Original subtitles

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

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

great moments and memories of many of my films.

great moments and memories of many of my films.

(funky jive music)

(funky jive music)

The concept of characters in dangerous situations;

The concept of characters in dangerous situations;

kidnappings, earthquakes, crime, prison and so forth,

kidnappings, earthquakes, crime, prison and so forth,

has always been a staple of motion pictures.

And there are various reason for that,

And there are various reason for that,

but to me one of the key reasons is we all have been

but to me one of the key reasons is we all have been

but to me one of the key reasons is we all have been

in difficult situations in our lives.

in difficult situations in our lives.

Even the most perfect life has has some moments of suffering

Even the most perfect life has has some moments of suffering

and we identify with those people.

and we identify with those people.

We ride with them and then we look for the liberation,

We ride with them and then we look for the liberation,

We ride with them and then we look for the liberation,

the solving of the problem which psychologically

the solving of the problem which psychologically

is the solving of our problems.

The appeal of women in prison films is similar

The appeal of women in prison films is similar

The appeal of women in prison films is similar

to the concept of people in danger in other films.

to the concept of people in danger in other films.

But this time it's more extreme and I don't want to

But this time it's more extreme and I don't want to

be too misogynist about this,

be too misogynist about this,

but it may fulfill some sort of male fantasy.

but it may fulfill some sort of male fantasy.

(funky rock music)

(funky rock music)

♪I'm a long time woman

♪I'm a long time woman

- [Roger Corman] The origin of The Big Doll House

- [Roger Corman] The origin of The Big Doll House

was straight forward.

was straight forward.

I started my own production and distribution company,

New World Pictures,

in 1970.

in 1970.

I had just a small amount of money and I wanted to be very

I had just a small amount of money and I wanted to be very

I had just a small amount of money and I wanted to be very

careful with how I invested that to make certain

careful with how I invested that to make certain

that at least on the first few films,

that at least on the first few films,

I was working in genres that I felt were almost automatic.

I was working in genres that I felt were almost automatic.

I emphasize the word almost automatic successes.

I emphasize the word almost automatic successes.

The first film was The Student Nurses.

The first film was The Student Nurses.

I was aware of the fact that there was something about

I was aware of the fact that there was something about

nurses that appealed to people

nurses that appealed to people

and the picture was very successful.

The second film was The Big Doll House which was a

The second film was The Big Doll House which was a

The second film was The Big Doll House which was a

woman in prison picture.

I was also aware of the fact that they'd been a tradition

I was also aware of the fact that they'd been a tradition

of women in prison pictures for many many years.

of women in prison pictures for many many years.

of women in prison pictures for many many years.

And so The Big Doll House was simply chosen on that basis.

And so The Big Doll House was simply chosen on that basis.

My original script was laid in Los Angeles,

My original script was laid in Los Angeles,

My original script was laid in Los Angeles,

but I'd taken a trip to the Philippines and met production

but I'd taken a trip to the Philippines and met production

people there and particularly John Ashley,

people there and particularly John Ashley,

a friend of mine was making a picture there and I realized

a friend of mine was making a picture there and I realized

that I could get a bigger looking picture if I switched it

that I could get a bigger looking picture if I switched it

from Los Angeles to the Philippines for shooting,

from Los Angeles to the Philippines for shooting,

calling it unnamed tropical island.

calling it unnamed tropical island.

So The Big Doll House was simply a woman in prison picture

So The Big Doll House was simply a woman in prison picture

So The Big Doll House was simply a woman in prison picture

in a tropical prison.

in a tropical prison.

(guns firing)

- Green, scared, and pretty.

- Green, scared, and pretty.

- Green, scared, and pretty.

Ho ho ho are we gunna have fun.

Ho ho ho are we gunna have fun.

- Stephanie Roth man my assistant,

Charles Schwartz her husband,

and Francis Dole my story editor,

and Francis Dole my story editor,

we wrote the story for the Philippines.

we wrote the story for the Philippines.

We developed a script for it,

We developed a script for it,

brought in Jack Hill as the director,

brought in Jack Hill as the director,

who had worked with maybe four in difficult situations.

who had worked with maybe four in difficult situations.

And I anticipated correctly that there were going to be

And I anticipated correctly that there were going to be

difficult situations in the Philippines.

difficult situations in the Philippines.

Jack Hill really did a great job under very

Jack Hill really did a great job under very

very difficult conditions.

very difficult conditions.

However, he pushed the brutality and the nudity

However, he pushed the brutality and the nudity

because this was an R rated film,

because this was an R rated film,

more than I anticipated.

more than I anticipated.

When I saw it, I thought "Maybe we've gone to far?"

When I saw it, I thought "Maybe we've gone to far?"

with this film.

Frankly, I didn't like it because there

Frankly, I didn't like it because there

Frankly, I didn't like it because there

was too much brutality,

too much nudity.

I took a little bit of the brutality out and a little

I took a little bit of the brutality out and a little

I took a little bit of the brutality out and a little

bit of the nudity out,

but Jack prevailed upon me and he was correct to leave

but Jack prevailed upon me and he was correct to leave

most of it in because that eventually,

most of it in because that eventually,

most of it in because that eventually,

I think,

was what contributed to it's incredible success.

was what contributed to it's incredible success.

And the success really was incredible.

And the success really was incredible.

We made the picture for about $100,000 and it grossed

We made the picture for about $100,000 and it grossed

a couple of million.

a couple of million.

It was so big that MGM bought the foreign rights

It was so big that MGM bought the foreign rights

It was so big that MGM bought the foreign rights

from us and it went out foreign as an MGM picture.

from us and it went out foreign as an MGM picture.

- How 'bout you Collier, are you in?

- You bet your ass I am!

The film was commercially successful.

As for the reviews,

As for the reviews,

I'm not even certain there were any reviews.

It wasn't the kind of picture that critics flocked to see.

It wasn't the kind of picture that critics flocked to see.

It wasn't the kind of picture that critics flocked to see.

- Step on it Harry! Crash the gate!

- Step on it Harry! Crash the gate!

- I can't, it's too strong!

- Look, you won't die form this bullet Harry,

- Look, you won't die form this bullet Harry,

but you'll wish you had!

but you'll wish you had!

- All right, lemme get a run at it.

- All right, lemme get a run at it.

(rapid gun fire)

(rapid gun fire)

- As usual, the picture opened on a Friday night

- As usual, the picture opened on a Friday night

and I remember our distributor,

and I remember our distributor,

sub-distributor in New Orleans,

sub-distributor in New Orleans,

who was a very devout Catholic,

saw the grosses and when he went to mass on Sunday,

saw the grosses and when he went to mass on Sunday,

saw the grosses and when he went to mass on Sunday,

he lit a candle for The Big Doll House.

he lit a candle for The Big Doll House.

(funky jive music)

(funky jive music)

(multiple explosions)

(multiple explosions)

(drum beat)

(drum beat)

(tires squealing)

(tires squealing)

- [Roger Corman] To a certain extent,

Jackson County Jail might be considered to be another

Jackson County Jail might be considered to be another

women in prison picture,

women in prison picture,

but it wasn't anything like The Big Doll House

or that type of film.

or that type of film.

This was a very serious picture,

This was a very serious picture,

a very literate and good script by Don Stewart,

a very literate and good script by Don Stewart,

who went on,

I think it was his first script,

I think it was his first script,

he went on to be an academy award winning screen writer.

he went on to be an academy award winning screen writer.

So joining the ranks of a number of guys

So joining the ranks of a number of guys

who started with us.

Jeff Beagan who was a friend of mine from Chicago,

Jeff Beagan who was a friend of mine from Chicago,

brought in a little bit of money and he co-produced

brought in a little bit of money and he co-produced

the picture with me.

the picture with me.

I think it was Jeff's idea to being Michael Miller in

I think it was Jeff's idea to being Michael Miller in

as the director and we thought of it from the beginning as a

as the director and we thought of it from the beginning as a

less of a commercial film,

less of a commercial film,

although we were aware of the commercial elements,

although we were aware of the commercial elements,

but really a character study of a woman who was unjustly

but really a character study of a woman who was unjustly

but really a character study of a woman who was unjustly

imprisoned and what happens to her.

I felt we had a really good script

I felt we had a really good script

and I felt we should spend a little bit more money

and I felt we should spend a little bit more money

and try to get a name as it were for the leading lady.

and try to get a name as it were for the leading lady.

and try to get a name as it were for the leading lady.

We sent it to Yvette Mimieux who was a star and she loved

We sent it to Yvette Mimieux who was a star and she loved

the script and accepted immediately and the co-star

the script and accepted immediately and the co-star

was Tommy Lee Jones in his first picture.

And that came about in a rather strange way.

And that came about in a rather strange way.

And that came about in a rather strange way.

He was a client of one of the bigger more important agencies

He was a client of one of the bigger more important agencies

in Hollywood and his agent called me and said,

in Hollywood and his agent called me and said,

"Roger, I hear you got a really good script in

"Roger, I hear you got a really good script in

Jackson County Jail.

Jackson County Jail.

We've got a new client,

Tommy Lee Jones.

Tommy Lee Jones.

He's never yet made a film.

He's a Broadway actor form New York.

He's a Broadway actor form New York.

But I think he might be right for your picture."

But I think he might be right for your picture."

I think it was the only time a major agency came to me

I think it was the only time a major agency came to me

I think it was the only time a major agency came to me

pitching their client.

- The police don't have any time to look for 'em.

- The police don't have any time to look for 'em.

You drop out and go under it and you'll be all right.

You drop out and go under it and you'll be all right.

- That what you gunna do?

- That what you gunna do?

Go under?

- [Tommy Lee Jones] I've been under all my life.

- [Tommy Lee Jones] I've been under all my life.

- And you got caught.

- Of course I got caught.

- Of course I got caught.

You steal, you're gunna get caught sooner or later.

Something you gotta expect.

Something you gotta expect.

But you, if you're as clean as you say you are,

But you, if you're as clean as you say you are,

you could make it.

- I couldn't handle being a fugitive.

- I couldn't handle being a fugitive.

- You are a fugitive,

- I had no choice.

- [Tommy Lee Jones] Who the hell gets choices?

- [Tommy Lee Jones] Who the hell gets choices?

- I suppose you had to be a criminal?

- I suppose you had to be a criminal?

- No. Hell no.

Coulda been an astronaut.

- You could have been any damn thing you wanted to be.

- You could have been any damn thing you wanted to be.

- Hey!

You understand something,

You understand something,

I'm a thief because I wanna be a thief.

I don't wanna be nothing else.

I don't wanna be nothing else.

And there's nothing wrong with being a crook.

And there's nothing wrong with being a crook.

Everybody's crooked.

I never met a straight person in my whole life.

I never met a straight person in my whole life.

- There were so many good scenes between Yvette

- There were so many good scenes between Yvette

and Tommy Lee that it's hard to pick out one.

and Tommy Lee that it's hard to pick out one.

But I remember one moment specifically.

But I remember one moment specifically.

Yvette is in the jail, just overnight because of a mistake.

Yvette is in the jail, just overnight because of a mistake.

But she is raped by the prison guard and she picks up a

But she is raped by the prison guard and she picks up a

But she is raped by the prison guard and she picks up a

stool and fights back and kills him.

stool and fights back and kills him.

In the cell next door is a murderer,

In the cell next door is a murderer,

In the cell next door is a murderer,

Tommy Lee,

and he looks at her,

and he looks at her,

he watches what happened and he reaches over to the dead

he watches what happened and he reaches over to the dead

guard, gets the keys from the dead guard and says,

guard, gets the keys from the dead guard and says,

"We've gotta get outta here!"

And Yvette says "I'm just here overnight.

And Yvette says "I'm just here overnight.

And Yvette says "I'm just here overnight.

I have no reason to flee."

And he says "You're going to prison.

And he says "You're going to prison.

And he says "You're going to prison.

The police will never testify for another policeman.

The police will never testify for another policeman.

They will testify against you.

They will testify against you.

You're going to be convicted of murder.

You're going to be convicted of murder.

Get out of here with me!"

Get out of here with me!"

And it was a key moment in the change in Yvette's character

And it was a key moment in the change in Yvette's character

from a young lady executive to a fugitive.

from a young lady executive to a fugitive.

And she played it and Tommy Lee played it brilliantly.

And she played it and Tommy Lee played it brilliantly.

This film was both a commercial and a critical success.

This film was both a commercial and a critical success.

This film was both a commercial and a critical success.

I think simply because it was a good film.

I think simply because it was a good film.

The script was excellent,

Mike Miller did a very good job as the director,

Mike Miller did a very good job as the director,

and Yvette and Tommy Lee really came together with a

and Yvette and Tommy Lee really came together with a

and Yvette and Tommy Lee really came together with a

chemistry that was just wonderful to see.

(screeching tires)

(screeching tires)

(gun shots)

(gun shots)

(racing car engine)

(racing car engine)

(fiddle music)

(fiddle music)

(gun shots)

- That's right you heard me.

- That's right you heard me.

Get officers over here off that traffic circle.

- We nearly made it.

- They ain't playin' nearlies.

- They ain't playin' nearlies.

C'mon, I'll help ya.

- I can't.

(gunfire)

- I gotta go.

- I gotta go.

- They're gonna kill you.

- That don't matter, I's born dead.

- That don't matter, I's born dead.

(funky jive music)

(funky jive music)

- [Roger Corman] The origin of Ultraviolet

has nothing to do with motion pictures.

has nothing to do with motion pictures.

My wife and I were vacationing in Death Valley.

My wife and I were vacationing in Death Valley.

And it was the fall because we knew

And it was the fall because we knew

how hot it was in the summer.

how hot it was in the summer.

But it was still so hot in the fall we left after two days.

But it was still so hot in the fall we left after two days.

We couldn't stand the heat.

But I was just so impressed with the geography.

But I was just so impressed with the geography.

The total desolation of Death Valley.

The total desolation of Death Valley.

They don't call it Death Valley for nothing,

They don't call it Death Valley for nothing,

a lot of people have died there as you know.

a lot of people have died there as you know.

Plus the rock formations and so forth,

Plus the rock formations and so forth,

I kinda just thought "This is going to be a great location

I kinda just thought "This is going to be a great location

if I can think of some sort of a picture."

if I can think of some sort of a picture."

And I just came up with a vague idea that two people,

And I just came up with a vague idea that two people,

just as Julie and I,

just as Julie and I,

but this time two people are traveling through Death Valley

but this time two people are traveling through Death Valley

and they become involved with an insane killer.

and they become involved with an insane killer.

Played by Esai Morales,

Played by Esai Morales,

he was very very good in the role.

- (mumbles)

- (mumbles)

- Well then why this?

- Well then why this?

- I'm gonna strip away a few layers.

- I'm gonna strip away a few layers.

You'll thank me if you live.

You'll thank me if you live.

(truck engine rumbles)

(truck engine rumbles)

- There were no particular difficulties during production,

- There were no particular difficulties during production,

but just as when Julie and I went there in the fall

but just as when Julie and I went there in the fall

to escape the heat and found that it was still blazing hot,

to escape the heat and found that it was still blazing hot,

we came a little later in the fall and it was still

we came a little later in the fall and it was still

blazing hot.

blazing hot.

And remember,

generally when you are shooting on location,

generally when you are shooting on location,

you take a half hour lunch break.

We took an hour lunch break on that one because people

We took an hour lunch break on that one because people

just had to rest and get in the shade.

just had to rest and get in the shade.

- They say you can't see ultraviolet.

- They say you can't see ultraviolet.

That it burns you but you can't see it.

That it burns you but you can't see it.

Well I can see it now,

Well I can see it now,

the desert taught me.

Maybe I'll teach you?

Maybe I'll teach you?

- Maybe you should slow down.

- Maybe you should slow down.

The road gets pretty rough up ahead.

The road gets pretty rough up ahead.

- I felt the film was very good.

The critical reaction was good.

The critical reaction was good.

It was a moderate commercial success.

It was a moderate commercial success.

I've always felt it should've deserved more but maybe

I've always felt it should've deserved more but maybe

it didn't have the gimmicks or something that we had in

it didn't have the gimmicks or something that we had in

some of our other films that made them more successful.

some of our other films that made them more successful.

some of our other films that made them more successful.

The film was a little more difficult creatively

The film was a little more difficult creatively

than I anticipated.

The fact that it was just three people alone in the desert

The fact that it was just three people alone in the desert

The fact that it was just three people alone in the desert

and your telling the story over the full length of a

and your telling the story over the full length of a

feature film made it difficult to sustain the suspense.

feature film made it difficult to sustain the suspense.

Although I think Mark and the actors

Although I think Mark and the actors

did do an excellent job.

(moaning with struggle)

(moaning with struggle)

(yelling)

- I'm never letting you go.

- I'm never letting you go.

I'm never never letting you go!

- Go to hell!

- Go to hell!

- Chris!

(screaming)

(screaming)

- [Roger Corman] Battle of Blood Island was actually the

- [Roger Corman] Battle of Blood Island was actually the

first Philip Roth story ever

first Philip Roth story ever

to be made into a motion picture.

to be made into a motion picture.

The idea of adapting it actually came from my friend,

The idea of adapting it actually came from my friend,

Joel Rapp.

A young writer/director who felt that it was a fairly

A young writer/director who felt that it was a fairly

A young writer/director who felt that it was a fairly

simple story from a production standpoint,

simple story from a production standpoint,

but very well written and could make an excellent film.

but very well written and could make an excellent film.

We shot the film in Puerto Rico because I had found there

We shot the film in Puerto Rico because I had found there

was a tax benefit shooting in Puerto Rico.

was a tax benefit shooting in Puerto Rico.

And I thought I'll go there and shoot and take advantage of

And I thought I'll go there and shoot and take advantage of

the tax benefit.

And I thought if I send a crew to make a film,

And I thought if I send a crew to make a film,

And I thought if I send a crew to make a film,

a second film can be made and I can amortize the cost of

a second film can be made and I can amortize the cost of

sending the crew and the equipment

and everything over two films.

and everything over two films.

So I said to Joel,

So I said to Joel,

"All right, let's do Battle Of Blood Island and I'm

"All right, let's do Battle Of Blood Island and I'm

going to direct a picture called The Last Woman On Earth",

going to direct a picture called The Last Woman On Earth",

which was the first screenplay by another academy award

which was the first screenplay by another academy award

winning screen writer, Bob Towne.

winning screen writer, Bob Towne.

So we got there.

So we got there.

Joel shot The Battle Of Blood Island,

Joel shot The Battle Of Blood Island,

I shot right after that,

The Last Woman on Earth,

The Last Woman on Earth,

and in the midst of it I thought,

"Let's make a third picture!"

"Let's make a third picture!"

So I had Chuck Griffith write in two weeks while I

So I had Chuck Griffith write in two weeks while I

So I had Chuck Griffith write in two weeks while I

was shooting The Last Woman On Earth,

was shooting The Last Woman On Earth,

Creature From The Haunted Sea.

- What happened?

- Uh, you know as much as I do.

- Uh, you know as much as I do.

Intelligence blew it.

They miscalculated the tides.

They miscalculated the tides.

- Everybody killed?

- Yeah.

They picked off most of the guys on the landing craft

They picked off most of the guys on the landing craft

that's hung up on the coral.

Our boat got through.

Our boat got through.

We were lucky.

We were lucky.

- What are we gonna do?

- Whaddyamean what are we gonna do?

- Whaddyamean what are we gonna do?

We're gonna have an all expense paid vacation

We're gonna have an all expense paid vacation

on a tropical island.

- Joel and I were good friends.

He was a very good writer,

He was a very good writer,

a very good director.

a very good director.

His Father had been a famous comedy writer in Hollywood

His Father had been a famous comedy writer in Hollywood

and Joel himself was very good.

and Joel himself was very good.

When we saw the first cut,

When we saw the first cut,

we felt that the picture got off to a rather slow start,

we felt that the picture got off to a rather slow start,

and that we needed something stronger for an opening scene.

and that we needed something stronger for an opening scene.

So Joel went out one day to Cabrillo Beach.

So Joel went out one day to Cabrillo Beach.

So Joel went out one day to Cabrillo Beach.

We shot at Cabrillo Beach so many times,

We shot at Cabrillo Beach so many times,

people started calling it Corman Beach.

people started calling it Corman Beach.

So Joel shot a massacre scene at

So Joel shot a massacre scene at

Cabrillo Beach to open the film.

Cabrillo Beach to open the film.

As for the title,

I don't even remember the title of the Phillip Roth

I don't even remember the title of the Phillip Roth

short story,

but it wasn't really a commercial title.

but it wasn't really a commercial title.

I simply came up with the title Battle Of Blood Island

I simply came up with the title Battle Of Blood Island

because I thought it was a stronger commercial title.

because I thought it was a stronger commercial title.

- Don't you think you'd better ease up

- Don't you think you'd better ease up

on that stuff a little?

- To Mo Malamud, killer.

- To Mo Malamud, killer.

I guess everybody should celebrate their first kill, huh?

- Knock it off will ya?

- Knock it off will ya?

- Why should I?

It took the army three months to teach me

It took the army three months to teach me

how to be a killer.

And I didn't let 'em down.

- It was you or him, Mo.

- Sure.

- Sure.

- I think the fact that the film had a surprise ending

- I think the fact that the film had a surprise ending

that this all takes place on an island in the South Pacific

that this all takes place on an island in the South Pacific

but it's just before the bikini bomb.

but it's just before the bikini bomb.

And I think that gave a little snap to the ending.

And I think that gave a little snap to the ending.

I got the idea for Fire Over Afghanistan on the

I got the idea for Fire Over Afghanistan on the

day we invaded Afghanistan.

day we invaded Afghanistan.

I thought the invasion was a terrible mistake,

I thought the invasion was a terrible mistake,

but I also remember the fact that we had been very

but I also remember the fact that we had been very

successful at one time with WWII pictures.

successful at one time with WWII pictures.

Then we had a series of pictures about the Vietnam war,

Then we had a series of pictures about the Vietnam war,

and now here was another war.

and now here was another war.

I thought let us make a war picture.

I thought let us make a war picture.

Now I wanted to move very quickly because I didn't know

Now I wanted to move very quickly because I didn't know

how long that war would last.

how long that war would last.

I had no idea we're still fighting the thing.

I assumed, as most people did,

I assumed, as most people did,

we're gonna go in and win in Afghanistan.

we're gonna go in and win in Afghanistan.

The origin of the story came from something

The origin of the story came from something

that happened a number of years earlier

that happened a number of years earlier

when Francis Gary Powers was shot down

when Francis Gary Powers was shot down

over Russia in a spy plane.

over Russia in a spy plane.

And I commissioned Bob Towne to write a script about that

And I commissioned Bob Towne to write a script about that

and for one reason or another,

and for one reason or another,

essentially because he's a slow writer,

essentially because he's a slow writer,

he once commented in an interview,

he once commented in an interview,

"Roger always wants a script too fast",

and I was giving an interview and saying,

and I was giving an interview and saying,

"Bob always takes too long to write the script."

"Bob always takes too long to write the script."

But at any rate,

But at any rate,

the script dragged on and I dropped the project.

the script dragged on and I dropped the project.

But I always remembered the idea and I thought well,

But I always remembered the idea and I thought well,

we can use that as the basis of Fire Over Afghanistan.

we can use that as the basis of Fire Over Afghanistan.

A guy in a Blackhawk is shot down and it's his adventures

A guy in a Blackhawk is shot down and it's his adventures

A guy in a Blackhawk is shot down and it's his adventures

and personal story of how he gets out of Afghanistan

and personal story of how he gets out of Afghanistan

and escapes with everybody after him.

and escapes with everybody after him.

- Repeat you are still dark.

- Repeat you are still dark.

(helicopter engine)

- Is your ELT activated?

- Is your ELT activated?

(glass breaking)

(glass breaking)

- The making of the film was straight forward.

I had this basic idea.

I had this basic idea.

Terry Winkless was the writer/director who had made

Terry Winkless was the writer/director who had made

several successful films for us,

several successful films for us,

so I simply commissioned Terry to write a script

so I simply commissioned Terry to write a script

from that basic idea and direct it.

from that basic idea and direct it.

We shot in Bulgaria where there were certain areas

We shot in Bulgaria where there were certain areas

that might pass for Afghanistan.

that might pass for Afghanistan.

- You are still dark.

- You are still dark.

Activate your ELT

- Jesus

- Jesus

- Jesus

- Where's the co pilot?

- He didn't make it.

(alarm beeping)

(alarm beeping)

- You are still dark repeat you are still dark.

- You are still dark repeat you are still dark.

Pegasus is your ELT activated?

Pegasus Pegasus what is your position?

Pegasus Pegasus what is your position?

(loud explosion)

(loud explosion)

- I think it was my wife who met somebody from the

- I think it was my wife who met somebody from the

Bulgarian film company and I talked to him

Bulgarian film company and I talked to him

and we made a co production there where I knew I was

and we made a co production there where I knew I was

going to be able to get a big Bulgarian crew and special

going to be able to get a big Bulgarian crew and special

going to be able to get a big Bulgarian crew and special

effects and good locations and everything for quite a bit

effects and good locations and everything for quite a bit

less than it would cost in the United States.

less than it would cost in the United States.

(middle eastern music)

(middle eastern music)

(grunts and groans)

(grunts and groans)

(gunshot)

(gunshot)

- The film was essentially an action film,

- The film was essentially an action film,

but with all action films you want to do some

but with all action films you want to do some

exploration of the characters.

exploration of the characters.

It can't just be one action scene after another.

- Are you gonna brand me?

- Are you gonna brand me?

- [Roger Corman] I think Terry succeeded in creating a

- [Roger Corman] I think Terry succeeded in creating a

personal relationship between the two leads,

personal relationship between the two leads,

and exploring some of their character at the same time

and exploring some of their character at the same time

as portraying the action.

as portraying the action.

- You got freon running through your veins all of a sudden?

- You got freon running through your veins all of a sudden?

- No, I had a friend who got shot in the leg.

- No, I had a friend who got shot in the leg.

By the time I got him someplace

By the time I got him someplace

where they could take it out,

where they could take it out,

the leg was history and so was the friendship.

And I'm not gonna let that happen again.

(fire crackling)

(fire crackling)

(crying)

(roaring snow fall)

(roaring snow fall)

- [Roger Corman] Avalanche came about simply because

- [Roger Corman] Avalanche came about simply because

there had been a number of very big budget disaster films

there had been a number of very big budget disaster films

that had done very well.

that had done very well.

And I thought "Maybe we can make a medium or low

And I thought "Maybe we can make a medium or low

budget disaster film and do well with that."

budget disaster film and do well with that."

(dramatic music)

(dramatic music)

- I had the script written and I thought it was a good

- I had the script written and I thought it was a good

script and I thought of sending it to one of the networks

script and I thought of sending it to one of the networks

script and I thought of sending it to one of the networks

to see if I could make as a Movie of the Week.

to see if I could make as a Movie of the Week.

And they liked the film and they pre-bought the

And they liked the film and they pre-bought the

film for two million dollars.

film for two million dollars.

I'd never made a two million dollar film in my life,

I'd never made a two million dollar film in my life,

but I thought "this really gives us a chance".

but I thought "this really gives us a chance".

As a result,

I was able to hire Rock Hudson and Mia Farrow for the leads.

I was able to hire Rock Hudson and Mia Farrow for the leads.

We had a longer shooting schedule and we had more

We had a longer shooting schedule and we had more

special effects with the avalanche.

(roaring snow falling)

(roaring snow falling)

- I chose Corey Allen as the director because he directed

- I chose Corey Allen as the director because he directed

a previous film for me and I knew he'd had a good career

a previous film for me and I knew he'd had a good career

a previous film for me and I knew he'd had a good career

as an actor before he became a director and I felt working

as an actor before he became a director and I felt working

with Rock Hudson and Mia Farrow,

I wanted a director who could work with stars.

I wanted a director who could work with stars.

I wanted a director who could work with stars.

- When was the last time you went up on that mountain

and just sat?

and just sat?

- Oh bullshit Nick I don't sit, I work up there.

- Oh bullshit Nick I don't sit, I work up there.

- Just go up there and sit Phil.

- Oh you're ridiculous.

- Just sit Phil.

- Just sit Phil.

Things aren't normal.

There's a heaviness and it's growing.

There's a heaviness and it's growing.

I can feel it.

- Oh for God's sake!

- Oh for God's sake!

You want to panic a whole population because you feel

You want to panic a whole population because you feel

a heaviness?

Well let me tell you something.

I don't move with your premonition.

I don't move with your premonition.

I move with my judgment.

- Actually, the main thing I remember about the picture

- Actually, the main thing I remember about the picture

- Actually, the main thing I remember about the picture

is not the shooting,

it was the special effects for the snow.

it was the special effects for the snow.

I had this time problem, of course, that I had to

I had this time problem, of course, that I had to

deliver to the network.

deliver to the network.

And the special effects company who'd promised a little more

And the special effects company who'd promised a little more

than they were capable of delivering,

sent in the first shots and the snow was red.

sent in the first shots and the snow was red.

sent in the first shots and the snow was red.

I called 'em and I said "I've never seen red snow!

I called 'em and I said "I've never seen red snow!

What are you guys doing? I've gotta deliver this film!"

What are you guys doing? I've gotta deliver this film!"

They said "Okay, we'll re-shoot. We'll fix this."

They said "Okay, we'll re-shoot. We'll fix this."

And we were really up,

it was day by day to get this thing done.

it was day by day to get this thing done.

And they finally send in the other shots

And they finally send in the other shots

and the snow was blue.

And I thought "I'm really in a mess here.

And I thought "I'm really in a mess here.

I have no more time."

And I thought "well, the thing to do in the printing",

And I thought "well, the thing to do in the printing",

you can print up or down,

you can print up or down,

"I'll print up to make the blue snow as light as it could

"I'll print up to make the blue snow as light as it could

"I'll print up to make the blue snow as light as it could

possibly be and just say that well,

possibly be and just say that well,

it's the reflection of the blue sky or whatever,

it's the reflection of the blue sky or whatever,

we'll get away with this."

And we did!

And we did!

The picture was successful but there's a story beyond that.

The picture was successful but there's a story beyond that.

A friend of mine,

A friend of mine,

and I will not mention of what happened,

a friend of mine was doing a big budget picture that had

a friend of mine was doing a big budget picture that had

a friend of mine was doing a big budget picture that had

disasters from all over the world.

disasters from all over the world.

And he was over budget and he couldn't shoot

And he was over budget and he couldn't shoot

all the disasters.

all the disasters.

And one of the disasters was an avalanche.

And one of the disasters was an avalanche.

And he called me and he said, "Can I buy the stock

footage from your Avalanche?"

footage from your Avalanche?"

And I said, "You could buy it.

And I said, "You could buy it.

I'm happy to sell it to you,

but I have to tell ya,

but I have to tell ya,

the snow is",

by that time it was light blue,

"the snow has a blueish tinge.

"the snow has a blueish tinge.

It's really not very good."

It's really not very good."

And he said "I'm in real trouble here. I've got to deliver."

And he said "I'm in real trouble here. I've got to deliver."

Same problem I had,

same problem producers always have problems like this.

same problem producers always have problems like this.

"I've got to deliver the film.

"I've got to deliver the film.

I don't have any more money for special effects,

I'm going with the blue snow."

I'm going with the blue snow."

The reviews of the picture came.

The reviews of the picture came.

When his picture came out,

When his picture came out,

they were not very good.

And it was a big budget film.

And it was a big budget film.

And one critic said, "The only disaster scene that looks

And one critic said, "The only disaster scene that looks

And one critic said, "The only disaster scene that looks

real is the avalanche footage."

real is the avalanche footage."

I never saw the film,

and I thought, "I don't wanna see this film."

and I thought, "I don't wanna see this film."

(dog barking)

(dog barking)

- Quake started without any story,

- Quake started without any story,

without any idea of what we were going to do.

without any idea of what we were going to do.

There actually was a major earthquake in San Francisco

There actually was a major earthquake in San Francisco

and the head of our studio John Winfrey had gone

and the head of our studio John Winfrey had gone

to the University of California at Berkeley.

And the day of the quake,

And the day of the quake,

it was in the afternoon,

it was in the afternoon,

he called me and he said,

"I can drive all night from here to San Francisco,

"I can drive all night from here to San Francisco,

"I can drive all night from here to San Francisco,

and I know a couple of guys who are studying film

and I know a couple of guys who are studying film

with me at Berkeley.

I'll get them to get some cameras and we can be out there

I'll get them to get some cameras and we can be out there

first thing tomorrow morning and we'll be shooting

first thing tomorrow morning and we'll be shooting

the aftermath of the quake."

the aftermath of the quake."

(rumbling and shaking)

(dog whining)

(dog whining)

(steel creaking)

(steel creaking)

- I said "Get in the car John and start driving!"

- I said "Get in the car John and start driving!"

We had no idea what we were going to do but I said,

We had no idea what we were going to do but I said,

"Just shoot everything you can and then we'll think

"Just shoot everything you can and then we'll think

of a story to fit what you shoot."

of a story to fit what you shoot."

(loud rumbling)

(loud rumbling)

(screeching tires)

(screeching tires)

(glass breaking)

- I chose Louis Morneau as the director for a simple reason.

- I chose Louis Morneau as the director for a simple reason.

He had been an editor and I knew as a director,

He had been an editor and I knew as a director,

he had to shoot in such a way that he could integrate

he had to shoot in such a way that he could integrate

the shots we had already had of the earthquake together

the shots we had already had of the earthquake together

with some special effect shots we would shoot to fit.

with some special effect shots we would shoot to fit.

So the job was as much of an editing job

So the job was as much of an editing job

as it was a directing job.

as it was a directing job.

I barely remember the story,

because the essence of everything was the quake footage

because the essence of everything was the quake footage

and how to use it.

and how to use it.

But as I recall,

a woman is knocked unconscious, I think,

a woman is knocked unconscious, I think,

in her apartment because of the quake.

in her apartment because of the quake.

Her neighbor somehow kidnaps her because he's

Her neighbor somehow kidnaps her because he's

Her neighbor somehow kidnaps her because he's

obsessed with her and her husband has to make his way

obsessed with her and her husband has to make his way

through the quake to rescue her.

through the quake to rescue her.

- It's not your fault.

- It's not your fault.

- [Roger Corman] Considering the fact that so much

- [Roger Corman] Considering the fact that so much

attention was paid to the quake,

the quake footage and so forth,

the quake footage and so forth,

I should also mention the fact that the actors were

I should also mention the fact that the actors were

very good.

Erika Anderson as the woman,

Erika Anderson as the woman,

and Steve Railsback as the slightly deranged neighbor,

and Steve Railsback as the slightly deranged neighbor,

really gave excellent performances.

really gave excellent performances.

So in addition to the quake footage and so forth,

So in addition to the quake footage and so forth,

I thought we had a good dramatic film there.

I thought we had a good dramatic film there.

- Must be your feeling pain.

- Must be your feeling pain.

I mean that.

- I know.

- I know.

- There's just something that you need to understand.

- There's just something that you need to understand.

I just want you to know that...

If you're not here when I return,

If you're not here when I return,

I'll track you down and I'll rip your fuckin' lungs out!

- I think Steve Railsback is a brilliant actor.

- I think Steve Railsback is a brilliant actor.

Quake was the first film he did for us.

Quake was the first film he did for us.

He went on to do several other films for us

He went on to do several other films for us

and once actually directed a film because I thought he

and once actually directed a film because I thought he

was such a good actor and worked so well with other actors,

was such a good actor and worked so well with other actors,

he could also be a director.

he could also be a director.

But he not only did a number of films for us,

But he not only did a number of films for us,

he did some very big films as well and he became a name.

he did some very big films as well and he became a name.

he did some very big films as well and he became a name.

We differentiate between a star and a name.

We differentiate between a star and a name.

A name is somebody the audience recognizes

A name is somebody the audience recognizes

and helps to sell the picture but isn't quite a star.

and helps to sell the picture but isn't quite a star.

I don't know why he didn't become a star,

I don't know why he didn't become a star,

I don't know why he didn't become a star,

but he had a solid

and still continues a solid acting career.

and still continues a solid acting career.

The film did very well.

The film did very well.

I remember the picture fondly because it was just exciting

I remember the picture fondly because it was just exciting

to know that John was driving all night long

to know that John was driving all night long

and we had the guys from Berkeley.

and we had the guys from Berkeley.

We were up there and they told me they broke through

We were up there and they told me they broke through

some police lines, 'cause places were cordoned off.

some police lines, 'cause places were cordoned off.

(splashing water)

(screaming in agony)

(screaming in agony)

- And just the excitement of putting the whole thing

- And just the excitement of putting the whole thing

together really on a couple of hours notice is,

together really on a couple of hours notice is,

was a delight to me as to what can be done.

was a delight to me as to what can be done.

- Hey Kyle.

Sorta like waking up in a Picasso painting,

Sorta like waking up in a Picasso painting,

don't ya think?

don't ya think?

- Why am I tied up?

- You can do better than that Kyle.

- You can do better than that Kyle.

- What happened to me?

- I've been thinking about some of the things we discussed.

- I've been thinking about some of the things we discussed.

- I've been thinking about some of the things we discussed.

- [Kyle] What things?

- Basically our relationship.

- Basically our relationship.

- Jenny, untie me!

- I've been think about the way things been going, Kyle.

- I've been think about the way things been going, Kyle.

And frankly, I have my doubts.

And frankly, I have my doubts.

(liquid splashing)

- What?

- What?

- Oh ya know, maybe you're right.

- Oh ya know, maybe you're right.

Sometimes is takes an earthquake to really wake people up.

Sometimes is takes an earthquake to really wake people up.

I don't think this is gonna work out.

I don't think this is gonna work out.

- [Roger Corman] The Big Bird Cage was the inevitable sequel

- [Roger Corman] The Big Bird Cage was the inevitable sequel

to The Big Doll House.

As soon as we saw the grosses on The Big Doll House,

As soon as we saw the grosses on The Big Doll House,

As soon as we saw the grosses on The Big Doll House,

we were going forward with the sequel.

we were going forward with the sequel.

The title itself was an attempt to come as close as

we could.

we could.

The Big Bird Cage,

The Big Doll House.

The Big Doll House.

I should give credit here to Jane Schaffer who is my

I should give credit here to Jane Schaffer who is my

assistant and functioned as a producer on both films.

assistant and functioned as a producer on both films.

I left the second one more to Jane and to Jack Hill,

I left the second one more to Jane and to Jack Hill,

and the major change we did in the concept,

and the major change we did in the concept,

because pretty much we followed the general outline

because pretty much we followed the general outline

of the first film,

of the first film,

remembering how good Pam Grier and Sid Haig had been in

remembering how good Pam Grier and Sid Haig had been in

the comedy,

I said and everybody agreed,

I said and everybody agreed,

I'm not even certain it was my idea,

I'm not even certain it was my idea,

it was sort of a universal idea,

it was sort of a universal idea,

let us go for more comedy here and really feature

let us go for more comedy here and really feature

Pam Grier and Sid Haig.

- Baby! Oh Baby!

- Baby! Oh Baby!

- Blossom honey!

- You philandering fornicatin' bastard!

- You philandering fornicatin' bastard!

You went off with that skinny honky for two days

You went off with that skinny honky for two days

and gonna come back here and call me honey?

and gonna come back here and call me honey?

- Now wait a minute blossom honey!

- I told you I was gonna cut it off if you tried to

- I told you I was gonna cut it off if you tried to

pull that shit on me!

Skinhead cockroach!

Skinhead cockroach!

Skinhead cockroach!

- C'mon!

C'mon jivehouse

- Lousy no good...

- Lousy no good...

- Lousy no good...

- Your ass is mine woman!

- Your ass is mine woman!

(splashing water)

(pink oinks)

(pink oinks)

- I'm sorry baby but I figure you need to cool off.

- I'm sorry baby but I figure you need to cool off.

(rooster crowing)

- I give a lot of credit to Jack Hill,

is that he started to emphasize the humor and at that point

is that he started to emphasize the humor and at that point

is that he started to emphasize the humor and at that point

you knew you were just there to have fun.

you knew you were just there to have fun.

You couldn't take it seriously.

You couldn't take it seriously.

(drum beating)

(drum beating)

- Another factor in the success was the R rating.

- Another factor in the success was the R rating.

The R rating I think had come in

The R rating I think had come in

just a couple of years earlier.

just a couple of years earlier.

We actually had what by today's standard was mild nudity.

We actually had what by today's standard was mild nudity.

It was basically topless in a few scenes but I do think

It was basically topless in a few scenes but I do think

It was basically topless in a few scenes but I do think

it brought a number of guys into the theater.

it brought a number of guys into the theater.

(suspenseful music)

(suspenseful music)

(screaming)

(screaming)

- [Roger Corman] The casting on both films

- [Roger Corman] The casting on both films

was straight forward.

We were looking for good looking girls who also were

We were looking for good looking girls who also were

at least reasonably good actresses.

at least reasonably good actresses.

We brought in a very good Philippine actor,

We brought in a very good Philippine actor,

Vic Diaz,

Vic Diaz,

who was excellent in the film and he gave a certain

who was excellent in the film and he gave a certain

gravitas.

I don't know if I really wanna overuse that word,

I don't know if I really wanna overuse that word,

but a little bit of that to the humor.

but a little bit of that to the humor.

- This would have been a punishment for anyone

- This would have been a punishment for anyone

who attempts to escape from here.

From now on,

From now on,

your work loads will be increased.

your work loads will be increased.

There will be no recreation!

There will be no recreation!

No malingering!

There will be discipline in this camp!

There will be discipline in this camp!

- [Roger Corman] The commercial reception

was almost the same.

was almost the same.

As typical when you're working on sort of a cycle,

As typical when you're working on sort of a cycle,

the second one will not do quite as well as the first,

the second one will not do quite as well as the first,

the third will not do quite as well as the second,

the third will not do quite as well as the second,

and so forth.

But it was a solid commercial success.

But it was a solid commercial success.

As for critics,

As for critics,

I think again the critics never even saw the film.

I think again the critics never even saw the film.

Oh!

There was one thing I forgot.

There was one thing I forgot.

A feminist writer wrote about these films a few years later.

A feminist writer wrote about these films a few years later.

And she said in her article that she had started out to

And she said in her article that she had started out to

attack these films as exploiting women.

attack these films as exploiting women.

And as she looked at them,

she realized there was some element of exploiting women,

she realized there was some element of exploiting women,

but also they were glorifying and empowering women.

but also they were glorifying and empowering women.

but also they were glorifying and empowering women.

I remember on these films and a number of other films

I remember on these films and a number of other films

where I had women leads,

several times the women were in trouble

several times the women were in trouble

and the writer had their boyfriends solve the problem

and the writer had their boyfriends solve the problem

and the writer had their boyfriends solve the problem

and each time I would say to the writer,

and each time I would say to the writer,

"No! The women must solve their own problems!"

"No! The women must solve their own problems!"

And the woman who wrote the article,

she didn't know that they,

she didn't know that they,

writers had wanted to have the boys solve their problems,

she just recognized the fact that these were among

she just recognized the fact that these were among

she just recognized the fact that these were among

a few films where the women solved their own problems

a few films where the women solved their own problems

and it was really an empowerment of women.

and it was really an empowerment of women.

- So you know.

- So you know.

You're gonna blow the whistle on us?

- You know one reason why I shouldn't?

- You know one reason why I shouldn't?

- Yeah.

That wouldn't get you outta here.

That wouldn't get you outta here.

- You got any idea what would?

- You got any idea what would?

- Maybe.

If you're up to it.

If you're up to it.

- Try me.

- Games on, let's go!

- Games on, let's go!

(rapid gunfire)

(suspenseful music)

(explosions)

(explosions)

(yelling)

(yelling)

(cheering)

(cheering)

(funky jive music)

(funky jive music)

[END CREDITS]

[END CREDITS]