roger again. i m forever grateful for the opportunity he gave me. martin made a few small films in the late 60s. people started to pay attention when he does mean streets. i wanted to make films about an area where i grew up. i didn t really see organized crime. i was living in it. he burst upon the scene with a frankness, violence and restlessness to find the rhythms of the streets. that don t feel anything like a movie. mao muhow much money you got? i ain t got nothing. mean streets came out of events that occurred to me and my friends associating with people that can be detrimental. yet, there s love there. the first time you see robert de niro dancing around like everybody else you are like what
filmmakers that came up in hollywood in the 70s really were roger gorman s children. he started making movies for exploitation companies. they were 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 are tired and distracted. doesn t matter. you are shooting. francis 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 will never have to work for me again. i guess i never did work for
charlie: welcome to the broadcast. we ll begin this evening with avatar, the new film by james cameron. it s in 3-d but it s much more. so we start with a conversation with a filmmaker, james cameron. this is a chance to take, the idea was you re going to take the audience to a journey to another world and a journey through that world. a stranger in a strange land. you go to a guy, you go to an alien world and meet an alien culture. this is the goal. i called up this imagery i ve ever drawn over 20 years previously. and it just flowed. it just flowed out, very rapidly and probably wrote the whole thing in about three weeks. charlie: charlie: two critics, david denby and tone owe scott weighed in on avatar and other pieces. ment. as i say everything was color coordinated and movement coordinated and so on. if you look at the end and look at the credits, there are like five different special effects company, not just peter jackson s company in australia but four or fi
charlie: welcome to the broadcast. we ll begin this evening with avatar, the new film by james cameron. it s in 3-d but it s much more. so we start with a conversation with a filmmaker, james cameron. this is a chance to take, the idea was you re going to take the audience to a journey to another world and a journey through that world. a stranger in a strange land. you go to a guy, you go to an alien world and meet an alien culture. this is the goal. i called up this imagery i ve ever drawn over 20 years previously. and it just flowed. it just flowed out, very rapidly and probably wrote the whole thing in about three weeks. charlie: charlie: two critics, david denby and tone owe scott weighed in on avatar and other pieces. ment. as i say everything was color coordinated and movement coordinated and so on. if you look at the end and look at the credits, there are like five different special effects company, not just peter jackson s company in australia but four or fi
charlie: welcome to the broadcast. we ll begin this evening with avatar, the new film by james cameron. it s in 3-d but it s much more. so we start with a conversation with a filmmaker, james cameron. this is a chance to take, the idea was you re going to take the audience to a journey to another world and a journey through that world. a stranger in a strange land. you go to a guy, you go to an alien world and meet an alien culture. this is the goal. i called up this imagery i ve ever drawn over 20 years previously. and it just flowed. it just flowed out, very rapidly and probably wrote the whole thing in about three weeks. charlie: charlie: two critics, david denby and tone owe scott weighed in on avatar and other pieces. ment. as i say everything was color coordinated and movement coordinated and so on. if you look at the end and look at the credits, there are like five different special effects company, not just peter jackson s company in australia but four or fi