Roger Corman

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Roger William Corman (born April 5, 1926)[1] is an American film producer and director.[2] Sometimes nicknamed "King of the B-movies" for his output of B-movies (though he himself rejects this as inaccurate)[not verified in body], Corman has mostly worked on low-budget films. Some of his work has an established critical reputation, such as his cycle of films derived from the tales of Edgar Allan Poe[3], and he has won an Honorary Academy Award for his body of work. Corman is also an occasional actor, taking minor roles in such films as The Silence of the Lambs, The Godfather Part II, Apollo 13 and Philadelphia.

Corman has served as a mentor to many famous directors early in their careers, stressing the importance of budgeting and resourcefulness; Corman once joked he could make a film about the fall of the Roman Empire with two extras and a sagebrush.[4]

Contents

Early life

Corman was born in Detroit, Michigan, the son of Anne and William Corman, an engineer.[5] His brother Gene Corman has also produced numerous films, sometimes in collaboration with Roger. Roger Corman received an industrial engineering degree from Stanford University, beginning his film career in 1953 as a producer and screenwriter. Corman started directing films in 1955.

Career

In Corman's most active period, he would produce up to seven movies a year. His fastest film was perhaps The Little Shop of Horrors (1960), which was reputedly shot in two days and one night[6]. Supposedly, he had made a bet that he could shoot an entire feature film in less than three days. Another version of the story claims that he had a set rented for a month, and finished using it with three days to spare, thus pushing him to use the set to make a new film (These claims are disputed by others who worked on the film, who have called it part of Corman's own myth-building). Although highly cost-effective, Corman's parsimonious approach to filmmaking was not without its critics; Charles B. Griffith, who wrote the original screenplay for Little Shop, later remarked that "[Corman] uses half his genius to degrade his own work, and the rest to degrade the artists who work for him."[7]

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