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"The film industry will always exist, but it will no longer be the film industry." - Roger Corman

@craigglennon4417 11 years ago SKIDDING THE CAR, DE NIRO SHOULD BE ASHAMED, OF HIMSELF

"Art, I suppose, is only for beginners, or else for those resolute dead-enders, who have made up their minds to be content with the ersatz of Suchness, with symbols rather than with what they signify, with the elegantly composed recipe in lieu of actual dinner." ― Aldous Huxley, The Doors of Perception "Let's get Wavy!" ― Wavy Gravy

"This was a story about a group of society's unskilled, even illiterate, high school dropouts in a technologically advanced society. Some were psychologically maladjusted. They don't answer want ads for Draftsman, Tool and Die Maker, or Aircraft Fabricator. What is the life of a man with an 80 IQ? Janitor? Street sweeper? Gas station attendant? So why work in a demeaning job? They say: 'Fuck it, I'll get a girl who'll work and she'll collect unemployment and we'll scam together and we'll end up living together almost as well as if I were working. But at least I'm free. It beats holding down some crummy job all my life.' I saw the Hell's Angel riding free as a modern-day cowboy. The chopper was his horse. The locales would be the wide-open spaces- the beach, the desert, the mountains. I also remembered Sonny Barger's remark that 'we're not losers.' The most famous Angel of them all, and the president of the powerful Oakland chapter, was proud. A "winner" in society's terms meant being Mr. Assistant Sales Manager Barger, not Sonny Barger on a gleaming, growling chopper. The Angels were an intriguiging social phenomenon, and I wanted to tell it like it is." - Roger Corman with Jim Jerome, "How I Made A Hundred Movies In Hollywood (and Never Lost A Dime)" Featuring a brief surprise appearance by Jim Laczkowski!

"For what really occurred, however, it is quite impossible that any human being could have been prepared. As I rapidly made the mesmeric passes, amid ejaculations of "dead! dead!" absolutely bursting from the tongue and not from the lips of the sufferer, his whole frame at once -- within the space of a single minute, or even less, shrunk -- crumbled -- absolutely rotted away beneath my hands. Upon the bed, before that whole company, there lay a nearly liquid mass of loathsome -- of detestable putridity." - "The Facts in the Case of M. Valdemar", Edgar Allan Poe

"What seem to be vestiges of the Jim Crow world in a sense are just that. But passage of the old order's segregationist trappings throws into relief the deeper reality that what appeared and was experienced as racial hierarchy was also class hierarchy. Now blacks occupy positions in the socioeconomic order previously available only to whites, and whites occupy those previously identified with blacks. And the dynamics of superordination and subordination, patterns of appropriation and distribution, and dominant understandings of which material interests should drive policy remain much as they were. This underscores the point that the core of the Jim Crow order was a class system rooted in employment and production relations that were imposed, stabilized, regulated and naturalized through a regime of white supremacist law, practice, custom, rhetoric, and ideology. Defeating the white supremacist regime was a tremendous victory for social justice and egalitarian interests. At the same time, that victory left the undergirding class system untouched and in practical terms affirmed it. That is the source of that bizarre sensation I felt in the region a generation after the defeat of Jim Crow. The larger takeaway from this reality is that a simple racism/anti-racism framework isn't adequate for making sense of the segregation era, and it certainly isn't up to the task of interpreting what has succeeded it or challenging the forms of inequality and injustice that persist." ― Adolph L. Reed Jr., The South: Jim Crow and Its Afterlives   "Walt Price: What does he like? Bill Smith: 14-year-old girls. Walt Price: Well, get him something else. We want to get out of this town alive. Get him half a 28-year-old girl." -David Mamet, State & Main

"The tortures endured, however, were indubitably quite equal for the time, to those of actual sepulture. They were fearfully -- they were inconceivably hideous; but out of Evil proceeded Good; for their very excess wrought in my spirit an inevitable revulsion. My soul acquired tone -- acquired temper. I went abroad. I took vigorous exercise. I breathed the free air of Heaven. I thought upon other subjects than Death. I discarded my medical books. "Buchan" I burned. I read no "Night Thoughts" -- no fustian about churchyards -- no bugaboo tales -- such as this. In short, I became a new man, and lived a man's life. From that memorable night, I dismissed forever my charnel apprehensions, and with them vanished the cataleptic disorder, of which, perhaps, they had been less the consequence than the cause. There are moments when, even to the sober eye of Reason, the world of our sad Humanity may assume the semblance of a Hell -- but the imagination of man is no Carathis, to explore with impunity its every cavern. Alas! the grim legion of sepulchral terrors cannot be regarded as altogether fanciful -- but, like the Demons in whose company Afrasiab made his voyage down the Oxus, they must sleep, or they will devour us -- they must be suffered to slumber, or we perish." - "Premature Burial", Edgar Allan Poe

"@douglaswallace7680 1 month ago (edited) Roger  Corman at his best !   Starring looks - like - stars :  Humphrey  Bogart  and the  Mickey  Rooney brothers .   I am guessing they were busy the weekend that this film was made !   Kept it on 2.5 playback until  1:02:45 to see a t.Urd with 2 eyes ." "Everything dies baby, that's a fact but maybe everything that dies some day comes back" - Bruce Springsteen

"During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was — but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me — upon the mere house, and the simple landscape features of the domain — upon the bleak walls — upon the vacant eye-like windows — upon a few rank sedges — and upon a few white trunks of decayed trees — with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium — the bitter lapse into every-day life — the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart — an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime." - Edgar Allan Poe

"As Kallis later recalled: "I told Roger, 'I'm doing very classy stuff with Saul Bass for the best studios.' Roger said, 'What would it take to get you?' I said, 'If, after we had general conversations about the approach to the picture, you'd leave all the decisions to me, I might be interested–and I'll give you a fixed price.' That appealed to Roger greatly!" It was the break Kallis needed. He was free to do what he wanted, how he wanted. Over the next decade Kaliis produced a series of kick-ass posters which were bright, bold, dynamic and original. His work was so good that there was an axiom that Kallis' artworks were often more thrilling, more exciting, more intense than the films Corman made. Kallis was also smart enough to take some of his hard-earned cash and invest in setting up the restaurant chain the International House of Pancakes." - "They Came to a Cinema Near You!: Attack of the B-Movie Posters" from flashbak.com  

Tom Weaver: So you did all of your own stunts in the film? Susan Cabot: Every bit of running, jumping, tackling, fighting and falling you see in that film, I did myself. One thing I remember in particular was that, as I attacked each character, I was supposed to bite their necks and draw blood. As I pierced the neck, to get the drama of the moment Roger wanted to see the blood. And so as I attacked everybody, I had Hershey's chocolate in my mouth -- which I proceeded to blurp, right on people's necks. What we did for Roger Corman -- I mean, things that you could never do in a real studio but you did for this guy. Everything seemed unreal with him.

"The Venus flytrap, a devouring organism, aptly named for the goddess of love." ― Tennessee Williams, Suddenly Last Summer "The first screenplay Griffith wrote was Cardula, a Dracula-themed story involving a vampire music critic. After Corman rejected the idea, Griffith says he wrote a screenplay titled Gluttony, in which the protagonist was "a salad chef in a restaurant who would wind up cooking customers and stuff like that, you know? We couldn't do that though because of the code at the time. So I said, 'How about a man-eating plant?', and Roger said, 'Okay.' By that time, we were both drunk." - wikipedia

"The ambitious artist, the artist who wanted Success, now had to do a bit of psychological double-tracking. Consciously he had to dedicate himself to the antibourgeois values of the cenacles of whatever sort, to bohemia, to the Bloomsbury life, the Left Bank life, the Lower Broadway Loft life, to the sacred squalor of it all... Not only that, he had to dedicate himself to the quirky god Avant-Garde. He had to keep one devout eye peeled for the new edge on the blade of the wedge of the head on the latest pick thrust of the newest exploratory probe of this fall's avant-garde Breakthrough of the Century ... all this in order to make it, to be noticed, to be counted, within the community of artists themselves. What is more, he had to be sincere about it. At the same time he had to keep his other eye cocked to see if anyone in le monde was watching. Have they noticed me yet? Have they even noticed the new style (that me and my friends are working in) Don't they even know about Tensionism (or Slice Art or Niho or Innerism or Dimensional Creamo or whatever)? (Hello, out there!) ... because as every artist knew in his heart of hearts, no matter how many times he tried to close his eyes and pretend otherwise (History! History!-where is thy salve?), Success was real only when it was success within le monde. He could close his eyes and try to believe that all that mattered was that he knew his work was great ... and that other artists respected it ... and that History would surely record his achievements ... but deep down he knew he was lying to himself. I want to be a Name, goddamn it!" - Thomas Wolfe, The Painted Word " Sylvia, didn't you see me wave my zen stick?" - Walter Paisley

It's finally here! The worst Roger Corman movie has produced the very worst episode of this podcast! Whole five minute stretches of me saying nothing! Don't listen to this!

Tell your old lady to keep her wise cracks behind her teeth or she's gonna be wearing false ones!