A Quote by Curtis Hanson
My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.
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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.
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.
When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.
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 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.
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.
If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.
The "executive producer" title either means that you're the person who created, or co-created, the show, or you're the person who's in charge of day-to-day operations. Whereas "producer" is often just a writing credit.
You need somebody to have the idea, you need somebody who can deal with the studio and the normal things, but it's too different of a credit. That credit is usually given to the executive producer. It's not the 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.
Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.
I don't know for a fact, but I feel fairly certain that the first person who described a movie as 'character driven' had to have been a producer or studio executive.
I booked a horror film called 'Where the Devil Hides.' It's... you know, a horror film. But it was the first full-length movie I'd ever done, and it got me my visa, and I could start work.
Everybody's got to work with Roger Corman. You can't leave out that experience.
I've always had a fascination for everything surrounding things that are unexplainable. Not surprising that my first movie was a horror film, even though, of course, at the time I had no experience writing horror music.
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