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Downloaded from YTS.BZ

[MUSIC PLAYING]

Official YIFY movies site: YTS.BZ

NARRATOR: Classic films are being beautifully restored

so new audiences can discover them.

Film restoration takes time, money.

It can cost between $50,000 to half a million dollars

to restore a feature film from color fading, scratches,

torn sprockets, shrinkage.

But these classic films will continue

to stir our imagination, tell us our history

in a firsthand, entertaining manner.

But decay strikes at lesser known films

as well, the films very few talk about.

Will these films be rescued as well?

[FILM WHIRRING]

Many classic films will never see restoration--

victims to decay, fire, or even discarded by their own makers.

Here are a few of the many lost films.

[MUSIC PLAYING]

The harrowing lives of World War I soldiers

was depicted in a matter-of-fact way

in Over The Top, which was produced by the Vitagraph

Studios in 1918.

And it starred real-life Sergeant Arthur Guy Empey

in the lead role.

Over The Top opened to tremendous acclaim.

However, this film is lost.

Possibly the greatest film about Joan of Arc,

one of history's most heroic women,

was The Passion of Joan of Arc.

The Passion of Joan of Arc is a 1928 silent French film

by Carl Theodor Dreyer.

Innovative for its time, it pioneered new shot types

like close-ups. For a long time, it

was assumed to be lost forever until, by a stroke of luck,

it was rediscovered in a closet in the Dikemark Mental Hospital

in Oslo in 1981.

NARRATOR: Carl Dreyer's camera pushed us

into the raw emotions of Joan of Arc.

No makeup was used, so no facial expression was hidden.

Maria Falconetti's portrayal of Joan of Arc

is widely considered one of the finest performances

of the silent film era.

The film had a sparse release in 1928.

And a few years later, the original negative was destroyed.

Dreyer recut the film from second-best takes.

This lesser alternate version of Joan of Arc,

which was also very rare, was the only version

available until that broom closet discovery in 1981.

[MUSIC PLAYING]

Maybe it was the much needed cold Norwegian climate

that helped preserve the film.

Many films that are considered lost

are lucky enough to survive in private collections

like this one right here.

Now, it's very important that these films

are kept in a climate-controlled environment.

A lot of these films came to the collector in bulk.

And the reels were not labeled, or they were labeled

with guesswork on it like this.

Now, for films that are not stored properly,

I brought along this little guy right here.

It's beginning to warp.

And it's giving a vinegar odor, which is called

vinegar syndrome.

So film collecting is a great hobby--

one of the most enjoyable hobbies you can get.

Stamps are nice.

Coins are nice.

You can look at them.

But when you watch a film, you get excited by it,

at least I do.

So a lot of people collect films.

The biggest problem with collecting films

is that unlike other things that you

can collect like stamps and coins, which

you can keep indefinitely and don't deteriorate,

motion picture films very often do deteriorate.

And there's never any way to find out which ones are going to

and which ones are not going to.

GLENN: You think you have some films that are possibly one

the few surviving copies?

Very possibly, and perhaps the only copy in existence--

I wouldn't know.

I just know that they're pretty obscure.

The Rare and the IMDb doesn't have one of them listed,

and the other one is listed incorrectly.

Day, Dawn, and Dusk are three fellows who

did musical parodies on operas.

And they're listed as one person on the IMDb,

and no other information about them at all.

GLENN: What about the other one you were telling me about,

the one--?

The Bosses' Daughter?

It's just a few people got together,

made a film, a musical film.

But it's 400 feet, you know.

It's a short film.

[MUSIC PLAYING]

What seems to be the--

[LAUGHS] She wants to know what seems to be the trouble.

Pull her over a chair, give her a seat,

and we'll tell her all about it.

Come on, fellas.

Get this chair.

She's too crass.

[PIANO MUSIC]

(SINGING) So what?

You're the boss' daughter

So what?

You ain't got a quarter

So what?

Don't give us no order

You don't mean a thing to me

So what?

Ain't we doing our duty?

Shut up.

Stop your beating duty

You don't mean a thing to me

[MUSIC PLAYING]

[APPLAUDS]

NARRATOR: A Nazi-produced version of Titanic

was overloaded with anti-capitalist propaganda

and crazed Nazi heroics, making this film a historically

inaccurate curio.

This version of Titanic is truly a firsthand look

at the twisted Nazi ideology, which

despised all other races, nationalities,

and ethnic groups.

It's a reason why we need film history.

This Nazi Titanic became very obscure.

It is believed that Joseph Goebbels,

under the order from Adolf Hitler,

had the film's director murdered for insubordination.

So this may be the only time in film history

where a film's director was murdered by its producer.

Chop off his head!

NARRATOR: Bud Pollard was a low-budget filmmaker in the late

1920s looking to make it big with some exploitation film

shorts.

Pollard's first venture into feature filmmaking

was this very bizarre, low-budget Alice in Wonderland.

[MEOWS]

But I don't like mad people.

Come back.

I have something important to say.

Now keep your temper.

NARRATOR: The harsh, low-budget photography, minimal sets,

maximum overacting--

it makes this Alice in Wonderland

look like it takes place in the seedy section of the looking

glass.

You can't cut off my head!

Executioner, executioner!

Off with her head!

Come on, all of you!

Who's afraid of a lousy pack of cards?

It's alive!

NARRATOR: It's 1932, and major Hollywood studios

are churning out horror films to outdo Universal's moneymaker,

Frankenstein.

Budd Pollard leaped onto that horror bandwagon.

[SCREAMS]

This is what survives of his 1932 shocker

The Horror, filmed in about six days in Queens, New York.

[HORROR MUSIC]

[SCREAM]

The Horror barely got released in 1932,

and only one print was struck.

[MUSIC PLAYING]

[SCREAMING]

Take it away!

Take it away!

NARRATOR: Pollard in 1944 recut the single print to make

a 44-minute film about alcoholism called John

the drunkard.

That film was barely released.

So in 90 years, The Horror has remained a semi lost film.

Budd Pollard's feature films ran amok with cinema weirdness.

But Pollard also made sincere, honest documentaries

about Depression era life, such as Forgotten Men,

a short documentary which told of unemployed and desperate war

veterans.

A film can be safely stored in a library,

but unavailable to the general public.

The film Hellzapoppin from 1941 is a surreal and manic

comic super spectacular starring the comedy

team of Olsen and Johnson.

Currently, it cannot be seen in the United States due to tangled

legal issues.

Then there's the case of Animal Crackers, the second film

with the Marx brothers.

Quarreling legal battles kept this film unseen,

except for bootleg 16-millimeter copies.

Finally, in 1974, Universal released Animal Crackers

in beautiful 35-millimeter prints.

Alfred Hitchcock's wonderfully quirky spy thriller The Secret

Agent, starring John Gielgud and Peter Lorre,

exists mostly on third-rate DVD versions.

It's because these low-grade versions are out there

available, there's very little interest

to spend all this money to do a full restoration.

[MUSIC PLAYING]

Late silent film and early sound cartoons

made by minor film studios have a tough survival rate.

It's up to hard-working cartoon historians

to make sure we could see these bizarre animated takes

on our lives.

As a little kid being interested in cartoons

and animation history, I came across a problem very quickly

in that I was getting to see a lot of the things that I really

liked, such as Mickey Mouse, Betty Boo, Popeye,

that sort of thing-- big names of the '30s and '40s.

But there were a lot of films made in the silent era,

1920s and before.

And those films, by and large, were very, very rare,

very difficult to see--

in many cases, considered lost.

And I was very frustrated to find out that the only way

to possibly find some of these earlier, rarer films

was to collect very old film print copies of them.

Now, if you look in the back of the room,

there's a 16-millimeter film projector back there.

NARRATOR: Audience members are encouraged

to scream and yell whenever a strange or weird Santa appears.

[MUSIC PLAYING]

[AUDIENCE APPLAUDS]

I remember in the days before home video, I went to school,

walked into a classroom and saw the projector set up.

I knew I'd be seeing an educational film, which

could be fun.

Educational films have been around

since the early silent era.

The very first educational films were

like this one about houseflies.

And it's told in a very matter-of-fact,

unentertaining manner.

The majority of educational films were like this--

the talking head shot.

But kids in the 1950s loved their horror films.

And they loved cartoon characters.

Then you have the atomic scare films--

those films from the 1950s that tell you you can survive

a nuclear blast if you hide behind the couch.

Now, the classroom films are becoming

more cinematic, more Hollywood.

(SINGING) We'll kill the old red rooster when she comes

We'll kill the old red rooster when she comes

We'll--

[SCREAMS]

[CRASH]

NARRATOR: Sometimes a film noir style is used to teach,

such as this film Hard Brought Up.

[MUSIC PLAYING]

Unfortunately, when schools and colleges converted to showing

films on video, 16-millimeter educational films were often

thrown into dumpsters.

In fact, we're very fortunate to have these educational film

collectors that save what was almost destroyed.

In the 1940s and '50s, Hollywood made many films set

in suburbia--

a suburbia recreated on a soundstage.

Home movies made by suburbanites recorded an honest look of life

in 1940s and 1950s America.

[MUSIC PLAYING]

Regular 8-millimeter film was introduced in 1932,

basically so the average person can record on film what was

important to them--

their families, the towns they lived in,

where they went on vacation.

Those who had regular 8-millimeter projectors or super

8 to show home movies could also buy abbreviated versions

of feature-length films.

You got this 10-minute reel of super 8 film,

usually black and white, mostly silent.

And this is before VHS, DVD, Blu-ray, streaming.

And the name of this film again is?

KEITH: Oh, this would be Django's Revenge,

with Terence Hill.

It was one of numerous spaghetti westerns.

And this is a super 8-millimeter reduction.

And it's also been printed up on black and white stock

as opposed to color, because this film was shot in color.

NARRATOR: Even though super 8 film

is on a very fragile, thin piece of celluloid,

beginning filmmakers and filmmakers on a budget

simply embraced this new medium.

The major camera companies all manufactured super 8 cameras.

Their top-grade lenses allowed for beautiful natural light

cinematography.

[MUSIC PLAYING]

Colored filters allowed for filmmakers

to create unique images.

Kodak Ektachrome lets you photograph in very low light.

[TENSE MUSIC]

I think my favorite film stock in super 8

was black and white Tri-X film, which

gave you a terrific image with very soft grain.

[MUSIC PLAYING]

Most of the super 8 cameras had an extra feature

that allowed for stop-motion.

[MUSIC PLAYING]

Many places today can convert your 8-millimeter or super

8-millimeter films to a digital format.

Hi, my name is Lenny Tortora from L & L Camera.

I just want to let you know a few of the services that we do

here, starting with 16-millimeter movie film,

8 millimeter, super 8.

We can convert everything to either a thumb drive, or a DVD,

or--

[MUSIC PLAYING]

GLENN: All right.

Well, what creates, like, that mold issue?

Well, that's if someone stores it

let's say in a basement, where there's moisture.

Usually, it's a water issue.

NARRATOR: A transfer to digital isn't as safe

as many think it is.

An external hard drive is something

like this, about this size.

And it could hold days' worth of video information.

But if you drop this hard drive, you're screwed.

If you don't have that backed up anywhere, that's your only copy,

your video project's gone.

NARRATOR: In regular 8 and super 8 film,

the same piece of film that went through your camera

is the same film you feed through your projector.

Many times, a customer will come in and tell me

once I transferred that they'd just throw out the originals,

whether it be VHS, mini, DVDs, whatever

it is, whatever the format is.

And I tell them, I strongly suggest

that they don't do that because of certain reasons.

You know, it could be scratched, the DVDs.

External hard drives like these

may become obsolete in about two or three years.

We may not have this sort of physical media.

10 years from now, everything may be stored in pill form.

[EVIL LAUGH]

NARRATOR: in 1997, I made a vampire film, Night.

[WOMAN SCREAMS]

And it was mastered on U-matic video.

This is U-matic video.

This is now a long obsolete video format.

Night has been remastered on newer digital formats.

But the original U-matic video master shows decay, like here.

To the many people who made independent shorts or features

back 20, 30 years ago, whether it was on film or video,

even if the film didn't go anywhere,

make sure it's backed up and saved.

It's part of you.

It's a part of history.

OK, we're going to talk--

I'll talk a little bit about the difficulty of what

happens with the old equipment that you might be using today

to view your products from yesteryear-- a 16 millimeter

projector that is not operating or not functioning well.

It is very, very difficult to get

the parts to replace any defective parts in a projector.

Getting a projector fixed these days,

you're kind of going to be pulling your hair

out attempting to do it.

NARRATOR: 1950s Hollywood is best remembered

for their big-budget spectaculars and treating mature

subjects in a polished, rehearsed way.

Studios working on much smaller budgets

went for more exploitive fare--

fashionable juvenile delinquents,

girls in trouble, as well as posters with warning labels

that made the film look more enticing.

We started Cinefear Video in 1990

in an effort to draw up money to pay

for the publication of The Exploitation Journal.

We were doing a fanzine at the time called The Exploitation

Journal.

We needed to have that bill covered.

And we decided, why not start a rare and hard-to-find video

company and sell copies of rare films

that were not out on the market?

There was a real demand for that at the time.

We figured it would be a great way

to make money and reinvest that money into the publication

of The Exploitation Journal.

So, for instance, this film over here,

The Mark of the Werewolf starring Paul Naschy,

was released in this country as Frankenstein's Bloody Terror.

However, the video cassettes from Spain of this film

were the uncut version known as The Mark of the Werewolf.

And over the years, especially in the era of DVD

and now Blu-ray, a lot of these films

have become readily available through

much higher-grade transfers.

But back in the day, these films weren't available.

So we made it our job to make them available.

And through that, we were able to sell the cassettes,

make some money, reinvest that money into the publication

of The Exploitation Journal.

And that was how Cinefear Video came to be.

MAN: Do you dare to pit your sanity

against our Marathon of Fright?

NARRATOR: Many of these low-budget exploitation

producers had the smarts to cheaply finish

very quickly a film and get it, as they'd say, into the can,

finished.

But did they know what to do while their film sat there

in a can?

Certain film stocks do not hold color well over time.

Eastman color prints, they have a terrible tendency to turn red,

OK?

Very interesting-- with most things, like refinishing wood,

the color red fades first.

So if you refinish a piano, for example,

the red component of the stain is what fades first,

and it turns to yellow.

However, with motion picture films,

all the other colors fade first, and you're

left with nothing but red.

So films deteriorate, color films often.

Instead of a multi-colored film, or a technicolor film,

or whatever kind of color, instead of many colors,

you have one color, which is usually red.

So therefore, a color film becomes not a black and white

film, a red and white film.

NARRATOR: Low-budget distributors like K. Gordon

Murray didn't take into consideration long-term film

preservation.

They just wanted to make the big bucks now, now, and now.

I was mentioning K. Gordon Murray.

When he printed up the Mexican fairy tale

films that he brought over, which was shot in color,

he printed it up on Eastman color stock.

And over the years, that color would turn to red.

And he didn't care.

He'd keep-- he kept re-releasing the films continuously

over the years with the same prints.

He wasn't going to go strike new prints.

GLENN: Turning more red, red?

Right.

And they were turning redder and redder.

So there were people who saw these films at later showings,

not just when-- when he first showed them, they looked fine.

But he was continuously bringing these films out every year.

That Mexican Santa Claus film, he brought that out every year.

And each time he brought it out, the film

was getting redder and redder.

And of course, it was getting more and more beat up and more

and more scratched.

So people, they got used to this over the years.

Like, many people recall only seeing

a red version of that film, even in the theater.

He did not strike a new print.

If it went red, it went red.

He just kept putting it out there.

And he made a fortune with Santa Claus.

It's a kiddie matinee film.

But it's also what we call, in a sense, the kiddie market

or the kiddie exploitation market.

And he took these very bizarre either European-made films

or South American-made films, and he released them

to the general audience, to children, they became.

GLENN: Now, is he responsible for the dubbing?

Absolutely, because he had adults obviously dub the films.

It was an acting troupe in Florida led by a fellow

by the name of Paul Nagle.

And Paul Nagle, not only did he lend his voice to this,

but he was responsible for the dubbing of these films.

That's what made something like Puss in Boots

and The Little Red Riding Hood films even more shocking.

Because the girl would open her mouth--

and they really did use a child actress--

but the voice of a seasoned pro, a much older, seasoned pro

would come out of the child's mouth.

And it just looked bizarre.

(SINGING) But I know I'll find you near, [INAUDIBLE] granny

He can smell you

And I'll catch you--

KEITH: The films were already surreal to start

with the sets and the fact that it was all

done through no animation.

It was done live.

So they have a guy in the big bad wolf suit.

And they had another guy dressed as a skunk.

They put a midget in the suit dressed as a skunk.

So this stuff was just weird enough to look at as it was.

But then you get this bizarre dubbing.

And very often, when they were dubbing the films,

they weren't really per se following the script.

A lot of it was ad-libbed, which made it even weirder, OK?

It made it even more bizarre.

So we're talking about a completely bizarre,

surreal experience.

Complete.

NARRATOR: Betamax was one of the first real home video formats

where you could actually own videotapes

of your favorite films.

And this was soon replaced by VHS.

Once VHS videotapes came out, privately-owned video stores

popped up all over the world in the 1980s.

But soon, big video rental chains

were overcrowding the mom and pop stores.

Many films released on VHS were never

released on DVD or Blu-ray.

The video stores started to go out of business.

And what we started doing for [INAUDIBLE] Video was we

started hitting these stores.

We were going up and down at this point,

I would say, Merrick Road into where Merrick Road becomes

Montauk Highway.

And we were hitting these stores as they were closing.

And we were buying copies of these movies that

were now out of print, that were not in print at all.

I've done similar stuff.

I was able to pick up a lot of these tapes

they were dumping for like, $5.

Right, that's exactly what it was, Rich.

It was-- I remember paying I think around $5.50 per title

from Inwood Video when they were going out of business.

Certain places were selling them for $3.

When DVD hit and DVD became big, they

were selling them for even less--

we're talking about $1 or $2-- because they just

wanted to get rid of them.

I'll give you an example, something like this.

And we're talking about the old big box videos.

But something like this, Mellow Memories, OK?

And it says, footage of the Carpenters,

John Denver, Neil Diamond, OK?

But if you take a look at it, this

is also never saw a release on DVD.

It's not to say that some of this footage

might not have ended up somewhere

else on some other compilation on DVD.

But this did not end up on DVD.

But let me show you, Rich.

This is what I want to show you.

This will be an eye-opener to you.

Woohoo!

Here we go.

Here's a treasure trove.

Here we go.

This was literally--

RICHIE: Cold storage.

Oh yeah, cold storage, you better believe it.

This is literally Inwood Video.

You know how I found out, Rich?

The woman-- I said to the woman-- the woman said,

we're not renting today.

We're going to be closed for a couple of days.

I said, what for?

She said, for inventory.

And I knew that that was sign language,

we're going out of business.

Are you selling any of these tapes?

She goes, oh, yeah.

You could get them for $5.50.

Well, kaboom.

Here you go.

Bloodthirsty Butchers, Torture Dungeon.

Imagine this for $5 and change.

The Killing of Satan, which is a Filipino movie.

And these are in pristine condition.

Look at this.

They are, they are.

And this is actually-- you know what, Rich?

If I'm not mistaken, this one's actually a beta.

Whoa, whoa, whoa, whoa, whoa, whoa.

That package, that's a great--

Oh, please.

Absolutely.

And let me even flip it over for you, Glenn.

Hang on one second.

Let me flip this over and I'll show it to you.

GLENN: All right, what--

OK, what makes this film fun?

Oh, the fact that it's insane.

Because it is a Filipino movie, it

does not follow the American standards of filmmaking.

So they throw everything at you.

This is a Dutch video cassette.

A friend of mine, a fellow by the name of Jerry Veneman--

really nice guy, lives in Holland.

And he had all of these video cassettes.

And he ended up--

I ended up getting them from him.

I think I just--

all I remember paying for was the shipping.

He gave them to me.

He knew I had a business.

GLENN: What is Lion Man?

KEITH: Lion Man is--

it's kind of a medieval piece.

And he basically gets raised by lions.

And he replaces his hands with fake claws.

GLENN: Wow.

KEITH: And he ends up using those to be

able to tear people to pieces.

[MUSIC PLAYING]

NARRATOR: The Fearful Invasion of the Flying Saucers,

produced in Japan in 1956, has apparently disappeared.

However, one 16-millimeter print of the film wound up on eBay

and sold for the equivalent of $25,000.

But then there's no print that we

know of Gogola, India's musical answer to Godzilla.

[MUSIC PLAYING]

Many grindhouse, exploitation, and cult films have disappeared.

[MUSIC PLAYING]

[SCREAMS]

NARRATOR: Pornography has been around since the cave days--

I'm not kidding.

The oldest surviving pornographic film

was made in 1907.

[MUSIC PLAYING]

These films are amateurishly made

under very hushed conditions.

[MUSIC PLAYING]

These were called stag films.

And they were lighthearted, sexy mini stories.

These films could be either very explicit or very chaste,

like this one from 1929 titled Why Girls Walk Home.

[MUSIC PLAYING]

Some of these softcore filmmakers like Dwain Esper

disguised their sexy films as documentaries of social ills,

such as his completely off-the-wall 1934 horror

classic Maniac.

Or from another shifty filmmaker, Tomorrow's Children.

Yes, the public utilities man.

Is this his son?

MAN: Yes, your honor.

Your honor, we ask--

Now, keep him perfectly quiet.

All right, Senator.

[SCREAMS] What are you doing?

NARRATOR: Then there's expose of the nudist racket from 1937,

promising to rip the lid off of those nudist camps.

These filmmakers had imagination.

Young actresses in Hollywood who were just starting out

could pick up some extra money by posing

in these poolside cheesecake short movies.

Here is future movie star Cleo Moore.

A driving force in early sexploitation films was horror.

[HORROR MUSIC]

NARRATOR: Confessions of a Psycho Cat is different.

[MUSIC PLAYING]

NARRATOR: Stag films were purchased

mostly by men who showed them at bachelor parties

or at conventions.

But they couldn't just store these stag films openly

in their living room bookshelf or video shelf.

So they hid them.

When the stag film collectors passed away

and the relatives found these films,

relatives didn't know what to do with them.

Most of them didn't even know how to run a projector.

So they-- so stag films are working their way

towards extinction.

OK, so here's the plot to Mr. Peter's Pets.

So there's this bachelor who runs a pet shop.

And he finds a potion that can turn himself

into any animal he chooses so he's able to sell himself

to his customers, who are always young, beautiful female models.

In this scene, he turns himself into a goldfish

so he can be purchased by a young woman who likes

to nude sunbathe near goldfish.

Well, that's what we were saying before, Glenn.

We were laughing about the simplicity of that type of plot.

This man-- we said the man has this ability, this fantastic

ability to turn himself into an animal.

But rather than use this for some other amazing feat,

his big thing is to get around a nude woman.

That's the only way he can get around the nude woman.

GLENN: Just to look at her.

Just to look at her.

Because as an animal, he's not going

to be able to do anything with her.

So to have him as a cat, to have him as a fish--

it's almost like a bad old burlesque joke from the era

of the burlesque days.

With the softcore porn films, and then

even the early hardcore porn films, for the longest time,

there was a need to tell a story.

There was a need to create what we call eroticism, OK?

NARRATOR: In the 1950s, Edward Wood Jr.

made low-budget feature films that many consider to be

the worst films of all time.

I've seen worse.

By the 1970s, he was making no-budget porno shorts.

Ed Wood props from his feature-length porns ended up

in these 8-millimeter porns.

And one of them was a pair of owl eyes,

that when you remove the eyes, a guy could look through them.

It was a voyeur's delight.

So the girl in her apartment-- it's an 8-millimeter loop.

And the girl's in her apartment.

She has this owl picture, but the eyes move.

It was almost like the old spooky movie

house, the old-- like a Bowery Boys movie,

like Spooks Run Wild, where the painting is there,

but the eyes come out and you could see somebody looking

through the eye sockets.

When he was making the exploitation films that he made

in the 1950s-- because there was a set limit to how far he could

go with things.

So my view, is that when Wood got into the adult films,

it allowed him to cut loose.

So I don't look at it as necessarily a bad point

in his life.

Do I believe that the alcoholism brought him there

or kept him there?

Yeah, absolutely.

He became unreliable.

NARRATOR: Stag films continued to be made into the 1970s

on very low budgets, often with a dash of insanity.

[FILM WHIRRING]

You know what, Glenn?

We know how difficult it was to shoot film, to process film,

to expose film properly.

So anytime someone took the plunge

into filmmaking at that time, you have to give them credit.

It's an easy world now with iPhones and the cell

phones and the HD cameras.

And it's not the challenge it was

when you were shooting films.

So any of these guys who pulled these films off at that time

have to be given credit.

And the fact that there was a lucrative market

to sexploitation exploitation.

Mr. Rabbit.

CHILD: It's a wonderful new movie, but it's not for kids.

Bill Osco presents Alice in Wonderland.

But once pornography broke that boundary

and once we got into hardcore--

in many ways, I think it was Dave Friedman who said it,

it took the fun out of it.

One type of feature that I like?

GLENN: Other than feature films.

Other than feature films, what do I like?

I like all kinds of films because they're all interesting,

in one form or another.

I like documentaries because you can learn something.

I like educational films because you can learn something.

and I like how-to-do-it films because you can learn something.

I like X-rated films because you can have

a good time looking at them.

I don't know how much you can learn from them, but you can--

It's interesting what people decided to do.

You're looking at humanity here.

And you're looking at people in the real world doing

real things, whether it's a documentary,

or it's educational, or it's a stag film.

NARRATOR: If space aliens landed here and grabbed up

random reels of movie film and watched them,

they would see our award-winning Hollywood films, box office

champions, films made by the greatest and most talented film

directors.

[MUSIC PLAYING]

Then they would see the B-movies-- the quickly

made exploitation films, the stag film, the home movies,

the experimental movies.

They would see underrated, smaller classic films.

They would see what makes us tick

in the right way and the wrong way.

Through our various films, they would learn a lot about us.

[MUSIC PLAYING]