and roger corman saw it, or people who worked for roger.nd roger was always looking for new, young talent coming out of universities or anywhere in california. he offered me the sequel. the sequel to bloody mama, which was "boxcar bertha." (john milius) the thing that applied well from student filmmaking to that kind of filmmaking was to make what you had go as far as it was possible, to try and get it to look as much like a bigger film as possible. and to never sit there and say, "i nd more." i'd like to withdraw my entire account. (woman) your entire account? yes, ma'am, the whole thing. (woman) your name? john dillinger. (woman screams) hold it right where you are, this is a robbery. i look at it today and it looks real crude. but i didn't feel terribly constrained when i did it. the things that i liked and wanted to put into it, the sense of the land and the kind of folk tale told in a john ford vista, that's all free, that's there. (woman) johnny! (john milius) you just have to be inspired by "the searchers" or something else good to s