All language subtitles for C T f t T w R a J C S01E13 1080p WEB h264-CRACKLED_track3_[eng]

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

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

some great moments and
memories of many of my films.

some great moments and
memories of many of my films.

(upbeat funk music)

(upbeat funk music)

The first film on which
we worked together

was Von Richthofen and Brown,

was Von Richthofen and Brown,

a World War I flying film
I was doing in Ireland.

a World War I flying film
I was doing in Ireland.

Julie came by to
visit on her way

Julie came by to
visit on her way

to a trip to the (mumbles),

to a trip to the (mumbles),

and the first day
she was in Dublin

and the first day
she was in Dublin

I asked her to help
out on something.

I asked her to help
out on something.

And the second day
I asked her again

to help out on something else,

to help out on something else,

she ended up staying in Dublin

and working all
through the film.

and working all
through the film.

- We went on vacation once

- We went on vacation once

and I said, "Roger, it's
very embarrassing because

people ask me what
films you're making

people ask me what
films you're making

and I don't know,

and I don't know,

and I don't think you
know what I'm working on,

so let's talk about it."

He said, "Well I'm making
12 films this year."

He said, "Well I'm making
12 films this year."

And he went ticking them
off, one, two, three,

And he went ticking them
off, one, two, three,

and he got to 10 and he
couldn't remember the last two.

and he got to 10 and he
couldn't remember the last two.

And he said, "Well I
don't know what they are,

And he said, "Well I
don't know what they are,

but when I get back I'm
gonna cancel them." (laughs)

So in Roger's way of
getting people to do things

So in Roger's way of
getting people to do things

So in Roger's way of
getting people to do things

I was working at the LA
Times and he called and said,

I was working at the LA
Times and he called and said,

"Do you have any way
of looking up something

on the Hell's Angels?"

on the Hell's Angels?"

"I'm thinking of doing a
picture about them, with them."

"I'm thinking of doing a
picture about them, with them."

And so I love to do research,

and I went down to
what's called The Morgue

and I went down to
what's called The Morgue

where they did have, now
it's all digitized I'm sure,

where they did have, now
it's all digitized I'm sure,

but where they had clippings.

And alphabetical, by
name of the person.

And alphabetical, by
name of the person.

And I looked up
the Hell's Angels

and immediately
called Roger and said,

and immediately
called Roger and said,

"Don't have anything
whatsoever to do

"Don't have anything
whatsoever to do

with the Hell's Angels!"

"These are really bad people,

"These are really bad people,

it's gonna be a lot of trouble."

And I was reminded of that later

And I was reminded of that later

when Big Otto Friedli of
the San Berdoo Hell's Angels

when Big Otto Friedli of
the San Berdoo Hell's Angels

put out the word that he
was gonna snuff Roger out.

put out the word that he
was gonna snuff Roger out.

put out the word that he
was gonna snuff Roger out.

- I still remember when after
the film Big Otto called me.

- I still remember when after
the film Big Otto called me.

And he said, "Hey man,
we're gonna snuff you out."

And he said, "Hey man,
we're gonna snuff you out."

I said, "Otto, think about this.

You've announced publicly
that you're gonna kill me.

You've announced publicly
that you're gonna kill me.

If I slip and fall
in the bathtub,

If I slip and fall
in the bathtub,

the police are gonna
come after you.

the police are gonna
come after you.

Meanwhile you are suing
me for a million dollars.

Meanwhile you are suing
me for a million dollars.

How do you expect to
get the million dollars

How do you expect to
get the million dollars

if you kill me?

if you kill me?

My advice to you is,

forget the momentary
pleasure of snuffing me out

forget the momentary
pleasure of snuffing me out

and go for the million dollars."

and go for the million dollars."

And he thought for
a minute, he said,

And he thought for
a minute, he said,

"Yeah, man, that's
what we're gonna do.

We'll go for the
million dollars."

Not only was the film such
a big commercial success,

Not only was the film such
a big commercial success,

Not only was the film such
a big commercial success,

weirdly enough it was
an artistic success.

weirdly enough it was
an artistic success.

It was chosen as the
opening night film

It was chosen as the
opening night film

of the Venice Film Festival

of the Venice Film Festival

and I planned to scout a
location in North Africa

and I planned to scout a
location in North Africa

after the screening.

And the next day the head
of the festival said,

And the next day the head
of the festival said,

"Don't go to North Africa.

The reaction has been very good,

The reaction has been very good,

you might win this festival."

So I stayed,

So I stayed,

and that night the screening
was The Battle of Algiers.

and that night the screening
was The Battle of Algiers.

The next day I said to
the head of the festival,

The next day I said to
the head of the festival,

"I know when I'm beaten,
I'm going to North Africa."

"I know when I'm beaten,
I'm going to North Africa."

And the Battle of Algiers
did indeed win the festival.

And the Battle of Algiers
did indeed win the festival.

- I wrote a story

- I wrote a story

about something that
happened with our children

when they were young,

when they were young,

and based it on Jack
and The Beanstalk.

and based it on Jack
and The Beanstalk.

About a boy with a magic bike

who saves a local hotdog
store from becoming a bank.

who saves a local hotdog
store from becoming a bank.

(thunder)

(thunder)

- [Woman Voiceover] Look,
you're a kid, you're no gunner.

- [Woman Voiceover] Look,
you're a kid, you're no gunner.

- [Child Voiceover] I'm
the only gunner you got!

(triumphant music)

(triumphant music)

(laser blasts)

- Look, this is our last $50
bill unless I land this job

- Look, this is our last $50
bill unless I land this job

and this is a grocery list.

and this is a grocery list.

You think you can
do the shopping

and bring home all the change?

- No problem, Mom!

You know me!

You know me!

- Yes, yes I do.

- Yes, yes I do.

- (mimics motorcycle)

- (mimics motorcycle)

(dirt bikes revving)

(dirt bikes revving)

- And Roger said,
"Family films?"

- And Roger said,
"Family films?"

"I don't know."

"It's not something
I understand.

"It's not something
I understand.

I don't think we should
finance it ourselves.

I don't think we should
finance it ourselves.

I think you better look
for outside financing."

So I did, and I found a fair
amount of the financing.

So I did, and I found a fair
amount of the financing.

So I did, and I found a fair
amount of the financing.

- Where are the groceries?

- Well ...

I didn't have any money left
after I bought the bike.

I didn't have any money left
after I bought the bike.

- I can't believe it!

- I can't believe it!

I'm going out breaking my neck,

trying to get a job
to make ends meet,

trying to get a job
to make ends meet,

and you're taking our last $50

and trading it for a
broken down motorcycle

and trading it for a
broken down motorcycle

and talking about being fair?

and talking about being fair?

Just ...

go to your room and stay there,

go to your room and stay there,

'til I figure out
what to do with you.

I don't know what it's gonna be

I don't know what it's gonna be

but it's gonna be bad!

(lighthearted piano music)

(lighthearted piano music)

Ugh!

(dirt bike stutters)

(dirt bike stutters)

- I want that mechanical
menace degassed, de-oiled,

- I want that mechanical
menace degassed, de-oiled,

debilitated, and locked up!

debilitated, and locked up!

(dirt bike revs)

- Bike will be at
the city jail, ma'am!

- Bike will be at
the city jail, ma'am!

The bail will be a hundred
bucks if you want it back.

- But I'll never have
that kind of money!

- But I'll never have
that kind of money!

- If you don't want
your little ...

- If you don't want
your little ...

boy locked up, too

you'd better keep him away
from the construction site.

you'd better keep him away
from the construction site.

- Don't worry, he
won't come near it!

(suspenseful music)

(suspenseful music)

- Mo--
Ah, don't say anything.

- Mo--
Ah, don't say anything.

- I won't either.

(sorrowful music)

(sorrowful music)

- And we'd been out of
distribution at that point,

- And we'd been out of
distribution at that point,

because of having sold the name

because of having sold the name

and the growing
concern, New World.

and the growing
concern, New World.

And the picture went into
theaters and lost money

And the picture went into
theaters and lost money

and I was like,
"Roger was right."

"Family films just
aren't gonna cut it."

"Family films just
aren't gonna cut it."

I was so deflated,

I was so deflated,

but there was something on
the rise and it was home video

but there was something on
the rise and it was home video

and the picture did
extremely well, so.

In both cases the Wild Angels

and The Dirt Bike Kid
things worked out.

and The Dirt Bike Kid
things worked out.

(upbeat funk music)

(upbeat funk music)

- Live fast, fight well and
have a beautiful ending.

- Live fast, fight well and
have a beautiful ending.

- Sador, you son-of-a-bitch!

- Sador, you son-of-a-bitch!

Here I come!

Here I come!

This is Space Cowboy
from the planet Earth.

- [Roger] I have no
real favorite genre,

I've done all types of films.

I've done all types of films.

But I come back to
science fiction and horror

But I come back to
science fiction and horror

fairly consistently.

(woman screams)

(woman screams)

- Your pardon, young sir.

I was at my devotions,
I did not hear you.

I was at my devotions,
I did not hear you.

- I'm sorry, sir.

- I'm sorry, sir.

- There are many reasons
that pictures are made.

- There are many reasons
that pictures are made.

One, might be the
passion of the filmmaker.

One, might be the
passion of the filmmaker.

Another might be the commercial
potential of the film.

Another might be the commercial
potential of the film.

The Terror had its origin
because it rained on a Sunday

The Terror had its origin
because it rained on a Sunday

The Terror had its origin
because it rained on a Sunday

when I was going to play tennis.

And I was sitting in my
house Sunday morning,

And I was sitting in my
house Sunday morning,

just sort of thinking
about various things,

just sort of thinking
about various things,

and I realized I was finishing,

and I realized I was finishing,

I think the picture
was The Raven,

one of the Poe
films, that Friday.

one of the Poe
films, that Friday.

And the sets were very
good, they were very big.

And the sets were very
good, they were very big.

Some of the best
sets I've ever had.

Some of the best
sets I've ever had.

And I thought, I had
a little bit of money.

And I thought, I had
a little bit of money.

What if I shot ...

It was enough money
for two days' shooting.

It was enough money
for two days' shooting.

What if I finished the
horror film on Friday,

and then shoot Monday and
Tuesday using those big sets?

and then shoot Monday and
Tuesday using those big sets?

and then shoot Monday and
Tuesday using those big sets?

And then at a later date,
when I get some more money,

And then at a later date,
when I get some more money,

finish up the film?

finish up the film?

So I called Leo Gordon
who's a friend of mine

who was a screenwriter,

who was a screenwriter,

and Sunday afternoon
we worked out

and Sunday afternoon
we worked out

the whole storyline
of The Terror.

the whole storyline
of The Terror.

- Cognac for our guest.

- Cognac for our guest.

- Yes, Baron.

- So on Monday and
Tuesday I shot,

- So on Monday and
Tuesday I shot,

I think it was about 40
pages in two days with Boris,

I think it was about 40
pages in two days with Boris,

I think it was about 40
pages in two days with Boris,

and Jack Nicholson was
playing a supporting role.

and Jack Nicholson was
playing a supporting role.

So I went to Jack
and I said to Jack,

So I went to Jack
and I said to Jack,

"You can play with
Boris on these two days.

"You can play with
Boris on these two days.

Boris will get top
billing, he'll be the star,

Boris will get top
billing, he'll be the star,

but the rest of the picture
when he's gone back to England

but the rest of the picture
when he's gone back to England

when I get some money,
it'll be built around you

when I get some money,
it'll be built around you

and you will really
be playing the lead."

and you will really
be playing the lead."

He said, "That's great, but
can Sandy play the girl?"

He said, "That's great, but
can Sandy play the girl?"

Sandy was his wife.

Sandy was his wife.

I said, "Sure."

He said, "We really
need the money.

He said, "We really
need the money.

This'll get some money
for little Sandy and me."

This'll get some money
for little Sandy and me."

So the film then starred Jack
Nicholson and Sandra Knight.

So the film then starred Jack
Nicholson and Sandra Knight.

- I do love you.

- [Andre Duvalier]
Then come away with me.

(suspenseful music)

(suspenseful music)

- [Roger] I think I went
to, it was Francis Copeland,

- [Roger] I think I went
to, it was Francis Copeland,

Monte Hellman, Jack Hill,

Monte Hellman, Jack Hill,

all shot different
parts in the film.

all shot different
parts in the film.

- It's all right.

(thunder booms)

(thunder booms)

(suspenseful music)

- And on the last
day of shooting,

- And on the last
day of shooting,

there was one final
day of shooting

there was one final
day of shooting

and Jack Nicholson came
to me and Jack said,

and Jack Nicholson came
to me and Jack said,

"Rog, every idiot in town

"Rog, every idiot in town

has directed part
of this picture.

Let me direct the last day."

Let me direct the last day."

I said, "Okay Jack, you
direct the last day."

We cut it together and
there were two problems.

We cut it together and
there were two problems.

One, it was rather dull.

One, it was rather dull.

And second, each director

And second, each director

had slightly interpreted
the picture differently,

had slightly interpreted
the picture differently,

so it didn't really make sense.

so it didn't really make sense.

- Stable door perhaps was left
open and the animal bolted.

- Stable door perhaps was left
open and the animal bolted.

This is not an unusual thing.

This is not an unusual thing.

- In itself, no.

But there are certain mysteries

I would like to have
explained, Baron,

I would like to have
explained, Baron,

and I mean to have
them explained.

and I mean to have
them explained.

- How dare you take
that tone with me?

- I don't mean to be abrupt,
but I will have answers.

- I don't mean to be abrupt,
but I will have answers.

- But I was then working
on another Poe film,

- But I was then working
on another Poe film,

and I had some big sets.

and I had some big sets.

So I paid the crew
a little bit extra,

So I paid the crew
a little bit extra,

and at the end of
shooting the Poe film

and at the end of
shooting the Poe film

we held everybody, the
crew, for a couple of hours

we held everybody, the
crew, for a couple of hours

and Jack Nicholson
and Dick Miller,

and Jack Nicholson
and Dick Miller,

who played the valet to Boris,

who played the valet to Boris,

I brought them in.

I brought them in.

And Jack throws Dick up
against a wall and says,

And Jack throws Dick up
against a wall and says,

"I've been lied to every since
I've come to this palace.

"I've been lied to every since
I've come to this palace.

Tell me what is
actually going on!"

Tell me what is
actually going on!"

At which point Dick tells
the story of the picture,

At which point Dick tells
the story of the picture,

so it's sort of comes together.

so it's sort of comes together.

- We must get to him, he's
locked himself in the crypt!

- We must get to him, he's
locked himself in the crypt!

- Eric is avenged!

- [Valet] Eric avenged?

- [Valet] Eric avenged?

- She's used the
girl as a puppet

to drive the Baron to suicide.

- But why?

- But why?

- She thinks it was the
Baron that killed her son,

- She thinks it was the
Baron that killed her son,

she never knew it was you.

- What do you mean?

He killed my Eric?

He killed my Eric?

- Eric is her son?

- Eric is her son?

- You murderer!

- No, wait!

Don't you see now
it was all a lie?

The Baron did return that night

The Baron did return that night

to find Eric with the
Baroness, and he did kill him.

to find Eric with the
Baroness, and he did kill him.

But there was a struggle
and in the fight

it was not Eric who
died but the Baron!

it was not Eric who
died but the Baron!

He killed the Baron.

- And Eric is still alive?

- And Eric is still alive?

- He took the Baron's place

- He took the Baron's place

and for 20 years
no one has known!

But he took the Baron's place
in mind, as well as body.

But he took the Baron's place
in mind, as well as body.

In his mind he is
the Baron von Leppe.

- The crypt!

- Now the picture is
essentially nonsense,

- Now the picture is
essentially nonsense,

but it was actually interpreted
by a number of critics

but it was actually interpreted
by a number of critics

but it was actually interpreted
by a number of critics

about the interesting
switches in style

about the interesting
switches in style

to demonstrate the
psychological thoughts

to demonstrate the
psychological thoughts

of Jack Nicholson
in the picture.

of Jack Nicholson
in the picture.

(upbeat funk music)

(upbeat funk music)

- Well, I think that I

- Well, I think that I

always enjoy making
family films or comedies.

always enjoy making
family films or comedies.

There's a lightness on the set,

there's a kind of
camaraderie that seems

there's a kind of
camaraderie that seems

to go along with
them that I enjoy.

to go along with
them that I enjoy.

So, I like to do that.

But I also think ...

But I also think ...

that I have been ...

that I have been ...

interested in stories
about the downtrodden,

interested in stories
about the downtrodden,

about the underdog surviving,

about the underdog surviving,

figuring out how to get through

figuring out how to get through

whatever life throws the way.

So for example, Lady in Red
is one that comes to mind.

So for example, Lady in Red
is one that comes to mind.

(chickens squawking)

(chickens squawking)

- [Polly Franklin] (sings
Forty-Second Street)

- [Polly Franklin] (sings
Forty-Second Street)

(shoes bang on wood)

(shoes bang on wood)

(sewing machines whir)

(sewing machines whir)

- You okay?

- Whew, I'm getting dizzy.

- Whew, I'm getting dizzy.

- Gotta become part
of the machine.

- Gotta become part
of the machine.

Do everything in
rhythm, it goes easier.

(sewing machine
whirs rhythmically)

(sewing machine
whirs rhythmically)

(sewing machine
whirs rhythmically)

- I think one of the most
interesting performance

- I think one of the most
interesting performance

in all of the films that I did

was Lady in Red with
Louise Fletcher as a madam.

was Lady in Red with
Louise Fletcher as a madam.

With a slightly Germanic accent.

With a slightly Germanic accent.

And I later came to find out

And I later came to find out

how deep a student of
history John Sayles was,

how deep a student of
history John Sayles was,

who wrote the screenplay,

and why that made sense
for her character.

and why that made sense
for her character.

But as you watch Louise
Fletcher develop this character

But as you watch Louise
Fletcher develop this character

you think, "It's inevitable,
the Academy Award,"

you think, "It's inevitable,
the Academy Award,"

that she won for One
Flew Over Cuckoo's Nest.

- 50% for the house.

- 50% for the house.

20 of that to this
bum right here.

20 of that to this
bum right here.

- [Captain Hennessy] (laughs)

- [Captain Hennessy] (laughs)

- Good morning.

- Good morning.

- Polly Franklin, this
is Captain Hennessy.

- Pleased to meet you dear.

- Pleased to meet you dear.

- Now, I pay doctor bills,
breakage, gas, electric,

- Now, I pay doctor bills,
breakage, gas, electric,

- Now, I pay doctor bills,
breakage, gas, electric,

water, linen, (mumbles).

And I pay Frognose
for protection.

- Well what's he here for, then?

- I only protect her
from police harassment.

- I only protect her
from police harassment.

- Frognose collects
for Mr. Luciano.

- Frognose collects
for Mr. Luciano.

- Mm, very unpleasant fella.

- Mm, very unpleasant fella.

Threatening poor girls
with battery acid

and breaking fingers
and breaking legs.

and breaking fingers
and breaking legs.

Ah!

- He takes half of my cut,
and he takes half of your cut.

- He takes half of my cut,
and he takes half of your cut.

- He takes half of my cut,
and he takes half of your cut.

- So this is mine, then?

- Ah, ah, ah.

- Ah, ah, ah.

Not quite there.

I'll be collecting
for Tiny Alice.

I'll be collecting
for Tiny Alice.

- Oh, I forgot.

(upbeat funk music)

(upbeat funk music)

- We did take risks in hiring
so many new young people,

- We did take risks in hiring
so many new young people,

- We did take risks in hiring
so many new young people,

but that was also a
product of necessity.

but that was also a
product of necessity.

We didn't have the money

to hire the established writers,

to hire the established writers,

directors, producers,
and so forth,

directors, producers,
and so forth,

so we had to go with
new, young people.

so we had to go with
new, young people.

And I particularly,
and Julie as well,

And I particularly,
and Julie as well,

enjoyed working
with young people.

Teaching them and
learning from them

Teaching them and
learning from them

as we were teaching them.

as we were teaching them.

It became a kind of a
family as a production unit.

It became a kind of a
family as a production unit.

Almost inevitably, we
had some of the brightest

Almost inevitably, we
had some of the brightest

young graduates at
the top film schools

young graduates at
the top film schools

in the United States.

They understood how
good each one was.

They understood how
good each one was.

They understood how
good each one was.

They had their own egos,
but they were delighted

to work together
and collaborate.

to work together
and collaborate.

And Julie and I, and I was a
little bit older than they,

And Julie and I, and I was a
little bit older than they,

but we were still young
enough to work with them.

but we were still young
enough to work with them.

- Hey, did you know?

- Hey, did you know?

I'm doing a film
and there's a part

that would be perfect for you.

that would be perfect for you.

- Really?

- Yeah.

- Yeah.

The director's a real
good friend of mine,

it's a terrific part.

It's kind of a modern-day
Bonnie and Clyde.

It's kind of a modern-day
Bonnie and Clyde.

Nah, I guess it wouldn't work.

- Well why not?

- Well why not?

- Well, it's a real
low-budget picture,

you know what I mean?

you know what I mean?

- We did employ more
women in various positions

- We did employ more
women in various positions

including rather key positions

than most other companies.

than most other companies.

It was partially,

It was partially,

I believed in the concept
of women's rights,

I believed in the concept
of women's rights,

but it was really we wanted
the best person for each job.

but it was really we wanted
the best person for each job.

So we didn't care, or at
least I didn't care that much

whether it was a woman or a man.

whether it was a woman or a man.

I just wanted the best.

- It was a community.

- It was a community.

And it was a community
of young people who

And it was a community
of young people who

recommended each other,
brought their friends out.

recommended each other,
brought their friends out.

And because everybody
was on the rise,

And because everybody
was on the rise,

anybody could be the
new next Marty Scorsese

anybody could be the
new next Marty Scorsese

or the new next Jim Cameron,

and there was a legend,
almost, around it.

and there was a legend,
almost, around it.

There was a good atmosphere

There was a good atmosphere

in which the competition led
to just bettering the films.

in which the competition led
to just bettering the films.

(explosion)

(explosion)

(driver coughing)

(driver coughing)

(suspenseful music)

(suspenseful music)

- This is your closeup
(mumbles), look pretty!

- This is your closeup
(mumbles), look pretty!

Smile, that's it, now the teeth!

Smile, that's it, now the teeth!

Very nice!

(women screaming)

(women screaming)

(men bickering)

(men bickering)

(women screaming)

(women screaming)

- I think that when
Charles Grodin came in

to do Last Resort,

how lovely he was
with the young actors,

how lovely he was
with the young actors,

the young comedians.

the young comedians.

Who actually went on
to be a kind of basis

Who actually went on
to be a kind of basis

of Saturday Night Live after.

There was Mario Van
Peebles, Jr., and Jon Lovitz

There was Mario Van
Peebles, Jr., and Jon Lovitz

and Phil Hartman,

and Phil Hartman,

and that was very nice to see.

and that was very nice to see.

That kind of mentorship
that happened

That kind of mentorship
that happened

when the films were made.

- Brad ate earlier.

- Brad ate earlier.

- Brad, it would be nice
to see you every so often!

Brad, it's Christmas Eve!

Brad, it's Christmas Eve!

Brad?

- [Jessica] He's
trying to find himself.

- [Jessica] He's
trying to find himself.

- [Bobby] He found himself in
the bathroom about a year ago.

- [George] Bobby!

- This place looks really great.

There's even a little
mini-camp for me!

There's even a little
mini-camp for me!

- It's gonna be fantastic!

My whole family around
me for an entire week,

My whole family around
me for an entire week,

it's gonna be just great.

- [Bobby] Yeah.

- It will be, it will
be, I'm telling you!

- It will be, it will
be, I'm telling you!

It's gonna be the
vacation of a lifetime.

What?

(tropical music)

(tropical music)

- [Bobby] What's going on?

- [George] What's going on?

- [George] What's going on?

- [Attendant] You're
late for the bus!

(yelling and speaking at once)

(yelling and speaking at once)

- [George] Come on, come
on, we're late for the bus!

(whistle shrills loudly)

(whistle shrills loudly)

(man yells in foreign language)

- [Bobby] Never saw a
bus like that before!

- [George] You'll see
lots of stuff down here

- [George] You'll see
lots of stuff down here

you've never seen before!

you've never seen before!

Why are there so many soldiers?

Why are there so many soldiers?

(Bobby yells)

(Bobby yells)

(party commotion)

(party commotion)

(loud pop music)

- (chuckles weakly)
They've got a show!

- (chuckles weakly)
They've got a show!

Definitely X-rated.

Brad, how's your roommate?

Brad, how's your roommate?

Jess?

- What?

- How's your room?

- How's your room?

- Well, there's no water!

- Everybody takes their
showers all at once.

- Everybody takes their
showers all at once.

- Yeah.

- Yeah. Bobby?

- I love it!

- I love it!

Best show I've ever seen.

Best show I've ever seen.

- [Man In Striped Shirt]
Boom, boom, boom, boom, boom!

- So anyway--

- So anyway--

- Bobby!

What are you, crazy?

Don't you wanna grow?

Don't you wanna grow?

- Of course I wanna grow,

just felt like a smoke!

- Go to bed, it's way
past your bedtime.

- Go to bed, it's way
past your bedtime.

- They don't have
bedtimes Club Sand, Dad.

- They don't have
bedtimes Club Sand, Dad.

- Bobby!

- Aw, okay.

At least I'm not a fag.

- Bobby don't use that
word, nobody likes it.

- Bobby don't use that
word, nobody likes it.

- Okay.

At least I'm not a homosexual.

- Congratulations.

- Congratulations.

Anyway, we don't
know what he was.

- See you later, Dad.

- See you later, Dad.

- Two red fruit cocktails.

Two ...

Two red fruit cocktails.

Two red fruit cocktails.

- [Bartender] (speaks
foreign language)

- [Bartender] (speaks
foreign language)

- I don't speak (stammers) ...

Two red fruit cocktails!

Two red fruit cocktails!

- Oh, fruit cocktails!
Yeah.

- Red--
Right.

- Red--
Right.

- (speaks foreign language)

- [George] What?

- (speak foreign language)

- (speak foreign language)

- Tokens?

- Do you speak English?

- Do you speak English?

- That's what I'm
speaking, English!

- What?

- Can I buy them (stammers)

with dollars?

with dollars?

- Oh, God!

- [George] What?

- [George] What?

- You Americans bore me!

- Why?

- You know, everyone
in the world

- You know, everyone
in the world

does not use your dollar system.

I didn't know that.

- Why not?

- What?

(upbeat funk music)

(upbeat funk music)

- We only had a
small amount of money

- We only had a
small amount of money

when we started New World,

so I wanted to play
it as safe as I could

so I wanted to play
it as safe as I could

with genre films that had
a history of doing well.

with genre films that had
a history of doing well.

with genre films that had
a history of doing well.

Our first film was
The Student Nurses,

Our first film was
The Student Nurses,

which is directed by a woman
director, Stephanie Rothman

which is directed by a woman
director, Stephanie Rothman

who'd been my assistant.

Because I remembered that

Because I remembered that

there'd been nurse
pictures occasionally,

there'd been nurse
pictures occasionally,

and they all seemed
to be successful.

Whatever the fascination
with nurses was I don't know.

Whatever the fascination
with nurses was I don't know.

- [ Brunette Nurse] Where
the hell have you been?

- [ Brunette Nurse] Where
the hell have you been?

- [Woman In Green
Jacket] Don't ask.

- [Blonde Nurse] What
about your outfit?

- [Blonde Nurse] What
about your outfit?

- [Woman In Green Jacket]
It's for my new job.

- [Brunette Nurse] Here,
you better read this first.

(paper rips)

(paper rips)

- [Blonde Nurse]
Wow, I'm impressed.

- [Redheaded Nurse] Does this
mean you're giving up nursing?

- [Redheaded Nurse] Does this
mean you're giving up nursing?

- No, I'm becoming a
different kind of nurse.

- Doing what?

- Doing what?

- People have always
gone to hospitals,

now that has to change.

No matter what, hospitals
have got to go to the people.

No matter what, hospitals
have got to go to the people.

- Oh, and you're the one
who's going to do this?

- Oh, and you're the one
who's going to do this?

- [Brunette Nurse] Who've
you been shacking up with,

Chairman Mao? (laughs)

Chairman Mao? (laughs)

Here, these are for you.

Here, these are for you.

- No thanks, I'll wear these.

- [Redheaded Nurse]
Are you serious?

- [Redheaded Nurse]
Are you serious?

- [Blonde Nurse] Oh great,
it's easy to wear fatigues

but what are you gonna
do in the crutch?

but what are you gonna
do in the crutch?

- [Woman In Green Jacket]
Whatever I have to do.

- [Blonde Nurse] Okay
Florence Nightingale,

where's your gun?

where's your gun?

- [Woman In Green Jacket]
In the glove compartment.

Wanna look?

- [Redheaded Nurse] Well,
nothing stands still I guess.

- [Redheaded Nurse] Well,
nothing stands still I guess.

- You bet your ass, baby.

(upbeat funk music)

(upbeat funk music)

- [Roger] Also, there'd
been a tradition

- [Roger] Also, there'd
been a tradition

of women in prison pictures

of women in prison pictures

that had always done well.

So our second film
was The Big Doll House

So our second film
was The Big Doll House

which was women in prison.

which was women in prison.

- Let me see.

- Let me see.

Chang Liu, kidnapping and
crimes against the state,

Chang Liu, kidnapping and
crimes against the state,

Chang Liu, kidnapping and
crimes against the state,

life imprisonment.

Dupree, prostitution and
espionage, 20 years hard labor.

Dupree, prostitution and
espionage, 20 years hard labor.

Dupree, prostitution and
espionage, 20 years hard labor.

Collier, murder, 99
years hard labor.

Collier, murder, 99
years hard labor.

- Fat chance.

- Fat chance.

- We better get moving.

- We better get moving.

- Ms. Alcott, you're
making a stupid mistake.

- Ferina I thought I
told you to gag him!

- Ferina I thought I
told you to gag him!

- Listen to me,
there's a safer way!

- Listen to me,
there's a safer way!

- Let him talk!

- You give me a chance and
I'll get this prison reformed.

- I just want out.

- Don't you wanna see things
change for the better?

- Don't you wanna see things
change for the better?

- Before you can
do anything in here

- Before you can
do anything in here

a lot has to be
changed out there.

- This way you'll
only get killed.

- This way you'll
only get killed.

- Not if we get
out of here fast.

- Not if we get
out of here fast.

(suspenseful music)

(rapid gunfire)

(rapid gunfire)

- Both films were
lovely successes,

- Both films were
lovely successes,

- Both films were
lovely successes,

they were really
giant successes.

So we built from that,

So we built from that,

so matter of fact Julie's
first film as a solo producer

so matter of fact Julie's
first film as a solo producer

was Night Call Nurses.

was Night Call Nurses.

We had gotten a letter after
Student Nurses came out

We had gotten a letter after
Student Nurses came out

from the Nightcall
Nurses Association saying

from the Nightcall
Nurses Association saying

this is not a true
representation of nursing,

this is not a true
representation of nursing,

which of course it was not.

which of course it was not.

And our sales manages
came to me and said,

And our sales manages
came to me and said,

"What are we gonna do?

They're protesting this."

They're protesting this."

I said, "They've given us the
title of our next picture,

Night Call Nurses!"

Night Call Nurses!"

- So he said to me, "Listen."

- So he said to me, "Listen."

"I'm making three films right
now, I can't do everything.

"I'm making three films right
now, I can't do everything.

Could you just watch
the bunny on this one?"

Could you just watch
the bunny on this one?"

"I have the script
Night Call Nurses

"I have the script
Night Call Nurses

and we need a director."

And I said, "Oh, well I can
call Marty Scorsese and see,"

And I said, "Oh, well I can
call Marty Scorsese and see,"

And I said, "Oh, well I can
call Marty Scorsese and see,"

'cause he had done
Boxcar Bertha,

'cause he had done
Boxcar Bertha,

"And see if he can
recommend someone."

So he did, Jonathan
Kaplan who came out.

So he did, Jonathan
Kaplan who came out.

(walkie-talkie chatter)

(walkie-talkie chatter)

- Excuse me, Nurse Mayall?

Who's the latest victim
with the police escort--

- Do we really need quite
so large a delegation

- Do we really need quite
so large a delegation

to gather today's
hospital gossip?

- Why no nurse, we just saw--

- Why no nurse, we just saw--

- It's Jon Sampson,
suicide attempt.

It needn't concern
your prison ward case.

It needn't concern
your prison ward case.

- Jon Sampson of
the prison riots.

- Jon Sampson of
the prison riots.

- Ooh my, aren't
we well informed?

Now don't you girls come out
with any Special Edition.

Now don't you girls come out
with any Special Edition.

The last thing we need here
are clamoring reporters

The last thing we need here
are clamoring reporters

and picket lines.

- Don't worry Ms.
Mayall, we'll button up.

- It was a baptism
by fire, it was hell,

- It was a baptism
by fire, it was hell,

- It was a baptism
by fire, it was hell,

it was terrifying.

And I never wanted
to do it again.

And I never wanted
to do it again.

- [Sandra] Uh-oh, Bathrobe
Benny's at it again.

- [Sandra] Uh-oh, Bathrobe
Benny's at it again.

- [Sandra] Uh-oh, Bathrobe
Benny's at it again.

- Good afternoon, ladies!

I'm so glad to see you
looking so chipper and bright

I'm so glad to see you
looking so chipper and bright

on such an exquisite day.

on such an exquisite day.

- You seem cheerful as
always this morning, Benny.

- You seem cheerful as
always this morning, Benny.

- Well you know, the sight
or such a charming girl

always gives a lift to
an old man's spirit.

always gives a lift to
an old man's spirit.

- Benny, now why did you
have to go and do that?

- Benny, now why did you
have to go and do that?

When we were having such
a nice conversation?

When we were having such
a nice conversation?

Imagine, a man of your age.

Imagine, a man of your age.

- Young lady age has
nothing to do with it.

- Young lady age has
nothing to do with it.

I've been doing it all my life.

- By the fourth month (chuckles)

- By the fourth month (chuckles)

I kind of knew what I was doing,

but it was the ninth film
before I ever thought,

but it was the ninth film
before I ever thought,

"I will finish the picture."

"I will finish the picture."

And I now believe I will
never not finish a picture.

And I now believe I will
never not finish a picture.

- [Announcer] The young nurses!

- [Announcer] The young nurses!

Join them!

All you need is a private room.

All you need is a private room.

(women screaming)

(women screaming)

(women screaming)

(upbeat funk music)

(upbeat funk music)

- I scratch my head to this day

- I scratch my head to this day

wondering how Roger came
up with the idea to put

wondering how Roger came
up with the idea to put

Ingmar Bergman's
Cries and Whispers

Ingmar Bergman's
Cries and Whispers

and Jonathan Demme's
early work Crazy Mama

and Jonathan Demme's
early work Crazy Mama

on a double bill to play
drive-in movies in the South.

on a double bill to play
drive-in movies in the South.

And Ingmar Bergman was
totally on board with it,

in fact said he would
dubbing into English.

in fact said he would
dubbing into English.

in fact said he would
dubbing into English.

Because drive-ins in the South

don't particularly
like subtitles.

don't particularly
like subtitles.

And it was a success.

- I had always loved the
films of the great art tours.

- I had always loved the
films of the great art tours.

Bergman, Fellini, Truffaut,
Kurosawa, and so forth.

Bergman, Fellini, Truffaut,
Kurosawa, and so forth.

And I felt they were not
being well distributed

And I felt they were not
being well distributed

in the United States.

in the United States.

Sometimes they were being
distributed by major studios

Sometimes they were being
distributed by major studios

who were good distributors,

but didn't really understand
how to distribute an art film.

but didn't really understand
how to distribute an art film.

but didn't really understand
how to distribute an art film.

We had built, what at
the time, was probably

We had built, what at
the time, was probably

the strongest independent
distribution company

the strongest independent
distribution company

in the United States.

And I thought, "I would really
like to move from art films."

And I thought, "I would really
like to move from art films."

And I thought, "I would really
like to move from art films."

Not move from them, add
to them is a better word.

Not move from them, add
to them is a better word.

Stay with our films,

which could be described
as exploitation films.

which could be described
as exploitation films.

I never been afraid of
the word exploitation.

I never been afraid of
the word exploitation.

But I would like to give
these types of films a chance.

But I would like to give
these types of films a chance.

So we ended up
distributing for Bergman,

So we ended up
distributing for Bergman,

Fellini, Truffaut, Kurosawa.

Fellini, Truffaut, Kurosawa.

Volker Schloöndorff who
was the first German

Volker Schloöndorff who
was the first German

after the second World War
to win an Academy Award

after the second World War
to win an Academy Award

for Best Foreign Film.

for Best Foreign Film.

So we had a nice little section

of our distribution company,

of our distribution company,

that was not
tremendously profitable.

that was not
tremendously profitable.

I never thought

that I could have made a
fortune with these films,

that I could have made a
fortune with these films,

but it wasn't a charity.

I didn't want to lose money.

That made a little bit of money,

That made a little bit of money,

and that, frankly, was
pleasing to me to do it,

and that, frankly, was
pleasing to me to do it,

to Julie also, and
to our whole company.

to Julie also, and
to our whole company.

It was just a plus.

It was just a plus.

- I think there was
this staff by that time

- I think there was
this staff by that time

who were able to
work as Roger was,

who were able to
work as Roger was,

or as we wanted to
do in both arenas.

or as we wanted to
do in both arenas.

I remember, for example,

I remember, for example,

after the Cries of
Whispers screening,

after the Cries of
Whispers screening,

they came up with the
idea of handing a rose

to each woman as they
left the theater.

to each woman as they
left the theater.

That kind of
marketing as it were,

That kind of
marketing as it were,

they leapt to it, and
they really enjoyed it.

they leapt to it, and
they really enjoyed it.

And it gave a lift
to the company.

And it gave a lift
to the company.

I think it made everybody
feel that they were part

I think it made everybody
feel that they were part

of a broader spectrum
that was grander.

of a broader spectrum
that was grander.

(upbeat funk music)

(upbeat funk music)

- There are a number
of reasons why I've

shot so many pictures abroad.

shot so many pictures abroad.

First, I like to travel.

I like to be abroad to
see a different culture.

I like to be abroad to
see a different culture.

Particularly to work
within that culture,

Particularly to work
within that culture,

because it's better
than being a tourist.

You're actually intermingling
with these people.

You're actually intermingling
with these people.

You're actually intermingling
with these people.

So I flew to Greece.

And I met with a
Greek producer there,

And I met with a
Greek producer there,

and we worked out
a little storyline

and we worked out
a little storyline

and we worked out
a little storyline

and told him the storyline.

And said, "I could put
up part of the money

And said, "I could put
up part of the money

if you can put up
part of the money,

and I'll shoot Atlas."

and I'll shoot Atlas."

Everything seemed to
be going very well,

Everything seemed to
be going very well,

except the day before shooting

except the day before shooting

Papamichelis took me to
Flora, I think was the name,

Papamichelis took me to
Flora, I think was the name,

of the restaurant.

of the restaurant.

One of the best restaurants
in Athens for lunch,

One of the best restaurants
in Athens for lunch,

and he started crying.

and he started crying.

And I thought, "I don't
know what he's crying about,

And I thought, "I don't
know what he's crying about,

but I do not think this
is going to be good news."

but I do not think this
is going to be good news."

And when he stopped
crying he said

And when he stopped
crying he said

he thought he had the money,
he did not have the money.

he thought he had the money,
he did not have the money.

he thought he had the money,
he did not have the money.

I'm getting this news a
number of hours, really,

I'm getting this news a
number of hours, really,

'cause it was one or
two in the afternoon,

'cause it was one or
two in the afternoon,

and I'm shooting at 7:00
the next morning before I

and I'm shooting at 7:00
the next morning before I

and I've lost half
the financing.

and I've lost half
the financing.

And while he's apologizing
and crying I'm thinking,

And while he's apologizing
and crying I'm thinking,

"Okay, what do I do?"

"Okay, what do I do?"

I've a couple of
American actors here,

I've a couple of
American actors here,

the rest are Greek actors.

Everything is ready to go.

Everything is ready to go.

And I thought, "What
are these things?"

And I thought, "What
are these things?"

And I thought, "You can
think of them as Westerns."

And I thought, "You can
think of them as Westerns."

And I thought outside, "I've
shot a number of Westerns."

And I thought outside, "I've
shot a number of Westerns."

What I can do, I can switch

What I can do, I can switch

some of the interiors
with exteriors,

some of the interiors
with exteriors,

and I made up a whole
different shooting schedule.

and I made up a whole
different shooting schedule.

But then the real problem was

But then the real problem was

that Proximates the
Tyrant, the great general

that Proximates the
Tyrant, the great general

who would solicit Atlas to
lead his vast hoard of troops

who would solicit Atlas to
lead his vast hoard of troops

to conquer the walled
city of Theanos.

to conquer the walled
city of Theanos.

I had no vast hoard of troops.

I had no vast hoard of troops.

And I thought,
"Well, what do I do?"

And I thought,
"Well, what do I do?"

So I had as they're traveling
Atlas says to Proximates,

So I had as they're traveling
Atlas says to Proximates,

"Proximates, you're
going into battle

"Proximates, you're
going into battle

with this rather small army.

with this rather small army.

How do you expect to conquer
the walled city of Theanos?"

How do you expect to conquer
the walled city of Theanos?"

And Proximates
says, "My theory is

And Proximates
says, "My theory is

a small, highly-trained,
dedicated group of fighters

a small, highly-trained,
dedicated group of fighters

a small, highly-trained,
dedicated group of fighters

can defeat any hoard!"

An so we went on that basis.

An so we went on that basis.

I do not consider
Atlas my greatest film,

I do not consider
Atlas my greatest film,

but I would think ...

As a matter of fact, one time
when I did this biography

As a matter of fact, one time
when I did this biography

As a matter of fact, one time
when I did this biography

they asked me for what
I suggested for a title.

they asked me for what
I suggested for a title.

And I thought for a
minute and I said,

And I thought for a
minute and I said,

"How about Shooting My
Way Out of Trouble?"

"How about Shooting My
Way Out of Trouble?"

And I was thinking of
Atlas when I said that.

And I was thinking of
Atlas when I said that.

(upbeat funk music)

(upbeat funk music)

(upbeat funk music)

- Of Julie's films I
have many favorites.

- Of Julie's films I
have many favorites.

One of them is the film I
questioned at the beginning,

One of them is the film I
questioned at the beginning,

The Dirt Bike Kid.

I also liked Crazy Mama that
Julie did with Jonathan Demme.

I also liked Crazy Mama that
Julie did with Jonathan Demme.

I also liked Crazy Mama that
Julie did with Jonathan Demme.

Julie also did a family film

Julie also did a family film

that I thought
was extremely good

that I thought
was extremely good

from the novel called Hatchet.

- [Announcer] Here Brian Robeson

- [Announcer] Here Brian Robeson

must confront the wilderness.

And himself with
nothing but a hatchet.

And himself with
nothing but a hatchet.

Concord pictures presents Jared
Rushton, A Cry in the Wild.

Concord pictures presents Jared
Rushton, A Cry in the Wild.

- We had done so
many horror films

- We had done so
many horror films

I thought there might be
some major misunderstandings

if we sent out a family
film called Hatchet,

if we sent out a family
film called Hatchet,

if we sent out a family
film called Hatchet,

so we called it A
Cry in the Wild.

- Well the problem
came up in casting,

- Well the problem
came up in casting,

because there was a woman who
represented a lot of children

because there was a woman who
represented a lot of children

and it needed a young
man it it, young boy.

and it needed a young
man it it, young boy.

And her comment was, "He
don't do no slasher films."

And her comment was, "He
don't do no slasher films."

- [Announcer] A classic portrait

of one boy's
struggle with nature

of one boy's
struggle with nature

and how alone in the
wilderness, he finds himself.

- [Brian] (screams)

- My favorite film of Roger's,
bar none, is The Intruder.

- My favorite film of Roger's,
bar none, is The Intruder.

I think it's the one he was
most intensely involved in,

I think it's the one he was
most intensely involved in,

that he most
intensely believed in,

that he most
intensely believed in,

and I think it comes through
in every frame of the film.

and I think it comes through
in every frame of the film.

And I disagree with him
that it was too earnest.

And I disagree with him
that it was too earnest.

And I disagree with him

that there was
anything amiss in it.

that there was
anything amiss in it.

I think it was
ahead of its time,

I think it was
ahead of its time,

and I think, if anything,

that it was a docudrama
before its time.

that it was a docudrama
before its time.

- I would pick as Julie
said, The Intruder,

as one of my personal favorites.

as one of my personal favorites.

Then I might mention
the whole cycle

Then I might mention
the whole cycle

of the Edgar Allen Poe films,
which I like very much.

of the Edgar Allen Poe films,
which I like very much.

Also, The Wild Angels.

Also, The Wild Angels.

I wanted to step away from
shooting the pole films

I wanted to step away from
shooting the pole films

in a studio, go
into the streets.

in a studio, go
into the streets.

This was the early 60s,

the beginning of
the counterculture,

the beginning of
the counterculture,

and the Wild Angels the
first of the biker films

and the Wild Angels the
first of the biker films

was also one of the first
of the counterculture films

was also one of the first
of the counterculture films

of the 60s,

of the 60s,

which because a very
important film movement.

which because a very
important film movement.

(gentle orchestral music)

(gentle orchestral music)

Jon Davison produced
Airplane, Robocop,

Jon Davison produced
Airplane, Robocop,

Starship Troopers and a number
of other giant successes.

Starship Troopers and a number
of other giant successes.

Starship Troopers and a number
of other giant successes.

And he came in from Colorado
a couple of months ago

And he came in from Colorado
a couple of months ago

and we had lunch,

and he told me he was retiring.

and he told me he was retiring.

And I said, "Jon, I
always thought of you

And I said, "Jon, I
always thought of you

as the kid in the office.

If you're retiring maybe
it's time for me to retire."

If you're retiring maybe
it's time for me to retire."

And he said, "You're
too old to retire."

And he said, "You're
too old to retire."

(upbeat funk music)

(upbeat funk music)

[END CREDITS]