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core everything don did was for his family. whereas, michael, everything he does is about making money and accumulating power. he rationalizes by saying, this is for the family. but ultimately, he destroys the family. this is the product of francis ford coppola. you feel his sensibility. and this is the great revolution of the 1970s. then it became very clear to the studios, if we could have a box office success with the godfather, imagine what else these guys can do if we give them a chance. the whole school of filmmakers that came up in hollywood in the 70s really were roger gorman s children. coreman started making b movies for these exploitation companies. he made movies quickly so they were very, very low budget. suddenly, i had a group from
ucla, sc and nyu of young filmmakers. they learned on the set while directing. working with roger corman, it s like a college. you re tired. you re distracted and everything. it doesn t matter. you re shooting. francis coppola, marty scorsese, ron howard, and me began with roger. the new hollywood is unthinkable without roger. when i was making grand theft auto, he said, ron, you keep doing a good job for me on this picture, and you ll never have to work for me again. and i guess i never did work for roger again. but i m forever grateful for the opportunity he gave me. martin scorsese made a few small films in the late 60s and early 70s. people started to pay attention when he does mean streets. i wanted to make films about