ROGER
CORMAN

Roger Corman was the definition of “independent” before there was independent filmmaking and for nearly six decades as the producer of more films than anyone else in movie history, the 83 year old legend shows no signs of slowing down.

Corman, responsible for classic horror films such as LITTLE SHOP OF HORRORS and his films based on Edgar Allan Poe stories in the 1960s, has launched the careers of Francis Ford Coppola, Jack Nicholson, Martin Scorsese, Jonathan Demme, Peter Bogdanovich, and Joe Dante, who reunites with Corman on his new and most experimental endeavor to date.

His latest project, SPLATTER, might be his most ambitious as he steps into the interactivity of the internet to let fans determine the outcome of the show’s premise, is about a rock star who commits suicide and as his last will is being read in his Hollywood mansion, he returns for one last encore.

To promote SPLATTER, Corman, who will be given an honorary Oscar at the next Academy Awards ceremony, answered questions that the Crypt sent via e-mail about his latest project and gives thoughts on the industry today and looks back at his career fondly.

COLONEL’S CRYPT: First, congratulations on a much deserved honorary Oscar. This is not a question but personally speaking I think it’s a long time coming and I salute you.

ROGER CORMAN: Thank you.

CC: SPLATTER looks like a very unique project. What was it specifically that made you want to get involved?

RC: The challenge of shooting and editing the second two episodes each in one week to respond to the audience preferences as to who should die.

CC: This is your first time working with Joe Dante in a while. How was it working with Joe again for SPLATTER?

RC: This is the first time Joe and I have worked together since Piranha many years ago. It was a great experience. Essentially it was bringing back old times.

CC: In the press release, you noted that horror fans rarely get a chance to interact with the project at hand. In such an interactive medium, why do you think this hasn’t been explored much and do you think this will lead to more interactive horror films for the fans? 

RC: I don’t think that filmmakers have thought it would be practical to do this. I took on the project with Netflix primarily because it seemed almost impossible to do, and I wanted to accept the challenge.  I would hope that this would lead to more interactive horror films for fans, but I believe this type of work will always occupy a special niche.

CC: What do you hope horror fans will get out of SPLATTER when all the episodes are released?

RC: First, I would hope that they would get the requisite amount of horror. Also that they would be intrigued by the viewers ability to dictate the story line.

CC: You wear many hats in production, but while you’re mostly known as a producer, is that where you get the most satisfaction in putting a film together or do you look at it differently from writing and directing?

RC: I get the most satisfaction from directing and producing an individual picture.  I get satisfaction from only producing but in a different way; a lesser way then when I have complete control as a director and producer.

CC: I have to mention my favorite film of yours, which is THE PIT AND THE PENDULUM, as I am a big Edgar Allan Poe fan. Were you always influenced by the works of Poe and how do you feel that those films have a special place in horror film lore?

RC: Thank you. I’ve always been influenced by Poe ever since I read one of his short stories as a teenager, “The Fall of the House of Usher.”  I would hope that those films would have a special place in the adaptations of the classical horror mind of Edgar Allan Poe.

CC: I’ve always wanted to ask you this. Let’s say that you are given a class to lecture, Film History 101. You have five movies to show your class the history of film but they can’t be your own. Which five would they be and why?

RC:  BATTLESHIP POTEMKIN – I think it is the most brilliantly executed of the early silent films.

CITIZEN KANE, no explanation necessary.

Ingmar Bergman's THE SEVENTH SEAL

LAWRENCE OF ARABIA

And finally James Cameron’s AVATAR, though it’s not been released I think it’s going the way we look at movies.

CC: Over the past five years specifically, there has been a rise in digital technology that makes it more affordable to make a good looking film on an ultra low budget. Being that you are known as the champion of independent films, what are your feelings towards this new digital age and if you have any concerns, what would they be?

RC: I’m extremely enthusiastic about new technology that allows more freedom in making low budget films.  If I have any concerns, they would be that the technology might overwhelm the narrative.

CC: In contrast to my last question, with the rise of the internet and with digital technology, do you think it’s easier or harder now to get notice in the film industry as an independent filmmaker?

RC: I think it is harder today to get noticed as an independent filmmaker than when I started. Because when I started, almost every film got a full theatrical release.  Today very few independent films get a full theatrical release.

CC: Where do you see horror and independent film going within the next five years?

RC: In the beginning of the next five years, I think there will be a continuation of the current trend of excessive gore and violence with a heavy dependence on special effects.  Later on, the audience will turn against this and some of the films will become more subtle and more dependent on the narrative.

CC: What is next for you?

RC: I’m making a series of films for the Syfy channel and finishing editing of a science fiction horror film called DINOSHARK.  I will begin production on its sequel OCTOSHARK. Plus, I’m working with the students of the University of Nevada, Las Vegas on an experimental student feature entitled STEALING LAS VEGAS.

CC: If you have one thing to say to a young person who tells you they want to be a filmmaker, what would you tell them?

RC: To concentrate on pre-production so that as many decisions can be made as possible before the actual shooting, thus making the shooting more efficient.

CC: Thank you so much for your time and thanks for entering the Colonel’s Crypt.

RC: My pleasure.

You can view SPLATTER now at www.netflix.com/splatter

(Special thanks to Cathy Ashenbremer)