Producers Jon Davison and Roger Corman made a bet, and the loser — in this case Davison — had to make the cheapest film possible. How do you keep a film cheap? By reusing as much footage as possible from other films, which explains Hollywood Boulevard's liberal use of the back catalogue of Corman's New World Pictures. What you've got here is an uber low-budget "slasher" wrapped in a viciously hilarious metatextual satire of the exploitation filmmaking world of '70s LA — utilising almost an egregious amount of footage from Death Race 2000, as well as many other films from New World.
It's simultaneously quite a hateful mockery of the film world that this kinda thing is born from, but also a loving homage to the independent exploitation sleaze and drive-in theatre experience of the time. It's also got boobs. A lot of them. And I'm always happy to hang out with my old pals Paul Bartel, Mary Woronov, and Dick Miller, so yeah, I had a good time.
Producers Jon Davison and Roger Corman made a bet, and the loser — in this case Davison — had to make the cheapest film possible. How do you keep a film cheap? By reusing as much footage as possible from other films, which explains Hollywood Boulevard's liberal use of the back catalogue of Corman's New World Pictures. What you've got here is an uber low-budget "slasher" wrapped in a viciously hilarious metatextual satire of the exploitation filmmaking world of '70s LA — utilising almost an egregious amount of footage from Death Race 2000, as well as many other films from New World.
It's simultaneously quite a hateful mockery of the film world that this kinda thing is born from, but also a loving homage to the independent exploitation sleaze and drive-in theatre experience of the time. It's also got boobs. A lot of them. And I'm always happy to hang out with my old pals Paul Bartel, Mary Woronov, and Dick Miller, so yeah, I had a good time.
