Roger Corman: 'Fellini, Bergman, Truffaut did not have the necessity of having to earn their money back and so they were free to do what they liked. In the US it’s different.' Photograph: Reed Saxon/AP
Corman was the most cultured and articulate of men. Raised in a middle-class family, he studied engineering at Stanford University and English literature at the University of Oxford. Only a few days into a job at US Electrical Motors, he decided he really wanted to make movies. His favourite films included Akira Kurosawa’s Rashomon and Federico Fellini’s La Dolce Vita. He handled US distribution for films by Kurosawa, Bergman and François Truffaut on release. Twelve years ago, speaking to Xan Brooks at the Cannes film festival, Corman explained why he hadn’t followed his idols into the art house.
For all that, no other producer did so much to shepherd the generation that dominated in the 1970s. Frances Ford Coppola, who worked with Corman in Ireland on the 1963 horror film Dementia 13, later found a role for his mentor in The Godfather Part II. Later on James Cameron, who worked in all fields for Corman – model-making, art direction, special effects – found the experience vital to his development as a maker of epic productions such as Titanic.
Money was also an issue when controversies bubbled up concerning Concorde Anois studios, but it was chatter of sex and violence that caught the media’s attention. The studio at Tully received a start-up grant from Michael D Higgins, then minister for arts, culture and the Gaeltacht, and went on to make about 20 features.
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