a new race,

a new race of amphibious beings will be able

a new race of amphibious beings will be able

to submerge themselves into the oceans

of the world and survive.

of the world and survive.

(creature grumbling)

(creature grumbling)

- The picture was actually quite a good picture,

- The picture was actually quite a good picture,

but it didn't have any one or two great scenes

but it didn't have any one or two great scenes

but it didn't have any one or two great scenes

that would grab you for the trailer.

that would grab you for the trailer.

So, Jim Wynorski, who was handling our trailers,

So, Jim Wynorski, who was handling our trailers,

shot a brief, shocking scene and put it in the trailer.

shot a brief, shocking scene and put it in the trailer.

(woman screaming)

(woman screaming)

(ominous music)

(creature grumbling)

- [Announcer] Screamers are coming.

- [Announcer] Screamers are coming.

They're men turned inside out.

They're men turned inside out.

Their lungs blow up and burst.

Their brains expand and their bodies implode.

Their brains expand and their bodies implode.

And the worst thing of all is they're still alive.

And the worst thing of all is they're still alive.

Screamers, they'll turn you inside out.

Screamers, they'll turn you inside out.

(woman screaming)

"Screamers."

(creature grumbles)

(creature grumbles)

Rated R.

- Which helped sell the picture,

- Which helped sell the picture,

but there was some criticism.

but there was some criticism.

The scene wasn't in the picture,

so we took the picture back and cut the scene

so we took the picture back and cut the scene

into the picture and continued with the release. (chuckles)

into the picture and continued with the release. (chuckles)

into the picture and continued with the release. (chuckles)

(upbeat music)

(upbeat music)

(eerie music)

- [Julie] We have a lot of scripts around here

that just show up and they get read

that just show up and they get read

or filed or whatever happens to them,

or filed or whatever happens to them,

and then we have summer interns come in,

and one of the jobs that we like to give them

and one of the jobs that we like to give them

is, like, go through this stack of scripts

is, like, go through this stack of scripts

and tell me if anything there should be made, right?

and tell me if anything there should be made, right?

So I think if an intern doesn't like it,

then, you know, who would like it?

then, you know, who would like it?

Who wants to go see it in the theater.

- Well?

- What?

- Not what, who.

- Not what, who.

- Who?

- Who fell?

- One of the specimens, class four, I think.

- One of the specimens, class four, I think.

- Theo.

- Theo.

I though that we understood each other.

I though that we understood each other.

People, Berkovitch.

Individuals, minds, souls.

Individuals, minds, souls.

Every brain has is a living record of a life,

a journey taken.

a journey taken.

Who knows what journey they're on now, hm?

Who knows what journey they're on now, hm?

- The script that came forth was called "Paranoia,"

- The script that came forth was called "Paranoia,"

and it was by Charles Beaumont,

who had worked with Roger most notably on my favorite film

who had worked with Roger most notably on my favorite film

who had worked with Roger most notably on my favorite film

of Roger's, "The Intruder."

- [Homeless Man] Fuck, shit, my brain.

- [Homeless Man] Fuck, shit, my brain.

- [Roger] All I provided was the original idea,

- [Roger] All I provided was the original idea,

which I had actually in the early 1960s.

which I had actually in the early 1960s.

I was working on various Freudian theories at the time,

I was working on various Freudian theories at the time,

and I wanted to do a film that expressed

and I wanted to do a film that expressed

various Freudian, dreamlike, unconscious states.

various Freudian, dreamlike, unconscious states.

various Freudian, dreamlike, unconscious states.

But how could I tie that together in a story?

But how could I tie that together in a story?

And I came up with the idea that we start the picture

And I came up with the idea that we start the picture

with something really startling,

with something really startling,

and then we go into this stream of consciousness narrative,

and then we go into this stream of consciousness narrative,

and then we find out at the end that the startling scene

and then we find out at the end that the startling scene

at the beginning is the death of somebody,

at the beginning is the death of somebody,

and these Freudian images are his last thoughts

and these Freudian images are his last thoughts

as he's dying.

as he's dying.

Chuck Beaumont, who had written "The Intruder,"

Chuck Beaumont, who had written "The Intruder,"

"Mask of the Red Death," and several other pictures for me,

"Mask of the Red Death," and several other pictures for me,

was, I thought, a very good and very imaginative writer.

was, I thought, a very good and very imaginative writer.

(man and woman screaming)

(man and woman screaming)

(man in white laughing)

(man in white laughing)

So I just told Chuck that idea.

So I just told Chuck that idea.

He created an entire screenplay,

He created an entire screenplay,

which was a good screenplay, and I was about to shoot it

which was a good screenplay, and I was about to shoot it

but I became involved with something else,

but I became involved with something else,

and one thing and another, I never shot the film,

and one thing and another, I never shot the film,

and the script just sat there.

and the script just sat there.

(doorbell rings)

(doorbell rings)

- There was a young man, a very bright young man,

named Adam Simon who came in and had wanted

named Adam Simon who came in and had wanted

to write and to direct, and he had brought

to write and to direct, and he had brought

some samples of his work that were pretty good,

some samples of his work that were pretty good,

and I said, "Well, here's a screenplay, take a look.

and I said, "Well, here's a screenplay, take a look.

"Roger doesn't wanna pursue it, and if you can think

"of a way to update it, and we can do it

"of a way to update it, and we can do it

"on a low budget, then we'll probably make it."

"on a low budget, then we'll probably make it."

So, he came up with the idea of having a surgeon,

So, he came up with the idea of having a surgeon,

So, he came up with the idea of having a surgeon,

a brain surgeon, approached by

a brain surgeon, approached by

an erstwhile friend of his who is a businessman--

an erstwhile friend of his who is a businessman--

- So. - Who wanted to get--

- So. - Who wanted to get--

- This is what it's all about.

- [Julie] Information out of the brain

- [Julie] Information out of the brain

of someone who had worked for them,

but was now brain-impaired.

but was now brain-impaired.

- I didn't know who else I could turn to.

- I didn't know who else I could turn to.

I mean, nobody knows more about paranoia than you.

You're the brain man for Christ sakes.

You're the brain man for Christ sakes.

- I don't do corporate science, I told you that.

- I don't do corporate science, I told you that.

- Aw, come on.

As a favor to me, would ya go to Lakeside?

As a favor to me, would ya go to Lakeside?

Visit ward eight, ask for Halsey.

Visit ward eight, ask for Halsey.

- I'm not a psychiatrist.

- Then run a few tests, see what ya think.

- Then run a few tests, see what ya think.

Besides, aren't you getting a little tired

Besides, aren't you getting a little tired

of bottled brains?

Here's one you can have fresh.

Here's one you can have fresh.

- [Rex] P.S.,

- [Rex] P.S.,

you've got brain damage. - So we now get into this

kind of strange atmosphere of this neurosurgeon

kind of strange atmosphere of this neurosurgeon

going into the brain of this man,

going into the brain of this man,

but then what develops is the neurosurgeon himself

but then what develops is the neurosurgeon himself

begins to get confused with the man

begins to get confused with the man

whose brain he's entering.

Very hard to describe.

Very hard to describe.

There's no spoiler here because at the end of it

I think you probably won't quite understand

I think you probably won't quite understand

what I'm saying unless you go see the movie.

what I'm saying unless you go see the movie.

So this was a star turn for Bill Pullman,

So this was a star turn for Bill Pullman,

and Bill Paxton was in it, and Bud Cort was the man

and Bill Paxton was in it, and Bud Cort was the man

whose brain was being invaded.

whose brain was being invaded.

So, I think it was a very tight cast.

So, I think it was a very tight cast.

♪ Hello, ba la la la la la

♪ Hello, ba la la la la la

♪ Hello, hello

♪ Hello, hello

♪ La la la la la la

- Halsey, where are we?

- Halsey, where are we?

- We're in my brain.

- We're in my brain.

- Your brain?

- Hey, don't bug me.

Now keep my head above water.

Now keep my head above water.

I'm maintaining.

I am real, real busy here.

I am real, real busy here.

- [Julie] And it was incredible art direction,

and it was someone Adam Simon found

and it was someone Adam Simon found

named Catherine Hardwicke, who went on to direct "Twilight."

named Catherine Hardwicke, who went on to direct "Twilight."

But you could see great talent,

But you could see great talent,

and we had some other sort of luminary

and we had some other sort of luminary

who came out of the art department

at the studio was Jim Cameron.

at the studio was Jim Cameron.

- [Rex] I'm dead.

- [Julie] And certainly Catherine Hardwicke,

if you look at the sets and look at what she did

if you look at the sets and look at what she did

with the art direction in that film, pretty good work.

with the art direction in that film, pretty good work.

We were lucky to have her

in the beginning. - Gotta think.

in the beginning. - Gotta think.

- So, Bill Paxton, yes.

He was working as a carpenter and he had worked,

He was working as a carpenter and he had worked,

he actually worked building our house,

he actually worked building our house,

and the man who built our house

and the man who built our house

wanted to be an actor, Beach Dickerson.

He was actually in a few of the films.

He was actually in a few of the films.

You'll see his name pop up.

And I think that's how Bill Paxton came to our attention,

And I think that's how Bill Paxton came to our attention,

and then he worked as a carpenter at the studio

and then he worked as a carpenter at the studio

in the art department, and, you know, came to our attention.

in the art department, and, you know, came to our attention.

But he was always an actor, I think.

But he was always an actor, I think.

- Oh, Jim, I've gotten so lost.

- Oh, Jim, I've gotten so lost.

Everything has gotten outta hand.

I mean, get this.

I mean, get this.

They think that I am Halsey. (chuckles)

They think that I am Halsey. (chuckles)

But then I thought he killed you.

But then I thought he killed you.

No, I killed you.

I killed somebody, and then Dana was there, too.

I killed somebody, and then Dana was there, too.

- There was one scene that I really remember very well.

- There was one scene that I really remember very well.

I think it was Bud Cort, where they saw off

I think it was Bud Cort, where they saw off

the top of his head, showing the brain

the top of his head, showing the brain

the top of his head, showing the brain

sort of beating and pulsating.

sort of beating and pulsating.

That I thought was a great scene.

(electricity zapping) (Jack laughing)

(electricity zapping) (Jack laughing)

(electricity zapping) (Jack laughing)

(upbeat music)

(ominous music)

"The Unborn" was an attempt to combine

"The Unborn" was an attempt to combine

science fiction with horror.

Once more we have the insane scientist,

Once more we have the insane scientist,

but this time he does not appear to be insane.

but this time he does not appear to be insane.

He's actually a very distinguished doctor,

He's actually a very distinguished doctor,

and we only find out at the end what he's doing.

and we only find out at the end what he's doing.

and we only find out at the end what he's doing.

We start with a couple who want to have a baby

We start with a couple who want to have a baby

but are unable to conceive, and this scientist,

but are unable to conceive, and this scientist,

this doctor, is famous for being able to give medication

this doctor, is famous for being able to give medication

this doctor, is famous for being able to give medication

to couples like that so that they can have a baby.

to couples like that so that they can have a baby.

- I'm sorry if I sound dubious, but I have been told

- I'm sorry if I sound dubious, but I have been told

that it was hopeless.

- Strike that word from your vocabulary.

- Strike that word from your vocabulary.

The technology of in vitro pregnancy

The technology of in vitro pregnancy

has progressed so rapidly that today

has progressed so rapidly that today

almost anything is possible.

- (sighs) You don't know how much I wanna believe you.

- (sighs) You don't know how much I wanna believe you.

- (sighs) You don't know how much I wanna believe you.

- Then believe.

You deserve to have a child, and you will.

You deserve to have a child, and you will.

Simple as that.

Simple as that.

- It develops into a horror story based upon

- It develops into a horror story based upon

what the doctor has done to them,

what the doctor has done to them,

the results being a baby who kills.

the results being a baby who kills.

(suspenseful music)

(suspenseful music)

This was Rodman Flender's first film as a director,

This was Rodman Flender's first film as a director,

and again, he was following the path

that was typical within our company.

that was typical within our company.

I hired him out of college to be my assistant.

I hired him out of college to be my assistant.

He was extremely intelligent, did a very good job,

He was extremely intelligent, did a very good job,

He was extremely intelligent, did a very good job,

and was in charge eventually of development,

and was in charge eventually of development,

story development and production,

story development and production,

and I just felt that he was so bright,

and I just felt that he was so bright,

he'd showed so much talent in so many other areas

he'd showed so much talent in so many other areas

that I would give him a shot as director.

that I would give him a shot as director.

- Look.

- Oh my God.

- Oh my God.

- The baby is doing it.

My body is fighting it as if it was a disease

My body is fighting it as if it was a disease

because it's not human.

Meyerling changed it.

Meyerling changed it.

It's not part of me.

- The film lived up to everything I was looking for.

- The film lived up to everything I was looking for.

Rodman did an excellent job.

Rodman did an excellent job.

The writers, who went on to become major writers

The writers, who went on to become major writers

in Hollywood, wrote a really good script

in Hollywood, wrote a really good script

(baby crying) where you just start quietly

(baby crying) where you just start quietly

with this couple who would like to have a baby,

with this couple who would like to have a baby,

and you follow with a sort of increasing tension

and you follow with a sort of increasing tension

as you begin to suspect something is going wrong.

as you begin to suspect something is going wrong.

(baby crying)

(paper rustling)

(paper rustling)

(creature screeches)

It's a little surprising how many well-known

It's a little surprising how many well-known

and Academy Award-winning cinematographers

and Academy Award-winning cinematographers

started with us.

That was almost by accident because I was more interested

That was almost by accident because I was more interested

in the writers and directors--

in the writers and directors--

- Oh Jesus. - But Wally Pfister,

- Oh Jesus. - But Wally Pfister,

who photographed it, went on to become

the regular cinematographer for Christopher Nolan

the regular cinematographer for Christopher Nolan

the regular cinematographer for Christopher Nolan

and he's one of the top cinematographers in Hollywood.

and he's one of the top cinematographers in Hollywood.

- What did you do to me? - He did, again,

- What did you do to me? - He did, again,

a very good job on this film.

- [Richard] Necessary.

- [Richard] Necessary.

- Maybe it'll help you to tell the truth for once.

- It wasn't supposed to happen like this.

We only wanted to make better babies.

We only wanted to make better babies.

- You're making monsters.

- You're making monsters.

- They're not monsters.

They are better, stronger, more intelligent.

They are better, stronger, more intelligent.

Still only infants, they don't mean to cause harm.

They just don't know what they're doing yet,

They just don't know what they're doing yet,

and they are going to replace us, and why not?

and they are going to replace us, and why not?

Look at us, look at what we've done to this planet.

Look at us, look at what we've done to this planet.

In a few years they'll come of age.

- No.

- I'm sorry if I caused you or anyone else to suffer.

- I'm sorry if I caused you or anyone else to suffer.

Thank God that's all over now.

Thank God that's all over now.

We don't need mothers anymore.

- [Roger] The casting was the way we usually cast.

Rodman and I worked together to cast the three leads:

Rodman and I worked together to cast the three leads:

Rodman and I worked together to cast the three leads:

Brooke Adams, James Karen, and Jeff Hayenga.

Brooke Adams, James Karen, and Jeff Hayenga.

And the supporting actors, as usual,

And the supporting actors, as usual,

I left to the director to cast.

I left to the director to cast.

I thought the cast was very good.

Brooke Adams, in particular,

Brooke Adams, in particular,

I thought was brilliant as the wife.

She had several horrific scenes at the end,

She had several horrific scenes at the end,

She had several horrific scenes at the end,

and she did them brilliantly.

and she did them brilliantly.

(ominous music)

(ominous music)

- [Brad] Take him.

- Oh Brad, help me.

- Oh Brad, help me.

(baby whimpering)

(baby whimpering)

- Oh my God.

(baby whimpering)

(baby whimpering)

It's horrible.

(baby screams)

- [Roger] The reaction to "The Unborn" everywhere was good.

- [Roger] The reaction to "The Unborn" everywhere was good.

The critics praised it.

The critics praised it.

It was a solid success.

We made a sequel to it, which as so often happens,

We made a sequel to it, which as so often happens,

did nicely, not as well as the first,

did nicely, not as well as the first,

but it was a nice sort of two-picture run.

but it was a nice sort of two-picture run.

(baby crying) (gentle music)

(baby crying) (gentle music)

- Shh, it's okay.

Everything's gonna be all right.

Everything's gonna be all right.

(upbeat music)

(upbeat music)

- Starting in the late 1980s,

- Starting in the late 1980s,

I began to see a slight diminishing of the market

I began to see a slight diminishing of the market

for low budget films and theatrical.

for low budget films and theatrical.

We were still doing well, but I could sense

We were still doing well, but I could sense

that this was going to slip a little bit.

that this was going to slip a little bit.

And I read a review of the novel "Watchers" by Dean Koontz

And I read a review of the novel "Watchers" by Dean Koontz

And I read a review of the novel "Watchers" by Dean Koontz

and it went to, I think it went to number one

and it went to, I think it went to number one

on the New York Times Best Seller list.

on the New York Times Best Seller list.

I thought, well maybe a possible solution

I thought, well maybe a possible solution

to this beginning of a slide is to spend

to this beginning of a slide is to spend

a little more money and do something

a little more money and do something

I had never ever done before, to buy a best seller.

I had never ever done before, to buy a best seller.

So I bought "Watchers," putting up more money

So I bought "Watchers," putting up more money

than I had ever put up before.

than I had ever put up before.

I was a little bit worried about that,

but it seemed a good experiment.

but it seemed a good experiment.

Well, the experiment turned out to be

Well, the experiment turned out to be

even better than I thought.

even better than I thought.

Carolco, which was a bigger independent company,

Carolco, which was a bigger independent company,

wanted "Watchers" and when they tried to buy it

wanted "Watchers" and when they tried to buy it

they found out that I had bought it.

they found out that I had bought it.

They came to me and offered me a huge profit

They came to me and offered me a huge profit

to make "Watchers."

to make "Watchers."

I said okay, but I'll give you the rights

I said okay, but I'll give you the rights

just to make one "Watchers."

just to make one "Watchers."

(machine whirring)

(machine whirring)

- Jesus.

(creature growls) (Carolyn screams)

(creature growls) (Carolyn screams)

- Carolyn!

(dramatic music)

Carolyn!

(Carolyn screaming) Get you out.

(Carolyn screaming) Get you out.

Carolyn!

(man screams)

(creature grumbles)

(man screams)

(man screams)

(bones crunching)

(bones crunching)

- [Roger] They made it as a Canadian co-production

- [Roger] They made it as a Canadian co-production

and to take advantage of the Canadian tax subsidy

and to take advantage of the Canadian tax subsidy

and everything, and I went along as co-producer.

and everything, and I went along as co-producer.

But I didn't have that much to do with it.

But I didn't have that much to do with it.

And the film was successful, but I felt

And the film was successful, but I felt

they had changed it too much and hurt it,

they had changed it too much and hurt it,

and had departed from the original.

and had departed from the original.

So I decided, since I own the rights,

to do "Watchers II" and make a film

to do "Watchers II" and make a film

that was more faithful to the original.

that was more faithful to the original.

(dramatic music)

(dramatic music)

(creature growling) (dog barking)

(creature growling) (dog barking)

(creature growling) (dog barking)

I chose Thierry Notz who had directed "The Terror Within"

I chose Thierry Notz who had directed "The Terror Within"

to direct the film simply because he had directed

to direct the film simply because he had directed

his first film for me.

It was a good picture, he was a good director.

It was a good picture, he was a good director.

- What was that thing back there, huh?

- What was that thing back there, huh?

What was it?

(dog barks)

Look at me, I'm talkin' to a Golden Retriever.

- It had to do with a military experiment

- It had to do with a military experiment

- It had to do with a military experiment

of two entities, two creatures.

One, a Golden Retriever who had

One, a Golden Retriever who had

One, a Golden Retriever who had

become super intelligent through this experimentation.

become super intelligent through this experimentation.

- Don't tell me.

They're all white?

They're all white?

(dog barking)

(dog barking)

They're all white?

(dog barking)

(dog barking)

You want me to call somebody named White?

You want me to call somebody named White?

(dog barking)

Maybe I oughta call the men in white suits.

Maybe I oughta call the men in white suits.

- [Roger] The other, an assassin monster trained

- [Roger] The other, an assassin monster trained

to kill on the battlefield.

to kill on the battlefield.

And the story is the escape of both creatures

And the story is the escape of both creatures

and the attempt of the monster to kill the Golden Retriever,

and the attempt of the monster to kill the Golden Retriever,

which is really good.

which is really good.

So, we went back to that on "Watchers II."

So, we went back to that on "Watchers II."

(suspenseful music)

(suspenseful music)

(crickets chirping)

(creature growls) (woman gasps)

(creature growls) (woman gasps)

(dramatic music)

(dramatic music)

I chose Marc Singer and Tracy Scoggins

I chose Marc Singer and Tracy Scoggins

for the two leads who become involved

for the two leads who become involved

with the Golden Retriever.

They were perfect.

They were perfect.

They were both excellent actors.

They were both excellent actors.

Tracy was a very beautiful woman,

Tracy was a very beautiful woman,

and they had a chemistry that worked together

and they had a chemistry that worked together

between them and with the Golden Retriever.

between them and with the Golden Retriever.

So the film came together really very nicely.

(dog barking)

(dog barking)

- Relax, pal, we're almost there.

- Relax, pal, we're almost there.

- I'm afraid that's the problem.

- And it was a big success for us,

- And it was a big success for us,

and we even got a very nice letter from Dean Koontz

and we even got a very nice letter from Dean Koontz

thanking us for going back to the original story

thanking us for going back to the original story

and not distorting it as "Watchers" one had done.

and not distorting it as "Watchers" one had done.

and not distorting it as "Watchers" one had done.

(gun firing) (creature grumbling)

(gun firing) (creature grumbling)

(gun firing) (creature grumbling)

(explosion booms)

(fire crackling)

(fire crackling)

"Watchers II" was so successful that I went for a sequel.

"Watchers II" was so successful that I went for a sequel.

I did two more "Watchers"

and then I stopped for two reasons.

and then I stopped for two reasons.

In any cycle or movement like that,

In any cycle or movement like that,

you'll have a big success at the beginning,

you'll have a big success at the beginning,

the second one will be successful but not quite

the second one will be successful but not quite

as successful, and you'll see a slightly decline

as successful, and you'll see a slightly decline

on each one, and that happened here

on each one, and that happened here

by the time we got to "Watchers IV."

by the time we got to "Watchers IV."

Plus there was something else.

I had to make each picture somewhat different

I had to make each picture somewhat different

from the picture before, so I felt we were beginning

from the picture before, so I felt we were beginning

to fall into the same trap, if you wanna call it,

to fall into the same trap, if you wanna call it,

to fall into the same trap, if you wanna call it,

for us it was a trap.

For Carolco it was a decision.

For Carolco it was a decision.

But we were falling into a situation

But we were falling into a situation

where we were departing too far

where we were departing too far

from the original novel trying to make each version

from the original novel trying to make each version

a little bit different.

And I felt for that reason I'd had solid success three times

And I felt for that reason I'd had solid success three times

And I felt for that reason I'd had solid success three times

and I thought, good, walk away, do something else.

and I thought, good, walk away, do something else.

(somber music)

(somber music)

(upbeat music)

(Cassie sighs)

(suspenseful music)

(suspenseful music)

(Cassie grunts)

(Cassie grunts)

"Attack of the 50 Foot Cheerleader" was brought to us

"Attack of the 50 Foot Cheerleader" was brought to us

by Epix who wanted me to make the film

by Epix who wanted me to make the film

in 3-D for them because of a connection

in 3-D for them because of a connection

with a film in the 1950s, "Attack of the 50 Foot Woman."

with a film in the 1950s, "Attack of the 50 Foot Woman."

with a film in the 1950s, "Attack of the 50 Foot Woman."

My connection was actually rather tenuous.

My connection was actually rather tenuous.

I helped Bernie Woolner who produced the film.

I helped Bernie Woolner who produced the film.

It was his first film so I helped him on the film,

but my only real contribution was on the ad.

but my only real contribution was on the ad.

He wanted it to be the sexy,

and the Motion Picture Association kept turning down

and the Motion Picture Association kept turning down

all of his ads, and he knew that I was working

all of his ads, and he knew that I was working

on Freudian theories.

on Freudian theories.

He said, "Roger, can you design an ad that will be sexy

He said, "Roger, can you design an ad that will be sexy

"but will be acceptable to the Motion Picture Association?"

"but will be acceptable to the Motion Picture Association?"

"but will be acceptable to the Motion Picture Association?"

So I sketched out on a piece of paper

this giant woman standing over a freeway,

this giant woman standing over a freeway,

this giant woman standing over a freeway,

and the freeway is shooting up between her legs

and the freeway is shooting up between her legs

and the cars are driving straight up the freeway

and the cars are driving straight up the freeway

and the cars are driving straight up the freeway

to her parts.

The MPA passed it without question

The MPA passed it without question

and the ad actually became in a weird way famous.

and the ad actually became in a weird way famous.

and the ad actually became in a weird way famous.

It's in the collection of The Museum of Modern Art

and among their postcards, it's one of their best sellers.

and among their postcards, it's one of their best sellers.

and among their postcards, it's one of their best sellers.

So anyway, Epix somehow got confused as to what

So anyway, Epix somehow got confused as to what

my real connection with the picture was

my real connection with the picture was

and they came to me and asked me

to do "Attack of the 50 Foot Cheerleader."

to do "Attack of the 50 Foot Cheerleader."

- Professor, you know that.

- Professor, you know that.

- What's the school afraid of,

that I'm gonna use the F word or maybe

that I'm gonna use the F word or maybe

show one of the coeds my stimulus package?

show one of the coeds my stimulus package?

- I find your crass attempt at humor very unprofessional.

- I find your crass attempt at humor very unprofessional.

Watch yourself, Professor White.

Watch yourself, Professor White.

I'm gonna have my eye on you.

I'm gonna have my eye on you.

- I've got my eyes on you.

- [Roger] I played a role

in "Attack of the 50 Foot Cheerleader"

in "Attack of the 50 Foot Cheerleader"

but it was so small it was really a glorified extra.

but it was so small it was really a glorified extra.

I was making notes in the teacher's lecture hall

I was making notes in the teacher's lecture hall

I was making notes in the teacher's lecture hall

where John Landis was playing the professor.

where John Landis was playing the professor.

(stomach gurgles)

- Okay, that one hurt.

- Whoa, Cass are you okay?

- So, I trust everyone has read their assignment.

- So, I trust everyone has read their assignment.

John Maynard Keynes.

John Maynard Keynes.

Keynes' argument that "inadequate aggregate demand

Keynes' argument that "inadequate aggregate demand

"could lead to extended periods of unemployment."

"could lead to extended periods of unemployment."

Keynes also said.

(Cassie cries out) (material rips)

(Cassie cries out) (material rips)

(suspenseful music)

(suspenseful music)

Son of a whore!

Ow, ow, ow, ow! (students laughing)

Ow, ow, ow, ow! (students laughing)

Didn't hurt.

- [Roger] From the beginning, we wanted it to be

- [Roger] From the beginning, we wanted it to be

a science fiction, wild comedy,

a science fiction, wild comedy,

R-rated. - I'm fine.

- [Roger] And Epix wanted it in 3-D.

- [Roger] And Epix wanted it in 3-D.

- Okay, no you're not. - And that was the reason

- Okay, no you're not. - And that was the reason

I chose Kevin O'Neill as the director

I chose Kevin O'Neill as the director

because he had done some directing,

because he had done some directing,

but also he was a specialist in special effects

but also he was a specialist in special effects

and had worked in 3-D. - Hey, Kyle.

and had worked in 3-D. - Hey, Kyle.

(suspenseful music)

(suspenseful music)

- Kyle, let me explain.

- Kyle, let me explain.

- [Roger] My wife, Julie, worked with me on the film

- [Roger] My wife, Julie, worked with me on the film

and she probably had a little more to do

and she probably had a little more to do

with the casting than I did.

But it was jointly Julie, Kevin, and me casting the leads

But it was jointly Julie, Kevin, and me casting the leads

But it was jointly Julie, Kevin, and me casting the leads

and then Julie and Kevin went on to cast the other roles.

and then Julie and Kevin went on to cast the other roles.

and then Julie and Kevin went on to cast the other roles.

- Okay, okay, when I said take charge,

this is not what I was talkin' about, not,

this is not what I was talkin' about, not,

you're getting bigger.

Why are you getting bigger?

Why are you getting bigger?

- [Roger] There were no real problems in the editing.

- [Roger] There were no real problems in the editing.

I felt that the first director's cut

I felt that the first director's cut

was a little bit long.

Having directed something like 60 films myself,

Having directed something like 60 films myself,

I know there's a tendency for the director to say,

I know there's a tendency for the director to say,

"It took me three hours to get that shot.

"It took me three hours to get that shot.

"You're telling me I'm gonna have to cut this shot

"You're telling me I'm gonna have to cut this shot

"out of the picture?

"I want it in there."

"I want it in there."

And there were a few places where I felt

it was a little bit too slow, so I urged Kevin,

it was a little bit too slow, so I urged Kevin,

it was a little bit too slow, so I urged Kevin,

and we're all friendly, picture a little bit.

and we're all friendly, picture a little bit.

- [Announcer] Counter bitch-slap.

Bitch-slap.

Counter bitch-slap.

Counter bitch-slap.

(audience cheers)

(audience cheers)

- That was a low blow.

(girls grunt)

(girls grunt)

(audience cheers)

- [Announcer] Oh, that hurt.

(girls giggling)

(girls giggling)

- No, that was--

- [Roger] I thought the 3-D added to the film

as a matter of fact in some of the topless scenes.

- Oh! (fabric ripping)

- Oh! (fabric ripping)

- It might've had an uplifting effect.

- It might've had an uplifting effect.

(upbeat music)

(upbeat music)

(soft ominous music)

(soft ominous music)

"Piranha" was actually brought to us

by a Japanese actress who had become a producer,

by a Japanese actress who had become a producer,

by a Japanese actress who had become a producer,

Chako Van Leeuwen.

She had a script called "Piranha" and half the money.

She had a script called "Piranha" and half the money.

And she wanted us to put up the other half

And she wanted us to put up the other half

of the money and distribute the picture.

of the money and distribute the picture.

"Jaws" had come out a few years earlier.

"Jaws" had come out a few years earlier.

"Piranha" seemed a good bet for us.

"Piranha" seemed a good bet for us.

The deal was very good.

The deal was very good.

There was only one flaw.

There was only one flaw.

Choko loved the script, but it was a really bad script.

Choko loved the script, but it was a really bad script.

So I said to Chako, "Yes, we'll make the deal,

So I said to Chako, "Yes, we'll make the deal,

"but I'll set this up, and I wanna

"but I'll set this up, and I wanna

"do some work on the script."

"do some work on the script."

What I really did was hire John Sayles,

What I really did was hire John Sayles,

who I think it was his first script.

Our story editor, Frances Dole,

Our story editor, Frances Dole,

had read a short story of his, and recommended him.

had read a short story of his, and recommended him.

I read the story and hired John,

I read the story and hired John,

and I said, "John, you can look at the script

and I said, "John, you can look at the script

"if you want to, but don't bother.

"if you want to, but don't bother.

"I'm looking for a totally original story."

"I'm looking for a totally original story."

And John wrote a really excellent script.

And John wrote a really excellent script.

And one of the good things about it,

it was a horror script, but it had a lot of humor in it.

it was a horror script, but it had a lot of humor in it.

it was a horror script, but it had a lot of humor in it.

- There's not a word of truth to it, believe me.

We already talked to the other newspapers about it.

- Sir.

- Sir.

- Excuse me, I'm on the phone.

- To the piranhas.

- To the piranhas.

- I thought I told ya not even to say that word!

- But the piranhas.

- What about the goddamn piranhas?

- What about the goddamn piranhas?

- They're eating the guests, sir.

- I chose Joe Dante to direct it because he

- I chose Joe Dante to direct it because he

had co-directed with Allan Arkush

had co-directed with Allan Arkush

a low-budget comedy horror film

a low-budget comedy horror film

called "Hollywood Boulevard."

"Hollywood Boulevard, the street where starlets are made."

"Hollywood Boulevard, the street where starlets are made."

And I knew Joe could, he was the head

And I knew Joe could, he was the head

of our trailer department as an editor.

of our trailer department as an editor.

I knew Joe could bring the picture off

I knew Joe could bring the picture off

with the horror I was looking for, and with the comedy.

with the horror I was looking for, and with the comedy.

(dramatic music)

(dramatic music)

Another of our ace assistants, was John Davidson,

Another of our ace assistants, was John Davidson,

and I had John really take charge of the actual production.

and I had John really take charge of the actual production.

and I had John really take charge of the actual production.

And I remember for the underwater work,

And I remember for the underwater work,

which is very difficult, I remembered

at the University of Southern California,

at the University of Southern California,

they had an Olympic-size swimming pool

they had an Olympic-size swimming pool

with a glass section on one side

with a glass section on one side

so that you could photograph into it.

so that you could photograph into it.

So, I said we'll shoot the deadly piranha scenes at SC,

So, I said we'll shoot the deadly piranha scenes at SC,

So, I said we'll shoot the deadly piranha scenes at SC,

which we did, which we didn't really think about.

which we did, which we didn't really think about.

We filled the pool with artificial blood.

We filled the pool with artificial blood.

We filled the pool with artificial blood.

So when we left, SC was stuck with a red swimming pool,

So when we left, SC was stuck with a red swimming pool,

and I think for several years they refused

to let any other company shoot in that pool.

to let any other company shoot in that pool.

- Speed up.

- Speed up.

- [Roger] It's interesting that I think a couple of years

after this, Steven Spielberg was talking

after this, Steven Spielberg was talking

about the various films he'd made,

about the various films he'd made,

and he mentioned that after "Jaws"

and he mentioned that after "Jaws"

there had been so many underwater pictures,

and that the best of 'em was "Piranha."

and that the best of 'em was "Piranha."

and that the best of 'em was "Piranha."

(explosion booms)

(dramatic music)

(dramatic music)

The film was not only successful,

The film was not only successful,

it was incredibly successful,

and I think it was due to the fact

and I think it was due to the fact

that it was really just so well made.

that it was really just so well made.

(upbeat music) (beach goers chattering)

(upbeat music) (beach goers chattering)

(upbeat music) (beach goers chattering)

(woman screaming)

(woman screaming)

(man screaming)

(man screaming)

- Catch it, Grandpa!

- Catch it, Grandpa!

- I do remember one thing in the editing

- I do remember one thing in the editing

which was so unusual because it was an R-rated film.

which was so unusual because it was an R-rated film.

If we had an R-rated film, we always put

a little bit of nudity into it.

a little bit of nudity into it.

And it had scenes of nudity just briefly here and there.

And it had scenes of nudity just briefly here and there.

And in the final attack of the piranha,

And in the final attack of the piranha,

there was one scene of nudity, and the attack

there was one scene of nudity, and the attack

there was one scene of nudity, and the attack

was going so well and looked so good,

was going so well and looked so good,

it seemed to me that the nudity,

this one shot was extraneous, that it took your mind away

from the horror of the attack.

from the horror of the attack.

So I said to Joe, "Let's take the nude scene out."

So I said to Joe, "Let's take the nude scene out."

And I remember Joe laughed and he said,

And I remember Joe laughed and he said,

"Roger, I can't believe you're saying that,"

"Roger, I can't believe you're saying that,"

but we took the scene out.

(upbeat music)

(upbeat music)

- Stop that!

- Stop what?

- Your hand, take it outta the water.

- Your hand, take it outta the water.

(ominous music)

(ominous music)

- It speaks.

- What's wrong with the water?

- Excuse me, what's your name?

- Excuse me, what's your name?

- Dr. Leticia Baines.

- Dr. Leticia Baines.

- What's wrong with the water?

- What's wrong with the water?

- It's full of carnivorous fish, piranha.

- It's full of carnivorous fish, piranha.

- [Roger] Chako van Leeuwen,

although she was a novice producer,

although she was a novice producer,

was bright enough so that she arranged

was bright enough so that she arranged

each time she made a co-production

each time she made a co-production

to give only the rights to that one picture

to give only the rights to that one picture

to whoever she was making the picture with

to whoever she was making the picture with

so that she retained the rights.

so that she retained the rights.

She remade it with various companies two or three times,

She remade it with various companies two or three times,

and each time she felt they had done badly.

and each time she felt they had done badly.

Matter of fact, she eventually became rather bitter

Matter of fact, she eventually became rather bitter

about the last version, so she came to us in the 1990s

about the last version, so she came to us in the 1990s

and she said, "Roger, we were so successful

"with the first one, let us get together and make one more."

"with the first one, let us get together and make one more."

"with the first one, let us get together and make one more."

- Jesus.

Look at the size of these teeth.

Look at the size of these teeth.

- Choko, Scott, and I worked together

on the casting of the leads, which were Alexandra Paul,

on the casting of the leads, which were Alexandra Paul,

William Katt, and Mila Kunis in one of her first films.

William Katt, and Mila Kunis in one of her first films.

William Katt, and Mila Kunis in one of her first films.

(suspenseful music)

(fish screeching)

(fish screeching)

This was a completely original and different version.

This was a completely original and different version.

We did take some of the special effects

We did take some of the special effects

of the killing scenes with the piranha from the original

of the killing scenes with the piranha from the original

because they were so good.

because they were so good.

(fish screeching)

(fish screeching)

(explosion booms)

(explosion booms)

(dramatic music)

I was a little surprised when Chako came back to us

I was a little surprised when Chako came back to us

after 20 years or so.

after 20 years or so.

I have no idea how many "Piranha"s were made.

I have no idea how many "Piranha"s were made.

I was involved with two of 'em.

I was involved with two of 'em.

I think Chako will probably make a lifetime career

I think Chako will probably make a lifetime career

of remaking "Piranha" every couple of years.

of remaking "Piranha" every couple of years.

- And where do we go from here, Dr. Mengers?

- And where do we go from here, Dr. Mengers?

- Well, I'm personally going to head

a full-scale investigation into this incident,

a full-scale investigation into this incident,

both to discover who is responsible,

both to discover who is responsible,

and to make absolutely certain that nothing like this

could possibly happen again.

could possibly happen again.

- As an expert in tropical species, what danger is there

in the possibility of the piranha reaching the ocean?

in the possibility of the piranha reaching the ocean?

- Oh, none at all.

- Oh, none at all.

Most of them will have been destroyed by pollution

at the end of the lake.

at the end of the lake.

Of course if any of them did get through

there's no way could survive the salt water.

There's nothing left to fear.

There's nothing left to fear.

(upbeat music)

(upbeat music)

[END CREDITS]

[END CREDITS]