Original subtitles

(funky music)

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

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

with you some great moments and memories

with you some great moments and memories

of many of my films.

I think monster movies are just the latest manifestation

of humans fascination with and fear of monsters.

of humans fascination with and fear of monsters.

of humans fascination with and fear of monsters.

(dramatic music)

(screams)

(screams)

(growls)

(growls)

- Get back here.

(bangs)

(bangs)

- I think when we were just climbing out

- I think when we were just climbing out

of the trees and climbing down and walking

of the trees and climbing down and walking

on two legs, we were aware that there were bigger,

on two legs, we were aware that there were bigger,

tougher animals and we were in danger from these.

tougher animals and we were in danger from these.

tougher animals and we were in danger from these.

These animals, mammoths, whatever,

could be called monsters, and I think there's something

could be called monsters, and I think there's something

within, I don't think it's genetic,

within, I don't think it's genetic,

I think it's learned and passed down,

I think it's learned and passed down,

there's a fear of these monsters.

there's a fear of these monsters.

(growls)

And also a certain fascination with them.

And I think motion pictures are a way

And I think motion pictures are a way

to show that visually which is a jump from the way

to show that visually which is a jump from the way

to show that visually which is a jump from the way

they were portrayed previously.

(funky music)

(dramatic music)

And independent producer who was friend of mine,

And independent producer who was friend of mine,

Marty Cohen actually had the idea

Marty Cohen actually had the idea

for Humanoids of the Deep.

for Humanoids of the Deep.

(dramatic music)

(dramatic music)

He had written a treatment

and he had half the money.

and he had half the money.

And he came to me as a couple of other people

at various times have done

at various times have done

and said let's produce this together,

and said let's produce this together,

you put up the other half of the money

and New World will distribute it.

and New World will distribute it.

(marching music)

(marching music)

The budget was a little bit higher

The budget was a little bit higher

than most of our films because Marty put up half of it

than most of our films because Marty put up half of it

and I put up half of it.

And our combined money led us to make

And our combined money led us to make

a slightly bigger film.

a slightly bigger film.

I chose Barbara Peters to direct the film

I chose Barbara Peters to direct the film

because she had directed a previous film for me

because she had directed a previous film for me

and I thought she was very good.

And once more I brought a French cameraman

And once more I brought a French cameraman

And once more I brought a French cameraman

to the United States.

Because we were working independently

Because we were working independently

and I wasn't that enamored of most

and I wasn't that enamored of most

of the independent cameramen.

I brought Daniel LeCarm and Nestor Almendras

I brought Daniel LeCarm and Nestor Almendras

and I think Patrice Bougray from France here

and I think Patrice Bougray from France here

and I think Patrice Bougray from France here

because they were very good.

(dramatic music)

(dramatic music)

(screams)

(bangs)

(bangs)

(bangs)

(bangs)

(screams)

(screams)

(bangs)

(shrieks)

(shrieks)

(bangs)

(shrieks)

(shrieks)

Everything went very well except one thing,

Everything went very well except one thing,

before shooting in Mendocino which is a town,

before shooting in Mendocino which is a town,

a coastal town in Northern California,

a coastal town in Northern California,

I said to Barbara, my last words

I said to Barbara, my last words

before she went North is, remember Barbara

before she went North is, remember Barbara

the creatures kill the men and rape the women, got it?

the creatures kill the men and rape the women, got it?

the creatures kill the men and rape the women, got it?

She said, yes, the creatures kill the men

and rape the women.

and rape the women.

She shot the killing of the men in the most gory

She shot the killing of the men in the most gory

She shot the killing of the men in the most gory

bloody, way you could possibly think of.

bloody, way you could possibly think of.

The raping of the women, were movements of shadows on rocks.

The raping of the women, were movements of shadows on rocks.

(screams)

- Jerry,

Jerry,

come on Jerry.

Jerry.

(screams)

(dramatic music)

(dramatic music)

(screams)

(screams)

(Screams)

(Screams)

- And I said, Barbara, what is in your mind,

I kind of know what's in your mind

I kind of know what's in your mind

but why is the killing of the men

but why is the killing of the men

so bloody and all we see are shadows for the raping

so bloody and all we see are shadows for the raping

of the women?

of the women?

She said, I thought it would be more artistic that way.

She said, I thought it would be more artistic that way.

And I said, well I don't think so.

And I hired Jim Spartalotti who'd been an assistant director

And I hired Jim Spartalotti who'd been an assistant director

And I hired Jim Spartalotti who'd been an assistant director

on it to go out and really shoot the raping of the women.

on it to go out and really shoot the raping of the women.

(Screams)

(Screams)

From the beginning, we knew we didn't want to go back

From the beginning, we knew we didn't want to go back

From the beginning, we knew we didn't want to go back

to atomic experiments.

So, I'd forgotten whether it was Marty or me,

So, I'd forgotten whether it was Marty or me,

but between us we came up with the idea

but between us we came up with the idea

of bioengineering genetic experiments,

of bioengineering genetic experiments,

of bioengineering genetic experiments,

that led us unto environmentalism,

that led us unto environmentalism,

led us into the concept of organic foods,

led us into the concept of organic foods,

and concepts that were pure and not adulterated.

and concepts that were pure and not adulterated.

(dramatic music)

- What the hell are these things anyway?

- What the hell are these things anyway?

- (sighs)

First, as far as I can tell,

First, as far as I can tell,

the species has only just appeared.

the species has only just appeared.

(bangs)

(screams)

(screams)

(booms)

(booms)

(screams)

- The film was well received

and was a solid commercial success

and was a solid commercial success

more than a solid commercial success,

more than a solid commercial success,

a really solid commercial success.

a really solid commercial success.

(screams)

(screams)

(Screams)

(Screams)

As to the different scenes,

the entire ending which was shot by Barbara,

the entire ending which was shot by Barbara,

not by Jim, the whole ending was when the creatures

not by Jim, the whole ending was when the creatures

break into a town fair on the waterfront

break into a town fair on the waterfront

break into a town fair on the waterfront

and the destruction of the town fair,

I thought Barbara really did an excellent job

I thought Barbara really did an excellent job

I thought Barbara really did an excellent job

with that sequence.

(screams)

(screams)

(screams)

(screams)

Marty's original title was Beneath the Darkness

Marty's original title was Beneath the Darkness

and I said to Marty, I don't think

this is a commercial title

this is a commercial title

let me see what I can come up with

and I just sort of searched around

and I just sort of searched around

and came up with Humanoids from the Deep.

and came up with Humanoids from the Deep.

- Oh God!

- Oh God!

(bangs) (screams)

(bangs) (screams)

(bangs) (screams)

(bangs)

(screams)

(screams)

(upbeat music)

(upbeat music)

- I'd made various types of genre films

- I'd made various types of genre films

and I thought I'd like to make a monster film.

So I really just started with the title,

So I really just started with the title,

I just played around, what kind of monster?

I just played around, what kind of monster?

One thing and another and I came up with,

One thing and another and I came up with,

Attack of the Crab Monsters.

(dramatic music)

(dramatic music)

(screams)

(screams)

Chuck Griffith who's a good friend of mine

Chuck Griffith who's a good friend of mine

and sort of a regular writer who worked with me

and sort of a regular writer who worked with me

quite a bit and I worked out the basic storyline

quite a bit and I worked out the basic storyline

and I remember saying to him, that the people come

and I remember saying to him, that the people come

to the theater to see the monster.

to the theater to see the monster.

(growls) (dramatic music)

(growls) (dramatic music)

(growls) (dramatic music)

- Get back here!

(bangs)

(booms)

(booms)

(bangs)

(bangs)

(growls)

(growls)

(bangs)

(bangs)

(booms)

- Is it possible to write a script in which every scene

- Is it possible to write a script in which every scene

- Is it possible to write a script in which every scene

either ends with some sort of shock

either ends with some sort of shock

or the suspense, the foreboding of a shock,

or the suspense, the foreboding of a shock,

- [Sailor] Well get him up.

- I see him, he's on the bottom.

- I see him, he's on the bottom.

(dramatic music)

(dramatic music)

(yells)

- Chuck did that, I think that was one of the reasons

- Chuck did that, I think that was one of the reasons

that the picture was so successful.

There was always something to draw you forward

There was always something to draw you forward

There was always something to draw you forward

there was never just a dialogue scene,

there was never just a dialogue scene,

there was a dialogue scene with a kicker at the end.

there was a dialogue scene with a kicker at the end.

- We are unquestionably on the brink of a great discovery.

- We are unquestionably on the brink of a great discovery.

It is not likely that that discovery

will be of a pleasant nature.

will be of a pleasant nature.

- The crab monsters of course,

we're created by and atomic experiments

we're created by and atomic experiments

we're created by and atomic experiments

always seemed to create some sort of a monster.

always seemed to create some sort of a monster.

- Molecular structure of these crab is entirely destructed.

- Molecular structure of these crab is entirely destructed.

There is no cohesion between the atoms.

There is no cohesion between the atoms.

- I don't understand.

- I don't understand.

- Nor do I.

Apparently we have one of those biological freaks

Apparently we have one of those biological freaks

resulting from an overdose of radiation poisoning.

resulting from an overdose of radiation poisoning.

- Chuck Griffith wrote more underwater scenes

- Chuck Griffith wrote more underwater scenes

in the script than I'd anticipated

and I thought, I may have a problem

and I thought, I may have a problem

in shooting all of this under water stuff.

in shooting all of this under water stuff.

And Chuck came to me before shooting

And Chuck came to me before shooting

he said, let me have the crew and a hundred dollars,

and I'll shoot all the underwater scenes

and I'll shoot all the underwater scenes

and I'll shoot all the underwater scenes

and it was his idea and it was really a good idea,

and it was his idea and it was really a good idea,

there was a park at the time, it's no longer there,

there was a park at the time, it's no longer there,

called Marine Land which had the, let's just say,

called Marine Land which had the, let's just say,

many fish and different aquatic creatures

many fish and different aquatic creatures

swimming in it and there was a room where the glass wall

swimming in it and there was a room where the glass wall

swimming in it and there was a room where the glass wall

where you could see into the ocean

where you could see into the ocean

so rather than doing what everybody else did

and going into the ocean and getting a,

and going into the ocean and getting a,

spending a lot of money, we just set up the camera

spending a lot of money, we just set up the camera

in that room and shot through the glass wall.

in that room and shot through the glass wall.

in that room and shot through the glass wall.

And actually the result was very good

I was very pleased with this.

I was very pleased with this.

(booms)

(booms)

70,000 dollars was the budget

which sounds like a small amount of money,

which sounds like a small amount of money,

to me that was a slight increase

to me that was a slight increase

from where I had started.

from where I had started.

I think my first film cost about 30,000

I think my first film cost about 30,000

and that was working my way up.

The picture was shot in 10 days on natural locations

The picture was shot in 10 days on natural locations

including a couple of places I went to quite frequently,

including a couple of places I went to quite frequently,

including a couple of places I went to quite frequently,

Bronson Canyon and Cabrio Beach.

Bronson Canyon and Cabrio Beach.

And the monster, I went to a person who made floats

And the monster, I went to a person who made floats

And the monster, I went to a person who made floats

for the Rose Bowl and I figured he knows how

for the Rose Bowl and I figured he knows how

to create all of these things, I can't,

to create all of these things, I can't,

afford Hollywood special effects, this is not a season

afford Hollywood special effects, this is not a season

where he's working on anything for the Rose Bowl,

so he created out of plastic, this giant crab monster.

so he created out of plastic, this giant crab monster.

so he created out of plastic, this giant crab monster.

And I remember, you talk about subtle directing,

And I remember, you talk about subtle directing,

here's an example of the subtle directing

here's an example of the subtle directing

on Attack of the Crab Monsters,

we're at Cabrio Beach, the monster is crawling

we're at Cabrio Beach, the monster is crawling

over the rocks with the ocean crashing against the rocks

over the rocks with the ocean crashing against the rocks

over the rocks with the ocean crashing against the rocks

and after take one I said, fellas I can see your feet

and after take one I said, fellas I can see your feet

under the monster, hold the monster lower.

under the monster, hold the monster lower.

You start every film with the highest of expectations.

You start every film with the highest of expectations.

You start every film with the highest of expectations.

You don't always reach those expectations,

You don't always reach those expectations,

but this was a film, despite the low budget

but this was a film, despite the low budget

and I don't say in any way it's a great film

or anything like that, but everything came together,

or anything like that, but everything came together,

the title was right, the actors were very good,

the title was right, the actors were very good,

Chuck wrote a good script, I did the best I could

Chuck wrote a good script, I did the best I could

Chuck wrote a good script, I did the best I could

as a director we had the good underwater shooting

as a director we had the good underwater shooting

and everything worked, it was a film

in which there were no real problems.

in which there were no real problems.

(dramatic music) (growls)

(dramatic music) (growls)

(dramatic music) (growls)

(sizzles)

- Max!

- Max!

He gave his life.

- I know.

(upbeat music)

- Night of the Cobra Woman was one of the first films

- Night of the Cobra Woman was one of the first films

I shot in the Philippines and one of the first films

I shot in the Philippines and one of the first films

for New World pictures.

I had very little money at that time,

I had very little money at that time,

I think I had 35 or 40,000 dollars.

I think I had 35 or 40,000 dollars.

And a young writer, director came to me

And a young writer, director came to me

with the idea and it seemed good

with the idea and it seemed good

so I hired him, sent the writer with I think

so I hired him, sent the writer with I think

three or four actors to the Philippines

three or four actors to the Philippines

to make the film.

(screams)

(dramatic music)

(dramatic music)

It didn't turn out quite as well as I expected,

It didn't turn out quite as well as I expected,

It didn't turn out quite as well as I expected,

the director was inexperienced,

there were some problems in the Philippines.

there were some problems in the Philippines.

The main things I remember about the film

The main things I remember about the film

were the name of the leading lady was Joy Bang,

were the name of the leading lady was Joy Bang,

were the name of the leading lady was Joy Bang,

and I thought that's really a great name

for a leading lady, I wonder where she came up with that?

for a leading lady, I wonder where she came up with that?

(shrieks)

(shrieks)

(moans)

(moans)

(cries)

(cries)

- Well-veanie,

think not of revenge,

incline to me only the power to return to you.

incline to me only the power to return to you.

(pants)

It's all right Joanna, but you gotta go now.

It's all right Joanna, but you gotta go now.

- The other thing I remember was the poster,

- The other thing I remember was the poster,

I had my usual overachieving staff,

I had my usual overachieving staff,

I had a young girl who was a Phi Beta Kappa

I had a young girl who was a Phi Beta Kappa

from UCLA, and I told her I wanted something

from UCLA, and I told her I wanted something

that would be sort of sexy but have the cobra in it.

that would be sort of sexy but have the cobra in it.

And she came up with something where the cobra

And she came up with something where the cobra

is sort of slithering towards the girls mouth,

is sort of slithering towards the girls mouth,

is sort of slithering towards the girls mouth,

in a very suggestive way.

in a very suggestive way.

And I thought, is this what they're teaching

at UCLA and this is what their honor students,

at UCLA and this is what their honor students,

a young girl is coming up with?

a young girl is coming up with?

And she said, well think about how many paintings

And she said, well think about how many paintings

of women with swans, I just took the idea of the swan

of women with swans, I just took the idea of the swan

and switched it to the cobra.

and switched it to the cobra.

So I said, okay, and that became the ad,

so the picture kind of broke even

so the picture kind of broke even

and I think it was mainly

because of the poster she designed.

because of the poster she designed.

Once we had that poster,

Once we had that poster,

we decided to go all the way,

we just went tongue and cheek and as wild as we could get

we just went tongue and cheek and as wild as we could get

and I think Cinerama was big, Spectravision was very big

and I think Cinerama was big, Spectravision was very big

and I think Cinerama was big, Spectravision was very big

and we advertised the film had been shot in Slitherama.

and we advertised the film had been shot in Slitherama.

(dramatic music)

(dramatic music)

(ethereal music)

(ethereal music)

(shouts)

(shouts)

(upbeat music)

(upbeat music)

(dramatic music)

(dramatic music)

- You don't want to acknowledge the legends of Akua, do you?

- You don't want to acknowledge the legends of Akua, do you?

- Oh come on, wake up, you're not serious about that?

- Oh come on, wake up, you're not serious about that?

The beast, that's hokum.

- You know you could do yourself a favor as a cop.

- You know you could do yourself a favor as a cop.

- What's that?

- Learn the difference between myth and superstition.

- Learn the difference between myth and superstition.

- Oh yeah.

That is myth with a capital M, right?

That is myth with a capital M, right?

- Sometimes it contains the truth.

- Demon In Paradise was one of those films we shot quickly

- Demon In Paradise was one of those films we shot quickly

to fill our distribution schedule,

it turned out quite well, it was directed by Syrio Santiago.

it turned out quite well, it was directed by Syrio Santiago.

it turned out quite well, it was directed by Syrio Santiago.

(splashes)

- What was that?

(growls)

(growls)

(screams)

- As a matter of fact, it's an example

- As a matter of fact, it's an example

of how we promoted from within,

of how we promoted from within,

in production within our company.

in production within our company.

My two top assistants were my usual overachieving staff,

My two top assistants were my usual overachieving staff,

Rodman Flender, who was Phi Beta Kappa from Yale

Rodman Flender, who was Phi Beta Kappa from Yale

and Matt Leipsig who was Phi Beta Kappa from Stanford.

and Matt Leipsig who was Phi Beta Kappa from Stanford.

I turned the project over to them,

I turned the project over to them,

and they put it all together with Fred Bailey,

and they put it all together with Fred Bailey,

who wrote the script, it was based loosely

who wrote the script, it was based loosely

on a film we made a few years earlier

on a film we made a few years earlier

called Up from the Depths.

But again, I said, it can't be an atomic explosion,

But again, I said, it can't be an atomic explosion,

But again, I said, it can't be an atomic explosion,

so they came up with something about dynamite fishing

so they came up with something about dynamite fishing

in a lake in Hawaii,

in a lake in Hawaii,

which of course we shot in the Philippines

which of course we shot in the Philippines

and called it Hawaii, a jungle lake is a jungle lake.

and called it Hawaii, a jungle lake is a jungle lake.

(growls)

I thought it was sort of a standard picture for us

I thought it was sort of a standard picture for us

but an example of how the company could function

but an example of how the company could function

and on short notice make a nice little film

and on short notice make a nice little film

that was profitable.

that was profitable.

(growls)

(growls)

(dramatic music)

(dramatic music)

(upbeat music)

(upbeat music)

Creature from the Haunted Sea

which started essentially on a whim.

which started essentially on a whim.

I was shooting two shooting two pictures in Puerto Rico

I was shooting two shooting two pictures in Puerto Rico

and the reason I was shooting two was because it cost

and the reason I was shooting two was because it cost

a certain amount of money to transport everybody

a certain amount of money to transport everybody

and the equipment and everything to Puerto Rico

and if I shot two pictures instead of one,

and if I shot two pictures instead of one,

I could amortize the transportation cost

I could amortize the transportation cost

in the middle of shooting the first one, I thought,

in the middle of shooting the first one, I thought,

we're here, why don't I shoot a third one?

we're here, why don't I shoot a third one?

So, I called Chuck Griffith, and I told him

So, I called Chuck Griffith, and I told him

what I was going to do.

what I was going to do.

- [Narrator] A secret agent should never sleep

but there I was dreaming of mom's apple pie

but there I was dreaming of mom's apple pie

while up on deck, Renzo and his cut throats

while up on deck, Renzo and his cut throats

were taking the first step, killing an innocent Cuban

were taking the first step, killing an innocent Cuban

and pretending some imaginary monster did it

and pretending some imaginary monster did it

just so they would be panicked into changing course.

just so they would be panicked into changing course.

So that Renzo, - I'd made two low budget

So that Renzo, - I'd made two low budget

comedy horror films, Bucket of Blood

comedy horror films, Bucket of Blood

and the Little Shop of Horrors, both of which

were extremely successful.

were extremely successful.

So I thought, why don't I make some sort of a comedy

So I thought, why don't I make some sort of a comedy

monster film, here in Puerto Rico.

monster film, here in Puerto Rico.

And I called Chuck Griffith who had written the first two

And I called Chuck Griffith who had written the first two

and I woke him up and I told him

and I woke him up and I told him

what I was going to do and I wanted a comedy,

what I was going to do and I wanted a comedy,

creature, horror film to be shot in Puerto Rico.

creature, horror film to be shot in Puerto Rico.

- [Narrator] But what none of us knew,

was that the monster invented by Renzo

was that the monster invented by Renzo

has already been invented by somebody else.

has already been invented by somebody else.

By a couple of other monsters I guess,

By a couple of other monsters I guess,

(growls)

(growls)

- He had 10 days to write the script

- He had 10 days to write the script

and all I had was one idea,

and all I had was one idea,

in every film the leading man defeats the monster,

in every film the leading man defeats the monster,

I said Chuck, in this film I want the monster to win.

I said Chuck, in this film I want the monster to win.

I said Chuck, in this film I want the monster to win.

The monster kills everybody.

The monster kills everybody.

And we started with that, I went over the cast with Chuck,

And we started with that, I went over the cast with Chuck,

because Chuck knew almost everybody who was in the cast

because Chuck knew almost everybody who was in the cast

and we didn't have that many people along

and we didn't have that many people along

so I said, and everybody in the crew

so I said, and everybody in the crew

is gonna be working too.

And as an actor, and he said, why don't you play a role?

And as an actor, and he said, why don't you play a role?

I said okay, I can play a role too

I said okay, I can play a role too

but since I'm directing and producing

make it a small role.

make it a small role.

Since the picture was only gonna be made for $30,000

Since the picture was only gonna be made for $30,000

I could pay him three quarters of him normal fee

I could pay him three quarters of him normal fee

and he said, yes, and then when he woke up in the morning,

and he said, yes, and then when he woke up in the morning,

went back to sleep, woke up in the morning he said,

three quarters of my fee, I'm gonna get Roger on this one.

three quarters of my fee, I'm gonna get Roger on this one.

He wrote the most impossible acting role you can think of,

He wrote the most impossible acting role you can think of,

He wrote the most impossible acting role you can think of,

there's a character called Happy Jack.

there's a character called Happy Jack.

- [Narrator] This is Happy Jack Monaghan.

So called because he developed a muscle spasm in his cheeks

So called because he developed a muscle spasm in his cheeks

from watching too many Humphrey Bogart pictures.

- Happy Jack is laughing all the time

- Happy Jack is laughing all the time

and in one scene he's very brave

and in one scene he's very brave

and he scares off the monster,

and he scares off the monster,

in the next scene he is a total coward,

in the next scene he is a total coward,

he runs away from the monster,

he runs away from the monster,

a scene after that he stops laughing

a scene after that he stops laughing

and he starts crying, Chuck wrote

every possible emotion that could be portrayed

every possible emotion that could be portrayed

every possible emotion that could be portrayed

in this one character just to get me.

in this one character just to get me.

And I looked at this and I thought,

there's no way I can play this role.

there's no way I can play this role.

And we had a young guy who was a production assistant

And we had a young guy who was a production assistant

so I said, you're gonna play Happy Jack, good luck

so I said, you're gonna play Happy Jack, good luck

in trying to play it.

- No matter where you go, or what you do,

- No matter where you go, or what you do,

or who you kill, I'll love you til the day I die.

or who you kill, I'll love you til the day I die.

(dramatic music)

(dramatic music)

(Screams)

- The monster was nonsense, Beach Dickerson,

- The monster was nonsense, Beach Dickerson,

who is one of the guys on the staff

who is one of the guys on the staff

who was a good friend of mine,

who was a good friend of mine,

I said, Beach, you've got a 100 dollars

or a 150 dollars or something like that,

or a 150 dollars or something like that,

build a monster, that monster did not look that good.

build a monster, that monster did not look that good.

(dramatic music)

(dramatic music)

(growls)

(growls)

It's a special film to me because we were all having fun,

It's a special film to me because we were all having fun,

we were just playing around.

For instance, as a director I always liked

For instance, as a director I always liked

to have movement with the actors.

to have movement with the actors.

So I thought, why not a scene in which the actors

So I thought, why not a scene in which the actors

are moving all the time and I came up with the idea

are moving all the time and I came up with the idea

of they're playing touch football

and they're throwing the ball back and forth

and they're throwing the ball back and forth

and say they're saying the lines

and say they're saying the lines

as they throw the ball and I shot the whole thing

as they throw the ball and I shot the whole thing

in one take, the reason for them playing touch football

in one take, the reason for them playing touch football

was non existent, but I just thought it'd be fun

was non existent, but I just thought it'd be fun

to shoot a scene like that.

There was no particular critical reaction,

There was no particular critical reaction,

I don't think it was ever reviewed,

but the film actually did rather well,

but the film actually did rather well,

it didn't do quite as well as Bucket of Blood

it didn't do quite as well as Bucket of Blood

or Little Shop of Horrors but it was a nice success

or Little Shop of Horrors but it was a nice success

and it was fun for everybody.

(sensuous music)

(sensuous music)

- [Narrator] So I got the girl, and guess who got the gold?

- [Narrator] So I got the girl, and guess who got the gold?

(upbeat music)

(upbeat music)

(dramatic music)

(dramatic music)

- The Nest was produced by my wife Julie.

I didn't have any direct involvement with it,

I didn't have any direct involvement with it,

I discussed certain things with Julie

I discussed certain things with Julie

but essentially it's her film and it was a departure

but essentially it's her film and it was a departure

from the type of film she'd been making.

from the type of film she'd been making.

She'd been making primarily family films.

She'd been making primarily family films.

- Is this gonna be much longer?

- Is this gonna be much longer?

- I hope not.

(chatters)

(chatters)

- Jesus.

- Jesus.

(dramatic music)

(dramatic music)

(cat yeowls)

- I had an ace assistant at the time named Lynn Whitney

- I had an ace assistant at the time named Lynn Whitney

- I had an ace assistant at the time named Lynn Whitney

and with Lynn Whitney the question wasn't what did I want

and with Lynn Whitney the question wasn't what did I want

to do but it was Lynn telling me what I needed to do.

to do but it was Lynn telling me what I needed to do.

So one day Lynn stood in the door, right there,

So one day Lynn stood in the door, right there,

and said, want to make a bug movie.

and said, want to make a bug movie.

And I said, not unless you want to do all the work.

And I said, not unless you want to do all the work.

So that was the inception of The Nest.

So that was the inception of The Nest.

- The Nest was from a novel by Eli Cantor

- The Nest was from a novel by Eli Cantor

about roaches infecting a small town

about roaches infecting a small town

and the terror within it.

And I thought for Julie it was a great transition

And I thought for Julie it was a great transition

from the family films to what was essentially

from the family films to what was essentially

a creature horror film.

a creature horror film.

What was significant, I thought also,

What was significant, I thought also,

the making of the creatures for a low budget,

the making of the creatures for a low budget,

they look very good and they work very well

they look very good and they work very well

because you had to have hundreds of them,

because you had to have hundreds of them,

Julie and Terry Wink, was the director,

Julie and Terry Wink, was the director,

worked that out and to me that was something technically,

worked that out and to me that was something technically,

a high point of the film.

a high point of the film.

- [Julie] And then there was a young man

who had been submitting

who had been submitting

work here and wanting to write screenplays,

named Robert King.

named Robert King.

And we hired him to write the screenplay.

And we hired him to write the screenplay.

And I think he did a very good job of it.

I think he did a very good job

I think he did a very good job

of the character development actually.

He and his wife, then went on the write The Good Wife.

He and his wife, then went on the write The Good Wife.

And I think it's all about character.

And I think it's all about character.

So, you know, you saw, in the beginning of his career

So, you know, you saw, in the beginning of his career

So, you know, you saw, in the beginning of his career

what would come later.

- Why are the roaches killing people

and how do we stop them?

- You can put that gun away, Sheriff.

It was a normal Intech research study,

It was a normal Intech research study,

it took a turn that I didn't anticipate,

it took a turn that I didn't anticipate,

I was trying to find an alternative to the pesticides,

I was trying to find an alternative to the pesticides,

but over time roaches become immune to the spraying.

but over time roaches become immune to the spraying.

- She's right about that sheriff.

- She's right about that sheriff.

- So you invented something.

- So you invented something.

- A roach that eats other roaches, and it was supposed

- A roach that eats other roaches, and it was supposed

to die out after one generation.

to die out after one generation.

It just kept getting hungry.

It just kept getting hungry.

- See their molecular structures are starting

to evolve, each host, becomes a new species

to evolve, each host, becomes a new species

with the ability to act together,

with the ability to act together,

they're starting to develop real social instincts.

It's quite lovely actually.

It's quite lovely actually.

- Gee, are you trying to say they're becoming intelligent?

- Gee, are you trying to say they're becoming intelligent?

- Possibly,

or, - or there's a queen.

- Which means there's a nest.

- We actually had a consultant from the Smithsonian

- We actually had a consultant from the Smithsonian

who was an expert on roaches to tell us

the right kind to use.

the right kind to use.

The ones that would have been in New England.

The ones that would have been in New England.

And then we had a bug wrangler,

so he came with the bugs and his job was not only

so he came with the bugs and his job was not only

to provide them, for the shoot,

to provide them, for the shoot,

but to make sure they didn't stay at the studio,

but to make sure they didn't stay at the studio,

because we shot a lot of it at the studio

where there roaches could be contained.

where there roaches could be contained.

Nation Association of Prevention of Cruelty to Animals

Nation Association of Prevention of Cruelty to Animals

came to investigate, had we really put roaches

came to investigate, had we really put roaches

into the blender?

But no we hadn't.

But no we hadn't.

(squeals)

(squeals)

(tense music)

(tense music)

(purrs)

(yeowls)

- Homer, go upstairs and get my gun.

- Homer, go upstairs and get my gun.

- No don't kill it.

- What do you want me to do, make friends with it Doctor?

Homer,

Homer,

- That's incredible, it's a hybrid of a hybrid.

- That's incredible, it's a hybrid of a hybrid.

Whatever they ingest, they become.

Whatever they ingest, they become.

- Homer.

(meows)

(meows)

Homer,

Homer,

when I count to three, go upstairs and get the gun

when I count to three, go upstairs and get the gun

I'll keep it occupied.

I'll keep it occupied.

Ready?

- No.

- Well it didn't win an Academy Award but (laughs)

- Well it didn't win an Academy Award but (laughs)

I mean again, I think it is looked at

I mean again, I think it is looked at

as these kind of low budget horror, comedy, horror films,

as these kind of low budget horror, comedy, horror films,

were looked at, partially with a little bit of affection

and partially with a little bit of skepticism.

and partially with a little bit of skepticism.

and partially with a little bit of skepticism.

There's a certain amount of suspending belief.

(laughs)

(laughs)

in order to go along with it and you either do

or you don't so,

or you don't so,

if you do you're on the inside of that,

if you do you're on the inside of that,

and if you're not, it's not your cup of tea.

(growls)

(growls)

(soft music)

(soft music)

(cries)

- Oh my God.

- Oh my God.

(cries)

(cries)

Stop.

Stop.

Stop.

Stop.

(shouts)

(shouts)

(shouts)

(upbeat music)

(upbeat music)

- Jim Winorski, who had made many films for me,

- Jim Winorski, who had made many films for me,

and Fred Owen Ray, who I new, came to me with the idea

and Fred Owen Ray, who I new, came to me with the idea

of doing a dinosaur picture for a very small amount

of doing a dinosaur picture for a very small amount

of doing a dinosaur picture for a very small amount

of money because of a technique that they had developed

of money because of a technique that they had developed

but had never actually used in a film.

It was a slight experiment, a way to create the dinosaurs

It was a slight experiment, a way to create the dinosaurs

It was a slight experiment, a way to create the dinosaurs

and put them in the same shots with the actors

and put them in the same shots with the actors

and blend them together for a small budget,

and blend them together for a small budget,

so the picture was made to a certain extent

so the picture was made to a certain extent

as an experiment to see if they could do that

as an experiment to see if they could do that

and I said, okay, this is fine, but again

and I said, okay, this is fine, but again

I don't want to have any more atomic experiments in here.

I don't want to have any more atomic experiments in here.

(booms)

(booms)

(Screams)

(roars)

And they came up with, I forgot

And they came up with, I forgot

it was something sort of, there was an island of all women

it was something sort of, there was an island of all women

and they worshiped some sort of creature.

and they worshiped some sort of creature.

and they worshiped some sort of creature.

- I'm the leader of this unit.

Captain Jason Briggs, United States army.

Captain Jason Briggs, United States army.

- I do not know these words you speak.

- I do not know these words you speak.

You are men, are you not?

You are men, are you not?

- Well I can't speak for everybody, but I'm all man.

- Well I can't speak for everybody, but I'm all man.

- You must come with us.

- You must come with us.

- Excuse me, you don't give orders her, I do.

(laughs)

(laughs)

- What's so funny?

- Men giving orders, (laughs)

- Men giving orders, (laughs)

- Everyone knows your brain is beast.

- Sticks and stones will break our bones

but names could never hurt us.

but names could never hurt us.

- We have sticks,

- And stones.

- And stones.

- Let's break some bones.

- The idea was Fred and Jim's and they hired a writer

- The idea was Fred and Jim's and they hired a writer

to do the script but they ended up rewriting it themselves

to do the script but they ended up rewriting it themselves

to do the script but they ended up rewriting it themselves

so essentially, they wrote, directed, and produced the film.

so essentially, they wrote, directed, and produced the film.

- My eye on.

- But the beast of the cave, surely it will hear us?

- But the beast of the cave, surely it will hear us?

- Beast, you didn't say anything about a beast.

- Beast, you didn't say anything about a beast.

- You wouldn't let me.

- You wouldn't let me.

- What does he look like?

- What does he look like?

(moans)

- Sounds like two words,

big, hideous,

big, hideous,

(moans)

(moans)

Behind me?

(screams)

(screams)

- I was involved very little with the film

- I was involved very little with the film

because we were making so many films at the time

because we were making so many films at the time

and I knew what was Jim and Fred had made

and I knew what was Jim and Fred had made

a number of films, they knew what they were doing.

a number of films, they knew what they were doing.

I left it to them.

And I was pleased with the experiment as it were

And I was pleased with the experiment as it were

because what I was most interested in

because what I was most interested in

was to see how their technique worked

was to see how their technique worked

to put the dinosaurs with the actors.

to put the dinosaurs with the actors.

I think the device was sort of okay

I think the device was sort of okay

for a low budget picture it was fine

for a low budget picture it was fine

because I was thinking of then reusing it

on a bigger budget film and I thought,

on a bigger budget film and I thought,

it wasn't that smooth, but it was good for the budget

it wasn't that smooth, but it was good for the budget

of the film.

of the film.

(bangs)

- One of these days, Ennis.

Oh, in the kisser.

Oh, in the kisser.

(booms)

(upbeat music)

(upbeat music)

- I made a series of what we call creature features

- I made a series of what we call creature features

for the Sci-fi channel, Dinocroc, Supergator,

for the Sci-fi channel, Dinocroc, Supergator,

Dinoshark and a number of others

were taking me back to a certain extent

were taking me back to a certain extent

to the 50s when I was making similar films

to the 50s when I was making similar films

10, early on, a 10 day schedule,

10, early on, a 10 day schedule,

budgets of 50, 60, 70 thousand dollars.

budgets of 50, 60, 70 thousand dollars.

- Eh?

(growls)

(growls)

(screams)

- [Woman] Oh my god.

- [Woman] Oh my god.

- We were spending more money now

- We were spending more money now

and the challenge was to continue the type of suspense

and the challenge was to continue the type of suspense

and creature horror in each film

and creature horror in each film

but to vary them so that each stood alone.

but to vary them so that each stood alone.

And again, one of the things I insisted on

And again, one of the things I insisted on

And again, one of the things I insisted on

in none of them was anything to do with an atomic bomb.

in none of them was anything to do with an atomic bomb.

(moans)

(moans)

(screams)

We had bioengineering.

We had bioengineering.

We even had climate change

and one of 'em a prehistoric shark has been frozen

and one of 'em a prehistoric shark has been frozen

and one of 'em a prehistoric shark has been frozen

under the ice of the Arctic and because of climate change

under the ice of the Arctic and because of climate change

the ice melts and the shark comes free.

the ice melts and the shark comes free.

- This was not a shark, mmkay,

- This was not a shark, mmkay,

a shark does not eat a life guard boat,

a shark does not eat a life guard boat,

a shark does not have horn.

- Hey, Trace just stop all right.

- Hey, Trace just stop all right.

- What are you talking about?

- What are you talking about?

- I've sailed on this bay half my life

I know what a damn tiger shark looks like.

I know what a damn tiger shark looks like.

I'm going to find this thing that killed my friend.

I'm going to find this thing that killed my friend.

- We were shooting in Mexico,

- We were shooting in Mexico,

and we had the usual problem in which we couldn't afford

and we had the usual problem in which we couldn't afford

to take that many actors from the United States,

to take that many actors from the United States,

so we took as many as we could within the budget

so we took as many as we could within the budget

and I ended up playing one of the supporting roles

and I ended up playing one of the supporting roles

a scientist, the main thing I remember

a scientist, the main thing I remember

is how quickly my scenes were shot

is how quickly my scenes were shot

because they were falling behind schedule

and I was starting to get a little bit angry

and I was starting to get a little bit angry

and I insisted in getting through my scenes

and I insisted in getting through my scenes

as fast as possible, I said to Kevin, look,

as fast as possible, I said to Kevin, look,

I'm just an unimportant actor here,

I'm just an unimportant actor here,

print the first take if you can, let's go back

print the first take if you can, let's go back

to the leads.

(phone rings)

- Reed?

No, look it's too late, okay, just tell me how

No, look it's too late, okay, just tell me how

to kill this thing!

- The creatures exterior lamina I armored,

- The creatures exterior lamina I armored,

the only vulnerability in the entire skeleton

the only vulnerability in the entire skeleton

is the orbital cavity

- In English Reed.

- In English Reed.

- The eye, aim for the eye.

- The eye, aim for the eye.

I was pleased with the film,

Kevin did a very good job, the locations we had

Kevin did a very good job, the locations we had

in Mexico were really good, so it brought a different

in Mexico were really good, so it brought a different

and bigger look to the film.

and bigger look to the film.

(dramatic music)

(dramatic music)

- Help.

(growls)

(growls)

Help.

- Welcome to the endangered species list you bastard.

- Welcome to the endangered species list you bastard.

(booms)

(booms)

(moans)

(moans)

(moans)

(upbeat music)

(upbeat music)

- The films were doing very well and Sci-Fi

- The films were doing very well and Sci-Fi

wanted more of them but I was having trouble

wanted more of them but I was having trouble

coming up with the next insane name

coming up with the next insane name

so I said, why not put two together?

so I said, why not put two together?

So I had Dinocroc versus Supergator.

So I had Dinocroc versus Supergator.

(growls) (screams)

(growls) (screams)

(alarm blares)

(alarm blares)

(growls)

(growls)

- Oh my god,

- Oh God, no.

- Oh God, no.

Stewart!

- What the hell?

- What the hell?

- No!

- Stewart!

- Stewart!

- Kim, what's going on?

- Oh my god.

- Kim answer me.

- Kim answer me.

What the hell is going on?

What the hell is going on?

(growls)

(bangs)

- On most of these films we spent a long period

- On most of these films we spent a long period

of time choosing the director, doing the casting,

of time choosing the director, doing the casting,

and so forth, and we simply didn't have that much time

and so forth, and we simply didn't have that much time

on Dinocroc versus Supergator and I thought,

on Dinocroc versus Supergator and I thought,

I want to go with people who have worked

I want to go with people who have worked

with me before, I know they could do the job.

with me before, I know they could do the job.

So I chose Jim Winorski, who had directed,

So I chose Jim Winorski, who had directed,

I don't know how many films for us,

and David Carridine who had starred in any number

and David Carridine who had starred in any number

of films for us.

of films for us.

Because I knew they could do the job

and do it well.

and do it well.

(growls) (dramatic music)

(growls) (dramatic music)

(booms)

(moans)

(moans)

(growls)

(screams)

(screams)

(booms)

- Drive!

Drive.

Drive.

- What do you think I'm doing?

- Well that took care of him for now.

- So?

- So?

- So I guess, play time's over.

- So I guess, play time's over.

- I was very pleased with Dinocroc versus Supergator.

- I was very pleased with Dinocroc versus Supergator.

It was well received, it got a high rating

for the Sci-Fi channel and I had the foreign rights

for the Sci-Fi channel and I had the foreign rights

to all of these films.

to all of these films.

And for them, that was the biggest of this type

And for them, that was the biggest of this type

of film we'd had up to that date.

of film we'd had up to that date.

- Alligator and crocodile are mortal enemies.

- Alligator and crocodile are mortal enemies.

I say we bring 'em together, we make 'em fight.

And then hopefully, we can take out the winner

And then hopefully, we can take out the winner

when it's most vulnerable.

(growls)

(growls)

(growls)

- What has changed in these films, is the concept

- What has changed in these films, is the concept

of the monster itself.

of the monster itself.

The monster must always be there.

The monster must always be there.

But it's how you portray the monster,

But it's how you portray the monster,

going back to King Kong, the monster is just a creature

going back to King Kong, the monster is just a creature

from the jungle, then in the 50s it was always

from the jungle, then in the 50s it was always

the result of an atomic experiment,

the result of an atomic experiment,

then later on we moved to bioengineering,

then later on we moved to bioengineering,

climate change and so forth so the portrayal

climate change and so forth so the portrayal

and interpretation of the monster changes with the time

and interpretation of the monster changes with the time

and interpretation of the monster changes with the time

in which the picture is made.

in which the picture is made.

(growls)

But the monster itself is universal.

But the monster itself is universal.

- See that trough out there?

- See that trough out there?

Hoping there's enough rain water in it to keep me safe.

Hoping there's enough rain water in it to keep me safe.

- What if there isn't?

- Well,

- Well,

just make sure they bury me in this shirt.

(growls)

(growls)

(splashes)

(booms)

(booms)

(funky music)

(funky music)

[END CREDITS]

[END CREDITS]