All language subtitles for W10E02 Humanoids from the Deep_track3_[eng]

[Static]

♪♪

-You know, something
I was thinking about

while we were watching
that last movie --

I think the world
might be slowing down.

'Cause have you noticed

when you're watching
late-night movies

how people 50 or 60 years ago
talked faster

and moved faster
than we do today?

Is this my imagination?
I don't think so.

Darcy, do you know
what I'm talking about?

-No, not really.
[Laughter]

-Well, I'm not talking
about those silent films

where the Nazi storm troopers
march in triple-time.

You know, that's 'cause
the silent films were shot

at 18 frames a second,
but for some reason,

they show 'em on TV
at 24 frames a second,

so it looks like
everybody's moving faster.

And by the way,
that burns my bacon.

You would think after
about 30 years

of watching these silent films
at the wrong speed,

somebody'd figure it out

and show 'em
at 18 frames a second on TV

so we can see
how the people really looked.

But that's getting off
the subject.

What I'm talking about
is, like,

if you watch a screwball comedy
from the 1930s

or even a biblical epic
or something,

the dialogue is just
wham, bam, back and forth.

You don't have any
pregnant pauses or mumbling.

You know, the dialogue
is very fast.

Like in
"Little Shop of Horrors" --

you know, no stuttering,
no hemming or hawing.

People talk, answer,
reply, listen,

talk, answer, listen, reply,
but they don't ever stop.

Anyway, Darcy, answer me.

-Sorry, what?

-See? You hesitated.

You're a millennial.
[Chuckles]

Darcy the Mail Girl,
ladies and gentlemen,

here to field your incoming
on the final movie

of the last night
of the "Last Drive-In" season.

And, of course,
it's Roger Corman night.

Are you sad?

-I'm always sad
on the last show.

-'Cause we never know
if it's the lastshow

of the last shows.
[Laughter]

Anyway, are you following
what I'm saying here?

At first I thought this was

maybe just a style
that they used

in the movies, that they wanted
to keep it moving

no matter
how dramatic the scene.

But I don't think so,
for two reasons.

One is these people
don't ever seem to be rushing.

They're just talking
at a normal, comfortable speed.

It's just faster
than we talk today.

And the second reason
is that my grandpa

had some tapes of these old
meetings of the Bonehead Club

with, uh, formal speeches
and kidding around

and awards presentations
and roasts.

And I got
the same impression.

These guys talk faster
than we do.

You know, I should explain
the Bonehead Club.

The Bonehead Club
was a men's club in Dallas.

They called themselves Boneheads

because they were dedicated
to practical jokes

and embarrassing themselves

and embarrassing anybody else
who ever crossed their path.

Anyway, they would do stuff
like...

My favorite thing that they did
was they would bury rifle shells

on the grassy knoll
in Dealey Plaza.

But anyway, they would invite
nationally prominent people

to speak
and then cut off their tie

and tell them
they only had 22 seconds

to make all their remarks.

They always had 57 members

'cause that was the number
of Heinz varieties.

I never understood that joke.

But anyway, it was kind of
a real-life version

of the Raccoon Lodge
on "The Honeymooners,"

if you know that reference.

I think they shut it down

'cause everybody wanted
to kill 'em.

But they talked fast
at their meetings.

And one time I took a bunch
of old movie scripts

from the '30s and '40s

and I compared the number
of pages in the script

to the running time
of the movie.

And you can
verify it from that.

The old scripts
were about 150 pages

for a 100-minute movie.

Today's scripts
are about 110 pages

for a 120-minute movie.

So, the only way to explain this
is that they talked faster.

Also, I was thinking about
the number of times

back when I was doing
stand-up comedy

that I would notice
how slow people were to respond.

'Cause I would pick guys
out of the audience

and I would say,
"Are you married?"

Just -- Just so I could see --

I already knew he was married.

I just wanted to see how long it
would take the person to answer.

And some guys would
sit there forever.

And of course,
the audience would laugh

'cause they thought the guy
was avoiding the question.

It might be that
he just couldn't answer

any faster than that.

And it was especially funny when
his wife was sitting beside him

waiting to see what he said.

But go to some event where
people are aged 80 and older --

they have absolutely no trouble
answering immediately.

You say, "How old are you?" and
the guy pipes right up -- "87!"

You know, and sometimes
they're great ad-libbers, too.

You know,
they're likely to say,

"87, but I tell the ladies
I'm 85."

You know, or --
So, obviously, big difference

between the ability
of this generation

to just spit out
what they're thinking about

and the ability of our parents'
and grandparents' generation

to say the same thing.

I have a friend who teaches
acting to young people.

And he has students who always
allow a full second or two

to lapse before they respond
to their partner.

And of course, by then,

all the spontaneity
goes out of their response,

and so their acting is cornball.

So, when did we become mutes?
That's my question.

Wasn't this supposed to be
the tech century,

where everything got faster?

And I have a theory about it.

We don't like things
being faster.

We're chicken.

We're too chicken
to say anything.

We have a thousand forms
of shorthand.

We stammer to make people
think we're thoughtful

and we stare to make people
think we're tough

and we hem and haw to make
people think we're really trying

and we do everything
except talk.

And, uh, this is boring

even if Sly Stallone
is doing it.

You know, if you've seen it
more than two or three times --

more than two or three times,
it starts to get boring.

So, let's speed it back up.
Okay?

I'm sure Roger Corman
would agree with me.

Roger always wanted
these movies to be short.

So, Roger will be with us
at the first break,

because it's time
for one of the most famous

and infamous movies
released by New World Pictures,

the company he formed after
he stopped directing in 1970,

quickly turning it into
one of the most successful

independent distribution
companies in the world.

And I'm talking about
"Humanoids from the Deep,"

the sensitive story
of Doug McClure

in a plaid jacket
trying to figure out

why mutant sea creatures

are raping the local women

and eviscerating
every dog in sight

in a small town up by Mendocino.

Helped by a supermodel scientist
studying salmon food,

he might just have time
to save the carnival

and protect Native American
fishing rights.

But not if the evil
corporate goons keep firebombin'

the beachfront houses
and beatin' up the cast.

Sure, we've seen it before,
but have we seen it

with a ventriloquist dummy
sex scene on the beach?

I think not.

Let's look at those
Drive-In Totals and get started.

We have...

Drive-In Academy Award
nominations for --

Vic Morrow
as the evil cannery magnate

who says, "You're not gonna
stand in our way."

Anthony Pena as the local
Native American activist

with an attitude

and a big shot
Sacramento lawyer.

Greg Travis
as "Mad Man" Mike Michaels,

the local deejay
who can't die soon enough.

Linda Shayne as Miss Salmon.

And Rob Bottin,

the guy who built
the rubber suits,

for doing things
the drive-in way.

Four stars.

Joe Bob says check it out.

I was gonna give a Drive-In
Academy Award nomination

to Barbara Peeters,
the director,

but she kind of
disavowed the movie.

I mean, she said Roger ordered
some additional footage

after she turned it in.

She claims Roger wanted
more sex and violence.

Like that was
a big surprise to her.

So, yeah, not exactly
a drive-in kind of gal.

But we'll -- we'll ask Roger.

I'm sure he has
a perfectly good explanation.

Would Roger put gratuitous sex
or violence in a movie?

-Hell, yeah.
[Laughter]

-You know, I'm -- I'm appalled
by your attitude, Darcy.

[Laughter]

♪♪

[Static]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-You know, it's almost
not worth going out anymore

given the fact that the salmon
have all but disappeared.

Yeah. I'd be happy with
a good tuna fish, salmon.

-[Chuckles]
-Huh? Huh?

If something else
isn't scaring the fish,

that'll do it for sure,
huh, Tommy?

-[Laughs]
-Hey, how's the beard, Deke?

-Aw, it's starting to itch
real good, Tommy.

We're in for a big run!

-Well, don't shave
that shaggy mess

until we fill
all our holds, okay?

-You got it.

-Morning, Hank.

-Hey, Jimbo. Perfect day, right?

Well, damn near perfect.

-Hey, Johnny.
You going out today?

-Jim, there ain't
enough fish out there

for me to pay for my gas.

If you get that cannery,
inside of two or three years,

ain't gonna be any fish at all.

-Oh, canneries mean
progress for towns like ours,

and progress means money.

See, you and your people,
you don't understand that.

But I'll tell you one thing,

you're not gonna
stand in our way.

-That's what Custer said,
Slattery.

-I know. You won the battle,
but we won the war.

Alright, boys!
Let's kick ass!

Lot of salmon out there with
Slattery's name on it. Let's go!

♪♪

♪♪

♪♪

♪♪

♪♪

-Okay, Jackie, turn it on!

Come on, Jackie!
Get on the winch now!

-Okay, Pop.

-I think we got something,
Harry.

-Sure looks like it.

-Yes, sir, we have got a catch.

Jesus, do we got a catch!

♪♪

-Looks like we got
ourselves some big ones, Deke.

♪♪

[Motor sputters, stops]

-Goddamn it. Now what?

♪♪

-Outta gas, Pop.

-Outta gas?

You mean to tell me
you've been out here all day

and you didn't even
check the gas

in the goddamn winch motor?

-Sorry, Pop.

-Oh, come on, now.
Sorry doesn't get it, son.

So get it filled up for me,
will ya? Quick!

♪♪

[Creature screeching]

♪♪

Smitty!
Get the engine started.

Uh, let's try
to hook this thing up

to the, uh, stern cleats here.

What do you think, huh?

♪♪

-Shit.

-Hey!
Let's get that engine moving.

-Smitty, what the hell
are you doing up there?

-There's no oil pressure, Deke.

I guess the damn pump's
finally gone out.

-Oh, shit! Why me?!

[Winch creaking]

♪♪

-We got to --
We better get this up.

Harry, get that front cleat.

Oh, geez, you hear that?
It's gonna break!

Hey, forget that
over there, Jackie.

Just come and give us
a hand here now.

Come on!

♪♪

Something's dragging it out
faster than we can get it in.

♪♪

Come on, boy! Get further down.
Reach over and pull.

Come on, Jackie, pull it!

[Creature screeches]

♪♪

We gotta get the pressure
off this boom!

♪♪

Jackie!

Give me a hook.
-Help!

[Creature screeches]

-Mayday! Mayday! This is
the Bucko.We're in trouble.

-Grab hold, Jackie. Grab hold.

♪♪

♪♪

I gotta save my boy!

I gotta -- I gotta get in there!
-Deke!

-I gotta save my kid!
Gotta save my kid!

♪♪

I gotta get his ass out!
-Deke!

[Shouting indistinctly]

-Deke! Nothing you can do.

♪♪

[Explosion]

-I don't see anyone
in the water.

Start it up.
Call the Coast Guard.

Well, go on.

[Explosion]

Aha! I gotcha! [Laughs]

-Boats don't just blow up
for no reason at all, Jim.

-The Buckoleaked oil
like a sieve, Hank.

-Which'd make it damned easy
to rig an explosion.

Big companies don't like to
settle in a town

where things like this
keep happening,

and there's some around here
don't want a cannery.

-Well, what do you mean
by that, Hank?

Do you think Johnny's
involved in this?

-Hank, something scared 'em.
-[Crying]

-They were shooting
at something,

and it wasn't Johnny Eagle.

-What's the matter?
-Come here, baby.

-What is it?
What's the matter with him?

[Dog growling softly]

-Hey, boy, what is it?
Baron, come over here.

-Well, go on.
Sic 'em, sic 'em!

♪♪

-Think it's a raccoon?

-Most likely.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Dog barking]

[Creature roars]

♪♪

[Birds chirping]

-Come on, Baron.
Come on, boy.

[Whistles]

Baron?

Baron, where are you?

Come on, Baron.

Baron, what's wrong?

♪♪

[Cat yowls]

[Sighs]

Hey, Jim, come here a minute!

Oh, God.
What do you think that is?

-I don't know.

Never seen it anywhere before.

Goes off that way.

-Let's follow it.

-Yeah.

♪♪

Baron! [Whistles]

Hey!

-Come on, Baron. Come on, boy!

-Baron!

[Whistles] Baron!

Here.

-Come on, Baron.

Where are you, boy?

-Baron!
[Whistles] Hey, pup!

♪♪

[Men laughing]

-Hey, screw the festival,
the wives and kids.

What we need
is a little private party.

All this booze
and some of them hot numbers

from over in Humboldt County.

-Shit, ol' Jenny'd find out

and use your ass
for salmon bait.

-Hisass? Hell, the fish'd
migrate to Atlanta.

-Hey, come on,
will you knock that shit off?

My old lady told me
she'd kick my ass

if we open any of that
before the festival.

-Well, I'd say easy enough.
Let's open 10 or 12.

-Ah, let's put that beer away.
I got ice melting in the hold.

♪♪

-[Whistles]

Baron!

-Come here, boy!

-Baron!

♪♪

Baron!

[Whistles]

♪♪

♪♪

-Oh, God, Jim!

-No way!
[Laughter]

Hey, asshole!

♪♪

[Flies buzzing]

♪♪

[Dog whimpering]

-That's funny.

The only dog left alive
is the Indian's.

♪♪

Boys, we got ourselves
a problem.

[Jazz music playing on radio]

[Low growling]

♪♪

♪♪

[Thud]

♪♪

♪♪

♪♪

[Jazz music stops]

♪♪

[Metal clangs]

♪♪

♪♪

♪♪

[Clatters]
-[Gasps]

[Telephone rings]
[Gasps]

Hello?

Oh! Linda, hi.

No, nothing.
I just got kind of startled.

I was hearing some noises.

♪♪

Yeah, I'm ready.
When are you coming over?

♪♪

Alright, see ya.

Bye-bye.

[Faint thud in distance,
clock ticking]

♪♪

♪♪

♪♪

[Handle jiggling]

♪♪

-[Screams]
-[Gasps]

-What the hell are you doing?!

-You asshole.

-The back door was locked.

I thought I'd come in
the side door.

-You know, you could've
been stabbed.

-Hey, well,
if you'd have done that, uh...

then we couldn't do this.

-Um...

You know what? I think I'm
just a little too scared.

Besides, Tom and Linda are
gonna be here any minute now.

You know what I mean?

[Static]

-And so begins one of
the most beloved titles

of New World Pictures
in the 1970s and 1980s.

And because of the title,

we don't just know
that something is out there --

we know that something
is humanoid

and that it's from the ocean.

Fortunately, the master
of titling and retitling is back

with us tonight --
Roger Corman,

founder of New World Pictures,
as well as --

How many distribution companies
have you owned, Roger?

There was New World
and then you had Concorde

and I think New Concorde.

-It was all the same company.

What happened is
I started New World

and within really
a very short period of time,

we emerged as the number one
independent, uh, distributor.

And three entertainment
lawyers, uh, approached me

with the idea
of buying New World.

What they really wanted
was the name

because we were famous --

well, quasi-famous,

uh, not only for American
low-budget films,

but we were distributing
for Fellini, Bergman,

Kurosawa, and so forth.

-Right.
You were doing distribution

for the legendary directors
of arthouse cinema.

-Our pictures won more

Academy Award
for best foreign film

than everybody else combined.

So the name
was important to them.

-The brand name you built
was everything.

-So, I ended up just selling
them my distribution arm,

which is what they wanted,
and the name,

which was easy
because I knew I'd be able

to start my own distribution
company immediately,

a new distribution company.

That was no problem.

-Would it be accurate to say
that you found companies,

build up a library of films,
sell the company,

and the following day
create a new company

in the same building
with the same staff

ready to build up
a new library of films?

-Uh, everything except
the same staff.

I had -- I put together
a new distribution staff,

but my production staff and
so forth all remained the same.

I simply -- I had to start
from scratch on distribution.

-I think my old boss Ted Turner
was the first man

to realize the value
of a film library

when he bought all the titles
of MGM in the early '80s.

About the same time
that you sold New World.

Is the library value
the ultimate payoff

for a distribution company?

-It's one of the payoffs.

It-- It's two things.

It's maintaining yourself

as a current production
distribution company

and also exploiting the library,

particularly
in syndication, uh, TV.

That was at that time.
-Right.

Though I guess syndication
is less important now

that audiences have
all moved to streaming.

-Now, I'm no longer
in distribution at all,

uh, and I've sold most
of my library.

So I'm simply now at my age,
I'm an independent producer.

I make one or two pictures
a year

just to sort of stay in the game

and because I love the game.

-So, Roger,
how important is a title?

-A title is very important.

"Humanoids from the Deep" --

I felt that was
one of our best titles.

It turned out to be
quite a good picture,

so it was a major success
for us.

-Now, this movie was filmed
under a working title,

"Beneath the Darkness."

And a few cynical people, Roger,

have implied
that the working title

was a way to lure unsuspecting
name actors like Doug McClure,

Vic Morrow,
the supermodel Ann Turkel

into a project

that might not have
attracted their attention

had it been called
"Humanoids from the Deep"

on the script they were sent.

Any truth to that?

-It is 100% true.

[Laughter]

-Okay, so, New World Pictures
became one of the few

instant successes
in the distribution business.

You were wildly profitable
after just one year.

Now, would it be accurate to say
that the nurse movies

were responsible for that?

Let me see
if I can name them in order.

"The Student Nurses,"
"Private Duty Nurses,"

"Night Call Nurses,"
and "The Young Nurses."

I believe several of those
you titled yourself?

-Yes.

The choices were all mine,
but it was two types of films.

Our first two films
were "The Student Nurses,"

which was a big success for us,

and the second film
was "The Big Doll House,"

a women-in-prison film,
which was even bigger a success.

So we were off
to really a -- a wild start.

Ah, it -- it was just amazing
how fast we grew.

-And the other
interesting factor

in New World's success,
which you alluded to earlier,

is that you were distributing

the films of foreign filmmakers
that you admired,

such as Ingmar Bergman
and Federico Fellini

and François Truffaut.

And I was delighted to find out,

as you told me many years ago,
that Ingmar Bergman was thrilled

when he found out his pictures
were being shown in drive-in.

-[Laughs] Well, that's true.

What happened was this.

We were very successful
with, uh --

with Ingmar Bergman's picture
the "Cries and Whispers."

Now, come fall, drive-ins
started to fall off

because the -- the weather
was turning bad.

They stayed open for a while
with bad weather,

but the major studios
weren't giving 'em any films,

and we were.

And I got the idea.

I thought, here we're sitting

with all of these prints
of "Cries and Whispers."

It's finished
its distribution run.

Why don't I put one in a
drive-in and see what happens?

And I figured this was either
gonna be a big success,

a big way to go, or it's going
to be totally failed.

Uh, an art film in a drive-in.

We did average business.

Nobody was so pleased as I was

to do average business

putting Bergman's film
in a drive-in.

And he wrote me a letter
thanking me

for bringing his film
to an audience

that he never expected
to get to.

-Alright. One more question
and then back to the movie.

Others tried to copy
the New World's success.

There was a company called
Crown International.

Uh, Atlantic Releasing had
a big hit with "Valley Girl."

One of your protégés,
Menahem Golan,

started a company
called Cannon Films

that flew high for a while
and then crashed.

There were small one-hit-wonder
companies with movies

like "Harper Valley PTA"
and "Billy Jack"

only to crumble two or three
movies down the line.

What was your secret?

You were releasing more movies
per year than the major studios,

and yet you never had
that big crash

that all the independents
seem to have.

-They would have one
or two successes,

but they didn't have
the production knowledge

or the production know-how
to keep going.

I might add two other companies.

Bob Shaye at New Line,

which became much bigger
than we were,

just told me, he said,

"Look, I took the word
'new' from New World.

And I knew what you were doing,
and I founded, uh, New Line."

And so they grew...

Uh, the only two
who really grew,

and actually they grew bigger
than we were,

were New Line
and the Weinstein brothers.

-Alright. Well, our audience
is dying to see

what happens to the buxom
Denise Galick.

That's the name of the actress

roaming around her house
with a barbecue fork

because there might just be
a gill man outside

attempting a home invasion.

So, roll the movie.

[Chuckles] Ah!

The follow-up movie
made by the people

who made millions
with "Harper Valley PTA"

was a movie called
"Chattanooga Choo Choo,"

starring Joe Namath
and Barbara Eden.

And it had box office numbers
on opening weekend --

I remember this.

Um, I've never seen numbers
like this.

One theater in Dallas

had a Memorial Day
weekend gross

of $28.

That's the entire take
for a four-day weekend.

And so that ended their foray
into independent distribution.

There were no actual suicides

associated with
"Chattanooga Choo Choo,"

but I would imagine quite a few
of the producers considered it.

[Laughter]

♪♪

[Static]

[Up-tempo folk music playing]

♪♪

[Indistinct conversations]

♪♪

-Evening, Mayor.

-Why, hi, Jim, Carol.

Nice seeing you.
-Hi, Jim!

-Hey, when we gonna get some
duck hunting in, young fella?

-Just lost my dog.

Oh, sorry.
Where's your husband?

-God only knows.

Him and the boys took off
20 minutes ago.

-Mm. Come on in, Jim.

♪♪

[Applause]

-Hey, Jen.
-Hi, Billy.

-Hey, Jen.

-Have you been drinking?

-Sure, I been drinking.

[Chuckling] Come on, woman.

[Up-tempo folk music plays]

-Come on, or we'll miss
the dancing. Come on!

-Yeah, and the beer.

-Oh! [Laughs]

The hell with the beer,
Peggy.

-Hey, what's this, Jim?

You remembered! Alright.

♪♪

♪♪

[Applause]

-Thanks, folks, thanks.

Now, before Jo Williams
and her Whitewater Boys

get going again,

I want to introduce you to
some very important visitors

to this year's festival.

From Canco, Incorporated,

their president,
Mr. Charles Borden.

[Applause]

And his special assistant,
Mr. James Edwards.

And their associate,
Dr. Susan Drake.

[Applause]
-Whoo!

-Thanks, folks, really.

-Here comes the pitch.

-Now, before the fun starts,
I just want to say

that we at Canco are
100% behind you and your town,

and we're here tonight
to promise you

that our cannery will be
the best thing to happen here

since God made the river
and the ocean.

[Applause]

And while we're at it, I'm gonna
make you another promise.

We'll bring jobs to Noyo.

And you may not believe this,

but we're actually going to
increase the catch.

Dr. Susan Drake here,

great little scientist,

has been conducting research
at our labs upstream

for the last seven years,

and she says now
that they've got the handle

on how to make salmon
grow bigger, faster,

and twice as plentiful!

[Applause]

-Now, that's news
we like to hear.

That's news we can
really celebrate.

So, Jo, strike up the band.

Let's have some great dancing
and enjoy ourselves

at this year's festival.

[Cheers and applause]

♪♪

♪♪

♪♪

-Thank you so much.

-Well, from what I hear,

we should be thanking you
for the work you're doing.

Jim tells me he's gonna
be taking you

for a little pleasure fishing
tomorrow.

-Yeah, I even picked out a
rod and reel for you tomorrow.

-That's sweet of you.

-Hey, Jimbo, what do you think
about this gal?

Gonna do great things, huh?

-I'll believe it when I see it.

-You'll see it.

♪♪

-Mm!
-[Chuckling]

[Down-tempo folk music playing]

-Jerry, what was that?
-What?

-There was -- There was --
There was something outside.

-What?! I didn't hear anything.

♪♪

♪♪

-Every damn watchdog on the dock
torn to pieces,

except for Johnny Eagle's.

-Yeah, so Slattery was saying.
You got any ideas?

-No, I haven't come
to any conclusions yet.

-Seems like Slattery has.

♪♪

♪♪

[Door closes]

[Music stops, crowd murmurs]

-Somebody killed my dog,
Slattery.

You got any ideas?

-Well, that's a coincidence.

Somebody killed seven of our
dogs last night at the dock.

Yougot any ideas?

-I don't kill dogs
to get what I want.

I'm gonna put an end to this.

I'm going to court.

I'm gonna file suit
for the return

of all Indian lands
along the river.

I'm gonna stop your cannery,
Slattery!

But I'm gonna do it by the law.
Your law!

-Boys, this breed wasn't
even invited to this party.

He's upsetting the folks.

Moore, get him outta here.

-[Shouting indistinctly]

-Get this animal out of here.

[People murmuring]

Folks, sorry for
the inconvenience.

Come on, let's hear some music.
Go on with the party now.

-Slattery, you cheap bastard!

I'm sick of your messenger boys!

Why don't you fight like the man
you pretend to be?!

-I'm telling you
for the last time.

Get your drunk ass out of here
before I kick it out!

-You think you can,
you white ass?!

Come on, let's go! You and me!

-You don't think I can, huh?

-I know you can.

-Yeah, you know I can,
I know I can,

everybody else knows I can.

But how're ya gonna convince
a dumb Indian, huh?

Go on, let him go. Let him go.

Aah!
-[Grunts]

Go on, get up.

Get up, or I'll kill ya!

[Grunts]

-What's happening?

-[Grunting]

[Groans]

-Oh!
-Hank!

-Nail him, Hank.
-What's going on?

-Hank!
-Get it, baby!

-Alright!
-Go on, Hank.

-Aah!
-Get him again, baby!

-Nail him a good one!

-Just get back, will you, love?

-Aah!

-Jim, look out!

[Punches thudding]

-[Groans]

-Ah!
-Get him off my back, bro.

-Now, you stay where you are.

[People murmuring]

-Oh!

[Gunshots]

-Alright, boys.
That'll be about enough.

Now, pick yourselves up
and go on home.

♪♪

♪♪

♪♪

♪♪

[Hooting]

♪♪

[Birds calling]

♪♪

♪♪

♪♪

♪♪

♪♪

-Well, let's just wait and hear

what Johnny Eagle has to say.

♪♪

What makes you think
we can win, Johnny?

-I just talked to
Jim Lauher in Sacramento,

and he's so sure this is
a landmark case,

he's gonna take it on
for free.

♪♪

-What can we do to stop 'em now?

-File suit against Noyo County

for violation
of our treaty fishing rights,

and Canco's tied up in court.

Lauher's ready
to slap it to 'em right now.

So let's vote on it
and get this thing moving.

[Waves crashing]

♪♪

-They'll be feeding near
the bottom, bro.

-Right.

♪♪

[Ominous music plays]

-It's mine! I got one!
It's mine! Ho ho!

[Camera shutter clicks]

The first one of the day!

-Hey, and it only took you
two hours!

-But you're gonna change
all that, aren't you?

-I'm sure gonna try.

♪♪

♪♪

-Hey, Jerry, does it hurt?

-Yeah, a little.

But, uh, you could make it
feel a lot better.

-You got a one-track mind,
Jerry Potter.

-Yeah.

♪♪

♪♪

♪♪

-But what'd you use for bait?
-Spit on it.

-Spit on it, yeah. [Laughs]
[Reel whirring]

Hey, let me at that!
Let me at that!

-Sounds like a whale!

-Okay, tighten up the drag
before you reel it in.

-Come on, Charlie --
uh, Mr. Borden.

-I'm trying.

-Okay, Mr. Borden,
straighten out the pole.

-It won't come up.

-Reel it in slow and steady.

-I'm trying.

[Groaning] It's a monster.

-Keep it up. We're almost there.

♪♪

-Easy. Easy.

Easy. Just one more second.

-[Grunts]

[Camera shutter clicking]

♪♪

-Will you just get me a drink?

-Yes, sir!

-You see what it was?
-No, I didn't.

-Well, what was she shooting at?

-I don't know, but something
cut that line, Jim.

-What?

-I think you've been out
on the water too long, Tom.

-Could you tell what you were
shooting at with that thing?

-Oh, I won't know that
until they've been developed.

-Hardly wait to see that.

♪♪

♪♪

♪♪

-Aah!

♪♪

-Aah!
-Aah!

♪♪

-[Laughs]

♪♪

-Come on, Jerry,
don't be an ass!

Jerry!

-Raaah!

♪♪

♪♪

[Both laughing]

[Gasps]

♪♪

-Jerry?

Jerry?

Come on, Jerry.

Jerry.

[Screaming]

♪♪

♪♪

[Screaming]

[Creature shrieking]

♪♪

♪♪

-Linda!

I'm going down to meet the boat.

You wanna come?

-[Screaming]

Oh, no, no!

-[Growling]
-Please, no! No!

Please, no!

Please, no! [Sobs]

[Static]

-Okay, Roger, we just watched
a 15-minute sequence

and we've had all kinds
of social issues --

corporate greed,

broken Native American treaties,

racism,

the casual small-town bigotry
of beer-swilling rednecks.

So, we're about to have
genetic food modification

as an issue,

and of course,
amphibious monster rape.

You always have a lot going on
in the subtext of your films.

Is that accurate?

-That is completely accurate.

I am to the left politically

and I never want to interfere

with the entertainment value
of the film.

If it's a horror film,
you get the horror.

If it's a science fiction film,
you get the science fiction.

But at the same time,
as a subtext,

there are thoughts that I would
like to get in personally.

And I think it acts
as a -- a catalyst

to a certain extent
to the combination.

It makes the film more complex
and more interesting.

But the key thing
is never to overdo that,

to remember that
the number-one element

is the entertainment value
that you've advertised.

-Well, you're a well-known
Hollywood liberal.

You always put social justice
causes, uh, into your movies.

You made a passion project
in 1962 called "The Intruder,"

starring William Shatner,

about racism
in the rural South --

award-winning movie
that you once told me

was the only movie you ever made
that lost money.

And that became a turning point
in your career.

-Yes, uh-huh.

It was the only film
at that time

that I'd ever made
that lost money.

And the reason was, I believe,

although the film did win
a couple of awards

and the reviews were
wonderful...

One of the New York newspapers

said, "'The Intruder'
is a major credit

to the entire American film
industry."

But it lost money.

And I think it lost money
for two reasons.

One, the public just didn't
want to see a picture

about racial integration.

And two -- and this is where
my lesson came in --

I was too earnest.

I was delivering a message.

I was not delivering
entertainment.

Which led me to the themes
of my films after that,

where, as I said, I made certain

that I always delivered
the entertainment value

and the themes I was interested
were always subtextual.

They were all secondary.

-Well, I don't know
if you're aware of this, Roger,

and I'm not sure
who told me this,

but whoever owns "The Intruder"
made a sale

to English TV in 2012

that put the movie
into the black.

So, it took 50 years,

but your undefeated record
was restored!

[Laughter and applause]
-That is true.

It was 40 or 50 years
after we made the film

that we finally got, uh,
the end of our investment back.

-At any rate,
after "The Intruder,"

you always put social
and political themes

into the subtext, as you said.

And you were loading up
New World with female employees

long before women had broken
the glass ceiling in Hollywood.

Especially notable were
directors Stephanie Rothman

and Barbara Peeters,
who directed this movie,

which makes it ironic
that "Humanoids from the Deep"

became a source
of feminist protest

when the movie was released.

Barbara Peeters
apparently objected

to some second unit footage

shot after she finished
the film.

Is that right?

-Yes, well, it was true

that I had many, uh, women
assistants and directors.

I might mention Gale Anne Hurd,
who produces "The Walking Dead"

and has had many feature films,
as well.

And Barbara Peeters,
I thought, was a good director.

I think she had done
a picture for me first.

-That's right.
Barbara had previously done, uh,

"Summer School Teachers"
for New World.

She also did art direction
on one of the nurse movies,

and she had done second unit
work on "Eat My Dust,"

Ron Howard's
first movie for you.

-And I remember talking with her
at the beginning

because I always have
a discussion with the director

to point out the goals,
what we're looking for --

the usual thing that I assume
other producers

also do with their directors.

I remember I ended up
by saying to Barbara,

"Remember, the key is this.

The humanoids
come out of the ocean,

they kill the men,

and they assault the women."

She said, "Got it --

they kill the men
and they assault the women."

[Laughter]

-If I had to boil it down,
yeah,

that's the long and short
of the movie.

-Now, having been
a director myself,

I don't hang around on the set
every day

watching the director shoot.

And the first few days
were going well,

so I came back to Hollywood.

When I looked at the first cut
of the film,

Barbara had done half of
what she was supposed to do.

The killing of the men
was so gory

you couldn't even look
at the screen.

We had to cut it back
a little bit

because of the excessive gore
in the killing of the men.

In the assaulting of the women,

she photographed shadows
on the rocks.

And I thought,
"This is nothing."

So I brought in Jim Sbardellati,

the assistant director,
and I said, "Look,

there's -- there's nothing
with the women in this.

There's got to be the equivalent
of the women to the men."

So Jim shot
some additional scenes,

which were really quite good.

But they were still with--

It was an R-rated film.

It was still within the bounds
of being R-rated.

-But Barbara didn't like
the second unit stuff.

She didn't like Jim's stuff,
right?

-Barbara objected.

And I said, "Barbara,
you didn't do your job.

I had to have somebody come in
and finish the job for you."

The net result was it was one
of our most successful films.

And I think Barbara has just
sort of lived with the fact

that she made
a very successful film.

-Well, Roger,
you're the perfect person

to answer this question,

'cause we talk about it
all the time.

But you started making movies
at a time

when all nudity was forbidden
by the Hays Office.

And you made movies
during the '60s and '70s

when nudity was considered

a liberating, hip
symbol of freedom.

And then you made movies
in the '80s

when there was kind of
a backlash against that.

And you've made movies
since the '80s

when it became fashionable
to avoid nudity.

As a matter of principle,
there are young directors

who proudly state,
you know, they don't do nudity.

So, a sort of full-circle
return to the '50s.

What was your policy
at New World,

if you had one,
about nudity?

-Well, there was no written out
or official policy.

It was just the way
I wanted to function.

At a time when you didn't,
uh, have nudity,

we had no nudity.

Uh, but actually, starting when
New World started in 1970,

a little nudity was allowed.

So I took advantage of that fact

because I felt it was
an additional selling point,

and we had
a little bit of nudity

in our very first two pictures,

"The Student Nurses"
and "The Big Doll House."

And we continued doing that.

And then we started
to fade away from it

because it was
no longer a novelty.

It was no longer, in my opinion,
a selling point

because it was done so often,
it had lost its meaning.

-Well, would it be accurate
to say

that you like
strong female characters

in charge of their lives

who also enjoy
taking their clothes off?

-Yes, you could put
all that together.

I'll go along with
that statement.

-Alright. Let's get back
to the escalating tension

at the Salmon Festival
in Northern California.

Roll it.

You know, I do
a one-man show called

"How Rednecks Saved Hollywood"
and I think I mention

ten Roger Corman movies
from the '70s.

You kept going back to the South
again and again,

making movies about
aggressive women

in Daisy Duke short shorts
and halter tops,

fighting against the syndicate

trying to take over their
moonshine operation, right?

Criminally minded Southern women
like "Big Bad Mama,"

"Boxcar Bertha," which was
Martin Scorsese's first film.

He made it for you
at New World in Arkansas.

The social justice subtext
there was --

don't mess with a Southern girl,
'cause she can kick your ass.

[Laughter]

♪♪

[Static]

-Paul, you got those beers?

-Coming right up.

[Mid-tempo country music
playing]

[Indistinct conversations]

-How you doing, boys?

-Doing good.

♪♪

♪♪

-Boys, I want you
to listen to me.

We got ourselves a problem,

and the buck's gotta stop
right here now.

Johnny Eagle means business.

You know who's over
at his place right now?

Bunch of those Indians
from the reservation.

You know what he's doing?

He's talking them into
filing a lawsuit against us

in connection with
the canneries.

Yeah, I was just over there
just now and I overheard him.

That's not all.

He's got himself one of
those big-shot city attorneys.

You know, one of those
minority lawyers.

Gonna take their case on
for nothing.

-Except the publicity he'll get.

-Maybe we gotta hire
ourselves a lawyer, Hank.

-And then what?

Wait two years
till it comes up in court?

You think those cannery folk
are gonna wait around

till we solve our problems?

No way.

We got to take care of
Johnny Eagle and his people.

Or we ain't gonna
have no cannery.

-How?

♪♪

-What do you mean, how?

Any way we can, that's how.

-See ya, bro.

-Jim, how's the face?

-Ah...

Eh, I'll live.

-Thanks again.

-You look worse than I do.

-[Chuckles]

Thanks anyway. Both of you.

-Any man done the same thing.

-Jim, there's something
I want to talk to you about.

The cannery.

-Johnny, I'm for it,
you're not.

There's nothing more to say.

[Car doors closing]

[Engine stops]

-It's funny. I mean, he doesn't
even like those guys.

But he feels the town needs 'em,

and he -- he wants what's
best for the town.

-So do I.

I'd like to discuss it
with you, Tommy.

-Hi, guys.
-Hi, hon.

-Hey, I caught a bunch of
steelheads the other night.

Need some help eating them.

How'd you guys like
to come along?

-Oh, sure, yeah.

-Great.

[Motor starts]

[Mid-tempo country music playing
on radio]

♪♪

-Hey, honey.
Why don't you take it off?

Let's see some skin.

-Nothing comes off
till I see it.

-Okay, how's this?

-Oh, come on,
show me more than the head.

-Well, the head's
the best part.

-Oh, come on.

-For you, okay.
-[Laughs]

-Billy, she's really doing it.

Oh, my God!
Get me out of this thing.

Billy, what's holding ya?

Come on, Billy! Come on,
I'm not passing this up.

What are ya, a klutz?
I'll miss the excitement!

Hey.

Hey, honey,
wanna see my woodpecker?

-Will I get splinters?

-Don't worry, baby.
I've been sanded.

[Chuckles]

Hey, baby, I'll bet you never
made it with twodummies.

Like they say, two heads
are better than one.

-Well, Chuck,
works every time.

-What would you do without me?

-Well, just watch.

-Hey, come on, what do you think
you're doing?

-Two's company,
three's a crowd, Chuck.

-He iskinda sexy.

-Not as sexy as you are, baby.

[Creature growling]

-[Screaming]

♪♪

Oh, my God!

♪♪

[Whimpering]

♪♪

-[Growling]
-[Screaming]

♪♪

-This is where my dad used
to bring me when I was young,

and he'd tell me about
the old ways.

-It's peaceful up here.

-That's why I want to
save it for my people.

Hey, we don't want to sue
anybody, but we have --

[Motor running]
-What is that?

-Shh.

I don't know.

I don't get
many visitors up here.

Come on,
let's get out of here.

[Motor starts]

-Take the south fork,
then go downstream.

[Motor shuts off]

[Owl hooting]

-You still hear them?
-No.

-No, maybe it's just
someone fishing for crayfish.

-Yeah, maybe.

Look, if you two want to
take my truck

and go back to town, go ahead.

-No way. We came up here
to talk and eat.

-And I make great cornbread.

-Okay, let's clean
some fish, then.

Whew!

[Bird calling]

-Let her drift
as close as you can.

-[Whistling]

[Humming tune]

[Gasps] Oh!

-Hi, honey.
-You scared me.

I thought you were
cleaning fish.

-No, Johnny wanted me to come
out and see if you were alright.

-Aw, that's so sweet.

-Yeah, well, he doesn't know

what a tough,
self-reliant woman you are.

-Aw.

[Water gurgling]

♪♪

♪♪

-Just there.

-Shit, I don't like this.

-Shut up, Suzie. We agreed.

-Let her drift in
a little closer.

-You got it.

[Motor stops]

♪♪

-Let's do it.

♪♪

-Cornbread!

-Tommy, get down!

[Explosion]

-Come on, let's go back.
Damn forest will blow.

-Who was it?

-I don't know.
I couldn't see them.

♪♪

Linda, that's like
spitting on it.

-Linda, take my truck! Go into
town and get some help!

[Door closes]

[Engine starts]

[Creature screeching]

-You coward!

Keep running, you bastard!
[Gunshot]

All the way back to town!

♪♪

Aah!

♪♪

[Creature screeching]

♪♪

[Gasping]

♪♪

[Grunting]

♪♪

♪♪

♪♪

[Creature screeching]

[Creature growling]

♪♪

[Creature screeching]

[Gunshots]

♪♪

♪♪

♪♪

♪♪

[Glass shatters]

-[Screaming]

♪♪

[Tires squealing]

[Creature screeching]

♪♪

♪♪

[Crunch]

♪♪

♪♪

[Screaming]

♪♪

♪♪

♪♪

[Static]

-And that's the last
we see of Linda

as she plunges off the bridge
and explodes in a fireball.

One of the things
you once told me, Roger,

that surprised me

is that your car crashes,
car chases, car explosions,

all the things
you love about cars...

You love to destroy cars

and you encourage your directors
to destroy cars.

You told me that those action
stunts are not that expensive.

-They're not that expensive
because we always buy used cars

that are a rough match
for the actual car

that's in the picture.

And the key is
the car must not only crash --

it must explode
at the same time.

So you get two for one,
as it were.

-[Chuckles] Alright.

Well, every director who ever
worked for you, Roger,

from Peter Bogdanovich
to Martin Scorsese

to Jim Wynorski,

has some story that starts off,

"Let me tell you
how cheap Roger is."

You have a reputation
like that of Harold Ross,

the founder of
The New Yorkermagazine.

He once asked Dorothy Parker
why her article was late

and she said, "Because
somebody borrowed the pencil."

But anyway, I've heard
these stories, like the time

they needed extra lights
for a nighttime car chase,

but instead you told
all the crew members

to line up their cars
on the side of the road

and turn on their headlights.

Or the time on this movie

when young special effects guy
Rob Bottin

only had enough money to build
one fully functioning humanoid,

but you gave instructions
to the camera crew

is to how to make
that one humanoid

look like many humanoids.

I have to assume
that you got a good deal

on the actor that we just saw,
the one that got killed

by a creature in the tent
on the beach

because you allowed him to bring
along the ventriloquist dummy

that he uses in his regular act.
[Laughter]

That's David Strassman, who is
a professional ventriloquist,

and his dummy is named
Chuck Wood.

Um, I assume
you got a cut rate

from the rather elderly
banjo band

at the Salmon Festival dance.

Uh, you told me one time

that you would cut two minutes
out of a film

so that it could be shipped in
four film cans instead of five

and you would save
20% on shipping.

What was the ideal length
of a film, Roger?

-I think the ideal length
of the film for me

was 80 minutes or less

because each shipping container
could take two reels.

So, um, four reels
was the ideal,

and the best you could do

was to put 80 minutes
in four reals.

So, if a film was 81 minutes
or something like that,

I would take a minute out
in order to fit that.

But we were very cost-conscious

and actually, the cost
of the shipping of films

was very important to us.

And just that extra minute
or two minutes,

uh, would cost us
a great deal of money.

-But to your credit,
I never once heard anybody say,

"Roger refused to pay me" or
"Roger backed out on a deal,"

which is rare for Hollywood.

In your Academy Award
acceptance speech,

when they gave you
the honorary Oscar in 2009,

you thanked one person --

Julie, your wife of 50 years
and your producing partner.

Uh, and congratulations
on your golden anniversary.

And then you used your
25-second time limit

for the most compact
and efficient speech

about independent filmmaking
that I have ever heard.

And you talked about film as a,
quote, compromised art form.

Uh, that's the word you used,
representing

the compromised world
that we live in.

And then you praised
and encouraged the gamblers

who innovate
with original ideas.

You can take more than
25 seconds here, Roger.

What did you mean
by compromised?

-Ah, it's a compromised art form

because it's a part art form
and part a business.

If you're a writer
or a painter or a composer,

just one person
sitting in a room

can create, uh,
Michelangelo's statues

or, uh, the Mona Lisa.

But if you're making
a motion picture,

you need an entire crew.

And to do that, you must have
money to make the film.

And if you're going to continue,
you had better make certain

that at least most of your films
are commercially successful.

-Right.

-So you're working
partially as an artist

to make the finest film you can.

Yet at the same time,
you're compromising that

by a little bit of awareness
of the business,

of how much the film
will cost to make,

how the treatment,
the subject matter is used.

-Well, you've made movies
in a time of constant change.

You know, change in formats,
change in distribution systems.

You started as a messenger
at 20th Century Fox

back when the studio system
still controlled everything.

You worked as
an independent filmmaker

throughout the drive-in era.

You invented the biker film,
you invented the drug film,

when the studios
wouldn't touch those subjects.

You transitioned
into cable TV, into VHS,

into laser disc, into DVDs,
into Blu-rays, into streaming.

And each time the business
changed, you still made money.

Each time a new genre popped up,
like erotic thrillers

in the '90s
or mutant monster movies

for the Syfy Channel
in this century.

I believe your greatest
achievement in that category

was the "Sharktopus" franchise,

which included
"Sharktopus vs. Pteracuda"

and "Sharktopus vs. Whalewolf."
[Laughter]

-I remember -- I remember, uh,

the catch line on one of those.

I think it was
"Sharktopus vs. Pteracuda."

The catch line was,
"A Love Story."

We like to play around
with our catch lines.

-But you've always grasped right
away what the new rules are

and how to navigate those.

How -- How do you do that?

-You just have to do it.
Uh, you have no choice.

If the business
is going to change,

you must change with it,
and you must change instantly.

You must recognize change
as it's happening

and not hang on
to the old rules

when the new rules have come up.

You simply move
to the new rules.

-Alright.

Well, we're going back
to "Humanoids from the Deep,"

which was an attempt
to repeat your success

two years earlier
with "Piranha,"

and with almost
as enormous a result.

I assume "Piranha" had
the bigger box office.

-That's right.
"Piranha" was a big success.

And, uh, "Humanoids"
was a big success,

but not quite as much
as "Piranha."

-You've actually returned
26 years later

to the place
where you started --

monster on the ocean floor.

You just now have monsters that
don't stayon the ocean floor.

You have more money,

so the monsters
actually come ashore

and destroy carnival attractions
and eat the cast.

-Yes.
[Laughter]

-[Laughing] Okay.

Roll the film.

Ah!

'Course, any vicious
sea creature movie in the '70s

would be compared to "Jaws."

Uh, you had "Orca," "Piranha,"

"Tentacles,"

"Killer Fish," "Barracuda,"

"Tintorera," "Killer Shark,"

uh, "Blood Beach,"

"The Last Shark,"
"Up From The Depths,"

"Screamers," "Devilfish,"

"Mako: The Jaws of Death."
[Laughter]

Anybody remember
"Mako: The Jaws of Death,"

that shark movie?

Uh, the poster said,

"Filmed without the benefit
of shark cages

or any other protective device."

And what they don't say
is it's also filmed

without the benefit of sharks.

[Laughter]

But, Darcy
is a shark cage diver

-I am, yeah.

-That -- That still
blows my mind.

Did the sharks like you?

-[Laughs] They did.
-Did you pet them?

Did you feed the sharks?
Did they rattle your cage?

-Not like you do.

[Laughter]

♪♪

[Static]

-Hi.

-Good morning.

-I'd like to rent a boat.
-I wouldn't advise it.

Not this morning, anyway.

-Thanks.

-And they didn't
come home last night.

Jerry didn't come home,
Peggy didn't come on.

I talked to her mom
this morning.

What do you suppose
happened to 'em?

I'm getting worried about 'em.

What's going on around here?
I don't know what's going on.

-And you always call
your old man when you stay out?

-I don't have to
call my old man.

He always knew where I was.

-Jerry and Peggy missing,
Linda's dead.

What the hell is going on
around here?

-I want to know what Linda
was doing in Eagle's truck.

-Yeah, what about that?

-Do you see what I see?

-What's that breed
got in his boat?

-You got some explaining to do,
Johnny.

-Alright, let's put him in
real gentle now.

Come on.

-Ah, Tommy.

-Tommy!

Oh, my God!

-We already called the hospital.
-Tommy!

-I'm going with him.
-Yeah, you stay with him.

-Come on, get it outta here!
-Let's go!

-Come on!

[Tires squealing]

-How tall were they?

-Six and a half,
maybe seven feet tall.

-How many did you see?

-Four or five.
-Hank! Hank!

What the hell's going on?
What happened to my brother?

-Well, you're not gonna
believe this either.

They're telling us
some kind of sea monster.

-That's right, sea monsters.

They burned his house,
attacked your brother,

even took their dead away,
right?

-Alright, I'm going out.
Anybody coming with me?

-What for?
-To find evidence.

Something sank the Bucko,
killed our dogs,

now it's attacking humans.

Whatever it is, it ain't him.

I need a mate, Slattery.
How about it?

-It's a waste of time.

-You afraid?

-Afraid of what?

-Potter?

-My kid didn't come home
last night.

Neither did Peggy.
I gotta look for my kid.

I ain't got no time to look
for phony sea monsters.

-I'll go with you, Jim.

-Wait a minute.

I'm not sure I want you running
off before I talk to you.

-You want to go with me, Hank?

-I got my priorities, Jim.

I have to be at the hospital
when your brother comes to.

-Alright, then you're
gonna have to trust him to me.

I need him. He's been there.
He knows what we're looking for.

-I'm going with you, Jim.
-I don't need anybody else.

-Oh, get off your
antique manners, Hill.

I'm a professional scientist.

Let's go.

♪♪

♪♪

♪♪

♪♪

♪♪

-This is
where we first saw them.

-Look at this.

-Let's see.

-She knows a lot more
than she's letting on.

[Camera shutter clicks]

♪♪

-What do you suppose
she's after now?

-Seeing if they left
any visiting cards, I guess.

♪♪

[Camera shutter clicking]

♪♪

-[Sighs] They've definitely
been here, alright.

-You wouldn't be
kidding me now, would ya?

-You think there are any more
of those creatures around here?

-I thought I heard
something under there.

I said, I thought
I heard something.

The attack pattern
that you described

is that
of a nocturnal predator,

which means it'll probably
keep to himself during the day

unless their territory
is threatened.

-This their home territory?

-I'm not sure.

We found evidence that
they were here last night,

but that doesn't mean anything.

If you're right
about their size,

the upstream food supply
won't support them.

They'd probably move
to the ocean.

-Seem damn sure of yourself.

-I have to be
with men like you around.

-Come on,
let's get outta here.

♪♪

-Like this?

-That's pretty close,
but the head, it's much bigger.

-They must have developed
more than I figured.

And may be more intelligent.

[Reel clicking]
-Johnny, take it!

Ah, damn, it's a salmon.

First time I ever thought

I'd be disappointed
in seeing a fish.

-Think of it this way --

If we're finding salmon
this size here,

we can't be too far from
finding what we're looking for.

♪♪

♪♪

♪♪

-I just talked
to my wife on the radio.

Doctors say my brother's
gonna be alright.

-Good.
Have they talked to him yet?

-No, he's still unconscious.

But his vital signs
are strong.

How much do you know
you're not telling, Drake?

Will you put those damn
binoculars down for a minute?

-You've seen what I've seen.

-You say they're intelligent.

You're surprised
by the size of their jaw.

Outside of that,
you seem to think

your sketch is pretty accurate.

-The coastline, Jim.

-What about it?

-There seem to be caves
out there.

Where do they lead to?

♪♪

♪♪

There's your evidence!

[Creature screeching]

[Camera shutter clicking]
-You're nuts.

-No! Don't shoot! Not yet.

No!

[Gunshot]
[Screeching]

Now! Shoot!

[Gunshot]

[Gunshot]
[Screeching]

[Gunshot]

-Aah!
[Creature screeching]

♪♪

♪♪

[Gunshot]

[Screeching]

♪♪

[Screeching]

♪♪

-You alright?

-That's twice
I owe you my life.

♪♪

[Coughs]

♪♪

[Camera shutter clicks]

♪♪

♪♪

Oh, my God.

♪♪

Who is it?

♪♪

-My God, it's Peggy.

-She's still alive.
Let's get her outta here.

♪♪

[Camera shutter clicking]

♪♪

[Creature growling]

-[Screams]

[Screeching]

♪♪

[Static]

-So, Ann Turkel,
as Dr. Susan Blake,

is saved from the clutches
of the sea creature

by a perfect crossbow shot
by Johnny Eagle,

played by Anthony Pena.

Ann Turkel was
a 6-foot-tall Voguemodel

when she started acting
at age 27.

Her first movie was opposite
Richard Harris

in a forgotten flop called
"99 and 44/100% Dead"

And then she married
Richard Harris

and became a regular
in the gossip columns

as he went through
his various bouts with alcohol.

She also was involved
in the creation

of the tan-through swimsuit,

those bathing suits that have
the little holes in 'em

so you can tan
without taking 'em off.

And then in recent years,
she's been involved

in animal rights causes
and children's causes,

and she's one of the Trumpettes,
the Hollywood actresses

who vocally supported
Donald Trump.

Anyway, Roger,

aren't you introducing
the monsters

a little early in this one?

They just killed four
or five of 'em

and they're in almost
every scene now.

I've heard you talk
about your theories

of monsters before,

and normally you do not show off
your monster this early.

-Well, the theory
was based upon practicality.

When I first started, I think
"Monster from the Ocean Floor,"

our film was shot in six days

and the monster just cost,
I think, something --

one or two hundred dollars.

So, my theory was based
upon the fact

that I didn't want to show
that monster too much

'cause it really
wasn't very good.

-I think that can also be
better for suspense, in a way.

-And it was also a little bit
of a theory

based upon a narrative drive,

that you just saw
hints and pieces,

sometimes you saw
a shadow of a monster,

until you reveal
the full monster at the end.

The idea being that
you led up to the reveal

and also to cover the fact
that the monster wasn't so good.

-[Laughter]
-Okay.

-Now, as I got
a little more money,

and on "Humanoids
from the Deep,"

the monster was actually
quite well made.

And it looked so good
that I thought,

well, we can show a little
more of it early on now.

We can step away,
to a certain extent,

from the previous theory,
as I was trained as an engineer

and that's
the scientific method.

You experiment and see
what experiment works out.

-Well, once New World became
known as the school of Corman,

the place you went to get
your start in the business,

how did you decide
what directors to hire?

You must -- You must have had
hundreds of people

trying to work at your company.

-Well, I had Francis Coppola,

who came out
of the UCLA film school,

and he worked as my assistant,

then as a second unit director,
then as a director,

because in each job he proved
that he knew what he was doing.

So I was able to make the
decision that he could direct.

-How did you know that
Peter Bogdanovich could direct,

though, when he had never
directed anything

or gone to film school?

-I had met him at a screening
of a film somewhere,

and we were talking afterwards

and he had an amazing
knowledge of film.

I was really impressed simply
by the knowledge of film he had.

So I hired him
as an assistant, uh,

and he worked with me
as an assistant

and shot a couple shots

on some films
as a second unit director.

And again, he proved his ability
on each one of those things.

So I then said, "Okay,
you're ready to direct."

-So, they had to prove
themselves first.

-Probably the only person who
started full out as a director

without -- actually,
there were two people.

Ron Howard,

who played the lead in
"Eat My Dust,"

a car crash film,

and, uh, it was
a very big success.

And, uh, when I offered him
the lead in "Grand Theft Auto,"

which was a follow-up, he said
that he would do two jobs

for the same price --
three jobs.

He would write, he would act,
and he would direct.

And I remember saying,

"Ron, you always looked like
a director to me."

-Ah.
Who was the second director?

-The other person who came in
straight as a director

was Marty Scorsese.

I had seen an underground film
he had made in New York

and I thought it was very good.

And I simply chose Marty
to direct based upon, again,

talking with him and knowing
how much he knew about film

and seeing, uh, the underground
film he had made.

-I don't know if he ever
told you this story,

but he once told me
that he was terrified

that you would show up
on the set one day and fire him.

-Here's what happened.
Uh, I was on the set.

We were shooting in Arkansas,

which was the same state
I shot, uh, "Bloody Mama" in.

An, uh, by the third day
of shooting,

AIP called me and said,

"We don't like
what Marty's doing.

You've got to step in
and take over

and replace him as director."

And I said,
"No, you guys are wrong.

I think he's doing
a really good job.

I'm not gonna do that."

So he was never, uh, fired.

They wanted me to fire them.

And I said,
"No, I think this is good work."

And indeed,
it was excellent work.

"Boxcar Bertha"
was a very good film.

-I agree with you.

And, uh, by the time
I met you in the '80s,

you were mostly
promoting directors

out of the editing suite.

Uh, some directors started
in your publicity department.

They can start almost anywhere
in the New World organization,

but it seems like
the majority of them

were editors turned directors.

-Yes, Joe Dante,
Allan Arkush, Amy Jones,

a couple others,
were all originally editors.

As a matter of fact, I believe
editing on a number of films

is almost like
going to film school.

You see what
the director has shot

and then you work
with the director.

But you understand how the shots
go together, how they're set up.

So, you're learning, really,
uh, working with the director.

While cutting the film,

you're learning
how to make a film.

-Something you've done
more than once

that I find very interesting

is that when you have trouble
with your lead actor,

you fire him or her

and you move all the other
actors up one level.

For example,
on "The Saga of the Viking Women

and Their Voyage to the Waters
of the Great Sea Serpent,"

Abby Dalton ends up
in the lead role.

-That's right.

The leading lady, um,

caused a little bit of problems
at the last minute

and actually didn't even show up
for the first day of shooting.

So I said, "Abby, just move up.

And everybody move up
one position."

And then I brought in somebody
else to replace the last person.

-So, every Viking woman
got a promotion.

And then "The Wild Angels,"

you had George Chakiris
in the lead role,

but he said he couldn't ride
a motorcycle.

-Yes, he'd come off
"West Side Story"

and he had the right image
for the audience.

And he took one
motorcycle lesson

and he said, "Roger,
I -- I can't ride that thing.

You're gonna have
to get somebody

to ride the bike for me."

And I thought I'd seen too much
and shot too many Westerns

where the leading man leaps
on the horse in a close-up,

you cut to the long shot,

and the stuntman rides
the horse away.

[Laughter]
-You can always tell, right?

-So, Peter was set
for the second lead.

I said, "Peter,
you're now the lead."

Bruce Dern was set
for the third lead.

I said, "Bruce,
you're now the second lead."

And we proceeded from there.
[Laughter]

-A string of promotions
that would set the stage

for their career-defining roles

three years later
in "Easy Rider."

Alright, Roger,
I need you to stick around

for one more segment
as we move toward the solution

to the mystery of how
the monsters were created.

You're not big
on scenes explaining

what the science is
behind the monsters.

-No, not really.

-Okay. Roll the film.

And by the way,
the music in "Humanoids"

is composed by James Horner,

who would go on to create
a hundred film scores

in a 40-year career,
including "Titanic,"

for which he won the Oscar.

Two Oscars,

because, um, he also wrote
the Celine Dion song.

He got an Oscar for that.

And, um...

how would he come to be involved
with "Titanic"?

Well, he met a guy cutting
trailers at New World Pictures

and they became friends --
James Cameron.

So, all roads lead back
to Roger.

♪♪

[Static]

♪♪

♪♪

♪♪

-What the hell
are these things, anyway?

-[Sighs]

First, as far as I can tell,

the species has only
just appeared.

But there has to be a reason
that a humanoid creature

evolved so quickly.

Note the gills
on the side of the head.

-Yeah, like a fish,

but they do pretty well
out on the land.

-Yes, as far as we can tell.

But their natural habitat
is clearly the water.

Though I think they're
in the process

of becoming amphibious.

Now, look at the size
of the cranium.

That means they have
tremendous brain capacity.

It does not mean, though,

that they have the ability
to use it all.

And look -- webbed hands.

-Why don't you gentlemen
go on back to Noyo?

We'll let you know
what we find.

-Forget it. We're not leaving
till we get some answers.

-Don't worry.

-Mr. Borden strongly suggests
that we keep this quiet

until Canco has had
a chance to review it.

Your theory could be
totally incorrect.

-What the hell
are you talking about?!

I've been trying to
tell you people about this

for a long time,
and you pushed it aside!

Well, look at it, Edwards!
It's right in front of you!

You stupid ass! Look at it!

And you still say
my theory's incorrect?

My theory is not incorrect,

and I'm not gonna
keep quiet any longer,

and these people
have a right to know,

and I'm gonna tell them.

String up DNA film 232
in the conference room.

Now,Edwards.

[Projector whirring]

-Okay, DNAfive is a growth gene.

What you're seeing here
is a film

of our early DNAfive
experiments with frogs.

These are tadpoles
in the larval stage.

Normally, tadpoles take 12 weeks
to become adult frogs.

Now we add DNAfive, which
carries genetic information

that stimulates the
growth hormone in frogs.

With the aid of DNAfive,

adulthood is reached
in a matter of days.

-So, what's the point?

-We were duplicating
this process

to accelerate
the growth of salmon

when heavy tidal surges
tore apart

one of our experimental tanks.

3,000 DNA-treated salmon
escaped into the ocean.

I wanted to notify
the authorities,

but my employers at Canco
stopped me.

-What if the other fish
are salmon?

-Exactly.

It's my theory that feeding
on the DNAfive-treated salmon

may have brought about evolution
in more primitive fish,

like coelacanth,

which was discovered
in this area a few years ago

by a local marine biologist.

-What the heck is a coelacanth?

-It's a prehistoric
type of fish,

which hasn't evolved
in millions of years --

but may have, feeding on salmon
containing DNAfive.

I took these in the tunnel
this morning.

In one lifetime,
this creature seems to evolve

through four growth stages.

It starts out as a fish,

but is humanoid in
its final stage.

-Why are they attacking us?

-Well, most bright animals

protect their territory
and their food sources.

They may be intelligent enough
to perceive man as a competitor.

-Why the girls?

-It's my theory
that these creatures

are driven to mate with man now

in order to further develop
their incredible evolution.

-Well, it's enough to
scare the hell out of me.

-Let's hope the people
in the town believe us.

-Jake. The festival.

-Oh, my God.

♪♪

♪♪

♪♪

♪♪

♪♪

-This is
"Mad Man" Mike Michaels

broadcasting live from
the big Salmon Fest.

We're down here at the
K-Fish radio, the Big Fish,

and here's my favorite
little billboard, Kitty.

Aw, how ya doing, Kitty?

Listen, she's gonna be down on
the north end of the midway,

and if you catch her,
you get a free visor.

Alright!

And now I'm sitting here
with this year's

little local beauty,
Miss Salmon -- Sandy.

How ya doing, Sandy?

-I'm fine!
-Oh, that's great.

[Down-tempo folk music playing]

-Jo, can you speed it up
just a little bit?

How 'bout something like
"Ta-ra-ra Boom-de-ay"?

-John, we sure
aren't in the mood.

-Well, Jo, hell, I'm not either,
but after all,

we've had people come
from 200, 300 miles away

to have a good time.

We ain't never
failed 'em before.

Come on, now.
Speed it up a little bit, huh?

-Okay, okay.

-Come on, folks!
Enjoy yourselves!

[Up-tempo folk music plays]

There you go.
That's better.

Come on, folks.
Enjoy yourselves a little bit.

There you go. That's better.
Hey, that's great.

So, listen, we're having
a great time down here.

We're waving to people.
Hi, how ya doing?

And, uh, we're playing records,

and we're just doing
a whole lot of things.

Listen, if you got a phone,
why don't you give me a call?

I'd love to talk to you.

But I can't talk to you
for too long, I...

I may have my hands full.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

This is the Big Fish, K-Fish,

the voice
of Noyo, Noyo, Noyo.

♪♪

-Hey, Lloyd.

♪♪

Any luck?

-They must've eloped.

-Did you check the cave?

-Potter and Larson
went to check the caves,

but I think
it's a wild goose chase.

-Gonna get me a beer.
-Yeah, yeah.

-What about Johnny Eagle
and Jim? They back yet?

-I haven't seen 'em.

-They ain't gonna find shit.

That Indian,
he's probably out there

making it with a buffalo.

[Men chuckling]

-Yeah.
-Hey, here -- beer.

-Guys.
-Alright.

Give us four!

-Hey, isn't that Jim's boat?

♪♪

♪♪

-Find anything, Jim?

-Plenty.

-What's this?
One of Johnny's sea monsters?

-Hang on to your cookies,
Slattery.

♪♪

[Crowd gasping]
-God.

[Murmurs, groans]

-What is that?

[Women screaming]

-Hold it! We think we know
where these things come from.

But we have no idea
how many there are.

-Jake, Jake, Jake.
We found Peggy.

She's gonna be alright.

I'm -- I'm sorry, Jake.

[Creature screeching]

[People screaming]

[Gunshot]

-Don't panic!

[People screaming]

-Wait a minute,
there seems to be

some sort of
disturbance going on.

I'm not sure if it was
an accident or something.

Oh, my God.

[Screaming continues]

[Growling]

[Creature screeching]

[Screaming continues]

-There's 50 gallons of gas
in the hold.

Start pumping it.
-Yeah.

-What is happening?

[Creature roaring]

[Screaming continues]

-Yes, folks, this is
Mad Man Mike Michaels live,

if I'm lucky, from Noyo Harbor.

The scene here
is one of total --

and I mean total -- panic.

People are running
every which way.

Wow, one just smashed
right through the booth

not 15 yards away from me.

It's going after a young woman!
She's...

♪♪

♪♪

[Crowd screaming,
creatures growling]

-You better get
the highway patrol out here.

[Creature growls,
screaming continues]

-Keep pumping the gas,
we'll blow 'em to kingdom come.

[Creatures screeching]

[Calliope music playing]

♪♪

♪♪

[Creatures screeching]
[Screaming continues]

-[Screaming]

-Careful, Sandy! Watch out!

Get behind me!

Oh, this is macabre.
This is horrible.

These creatures are coming
right at me.

There's slime all over them.

This unbelievable.
I can't believe it.

They're tearing
people's limbs off.

Sandy, watch it!
Watch out, Sandy!

Folks, this is crazy.

[Screaming continues]
[Creatures growling]

[Static]

-And as the nasty
sea creatures go on the rampage,

we see what a good example
this movie is

of the school of Corman.

Miss Salmon is played
by Linda Shayne,

who would go on to a long
writing/directing career.

Even as we speak,

she's directing
a movie in Europe.

She took the role of Miss Salmon
to break into the business.

She later co-wrote
the movie "Screwballs,"

a high school comedy hit
for New World.

She wrote a part for herself
in that movie.

She was second unit director
on "Big Bad Mama," too.

So Linda is an example
of somebody who,

she had recently
graduated with honors

from University of California
at Berkeley,

but she had no contacts
in the film business.

So she just said,
"Well, I'm a cute blond,

I'll break in with that,"
and it worked.

She became a writer and
an associate producer at Disney.

Uh, she wrote, produced,
and directed a children's film

called the "Purple People Eater"
with Ned Beatty,

Shelley Winters,
and Chubby Checker.

And, um, by the way,
the radio announcer

she works with in her scenes --
that's Greg Travis,

who would go on to a great
character actor career --

"Starship Troopers,"
"Showgirls,"

Rob Zombie's "Halloween 2," uh,

"Night of the Living Dead 3D."

He does a hilarious
stand-up character

called David Sleaze,
The Punk Magician.

Uh, and Mark Goldblatt
edited this film.

He became one of the top
editors in Hollywood, um,

and took time out to direct
another favorite on this show,

"Dead Heat."

Alright, Roger,

I have not asked you
the most important question.

What's your next movie?
[Laughter]

-I have three scripts
I'm working on.

-Of course you are.

I can't imagine you retiring
at 95.

So, what do you got?

-Uh, the three are

a remake of "The Unborn,"

which was a big success
for us.

It was a psychological
horror film

that we made in the 1990s
that was, uh, very successful.

-I remember "The Unborn."
Very good movie.

-And the second one is a picture
called "Crime City."

When the hurricanes devastated
Nassau in the Bahamas,

I saw some footage
that somebody had taken

of the total destruction
of the city.

And I bought that footage,

and then I had him go back.

He shot it with a drone.

I had him go back and shoot
set shots on the ground.

So I had the entire destroyed
island, um, already shot.

And I am developing
a script called "Crime City"

based upon the destroyed island.

-That's amazing.
That reminds me of the way

you used to reuse existing
footage in the very early days.

So, what's film number three?

-The third and actually
my favorite

is a picture
called "Death Games."

When I shot "Death Race 2000"
in the 1970s,

the film was one of
the biggest hits we ever had.

Matter of fact, it won some poll

as the greatest B picture
ever made.

I sold the remake rights
to Universal.

It's been remade four times,

and they're thinking
of making it a fifth time.

And I thought, well, uh,
that combined with the fact

that George Miller
came up to me in a party

and said,
"I want to thank you."

And he said --
I said, "What for, George?"

He said, "I saw
'Death Race 2000' in Sydney

and I thought I could
make a film like that."

And he made "Mad Max."
-Wow.

-And then "The Hunger Games" --

which frankly, is to clear-out
steal from the "Death Race,"

they just changed it
from the death race

to the hunger games --
was a success.

And I figured there's
something in that concept

so that all the different
versions of it work.

Let me see if I can work out
a new concept

that is totally original,
but it has the elements

that made all of these
other films successful,

and that is "Death Games,"

on which we're working on
the final draft at the moment.

And I'm -- I'm very enthusiastic
about that picture.

-You know, I'm not surprised
that when I ask you

about what your next project
might be,

you tell me you're working
on three projects at once.

And -- And I understand
you made a deal

with a Chinese company
in recent years?

-I've worked in China.

I've made several pictures
in China with --

particularly one with IQiyi,
their equivalent of Netflix.

Uh, so I have some
contacts there.

And the Chinese producer
that I've worked with,

Henry Luk, made an offer

to buy the Chinese rights
to my library.

And it was so much more

than anybody else could offer

that I said yes.

-Wow, so we're g-- we're gonna
see Chinese versions

of the complete Corman library?

-We'll see a number.

It was very interesting,
because combined with that,

I sold the American rights
to what I consider

to be the best current
independent company,

the Shout! Factory.

And the Shout! Factory took
certain rights,

and Henry Luk's company
took the others,

and they agreed they would
take turns in picking.

And Henry had the first pick,
and I wondered what --

what of all of our library
he would pick.

And we have pictures
like -- like "Death Race"

that we consider
to be our, uh, best.

And instead, he picked
a martial arts film.

He said, "I'm simply
going to make Chinese versions

of 'Bloodfist' in Hong Kong with
Chinese martial arts actors,

and I expect to score."

-Wow. "Bloodfist" is great.

But -- But -- But now he has to
find the Chinese equivalent

of Don "The Dragon" Wilson.

-That's right, Don the Dragon
was our great star.

-You must have made 20 films
with Don the Dragon.

-We made a lot of them.
He was great.

One of the reasons was,
the other stars,

like Jean-Claude Van Damme
and so forth

were not actual
martial arts champions.

And the martial arts magazines
really didn't like 'em.

And my idea was,

uh, since I couldn't
afford actors like that,

I would go to somebody
who wasn't an actor

who -- who was a real champion.

And Don the Dragon

was the world's
light heavyweight champion

and considered,
pound for pound,

the greatest martial arts
fighter in the world.

And he was happy to sign
for a small amount of money.

So "Bloodfist" turned out to be
a very big success for us.

-Well, I love "Bloodfist,"
and in fact,

I loved any time you and Don
worked on a project together.

And I appreciate your spending
this evening with us

for the finale of the third
season of "The Last Drive-In."

I can't wait to see what you do

in your next 67 years
in the film business.

Um, you know, whenever your
successful alumni

talk about you --

John Sayles,
Francis Coppola, Joe Dante,

Amy Jones, Peter Bogdanovich,

Jonathan Demme, Jonathan Kaplan,

Gale Anne Hurd...

The list goes on.

Ron Howard,
Martin Scorsese, Allan Arkush,

Stephanie Rothman,
Néstor Almendros, László Kovács.

Um, they always talk
about the little pep talk

or the planning session
that you do with them

prior to the first day
of shooting.

And if I can sum up
the things that you usually say,

it's do the hard stuff first;

have a great plan,
but be prepared to change it;

and if you open big
and close big,

the stuff in the middle
won't matter.

Does that sound familiar?

-Absolutely. Right on.

-Well, you-- you've
certainly done

all the hard stuff yourself.

You've -- You've changed
your plan so well

that you never lost money.

Um, you opened big by becoming

the most successful
indie filmmaker in history,

and you closed big several times
as you sold your companies

or you sold film libraries

and you moved on
to the next challenge.

I wish we had time to show every
one of your movies on this show,

including
"The Saga of the Viking Women

and Their Voyage to the Waters
of the Great Sea Serpent."

Sorry, I had to say it
just one more time.

And please give our regards
to Julie -- Julie Corman,

who -- who also has
an unblemished record

as a producer.

Actually, she produced one of
our "Last Drive-In" favorites

"Chopping Mall,"

as well as three dozen
other titles.

So, thanks for the time, Roger.

-Thank you, Bob.
And this has been fun.

As usual, you make it
just a conversation.

-It's been an honor.
Thank you.

And now for the shocking
conclusion of --

and I'm not using the word
shocking lightly --

"Humanoids from the Deep."

Roll it.

You know, the stuntmen
on this movie

didn't want to wear
those creature suits,

or maybe they just didn't
want to enact

what the creatures were doing,

and so almost every creature
attack is Rob Bottin himself

actually inside the suit.

Um, Rob would become famous

just one year after this movie
for "The Howling,"

and then he would go on to
do effects work

on "The Thing," "Robocop,"
"Total Recall,"

"Basic Instinct," "Legend,"
"Innerspace," "Fight Club,"

and the last thing
he's known to have worked on

is an episode of
"Game of Thrones" in 2014.

But the last time
anybody in Hollywood

actually saw him
was 20 years ago.

He apparently dropped off
the grid, checked out,

went to a cabin
in the hills or something.

And I'm jealous, 'cause
we have cameras in ourcabin.

[Laughter]

♪♪

[Static]

♪♪

♪♪

[Baby crying]

♪♪

-Oh, honey.

[Crying continues]

♪♪

Come here, baby,
yeah, come here.

Oh, come on.

Come on.

Come on.

[People screaming,
creatures growling]

♪♪

♪♪

[Screeching]

[Growling, screaming continue]

[Gunshot]

-Hey, Lloyd!

Lloyd!

-Please!
My sister's hanging on!

-Hey, Lloyd!

-You gotta help us!
-Who's down there?

-My sister!
She's hanging on the dock!

-Huh? Take me to her!
Come on!

-Help me. Help me.

-Amy, give me your hand.

-Help me! Help!
-Come on. Amy!

Come on, reach up
and give me your hand.

-[Wailing]
-Amy, grab my hand!

Amy!
[Creature growling]

[Gunshot]

Amy.

Hold on, Amy! Hold on!

Come on.

Come on, climb up.
Climb up!

Come on! Climb up!

Come on! Help her!

Help her!

-Here. Send 'em to hell!

-Go on, Amy.

Alright,
just get outta here!

Get outta here!
[Creature screeching]

[Screaming]

[Gunshot]

[Gunshot]

[Screeching]

-Give me your hand, Slattery.

Damn it, give me your hand!

-[Groaning]

[Creatures roaring,
people screaming]

[Creatures screeching]

[Screaming continues]

[Creatures screeching]

-Tie her up!

[Creatures screeching]

[Gunshot]

[Gunshot]

-Johnny.
-Yeah?

-Where's my wife?

-I took her home from
the hospital.

-Go to her, Jim!

[Creatures screeching]

-Hey! Watch it now!
-Get him!

-I got my stick handy here.

-He's still going! Get him!

[Creatures screeching,
men shouting]

-Edward Mary Jane 356
calling Edward Mary Jane 357.

Do you read me?

[Baby crying]

[Thud]
-[Screams]

[Creature screeching]

Stay here, baby, okay?

♪♪

♪♪

♪♪

♪♪

[Thud]

♪♪

♪♪

Oh, God!

♪♪

Aah!

[Creatures screeching]

[Creatures growling]

Aah!

♪♪

Get away!

♪♪

♪♪

[Creature screeching]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Thud]

♪♪

♪♪

[Creature growling]

♪♪

[Door rattling]

[Banging]

-Carol!

-Carol! Carol, Carol.

-Oh! Oh!

-Carol, you alright?

-Yeah.

-John?

-He's okay. The baby's alright.

-Thank God.

-[Sobbing]

-It's alright, baby.

♪♪

[Woman crying]

♪♪

♪♪

[Man coughing]

♪♪

♪♪

It's alright, son,
it's alright.

♪♪

Hank!

Hank.
-Huh?

-Hank.
-Huh?

-Hank, where's Drake?

Dr. Drake, is she alright?

Dr. Drake!

-Yeah, yeah, yeah.
She did all she could.

-Where is she?
-Went back to her lab.

Went back to her lab.
-Hank.

-Jim, let's go home now,
okay?

I mean, everything's okay,
isn't it, Sheriff?

[Sirens wailing]

♪♪

[Woman whimpering]

-Peggy, concentrate.

-[Whimpering]

-Hang in there, Peggy!

-[Sobbing]

-We're almost there.

That's it. You're doing great.

Push, Peggy.

-[Whimpering]

-That's it.
Go on, Peggy. Push, push!

-[Screaming]
-Peggy!

Oh, my God!

-[Screaming]

[Pop]

[Creature screeching]

-[Screaming]

[Screeching]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Static]

-It's a modern
ecological fa-- fable --

Yuki!
Hey, you guys. Stop, stop.

Hold it just a minute.
We got one more thing to do.

Shades of "Alien"
in the derivative,

but highly satisfying conclusion
to "Humanoids from the Deep."

You know, normally you would see
Carol defending that baby

and you wouldn't be
that concerned

'cause you know they don't
kill babies in movies.

Except they also don't kill
children and dogs in movies,

and the very first kill
in the movie was a little boy,

and then we had
multiple dead dogs.

So there's a feeling they might
just break the rules, you know?

That's Cindy Weintraub
playing the wife

of Doug McClure,

and she's the one who was upset

because she said
she didn't want to do nudity,

but they used a body double
in a shower scene

to make it look like her.

But that's actually strange
because less than a year later,

she's in "The Prowler."

Remember, we showed that
on the original marathon.

And in "The Prowler,"

she's the one who goes
for a skinny dip

during the graduation dance

and gets eviscerated
in the pool by the killer.

She gets her neck sawed off
in a Tom Savini special effect.

I could swear she's nekkid
in that scene, but maybe not.

Anyhow, we were preoccupied
with having Roger

guesting on the show,

and so we didn't talk much
about Doug McClure, the lead.

Interesting actor.
He had such a youthful look.

Um, he was a surfer
and he started out

as a Universal contract player

and he was still playing
the roles of guys in their 20s

well into his 40s.

He was 44
when this movie was made.

Um, best remembered by the
general public

for "The Virginian,"
but people watching this show

would probably remember him
for "The Land That Time Forgot,"

that better-than-average
Edgar Rice Burroughs movie

from 1974.

And Vic Morrow as the evil
Slattery, bless his heart.

Um, two years later,
he would be decapitated

by a helicopter blade
while filming --

filming, uh,
"Twilight Zone: The Movie."

And that's the copter --
copter accident

that also killed
two young children

that he was working with.

Uh, Vic had a strange career.
He was born in the Bronx.

He was a thoroughly classically
trained New York actor.

But his movie debut was
as the street punk

in "Blackboard Jungle" in 1955.

And he was so memorable
in that role

that he only got roles as
heavies the rest of his life.

The sole exception
was the TV series "Combat!"

He starred in that,
did a lot of genre films.

He was great in
"Dirty Mary, Crazy Larry,"

"Bad News Bears" in 1976.

He was the mean coach
opposite Walter Matthau.

Uh, but come on, Darcy.
Come on over.

Um, I know...

Ah. [Chuckles]

[Applause, whistles]
-Arrr.

[Laughter]

-Nice work. Nice work.

-Thank you.
-You really...

You're -- You're closin' big.
That's good.

Are you, um...
Is this a...

Why are you holding
the Ken doll?

-I'm the feminist version
of the humanoid.

-You're -- You're
a feminist humanoid?

-I need some boys
to make my babies.

[Laughter]
-Alright.

-I can't --
Are you ever gonna --

Are you gonna
take off the mask?

-No, do I have to?

-Well, it's hard
to hear you, so...

Alright.

I already know what you're
gonna tell me.

-Do you, now?
-Yeah.

You like the "Humanoids"
1996 remake better.

I know you do,
because Clint Howard is in it,

along with Robert Carradine,
Emma Samms.

-But it was made for TV --
no gore.

-So there's a Clint Howard movie
that you don't like?

-I mean, I like him,

not every movie
he's ever been in.

I'm really glad
that they decided to go

the exploitation route here

instead of keeping it
as a "psychological thriller."

-Oh, I don't think
they ever intended it

to be a psychological thriller.

I think that was just something
they used to make sure

Doug McClure's agent
and Vic Morrow's agent

and Ann Turkel's agent

didn't tell their clients
not to do the movie.

Especially Ann Turkel.

I mean, she was married
to King Arthur.

[Laughter]

-I do understand why some folks

might find this film
a little offensive.

It's quite crude,
but it's a silly monster movie,

and I enjoy it
on its own tawdry level.

And I'm so happy we got to
show it, especially with Roger.

-You know, I got to -- I forgot
to mention Anthony Pena,

who played Johnny Eagle,
the Native American activist.

He had been a star baseball
player at UC Santa Barbara

and a star football player
at Cal State Fullerton.

And he was trying to get
an acting career going,

but he was teaching high school
at the time he made this movie.

He ended up having about
30 roles in the '80s,

mostly playing Native Americans,

even though I'm pretty sure
he was Mexican.

He's from San Antonio.

Alright.

I can tell by that look
in your eye

that we have one last letter.

-Yes, we do.

You're gonna have to help me
'cause I have flippers.

-Okay.

-It's from Daniel Richardson
of Bedford, Indiana.

He sent in two movies
that he's made,

along with some posters.

-He sent in all kinds
of goodies here.

Here, I'll give you the goodies

and I'll just read the letter.

-Okay. thank you.

-Okay. Uh...

"Joe Bob, I am a huge fan.

Been a part of the Mutant Family
since I was a kid.

I first discovered you
on "MonsterVision."

I even met you back in 2015.

You were at the Days of the Dead
horror convention in Indy

and you were one of the nicest
guests I've ever talked to.

And you also had
the coolest guest panel."

'Course I did. I always do,
always have great guest panels.

-Don't ruin this.
-Okay.

"So, the other night when I was
watching 'The Last Drive-In,'

you made that epic
'keep rolling' speech.

I have to say that I even got
a little choked up

listening to you.
It was inspirational as fuck."

That's the night we did
"One Cut of the Dead," remember?

-Yeah.
So many people love that speech.

-'Course they did.
And I worked on it.

-Oh, my God, you are spoiling
this whole thing.

-Alright. "The crazy thing..."
[Laughter]

"The crazy thing was,
me and my filming partner Simon

did exactly what you were saying
just a few years earlier.

I guess what really hit close
to home was the feeling that me

and Simon was on the right path
all along.

Being from Bedford,
having no money,

working a full-time factory job,

I always assumed
I would never be able

to achieve my dream
of making a film

and seeing it on the big screen.
I've tried before and learned

that when it comes to making
a movie with your friends,

everybody wants
to make a movie

until it's time
to make the movie,

and then everybody
has an excuse and bails.

But I also know it would never
happen unless I pushed forward.

So when I met Simon,
who had a similar goal,

we decided to make
our exploitation film,

and it was truly hell.

Everyone had a full-time job.
We usually shot on weekends.

A lot of the time,
we were dealing with people

flaking out or other disasters.

We had to recast several times
and rewrite several more times.

There were times the movie
just seemed dead in the water.

Pre-production took four years.

Took an additional three
to shoot

with a long hiatus
in the middle.

The urge to just quit and
walk away surfaced many times.

And not that anybody
said anything to our faces,

but I got the feeling
that all of our family

and friends
assumed we'd give up.

I found that I was
doubting myself a lot.

But after seven long,
grueling years, we completed it!

Even though we had our world
premiere at this small

bar and grill with a crowd
of less than a hundred,

all just friends and family,

I finally got to see my movie
play on the big screen.

It truly was the greatest
moment of my life.

So as I listened to you give

your 'Braveheart' meets 'Patton'
speech,

I got emotional
because I realized

that you get it, you get it.

And even though
we didn't have a Joe Bob

to verbally kick us
in the pants,

after hearing your words,

I knew we had made
the right decision.

Then when you said,
'And send me your movie,'

my eyes welled up.
After all the shit

we endured to make this film
and all the ups and downs,

it has all built to this.

Because even if you
somewhat like our films

or just flat-out hate 'em,

I can die knowing
that Joe Bob Briggs

has watched a film
that I directed,

and that may be
my biggest accomplishment.

So thank you for not only
kicking ass in general,

but for being a beacon
of hope for all of us

Z-level filmmakers
from small towns

that may never break out.

Thank you for providing
so much knowledge

and entertainment
week in and week out.

Glad to have you back
on TV, by the way.

And -- And if it won't be
too much trouble,

give Darcy a thank you, too."

Okay, this is a part
about you, so...

-Yeah, you can skip that.
-I'll skip on to...

No, no.

"She has been --
she has really been cool

with the fan interaction
on Twitter.

I have never live tweeted
before,

but it really has made
the "Last Drive-In" experience

so much more enjoyable."

Um...

People really do like you, like,

talking on Twitter
throughout the movie,

-I appreciate everyone
that does it with us.

-Alright.

"I've connected with so many
others in the Mutant Family

and it is insane.
So thank you, Joe Bob.

Promising to keep the spirit
of the drive-in alive,

Daniel Richardson,
Bedford, Indiana."

Alright, Daniel,
we will watch these movies.

And we did get
a lot of warm response

to that little talk I made about
"One Cut of the Dead."

And we're still
trying to come up

with a way of honoring
you guys.

Guys, as you put it,

the Z-level, no-budget guys,
even if it's on YouTube

or somewhere else, even if
it's on Darcy's Patreon page.

And at any rate,
we are going through the films

that are sent in
and we're gonna put them

together into some kind of
little "Last Drive-In" festival

as soon as we
get back to normal.

But one reason I wanted to have
Roger Corman on tonight,

last night of the season,
is that his life

and what he has to say
about filmmaking

can actually be applied
to anything,

not just movies.

Because what did he say?

Be brave enough
to do the rough things first.

You know, figure out
what your roughest days

are gonna be
and attack those.

Number two, have a great plan,
but be prepared to change it.

And number three,
open big and close big,

and the stuff in the middle
won't matter.

So, everybody in the country
has rough days,

rough things to figure out.

Everybody in the country
needs a new plan.

You know, everybody
in the country is trying

to open a new chapter

and open it big
and move toward a big closing,

hopefully after years
of ignoring all the little stuff

that gets in the way
in the middle.

So...

We've been in this cabin
long enough.

Darcy, you got anything to say?
We're going back to the city.

-I don't have anything to wear
for that.

-Wear that! Wear that.

They'll love that.

And so...
-Alright, I'm on it.

-Gotta be something big, though.

You know, go full bore with it.

-I think I got this.
-Alright.

-Thank you,
Austin, Matt, Justin,

Yuki, John Brennan,

um, Hannah, Crystal,

Kevin, Joe,

Mike "Jibs," uh...uh...

Chris, Yves, Marcus, Bret,

Aimee, John Burgio, um,

Tristan, Fletcher,

Ashley, Rives, Jolene, Jarod,

Dan, Vincent,

T., Mike, and Tommy
at Butter Tree Studios.

Aaron at, um, EHS.

Everybody at Shudder.

Craig, Nick, Sean, Sam.

Of course, Charles Kaufman
and Bread & Cie.

Eli Roth, Bruce Campbell,

Anna Biller, Bill Lustig,

Clint Howard, Jeffrey Combs,

Chris Jericho, Melissa Rose,

and Roger Corman.

I've been doing interviews with
Roger Corman for four decades,

and he's responsible for a lot
of the things that I do.

Um, but everyone
in our online family.

-Mutant Fam! Whoo!
-[Chuckles]

Yeah, Mutant Fam.

You -- You invented Mutant Fam,
didn't you?

-I mean, it's not hard
to come up with.

-Alright, come on, guys.
We're leaving the cabin

to the next generation
of dead teenagers

and we're heading back
into the land of the living.

So, come on, Darcy.

Let's -- Let's do
the canoe thing again.

Let's -- Let's --
Let's leave like a --

Can you see in that thing
-I can't see shit.

-Huh?
-No.

-Alright. Alright.
Come on. I'll help you.

-No!
-Come on. Just this way.

This way. Alright.

-Guide me.
-[Chuckles]

[Crickets chirping]

[Door creaks]

♪♪

♪♪

-Wait, wait, hold on.
-What?

-Aren't you forgetting
something?

-What?

-What you always say?

-Oh.

The drive-in will never die.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Animal howls]