All language subtitles for C T f t T w R a J C S01E10 1080p WEB h264-CRACKLED_track3_[eng]

- 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]