Sequels & franchise

Nia DaCosta

This is also the only 28 film thus far that does not begin with a set piece surrounded by the infected. And for me, that was really important because it shows, you know, we're sort of shifting what we're saying about this world, which is that the infected, at this point, are just part of the flora and fauna. The real danger comes from people who know better, but don't do better, like the Jimmies. And so we start with a really chaotic, disturbing scene with this.

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Nia DaCosta

This was a fun scene to shoot. This is day one of the shoot, actually. I think we shot this part in the morning, and then the next scene we shot in the afternoon. And, yeah, it was our first time just, like, getting into this world together, which was really fun, and... This scene is super important because it's when Kelson realizes that there's a sense of... there's, like, thinking happening. Like, everyone knows that the Alphas are smarter than the other infected, but he realizes the extent to which they appear to be, or at least this infected Alpha appears to be... thinking. And so, this music is another way that we get into the Alpha's head, like, "What are they seeing? What are they, in a way, thinking?"

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Nia DaCosta

This was a fun Ralph addition. He was like, "I want to see him shaving his head. "I want to see him putting on iodine." So, we put it into this scene, which I find hilarious, 'cause then Samson shows up. He's like, "I got a treat for you." And the wave that Ralph just did on the day, which we all fell out laughing, I thought was so funny. But again, we're keeping this, like, visual language of, like, static or measured frames, just, like, beautiful framing of the Bone Temple. It's peaceful, it's steady. Everything's secure and solid because we're in this world with Kelson, and... So that moment where he turns his hand to feel the rain, I just thought it was really important to try to find a place for it. Just thought that would be really interesting, just like that initial sensory experience that someone might have when they're coming into consciousness.

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to make sure that people knew the daughter had to be older. Joel pitches a sequel. He goes, we've got to get Meryl Streep to play the daughter, and she's the new Cocteau. I'm like, oh, my God.

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Do you know why McDonald's turned us down? Just R rating. Yeah, R rating. Yeah, but Taco Bell, they're made for R rating people. In some regions, there was an alternate. I had to shoot an alternate with a different franchise. Pizza Hut is in the British version. Pizza Hut also works. Pizza Hut's better than McDonald's and Burger King. But Taco Bell's the best. And Taco Bell has really...

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90s cameos. See, I guess that food works for Pizza Hut and Taco Bell. And now franchise, you know, the idea of franchise even...

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I do love this scene. I mean, this was another favourite scene. I really did want to try to hang on to this stuff for the theatrical version. I love them talking about the Entwives. It's kind of just, you know, it's a shame. Anyway, it's here. Hey, we shouldn't mourn it too much. We have DVDs. Thank heavens for technology. But I am very happy with the way that the extended cut DVDs are now fleshing out the trilogy. This one was, I think, about 43 minutes longer than the theatrical version.

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Good, but the Mamakil are obviously having a little cameo appearance here. I have to say that the scene that I've been looking forward to doing ever since we began the trilogy is the Pelennor Fields battle in Return of the King where these creatures attack in their full battle mode. We're only seeing them here in a very brief appearance, but in the next movie, Return of the King, they play a great part in one of the...

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maybe if we can't make sequels that's actually a great idea because we can't make sequels anymore we can only make three maybe we could make three more where we embellish the three we already have and we just sort of fatten them all out and that's the way that New Line could make more money is you just kind of fatten these films out without technically going beyond the Lord of the Rings as the licensed property do New Line need to make more money? no

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Tim Burton

You know, with the music and the opening, it sort of sets the tone of the film a little bit. And with this kind of material, it just felt more appropriate to have that kind of energy and that kind of vibe, you know, front-loaded into the credits. This movie took basically about 35 years in the making. And, you know, there's a lot of talk about sequels

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Tim Burton

you know, early on. But nothing ever really felt right to me. There was something that I just couldn't quite relate to. And part of the reason, I think, is because I never really understood the success of the first one anyway. So it was a surprise to me. So I didn't really know, you know, if somebody said do a sequel, I didn't really have a vibe of what it would be. Not until now, basically, did it really hit me. And it really stemmed from the fact that I really, you know, connected with the Lydia character.

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Tim Burton

That was the sort of anchor for me. That was the thing that made me really interested. It made it personal for me because, you know, it's not a sequel I could have done in, like, 1989 or something. It only could happen after time, after you go through your own journey. You know, you go through your own, you know, what are your relationships? You go from a cool or an uncool teenager to a somewhat troubled adult, you know, and what kind of...

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don't apply in this world. The gel that we saw in Eastwood's quiff at the beginning seems to have bounced out of the hair, which has now regained the volume and bounce that we've come to expect. Chimino's going between fairly close coverage in which we get the jostle and the ragged breathing, and then these expansive widescreen vista shots that dwarf the two men in counterpoint. And now,

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as a not insignificant on-screen part in Eastwood's 1973 High Plains Drifter, was second unit director on 1973's Dirty Harry sequel Magnum Force, a movie significant to the story of Thunderbolt and Lightfoot, and Eastwood's 1990 The Rookie, and also directed three Eastwood vehicles, 1980's Any Which Way You Can, 1988's The Deadpool, and 1989's Pink Cadillac, Like Is Not, that was Buddy clinging to the Trans Am in the long shots.

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strapping handsome lad of 6'4 that he was. He was scouted out and given a $100 a week contract under Arthur Lubin, creator of the TV series Mr. Ed, who put the raw, untrained kid right into some drama classes. There were, through the mid-1950s, a few undistinguished roles for Clint, a sequel to Creature from the Black Lagoon and Francis in the Navy, directed by Lubin.

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how they make it is actually end up more fascinating than the final result yeah this is a this is a great example of that yeah well yeah and that's what i love about the idea of how this movie kind of originated with this wooden planet by you know vincent ward had these monks and stuff who were living on this world they created this kind of very bosh looking movie with this like you know cathedral like design and a world of very thin atmosphere where

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full of monks, which is a really striking idea, but at the end of the day, makes absolutely no sense whatsoever. And it doesn't really belong in the Alien franchise, to my mind. Yeah, I think because down to the fact that Alien 1 and 2, there's always kind of based around sort of physics and reality to a certain extent, where things were believable, how you flick this switch and do that, and the monitors, and how things, and a sort of, you know, it wasn't clean like Star Trek, where you had this kind of sense of like, it's too far in the future, where...

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Well, we know there's other scripts, isn't there? Because during the genesis of this, I know David Garlis said they weren't really desperate to make a sequel, but everyone wanted a sequel, and they didn't know where to go with it, because where would you go after the second one? And they had other directors involved. I know they had Renny Harlin, who very much wanted to do the world of the aliens. He didn't want to be... But he found himself after a year not getting anywhere, because it was all just repeating what they've already...

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Fred Dekker

to sort of change the direction of the franchise at this point? Well, a funny thing happened was that this original film and then the second one were extremely violent and dark and edgy and full of drug-dealing children and just mayhem and mutilation. I mean, as R-rated as you can get, despite the fact that they're comic book movies. But somehow or other, kids were watching the first one on video or cable or whatnot.

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Fred Dekker

Back to the PG-13, looking back at it now, do you feel that that was a major factor in the problems you have with the movie? It was fatal. Having this be a PG-13 movie was absolutely fatal because it needed to be really rethought as opposed to sort of a sequel to the last movie. RoboCop 2 is in some ways even more offensive than the first one. I don't mean that in a pejorative way, but in terms of the violence and the tone of it.

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Fred Dekker

Any other movie has it, including these two sequels. So I see—when I watch this, I see—I love the sunglasses. I mean, Han Nguyen, who also is not with us anymore, fantastic costume designer. I mean, look at that. He just cuts such a figure. There's so much in this movie that just promises greatness, and then it doesn't pay off, and we're disappointed. But the humor in the movie is—

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David Kalat

Kubiyama received a lethal dose of radiation on March 1st, then spent nearly seven months slowly dying, eventually passing from this world on September 23rd. With his dying breath, he begged, please make sure that I am the last victim of the nuclear bomb.

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David Kalat

Here he is as Dr. Yamane, a role he reprises in the sequel, Godzilla Raids Again. The Times sniffed at Godzilla's cast. Not a one of them can act. What's that again? Did you mean the best actor in the world can't act? Yowza. Not all of Godzilla's cast were experienced veterans of Kurosawa's demanding sets. Akihiko Hirata as the

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David Kalat

Tamai is one of the few members of the production team who would not return for the sequels and would not be a part of the development of the cycle of Japanese monster movies that flourished in the decades to come. This is partly due to the fact that Tamai was already an old man by this point. He would retire in 1963, and by and large, the boom in Japanese monster movies didn't happen until, you know, until 1963.

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for a franchise pattern, as it were. When we realised that we had available to us this Schmeagle Deagle scene, it seemed like a counter to how the two towers opened. I know that Andy was really disappointed that it was cut out of the two towers, because he was aware it was his moment to have his real face seen on the screen. And then we cut him out, and I think he was never quite believing that we were actually going to use the scene at all. No, probably not.

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and the elves on their way through the forest. But because in the editing of the film, the two moments from Isengard to here got separated by all of the inner sequence, it was no longer a very useful thing to do. We also wanted to signal the fact that this world was going to end one way or another in this movie. And that's the knowledge of Treebeard and Legolas, that there's not going to be room in the world for these creatures anymore. Great moment for the 25th anniversary edition, if I can remember. OK.

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And so we wanted to sort of have this about her, that this is a conscious decision that she makes and that the longer she stays in this world, the more vulnerable she is. And we push it to a point where she literally is becoming mortal and that any grace that was conferred on her

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Tape 49 is a prequel, correct? That's correct. But we saw footage from the first film, but this is still a prequel. So it's not really a prequel. It takes place in the middle of the first movie. Well, it takes place at the very beginning of the first movie. The idea is Tape 56 takes place over several months. So you see them attack the people in the parking garage, and you see them watching that, and then they go to the house. Whereas Tape 49 is just a couple nights. So it actually takes place after...

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You know, and Simon went along with it. He was like, oh, okay, that sounds interesting. Yeah, it'll be like, maybe it picks up ghosts or something. I was like, yeah, it's something like that. Which plays into the kind of electromagnetic mythology of the franchise as a whole. But then, yeah, then I Googled it and realized that, like, that was, that concept isn't quite there yet. So maybe I had a prophetic dream. Well, yeah, now, the funny thing is now we're talking in June 2013 and people are actually starting to get retinal implants and stuff.

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At home, you're probably aware that it came out. Actually, this is less than a year from when we shot this stuff. It was in June or July last year. It was in July, I think. And it's less than a year since the first film came out. So it is the sequel that nobody even had the opportunity to want. Had they even wanted it, which they probably did not, we didn't give them a chance.

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Fistful of Dollars had been inspired by a visit to a Japanese movie, namely Kurosawa's Yojimbo. The Good, the Bad, and the Ugly was inspired by a visit to a Leone movie, end quote. Screenwriter Luciano Vincenzoni, who was additionally involved in that first sequel's overseas sales through United Artists, had attended a packed house screening with some colleagues, including Arnold and David Picker of United Artists, who were bowled over by it.

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Lee Van Cleef could command $350,000 and 15% of a picture's gross. You pig! You wanted to get me killed! When did you unload it? Last night. You see, in this world, there's two kinds of people, my friend. Those with loaded guns, and those who dig. You dig.

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When Blondie and Tuco go their separate ways, I sense an implication in the film that these two just might cross paths once again, because one good double-cross not only deserves but demands another in Leone's universe, and possibly because these two seem chained to one another in a metaphysical way, in much the way that good needs evil in order to achieve definition. Luciano Vincenzoni wrote a treatment for a sequel that Sergio Leone never approved,

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It's the definitive alien encounter movie. Yeah. And remains so. Yes, I think so, it was. It's interesting, because it's a film that hasn't had sequels, it hasn't remained an active franchise in the way that Star Wars or Jurassic Park, or even, you know, sort of...

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today or would it be earnest in a way we couldn't accept I don't know it it's one of those things because it's a film that's remembered in cult who would have thought they'd make a sequel to Blade Runner you know a film that was a flop yeah they made they've made a sequel to Tron right another film that was a flop and the sequel flopped too yeah and they're talking about making a third one if any any sort of

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It's on a list of properties that have a certain name recognition. It's probably reached the point where maybe it's a little too obscure. But you think of other science fiction properties. Westworld is about the same time, and that's just been rebooted as a TV series. Or even Jurassic Park could be said to be a reboot as Westworld. And the Andromeda strain's been remade. Yes.

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Paul Davis

I've always said there are only two things that really age this movie, but not in a negative way. The hairstyles and the fact that John Woodvine asked for a Campari and soda. It's really sad to me that we never got John Landis' sequel for An American Werewolf in London.

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Paul Davis

which he did write a first draft screenplay when Polygram was sold by Peter Guber and John Peters in the early 90s. I can't remember the name of the guy who took over, but he came to John and asked him to write a sequel. And John deliberated about it. He thought about it for a long time, didn't really have anything that was significant

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Paul Davis

But anyway, going back to the sequel thing, the reason that we never got that version is because when John handed in the screenplay, the guy who ran Polygram was pretty much offended by what he read and said that there was absolutely no way they were going to make it. And he asked for a bunch of changes and John said no. So that's what happened. I love that those two little girls are credited as Creepy Little Girl 1 and Creepy Little Girl 2.

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like privy to this world and it had nothing to do i mean we had one mother say one line and that almost seems like a violation to me because she's good night stacy and other than that it's like here's that world they function in here's what you grown-ups don't see and that's what was cool about it i need to now put in a plug for amy short getting it over with which i hope

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I love what you said about Spicoli has to be the spice. It's so true. Because people have... I know you've probably been bombarded over the years on people saying, hey, let's do a Spicoli sequel. Just Spicoli. You remember the first day we saw the movie in Westwood, and I guess, who was it from the studio? Was it Tom or Shona? Somebody said, okay, guys, Spicoli goes to college. Yeah, they were just ready to go. They're ready to go. It wouldn't have been the same. Spicoli without Brad.

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Oh, and you had an idea for the, we sort of play in our heads about a sequel, the last high school movie while we were making this, and that she would say, you know, she wants to break up, but we'll still be friends, that then the actual ending to that scene would be he'd pull out a gun and shoot her through the head. No, see, we could get that movie made today. Oh, yeah. In fact, it's already been made. I know, a few times by other people who messed it up.

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Bill Paxton

Because 7he Terminator hadn't come out yet, there was the perception that Jim was somehow not up to the creative responsibility of directing a sequel to Ridley Scott's masterpiece. There was a lot of resentment, and really no understanding, or very little, of what he was trying to accomplish. We had people who were, I think, completely on our side - John Richardson in practical special effects, Brian Johnson in visual effects. There were people who understood Jim's vision, but there were quite a few people who simply looked at him as the know-nothing, upstart Yank, which drove Jim crazy, considering he's a Canadian. It was his right hand, his AD. The leader of the rebellion, the first assistant director, not only behind Jim's back but to his face would call him "Guv'nor" and roll his eyes, as if Jim hadn't earned the title yet. We were shooting very long hours and people were pretty frazzled, and by our standards in America at the time a 12-hour day is not a long day, it's average, but 12 hours at the time in England was a very long day, and there were times when we'd go into a 14-hour day. At a certain point our assistant director, basically, said: "We're not doing this any more." So we fired him. And he felt that he really should be directing the movie. He was a frustrated director. He had directed second unit before. I think he even had directed a small film. But he really felt that he was better qualified than Jim was to direct the film. He went to all the departments and some cast members and everyone walked off the set. It was the most difficult moment of my entire career, even to this day, trying to rally everyone back. In fact, we were able to turn it around so that the outcome of that mutiny was that we were united, after we resolved the issues, for the first time on the film and going onto the rest of the production schedule. We actually were a unified group. So it was an example of something good coming out of a really difficult situation. I remember talking to people and going "This is a wonderful movie." "Everybody's working as hard as they possibly can." And hoping that no one would lose the energy. Fortunately, because of how you handled it, it all came together. Because it was scary. It was very scary. We were at that point - what are we gonna do, hire a new crew? Not that the thought didn't cross my mind, but England was very busy. We didn't have the option. There weren't other key crew members even available. When you have no options, you make it work, and we did. This is probably my favorite movie of my career, and the only movie where I've experienced anything like what we went through. I will also say, on the positive side, of the English crew... I brought a handful of guys from the States. We started all our designs and our builds in the States and then built a workshop in Pinewood and hired all but a half a dozen of the key coordinators from my studio from England. And everybody worked very hard and did a great job. They were wonderful artists and committed and everybody wanted to do a good job. They just had slightly different work habits than we did. I was shocked when suddenly, at a particular time mid-morning, everybody would be gone. I'd go "Where is everybody?" They'd go "They're at tea." I said "Hello?" Just gone. The other thing is that Pinewood Studios at the time had an entire crew on staff that were assigned to a movie. Right now it's four-wall, which means you hire the crew you want, it's freelance. But you ended up with the crew that was assigned to the stages you were working on and there was no selection process involved. It made it really difficult because some people really were punching a clock. They didn't want overtime, didn't wanna do anything other than work an eight-hour day. Shooting this film in England wasn't just a culture clash. For me, it was also a transition from a non-union guerilla-filmmaking mentality, which started at Roger Corman's New World Pictures and continued on 7he Terminator, which had a non-union crew, to a union picture. And also the particular way that they work in England was very, very different, and so there was an adaptation to that. And, frankly, I thought there were a lot of people on the crew that were, to use a charitable term, comfortable, and that was completely foreign to me. I'd been used to working with young, eager, hard-core, dedicated film folks. They all had something to prove. But a lot of the people especially at the Pinewood Studios at that time were lifers. They had permanent employment. It didn't matter what movie they were working on. And they got pushed on us. If you did Pinewood, you had to use their people. It was a whole different mentality. So I pushed against that as hard as I could. If I hadn't, we wouldn't have got the film done on budget and on schedule, which we did. I know probably a lot of people there at Pinewood at the time didn't care for us, with our guerilla-filmmaking ways and styles - we were not polite. By the end there were a number of them that came to respect the fact at least that we knew what we were doing, which I guess is OK.

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Bill Paxton

This is, to me, the creepiest part of the movie. This thing running around, that sound effect he did of the facehugger. The first scenes of this movie when he did the chestbuster. The sequel, A/en - he took care of it in five minutes. That first scene. That it was a dream. - That was great. I thought it was so smart. It was just great. His storytelling. - The sound effects. That scrabbling noise. The way this whole thing was laid out in the first Aven and the second one, the whole genesis of the way it would start out in the pod and then it turned into the facehugger and then it turned into the alien.

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Bill Paxton

This movie laid the foundation for me for a lot of stuff. Again, it was working for Jim that was really fantastic. I remember running into Jim when he'd been hired to write this. I was at the airport. He was handing off a parcel to some courier. I don't know why. I guess because they were setting up shop in England. He said "I'm writing the sequel to Aven." I said "Write me a good part in there." I kidded him. Six months later I tried out for it in England and I didn't think I'd gotten it. Your friends are usually the last people to hire you. Cos you have no mystique with them. And then I got a call. I almost took Police Academy 3 or something, and then I got this. More money than I'd ever seen in my life. They hired Bob Wildcat Goldthwait instead. I don't know who got the better deal, but I think I did. Everybody was looking at the film as well-made in the sound and visual effects, but we were pleasantly surprised when Sigourney got nominated. Not that we didn't think her performance was worthy, but there was no precedent for a horror film being honored by the Academy for acting. The fact they took it seriously I think still is a real milestone. Interesting thing coming up. Another shot that Jim stuck me with but it's really kind of fun is when we meet the queen alien. This is gonna come much later. She ends up back in the elevator shaft. In fact, the elevator shaft is not nearly big enough to hold the queen alien, so only her front half is in the shaft. The rest of her is sticking out the back of the elevator on the set, but you never really think about it in the movie when that elevator opens and the queen comes out, that she would never be able to fit in it. And since 90 per cent of the queen alien stuff in this movie is all full size, we had to deal with the sets based on the reality of her size and the reality of the sets. I never forget Jim coming to me when he first had written the screenplay. He said "I've got this idea for the queen alien." "We'll get a couple of guys in a suit. It'll have four arms. We'll carry it on a crane arm." "We'll have puppeteers working the legs." I'm going "He's completely out of his mind." Then a split second later "No, it's Jim, so it probably'll work." Remember when we did it with the... The garbage-bag test. Exactly. Do it first and make sure it works before you do the design. So we rented a little crane behind my studio and built a little body form for two stunt men, ski poles for arms, foam-core legs, rod puppets, foam-core head, and looked at it and "You know what? It works." Same with the power loader. We did all that in foam core first to make sure the concept worked. Unfortunately, it was too heavy and had to be supported by the crane. By the wires. But you'd never know that in the movie. No. The queen, when she drops out of the dropship, she's virtually a huge marionette, and there are wires in the shot and we never see 'em. Wires on each of her legs, her entire body, when she comes down out of it. It's a 14-foot hydraulically operated marionette. I learned to have a great deal of respect for second unit directors doing this movie cos I had to shoot second unit, small shots and big shots. And to have to make sure that every light and everything was exactly the way Jim wanted it so that it fit in seamlessly makes you realize that that job, which fortunately I haven't done since working with Jim, is a rough job, because it's not being creative, it's making sure you're doing what the director wants. It originally started that Sigourney was supposed to have run into Paul Reiser and he did a cocoon scene as well, and she gave him a grenade. And later on in the movie, there's a part where it's a big old boom, and it was supposed to have been him setting off the grenade. But obviously no one really knows any of that because it was cut out of the movie. I run into Sigourney once in a blue moon at an airport lounge or something. She's always great. She remembers Louise's name, my wife's name. A very thoughtful woman. - Gracious. She made this series what it is. Without her, it just wouldn't be the same. Also Ridley Scott and Jim, they both really showed up loaded for bear on these films. I've never followed the other movies. I couldn't tell you much about... I thought Ridley was doing the third and Jim the fourth. That was David Fincher. I've seen a lot of his movies and liked 'em. Yeah, he's great. I personally installed Carrie in this cos I wanted to make sure it was done in a way that wouldn't hurt her or create any discomfort. So I'm smearing this gak all over her and she looks up at me and says very quietly "It should be illegal for you to do this to little kids."

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The movie was shot in two places, in North Carolina and Virginia. This is Virginia, the big front reveal that shows how big and beautiful this world seemed. Very important was that, and we carried fences. You'll see these white fences. We carried these fences from North Carolina to Virginia, so it's really quite seamless. The actors walk two inches, and they're from Virginia to North Carolina. We made up Kellerman's. It exists in no geographical place, only in...

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So I said, well, you must promise me to go. And he, about a week later, I called him and I said, Lonnie, did you go? Did you go? And he said, well, yeah. And I said, well, what happened? And he said, well, I was sitting there and when I said, sometimes in this world you see things you don't want to see, a girl in front of me said, like your face. And he said, it just made me feel bad. And I explained to him over and over again that it was because he was a wonderful actor. But it's interesting how these lines cross. Now, Lonnie is so wonderful that what he plays is...

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Fight harder, huh? I don't see you fighting so hard, baby. I don't see you running up to daddy telling him I'm your guy. I will. With my father, it's complicated. I will tell him I... I don't believe you, baby. Through all this, I'd like to make clear that while we were making it, we had no thought in this world that many people were going to see it, that it was going to be a movie that years later people would see repeatedly.

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If I'm going to do the sequel, I would like to make it a little more scary, a little less broad. And so that's sort of what we went after. And surprisingly enough, I think we did that. But it also gets as many good laughs as the first one, if not more. I'll tell you, the scorpions and tarantulas, they must leap up on that guy's shoes. Yeah, if you notice, we called that, wasn't that the bug magnet shoe? What was the name of that? Bug magnet shoes.

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it gets a little ridiculous. One of the difficulties about making a sequel is that you have to reference the first picture a bit, but at the same time you need to make it a stand-alone movie so people who haven't seen the first movie can still enjoy it. In that last sequence there's all this business with the chest, which specifically relates to the first picture, and it isn't really all that necessary for an audience that's seeing

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you know, within the same sequence. And I think that's one of the reasons that it's so effective. It's funny, in the wide shots of Patricia, in the first movie, to paint her body took like 12 to 14 hours. So in this scene, like there, the paint she's wearing, that took 12 to 14 hours, because that's all she's wearing is paint. But in the sequel, we just use the wide shots.

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but without compromising what Mission Impossible is, the team, the action, the suspense. And also, I love that you chose this, the Odyssey, as the book at the beginning, because we also talked about this being an epic. Yes. That we felt that the franchise had earned it, that it's where it needed to go. And also visually, you're talking about, you know, this is your second mission that you directed, and you approached it right from the beginning. You said, I'm going to approach it as...

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as another director to honor the franchise, but also evaluating and looking at your lens choices, looking at how the locations that you chose throughout the picture, I thought were absolutely perfect. But when you talk about length and design of even the rooms, look at the width of these rooms, the length of them, and the lenses that you chose to shoot this.

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If this works, they're going to be in that hospital room going, Mommy? What is happening? Kids going, is this Mission Impossible? The last one was really funny. And there's fans in the franchise going, oh, this is where they blow it. This is the one where they totally blow it. Oh, those poor guys. They took themselves a little too seriously. They forgot what Mission was. They blew it.

4:02 · jump to transcript →

He knows that he's fooling somebody, and so he's basically overdoing the Van Helsing act. He's certainly more interesting to watch than Edward Van Sloan was in Dracula, who just plods through the movie. That's right. If you look at this as a slightly comic performance, I think it gives a different tone to the film. I mean, there is almost a point that, as Bride of Frankenstein is essentially a parody of Frankenstein done as a sequel, this is almost a parody of Dracula. Of Dracula.

20:28 · jump to transcript →

She used to go that route. Maybe having been at MGM, everything afterwards is a disappointment, although she did play in scalps later in her life and biohazard. Well, in that point, she only had one L in Carol rather than two L's as she's credited here. And supposedly she also wrote a sequel to Dracula, I believe. Yeah, which did eventually get published. I suppose it's a very early example of what's now called fan fiction, as she wrote a sequel and sent it to Bela to impress him, which evidently did, although...

36:21 · jump to transcript →

Lugosi's actual English at the time probably might not have been good maybe someone explained it to him but it came out from a small press towards the end of her life I have to admit I've not read it and I've read quite a lot of sequels to Dracula I'm sure if it was any good it would have been produced a long time before then I saw her just as she was on the terrace I fought to keep my eyes open but they closed

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While we're nearing the end of this, I want to tell you what Posloff said to us about his planned sequel. I think we're near the end. Maybe not. Let me see. Oh, God, we're not. We're only halfway through. I'm racing through this. Well, maybe we should just... Yeah. Maybe we should just get up and leave. Let's call in lunch.

47:26 · jump to transcript →

yeah um and uh the class reunion is actually god help us a sequel to college girls would have been i hope you guys put it out as a double feature anyway um edward was back writing this is from the interview now in psychotronic uh possible says ed was edward was back writing most of the scripts so the dialogue oh no he's not saying this this is me saying this

1:14:58 · jump to transcript →

would be submerged by water. That's the end of that. Oh, well, here she is now. Maybe I should now jump ahead to Apostleff talking about the sequel. And when I interviewed him, he brought this up, not me, because I didn't know there was going to be a sequel. But he says, Orgy of the Dead 2, I will not talk about. And then he goes on to now talk about it.

1:25:18 · jump to transcript →

This is The Godfather Part II, which is really a film that I never thought that I particularly wanted to do, or in fact it didn't exist in any form for me, just the idea that Paramount was talking about doing a sequel.

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fee. And the third was, I don't want to call it any name of a sequel. I want to call it The Godfather Part II. And basically the answer was the first condition was fine. The second condition was fine. But this thing about calling it The Godfather Part II, that Paramount couldn't go for that because they thought people would think, well, this must be the second half of The Godfather. And I've already seen that movie and I had to give it a title. So I said, look, those are my terms. And that's how this film became known as The Godfather Part II. And it's the first

1:36 · jump to transcript →

And I said, well, the first film is called The Godfather. The second film is called The Godfather Part II. And the third film is called The Death of Michael Corleone because it's really about the resolution of Michael Corleone. It's almost like an epilogue more than a sequel. And they said, absolutely, we'll give you all your other things that you're requesting, but you can't call the movie The Death of Michael Corleone. It has to be called.

3:07:13 · jump to transcript →

Yeah, it's just sort of fun to contemplate. Had there been a part two, like where he might have wandered off to with David at the end of the movie, you know? Yeah, yeah. Yeah, that's an interesting thought. And maybe we could get Bobby and Cheryl back together and do a sequel now. Except Bobby wouldn't still be the right age, I guess. Unless we set it in the future, we could do that. Right, his son could be half vampire or something like that. Yeah.

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Yeah, I mean, their relationship would hit a few snags down the road, I think, you know, but... Absolutely. Yeah, I still think we could use, like, you know, a belated sequel, you know, for a Netflix sequel or something, catch up with these guys, because I'd really like to know what happened to them. Well, we could figure that out, but I think you'd have to have a bigger audience than this probably has to make that happen, because the young audience that it would have...

1:08:58 · jump to transcript →

are not old enough to have seen the first one. Right. So you'd have to make some sort of package deal. Right. Well, it's what they call a requel. It's like a reboot sequel where if you haven't seen the other movie, it doesn't really matter. Yeah. But yeah, we'll see. When the Blu-ray comes out, we'll see how it does. You never know. Well, it would be fun.

1:09:30 · jump to transcript →

So this is a slice of... This is the true story, gang. In Park Ridge, Illinois, it really happened to a friend of mine. I'd be proud if it was me, but it was a famous story in our high school that this happened. Whatever happened after that? Could he be in the sequel? The real guy is now, you know... 12 kids later? Exactly. May I say, Ricky Paul Golden, the swagger this kid has is true to him, undirectable.

13:02 · jump to transcript →

Oh, this was a California unit? Yeah. Again, wonderful background folks in all these. Nice work. Again, nice work by Tony. Subtle work. Yeah. But perfectly set up, though, with just that one shot where you go, oh, now I see where he kind of ended up. But did you guys have any plans or just anything in your head about a sequel? Sure. Not detailed, because I really...

1:29:14 · jump to transcript →

Never respected that, okay, we're doing a franchise and we're going to make three and this is number one. We're going to call it Blob One. It's up to the audience. You were in the studio going, I got a blob cinematic universe ready to go. Easily. Only three decades to wait, kids. Never grow up. So I wanted to make a hit film, but I wasn't sitting there sketching out the Game of Thrones arc for seven sequels. So the 12-year-old kid who had seen this movie and was so inspired by it. Look at this. Great work by Tony.

1:29:43 · jump to transcript →

Macaulay Culkin

Hyper on 2." Any luck? No. You know, I... The studio rejected my idea of a sequel, which was years... You know, now, you actually... You being in jail... ...coming back to take revenge on Joe and Danny... ...who live in the suburbs next to each other, and they've got their families. Gone straight. - Gone straight. And you've got your... - That's great. I see something there, but they... For some reason, the studio just won't go for it. Crazies.

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Macaulay Culkin

Look, honey, the kids are.... You had Ally Sheedy in the sequel. Ally Sheedy was in the sequel. Yeah. - Yeah. But we-- I think we were piggybacking movies at that point. We were just finishing Only the Lonely, and Ally decided to do it as a favor. We were mixing and matching cast. - That's true. Ha, ha. I did a little stint in that one, Ally did a little in that. Is that okay? - Yes. I'll wait. A bit of the New Jersey influence here. We had one of my favorite bands at the time... Still pretty big in England and places like that. Southside Johnny and the Asbury Jukes... ...recorded a version of "Please Come Home for Christmas." It was my opportunity to get to work with some great soul singers... ...and some people I'd always wanted to work with for the soundtrack as well.

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Macaulay Culkin

One of my favorite lines, "dangly ones." I Know. I don't know why that's a... People still, like, come up to me and say it. They'll say that sometimes. "Dangly ones." And I'll know exactly what they're talking about. I wonder how many kids who watch this today remember Johnny Carson... ...which was, again, a perennial, you know. He was sort of David Letterman and Jay Leno wrapped into one. But this was also right near the end. I mean, this... He only had about two, three more years after this. Yeah, yeah. Now, do people still recognize you from the film? Yeah? - A lot, yeah. You know, it just... It comes with the territory, but, yeah. It's a curse and a blessing. I have the... I pretty much have the same face. Right. - Just a little bit older. Only a little bit older. Yeah, here's the other one. Look at this. I mean, you have to say... You can't imagine, in dailies, adults just dying of laughter... ...because you were a ham. Yeah, I was a ham. - I mean, if you wanted to.... I love how I never brush the back of my head too. It's such a child thing to do. My son said to me that... Years ago, when he saw this movie, he was like... He goes, "Dad, it hurts much more to spray your armpits... ... than it does to put shaving lotion on your face." And considering I didn't even shave, either. Yeah. Do we--? Didn't we do--? We were... I think we even shot one of those kind of sequences for the second one... ... with, like, an electric razor or something like that. Yeah, yeah. But we actually never did that gag in the second one, did we? I can't remember. People accused us on the second one of just remaking the first one. Which, to some extent, we did. Yeah, that was what was enjoyable about it. It was fun because you actually got to push the envelope a little more... .In terms of how painful the stunts could actually be. Yeah, gosh, I mean, if John Hughes said he could write this on the weekend... ...I wonder how long it took him to write the second one. Just, like, a little bit of cut and paste and, boom, you're done. You're there. Sequel, bam.

50:40 · jump to transcript →