Video Essay: How Roger Corman Gave Rise to Scorsese, Coppola, and New Hollywood
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- čas přidán 13. 02. 2017
- By the early 1960s, the studio system in Hollywood, which gave a few huge movie studios more or less a monopoly over filmmaking, was on its way out. The shining-est light of Hollywood was Roger Corman, whose rough-and-ready approach was bringing audiences into theaters by the bucketload.
Corman was, whatever one might say about his product, sensitive enough to see that his growing power as a director and producer put him in a position to nurture and promote young directing talent. And nurture and promote he did.
Edited by Tyler Knudsen - Krátké a kreslené filmy
RIP Mr. Roger Corman. You were the Trendsetter for entire Generations. Can't thank you enough.
Don't forget James Cameron got his start as a scenic matte painter for Corman.
Geahk Burchill Ironic considering he has the exact opposite business model.
Q
You kind of ignored an important period of Coppola's career between Dementia13 and The Godfather, making it seem as though very little happened between those films. He made several films, including a big studio production , "Finian's Rainbow". and winning an Oscar for writing "Patton". Corman's productions continued through the '90's as Concorde/New Horizons, concentrating on the straight-to-video market, and continued to serve as a proving ground for aspiring production talent. I worked on 6 Corman movies in the early '90's, ending with his infamous production of "The Fantastic Four". On 2 Corman films, I was a camera assistant for Wally Pfister, who later became Christopher Nolan's DP. I also worked with Robert and Dennis Skotak, who met James Cameron on Corman's "Battle Beyond the Stars", and later won the Oscar for the miniature effects on "Aliens". If you randomly toss a hat into a crowd of movie people, you will likely hit someone that worked for Corman at some time or another.
Really interesting, do you still working on films these days?
@@ryandiraaaa No, I retired 10 years ago.
Bonnie and Clyde is like an hommage inception. It’s an American gangster movie that is paying homage to a French style that frequently pays homage to American gangster films.
VERY cool. Made me feel so nostalgic and I'm not even that old lol. Small editorials like this really give inspiration for those of us who know they can succeed. Thank you for this!
Mickey One, Arthur Penn’s 1965 film (also starring Warren Beatty), is an often overlooked film with a more French New Wave aesthetic. Highly recommended for anyone interested in this time period.
This is a very well put together video-great perspective on all this!
Addenda to a previous comment. Although you did a yeoman job covering this period in so pithy a manner and so short a time, I think you overlooked Cleopatra's effect (its massive budget and production problems, and failure to make back its costs) on helping bring down the studio system in the 1960s, and possibly Hollywood's failed attempts throughout the late 60s to recreate the success of The Sound of Music by making tons of flop musicals. This helped pave the way for a welcoming atmosphere for the lower budget movies you mentioned, which ushered in the New Hollywood. Interestingly in many ways in the past, movies had been in the lead in social change, but in the 60s the studios fell behind, and, as you point out, the new mores, sexual and otherwise, forced Hollywood to rather belatedly update and adapt.
Video was close to perfect. He did not have the time or scope to make your 8 hour Documentary.
I really dig these video essays of yours. You've inspired me.
Excellent work. Great vid👍
This is great. But didn't you lose the Roger Corman subject at the end of the essay?
Yes, but the point was that Roger Corman was a big reason for the rest to happen.
Although I personally prefer the Golden Age of classical studio-system Hollywood, roughly 1930 to, say, 1955 -- during which most of my favorite movies were made -- I consider the New Hollywood of 1967 to 1977 (when Star Wars killed it and led to the dumbing down we have today) to arguably be the finest period in movie history. I like your characterization of the period as "when arthouse and the mainstream were one and the same," which sums it up nicely. The movies were gritty, raw, mature, sensitive, adult, authentic, adventurous, risk-taking, humane, and deeply affecting. I'd like to see you tackle one of the greats of that period, and one of my very favorites, Five Easy Pieces.
I'd give new Hollywood at least 5 more years, probably until 82-83 when blade runner, king of comedy, scarface or once upon a time in america flopped
I won't lie, i've always despised the notion that "gritty, adult" films are somehow more valuable than exuberant, youthful films like Star Wars. As if the world would be better off with more angry, gritty ex-cops wrestling with self loathing than with more Luke Skywalkers.
We need another New Hollywood. The movies and ideas that were fresh 40 years ago have now become the tired mainstream. Every film needs 10 sequels, directors are mostly just replaceable hired workforce, the industry keeps copying only the latest trends and as a result we get movies that have nothing to say, lack creativity and exist in an inoffensive, inconsequential bubble, only to fade away and be replaced by another iteration the next year. The geek culture that was once an alternative group with unconventional thinking and exciting ideas has become the fat leech sucking life out of art, the boring mediocrity holding back progress.
Mattchester I feel like we're going to get it once shit really hits the fan in the US. I know things are really bad now but a lot of it is basically coming from the fact that we know it's all just preamble for what's coming up later. Usually these film movements and social revolutions go hand in hand. Remember, we only got the movie brats because of WW2 ending and the baby boom. Nouvelle Vague came out of French liberation, British Underground came out of the Thatcher administration, and I think the modern franchise climate came out of the 08 financial crisis.
Correct about the last one. The Nouvelle Vague came out of the Liberation of Paris, New Hollywood was seeded by the counterculture movement and the franchise climate was seeded from the financial chaos ten years ago. Now, I think another New Hollywood really will be needed more than ever before, with Robert Mueller critically to the smoking gun, Harvey Weinstein's reputation in the toilet completely, (but please remember the films his company brought to the world as the only good things he did.) and movements everywhere from Time's Up to Never Again.
This time, it should be the artists using their unique styles and talents, but please be careful with it. In order to prevent a repeat of Michael Cimino's Heaven's Gate fiasco, I strongly suggest that they try a technique that Francois Truffaut famously revealed: one or two small films, after a big film. Take, for instance, if you're doing a science-fiction thriller. What can you do afterwards? The answer is simple: a mystery film on a smaller budget than the sci-fi thriller.
Even though there should be more diversity in Hollywood, the bottom line is that cinema is actually art. And art should never be controlled. So the young filmmakers that will soon come should look into multiple types of films, no matter how problematic, from classic Hollywood films to classic foreign films, and sometimes, or most of the time, genre films, and the films that a new generation of artists will be able to make should not just be with diversity, but ideas, concept and storylines that are also daring, dangerous and unpredictable.
And anyway, you just never know what can be possible.
Tripp1993 Dam. How did I miss this comment until now? I’d also like to hear you elaborate a bit on trying to “control art”.
@@tatehildyard5332 And I apologize for saying all the details about the historic importance. I just hope you got the meaning.
Tripp1993 Why apologize? I was agreeing with you. I’m just a bit unclear on what you mean by trying to “control art”.
Oh man I live off this stuff
For me the best decade of Hollywood was 70s.
Perfect balance of realism---"The Last Detail"---"Fat City" and pure entertainment--"Jaws"..."Star Wars"
ari1234a what's wrong with a movie that's pure entertainment Jaws and Star Wars might not be movies that have ambiguity, deeper messages and endings of pure pesimism but they have amazing characters, music and directing (both Spieleberg and Lucas had hellish productions but they fought and came through eventually if they were directors who didn't care they would have just given up)
HURRY UP AND MAKE MORE VIDEOS!!!
Dam I love this channel.
In a way, A24 is the new Roger Corman.
In terms of content, I'd say Blumhouse is.
Very interesting - you could make a whole video essay about Lucas Coppola and American Zoetrope aloen
Only a French new wave inspired movie could turn the twisted reality of a pair of homicidal murderers into a fun romp and love story.
What song is playing in the back in the beginning?
4:33
Well real TIM BURTON STAND upppppppp
From a time when the code of censorship had finally passed, cinematography looked natural and not staged, screenplays felt natural and not written, and mainstream movies had a great illusion of realism.
1:00
Make a film on india new wave (parallel cinema) which started earlier than french new wave (early 50s) and indian malayalam new wave which started from 2011
Is the music in this video all licensed?
yr not the only one thinking that
man everything follows the same patter. when something crosses 100% cool, its enters the uncool cycle. when it crosses 100% uncool, it enters into the cool cycle. everything either dies as the hero or lives long enough to be the villain
"Francis Ford Coppolo aceppted a offer he could not refuse"****
Roger Corman didn't make "B movies", he made independent films. A "B movie" was a Hollywood designation for a lower budget picture that would share the bill on a double feature with an A-list film. e.g., an "A" movie would star Carey Grant and a "B" movie would star Brian Donlevy. Roger Corman had nothing to do with that, he was an independent film maker who often made films on much, much smaller budgets and schedules than any Hollywood "B" movie. Calling Corman "King of the B's" is bollocks.
These movies kept many malfeasant teenagers out of trouble on Friday and Saturday nights.
Between 1930 and 1980, movies were very good, but after that, everything went to hell!
Pre-video era, mind you
Ehh, that is a stretch
Lots of movies from the 30s-50s sucked ass, let's not be hyperbolic here.
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