A Quote by Francis Ford Coppola
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.
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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.
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 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.
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'm a post-Abner Jay kind of guy mixed with Roger Corman and Frankie Lymon and the Teenagers.
I realized I was good at developing young people. Eventually I started to believe in young people. I think when you give a young person an opportunity, he always believes who gave him his first chance. You create a loyalty that lasts a lifetime.
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.
Everybody's got to work with Roger Corman. You can't leave out that experience.
The film was fair to his musical achievement and gave him every opportunity to explain himself.
I was the oldest child, and both my parents worked, so I had a great deal of responsibility from a very young age.
If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.
'Vanity Fair' did this grid thing a couple years ago, connecting people who've worked together, and I had the most branches on it or whatever, because I'd worked with so-and-so and so-and-so worked with so-and-so, and I was kind of in the middle.
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 had what Leicester gave me but then I worked with a guy around my house, a guy that my agent recommended. I worked with him for the three weeks solid, leading back into pre-season. We were just doing horrible running. Minging running! It wasn't pretty to be fair!
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