Original subtitles

- I'm Roger Corman,

- I'm Roger Corman,

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

and memories of many of my films.

and memories of many of my films.

(funky instrumental music)

(funky instrumental music)

To explain these characters,

we have to go back a few thousand years to Aristotle,

we have to go back a few thousand years to Aristotle,

who described the essence of drama as conflict,

who described the essence of drama as conflict,

who described the essence of drama as conflict,

and the type of films we are talking about

and the type of films we are talking about

push the conflict to the limit

push the conflict to the limit

to simply get a greater emotional response

to simply get a greater emotional response

from the audience.

- Theresa was your friend.

- Theresa was your friend.

- Theresa became too sure

- Theresa became too sure

of our friendship.

- Suppose I became too sure.

- Suppose I became too sure.

- You'd wind up like Theresa.

- You'd wind up like Theresa.

- Then I see no value in your friendship.

- Then I see no value in your friendship.

- It could postpone certain hazards.

- It could postpone certain hazards.

- Go to hell.

- Go to hell.

- I'll send you ahead of me.

Juana!

Juana!

We were just discussing hell.

Perhaps we can show her a bit of home.

- Now the conflict can take place in various ways.

- Now the conflict can take place in various ways.

It can be within the individual character.

It can be within the individual character.

Hamlet from Shakespeare, his inner conflict.

Hamlet from Shakespeare, his inner conflict.

We don't have quite the same creative talent

We don't have quite the same creative talent

that Shakespeare did,

that Shakespeare did,

so we have a different type of conflict,

so we have a different type of conflict,

which is the individual against all odds.

which is the individual against all odds.

- The warden doesn't care about anything

- The warden doesn't care about anything

except the money she can steal from here.

except the money she can steal from here.

- What about escape?

- There's nothing but jungle for miles around here.

- There's nothing but jungle for miles around here.

- Besides, they hire trackers to hunt you down.

- Trackers?

- Bandits who know the jungle.

- Bandits who know the jungle.

- [Brunette] They don't care how they get you back.

They get $50 whether you're dead or alive.

They get $50 whether you're dead or alive.

- Hasn't anybody ever made it?

- Hasn't anybody ever made it?

- I never heard of anyone.

- I never heard of anyone.

(tense instrumental music)

(tense instrumental music)

(funky instrumental music)

(funky instrumental music)

- [Roger] Eye of the Eagle was the first

- [Roger] Eye of the Eagle was the first

of our Vietnam War pictures,

which we shot in the Philippines.

which we shot in the Philippines.

Cirio Santiago directed it.

Cirio Santiago directed it.

- [MP] So without the proper ID,

you cannot enter Las Ben,

so just turn the truck around

so just turn the truck around

and get your ass outta here.

- Hey, Rodriquez,

- Hey, Rodriquez,

show the lieutenant here and his men

show the lieutenant here and his men

a sample of our kind of pacification program.

a sample of our kind of pacification program.

See you in heaven.

See you in heaven.

(machine gun pops)

(machine gun pops)

(tense instrumental music)

(tense instrumental music)

(flare buzzes)

(flare buzzes)

- What the fuck is that?

(artillery screeches)

(booming)

(booming)

(artillery screeches)

(booming)

(booming)

- [Roger] It was a straightforward action film.

- [Roger] It was a straightforward action film.

The main thing I remember about the film

The main thing I remember about the film

was the tremendous action that Cirio got.

was the tremendous action that Cirio got.

He had a deal with the Philippine army.

He had a deal with the Philippine army.

(booming)

(booming)

And the action scenes were played by the army,

And the action scenes were played by the army,

and they were really great.

It made the film look much bigger

It made the film look much bigger

than the actual budget.

than the actual budget.

(booming)

(booming)

The Vietnam War was over when we made the film,

The Vietnam War was over when we made the film,

but I remember after World War II,

but I remember after World War II,

we made several World War II films that were successful,

we made several World War II films that were successful,

we made several World War II films that were successful,

and I knew from cinema history,

that after World War I

that after World War I

a number of World War I pictures were successful,

a number of World War I pictures were successful,

so I felt the opportunity was there

so I felt the opportunity was there

based upon the Vietnam War.

based upon the Vietnam War.

- You know, we've all heard stories

about your so-called lost command.

about your so-called lost command.

- So-called?

- Well, you gotta admit, this whole thing

- Well, you gotta admit, this whole thing

seems a little bit farfetched.

- Well, uh-- - Ain't that right, Sarge?

- Well, uh-- - Ain't that right, Sarge?

- Yeah, that's right, Johnny.

- Yeah, that's right, Johnny.

But, then again, this whole damn war

seems a bit farfetched.

seems a bit farfetched.

- It does at that.

(funky instrumental music)

(funky instrumental music)

♪ Gonna fight it every day

♪ Gonna fight it every day

♪ Gonna fight it every day

♪ Gonna kill it in every way

♪ Gonna kill it in every way - Hey.

♪ Gonna kill it in every way - Hey.

- [Roger] Eye of the Eagle was very successful,

- [Roger] Eye of the Eagle was very successful,

but it was really dependent upon the action.

I felt the characters were not quite as well developed

I felt the characters were not quite as well developed

I felt the characters were not quite as well developed

as they should be.

(insects chirp)

(insects chirp)

(booming)

(booming)

- Shit!

(guns pop)

(guns pop)

- All right!

Get some, get some, get some!

Get some, get some, get some!

(gun pops)

(insects chirp)

(insects chirp)

(gun pops)

(gun pops)

(insects chirp)

(insects chirp)

- [Roger] Carl Franklin was an American director

- [Roger] Carl Franklin was an American director

who'd done one film for me

who'd done one film for me

after graduating from the American Film Institute,

and Eye of the Eagle 2

and Eye of the Eagle 2

had a slightly more complex story,

had a slightly more complex story,

and I felt that, simply, I would get better performances

and I felt that, simply, I would get better performances

with Carl as the director.

(speaking foreign language)

(speaking foreign language)

- Got some rice here.

Jesus Christ.

Who would do that to you?

Who would do that to you?

(speaks foreign language) who hit you?

(speaks foreign language) who hit you?

Who hit you?

(speaks foreign language)

(speaks foreign language)

- Yeah, who hit you?

- GI.

- Carl, indeed, did get better performances.

- Carl, indeed, did get better performances.

Cirio directed most of the action scenes,

Cirio directed most of the action scenes,

so I think Eye of the Eagle 2, in some respects,

so I think Eye of the Eagle 2, in some respects,

so I think Eye of the Eagle 2, in some respects,

was the better film.

It had just as much action as the first film,

It had just as much action as the first film,

and was a more complex and more involving story.

and was a more complex and more involving story.

- Would you be my wife?

(tender instrumental music)

(tender instrumental music)

- Even though I felt Eye of the Eagle 2

- Even though I felt Eye of the Eagle 2

was the superior film,

was the superior film,

they were both received about the same by the critics,

they were both received about the same by the critics,

and were both equally successful.

and were both equally successful.

(funky instrumental music)

(funky instrumental music)

I had been making a number of films in Argentina

I had been making a number of films in Argentina

with Hector Olivera, an Argentine producer and director

with Hector Olivera, an Argentine producer and director

who had his own studio.

who had his own studio.

All of those films, as with almost everything we made,

All of those films, as with almost everything we made,

the original ideas came from me,

the original ideas came from me,

and I'd been sending American directors

and I'd been sending American directors

down to Buenos Aires,

and Hector, who was a good director in his own right,

and Hector, who was a good director in his own right,

and Hector, who was a good director in his own right,

simply said to me, Roger,

why send an American down here?

why send an American down here?

I'm here, I can direct a film.

I'm here, I can direct a film.

So he came up with the original story

for Cocaine Wars himself.

for Cocaine Wars himself.

(engine rumbles)

(engine rumbles)

(shouting)

(tires screech)

(booming)

(booming)

(tense instrumental music)

(tense instrumental music)

- What happened?

- Somebody took a wrong turn.

- Somebody took a wrong turn.

- [Roger] We hired an American writer,

- [Roger] We hired an American writer,

Steve Krauzer, so that the dialogue

would be correct from an American standpoint.

would be correct from an American standpoint.

I sent down John Schneider and Royal Dano.

I sent down John Schneider and Royal Dano.

I sent down John Schneider and Royal Dano.

- That information is cheap in this town.

I got a feeling that, uh, there's a shit storm

I got a feeling that, uh, there's a shit storm

comin' down.

I don't wanna get caught in the middle.

Maybe you're right.

Maybe I oughta quit.

Maybe I oughta quit.

- Maybe I can help you out.

- Maybe I can help you out.

- Bring me the telephone, chica.

- Dial this, chico.

(growling)

(growling)

- That's the best telephone booth in Las Palmos.

- Federico Luppi, who was an Argentine star,

- Federico Luppi, who was an Argentine star,

- Federico Luppi, who was an Argentine star,

who played a cocaine dealer.

who played a cocaine dealer.

John played an undercover DEA agent

John played an undercover DEA agent

who worked with him.

- Oh, by the way, I killed Klausmann

- Oh, by the way, I killed Klausmann

on the way over here.

I hope you don't mind.

So how's Gonzalo Junior doin'?

Is he still knockin' up (speaks foreign language)

Is he still knockin' up (speaks foreign language)

at the University of Miami.

- Leave my son out of this.

- Leave my son out of this.

- All right, all right.

Just thought that, uh, maybe Maranetti's men

Just thought that, uh, maybe Maranetti's men

might wanna look him up.

- The result turned out very well.

Hector made a very good film,

Hector made a very good film,

and he utilized, particularly, locations

and he utilized, particularly, locations

around Buenos Aires that he knew.

around Buenos Aires that he knew.

And what I remember most about the film

And what I remember most about the film

is that, in the last act, he turned

is that, in the last act, he turned

what had been sort of a psychological cat-and-mouse game

what had been sort of a psychological cat-and-mouse game

into a straight, really exciting climax.

into a straight, really exciting climax.

(booming)

(booming)

(machine gun rattles)

(moaning)

- [Man With Gun] I lied.

(machine gun rattles)

(machine gun rattles)

(booming)

(machine gun rattles)

(machine gun rattles)

(booming)

(funky instrumental music)

(funky instrumental music)

(cars roar)

- Pit Stop was made when,

- Pit Stop was made when,

in addition to making my own films,

in addition to making my own films,

I was investing some of my excess money,

and I didn't have much excess money,

and I didn't have much excess money,

but I was investing in the films

but I was investing in the films

of new, young directors, as well.

of new, young directors, as well.

Jack Hill came to me with the idea

Jack Hill came to me with the idea

of making a black and white film

for $50,000, utilizing as his crew and part of the cast,

for $50,000, utilizing as his crew and part of the cast,

for $50,000, utilizing as his crew and part of the cast,

his fellow classmates from the UCLA film school.

his fellow classmates from the UCLA film school.

- Hey, boy, you gonna race with us?

- Hey, boy, you gonna race with us?

- I don't know if I got the guts.

- I don't know if I got the guts.

- (chortles) What you mean is,

- (chortles) What you mean is,

you don't think you're dingy enough.

'Cause everybody knows, you gotta be dingy

'Cause everybody knows, you gotta be dingy

to run Figure 8's,

especially Mr. Willard here.

especially Mr. Willard here.

Ain't that right, Grant?

- Bob, bring the Hawk a beer.

- Bob, bring the Hawk a beer.

- Hey, yeah!

Now listen here, boy.

Now listen here, boy.

You know why I'm the winner?

'Cause I'm as dingy as there is.

So when they see me comin' through that intersection,

they just naturally back off

they just naturally back off

'cause they know I ain't gonna stop for nobody.

'cause they know I ain't gonna stop for nobody.

So when you see me comin',

you best get out the way

'cause I'm the dingiest there is, right?

'cause I'm the dingiest there is, right?

Right.

Right.

And that's why I drive a California custom

And that's why I drive a California custom

for Grant Willard.

- I'm a businessman, Hawk.

I need a winner.

- (chuckles) You got one, yeah! (laughs)

- (chuckles) You got one, yeah! (laughs)

- (chuckles) You got one, yeah! (laughs)

(pulsing rock music)

(pulsing rock music)

- What do ya think, Rick?

- What do ya think, Rick?

He's the one to beat.

(Hawk laughs)

(Hawk laughs)

- Where can I get me a car?

- [Roger] I thought it was a good idea.

- [Roger] I thought it was a good idea.

Jack had no particular subject in mind,

Jack had no particular subject in mind,

and ever since The Fast and the Furious,

and ever since The Fast and the Furious,

and a couple of other racing films,

I had always had success with racing.

I had always had success with racing.

So I suggested a car race film to Jack,

So I suggested a car race film to Jack,

and, at first, he wasn't happy about that idea,

and, at first, he wasn't happy about that idea,

and, at first, he wasn't happy about that idea,

but I talked to him about the really enormous popularity

but I talked to him about the really enormous popularity

in the United States and around the world

in the United States and around the world

of car racing,

and the fact that this was a low budget film,

and the fact that this was a low budget film,

there's a low budget kind of car racing

there's a low budget kind of car racing

with what they called midget autos,

with what they called midget autos,

and there was a track down in Central Los Angeles

and there was a track down in Central Los Angeles

called Ascot, where these very sort of almost homemade

called Ascot, where these very sort of almost homemade

but professional cars were racing,

but professional cars were racing,

and they'd introduced a new type of racing,

and they'd introduced a new type of racing,

which was Figure 8,

which was Figure 8,

which was really sort of an excuse

for almost crashing into cars,

for almost crashing into cars,

and, as I discussed it, Jack became enthused about it,

and, as I discussed it, Jack became enthused about it,

and he and I developed the idea,

and he and I developed the idea,

and then Jack wrote the script.

and then Jack wrote the script.

- [Announcer] Bowman is behind.

The Hawk, four, is in front.

The Hawk, four, is in front.

(banging)

(banging)

In the last lap.

The Hawk, but it's Bowman in second.

The Hawk, but it's Bowman in second.

The Hawk is coming down, the Hawk has spun out.

The Hawk is coming down, the Hawk has spun out.

- Hi, Ed McLeod?

(electrical buzzing)

(electrical buzzing)

Hey.

That's really nice.

But it's the 289.

How come you don't go with the 390?

- 289 is 200 pounds lighter.

- 289 is 200 pounds lighter.

The way we have that set up,

we can get 350 horsepower out of it.

we can get 350 horsepower out of it.

- I, uh,

I guess you're not Ed McLeod.

- No, I guess I'm not.

I'm married to him.

I'm married to him.

- Oh.

The power behind the wheel, is that it?

The power behind the wheel, is that it?

- I was very pleased with the script.

- I was very pleased with the script.

I thought Jack did a really good job,

I thought Jack did a really good job,

so I said, okay, let's go from $50,000 to $60,000

so I said, okay, let's go from $50,000 to $60,000

so we can afford a little bit better cast.

And he had Dick Davaios, Brian Donlevy,

And he had Dick Davaios, Brian Donlevy,

Ellen Burstyn, and a number

Ellen Burstyn, and a number

of good, young actors around him.

of good, young actors around him.

(engine rumbles)

(engine rumbles)

(twirling instrumental music)

(twirling instrumental music)

The film turned out very well.

The film turned out very well.

I was very pleased with it.

It did very well for us commercially.

It did very well for us commercially.

If I'd had a little bit more money,

If I'd had a little bit more money,

and we'd made it in color,

probably it would've had a greater response

probably it would've had a greater response

probably it would've had a greater response

from the audience, but, by and large,

this was a successful low budget film for us.

this was a successful low budget film for us.

- [Announcer] Right down to the wire!

- [Announcer] Right down to the wire!

McLeod still hangs on to the lead.

McLeod still hangs on to the lead.

Bowman pushing and shoving,

a little fender polo.

a little fender polo.

(tires screech)

As they head into the straightaway.

As they head into the straightaway.

(engine roar)

(engine roar)

Bowman into McLeod, and McLeod loses it

Bowman into McLeod, and McLeod loses it

right in the middle of the track!

Here comes two more cars with no place to go!

Here comes two more cars with no place to go!

(banging)

(banging)

(banging)

(funky instrumental music)

(funky instrumental music)

- [Roger] We'd been making a series

of Vietnam War pictures in the Philippines

of Vietnam War pictures in the Philippines

with Cirio Santiago directing,

with Cirio Santiago directing,

and they'd all been successful.

and they'd all been successful.

Cirio came up with the idea

of a Vietnam War veteran

of a Vietnam War veteran

who returns to his home in Northern California

who returns to his home in Northern California

to avenge the killing of one of his comrades

to avenge the killing of one of his comrades

and gets involved in the corruption

and gets involved in the corruption

and marijuana growing.

and marijuana growing.

(bullets pop)

- Move out!

(guns rattle)

(guns rattle)

- And I said, Cirio, that's a very good idea,

- And I said, Cirio, that's a very good idea,

but you can't duplicate Northern California

but you can't duplicate Northern California

in this Philippines.

in this Philippines.

He said, there's actually a town in the mountains

He said, there's actually a town in the mountains

that was built by Americans

that was built by Americans

who were working in the Philippines,

and, with the heat of the summer,

and, with the heat of the summer,

they wanted to have a sort of place to go to

they wanted to have a sort of place to go to

to cool off, and they built it in American style.

to cool off, and they built it in American style.

- [Man] Look at this setup.

- [Man] Look at this setup.

- I was highly dubious about this,

but I said, go ahead, give it a try.

but I said, go ahead, give it a try.

but I said, go ahead, give it a try.

To my surprise, it really does look

like Northern California.

like Northern California.

(tense instrumental music)

(tense instrumental music)

(guns bang)

(guns bang)

- Let's go!

(guns bang)

(guns bang)

(booming)

- [Man] Watch out, watch out!

- [Man] Watch out, watch out!

- They can't get far.

Take the boys, track 'em.

Take the boys, track 'em.

And, Reese,

no prisoners.

no prisoners.

- [Roger] I sent over Rick Hill and Katt Shea

- [Roger] I sent over Rick Hill and Katt Shea

to play the American leads.

to play the American leads.

They had both worked with me before,

and Katt, in particular,

and Katt, in particular,

was an extremely intelligent and talented young actress.

was an extremely intelligent and talented young actress.

She worked with me as an actress a number of times,

She worked with me as an actress a number of times,

and, eventually, directed, started her directing career

and, eventually, directed, started her directing career

and, eventually, directed, started her directing career

with me. - Keep the change.

- Up there, to the right.

- Up there, to the right.

- Thank you.

- Uh, are you Elaine's friend?

- Uh, are you Elaine's friend?

- Yeah.

- Um, I'm sorry, I thought you were somebody else.

- Um, I'm sorry, I thought you were somebody else.

Welcome to town.

Welcome to town.

- I'll accept your apology over dinner.

- I'll accept your apology over dinner.

- The film was very well received,

was quite successful for us,

was quite successful for us,

and, to my surprise, nobody ever, no critic,

and, to my surprise, nobody ever, no critic,

nobody who ever saw the picture,

nobody who ever saw the picture,

ever questioned the authenticity

ever questioned the authenticity

of the Northern California scenes.

of the Northern California scenes.

(helicopter buzzes)

(tense instrumental music)

(tense instrumental music)

(booming)

(booming)

(water roars)

(water roars)

Katt had a great appeal as an actress.

Katt had a great appeal as an actress.

She was very pretty,

she looked like the nice, all-American girl,

she looked like the nice, all-American girl,

but there was a complexity that she could bring

but there was a complexity that she could bring

to the character so the character worked

to the character so the character worked

on different levels. - I usually get

on different levels. - I usually get

$35 an hour for this kind of work.

Okay, half a piece of Double Bubble

Okay, half a piece of Double Bubble

and a kiss from a future Monte Carlo winner.

and a kiss from a future Monte Carlo winner.

(funky instrumental music)

(funky instrumental music)

(percussive instrumental music)

(percussive instrumental music)

- [Roger] Katt Shea was not only a very good actress,

- [Roger] Katt Shea was not only a very good actress,

she was a very intelligent girl.

she was a very intelligent girl.

She had a degree from the University of Michigan

She had a degree from the University of Michigan

in drama and creative writing.

She'd acted in a number of films for me,

She'd acted in a number of films for me,

and she wrote a script, which she showed me,

and she wrote a script, which she showed me,

and the script wasn't really what I was looking for,

and the script wasn't really what I was looking for,

but I said, if you can come up with something

but I said, if you can come up with something

but I said, if you can come up with something

that more fits what we're doing,

that more fits what we're doing,

I'd be happy to give you a shot as a director.

I'd be happy to give you a shot as a director.

- [Man In Hat] Cut it.

- 18 seconds.

- You wanna turn the neon off?

- You wanna turn the neon off?

You know what my electric bill is?

And you, deal was topless for 30.

And you, deal was topless for 30.

- So she wrote a fairly long treatment,

- So she wrote a fairly long treatment,

I think it was a 10-page treatment,

or something like that, on a subject matter,

or something like that, on a subject matter,

and I said, no, I think this is not right.

and I said, no, I think this is not right.

So she continued bombarding me with ideas,

So she continued bombarding me with ideas,

and the treatments got shorter and shorter

and the treatments got shorter and shorter

'cause I kept turning them down,

'cause I kept turning them down,

and, finally, she was just telling me ideas.

and, finally, she was just telling me ideas.

- Remember to put the seat down.

- Don't miss.

- Don't miss.

- [Man] Brandy, I have tickets for Dire Straits.

- [Man] Brandy, I have tickets for Dire Straits.

- Hey, man.

- I'm busy.

- [Blonde Woman] Well then get outta my way.

- Derek.

- Derek.

- I'm available.

- You are not.

- You are not.

- I'm not going out with you.

- I'll go!

- Good Lord, Dazzle, you'll go anywhere.

- There's a creep at stage A

- There's a creep at stage A

who's flashin' a 20 and pullin' it back

every time I go to reach for it.

- [Blonde In Purple] I'll get it.

- [Blonde In Purple] I'll get it.

- Good Lord, who do you have to blow

to get an air conditioner around here?

- Hey.

- Hey.

Where's Roxanne? - What time is it?

Where's Roxanne? - What time is it?

- It's, uh, 9:15.

- I think Killer just peed on my bra.

- I think Killer just peed on my bra.

- [Roger] One day, she called me on the phone

- [Roger] One day, she called me on the phone

and said, there's been a murder in a strip club,

and said, there's been a murder in a strip club,

and a woman detective has to go undercover as a stripper

and a woman detective has to go undercover as a stripper

and a woman detective has to go undercover as a stripper

to solve the mystery.

- [Woman] I need it now!

- [Woman] I need it now!

- [Man] All right, I'm on my way, hold on.

(tense instrumental music)

(tense instrumental music)

(tense instrumental music)

- [Man] Billy, don't fire!

(screaming)

(screaming)

(sirens wail)

(sirens wail)

- [Man] Help the victims, now!

- [Man] Help the victims, now!

- [Man] Stop!

- [Man] Hey, get over here.

- Could've nailed the sleaze!

- I know.

- I know.

Hey, look, come on, there's nothing you could've done.

Hey, look, come on, there's nothing you could've done.

- And I said, Katt, you've done it,

we'll make the film,

Stripped to Kill.

Stripped to Kill.

- Where did you get this thing?

- Somebody picked it up on a drug bust.

- Somebody picked it up on a drug bust.

Just temporary.

Motor pool's tryin' to find the top.

Motor pool's tryin' to find the top.

- The B-team come up with anything?

- The B-team come up with anything?

- He dropped in on the other strippers,

- He dropped in on the other strippers,

found them uniformly uncooperative.

I just don't understand why civilians get so upset

I just don't understand why civilians get so upset

when you wake 'em up at four in the morning,

asking if they killed somebody.

asking if they killed somebody.

I mean, it just doesn't make any sense, you know?

- It's unwanted.

- It's unwanted.

- Well, it's in homicide's court.

- I was the first detective on the scene.

- I was the first detective on the scene.

- There's ways.

- How ominous.

- How ominous.

What do I have to do?

- Take off your clothes.

- [Roger] The casting of the lead in the picture

- [Roger] The casting of the lead in the picture

was particularly difficult

was particularly difficult

because I wanted somebody with some sort of a name

because I wanted somebody with some sort of a name

but who would do the strip acts in the show,

but who would do the strip acts in the show,

and I said to Katt, I will leave this to you

and I said to Katt, I will leave this to you

because I think you can talk to actresses

because I think you can talk to actresses

on this role better than I can.

on this role better than I can.

And I think her first choice was Kay Lenz,

And I think her first choice was Kay Lenz,

and the role was written so well,

and the role was written so well,

and, evidently, Katt talked to her

and sold her on it so well that she accepted,

and sold her on it so well that she accepted,

and sold her on it so well that she accepted,

and the rest of the cast fell into place.

♪ Starin' at the telephone

♪ Starin' at the telephone

♪ Never makin' any plans

♪ Never makin' any plans

♪ Just a hunger in the dark alone ♪

♪ Just a hunger in the dark alone ♪

♪ You call me strong, you call me wise ♪

♪ You call me strong, you call me wise ♪

♪ And now you never call at all ♪

♪ And now you never call at all ♪

♪ Well don't say I never told you so ♪

♪ Well don't say I never told you so ♪

♪ When you got no place to go

♪ When you got no place to go

♪ And you run to the night

♪ And you run to the night

♪ Hide in the shadows

- [Roger] I think she's very conscientious,

- [Roger] I think she's very conscientious,

both as a writer and as a director.

both as a writer and as a director.

Once I gave her the go-ahead,

she went to a number of strip clubs

she went to a number of strip clubs

and spent a fair amount of time

and spent a fair amount of time

just watching the shows and talking with the dancers,

just watching the shows and talking with the dancers,

and she used that knowledge in writing a script

and she used that knowledge in writing a script

and in directing the film.

and in directing the film.

As a matter of fact, most of the supporting actresses

As a matter of fact, most of the supporting actresses

who were dancers were actually strippers

who were dancers were actually strippers

from the various clubs.

from the various clubs.

- You on drugs?

- No.

Well, sometimes, a little grass.

Well, sometimes, a little grass.

- You reliable.

- Very.

- Very.

- You gonna screw me?

- For the job?

- For the job?

- I'm not talkin' about that.

I'm talkin' about you screwin' me over

if I should hire you.

if I should hire you.

- I don't screw people around.

- You are the worst dancer I ever saw in my life.

- You are the worst dancer I ever saw in my life.

You're hired.

You're hired.

- What do you pay?

- What do you pay?

- The reviews were surprisingly good,

- The reviews were surprisingly good,

particularly considering the fact

that this was a murder mystery about strippers.

that this was a murder mystery about strippers.

(funky instrumental music)

(funky instrumental music)

(ominous instrumental music)

(ominous instrumental music)

Stripped to Kill 2 came about

Stripped to Kill 2 came about

simply because Stripped to Kill was so successful.

simply because Stripped to Kill was so successful.

And on this one I felt we're riding,

And on this one I felt we're riding,

to a certain extent, on the name of the first one.

to a certain extent, on the name of the first one.

We don't need a name actress,

We don't need a name actress,

so Katt really interviewed a number of strippers

so Katt really interviewed a number of strippers

and chose Maria Ford, who was a stripper

and chose Maria Ford, who was a stripper

at some club in the Valley

at some club in the Valley

and was actually putting herself

through college at Cal State Northridge

through college at Cal State Northridge

by studying during the day,

by studying during the day,

and working as a stripper in the evening.

and working as a stripper in the evening.

(wind moaning)

- Um, that's mine.

- You know, some of us had to learn how to dance

- You know, some of us had to learn how to dance

before we could make a living.

- Uh huh, how do you make any money?

- Uh huh, how do you make any money?

- Come on, guys, be nice.

- If I wanted a mother, I would've stayed at home.

- If I wanted a mother, I would've stayed at home.

- [Blonde In Red] I've had it.

- Anyone see that cute guy on table 14?

- Anyone see that cute guy on table 14?

- Yeah, we have a date.

- Yeah, we have a date.

- Oh.

- Jesus Christ, Dazzle, those are my tweezers!

- Jesus Christ, Dazzle, those are my tweezers!

I'm gonna have to boil 'em.

I'm gonna have to boil 'em.

- [Roger] The film was just an example

of solid filmmaking.

of solid filmmaking.

The production went very smoothly.

The production went very smoothly.

The only minor problem was that Maria Ford,

The only minor problem was that Maria Ford,

who was taking her clothes off every night,

who was taking her clothes off every night,

became nervous during the shooting

became nervous during the shooting

and Katt had to calm her down.

- Shady!

- Shady!

(ominous instrumental music)

(ominous instrumental music)

- Do you always point firearms at unarmed women?

- You can drop that accent.

- You can drop that accent.

- Are you gonna shoot me?

- Do I have to?

- Do I have to?

- It's almost a pity you can't.

(mysterious instrumental music)

(mysterious instrumental music)

(groaning)

(exciting instrumental music)

(exciting instrumental music)

- [Woman] I see.

(exciting instrumental music)

(exciting instrumental music)

(thudding)

(funky instrumental music)

(funky instrumental music)

- [Roger] New World had made a number of horror films,

- [Roger] New World had made a number of horror films,

and Slumber Party Massacre started

and Slumber Party Massacre started

as just another horror film we were going to make.

as just another horror film we were going to make.

(tense instrumental music)

(tense instrumental music)

(drill whirs)

(drill whirs)

(screaming)

(tense instrumental music)

(tense instrumental music)

I wanted to vary the formula somewhat,

and I was aware there had been a number

and I was aware there had been a number

of slasher films, in which always it's the girls

of slasher films, in which always it's the girls

who get slashed, and their boyfriends

who get slashed, and their boyfriends

come to help them and save them.

come to help them and save them.

(thunder crashes)

(whimpering)

(whimpering)

- You're pretty.

- You're pretty.

All of you are very pretty.

All of you are very pretty.

- [Woman] (whimpers) Please don't do this.

- [Woman] (whimpers) Please don't do this.

- I love you.

- I love you.

- Please, I didn't hurt you.

- Please, I didn't hurt you.

- [Roger] On this one, I wanted to make

- [Roger] On this one, I wanted to make

the girls the heroes of the film.

the girls the heroes of the film.

I wanted the girls to fight back,

I wanted the girls to fight back,

take over the power themselves,

take over the power themselves,

and kill, destroy, the bad guy.

and kill, destroy, the bad guy.

- Yes.

- Why?

I don't even know you.

I don't even know you.

(exciting instrumental music)

(exciting instrumental music)

- [Roger] I'd read some of the novels

of Rita Mae Brown and thought she was a very good writer.

of Rita Mae Brown and thought she was a very good writer.

of Rita Mae Brown and thought she was a very good writer.

And I felt, if the girls were going to take

the power in this film,

the power in this film,

it would be best to have a woman write the film.

it would be best to have a woman write the film.

- You weren't invited to the party, were you?

- You weren't invited to the party, were you?

- Don't put on so much eye shadow.

It's already way too heavy.

It's already way too heavy.

- Do you think there are boys over there?

- Do you think there are boys over there?

- Yeah.

- Yeah.

There's always boys around Trish and Diane.

There's always boys around Trish and Diane.

- Well, let's crash the party.

- Why don't we change your hairstyle?

- Why don't we change your hairstyle?

This one's not working.

- Anything's okay with me.

- Anything's okay with me.

- We can try the Brooke Shields look.

You know, the frizz look?

You know, the frizz look?

- Just make me look like you.

- Okay.

- I talked to Rita Mae and, at first,

- I talked to Rita Mae and, at first,

she was not particularly receptive

to the idea of writing a horror film,

to the idea of writing a horror film,

but when I explained it was

but when I explained it was

almost an empowerment of women,

almost an empowerment of women,

and she understood that, through the horror,

and she understood that, through the horror,

the women take over,

she became enthused about it,

she became enthused about it,

and she wrote an extremely good script.

and she wrote an extremely good script.

- He's dead all right.

- No kidding.

- No kidding.

- He's so cold.

- Is the pizza?

(groaning)

(groaning)

Well, life goes on, after all,

and eating makes me feel better when I feel bad,

and eating makes me feel better when I feel bad,

and, boy, do I feel bad.

and, boy, do I feel bad.

I feel better already, really, I do.

- [Roger] I can't really say I chose Amy Jones

- [Roger] I can't really say I chose Amy Jones

as the director.

as the director.

It would be more accurate to say,

Amy chose herself as the director.

Amy chose herself as the director.

She was a very good film editor.

She was a very good film editor.

She wanted to direct,

She wanted to direct,

and she talked to Francis Dole,

our story editor, about a couple of scripts we had,

our story editor, about a couple of scripts we had,

and she read Slumber Party Massacre and liked it,

and she read Slumber Party Massacre and liked it,

and went off on her own,

and went off on her own,

her husband was a cinematographer,

her husband was a cinematographer,

and, over a weekend, I think for $1,000 or so,

and, over a weekend, I think for $1,000 or so,

she shot a scene from the picture.

she shot a scene from the picture.

(tense instrumental music)

(tense instrumental music)

(screaming)

(screaming)

(drill whirs)

(drill whirs)

(shattering)

(drill whirs)

(drill whirs)

I saw the scene, which, of course, she wanted me to see,

I saw the scene, which, of course, she wanted me to see,

and I thought, this girl is a good director.

and I thought, this girl is a good director.

All right, we will go forward,

All right, we will go forward,

and Amy directed the film.

- I don't know what it is,

but something about this house gives me the creeps.

but something about this house gives me the creeps.

- Spoilsport.

I never have any fun.

Just one little beer?

- Courtney, you're underage!

- Courtney, you're underage!

Negative, now come on, let's go.

Courtney, come on!

Courtney, come on!

Courtney!

(jagged musical flourish)

(jagged musical flourish)

(screaming)

- The power drill and what it stood for,

- The power drill and what it stood for,

obviously a phallic symbol,

obviously a phallic symbol,

was in the script and in our ideas from the beginning

was in the script and in our ideas from the beginning

because the driller killer, as we called him,

because the driller killer, as we called him,

because the driller killer, as we called him,

used the power drill to kill the girls.

used the power drill to kill the girls.

But at the end, they turn the power drill

But at the end, they turn the power drill

back on him and they break the power drill.

back on him and they break the power drill.

back on him and they break the power drill.

You can read any interpretation into that that you want,

You can read any interpretation into that that you want,

but it's pretty clear.

(tense instrumental music)

(tense instrumental music)

(piercing clink)

(piercing clink)

I didn't really have a title

I didn't really have a title

when I started thinking about the film,

but as the storyline developed,

but as the storyline developed,

Slumber Party Massacre seemed to be

Slumber Party Massacre seemed to be

the obvious title.

(funky instrumental music)

(funky instrumental music)

(engine rumbles)

(engine rumbles)

All of our Vietnam War pictures were very successful,

All of our Vietnam War pictures were very successful,

but, as with any series, you run the danger

but, as with any series, you run the danger

of repeating yourself,

of repeating yourself,

and I was trying to think of something different to do

and I was trying to think of something different to do

with a Vietnam story,

and I remembered the large success

and I remembered the large success

I'd had with The Wild Angels,

I'd had with The Wild Angels,

which was about the Hell's Angels,

which was about the Hell's Angels,

and a number of other films that had come out

and a number of other films that had come out

after that about various biker gangs.

after that about various biker gangs.

And I got the idea, I don't know where it came from,

And I got the idea, I don't know where it came from,

what would happen if the Hell's Angels were in Vietnam?

what would happen if the Hell's Angels were in Vietnam?

(guns rattle)

(guns rattle)

And it simply started with that.

And it simply started with that.

I've forgotten how we developed the story.

I've forgotten how we developed the story.

We had to justify it,

and, also, I wanted them on motorcycles.

and, also, I wanted them on motorcycles.

and, also, I wanted them on motorcycles.

So I had the Hell's Angels on motorcycles,

So I had the Hell's Angels on motorcycles,

wearing their army uniforms,

but, also, having Hell's Angels patches on them.

but, also, having Hell's Angels patches on them.

but, also, having Hell's Angels patches on them.

It was a pretty wild idea,

It was a pretty wild idea,

but the thing actually worked,

and was one of the most successful

and was one of the most successful

of all the Vietnam pictures.

of all the Vietnam pictures.

(poppy instrumental music)

(poppy instrumental music)

- You are not soldiers.

You are an undisciplined rabble.

You are an undisciplined rabble.

Who came with you?

- You're gonna regret the day you took on

- You're gonna regret the day you took on

the Hell's Angels, asshole.

- I already do, but, you must admit,

- I already do, but, you must admit,

your title Hell's Angels,

your title Hell's Angels,

(chuckles) it has a certain savoir faire ring to it.

(chuckles) it has a certain savoir faire ring to it.

(chuckles) it has a certain savoir faire ring to it.

- You're a goddamn lunatic.

You killed two dozen NVA down at that cave,

You killed two dozen NVA down at that cave,

people who were loyal to you.

Doesn't that mean anything?

Doesn't that mean anything?

- They were nothing.

- [Rpger] On my previous Hell's Angels pictures,

I used the Hell's Angels.

I used the Hell's Angels.

On this one, I thought, I'm not sending

On this one, I thought, I'm not sending

any Hell's Angels to the Philippines.

We just used our usual actors.

We just used our usual actors.

(banging)

- Calhoun!

- Calhoun!

Damn you, Calhoun!

Damn you, Calhoun!

The game has begun!

It is my move!

You may be a worthy adversary, Calhoun,

You may be a worthy adversary, Calhoun,

but you're a dead man!

but you're a dead man!

- It's gonna be sweet to kill you, you son of a bitch.

- It's gonna be sweet to kill you, you son of a bitch.

- The Hell's Angels actually threatened

to sue me for infringement of copyright.

to sue me for infringement of copyright.

Now, I wasn't aware that the Hell's Angels

Now, I wasn't aware that the Hell's Angels

had any copyrights.

I'm not even certain that they did,

I'm not even certain that they did,

but I felt, you know, if they sue me,

but I felt, you know, if they sue me,

it's gonna cost me a certain amount of money

to defend the lawsuit, so I talked with 'em,

to defend the lawsuit, so I talked with 'em,

and it was easier just to give 'em a little bit of money

and it was easier just to give 'em a little bit of money

and have the thing go away.

and have the thing go away.

(screaming)

(exciting instrumental music)

(exciting instrumental music)

- Calhoun!

Calhoun!

(tense instrumental music)

(tense instrumental music)

Calhoun!

I'm gonna kill you, Calhoun!

I'm gonna kill you, Calhoun!

You and I.

(tense instrumental music)

(tense instrumental music)

(shrieking)

(shrieking)

(tense instrumental music)

(tense instrumental music)

- Game's over, you lose.

- [Roger] My general feeling about the Vietnam pictures

is, first, they were all extremely successful,

is, first, they were all extremely successful,

is, first, they were all extremely successful,

and probably the biggest thing I remember

and probably the biggest thing I remember

was the tremendous action we got,

was the tremendous action we got,

the combination of using the army

the combination of using the army

for the big action scenes and blowing up things.

for the big action scenes and blowing up things.

One of the biggest things, easiest things you can do

One of the biggest things, easiest things you can do

in special effects is to blow something up.

in special effects is to blow something up.

And the army seemed to be happy

And the army seemed to be happy

to blow up everything in sight.

(booming)

(booming)

- There's the temple!

- There's the temple!

(booming)

(booming)

Yay!

Yay!

(funky instrumental music)

(funky instrumental music)

[END CREDITS]