In these pages Roger Corman, the most successful independent filmmaker in Hollywood relates his experiences as the director and/or producer of such low-budget classics Attack of the Crab Monsters, The Little Shop of Horrors, The Raven, The Man with the X-ray Eyes, The Wild Angels, The Trip, Night Call Nurses, Bloody Mama, Piranha, and many others. He also discusses his distribution of the Bergman, Fellini, and Truffaut movies that later won Academy Awards in the Best Foreign Film category. Corman alumni—John Sayles, Martin Scorsese, Jack Nicholson, Vincent Price, Francis Ford Coppola, Peter Bogdanovich, Peter Fonda, Joe Dante, and Jonathan Demme, among others—contribute their recollections to give added perspective to Corman's often hilarious, always informative autobiography.

A pioneer of independent cinema, Roger Corman is a fascinating study in contrasts. As the original King of the Exploitation Film, he has filled his movies with images of blood-sucking vampires, rampaging biker gangs, vigilante strippers, and abducting aliens, all while producing each of his four-hundred-plus films on a shoestring budget and making a profit on nearly every one. In the process, Corman became the role model for today’s independent filmmaker. This guru with a vision has also demonstrated an uncanny eye for talent, being among the first to recognize and employ the abilities of Jack Nicholson, Peter Fonda, Dennis Hopper, Francis Ford Coppola, Martin Scorsese, Jonathan Demme, Joe Dante, Ron Howard, John Sayles, and James Cameron to name but a few. Through interviews with eighty of Corman’s friends and associates and photographs, Beverly Gray takes you behind the cameras and into the heart of Cormanville for a firsthand, insider’s look at the man and the mogul, providing a compelling private and public perspective on this soft-spoken giant of the cinema.

Roger Corman (b. 1926) is known by many names-craftsman, artist, maverick, schlockmeister, mini-mogul, mentor, cheapskate, and King of the B's. Yet his commitment to filmmaking remains inspired. He learned his craft at the end of the studio system, only to rebel against Hollywood and define himself as the true independent. And the list of directors and producers who learned under his tutelage--Francis Ford Coppola, Martin Scorsese, James Cameron, Jonathan Demme, and many more—is astonishing. Collected here are many of the most honest and revealing interviews of his epic career, several of which have never been seen in print. Roger Corman: Interviews brings into focus a life committed to the entertaining art of motion pictures. Corman's rare talent combined artistic drive with business savvy, ensuring a successful career that was constantly in motion. At a remarkable pace more akin to silent movies than modern Hollywood, he directed over fifty films in less than fifteen years, some entertaining (Not of This Earth), trendsetting (The Wild Angels), daring (The Intruder), workmanlike (Apache Woman), stylized (The Masque of the Red Death) and even profound (X: The Man with the X-Ray Eyes). In a single year, Corman famously shot a cult classic in two and a half days (The Little Shop of Horrors), reinvigorated the American horror film with a dash of Poe and Price (House of Usher)--and still turned out a few more films shot across the globe. Recently awarded an honorary Oscar for his lifetime contribution to cinema, the self-made Corman has created a legacy as a defining filmmaker.

“Delightful . . . an engrossing oral history . . . As an enthusiastic ode to colorful, seat-of-your-pants filmmaking, this one’s hard to beat.” —Booklist (starred review) “Fantastic—a treasure.” —Stephen King Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses is an outrageously rollicking account of the life and career of Roger Corman—one of the most prolific and successful independent producers, directors, and writers of all time, and self-proclaimed king of the B movie. As told by Corman himself and graduates of “The Corman Film School,” including Peter Bogdanovich, James Cameron, Francis Ford Coppola, Robert De Niro, and Martin Scorsese, this comprehensive oral history takes readers behind the scenes of more than six decades of American cinema, as now-legendary directors and actors candidly unspool recollections of working with Corman, continually one-upping one another with tales of the years before their big breaks. Crab Monsters is supplemented with dozens of full-color reproductions of classic Corman movie posters; behind-the-scenes photographs and ephemera (many taken from Corman’s personal archive); and critical essays on Corman’s most daring films—including The Intruder, Little Shop of Horrors, and The Big Doll House—that make the case for Corman as an artist like no other. “This new coffee table book, brimming with outrageous stills from many of Corman’s hundreds of films, looks at the wild career of the starmaker who was largely responsible for so much of the Hollywood we know today.” —New York Post “Vividly illustrated.” —People “It includes in-depth aesthetic appreciations of ten of Corman’s movies, which, taken together, make a compelling case for Corman as an artist.” —Hollywood.com “Outrageously entertaining.” —Parade “Endlessly fascinating.” —PopMatters

Takes a look at a pioneering independent filmmaker who has produced more than 250 films on shoestring budgets (nearly all of them successful) and influenced a generation of filmmakers, including Quentin Tarantino and Martin Scorsese.

"Roger Corman is an ambiguous artistic figure. On the one hand, he is notorious for shooting and producing his films quickly, cheaply and with blatant disregard for safety measures, which, together with his ability to issue a dozen new films every year and his impressive filmography, have earned him the titles of "shlockmeister" and "the King of the B's" among film journalists. On the other hand, he became the youngest American director to be given a film retrospective at the prestigious Cin�mat�que Fran�aise in Paris, one of his directorial efforts - House of Usher - was selected for preservation in the National Film Registry by the Library of Congress, and the Academy of Motion Picture Arts and Sciences awarded him with an Academy Honorary Award "for his rich engendering of films and filmmakers."This book investigates this duality and explores whether Corman is indeed a shlockmeister or an artist whose works are worthy of the highest cinema awards. The scope of analysis is limited to his directorial efforts "only" - still encompassing 50 features - excluding the 400 films he produced. The methodology adopted here is based on the auteur theory in its structuralist version by Geoffrey Nowell-Smith and Peter Wollen, and focuses on three areas of interest: work ethic - personal elements in the films, personal control over and commitment to the production process outside direction; themes - topics and concerns common for many of the films regardless of the genre; and style - recurring stylistic motifs and elements in the camerawork, editing, and framing."

Roger Corman is an ambiguous artistic figure. On the one hand, he is notorious for shooting and producing his films quickly, cheaply and with blatant disregard for safety measures, which, together with his ability to issue a dozen new films every year and his impressive filmography, have earned him the titles of “shlockmeister” and “the King of the B’s” among film journalists. On the other hand, he became the youngest American director to be given a film retrospective at the prestigious Cinématèque Française in Paris, one of his directorial efforts – House of Usher – was selected for preservation in the National Film Registry by the Library of Congress, and the Academy of Motion Picture Arts and Sciences awarded him with an Academy Honorary Award “for his rich engendering of films and filmmakers.” This book investigates this duality and explores whether Corman is indeed a shlockmeister or an artist whose works are worthy of the highest cinema awards. The scope of analysis is limited to his directorial efforts “only” – still encompassing 50 features – excluding the 400 films he produced. The methodology adopted here is based on the auteur theory in its structuralist version by Geoffrey Nowell-Smith and Peter Wollen, and focuses on three areas of interest: work ethic – personal elements in the films, personal control over and commitment to the production process outside direction; themes – topics and concerns common for many of the films regardless of the genre; and style – recurring stylistic motifs and elements in the camerawork, editing, and framing.