Budget

Tim Burton

old and new quality to it that made it kind of feel very interesting. And, you know, we just shot it very simply. Certain small camera mounts in the bars and next to the bike. You know, because we shot this thing, again, very quickly. So everything we did, we tried to do kind of like a low-budget movie in a way. It wasn't low-budget, but it felt like one. And I was shocked when we went back there

23:32 · jump to transcript →

Tim Burton

talking horse films and things like that but then i got beetlejuice and it just it just hit me as a strange project for a studio you want to do and so you know it was kind of low budget under the radar and uh it was it felt kind of experimental in in a sense and i was lucky enough to work with people who are really good at improv like catherine o'hara and michael keaton and so there was a real kind of

40:09 · jump to transcript →

And again, it's a very tight schedule with a lot of work having to be crammed into every day. On a somewhat limited crew, it's still a low-budget movie. Damien does a very good job of making it not feel that way, but very low-budget movie. So you have limited staff, limited crew, really tight time frames, getting actors in and out of there. And then you'd be inspired, and he'd want adjustments made on the day, so...

32:24 · jump to transcript →

put this sequence together with a couple of his students out in New York and did a fantastic, really cool job with those two characters, the Mother Mary statue and the demon there. When we originally broke down the budget and talked with Damien about all the effects in the movie, you know, it's huge if you really think about

1:35:01 · jump to transcript →

architectural elements in here. You can see the Venice safe houses in there. That's Gary Freeman. He's a brilliant, brilliant production designer. Great working on a budget. And when we said, hey, we need some sort of a safe house for Ethan, that's where we ended up. And yeah, Alex just got a fantastic face. And he tells you an entire story about some kid who's just beginning his life. Yeah.

8:51 · jump to transcript →

And if you want to get real Bradleys, you either have to get DoD support or find somebody who has purchased some and refurbished them. So we looked at New Mexico. We looked at a few places, but we just weren't able to do it there. So the decision was to do it in London to kind of essentially stretch the budget to where we could get it done. So now the next challenge is like, all right, well, we have these Bradleys, right? That's going to be a fucking problem. And I knew it.

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