A Quote by Alex Stapleton

Peter Fonda was just this clean, cookie-cutter kind of a guy. Roger Corman turned him into the motorcycle man with The Wild Angels. Jack Nicholson, all of them, they all had these images that Roger Corman fueled, and Easy Rider, it was a big surprise to understand how much creative influence Roger had. A lot of people dismiss him as just launching famous people's careers or being a penny pinching producer, but he's so much more than that.
If you take a movie like Easy Rider which everyone counts as the beginning of New Hollywood, that is a big movement. And then, when you really dissect that film and the people that were behind that movie, you realize that it has Roger Corman written all over it. Easy Rider is a hybrid film, taking The Trip and The Wild Angels and making a new explosion. And the people that were making it, guess what, they were all [people who had worked with Roger Corman].
I also got to know Roger Corman a bit while we were on location in Mendocino. And then, subsequently, a woman who also worked on The Dunwich Horror named Tamara Asseyev and I teamed up and co-produced a picture that I wrote and directed, called Sweet Kill, that Roger Corman's then-new company distributed.
Roger Corman exploited all of the young people who worked for him, but he really gave you responsibility and opportunity. So it was kind of a fair deal.
I feel like I'm a graduate of the Roger Corman School of Filmmaking. I went and visited Roger on the set of Dinoshark and that's in the movie. That's where I really got a big whopping taste of what it's like to be on one of his sets.
There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
I also have experience working with American producer Roger Corman who knows a lot of secrets in making movies look bigger than their budget.
I'm a post-Abner Jay kind of guy mixed with Roger Corman and Frankie Lymon and the Teenagers.
Michael Jordan was blessed by God to play basketball and Roger Brown was the closet person to him I ever saw. I don't say that lightly. Roger was phenomenal. There was nothing he couldn't do. He was so quick he would trick people blind - I even saw him miss layups because he was laughing so hard at what he had just done to someone.
My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.
First of all, on a cinematic [level], the film answer to that is that Roger Corman was creatively responsible for a lot of cinema history.
Everybody's got to work with Roger Corman. You can't leave out that experience.
You know how you just don't like guys on the other team sometimes? It's funny because growing up I loved Roger (Clemens), loved to watch Roger pitch. Then when I was first in the big leagues and he was for the other team, I hated him.
If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.
If you ask Jim Courier, I mean, that guy has his tongue up (Roger Federer's) ass, I think...you know, the whole time when you actually listen to him commentating or listen to him talk about Roger Federer. Sometimes makes me sick almost.
I think reviewers have become particularly venomous because, in a way, the power has been sucked from them. A 15-year-old can write a review on the Internet and it means as much as Roger Ebert's review, and that just makes Roger Ebert mad, so he comes out harder and stronger.
Do not turn into just cookie-cutter producer, cookie-cutter this, but a producer that people say wow, when they do something it's great or just unique or whatever.
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