Crap. You’re the one that got that job! You suck Thunder. Really. I was really counting on that.
I have a passion project called THE KEY that we’re getting interest in finally. I’m also attached to a comedy pilot called SHOTS, which is a very funny project by a writer named Nate Price.
Okay, shameless plug for Robbie and I … you can purchase the debut E.P. by the band Quint featuring “The Ballad of Shaknado” and other songs on iTunes …
The idea Zombie Shark has been floating around for awhile, and I think that would be a brilliant movie, but maybe we need to appropriate it for the sequel …
Up to Asylum and Syfy, though I think the sequel should be a theatrical film if they do it. Imagine what we could do with a $10 million dollar budget …
I liked the intent of the agent scene, the problem was it didn’t work in the movie. It literally stopped the film dead in its tracks to do this joke …
The other problem. we had three days of rain when we shot, and we would have had to do more visual effects to keep it in the film because, no rain.
I kept moving where the scene played too, trying to keep it in, but it was one of those things we tried valiantly to make work, but it didn’t.
and you’re afraid of heights …
almost all of the stuff you were yelling was ad libbed … and all of it REAL and from a place of “I’m crapping my pants right now.”
And I blackmailed Robbie to write a bunch of songs with me for the movie. Including the Sharknado theme song …
Here’s the music video
That said, if anything, I would love to go back in and finish off a couple of the VFX shots that we ran out of time on. Like adding the boomerang shark gag where it hits a palm tree and boomerangs and flies into the mouth hollywood sign …
That said, the version on Blu-ray and DVD is a bit different. We had some time to re-color correct a couple of things that bothered me because we ran out of time. We fixed a couple of shots, a few VFX have been updated, etc. etc. In fact, we’re re color correcting as I type this
Someone at the Asylum pointed out that there were a few trims to gore made for the airing. So there’s a tiny bit more gore.
This is as close to a Director’s Cut as you can get. I agreed with the notes the producers and Syfy gave. I was probably more brutal on the movie than anyone else. Ask my editor. We worked late, late nights trying to refine and make this movie work in a small amount of time.
We have a gag reel, which is one of the best Asylum gag reels ever (thank you Bill Boodell – also our editor).
There’s only one official “deleted scene” but it wasn’t worth putting on because we needed visual effects to sell it. That was the agent scene. Remember that Thunder?
you’ve seen the commentary room. Where were you going to sit … in the sandbox? We had three actors and no additional head sets … that, I apologize for. I think we need to do our own director – writer commentary and post it on the web at some point in time for the DVD
I didn’t know about the Land Shark gag, I would have kept that in. You told me about that later.
The skylight was great, but they gave me an outdoor pool.
But come on thunder, a cane. That’s just crossing a line in a movie called Sharknado. You can swallow someone whole, but hitting a shark with a cane. Absolutely ridiculous [I hope people know we're just goofing].
One thing Thunder did write that we had no idea how to shoot because of time and budget constraints, was fin surfing on a piece of debris in the storm.
I actually tried to figure out a way to keep his surf board in the car, so we could have him surfing in the storm (instead of on a piece of debris), but that was too difficult as well.
In the sequel, Fin will surfboard in the storm. It has to happen. Period.
On Hansel & Gretel I had screenwriter Jose Prendes on set every day, so I could personally show him how I was screwing up his script. :)
It was weird not being able to talk to the writer, so when I had questions or had to rework something, I had to make sense of it on my own.
The sequence I had the hardest time understanding was the water over the overpass. Even the actors had a hard time visualizing it, so that was one of the major storyboarded sequences so I could show everyone “this is what we’re doing, this is what it will look like.” But that was one of those scenes I really wanted to talk to Thunder about to understand how he saw it. I even called up the on ramp on google maps to try to get a better visual understanding, because I don’t live on that side of Los Angeles.
Did I forget to say I wanted to punch Thunder?
please ask thunder about the pool blowing up … it originally took place in doors, but we had to change it to the outdoor pool because of location issues.
It was in the script, I knew the network liked it, so I didn’t ask any questions and went for it.
My only heartbreak is that a) we couldn’t get a few more CG sharks to really amp up the tension in the pool scene. and b) that I didn’t kill a retiree in the swimming pool, against my better judgement
I think at some point, the military guy reveals to the scientist that these are actually nuclear sharks and they have chips installed in them to make them ultimate weapons and if they don’t stop them, they will blow up the entire world.
Cue commercial break.
I’m known as the horror guy and I love suspense and tension. And that was really the only time in the movie that I got to play in that sand box.
We built that set in a swimming pool and flooded it. But we could only afford to built certain pieces of it, so the angles we could shoot it were very limiting, because if you moved just to the right you’d see off of it.
Ben Demaree, our DP, was incredibly creative in working with these limitations and I think that scene has an a weirdness to it, because it couldn’t be shot conventionally.
Thunder’s script was already impossible for an 18 shoot, so why not add a ferris wheel derrailing and big shoot out on a boat. Yeah, that’s the smart responsible thing to do to your sanity
and I was very over-protective of showing you the movie until it actually made sense in the edit bay.”
But here’s the thing … both Thunder and I wanted to do something outrageous and impossible to do. Thunder wrote it to punish the director who took it on, and I punished myself for adding more action and insane stuff that technically we shouldn’t have been able to do with the time and budget.
The crew and producers were awesome and without their support and allowing me to go crazy with this bizarre movie, we wouldn’t have ended up with the Sharknado you see.
I think I said, “I want to punch you”
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