A Quote by Anthony Braxton
I'm a post-Abner Jay kind of guy mixed with Roger Corman and Frankie Lymon and the Teenagers.
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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.
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.
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].
Jake Corman, he and I disagree on issues politically, but Jake Corman is not a bad guy.
Everybody's got to work with Roger Corman. You can't leave out that experience.
I always felt that Jay Z, if he had a different upbringing, could be on Wall Street or in politics. If you really listen to Jay Z talk, he's kind of the smartest guy in the room.
If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.
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.
My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.
I also have experience working with American producer Roger Corman who knows a lot of secrets in making movies look bigger than their budget.
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.
The groups, though, were my inspiration way back then. I liked Frankie Lyman and the Teenagers.
A jay hasnt got any more principle than a Congressman. A jay will lie, a jay will steal, a jay will deceive, a jay will betray; and four times out of five, a jay will go back on his solemnest promise.
I was thinking of the Four Seasons, Frankie Valli and the Four Seasons, and when I was thinking "Uptown Girl!" I was trying to sing like Frankie Valli. They had a song called "Ragdoll," which was about a poor girl and a rich guy. So I just flipped it around and made it about a rich girl and a poor guy.
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