Latest / Indie Film Hustle® - A Filmmaking Podcast / IFH 674: How to Always Make Money with Independent Film Godfather Roger Corman

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IFH 674: How to Always Make Money with Independent Film Godfather Roger Corman · Indie Film Hustle® - A Filmmaking Podcast

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You are listening to the IFH podcast Network. For more amazing filmmaking and screenwriting
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podcasts, just go to IFAH podcast network dot com. Welcome to the Indie
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Film Hustle Podcast, Episode number six seventy four. Don't let small minds convince
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you that your dreams are too big. Anonymous broadcasting from the back alley in
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Hollywood. It's the Indie Film Hustle Podcast, where we show you how to
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survive and thrive as an indie filmmaker in the jungles of the film biz.
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And here's your host, Alex Ferrari. Welcome, Welcome to another episode of
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the Indie Film Hustle Podcast. I am your humble host, Alex Ferrari.
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Today's show is sponsored by Rise of the Film Entrepreneur How to turn your independent
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film into a profitable business. It's harder today than ever before for independent filmmakers
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to make money with their films from predatory film distributors ripping them off to huckster
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audiobook. If you want to order it, just head over to www dot
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film bizbook dot com. That's film bizbook dot com. Enjoy today's episode with
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guest host Jason Buff. Thanks for joining us here today. We have a
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superst on today. We're talking with one of my heroes, mister Roger Corman.
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Now just between us, I was scared as hell to just give Roger
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Corman a call. I was sitting in my office and I got his very
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nice secretary told me a time to call in. And it's kind of like,
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all of a sudden, I was on the phone with one of my
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heroes. Roger Corman really is someone who all indie filmmakers should know about and
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should definitely understand his contribution to the world of independent film. He's also responsible
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for giving the first break to a lot of people that my generation considers the
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filmmakers that really influenced them, like Scorsese, Francis Ford, Coppola, Jonathan
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Demi, Joe Dante, and Ron Howard. So what I want to do
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is listen to some of them talk about how Roger Corman influenced their filmmaking.
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The first interview I want to go to is with Jonathan who said this about
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Roger Corman in the documentary Roger Corman Hollywood's Wild Angel in nineteen seventy eight documentary.
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Well, in any film that I've ever worked on with Roger, there
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are three main elements that he's looking for. One is humor, which he
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considers tremendously important. Another is action, which he considers very important, and
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another is sex, which he considers important but not quite as important as the
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other two elements. I don't think. But it's funny the way these things
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pop up, because, for example, in my script for Caged Hand,
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your script in and what Roger does is sometimes he'll give the notes right on
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the script and hand it back to you. So you get the script back
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and you get little little marginal references like breast nudity possible here question mark,
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which yes, you realize, yes it is possible here, and you don't
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want to get two idealistic because actually you don't have negative feelings about nudity anyway,
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So you go, yes, Roger, indeed it is. And that's
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the bargain you make with Roger. If you buy his it's never articulated,
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I don't think, but if you buy his concept that pictures that audience is
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like contain these three major elements action, humor, and sex, and you
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really buy it, and you're kind of commit to getting as much of that
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stuff as possible in there. And if you will also want to make a
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good picture and tell a good story, then the best of both worlds happens.
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He gets a movie that contains these things, and he's confident of releasing
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it, and you get a chance to make a picture very much the way
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you want to make it. I know that you've worked with you gave so
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many people their start, so many great talents or start. Francis Ford Coppola
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worked with you before he really worked with anyone else, isn't that true?
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Yes? Right. As a matter of fact, he was a sound man,
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the second assistant director, and a shot second unit all on one picture.
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Really very versatile. Okay, and you know then this kid's going places.
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Actually I knew he was good. I had no idea that he was
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going to go to the heights. He did, okay, Ron Howard.
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I think also Howard's first correcting jobs with you is right. He started with
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as as an actor and the picture was called Eat My Dust Car to film.
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It was a big success, and he came into the office and he
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said, I know you want to do a sequel. Whether a star plays
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a role in a successful film, you always ask for more money. I
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will star in the next picture, no more money, and I will do
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an additional job. And I said what is that? And he said,
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I'll direct. And I said, Ron, you will always look like a
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director to me. Now, you influenced the way film trailers are made.
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I think many people, especially young people, think that film trailers have always
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been similar. But no, you really changed the way they were made with
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a certain innovation. What is it you did well? It was Joe Dante,
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who went on to become a very well known successful director, who started
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cutting trailers for us. And he was cutting one trailer and I looked at
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it and I said, Joe, is this a fairly dull trailer. What
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can you do to jazz it up? He said, come back this afternoon.
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I went back this afternoon and there was the same dull trailer. In
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the middle was an exploding helicopter. It made the trailer. I ask you
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a question, was there an exploding helicopter in the film? There is no
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law that says everything in the trailer that that's fantastic the balls Man that was
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incredible. So I mean, what isn't what this show would be jazzed up
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by a helicopter crash occasionally, you know, that's the kind of thing that
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would help a talk show, which they should do it everywhere. We could
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give you the stock footage. Would you charge me for it? Very little?
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You've got great titles, great titles for your films. One of my
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favorites, Attack of Crab Monsters and UH. And there's the of course the
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UH, the title for it. As so many amazing titles over there.
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Do you come up with the title first and then decide to shoot the film.
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How does it work? Sometimes? For instance, Grand Theft Auto,
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which was Round Howard's first film as a as a director, the title came
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first. But if oh the film he did before, Eat My Dust,
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I've forgotten the title. We were shooting a car chase somewhere out in the
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sam Fernando Valley and dust was flying all over the place and the director who
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said we had to call this picture eat My Dust, I said we will,
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and he said I'm joking. I said, I'm not joking. That's
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a great title. So the title, now, of course that was Conan
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O'Brien. And now here's Ron Howard talking about working with Roger Cormick. Conversations
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that were really significant during the course of making Grand Theft Auto. The first
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was he sat me down and said, Ron, I'll come visit you on
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the first day of filming and if you're productive, and you know you're making
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around twenty setups a day and you're making your days, you won't see much
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of me in all candor, if you're not achieving those those kind of results,
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you're going to see one hell of a lot of me. That was
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his little warning. I had a great moment on the Paramount Lot. I
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was finishing up the season of that season of happy Days walking along and uh,
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as soon as Hiatus came in March, I was gonna go h direct
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Grand Theft Auto and Jonathan Demi called me from out out the window at the
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the second second story office. He was getting ready to do Citizen Band.
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I think um and uh uh And of course I knew him as a Roger
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Corman veteran. And he came bounding down the stairs and he said, I
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heard you're gonna direct a picture from Roger. Come upstairs. And I went
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upstairs and he talked to me for about twenty minutes. He gave me these
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sheets that he would use to sort of plan out the shot lists and in
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the day, and gave me great advice. Here's this young guy saying,
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make sure you get plenty of sleep, you know, this hipster guy.
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And I and I and uh, you know and and and uh and he
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basically said, you know, um, Roger will let you creatively do whatever
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you want to do. That's the fantastic thing about working for Roger. Uh
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and uh but uh uh, you know, you just have to make sure
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that you you're efficient, and here's how you do it, and remember to
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think ahead, and just lots of good fundamentals, but also encouraging me to
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explore and be creative and really, you know, take advantage of this.
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This opportunity that Roger was was was given me. I finally carried my end
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of a great tradition and cast Roger in Apoul thirteen. He had a very
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nice scene playing a senator with U with Tom Hanks, and uh, it
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was a really wonderful day to reconnect with Roger, have him come. We
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had you know, it was a big day with green screen and uh,
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you know it was we were doing visual effect shots and and it was,
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you know, just a plus Hollywood filmmaking. And he just smarked and said
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that, well, we could do this for a hell of a lot less.
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Uh, and you know he could. All right, and now my
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interview with Roger Corman. We'll be right back after a word from our sponsor,
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and now back to the show. I was watching the documentary Corman's World
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recently, and the thing that I thought was very interesting to see is that
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you're still going down and being on the set. Do you find the same
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excitement being on a set these days, it's always exciting to being on the
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set. I'm probably not as excited as earlier, but the stimulation is still
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there after you've done it. I've made around three hundred films. There's a
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certain routine, but there's something always a little bit new. Is how things
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changed. I mean now that you are working in the digital world and video
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on demand and the sci fi channel, has your system changed and the way
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that you go about distribution, it's changed a little bit. When you mentioned
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distribution, it's changed for the better in production, and it's changed, at
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least for those of us working in medium budget and lower budget films. It's
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changed for the worst end distribution. Production production is easier the new digital cameras,
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sound equipment, the lighting equipment, everything is lighter, more portable,
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easier to use. So you can shoot more unnatural locations and you can shoot
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faster and more efficiently. So production is better today. The conditions of production,
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the conditions of distribution, however, are not good for the independence the
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major studio is today with their one hundred million dollars and two hundred million dollars
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budgets in their thirty forty fifty million dollar marketing campaigns have dominated theatrical to such
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an extent that very few medium or low budget independent pictures get a theatrical distribution.
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Primarily we're on DVD, streaming, cable, some broadcast television, and
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only occasionally in theaters. Today, there are a certain period of time that
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you look back on in your career and kind of reminisce about as being the
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glory days of filmmaking, probably for me the sixties and seventies. The sixties
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when I was having most fun and most success as a director. I started
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directing it around fifty eight or something like that. First a couple of years
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you sort of learn what you're doing, and then things started to move forward.
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Me in the sixties and in the seventies I started my own production and
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distribution company that I moved from directing to producing and distributing, and that was
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a whole new world as well. So for that about a twenty year period,
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I was probably having the most fun and the most success. Things still
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work out. I'm still producings, still distributing, but I make fewer films
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today, and just that I make fewer films, they get a limited distribution
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and I'll continue for a few more years. You started out working as a
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writing notes on screenplays, right, and you eventually did some notes for the
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guns Actually, I started a graduator from Stanford with a degree in engineering,
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and I was a failure of the Stanford engineering class. I got the worst
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job of anybody. I got a job as a messenger at Fox for thirty
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two dollars and fifty cents a week, and I rode the bike around the
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studio delivering message system. And then I worked fairly hard, did some extra
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work and became a reader in the story department, and that was where I
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got a little bit of minor recognition for my work on the Gunfighter. I
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didn't like various things that were going on, so I had some college time
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left on the GI bill, so I went to Europe, went to Oxford
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briefly, and then came back and became a literary agent and sold my own
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script under an assumed name, and I took the money from that and started
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my production company. How did you did you know how it was all going
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to work, and were you going to sell the film or did you just
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kind of go into it like a leap of faith. It was a total
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leap of faith. I think back, and I wonder how I had the
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nerve to do it well. I think that you know, your career has
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shown that you've you've taken a lot of leaps of faith like that. And
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now did you when you first started, did you have the idea that you
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could keep a career going as long as you were making films at a low
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enough price that you could always sell them. It wasn't quite that easy.
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I financed my films with my own money, and since I don't have that
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much money, I can't make a giant film. So the budget level was
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more or less predetermined. And I don't think or ever thought of it as
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how long can I keep going? I just felt that everything is going well,
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I'll continue making films. So there was a little bit of a sort
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of a long term plan, but to a large extent, it was day
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to day. I'm going to make this film, I'm shooting this film,
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I'm planning the next film, and so forth. What did you learn from
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making films that people really wanted to see? You obviously tapped into something in
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the marketplace that was selling tickets and got people coming in and got people excited.
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Are there any sort of things that are specific to your films. That
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really kind of you developed and learned how to sell a phone. Well early
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on, I appeal to a teenage audience. I was very much aware that
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the audience was a young audience. In the major studios were casting their great
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stars, which meant, to a large extent, a fifty year old leading
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man making love to a forty year year old leading lady, and the average
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age of the audience was eighteen. So I felt, and I toldally understood
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why they did it. Their stars were the equivalent of brands. The stars
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were famous and could sell tickets. But I felt if I went with young
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people, I could peel directly to a young audience. And I worked in
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genres. I not always, but generally I was doing action pictures, horror
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films, science fiction films, sometimes deliberately straight teenage films and so forth.
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Were there any other movies like genre films? They were fairly non mainstream back
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in those days. I mean, nowadays it seems like horror movies are very
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mainstream, and especially science fiction and everything, especially after Star Wars and all
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those sorts of movies. But back in those days, was it something that
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was more of like a drive in movie theater or more like B movies.
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Yes, the drive ins were very important, they weren't quite as important as
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people think they were. Our main money still came from what we called the
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hardtops, enclosed theaters, but drive ins were of major sorts of income,
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and the drive in audience was even younger than the hardtop audience. Although drive
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in did attract some families on the basis that young family with children who couldn't
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afford a babysitter or something could just go to the drive in, put the
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children in the back seat, watched the picture, and the children would maybe
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just go to sleep, so it was an inexpensive night out for them.
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It still was primarily a young audience. You think we've missed something now that
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we don't have theaters and we don't like go out and see movies now that
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everybody's watching movies on iPads and on TV. Yes, I think there's something
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to be said for seeing a picture, particularly a comedy, with an audience.
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You pick up the vibes, as it were, unconsciously from your audience.
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It becomes a communal or a shares experience. I was watching the nineteen
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seventy eight documentary called Corman Hollywood's Wild Angel. You can actually it's actually on
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YouTube, and it was one of probably one of the most I learned so
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much in two hours of just watching that. It's incredible. And there's a
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great scene where they're talking with Jonathan Demi and he's talking about the advice that
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you gave him as a filmmaker, and I thought it was really interesting and
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I just wanted to get your thoughts on that. And he said that the
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three most important elements in a film were humor, action, and sex,
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and sex was last, but it was still important. Do you still feel
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like I think, I think that I would put in the narrative storyline I
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should have said that that was probably that was probably understood. What are yours
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some of your favorite movies that you have seen lately? You know more contemporary
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people. Yes, as a man of fact, possibly the most interesting him
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I saw last year was a film that for three quarters of the way through
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I thought was one of the most brilliant films I had ever seen, and
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then it started to fall at the end and it was never recognized in any
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way. I think for special effects, Interstellar, which I thought was really
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a brilliant of film, particularly as I say my degree was in engineering,
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that I had a minor in physics, and maybe it was unique to me.
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I try to stay up with physics, and it was really very accurate
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from all the concepts of physics today. The last quarter or so it started
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to get a little questionable, didn't totally hold up. But I think for
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the reason that, as I say, it was so brilliant so far through
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and then still I still think of it as possibly the best picture of the
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year. But nobody else seems to agree with me, or a few people
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agree I agree with me. We'll be right back after a word from our
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sponsor, and now back to the show. One of the things that I
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had heard that you mentioned was that after the film The Intruder, you had
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decided that you didn't want to be as which is a brilliant film. But
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I actually just saw it for the first time a couple of days ago,
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that you had decided to try and not have a movie that was commercial,
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but have a movie within that movie that actually had a message and was a
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good movie within a movie that was sellable. Yes, I felt that I
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had become too serious with The Intruder. It got a lot of critical acclaim
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on a couple of minor film festivals, but was commercially not successful, and
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I felt I was too serious. I was lecturing the audience, and I
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felt what I would do would be to make a film and entertainment with as
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we say, a method acting, a text and the subtexts. A text
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is the entertainment of the film, and the subtext would be whatever was important
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to me or whatever I wanted to say, but it would be always be
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secondary to the text of the film. Now, were you one of the
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first people to take the camera off the tripad and go out into the streets
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and kind of shoot off of sets. Was that something that you felt was
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you know, would bring more realism to your film, say in the sixties.
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Yes, I was one of the first. I wouldn't say I was
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the first. There's I know a number of people were doing it before me,
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but I was one of the first to do it. And I liked
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that concept very much. I'd been doing my Edgar Allen Poe pictures was vincent
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price, and those were deliberately studio bound. I wanted to have total control
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everything within a studio, leaving thing to chance, and I wanted to and
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when I I had done enough of those films. I wanted to go completely
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away from that, go into the streets and shoot the world around me as
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I interpreted it during the sixties, which of course, was a very volatile
22:18
decade. You mentioned working with Vincent Price and the post films. Can you
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talk a little bit about horror and you're feeling about horror movies? Well,
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horror is very complex. It's exceedingly complex. You can get horror very easily
22:33
by cutting off somebody's arm or something like that. I'm not talking about that
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kind of horror. I'm talking about horror as a psychological concept, and I
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think the roots go so deep into a person's individual experience, into the whole
22:51
experience of humanity, that it's a fascinating genre in which to work. You
22:56
were distributing a lot of films from filmmakers. I was wondering if you had
23:02
any favorite filmmakers from that, you know, like Kurosawa or Bergman. What's
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your favorite films were? Um from that kind of well of people, I
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would pick a few some of the filmmakers, uh Fellini, Bergman, a
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number of others. The first one I had was Cries and Whispers from Bergman,
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which was I thought a brilliant film. Let me see Kurosawasa Husula,
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which is an unusual film for him to which one Academy Award Best Foreign Film
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Fellini's picture. I've forgotten the title of it, but I had a film
23:45
from Fellini that also won the Academy. We won, I think in a
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certain numbers six or seven years, we've won more a Foreign Academy Awards than
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everybody else can bin. Now, you were you able to meet with those
24:02
directors, did you, you know, have any relationship with them, and
24:04
did you learn things from them? Yes? I met. I met several
24:08
of them, talked with some several of them. Felini said you should get
24:11
out of distributing and go back to directing. I remember that he said,
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why did you ever leave you? You've obviously had a great influence on a
24:22
lot of the people that my generation considers the best filmmakers of you know,
24:26
the seventies and the people who really influenced us moving into the eighties. Now,
24:30
when I when I watch a movie by you know, Martin Scorsese or
24:34
Francis Ford Coppola, do you when you watch movies that they make, do
24:37
you see your influence in what they make. I mean, for example,
24:41
camera movement and you know, keeping things going a little bit. But basically
24:47
they are their own people. Uh, they were good before they even met
24:53
me. They had the talent. I may have taught them a few things,
24:56
but basically they're brilliant film makers. They would have been brilliant filmmakers if
25:02
they'd never met me. What do all these people have in common that the
25:04
great filmmakers, the James Camerons and all these guys that you work with.
25:08
What is there's something that you saw in them that just made them great.
25:11
Well, I've been asked that question before, and I would say there are
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three things. One, every one of them was intelligent. I've never met
25:22
a successful writer, producer or director who's been successful over a long period of
25:27
time who wasn't intelligent. The second was the ability to work. Making films
25:34
to a certain extent is glamorous and exciting, but also it is very very
25:41
hard work. Those two things you can kind of figure out. The third
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is creativity. They are all creative, and that you only learned about a
25:53
person by working with them. And I also watched Death Race two thousand and
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I was wondering if you when you watch The Hunger Games. I definitely had
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that reaction both in Death Ray and its follow up picture death Sport. Death
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Sport. The number of things went wrong. It's not a good picture,
26:12
but the thoughts in it, and a Death Rays, on the other hand,
26:18
was pretty good picture one s Poll was the greatest B picture of all
26:22
time. I think, without question, some of the thoughts and death Race
26:26
and death Sport are in the Hunger Games and some other things. On the
26:30
other hand, as far as I know, death Race and death Sport were
26:34
totally original. But if I say that, there's gonna be somebody who would
26:41
say you're forgetting. The German expression in this film of nineteen nineteen had the
26:47
same concept, so you can never say you were really the first. And
26:51
it's very possible that I think whatever wrote The Hunger Games had never seen a
26:57
death Sport or death Race. They probably thought they were doing something totally original
27:03
as well. Well. It also reminded me a lot of Mad Max and
27:07
uh actually more like Mad Max too. You know, did you did you
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ever see that connection? Yes, it was the Actually in that case it's
27:15
an Australian direct He told me he had seen he had seen Death Rays.
27:19
George Miller. Yeah, yes, Joe, Yes, and he said he
27:23
had seen Death Rays and he said he was inspired by but he didn't compliments
27:27
that he got a general idea of a genre and did two brilliant original films.
27:36
Right, yeah, I mean well, I mean the thing that that
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that you feel when you watch that is just the danger. You know,
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you feel the speed and you feel like I mean, that's one of the
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things that films I think have lost a lot nowadays, is just the actual
27:49
you know, you're doing everything in camera. There's not really any visual effects.
27:53
I mean there might be. There was like a Matt painting I remember,
27:56
but other than that, I mean, everything is real and not like
28:00
dual effects. So you can when I watch movies like that, it's a
28:02
lot realer than watching you know, some of these movies that are like the
28:06
superhero movies, where you know that they can do it all in a computer.
28:08
Yes, I think the audience unconsciously knows that they can sense if to
28:15
a certain extent, the stunts that can be done today are far superior to
28:21
what we were doing in camera. What you can do with a computer are
28:26
just light years ahead. Yet at the same time, the audience almost senses
28:30
they're too good. They know this can't really be Now, I wanted to
28:34
talk for just a second about if you could give a little bit of a
28:37
lot of people to listen to this, or first time filmmakers and people that
28:41
are trying out there trying to make, you know, their first independent films.
28:44
Can you talk a little bit about what people can do to have success
28:48
in the film industry and make a film that's, like you said, a
28:52
movie that is good, but also a film that will sell and that can
28:56
keep them going well. As William Goldman once said, nobody knows anything.
29:03
He's partially true, but I would say this, a lot of people have
29:07
a general idea. You don't know, but you have a general idea.
29:11
So I could see a few things, and even before I say am,
29:14
I will know that somebody will go up and do something totally opposite from what
29:18
I say you should do and have a giant success and do it verily.
29:22
So it really depends upon the ability of a filmmaker. But probably to not
29:27
get into a deep, long discussion, the one thing that I would say
29:33
is most important is preparation, particularly if you have a short schedule or a
29:40
small budget. You want to do as much of your thinking as you possibly
29:45
can before you ever appear on the set. You want to have your story
29:52
worked out. You want to have talked with your actors. Will be right
29:57
back after a word from our sponsor, and now back to the show.
30:07
Worked out the basic red line. As Stanislavsky said of the actor's performance,
30:15
you want to have your own shots sketched out. Knowing however, you will
30:18
never follow your plan exactly. Something that will happens that causes you to change,
30:26
sometimes the better. Sometimes you'll get a better idea. But I put
30:30
heavy, heavy emphasis on preproduction planning. Is that how you were able to
30:34
do Little Shop of Horrors in two days? Yes, we rehearsed three days.
30:38
What happened? Studio had these sets. We just shot on sets that
30:44
were there. That's the reason I made the picture, and I knew that
30:48
if the screen Actress Guild at that time, I think it's still this way.
30:52
Hiring an actor for five days for a week is not much more expensive
30:57
than hiring amount of it. It's about as expensive it was to hire an
31:02
actor for a week as for three days on a daily rate. So I
31:06
hired all the actors for a week. We rehearsed three days and then went
31:10
an shot for two days, having worked everything out in the first three I
31:15
actually I have to ask you this now I know that you you're a fan
31:18
of Stanley Kubrick. Yes, I was wondering, how did you feel about
31:22
The Shining when you saw that? And did you talk to Jack Nicholson about
31:26
that after I did? I thought the shot. I think que because one
31:30
of the great great directors, and I think The Shining is one of his
31:34
best films. I'm not sort of his best film, but it's one of
31:37
his best films. So I have total admiration for Stanley and for that picture,
31:42
and Jack was brilliant at it. I do have one story that Jack
31:47
Pilby. When we were working, people used to say, I printed the
31:51
first take. I sell them did, but I printed generally the second or
31:53
third take or something like that. Stanley is famous for shooting and shooting and
32:00
shooting. He went over one hundred takes on one shot with Jack, and
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Jack as a good guy, he stood there and he went until Stanley printed,
32:12
you know, one hundred and twelve, three hundred and thirteenth take,
32:15
and when he was finished, he went over to Stanley and said, Stanley,
32:19
I'm with you all the way, but you have to know I generally
32:22
peek around the seventieth or eightieth take. Did you ever have a chance to
32:30
meet Stanley Coopert. I met him once, just talked to him briefly.
32:34
Early in his career. He had done his first film was a crime story
32:40
built around a race track, and it was a medium, low budget film.
32:46
And I remember it was after he had done that, and I was
32:51
just talking to was and I said, this is one of the best,
32:52
if not the best, first films I've ever seen, And it was clear
32:57
from there that he was going to have a brilliant career. Was that The
33:00
Killers? Yes, that's what I forgotten, right, That had a brilliant
33:05
ending too, with the suitcase and the money flying out of it and everything.
33:07
Yes. I always in my interviews with two questions. One is do
33:13
you have a resource like a book or something that's been very influential to your
33:16
life or something that you can recommend the filmmakers. Well, I'll give you
33:22
an answer that doesn't apply exactly. The most influential book to me was when
33:28
I was in college studying math, and I studied calculus, the whole concept
33:34
of a calculus, which is to a certain extent, could be described as
33:38
some mathematics of movement. The problems with the calculus that want to get I
33:44
won't get it, and all of that calculus, the problem and the solving
33:49
of the problem, I thought was so brilliant and such an example of what
33:53
the creative mind can do that that's probably influenced me more than any other book.
34:00
If you could go back in time and talk to yourself when you were
34:02
twenty years old, what advice would you have for yourself? I would probably
34:07
say, at the age of twenty to try to get as broad and varied
34:13
an education as you possibly can. I think the fact that I majored in
34:21
engineering caused me to specialize too much in a certain branch of knowledge, where
34:29
as a liberal education encompassing literature, art, philosophy, economic, psychology,
34:36
all of that is the best preparation for a full life, whether professionally or
34:42
personally. Did you follow that because you felt like you had to have something
34:45
to kind of fall back on and to have a career. Well, my
34:49
father was an engineer, and I simply started off to follow in his footsteps,
34:55
and it wasn't until I became the film critic of The Standard Daily and
35:00
I started analyzing films that I realized this is what I wanted to do.
35:06
But I'd spent four years a studying engineering. Did you ever use any of
35:13
that knowledge for filmmaking? Well, as I say, going back to calculus,
35:15
I use some of the knowledge, but I also use some of the
35:20
way in which you think as an engineer or a physicist or a mathematician.
35:25
There's a thought process of problem solving which can be very creative and very satisfying
35:32
and very useful at the same time. Well, I really appreciate you taking
35:37
the time and talking with me. Very good. Thank you. All right,
35:42
that's going to do it for today. I want to thank my guests,
35:44
mister Roger Corman for coming on the show. Thanks a lot. I
35:46
want to thank Jason so much for doing such an amazing job with this episode.
35:51
If you want to get links anything we spoke about in this episode,
35:52
head over to the show notes at any filmuscle dot com forward slash six seventy
35:58
four. If you haven't already, please head over to Filmmaking podcast dot com.
36:02
Subscribe and leave a good review for the show. It really helps us
36:07
out a lot, guys. Thank you again so much for listening. Guys,
36:09
as always, keep that hustle going, keep that dream alive, Stay
36:13
safe out there, and I'll talk too soon. Thanks for listening to the
36:15
Indie Film Hustle podcast at Indie Film hustle dot com. That's I N D
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