A Quote by Alex Stapleton

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.
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].
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.
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.
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.
Roger Ebert was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.
If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.
Everybody's got to work with Roger Corman. You can't leave out that experience.
I never apologized for anything in my life. The only thing I'm sorry about is putting a curse on Roger Ebert's colon. If a fat pig like Roger Ebert doesn't like my movie, then I'm sorry for him.
My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.
For me certainly Earl Campbell and Tony Dorsett come to mind, and Roger Staubach. I've grown up here in Dallas watching Roger and his playing career and to be in the same fraternity as Roger Staubach is/was a huge deal for me.
I like sets that feel small. Sets that feel really big are difficult. When you're on a big set it feels like there's constant mis-communication.
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.
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.
My first exposure to what Hollywood was like, behind the scenes, was when Joel Silver started screaming at Roger Rabbit at the beginning of 'Who Framed Roger Rabbit.'
I said you lie, knave!” shouted Beaumains, drawing his sword. “And for telling such craven falsehoods, you must die!” The knight looked plaintively at Roger. “What’s wrong with this fellow?” He was dropped on his head when he was a baby,” answered Roger.
I'm a post-Abner Jay kind of guy mixed with Roger Corman and Frankie Lymon and the Teenagers.
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