Original subtitles

- 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]