Skyline Movie Franchise Mega-Podcast With Series Director Liam O’Donnell

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Voyage. Welcome to watch this tonight. I'm your host, Dan Bettimore.

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I'm a producer, writer of film
and television and now a podcast producer.

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And despite having every streaming service,
I never know what to watch. So

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anytime I watch something good, I
talk about it on the show. This

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way, you'll never have the same
problem I do. I watched this tonight.

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There's always something good to watch.
Let's get started, all right today

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on the show. I am honored, excited, exalted to have on the

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great Liam O'Donnell. Liam is the
director of Skyline two and three and upcoming

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Skyline four. You could say you're
the franchise architect, so to speak,

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and I'm so excited to talk to
you about these films. I did have

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to We're gonna talk a lot about
your artistic, you know, efforts,

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But it occurred to me as I
was thinking about doing this episode. You

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also are a rarity because you are
one of the most small directors of movies.

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I think it's like you and Zack
Snyder, like who else what other

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film directors are just yoked like you. Well, thank you for having me

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on and immediately buttering me up that
I can already tell this is going to

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go great. I was just asking
yesterday, what's the Mount Rushmore of me?

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Ted directors? And if you take
out all the actors that direct you

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know, because that they obviously stallone
you know is going to be, you'd

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be all four of the of the
Mount Rushmore's on his own, you know.

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Yeah, Zack Snyder has got to
be up there. Michael Bay really

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surprisingly defined pectorals, underrated, underrated
um. And he's also a pretty tall

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guy. He's like, he looks
like a jacked great Dane when you see

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him in person, whereas I'm like, you know, five ten ish,

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so not quite the same. Um
imposing, And then you know there's other

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people that I met, like like
Joe Carnahan, who's who's a bigger guy.

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Uh. You know, I don't
think he would ever say he was

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shredded, but he's he's got a
presence. You're definitely if you're at a

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bar fight, you'd love to have
Joe Carnahan on your side. UM.

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So yeah, I don't know that
there's there's definitely. Uh, it's more

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of a thing now for me.
It's just part of the mental health and

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frustration of this business. I know, I can at least go into my

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garage and get something done each day. It's a good it's a good antidepressant.

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Yeah. Yes, um. So, look, I've said this to

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you privately, I happily will say
publicly like, I think what you've done

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with the Skyline franchise, to my
knowledge, is like, seriously like unprecedented

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in film history, Like I can't
think of another franchise where you have a

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first film it's financially successful, but
obviously it was not well received by critics,

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and I think it's fair to say
was not received by a significant portion

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of the audience as well. And
then you make a second film that is

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so well received also critically, which
was fun looking at the critics, like

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a lot of the critics got it. And then a third film and now

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you're going into the fourth film like
essentially like willed your way into a franchise,

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which wasn't necessarily obvious from the way
the first film was received. So

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I was just really interested in that
process of going from the first film to

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the second film, because you know, it's easy for us to say looking

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back at it, but it must
have been a little scary going into it.

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Yeah, I mean, I guess
one of the ones that people compare

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us to are the Undisputed films,
which is a high, very high praise

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to me. But the first Undisputed
is directed by Walter Hill. And even

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though it's a really good movie and
I think, um, so, it

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doesn't it's not quite the one to
one that you're talking about there. And

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so the first movie when it was
in post, you know, it had

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it had so much excitement. Obviously, you know, a studio doesn't spend

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you know, upwards of thirty million
on PNA if they don't like the movie.

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So they did ask us to develop
a sequel before it even came out,

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and so we had done some brainstorming
on it, and it wasn't so

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far off from what ended up being
Beyond Skyline. But we actually, i

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mean we got to a place where
we actually met, um, you know,

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with an actor to play Mark,
and we're going to set that character

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of the characters of Mark and Trent
up in the first movie as going down

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into the subway. And so it
was it was Josh Holloway. Um this

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was right right around the end of
Lost, and he came over to Hydraulics

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and um, you know, had
had a great meeting, but it was

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like, literally, I think that
might have been either August or September in

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the movie coming out in November,
and so it just became too hard to

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swing. And and I also would
have probably been really strange to be like,

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why is Josh Holloway in this for
a scene and then he's just never

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back in the movie? Uh in
the beginning? Um so so. Yeah,

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there were thoughts then, and obviously
once the movie came out, the

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like you said, the reception was
was fairly negative from critics and audiences,

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even though it made a lot of
money in some territories, astonishing amount of

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amounts of money, like Russia in
particular and in China and so um.

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You know. One theories of that
is that like you know, I think

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to to more criticize myself than any
other part of it. You know,

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maybe the writing just translates a little
bit better to other languages. Um so.

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Um. The the it made enough, like you're saying, but there

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was not that like, oh,
everyone wants more excitement. So you know,

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we would have a few meetings within
the first year or so and it

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would come up and we still had
the treatment that we had developed before the

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Skyline came out, so we still
had this I want to say, probably

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you know, twelve to fifteen page
treatment that I think read more like a

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forty to fifty million dollar movie and
a forty or fifty million dollar movie compared

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to the first Skylines ten. So
you know that that was a big,

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action packed kind of extravaganza and it
and it ended up going in the instead

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of crashing into Ajia, crashed down
in New York and we because that's where

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the characters came from in the first
one. So it's much more traditional,

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I think in some ways. And
so I think it was probably around twenty

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thirteen. It felt like I started
to feel like all the other projects that

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we were developing, and I've been
spending a ton of time both as a

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writer and a producer on some other
objects just didn't feel like they had momentum.

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And so I kind of parlayed a
few things and said, you can

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have this project to the Brothers because
there was one that Warner Brothers was interested

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in. They actually ended up optioning
called Alien Arc, which was a pretty

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great concept that I had come up
with with with Greg Strous at Hydraulics.

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It was just pretty much just you
know, a big alien zoo ship gets

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shot down and on Earth and all
the different creatures kind of spill out all

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over the Earth, and so you
could kind of do Planet Earth style stuff

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with all these aliens all over Earth. But it was one of those concepts

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that could have like a million different
pitches to it, and no one seemed

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happy with at any entry point.
And so we chased our tails on that

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for years. And I knew that
the studio wanted to bring in and you

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know, a writer with a bigger
pedigree than me. So I kind of

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said, well, you guys can
take that to the studio and go another

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writer. I'm going to go and
I'll just write out the script for for

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Skyyline too. But if I do
that, I'd really like to direct it.

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And so they were like, yeah, sure, okay, like kind

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of I don't think they kind of
thought it was going to happen. It

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was a nice deal to make at
the time, I guess, And and

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so I wrote that in twenty thirteen. Other things kind of got distracted.

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Around twenty fourteen, it was like, Okay, we're actually going to you

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know, bring this to market and
see what happens. And I think just

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because of the time passing and the
fact that the first one continued to make

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money on DVD, and and at
that point we had signed an early deal

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with Netflix, so it was on
the early streaming like instead of going to

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the HBO window, it went right
to Netflix, which is part of Relativities

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kind of groundbreaking deal with Netflix at
the time. So it had been on

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Netflix for three years, so a
lot of people got to see it because

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there wasn't a huge library back then. This would be like around two thousand

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thirteen, twenty eleven two, around
twenty thirteen, and then it started playing

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on Sci Fi Channel and like Spike
TV and stuff like that, and so

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that was a lot of fun.
Like seeing it again with the ad breaks

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in, I felt like I was
like, Oh, this is the Saturday

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morning sort of version of this movie
that that was it was always meant to

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be. It's not some big blockbuster
that was gonna, you know, pack

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audiences into the theater and send everybody
out with a big smile on their face

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because it's it's weird and it's got
a down or ending and stuff like that.

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So I thought seeing it on I'm
not sure if it was Spike or

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sci fi was one of the moments
where I was like, Okay, I'm

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really gonna gonna start, you know, pushing on this. And so flash

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forward to around twenty fourteen. We
end up did taking it to cann and

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it sold. It pre sold really
well, and that was without any actors

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attached. Matthew Chouse kind of came
on to produce at that point, and

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that's when we made the press I
had. I've been targeting Grillout for like

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a year and a half. I
already wanted him for that role at that

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point, and uh and so we
you know, we reached out to him.

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I wrote like a very uh,
probably overly earnest and which just was

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a lot of me on that movie, just being like, this is the

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this is my life, you know, got to take a big swing,

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wear my heart on my sleeve type
of thing. And he responded to it

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and we zoomed and um and and
it was it kind of kind of hit

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it off from there. I think
the last thing you said is so critical

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and I really felt it watching Beyond
Skyline, like like it's it is felt

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from minute one to the end of
the movie that you are pushing all the

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chips in and you're like, I'm
fucking putting everything I could possibly put it

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in this movie. Even from the
title coming up, it's like beyond Skyline,

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it's like bright now like the rockiest
thick kind of takes in and right

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away you're sort of put in a
mood. I thought it was hilarious.

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This is just obviously just a coincidence. But even the credits, there was

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a guy whose credit was John Duke
Dukasney, and I was like, even

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the credits are fun. And then
we get into and I want to also

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compliment you as a writer because within
the first three minutes you meet Frank Grillo.

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He's in a pickup truck. He's
drinking mouthwash, presumably to conceal the

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smell of liquor on his breath,
before he goes into the police station.

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His son's in trouble, and he
tells the cops block him up, like

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fuck him blocking him up, he
needs someone a lesson, before reluctantly accepting

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the favor of them releasing him.
And those that little sequence of events in

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the first couple of minutes was that's
got me in emotionally on Frank and his

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son. And so once I'm inemotionally
and it's sort of there's a great bit

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which feels very much like actual Frank. I love his documentary series on Netflix

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where he finds out his son broke
this guy's jaw with one punch and you

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can see that he's sort of like
impressed and like sort of proud and all

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these little things with him in the
beginning. So you're in on him emotionally

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and with his great strength. Is
it Frank always feels like a real guy,

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right, He feels like a real
person. He doesn't really feel like

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an actor. And that's essential for
this movie, which is absurd obviously,

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like people's brains are getting ripped out
and shit. And so because you have

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that emotional grounding in with him,
then you could kind of take the journey.

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And literally I just started writing notes
of just things happening and how quickly

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and insanely they happen. We have
a brain and get ripped out. Well

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before before you jump into that,
Yeah, I do just want to say

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that that was really a lot of
it was all there, But that was

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the stuff that I talked with Frank
and got the most notes from him in

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the movie. Even even I think
the mouthwash might have been his idea,

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because I think we had the he
was like, no, you know,

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from personal experiences, not that,
oh yeah, mouthwash. And then you

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know, we had him sip alcohol. But it was better in the edit

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to take that out and just do
the mouthwash and it's a little bit more

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clever. But then even within the
edit, it was tricky because, um,

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you know, a lot of the
times Frank is pretty dialed in into

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the choices that he wants to make. You know, he shows up with

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the script with all these notes and
kind of pre engineering his performance into the

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scenes. But in these scenes,
especially in the first act, he did

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give like we he tried a little
bit different things, and there were takes

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where he was like really hard on
Johnny who played Trentum, and they were

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so good that I used them on
the first cut. But then I realized

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when I screened with people that it
was like it was too much. You

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know, it was like it was
a different movie. It was sort of

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like, um, you know his
show. It was just like fucking wait,

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what's going on? Like he's just
he's like and so finding that you

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know, that balance of like how
real and dramatic can it be? Upfront?

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So like you're saying, it hooks
you in emotionally without its suddenly feeling

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like it is, you know,
like a straight up drama that puts you

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in a different headspace. So yeah, that that is the most um I'd

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say, like frank part of the
movie in a lot of ways. And

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and so then it becomes more me
as it goes. What's Yeah, that's

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what's great about it is that it's
like, all right, we're gonna give

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you some grounded stuff to kind of
get you into it, and then it's

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just gonna go absolutely bananas. So
I literally wrote down twenty one minutes in

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we get a brain ripped out.
Three minutes after that, Jacob Vargas gets

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swallowed by like a giant alien foot, twenty six minutes in, We're in

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an alien ship. Thirty five minutes
in Grillos becoming friends with one of the

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aliens, and we learned it as
a machine with a human brain inside of

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it. Thirty seven minutes in Grillo
delivers a baby inside the spaceship and now

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he's whole. It's a hard boiled
on the spaceship exactly. It was hard

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not to write notes like every two
minutes, and that speaks to again this

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idea that that's the thing that I
want to stress. If anybody's listening this,

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by the way, it's not Seeing
Beyond Skyland, like immediately go watch

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it because the thing is, it's
so fun because it is just stuffed to

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the steam to the seams. There's
like every two minutes you're like, what

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that and it's and you can't fifteen
minutes in, just when you thought like

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this couldn't get more fun. If
you're a film and action nerd, eco

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waste shows up and then yeah,
yeah shows up and I this is actually

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probably the best comment I can give
you. So I'm watching it. I've

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seen the movie before. I'm watching
its Prepare to Talk to You today,

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and my wife has taken a nap
on the couch and she wakes up and

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she's like, hey, don't you
have to take my daughter? My daughter

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to taekwondo. I'm like, fuck, I completely lost track of time.

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I that's so sucked into it.
Again. I've seen it before. I

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know everything happens, but it's just
it's like a ride, like once you

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get on it, there's no there's
no pea break, there's nothing to there's

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no slowdown. No, and well, thank you. And it's funny because

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I remember Sean Albertson, who you
know, is like Stallone's editor, who

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came on to do the last pass
of the movie. And when he first

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said, he was just like your
first act as a third act, what

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are you doing? He was like
he was so frustrated, and I was

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like, you just gotta go with
it, and we eventually became really great

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friends over this process, but he
was definitely like, like, this guy's

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a fucking maniac. And and and
what you said about echo, like that

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was another thing in the edit of
there was a version where it opened with

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echo and then did the flashback,
which was kind of what the opening of

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the First Skyline is is that it
opens kind of in a flash forward and

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then goes back very much just ripping
off lost, which you know, it

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was obviously obsessed with around the time
of the First Skyline. UM. So,

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so that was like it worked,
but at the same time, there

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was something lost with it. Um
it never quite never quite was what it

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wanted to be, but I think
it would have. There's certain people that

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kind of bump when all of a
sudden martial arts happened, so to start

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the first scene with the martial arts
fight with echo and the helmet and stabbing

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the guy in the neck, you're
kind of like, hey, there's gonna

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be martial arts in this movie.
So I think there's some people that that

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have those OCD type brains would have
probably liked that version better. But I

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think it's just a little bit more
fun to just be like, wait,

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what's happening the movies evolving and and
you know, you didn't tell me that

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people could you know, do martial
arts in this film, and that like

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you're talking about like drug cartels,
like it's just it's bonkers, um,

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you know, and it is.
It is also like you're saying, I

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kind of think it's even crazier in
hindsight that critics kind of went along for

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the ride, or at least enough
them did, because I think the movie

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is more fun once you get to
know me, Like I think, I

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think now that I wasn't really kind
of out there that much. I didn't,

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you know, do podcasts. I
didn't obviously have my own podcast to

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actually for everyone. But I feel
like if you know me and then you

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watch the movie, it's actually quite
funny. But if you don't you're kind

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of like, what the hell is
this tone? What's going on here?

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So it is one of those things
that I'm like, I'm glad that enough

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people just gave it the benefit of
the doubt, which everyone was very surprised

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by. Like we thought, we
thought that the critics were going to,

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um, you know, tee off
on us again. Um. You know,

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I was very much hoping that that
that people could could get it,

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But you know, I didn't have
a ton of a ton of hope that

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that it definitely exceeded, you know, my expectations that enough people kind of

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caught the wavelength. Yeah. I
mean there's a point in this movie where

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you have equal waste, Yonryan and
Frank Grillo and they're all having a knife

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fight with giant aliens. And I'm
just watching it with like a grant on

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my face, Like if this if
you or somebody likes movies and this does

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not make you happy, I don't
know what to tell you. Man,

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This is as good as it gets. Like it's and I think that I

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suspect for critics, and I think
actually your choice to not have it at

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the beginning was important because what happens
is again it's like you start from a

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place of relative reality, and then
it just keeps getting more and more and

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more insane, and by the end
of it's like drunk on movies. By

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the end exactly, there's a kaiju
fight basically at the end of this movie,

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right, yeah, you know,
I think you're it's you're right,

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and I could I could never understand. I could never. I'll be honest,

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I wasn't sure if it was the
right choice, you know, for

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a long time, because you'd see
that. But I do think, um,

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you know, there's still it's still
one of those movies that if someone

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gave me, you know, one
hundred grand to go back and tinker with,

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I still would because there's little things
because I I did it so many

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times that I'm like, I would
still make a special edition. But I

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ultimately every time I watch it,
I'm very very happy, and I do,

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like, I do have a big
grinner across my face because it at

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least is a very honest snapshot of
who I was at that time and what

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I love. So you know,
that's why, and I think that's that's

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one of the toughest parts about this
business is and one of the reasons why

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I'm so grateful for that opportunity is
because I mean, you know, there's

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there's certain jobs and certain things you
do that by the time you're on the

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other side of it, you're like, that isn't even anything close to what

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you know, I wanted to do. That wasn't it's not even close to

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the initial spark of what got me
excited to sit down to write this in

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the first place. So the fact
that that one kind of is uh,

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you know, still still does,
you know, be proud of it.

294
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Yeah. I mean, of all
the movies I've worked on, the only

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two that I can still even watch
are the two that I knew of my

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cousin, because you know, it
was me and my cousin. We made

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them as as cheaply as we could, and we had total creative control,

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and we have like a mind meld. Is actually hilarious. We screened it

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for an audience at the theater,
the first one we did, and he

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had put a post credits scene in
and I had seen the movie probably like

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seven times, but I had never
watched the post credit scene because I always

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stopped when the credits started. And
it wasn't until I saw it in the

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theater that I saw the post credit
scene, which I had not written.

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My cousin had had come up with
it on his own and put it in,

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and it was exactly the type of
thing that I would have put in

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had I thought of it. And
so it's it's so rare. I mean,

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the overwhelming majority of movies that at
least I've been involved with, I

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can't even look at them because you're
just you just watched some upset about all

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the things you would have done differently, and all the you know, challenges

310
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that you couldn't figure out, and
the budget issues to schedule issue. You

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just can't see anything other than that. So when you have a movie that

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you made, you put out and
you can still watch, that's a huge

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yeah. And and and and when
when there's a ton of visual effects,

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and like in the case of Beyond
Skyline, one of the reasons was it

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was, you know, it was
so ambitious and we didn't have really the

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budget to do everything that we wanted
to do, so we're kind of like

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we'd go on these hiatuses where we
would wait for hydraulics to finish the effects,

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so you know, you could just
endlessly tinker while you're waiting like another

319
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six months. So when when you
see that it was in post for two

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plus years, it's it's not really
because it took two years to figure it

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out. It was just, you
know, they had other jobs that were

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actually paying, and we were the
one that was like the drain on the

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company, so we had to wait
until those were delivered to get our shots

324
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and then keep going and going,
and then you know, things take so

325
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long, and you're watching you know, green screen stuff, and it's like

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that's not going to work, so
you just keep crunching and crunching it down.

327
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So in some ways it was it
was like the real film school for

328
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me because because it was such a
long period and I had to stare at

329
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it for so long, and I
feel like I kind of made the movie

330
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three times that I felt like when
I went on to do the third one,

331
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it was a much more efficient process
and there was a lot more stuff

332
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that I kind of I would even
reshoot as I was going, because I

333
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realized I didn't get that, you
know, and I didn't have that instinct

334
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as the first time director. I
was like just so happy that I would

335
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finish anything on schedule or have anything
in the can. I mean the first

336
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day of shooting anything as a director
was the fight between Frank Rillo and Echo

337
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Eyes and just the fact that like
that was in the can. I was

338
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like, I have directed a fight
with Echo and Frank. Like the first

339
00:23:52.160 --> 00:23:53.079
day, I was like, they
can't even take no, one can take

340
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that away from me. So I
was like, every single little bit of

341
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progress, I was just like holding
it to my chest, like please,

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00:24:00.039 --> 00:24:03.559
it's precious. I'm just so happy
that I got it. So I think,

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you know, the then then having
such a long post period and being

344
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a lot more let's say, um, you know, holding myself more accountable

345
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for what for what the work was
and what I needed to make edits work.

346
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I felt like in the third one, I was like, Okay,

347
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I'm doing way too much handheld I'm
doing too many moving masters handheld because I'm

348
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so insecure on my blocking and my
staging that I think if the camera's moving

349
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around, then the energy is going
to you know, take care of all

350
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this stuff that I you know,
I don't know what the fuck I'm doing.

351
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So I just was like, that
was a lot of what my solutions

352
00:24:45.200 --> 00:24:49.480
were in beyond Skyline, and I
had this amazing DP in Christopher Probes,

353
00:24:49.519 --> 00:24:55.240
who came up doing like Boomtown,
the television show. So he was this

354
00:24:55.319 --> 00:25:00.039
amazing handheld operator. So it makes
sense to you know, rely on the

355
00:25:00.039 --> 00:25:06.119
strengths of your collaborators. That's what
makes each movie different. And in the

356
00:25:06.200 --> 00:25:12.160
third film, Skylines, which we
filmed in Lithuania, my cinematographer was a

357
00:25:12.279 --> 00:25:18.599
great French cinematographer name Alan due Planeteer
who was not a handheld guy at all.

358
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He was an excellent dolly operator,
and so it kind of was like,

359
00:25:22.839 --> 00:25:26.799
Okay, I'm seeing what to work
with. And then I got used

360
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to, I think from an indie
LA guy that you know, I just

361
00:25:32.200 --> 00:25:37.319
called myself an LA guy Massachusetts killed
myself. But I didn't make films in

362
00:25:37.359 --> 00:25:41.400
Massachusetts, you know, Like I
started doing that when I moved to LA

363
00:25:41.480 --> 00:25:45.119
and we would work on like twenty
four p and we would do you know,

364
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music videos and local cable commercials,
and it was always sort of run

365
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and gun, go as fast as
you can because you have no money.

366
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So I think that was again that
sort of like handheld vibe. And and

367
00:25:55.799 --> 00:26:00.799
I remember breaking out the dolly for
like the lab scenes in Beyond Skyline,

368
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and I was all nervous, like, oh, we're going to fall behind

369
00:26:03.359 --> 00:26:07.559
schedule. Dollies in my mind were
money and slow and uh yeah. So

370
00:26:07.599 --> 00:26:12.000
in the third one, when when
I actually got comfortable with that, I

371
00:26:12.079 --> 00:26:17.480
realized how efficient and and great it
can be, and that if you you

372
00:26:17.519 --> 00:26:21.720
really pick the right line of where
to set the dolly up in a scene

373
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that you know, you can get
um, you know, six setups done

374
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without even changing the track and um, you know you're punching in on the

375
00:26:29.480 --> 00:26:33.200
lamps three times in each direction,
and you can find all these details and

376
00:26:33.319 --> 00:26:37.599
you can get more reaction shots and
close up shots. Which I think that's

377
00:26:37.599 --> 00:26:41.720
a big difference between two and three
as well as at two because I'm I'm

378
00:26:42.400 --> 00:26:47.279
running through everything, is that there's
not like a like really good, like

379
00:26:47.400 --> 00:26:51.039
check in with the actor like moments
when big things happen. It's all just

380
00:26:51.400 --> 00:26:56.160
chaos. And so that was that
was something that I tried to really address

381
00:26:56.240 --> 00:27:00.519
in the third one, to really
get those kind of you know, close

382
00:27:00.599 --> 00:27:03.400
up moments whenever something bad is happening. And it was just sort of that

383
00:27:03.480 --> 00:27:07.000
like you know, check in with
rows, check in with your leads,

384
00:27:07.039 --> 00:27:11.599
and and you know, I kind
of go back to Jurassic Park. Like,

385
00:27:11.839 --> 00:27:15.160
you know, everyone always talks about, you know, seeing the dinosaur

386
00:27:15.200 --> 00:27:19.000
for the first time, but the
thing you're really reacting to is are the

387
00:27:19.039 --> 00:27:23.440
actor's reaction shots. No one actually
really remembers the dinosaur. It's kind of

388
00:27:23.440 --> 00:27:30.039
a blurry Bronzaurus. It's pretty good. But Spielberg's reaction shots and the performances

389
00:27:30.039 --> 00:27:33.359
that he got out of them,
those are what actually I think of when

390
00:27:33.400 --> 00:27:37.000
I think of that scene totally.
I'm going to jump into the third one

391
00:27:37.079 --> 00:27:40.920
before we do, I do want
to talk about I think it absolutely epitomizes

392
00:27:40.960 --> 00:27:42.319
the tone of the second one.
At the end of the second one,

393
00:27:42.359 --> 00:27:48.559
we smash cut to credits of bloopers
and it's it's your name, and it's

394
00:27:48.559 --> 00:27:51.319
like, I forget what it was
exactly, but it was one of the

395
00:27:51.359 --> 00:27:56.000
guys the aliens who like tumbling over
something like your name across the screen.

396
00:27:56.359 --> 00:27:59.640
And I just absolutely love that choice
because again, it's like even to the

397
00:27:59.759 --> 00:28:03.839
end, it's still so fun and
not taking itself too seriously and all that

398
00:28:03.880 --> 00:28:07.799
stuff, well that was part of
the again, like insecurity, like is

399
00:28:07.839 --> 00:28:14.079
this is this going to be taking
itself too seriously? Which you know,

400
00:28:14.160 --> 00:28:18.039
I think you could level against the
first movie, which I felt like,

401
00:28:18.519 --> 00:28:22.680
Um, the co writer Joshua Cordis
and I are a little bit more sarcastic

402
00:28:22.839 --> 00:28:27.119
people, and there's even sarcastic line
reads in the first movie that we weren't

403
00:28:27.480 --> 00:28:33.200
directed that way and they're kind of
like very straight up and it's not quite

404
00:28:33.200 --> 00:28:36.920
I you know, I'm not saying
that the script was perfect. It could

405
00:28:36.960 --> 00:28:41.640
definitely all the scripts. It's not. I think I'm a better director than

406
00:28:41.920 --> 00:28:44.359
than a writer, but I like
my writing. I can't help it.

407
00:28:44.680 --> 00:28:48.319
Uh, And so you know,
like I think there was there was that

408
00:28:48.599 --> 00:28:51.599
a little bit, but it really
just because you know, we're working on

409
00:28:51.640 --> 00:28:55.640
the DVD and we just caught a
blooper reel and it was supposed to just

410
00:28:55.680 --> 00:28:59.839
be an extra on the DVD,
and it ended up being so funny because

411
00:28:59.839 --> 00:29:04.039
we had so much shit of the
Jeremy Fitzgerald, our our stunt performer falling

412
00:29:04.079 --> 00:29:07.599
over in the stilts. I mean, slapstick comedy. It's just always going

413
00:29:07.640 --> 00:29:12.359
to work. So we ended up
cutting it together. The hydraulics v effects

414
00:29:12.440 --> 00:29:18.039
editor Chad van Horne and I and
everyone thought it was so funny, were

415
00:29:18.079 --> 00:29:18.799
like, you just got to put
it at the end of the movie and

416
00:29:19.880 --> 00:29:26.400
um, and yeah, it kind
of just it totally worked in in in

417
00:29:26.799 --> 00:29:30.720
selling the vibe of like this that
everyone involved was having a good time and

418
00:29:30.759 --> 00:29:34.880
that this was you know, coming
from a from a place of fun and

419
00:29:36.000 --> 00:29:38.880
uh. And so one of the
bloopers, Frank, I think he trips

420
00:29:38.880 --> 00:29:42.400
again the guy who's playing the monster, and he's right, because you're the

421
00:29:42.440 --> 00:29:49.160
worst like alien I've ever seen guys
Like it's hard man. Yeah, and

422
00:29:49.200 --> 00:29:52.039
the two of them got along,
um, really well, you know,

423
00:29:52.160 --> 00:29:57.640
like most of the the stunt guys, Uh, they worked on something previously.

424
00:29:59.240 --> 00:30:02.680
Um, and so yeah, they
actually they hit it off, and

425
00:30:02.720 --> 00:30:07.240
that was that was a big benefit
because um, you know like that those

426
00:30:07.240 --> 00:30:12.839
are some of the days where I'm
behind the monitor and you know, I

427
00:30:12.880 --> 00:30:17.000
think it's funnier than Frank does,
and he's like why is he laughing?

428
00:30:17.359 --> 00:30:19.400
And I'm like, I'm not laughing
at you, but like you're you know,

429
00:30:19.559 --> 00:30:22.680
this like New York Italian dude on
the spaceship with a baby in your

430
00:30:22.680 --> 00:30:26.799
hand and you're talking to an alien
like it's it's it's funny on itself.

431
00:30:26.839 --> 00:30:30.119
But if I let him know that
it's funny, then it won't be funny,

432
00:30:30.240 --> 00:30:32.680
no, no, so he has
to pay, he has to play

433
00:30:32.720 --> 00:30:34.480
it straight. So he's kind of
like, what's this guy doing? So

434
00:30:34.519 --> 00:30:40.119
I got like good at like hiding
my mouth and and and trying. Like

435
00:30:40.119 --> 00:30:42.400
I said, I was such an
earnest puppy on that movie, just my

436
00:30:42.480 --> 00:30:45.680
tail wagging all the time. And
I was like, I gotta I gotta

437
00:30:45.759 --> 00:30:48.880
keep that a little bit to myself. You would have had no problem.

438
00:30:48.880 --> 00:30:52.440
You would never know. I know
that would have been that, that would

439
00:30:52.440 --> 00:30:53.759
have been ideal. But it is. It is a little bit like yeah,

440
00:30:53.799 --> 00:30:59.440
once once the and and and we
had this on the third one as

441
00:30:59.440 --> 00:31:03.200
well. With is that she was
kind of like what are you doing the

442
00:31:03.200 --> 00:31:07.720
first two days because everything's super serious, and then once she kind of like

443
00:31:08.400 --> 00:31:14.839
got it. It was then she
starts adding her own one liners and and

444
00:31:15.200 --> 00:31:19.960
kind of but she never she never
played it like comedic. She she understood

445
00:31:21.000 --> 00:31:26.319
that like it's it's not parody,
like it's not a fucking Sharknado movie,

446
00:31:26.119 --> 00:31:30.920
but it's not a comedy. But
also like you can't treat this like it's

447
00:31:32.039 --> 00:31:36.960
the like you know, like this
the super super serious drama. Either there

448
00:31:37.000 --> 00:31:41.000
has to be this sort of fine
line and it's not even the tongue in

449
00:31:41.079 --> 00:31:42.279
cheek. It's like the tip of
the tongue. It's just a little bit.

450
00:31:42.880 --> 00:31:47.960
And so it takes a while to
find that with each actor. And

451
00:31:48.240 --> 00:31:49.759
um, so yeah, Rona the
first day, which is like in the

452
00:31:49.880 --> 00:31:52.960
third one, you know, her
first day is the stuff at the beginning

453
00:31:52.960 --> 00:31:56.519
of the movie when she's in the
lab, and then you can kind of

454
00:31:56.559 --> 00:32:00.960
see by as the movie goes on, she starts like grabbing people's cigarettes and

455
00:32:00.000 --> 00:32:04.440
smoking them, and she's she's kind
of she loosens up, and by the

456
00:32:04.559 --> 00:32:07.960
end she's like pitching me one liners
and asking me. She's like, shouldn't

457
00:32:07.960 --> 00:32:08.960
I say something at the end of
this And I was like, you know,

458
00:32:09.039 --> 00:32:12.720
I had a one liner, but
I deleted it because it was too

459
00:32:12.759 --> 00:32:14.359
cheesy. And she's like, give
it to me. And I'm like,

460
00:32:14.680 --> 00:32:16.920
you know, no respect for science
and she's like, I love it.

461
00:32:16.920 --> 00:32:21.319
It's a lot more line I can
do that, And so yeah, it

462
00:32:21.440 --> 00:32:24.720
is all about kind of finding that
with each with each movie, with each

463
00:32:24.720 --> 00:32:29.359
actor. What's so cool as you
go from the second movie to the third

464
00:32:29.400 --> 00:32:32.880
movie, Right, So the first
movie obviously is very very the scope of

465
00:32:32.880 --> 00:32:37.160
it at the beginning is very small
and real, right, we're in this

466
00:32:37.240 --> 00:32:42.119
building on second movie immediately is insane, but we're still sort of earth bound,

467
00:32:42.359 --> 00:32:45.880
right. And then the third movie, now we're in like Star Trek,

468
00:32:45.039 --> 00:32:50.839
Star Wars, Starship Troopers. Right. It's it's almost like each movie

469
00:32:50.920 --> 00:32:53.920
is its own different genre. And
that's part of why I'm so curious what

470
00:32:53.920 --> 00:32:58.240
you're gonna do with the fourth movie. But it's cool because you go in,

471
00:32:58.480 --> 00:33:01.440
you turn on the third movie,
and you know, it's like the

472
00:33:01.480 --> 00:33:06.519
promise of the end of the second
movie you immediately delivered, like we're in

473
00:33:06.599 --> 00:33:10.839
space. It's spaceships everywhere. We're
going for it. And and also great

474
00:33:10.839 --> 00:33:15.920
casting. You have Alexander Sadiq who's
like way overqualified. It's like Ben Kingsley

475
00:33:15.960 --> 00:33:17.759
basically is in the movie, right, this guy could be doing like king

476
00:33:17.839 --> 00:33:22.839
Lear and and you have all these
great actors, and then you're you are

477
00:33:22.880 --> 00:33:27.720
doing something which I have to assume
is on one twentieth of the budget of

478
00:33:27.759 --> 00:33:31.799
a Star Trek movie or maybe one
d um you're doing in between those two.

479
00:33:31.920 --> 00:33:36.960
Yeah, I mean it's really small. Um. I never I always

480
00:33:37.000 --> 00:33:43.440
try to answer this honestly to people
because I'm shown like versions of numbers,

481
00:33:43.440 --> 00:33:47.240
but I don't have any real like
concept of what is actually being done.

482
00:33:47.279 --> 00:33:51.599
I just in my head, I
have this calculus of like what I know

483
00:33:52.599 --> 00:33:57.880
we can and can't do and how
to execute it. But the actual numbers,

484
00:33:57.960 --> 00:34:00.839
like you know, they everyone could
be lying to me. I don't

485
00:34:00.880 --> 00:34:05.200
know. I just do the best
I can with what I have. There's

486
00:34:05.200 --> 00:34:09.639
a part in the third one,
so it's basically like um aliens start Trooper

487
00:34:09.760 --> 00:34:13.679
some StarCraft. I don't know if
you're a StarCraft nerd like me, I

488
00:34:13.679 --> 00:34:17.480
don't know StarCraft, but definitely,
I mean, look, part of the

489
00:34:17.480 --> 00:34:23.480
reason for that one was, which
is it's pretty incredible. I still can't

490
00:34:23.559 --> 00:34:28.880
really believe that one exists. You
know, that we're able to do a

491
00:34:29.000 --> 00:34:34.760
third movie without really any of the
major actors from the second one coming back.

492
00:34:35.480 --> 00:34:38.199
You know, Lindsay wasn't in the
original cut of Beyond Skyline. It

493
00:34:38.360 --> 00:34:44.400
was something that you know was working
when when Sean came on and we recut

494
00:34:44.440 --> 00:34:45.760
it, and it was like,
you know, it would be great to

495
00:34:45.880 --> 00:34:51.519
have, like everyone wanted to know
what happened to this little girl because if

496
00:34:51.519 --> 00:34:53.480
they just walk off into the sunset
at the end, which at the end

497
00:34:53.480 --> 00:34:58.159
of the Temple Battle of Beyond Skyline, which was the original ending. People

498
00:34:58.199 --> 00:35:00.360
are like, is she gonna wither
away and die in the next twenty four

499
00:35:00.400 --> 00:35:05.000
hours? Like she she grew you
know, three years and three days or

500
00:35:05.000 --> 00:35:08.079
whatever. So it was like,
Okay, I've got to answer some questions

501
00:35:08.159 --> 00:35:12.840
and put people at ease because we're
asking you to care about this little girl

502
00:35:12.880 --> 00:35:16.519
and then you know, we're not
giving anyone assurances there. So that's where

503
00:35:17.079 --> 00:35:22.519
that wrap around for Beyond Skyline came
from. And I was a fan of

504
00:35:22.559 --> 00:35:27.159
the one hundred and I just kind
of was like but it was also because

505
00:35:27.159 --> 00:35:30.159
I had already shot the little girl. I needed someone that had the same

506
00:35:30.440 --> 00:35:36.320
you know, big brown eyes really
and so I was going through IMDb and

507
00:35:36.360 --> 00:35:37.360
I was like, oh, yeah, that that girl from one hundred.

508
00:35:38.480 --> 00:35:44.800
She I feel like she not only
does she have the same look as this

509
00:35:44.840 --> 00:35:47.679
little girl that you know that I've
already shot, is she's got a weird

510
00:35:49.519 --> 00:35:52.480
energy. That weird's not the word, but it's like this authentic energy that

511
00:35:52.559 --> 00:35:55.800
fits with Frank. I can't I
couldn't explain it, but I just felt

512
00:35:55.840 --> 00:36:00.840
like they they fit together, and
so, you know, you know,

513
00:36:00.960 --> 00:36:04.719
sent her like a trailer of the
finished movie, like, Hey, do

514
00:36:04.760 --> 00:36:06.920
you want to be in this Frank
Grilla movie. We're gonna shoot for a

515
00:36:07.079 --> 00:36:13.719
day in Gardena at Hydraulic Studios.
And so she showed up and I didn't

516
00:36:13.760 --> 00:36:15.559
know at the time. She told
me afterwards that she had did food poisoning

517
00:36:15.599 --> 00:36:19.519
the day before and so she was
really, you know, out of it,

518
00:36:19.559 --> 00:36:24.800
but total trooper. And I loved
her energy with the alien when they

519
00:36:24.800 --> 00:36:29.559
were interacting at the end of the
movie and had their kind of their banter,

520
00:36:29.679 --> 00:36:32.559
and I felt like, again trying
to access tone, I felt like

521
00:36:32.599 --> 00:36:36.840
she got the tone right away,
and I was, Oh, wow,

522
00:36:36.960 --> 00:36:39.719
that that could be something. And
now I'm writing for Gregg and Colin Straus,

523
00:36:39.800 --> 00:36:44.440
who are the owner's Hydraulics. They're
like the two biggest Aliens fans in

524
00:36:44.480 --> 00:36:46.159
the world. So I'm like,
Okay, how am I going to convince

525
00:36:46.199 --> 00:36:52.960
these guys to pay for, you
know, another script and put their money

526
00:36:52.039 --> 00:36:58.639
behind another project. I'm gonna,
you know, make something that is tailored

527
00:36:58.639 --> 00:37:01.440
to what their tastes are, which
is these guys love men on a mission

528
00:37:01.599 --> 00:37:07.639
Aliens type movies. So that's where
that kind of you know, those whole

529
00:37:07.719 --> 00:37:13.639
things came together is what the idea
would be for part three, and everything

530
00:37:13.719 --> 00:37:17.400
kind of spawned off from there.
Like you said, we just immediately did

531
00:37:17.440 --> 00:37:22.679
the continuation of the end of two. Originally that was like a ten page

532
00:37:22.719 --> 00:37:24.679
sequence, and I realized, you
know, if I just make this a

533
00:37:24.800 --> 00:37:30.400
narrated thing, I could cut all
of this like expensive stuff that explains things

534
00:37:30.480 --> 00:37:36.559
in between, and so crunched all
that way down and um and yeah,

535
00:37:36.599 --> 00:37:40.920
and kind of it definitely allowed me
to have, like you said, you're

536
00:37:42.079 --> 00:37:45.599
you're you're making sequels, but you
get to scratch completely different niches, you

537
00:37:45.639 --> 00:37:50.800
know, the stuff that in Part
one and Part two. You know,

538
00:37:50.840 --> 00:37:54.159
one of the problems of those movies
is that the enormity of the global event

539
00:37:54.199 --> 00:38:00.320
that is happening just dwarfs any character
drama or bullshit. And so like I

540
00:38:00.360 --> 00:38:07.000
had scenes in one and two,
um that some that got cut from two

541
00:38:07.039 --> 00:38:10.400
that were important character scenes. But
when Trance like talking about how his mom

542
00:38:10.480 --> 00:38:15.119
died and it's like, dude,
the whole earth just died, it was

543
00:38:15.159 --> 00:38:19.440
just sort of like like, you
know, this is a great SOB story

544
00:38:19.519 --> 00:38:22.400
for like like twenty four hours ago, but like everyone that we know is

545
00:38:22.480 --> 00:38:28.159
dead. So it just it became, you know, it's kind of a

546
00:38:28.239 --> 00:38:31.719
roadblock for some of the kind of
traditional drama writing that you want to do.

547
00:38:32.199 --> 00:38:36.039
So what I liked about Part three, like right from the beginning,

548
00:38:36.239 --> 00:38:39.199
is you know, bringing the characters
together and and I could do some of

549
00:38:39.199 --> 00:38:44.599
those type of scenes because the world
has been settled and and and and now

550
00:38:44.639 --> 00:38:46.920
it's kind of about the world building. It's about the characters. It's just

551
00:38:46.960 --> 00:38:52.000
a completely different exercise. So the
fact that anyone was was able to like

552
00:38:52.280 --> 00:38:54.960
go for that ride, and and
the fact that that got made I think

553
00:38:55.000 --> 00:39:00.480
it becomes even crazier to me in
hindsight because at the time I'm like,

554
00:39:00.559 --> 00:39:04.360
no, this is a this is
a perfectly logical extension of where we're going.

555
00:39:04.679 --> 00:39:07.360
And then you get some perspective and
you look back and you go,

556
00:39:07.400 --> 00:39:10.599
wow, I don't know how we
possibly got that movie made. I have

557
00:39:10.639 --> 00:39:14.199
to ask you before we're out of
time. There's two things in the third

558
00:39:14.280 --> 00:39:16.800
that just floored me. The first
one is your midpoint, right, which

559
00:39:16.840 --> 00:39:22.159
is where she gets to like the
master alien, and he you had this

560
00:39:22.199 --> 00:39:25.519
effect the creature design is incredible,
Like his mask like comes apart and you

561
00:39:25.559 --> 00:39:30.280
see his like actual like freaky face
underneath, and he's basically like, we

562
00:39:30.440 --> 00:39:35.199
knew you were coming, like we
were waiting for you to get here.

563
00:39:35.440 --> 00:39:37.920
You've essentially played right into our hands. And it was such a it's a

564
00:39:38.079 --> 00:39:44.199
it's a really good dramatic turn structurally, and it's also such an effective bit

565
00:39:44.239 --> 00:39:46.400
of creature design that was really bowled
over by. And then the other thing

566
00:39:46.440 --> 00:39:50.400
I want to ask you about,
there's a part towards the end where it's

567
00:39:50.440 --> 00:39:52.840
like they dropped this bomb on the
planet and you're watching and you're like,

568
00:39:52.880 --> 00:39:57.119
well, there's how could they possibly
get out of this? There's no way

569
00:39:57.199 --> 00:40:00.840
she's on the ground. How could
you possibly get all this spaceship And they

570
00:40:00.960 --> 00:40:05.440
leap frog like lily pads on this
like pieces of debris that are coming up

571
00:40:05.480 --> 00:40:08.880
from the planet, and I was
watching like it was like it was so

572
00:40:09.519 --> 00:40:14.679
it was such a thrilling and like
insane. So both of those I thought,

573
00:40:14.719 --> 00:40:17.199
just as pieces of filmmaking were so
effective and I was just so curious

574
00:40:17.239 --> 00:40:22.480
about, like how you did that. In both cases, Well, it's

575
00:40:22.719 --> 00:40:25.880
the first one, well thank you
again. And the first one is is

576
00:40:25.960 --> 00:40:30.960
goes with the kind of the Russian
doll concept of the creatures in this movie.

577
00:40:31.000 --> 00:40:35.159
Like even in the first one,
a lot of people don't catch it,

578
00:40:35.320 --> 00:40:38.559
but there are pilots that are driving
the what we call the big tankers,

579
00:40:38.599 --> 00:40:42.960
you know, the big kaiju in
the first one when when David Zais

580
00:40:43.039 --> 00:40:46.079
gets killed spoiler for a you know, twelve year old, thirteen year old

581
00:40:46.119 --> 00:40:51.800
Movieum. But so so we kind
of always were like, there's things inside

582
00:40:51.800 --> 00:40:54.960
of things and and there's fun to
be had on that. And so in

583
00:40:55.320 --> 00:40:59.559
part two, you know, you
see this this alpha tanker comes up on

584
00:40:59.599 --> 00:41:04.400
the ship and immediately the face opens
and the shepherd character jumps out, and

585
00:41:04.400 --> 00:41:07.480
now we see, okay, these
things are you know, I switched the

586
00:41:07.519 --> 00:41:12.079
designs around a little bit so that
we could do them as as as perform

587
00:41:12.199 --> 00:41:15.800
super performers, um, you know, for costs, but also that's it

588
00:41:15.480 --> 00:41:19.880
makes it a little bit more of
the throwback to you know, predator and

589
00:41:19.920 --> 00:41:24.000
aliens that that that I love.
UM. And so in part three,

590
00:41:24.199 --> 00:41:28.360
one of my frustrations of part part
two, you know we talk about the

591
00:41:28.400 --> 00:41:31.280
things that you want, is that
like, um, the the masks were

592
00:41:31.320 --> 00:41:36.599
supposed to be animated in some ways, like some of the tentacles in the

593
00:41:36.719 --> 00:41:38.920
mouths were supposed to move, but
we just had no money to do it.

594
00:41:39.360 --> 00:41:44.320
So part of me was thinking,
well, I could I could just

595
00:41:44.400 --> 00:41:49.079
retcon that to be that that's not
really their face and their faith that that's

596
00:41:49.119 --> 00:41:52.320
actually a helmet that you're seeing and
that their real face is underneath and so

597
00:41:52.480 --> 00:41:54.440
and then it was like, well, what does the face look like?

598
00:41:55.159 --> 00:42:00.559
And I wanted to kind of give
a tribute in some ways to the kind

599
00:42:00.599 --> 00:42:05.159
of traditional gray alien that like,
these are these are the gray aliens that

600
00:42:06.239 --> 00:42:09.159
you know, one of the more
popular versions of that from you know,

601
00:42:09.400 --> 00:42:14.320
X files to the nineteen fifties,
and so I kind of wanted to look

602
00:42:14.519 --> 00:42:19.440
like, what would a more realistic
version of that UM look like? And

603
00:42:19.480 --> 00:42:22.000
it's still we went through a bunch
of different concepts of it. It's still

604
00:42:22.079 --> 00:42:27.920
kind of needed to have some similarities
to what the you know, original design

605
00:42:27.960 --> 00:42:30.960
of its face was UM. And
then yeah, I think it was uh.

606
00:42:31.360 --> 00:42:36.800
Lip Sync was the VFX company and
Thomas Loder was my VFX supervisor,

607
00:42:36.880 --> 00:42:39.639
and I was really happy with the
way that that came out, and it

608
00:42:39.760 --> 00:42:45.000
kind of again, just each one
you can kind of go back and say,

609
00:42:45.039 --> 00:42:46.960
like, well, you know,
if you're if you're upset about the

610
00:42:47.000 --> 00:42:52.079
faces and part two for the bad
guys at least that's not their actual faces.

611
00:42:52.119 --> 00:42:57.400
And then you know, for the
pilots, it's kind of established that

612
00:42:57.440 --> 00:43:00.960
these things are kind of mechanical in
some ways anyway. Um, but yeah,

613
00:43:01.000 --> 00:43:04.840
there's still things that you want to
change on that. You know.

614
00:43:04.840 --> 00:43:08.880
At the end of part three,
um, we you know, one of

615
00:43:08.920 --> 00:43:14.239
the main alien characters, Trent,
gets a new body, and so part

616
00:43:14.239 --> 00:43:16.280
of that was like, if I'm
going to do another one, I want

617
00:43:16.360 --> 00:43:20.840
Jeremy to be able to like actually
just use his own legs because it's been

618
00:43:21.079 --> 00:43:25.199
it's been two movies. I've him
falling over, he's getting older. Um,

619
00:43:25.280 --> 00:43:29.639
you know, like it was like
it was a great way of and

620
00:43:29.679 --> 00:43:31.320
that that was something that was kind
of changed last minute on the day I

621
00:43:31.320 --> 00:43:35.039
shot the scene. Two ways.
I shot the way I shot the Originally

622
00:43:35.079 --> 00:43:37.599
it was written that Trent died,
which I wasn't quite happy with. That

623
00:43:37.679 --> 00:43:42.400
was something I was dissagreeing with with
the producers, but they were like,

624
00:43:42.440 --> 00:43:45.760
you need a shock, you need
you need something to really change, and

625
00:43:45.800 --> 00:43:47.239
I was just like, I just
doesn't seem like the vibe in the movie.

626
00:43:47.280 --> 00:43:50.920
You know, I think I think, um, I think we have

627
00:43:50.960 --> 00:43:52.760
to bring it back. So I
did, you know, I shot the

628
00:43:52.760 --> 00:43:58.679
scripted version, and I quickly had
Jeremy come out in just a full green

629
00:43:58.760 --> 00:44:01.679
body suit and he did those scenes
and and all of the writing there was

630
00:44:01.719 --> 00:44:07.280
sort of like something I scribbled down
and was improvised to and and I really

631
00:44:07.320 --> 00:44:09.559
liked it. I thought that,
you know, uh, Lindsay and Johnny

632
00:44:10.360 --> 00:44:15.719
Jonathan Howard as Leon was was such
a great kind of director. Um,

633
00:44:15.840 --> 00:44:19.679
you know, like like support.
I could just go to him and say

634
00:44:19.719 --> 00:44:22.079
like, I need something a little
bit funnier here, I need something a

635
00:44:22.079 --> 00:44:23.599
little bit this, and we could
workshop it right away and he would do

636
00:44:23.679 --> 00:44:27.239
it. That was like I was
saying about reshooting things as I go.

637
00:44:27.400 --> 00:44:30.840
He he was never It was never
too big of an ask to say,

638
00:44:30.880 --> 00:44:34.719
like, oh, okay, so
we're doing the scripted version, but I

639
00:44:34.760 --> 00:44:37.880
think we need I think we need
to mention that bit from scene twelve because

640
00:44:37.880 --> 00:44:40.880
I think I'm going to cut that, So can you talk about her dad

641
00:44:40.920 --> 00:44:45.760
and this scene too? And and
bam he would just get it. So

642
00:44:45.760 --> 00:44:50.280
so that that's the first part of
your question, and then um, the

643
00:44:50.280 --> 00:44:52.920
the other one is just I mean
that that's kind of like what I say

644
00:44:52.960 --> 00:45:00.679
about trying to make these big visual
effects movies on such a small scale is

645
00:45:00.679 --> 00:45:05.239
that each shot has to like tell
a lot, and so I try to

646
00:45:06.360 --> 00:45:09.239
uh you know that. I think
that sequence a on a bigger movie would

647
00:45:09.239 --> 00:45:13.079
probably be like, you know,
fifteen to twenty shots, and for us,

648
00:45:13.079 --> 00:45:15.480
it's just one. And so it
had to be it had to kind

649
00:45:15.519 --> 00:45:20.480
of do a little bit of everything, and it's and we did probably forty

650
00:45:20.480 --> 00:45:24.119
to fifty versions of the animation before
everyone was one hundred percent happy, and

651
00:45:24.159 --> 00:45:29.239
I did got to do my sort
of uh you know, Snyder m CG

652
00:45:29.639 --> 00:45:31.920
zooms that I like. One of
the reasons I like to do that is

653
00:45:32.800 --> 00:45:38.360
um one obviously AT love Zack Snyder
and and I love zooms in movies in

654
00:45:38.400 --> 00:45:44.719
general, but um I found afterwards, if you're unhappy with it, you're

655
00:45:44.760 --> 00:45:47.760
getting two shots. So if you
want to intercuts things even now, got

656
00:45:47.840 --> 00:45:51.880
two shots, and I could have
gone to, uh, you know,

657
00:45:52.199 --> 00:45:54.559
a quick shot of them inside of
the cockpit, and then I would have

658
00:45:54.599 --> 00:45:58.840
gotten two VFX shots out of it. But if the whole shot holds up

659
00:45:59.679 --> 00:46:02.199
and it's a great awesome thing that
that has a ton of energy. So

660
00:46:02.440 --> 00:46:07.599
that's another sort of just you know, try to be savvy, you know,

661
00:46:07.639 --> 00:46:10.719
because the number of shots that you
have does affect budget, even though

662
00:46:10.760 --> 00:46:15.199
the difficulty of shots does effect as
well. So you try to get as

663
00:46:15.280 --> 00:46:20.599
much story with each one and h
and figure it out from there. So

664
00:46:20.719 --> 00:46:22.199
we're gonna run out of time,
but just to wrap up, you're gonna

665
00:46:22.199 --> 00:46:25.719
really have to try to top yourself
for the fourth one, because the bloopers

666
00:46:25.880 --> 00:46:29.559
at the end of the second one
is somebody tumbling over we see your name.

667
00:46:29.840 --> 00:46:31.840
The bloopers at the end of the
third one it's the actress who plays

668
00:46:32.000 --> 00:46:36.360
Rose laughing and saying fuck you,
Liam, and then we see your name.

669
00:46:36.719 --> 00:46:38.599
So I'm very curious what you're gonna
do for the fourth one. Is

670
00:46:38.599 --> 00:46:42.559
there anything as we wrap up that
you can say about the fourth one?

671
00:46:43.639 --> 00:46:49.559
Yeah? I mean the fourth one
is it's already been challenging, you know.

672
00:46:49.639 --> 00:46:52.280
We started in prep towards the end
of last year, and I went

673
00:46:52.280 --> 00:46:59.360
out to scout Thailand beginning of this
year. We're supposed to have shot it's

674
00:46:59.400 --> 00:47:01.159
all what it was in April right
now, so I supposed to be shooting

675
00:47:01.159 --> 00:47:07.639
it right now, actually finishing up. But the cast availabilities obviously, it's

676
00:47:07.679 --> 00:47:13.800
a very big, difficult cast to
get together and for this number and for

677
00:47:15.000 --> 00:47:21.559
that duration, and there'll be some
interesting reactions to once the cast is fully

678
00:47:21.599 --> 00:47:27.920
announced. But what I kind of
zero in on is I felt like the

679
00:47:27.960 --> 00:47:34.320
things that everybody really loves the most
in the second and the third are the

680
00:47:34.360 --> 00:47:37.480
hand to hand fights. So I
wanted to rather than keep trying to chase

681
00:47:38.039 --> 00:47:43.960
the big CG spectacle, which we're
still doing. It's not gonna we're not

682
00:47:44.000 --> 00:47:47.840
completely shying away from that, but
I spent so much time and percentage of

683
00:47:47.880 --> 00:47:52.119
my limited budget, you know,
building worlds and building spaceships, that I

684
00:47:52.199 --> 00:47:54.840
was kind of like, I'm going
to try to set this one a little

685
00:47:54.840 --> 00:48:00.440
bit more into the real world and
go crazier with the fights and razier with

686
00:48:00.480 --> 00:48:04.920
the action, which is something just
personally I've been getting more and more interested

687
00:48:04.960 --> 00:48:08.320
in and educating myself on over the
years. So that that's kind of the

688
00:48:09.079 --> 00:48:14.480
you know, the the from the
outside, the direction of it, without

689
00:48:14.519 --> 00:48:17.480
getting too much into the story,
but it is again feels like it's a

690
00:48:17.519 --> 00:48:22.639
logical extension of what the teaser at
the end of part three is, and

691
00:48:22.199 --> 00:48:25.760
that I will say it's a civil
war type of movie. You know,

692
00:48:25.760 --> 00:48:29.800
we already went to the other side
of the galaxy. We've went to outer

693
00:48:29.840 --> 00:48:36.519
space and so here it's more about
spending time on Earth and figuring out you

694
00:48:36.559 --> 00:48:39.000
know, who's going to be a
charge awesome. Well, listen, man,

695
00:48:39.039 --> 00:48:43.440
Thank you so much for doing this
for the listeners as always, Thank

696
00:48:43.440 --> 00:48:45.000
you for listening. If you enjoy
the show, please leave us a five

697
00:48:45.079 --> 00:48:50.559
star rating on Apple Podcasts or anywhere
you're listening, and subscribe for future episodes.

698
00:48:51.320 --> 00:48:53.559
Yeah, man, we're just looking
forward to talking to you when the

699
00:48:53.719 --> 00:48:58.199
fourth I'm sure I we'll just call
you just cackling with glee whenever it gets

700
00:48:58.239 --> 00:49:02.159
to watch the fourth So and I
will say the first movie is coming out

701
00:49:02.280 --> 00:49:07.559
on a four K disc may a
second, I believe, So anyone wants

702
00:49:07.599 --> 00:49:12.719
to enjoy that. The second one, Beyond Skyline, is still on Netflix

703
00:49:13.159 --> 00:49:15.480
and the third. The best way
to watch the third one is on Apple

704
00:49:15.559 --> 00:49:21.199
TV. That has the best transfer
in my opinion, and if you buy

705
00:49:21.239 --> 00:49:23.159
it, it also has all of
the special features that we work so hard

706
00:49:23.199 --> 00:49:28.159
on that only a few made onto
the Blue ray. So definitely go Apple

707
00:49:28.199 --> 00:49:31.559
for part three, Sweet Dude,
and look for Liam's podcast action for everyone

708
00:49:31.800 --> 00:49:35.840
as well. Thank you, Thank
you. With the Michael Scott and Vice

709
00:49:35.920 --> 00:49:39.519
Victus, we kind of break down
trailers and movies and will have you know,

710
00:49:39.559 --> 00:49:45.320
occasional action orientated guests on and a
lot of bullshit, a lot of

711
00:49:45.360 --> 00:49:50.360
bullshit. All right, Thanks everybody. That's the episode for today. Next

712
00:49:50.360 --> 00:50:05.280
time, Hand in hand