Roger Corman Quotes

I was called recently in some article "Hollywood's Oldest Established Rebel." So I'm sort of working from the inside now, with still a little bit of a rebellious spirit.

People gravitate occasionally to the brilliantly made art low budget films, which is maybe one out of every five hundred low budget films made.

In order to create art today, you have to compromise your art somewhat and be a businessman.

I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.

Maybe it's just a matter of getting older and being aware that the market for medium-budget and low-budget films, which is of course what I spent most of my life making, has diminished. And maybe the quantity of ideas has diminished a little bit.

I'm not going to shoot seven days a week. I think it's counterproductive. I think you're going to have people stumbling around after a couple of weeks.

You can make a movie about anything, as long as it has a hook to hang the advertising on.

Somebody said, 'Roger doesn't know how to spend money.' And I thought, 'I don't spend money because I don't have it!' If I had it, I could spend money! That's about the only time I was told that!

The safest genre is the horror film. But the most unsafe - the most dangerous - is comedy. Because even if your horror film isn't very good, you'll get a few screams and you're okay. With a comedy, if they don't laugh, you're dead.

When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.

I look for the ability to work. Directing is hard work. They don't teach you that in film school. Critics are not aware of it, but it is hard, physical work.

There are eleven or twelve or thirteen cities in China with populations of over 10 million people and most people in the West have never even heard of these cities.

I love the process of making films and an incidental satisfaction is the fact that most of them made money.

Motion pictures are the art form of the 20th century, and one of the reasons is the fact that films are a slightly corrupted artform. They fit this century - they combine Art and business!

When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.

One of the worst things you can do is have a limited budget and try to do some big looking film. That's when you end up with very bad work.

As a producer, I probably am a little stronger than most, since I was a director originally.

When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.

When I started I had no knowledge of films whatsoever. I was an engineering major at Stanford. And I found out as a senior that they had two film critics on the Stanford Daily, and they got free passes to all the theaters in Palo Alto. So I thought, I'll do that, and I became a film critic. And then I became interested in films. But I had no time to study anything in that area because I was a senior, just finishing up as engineering.

I've never made the film I wanted to make. No matter what happens, it never turns out exactly as I hoped.

Martin Scorsese was one of the few who had not been an assistant. Most of the guys had been an assistant and worked their way up. But I had seen an underground picture he had made in New York, a black-and-white film. I had done a picture for American International, about a Southern woman bandit, the Ma Barker story, and it was very successful, and I had left to start my own company, and they wanted me to make another one.

There was a fairly big difference between Detroit and Beverly Hills. I remember this. Detroit actually was a prosperous bustling city when we moved here in 1941. But the first day in Detroit, you always wore a shirt and a tie to school. And I wore a shirt and a tie to Beverly Hills High School, and a girl came up to me and said, "Where are you from?" And I said, "Detroit." And she said, "And you won't be wearing a tie tomorrow, will you?" And I said, "You're absolutely correct." So that was my first adjustment to a slightly more casual environment.

Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.

I do believe motion pictures are the significant art form of our time. And I think the main reason is, they're an art form of movement, as opposed to static art forms of previous times.

I was young, so I was part of youth culture. The years went by, I became older and no longer part of youth culture, and I became more dependent upon the young people in the office and my own children.

Somebody who moved up very fast was Jim Cameron, who was a young guy out of - I think he came from Arizona, from some community college there, and he was building model spaceships, on a picture called Battle Beyond the Stars.

In science-fiction films the monster should always be bigger than the leading lady.

First, you have to be intelligent. I have never met a successful director who isn't intelligent. A director who is not intelligent might have one hit picture, but he won't be able to follow it up. So I look for intelligence.

Jim Cameron is proof that if you are good, you'll get promoted.

There were two practical reasons we moved to Venice. One was that there was an artists movement and a countercultural movement. Lots of people we might want to hire lived in the area. We also wanted to buy in a lower rent area that looked like it was going to be gentrified so that we could eventually sell the studio for more money.

There's always something that draws you away from the original script.

You learn, of course, when you're working with something good, but you also can learn when you're working with things that are not good. You can see the reasons they're not good. I would sometimes suggest what could be done, but essentially say "It isn't worth the bother." So I learned from that process.

I think anybody who's working in a creative medium is working partially with their conscious mind, partially with their unconscious mind. So, my unconscious mind may be a little more distorted and violent than I am aware of.

A great director, first, is highly intelligent. And he is also a dedicated and willing to work hard. Now those are easy things to identify. The third is the creativity, and that is very difficult to identify in advance. This is why so many of the directors who have started with me were my assistant - the first one was Francis Ford Coppola.

I remember the first film I reviewed for the Daily was a John Ford Western. I think it was My Darling Clementine, but I am not certain. And I was just impressed by, first, the story itself. I didn't know that much about films. But the acting, the director. And particularly, the cinematography, the black-and-white use of exteriors, I noted particularly.