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Ｍａｎｙ               ｔｉｍｅｓ,               ｉｎｔｅｒｖｉｅｗ               ｓｔｏｒｉｅｓ               ｗｉｌｌ               ｂｅｇｉｎ               ｗｉｔｈ               ｔｈｅ               ｏｃｃｕｐａｔｉｏｎ               ｏｆ               ｔｈｅ               ｉｎｔｅｒｖｉｅｗｅｅ,               ｓｕｃｈ               ａｓ               "ｃｏｌｕｍｎｉｓｔ,               Ｒｅｎｅ'               Ｔｈｕｒｓｔｏｎ."               Ｉｎ               ｔｈｅ               ｃａｓｅ               ｏｆ               ｔｈｉｓ               ｉｎｔｅｒｖｉｅｗ               ｓｕｂｊｅｃｔ,               ｈｏｗｅｖｅｒ,               ｙｏｕ'ｄ               ｎｅｅｄ               ａｎ               ｅｎｔｉｒｅ               ｐａｒａｇｒａｐｈ               ａｎｄ               ａ               ｂｕｃｋｅｔ-ｌｏａｄ               ｏｆ               ｃｏｍｍａｓ               ｔｏ               ｅｎｃｏｍｐａｓｓ               ｔｈｅ               ｅｎｔｉｒｅｔｙ               ｏｆ               ｗｈａｔ               Ｊａｍｅｓ               Ｆｅｌｉｘ               ＭｃＫｅｎｎｅｙ               ｈａｓ               ｈａｄ               ｈｉｓ               ｈａｎｄｓ               ｏｎ               ｉｎ               ｔｈｅ               ｅｎｔｅｒｔａｉｎｍｅｎｔ               ｉｎｄｕｓｔｒｙ.

Ｗｒｉｔｅｒ,               ｐｒｏｄｕｃｅｒ,               ｄｉｒｅｃｔｏｒ               ｏｆ               ｆｉｌｍｓ               ａｎｄ               ｍｕｓｉｃ               ｖｉｄｅｏｓ,               ｓｐｅｃｉａｌ               ｅｆｆｅｃｔｓ               ａｒｔｉｓｔ,               ｃｏｍｉｃ               ｂｏｏｋ               ａｕｔｈｏｒ,               ｓｔａｇｅｈａｎｄ,               ｄｏｏｒｍａｎ               ａｎｄ               ｅｄｉｔｏｒ               ａｒｅ               ｊｕｓｔ               ａ               ｆｅｗ               ｏｆ               ｔｈｅ               ｍａｎｙ               ｊｏｂｓ               ｏｎ               ｈｉｓ               ｅｘｔｅｎｓｉｖｅ               ｒｅｓｕｍｅ,               ｎｏｔ               ｔｏ               ｍｅｎｔｉｏｎ               ａ               ｒｅａｌ               ｗａｌｋｉｎｇ               ｅｎｃｙｃｌｏｐｅｄｉａ               ｏｆ               60'ｓ               ａｎｄ               70'ｓ               ｍａｉｎｓｔｒｅａｍ               ａｎｄ               ｕｎｄｅｒｇｒｏｕｎｄ               ｈｏｒｒｏｒ.

Ｗｈｉｌｅ               ｔｈｅ               ｗｏｒｌｄ               ｉｓ               ｆｉｌｌｅｄ               ｗｉｔｈ               ｗｏｕｌｄ-ｂｅ               ｆｉｌｍｍａｋｅｒｓ,               ｖｅｒｙ               ｆｅｗ               ａｃｔｕａｌｌｙ               ｇｅｔ               ｔｈｅｉｒ               ｉｄｅａｓ               ｐａｓｔ               ｔｈｅ               ｓｃｒｉｐｔ               ｓｔａｇｅ.

Ａｆｔｅｒ               ａｌｉｇｎｉｎｇ               ｈｉｍｓｅｌｆ               ｗｉｔｈ               ｍｏｒｅ               ｔｈａｎ               ｏｎｅ               ｆｅａｔｕｒｅ               ｆｉｌｍ               ｐｒｏｊｅｃｔ               ｔｈａｔ               ｆａｉｌｅｄ               ａｔ               ｖａｒｉｏｕｓ               ｓｔａｇｅｓ,               Ｊａｍｅｓ               Ｆｅｌｉｘ               ＭｃＫｅｎｎｅｙ               ｄｅｃｉｄｅｄ               ｔｈａｔ               ｓｏｍｅｔｉｍｅｓ,               ｉｆ               ｙｏｕ               ｗａｎｔ               ｓｏｍｅｔｈｉｎｇ               ｄｏｎｅ,               ｙｏｕ               ｈａｖｅ               ｔｏ               ｄｏ               ｉｔ               ｙｏｕｒｓｅｌｆ.
               Ｗｉｔｈ               $8,000               ｏｆ               ｈｉｓ               ｏｗｎ               ｍｏｎｅｙ,               ｅａｒｎｅｄ               ｗｏｒｋｉｎｇ               ａｔ               ｔｈｅ               Ｃｅｎｓｕｓ               Ｂｕｒｅａｕ               (ａｄｄ               ｔｈａｔ               ｔｏ               ｔｈｅ               ｌｉｓｔ               ｏｆ               ｅｍｐｌｏｙｍｅｎｔ               ｈａｔｓ),               ＭｃＫｅｎｎｅｙ               ｓｈｏｔ               ｈｉｓ               ｆｉｒｓｔ               ｆｅａｔｕｒｅ               ｆｉｌｍ,               ａ               ｔｏｎｇｕｅ-ｉｎ-ｃｈｅｅｋ               ｈｏｒｒｏｒ               ｇｅｍ,               "Ｃａｎｎｉｂａｌｉｓｔｉｃ,               "               ａｎｄ               ｗｉｔｈ               ｔｈａｔ,               ｈｉｓ               ｆｉｌｍ               ｃｏｍｐａｎｙ,               Ｍｏｎｓｔｅｒｐａｎｔｓ,               ｗａｓ               ｂｏｒｎ.
               Ｗｉｔｈ               ｇｏｏｄ               ｆｒｉｅｎｄｓ,               ｄｅｔｅｒｍｉｎａｔｉｏｎ               ａｎｄ               ｓｈｅｅｒ               ｆｏｒｃｅ               ｏｆ               ｗｉｌｌ               ｔｏ               ｇｅｔ               ｈｉｓ               ｓｃｒｉｐｔｓ               ｐｒｏｄｕｃｅｄ,               ｔｈｉｓ               ａｍｂｉｔｉｏｕｓ               ｆｉｌｍｍａｋｅｒ               ｈａｓ               ｐｒｏｖｅｎ               ｔｈａｔ               ａｎｙｏｎｅ,               ｗｉｔｈ               ｅｎｏｕｇｈ               ｈａｒｄ               ｗｏｒｋ,               ｓａｃｒｉｆｉｃｅ               ａｎｄ               ｉｎｇｅｎｕｉｔｙ,               ｃａｎ               ｇｅｔ               ｔｈｅｉｒ               ｆｉｌｍｓ               ｏｕｔ               ｏｆ               ｔｈｅｉｒ               ｈｅａｄ               ａｎｄ               ｏｎｔｏ               ｔｈｅ               ｓｃｒｅｅｎ.

Ｈｅ               ｈａｓ               ａｌｓｏ               ｐｒｏｖｅｎ               ｔｈａｔ               ｔｈｅ               ｏｌｄ               ａｄａｇｅ,               "ｉｔ               ｃａｎ'ｔ               ｈｕｒｔ               ｔｏ               ａｓｋ"               ｃａｎ               ｅｎｄ               ｕｐ               ｇｅｔｔｉｎｇ               ｙｏｕ               ｍｏｒｅ               ｔｈａｎ               ｙｏｕ               ｉｍａｇｉｎｅｄ.
               Ｓｉｎｃｅ               ｔｈｏｓｅ               ｈｕｍｂｌｅ               ｂｅｇｉｎｎｉｎｇｓ,               Ｊａｍｅｓ               ｈａｓ               ｎｏｗ               ｗｒｉｔｔｅｎ,               ｄｉｒｅｃｔｅｄ               ａｎｄ               ｐｒｏｄｕｃｅｄ               ｆｉｖｅ               ｏｆ               ｈｉｓ               ｏｗｎ               ｆｉｌｍｓ,               ｉｎｃｌｕｄｉｎｇ               "               Ｓａｔａｎ               Ｈａｔｅｓ               Ｙｏｕ               "               ａｎｄ               "               Ｈｙｐｏｔｈｅｒｍｉａ,               "               ａｎｄ               ｉｓ               ｉｎ               ｐｒｅ-ｐｒｏｄｕｃｔｉｏｎ               ｏｎ               ａ               ｓｉｘｔｈ,               "               Ｔｈｅ               Ｇｉｒｌ               ｆｒｏｍ               Ｍａｒｓ,               "               ｗｈｉｃｈ               ｉｓ               ｓｌａｔｅｄ               ｔｏ               ｂｅｇｉｎ               ｓｈｏｏｔｉｎｇ               ｉｎ               ｔｈｅ               ｎｅｘｔ               ｆｅｗ               ｗｅｅｋｓ.

Ｔｈｅ               ｎｅｗ               ｆｉｌｍ               ｓｔａｒｓ               ｔｈｅ               ｌｏｖｅｌｙ               Ｐａｕｌｅｙ               Ｐｅｒｒｅｔｔｅ,               ｗｈｏ               ｐｌａｙｓ               ｃｒｉｍｉｎｏｌｏｇｉｓｔ               Ａｂｂｙ               Ｓｃｉｕｔｏ               ｏｎ               ｔｈｅ               ｐｏｐｕｌａｒ               ＣＢＳ               ｓｅｒｉｅｓ,               "               ＮＣＩＳ.

"
               Ｊｉｍ               ｔｏｏｋ               ｔｉｍｅ               ｏｕｔ               ｆｒｏｍ               ｐｒｅ-ｐｒｏｄｕｃｔｉｏｎ               ｄｕｔｉｅｓ               ｔｏ               ａｎｓｗｅｒ               ｓｏｍｅ               ｑｕｅｓｔｉｏｎｓ               ａｂｏｕｔ               ｈｉｓ               ｆｉｌｍｍａｋｉｎｇ               ｅｘｐｅｒｉｅｎｃｅｓ.

Ｆｒｏｍ               ｈｉｓ               ｆｉｒｓｔ               ｆｉｌｍ               ｔｏ               ｎｏｗ,               ｔｈｅ               ｉｎｔｅｒｖｉｅｗ               ｉｓ               ａ               ｒｅａｌ               Ｌｏｗ               Ｂｕｄｇｅｔ               Ｆｉｌｍ               101               ｔｈａｔ               ａｌｌ               ａｓｐｉｒｉｎｇ               ｆｉｌｍｍａｋｅｒｓ               ｓｈｏｕｌｄ               ｒｅａｄ.
               ＲＨＴ:               Ｓｏ               Ｊｉｍ,               Ｉ               ｍｅｎｔｉｏｎｅｄ               ｔｈａｔ               ｙｏｕ'ｖｅ               ｗｏｒｋｅｄ               ｉｎ               ｔｈｅａｔｅｒ,               ｃｏｍｉｃ               ｂｏｏｋｓ,               ｍｕｓｉｃ               ｖｉｄｅｏｓ               ａｎｄ               ａ               ｈｏｓｔ               ｏｆ               ｏｔｈｅｒ               ｍｅｄｉｕｍｓ.

Ｗａｓ               ｍｏｖｉｎｇ               ｍａｋｉｎｇ               ｔｈｅ               ｄｒｅａｍ               ｇｏａｌ,               ｏｒ               ｄｉｄ               ｔｈａｔ               ｏｎｅ               ｆａｌｌ               ｉｎ               ｙｏｕｒ               ｌａｐ?
               ＪＦＭ:               Ｉ               ｔｈｉｎｋ               ｍａｋｉｎｇ               ｆｉｌｍｓ               ｗａｓ               ａｌｗａｙｓ               ｗｈｅｒｅ               Ｉ               ｗａｎｔｅｄ               ｔｏ               ｅｎｄ               ｕｐ,               ｂｕｔ               Ｉ'ｖｅ               ａｌｗａｙｓ               ｂｅｅｎ               ｃｏｎｔｅｎｔ               ｄｏｉｎｇ               ｗｈａｔｅｖｅｒ               Ｉ'ｍ               ｄｏｉｎｇ               ａｔ               ｔｈｅ               ｔｉｍｅ               ａｓ               ｌｏｎｇ               ａｓ               ｉｔ'ｓ               ｍａｋｉｎｇ               ｍｅ               ｈａｐｐｙ               ｃｒｅａｔｉｖｅｌｙ               ａｎｄ               ａｌｌｏｗｓ               ｍｅ               ｔｏ               ｔｅｌｌ               ａ               ｓｔｏｒｙ.

Ｉ               ｐｒｏｂａｂｌｙ               ｗｏｕｌｄ               ｈａｖｅ               ｓｋｉｐｐｅｄ               ｔｈｅ               ｔｈｅａｔｅｒ               ａｎｄ               ｃｏｍｉｃ               ｂｏｏｋ               ｓｔｕｆｆ               ｉｎ               ｔｈｅ               ｅａｒｌｙ               ｄａｙｓ               ｉｆ               ｔｈｅ               ｆｉｎａｎｃｉａｌ               ｅｘｐｅｎｓｅ               ｏｆ               ｍａｋｉｎｇ               ｆｉｌｍｓ               ｄｉｄｎ'ｔ               ｍａｋｅ               ｉｔ               ｓｅｅｍ               ｓｏ               ｏｕｔ               ｏｆ               ｒｅａｃｈ.
               Ｉｆ               Ｉ               ｈａｄ               ｂｅｅｎ               ｂｏｒｎ               ｉｎｔｏ               ａ               ｗｅａｌｔｈｙ               ｆａｍｉｌｙ               ｏｒ               ｍａｙｂｅ               10               ｏｒ               15               ｙｅａｒｓ               ｌａｔｅｒ               ｗｈｅｎ               ｔｈｅ               ｃｕｒｒｅｎｔ               ｄｉｇｉｔａｌ               ｔｅｃｈｎｏｌｏｇｙ               ｍａｄｅ               ｅｖｅｒｙｔｈｉｎｇ               ｓｏ               ａｆｆｏｒｄａｂｌｅ,               Ｉ               ｐｒｏｂａｂｌｙ               ｗｏｕｌｄ               ｈａｖｅ               ｇｏｔｔｅｎ               ａ               ｍｕｃｈ               ｅａｒｌｉｅｒ               ｓｔａｒｔ.

Ｂｕｔ               ａｌｌ               ｏｆ               ｔｈａｔ               ｅｘｐｅｒｉｅｎｃｅ               ｉｎ               ｏｔｈｅｒ               ａｒｅａｓ               ｄｉｄ               ｐａｙ               ｏｆｆ               ｂｅｃａｕｓｅ               ｔｈａｔ'ｓ               ｗｈｅｒｅ               Ｉ               ｌｅａｒｎｅｄ               ａ               ｌｏｔ               ｏｆ               ｔｈｅ               ｓｋｉｌｌｓ               Ｉ               ｕｓｅ               ｗｈｅｎ               ｍａｋｉｎｇ               ｏｕｒ               ｆｉｌｍｓ.
               ＲＨＴ:               Ｗａｓ               ｔｈｅｒｅ               ｏｎｅ               ｈｏｒｒｏｒ               ｆｉｌｍ               ｉｎ               ｙｏｕｒ               ｌｉｆｅ               ｔｈａｔ               ｍａｄｅ               ｙｏｕ               ｓａｙ,               "ｏｈ               ｙｅａｈ,               ｗｈａｔ'ｓ               ｗｈａｔ               Ｉ               ｗａｎｔ               ｔｏ               ｄｏ?"
               ＪＦＭ:               Ｉｔ               ｗａｓ               ａ               ｖａｒｉｅｔｙ               ｏｆ               ｉｎｆｌｕｅｎｃｅｓ,               ｒｅａｌｌｙ.

Ｍｙ               ｐａｒｅｎｔｓ               ｔｏｏｋ               ｍｅ               ｔｏ               ｓｅｅ               ＡＢＢＯＴＴ               ＡＮＤ               ＣＯＳＴＥＬＬＯ               ＭＥＥＴ               ＦＲＡＮＫＥＮＳＴＥＩＮ               ａｔ               ａｎ               ｏｕｔｄｏｏｒ               ｐａｒｋ               ｗｈｅｎ               Ｉ               ｗａｓ               ａｂｏｕｔ               ｆｏｕｒ               ｙｅａｒｓ               ｏｌｄ,               ａｎｄ               Ｉ               ｂｅｃａｍｅ               ｏｂｓｅｓｓｅｄ               ｗｉｔｈ               ｍｏｎｓｔｅｒｓ,               ｔｈｅ               Ｆｒａｎｋｅｎｓｔｅｉｎ               ｍｏｎｓｔｅｒ               ｉｎ               ｐａｒｔｉｃｕｌａｒ.

Ａｓ               Ｉ               ｇｏｔ               ａ               ｌｉｔｔｌｅ               ｏｌｄｅｒ,               Ｉ               ｇｏｔ               ｔｏ               ｂｅ               ｍｏｒｅ               ａｎｄ               ｍｏｒｅ               ｏｆ               ａ               ｆａｎ               ｏｆ               ｔｈｅ               ｏｌｄ               Ｕｎｉｖｅｒｓａｌ               ａｎｄ               Ｈａｍｍｅｒ               ｈｏｒｒｏｒ               ｆｉｌｍｓ               ｔｈａｔ               ｗｅｒｅ               ｓｈｏｗｉｎｇ               ｏｎ               ＴＶ               ａｎｄ               ｓｔａｒｔｅｄ               ｃｒｅａｔｉｎｇ               ｍｙ               ｏｗｎ               ｍｏｎｓｔｅｒ               ｍａｋｅｕｐ               ｕｓｉｎｇ               ｓｔｕｆｆ               Ｉ'ｄ               ｂｕｙ               ａｔ               ｔｈｅ               ｌｏｃａｌ               ｄｅｐａｒｔｍｅｎｔ               ｓｔｏｒｅ               ａｔ               Ｈａｌｌｏｗｅｅｎ               ｔｉｍｅ.

Ｔｈｅｎ               ｔｈｅｒｅ               ｗａｓ               ｔｈｅ               ｆｉｒｓｔ               ＳＴＡＲ               ＷＡＲＳ               ｃｒａｚｅ,               ａｎｄ               Ｉ               ｗａｓ               ａｂｓｏｌｕｔｅｌｙ               ｆａｓｃｉｎａｔｅｄ               ｗｉｔｈ               ａｌｌ               ｏｆ               ｔｈｅ               ｍａｔｅｒｉａｌ               ｔｈａｔ               ｗａｓ               ｏｕｔ               ａｔ               ｔｈｅ               ｔｉｍｅ               ａｂｏｕｔ               ｔｈｅ               ｍａｋｉｎｇ               ｏｆ               ｔｈｅ               ｆｉｌｍ.

Ｓｈｏｒｔｌｙ               ａｆｔｅｒ               ｔｈａｔ,               Ｉ               ｂｅｃａｍｅ               ａｎ               ｏｂｓｅｓｓｉｖｅ               "Ｄｏｃｔｏｒ               Ｗｈｏ"               ｆａｎ               ａｎｄ               ｗａｓ               ｏｒｄｅｒｉｎｇ               ａｌｌ               ｓｏｒｔｓ               ｏｆ               ｂｏｏｋｓ               ａｎｄ               ｍａｇａｚｉｎｅｓ               ｆｒｏｍ               Ｅｎｇｌａｎｄ               ａｂｏｕｔ               ｔｈｅ               ｍａｋｉｎｇ               ｏｆ               ｔｈｅ               ｓｅｒｉｅｓ.Ｓｏｍｅ               ｏｆ               ｍｙ               ｆａｖｏｒｉｔｅ               ｆｉｌｍｓ               ａｔ               ｔｈｅ               ｔｉｍｅ               ｗｅｒｅ               ＴＨＥ               ＢＩＲＤＳ,               ＴＨＥ               ＲＥＶＥＮＧＥ               ＯＦ               ＴＨＥ               ＣＲＥＡＴＵＲＥ               ａｎｄ               ＤＲＡＣＵＬＡ:               ＰＲＩＮＣＥ               ＯＦ               ＤＡＲＫＮＥＳＳ,               ＴＨＥ               ＷＩＣＫＥＲ               ＭＡＮ               ａｎｄ               ＴＨＥ               ＯＭＥＮ,               ｂｕｔ               ｉｔ               ｗａｓ               ｌｅｓｓ               ａｂｏｕｔ               ｔｈｅ               ｈｏｒｒｏｒ               ｓｐｅｃｉｆｉｃａｌｌｙ               ａｎｄ               ｍｏｒｅ               ａｂｏｕｔ               ｔｈｅ               ｍｏｎｓｔｅｒ               ｃｏｓｔｕｍｅｓ,               ｓｐｅｃｉａｌ               ｅｆｆｅｃｔｓ               ａｎｄ               ｔｈｅ               ｐｒｏｃｅｓｓ               ａｓ               ａ               ｗｈｏｌｅ               ｔｈａｔ               ｓｐａｒｋｅｄ               ｍｙ               ｉｍａｇｉｎａｔｉｏｎ.
               Ａｌｌ               ｔｈｒｏｕｇｈｏｕｔ               ｍｙ               ｃｈｉｌｄｈｏｏｄ,               Ｉ               ｗａｓ               ａｌｗａｙｓ               ｔｅｌｌｉｎｇ               ｓｔｏｒｉｅｓ               ｂｙ               ｄｒａｗｉｎｇ               ｃｏｍｉｃ               ｓｔｒｉｐｓ,               ｐｕｔｔｉｎｇ               ｏｎ               ｐｌａｙｓ               ａｎｄ               ｍａｋｉｎｇ               ｆｉｌｍｓ               ｕｓｉｎｇ               ｅｘｐｉｒｅｄ               ｆｉｌｍ               (ｉｔ               ｗａｓ               ｃｈｅａｐｅｒ!)               ａｎｄ               ｍｙ               ｄａｄ'ｓ               8ｍｍ               ｃａｍｅｒａ.

Ｓｏ               ｗｈｅｎ               ｉｔ               ｃａｍｅ               ｔｉｍｅ               ｔｏ               ｄｅｃｉｄｅ               ｗｈａｔ               Ｉ               ｗａｓ               ｇｏｉｎｇ               ｔｏ               ｄｏ               ｗｉｔｈ               ｍｙ               ｌｉｆｅ,               Ｉ               ｒｅａｌｉｚｅｄ               ｔｈａｔ               Ｉ               ｈａｄ               ａ               ｒｅａｌ               ｉｎｔｅｒｅｓｔ               ｉｎ               ｆｉｌｍ               ａｎｄ               ＴＶ               ｐｒｏｄｕｃｔｉｏｎ               ａｎｄ               ｔｈａｔ               ｐｅｒｈａｐｓ               ｔｈａｔ               ｗａｓ               ｔｈｅ               ｆｉｅｌｄ               Ｉ               ｓｈｏｕｌｄ               ｔｒｙ               ｔｏ               ｇｅｔ               ｉｎｔｏ.
               ＲＨＴ:               Ｈａｖｉｎｇ               ｗｏｒｎ               ｔｈｅ               ｈａｔｓ               ｆｏｒ               ａ               ｔｈｏｕｓａｎｄ               ｊｏｂｓ               (ｏｒ               ｓｏ               ｉｔ               ｓｅｅｍｓ),               ｗａｓ               ｉｔ               ｏｕｔ               ｏｆ               ａ               ｄｅｓｉｒｅ               ｆｏｒ               ｃａｒｅｅｒ               ｅｎｈａｎｃｅｍｅｎｔ,               ｎｅｃｅｓｓｉｔｙ               ｄｕｅ               ｔｏ               ｂｕｄｇｅｔ               ｏｒ               ｏｔｈｅｒ               ｒｅａｓｏｎｓ?

Ｄｏ               ｙｏｕ               ｆｅｅｌ               ｉｔ'ｓ               ｒｅａｌｌｙ               ｉｍｐｏｒｔａｎｔ               ｆｏｒ               ｆｉｌｍｍａｋｅｒｓ               ｔｏ               ａｓｓｕｍｅ               ａｌｌ               ｔｈｅｓｅ               ｒｏｌｅｓ               ａｔ               ｏｎｅ               ｔｉｍｅ               ｏｒ               ａｎｏｔｈｅｒ               ｔｏ               ｂｅ               ｓｕｃｃｅｓｓｆｕｌ?
               ＪＦＭ:               Ｐａｒｔ               ｏｆ               ｉｔ               ｉｓ               ｏｕｔ               ｏｆ               ｎｅｃｅｓｓｉｔｙ,               ｃｅｒｔａｉｎｌｙ               ｔｈｅ               ｐｒｏｄｕｃｉｎｇ,               ｐｒｏｍｏｔｉｏｎａｌ               ｔａｓｋｓ,               ａｎｄ               ｓｏｍｅｔｉｍｅｓ               ｔｈｅ               ｅｄｉｔｉｎｇ,               ｗｈｉｃｈ               Ｉ               ｄｏｎ'ｔ               ｑｕｉｔｅ               ｅｎｊｏｙ               ａｓ               ｍｕｃｈ               ａｓ               ｔｈｅ               ｏｔｈｅｒ               ｐａｒｔｓ               ｏｆ               ｔｈｅ               ｐｒｏｃｅｓｓ.

Ｂｕｔ               Ｉ               ｌｏｖｅ               ａｌｌ               ｏｆ               ｔｈｅ               ｐｒｏｄｕｃｔｉｏｎ               ｄｅｓｉｇｎ,               ｅｆｆｅｃｔｓ               ａｎｄ               ａｒｔ               ｄｅｐａｒｔｍｅｎｔ               ｓｔｕｆｆ.

Ｉ'ｍ               ｊｕｓｔ               ａｓ               ｈａｐｐｙ               ｐａｉｎｔｉｎｇ               ａ               ｓｅｔ               ａｓ               Ｉ               ａｍ               ｄｉｒｅｃｔｉｎｇ.

Ｉｔ'ｓ               ａｌｌ               ａｂｏｕｔ               ｂｅｉｎｇ               ｃｒｅａｔｉｖｅ               ａｎｄ               ｍａｋｉｎｇ               ｔｈｉｎｇｓ.
               Ｔｈｅｒｅ               ｉｓ               ａ               ｐａｒｔ               ｏｆ               ｍｅ               ｔｈａｔ               ｆｅｅｌｓ               ｔｈａｔ               ｉｆ               ｙｏｕ               ａｒｅ               ａ               ｆｉｌｍｍａｋｅｒ,               ｙｏｕ               ｈａｖｅ               ｔｏ               ｇｅｔ               ｙｏｕｒ               ｈａｎｄｓ               ｄｉｒｔｙ               ａｎｄ               ｒｅａｌｌｙ               ｂｅ               ａｎ               ａｒｔｉｓｔ.

Ｏｔｈｅｒｗｉｓｅ,               ｙｏｕ'ｒｅ               ｊｕｓｔ               ａｎ               ａｄｍｉｎｉｓｔｒａｔｏｒ               ｏｒ               ｓｕｐｅｒｖｉｓｏｒ.

Ｗｈｉｃｈ               ｉｓ               ｆｉｎｅ,               ｉｆ               ｔｈａｔ'ｓ               ｔｈｅ               ｓｏｒｔ               ｏｆ               ｄｉｒｅｃｔｏｒ               ｔｈａｔ               ｙｏｕ               ｗａｎｔ               ｔｏ               ｂｅ.

Ｉ'ｖｅ               ｂｅｅｎ               ｔｈａｔ               ｇｕｙ               ｏｎ               ｏｎｅ               ｏｒ               ｔｗｏ               ｄｉｒｅｃｔｉｎｇ               ｊｏｂｓ               Ｉ'ｖｅ               ｈａｄ,               ｓｉｍｐｌｙ               ｂｅｃａｕｓｅ               Ｉ               ｗａｓｎ'ｔ               ｉｎｓｐｉｒｅｄ               ｏｒ               ｅｘｃｉｔｅｄ               ｂｙ               ｔｈｅ               ｐｒｏｄｕｃｔｉｏｎ.
               Ｓｏ               ｗｈｉｌｅ               Ｉ               ｄｏｎ'ｔ               ｔｈｉｎｋ               ｂｅｉｎｇ               ｉｎｖｏｌｖｅｄ               ｉｎ               ａｌｌ               ａｓｐｅｃｔｓ               ｉｓ               ａ               ｒｅｑｕｉｒｅｍｅｎｔ               ｆｏｒ               ａ               ｆｉｌｍｍａｋｅｒ,               ｉｔ               ｃｅｒｔａｉｎｌｙ               ｈｅｌｐｓ               ｔｏ               ｂｅ               ａｂｌｅ               ｔｏ               ｕｎｄｅｒｓｔａｎｄ               ａｓ               ｍａｎｙ               ｐａｒｔｓ               ｏｆ               ｔｈｅ               ｐｒｏｃｅｓｓ               ａｓ               ｐｏｓｓｉｂｌｅ,               ａｎｄ               Ｉ               ｂｅｌｉｅｖｅ               ｉｔ               ｍａｋｅｓ               ｆｏｒ               ａ               ｍｏｒｅ               ａｒｔｉｓｔｉｃａｌｌｙ               ｒｅｗａｒｄｉｎｇ               ｅｘｐｅｒｉｅｎｃｅ.
               ＲＨＴ:               Ｄｉｄ               ｙｏｕ               ｇｏ               ｔｏ               ｆｉｌｍ               ｓｃｈｏｏｌ               -               ｏｒ               ｉｆ               ｎｏｔ,               ｄｏ               ｙｏｕ               ｗｉｓｈ               ｙｏｕ               ｈａｄ?
               ＪＦＭ:               Ｉ               ｄｉｄｎ'ｔ.

Ｉ               ｔｏｏｋ               ｏｎｅ               ｆｉｌｍ               ｃｌａｓｓ               ｉｎ               ｃｏｌｌｅｇｅ               ｗｈｉｌｅ               Ｉ               ｓｔｕｄｉｅｄ               ｗｒｉｔｉｎｇ,               ａｃｔｉｎｇ               ａｎｄ               ａｔ               ｏｎｅ               ｐｏｉｎｔ,               ｃａｒｔｏｏｎｉｎｇ,               ｂｕｔ               ｔｈａｔ               ｗａｓ               ｉｔ.

Ｔｈｅｒｅ               ｄｅｆｉｎｉｔｅｌｙ               ｗｏｕｌｄ               ｈａｖｅ               ｂｅｅｎ               ｓｏｍｅ               ｂｅｎｅｆｉｔ               ｆｏｒ               ｍｅ               ｔｏ               ｈａｖｅ               ｇｏｎｅ               ａｔ               ｌｅａｓｔ               ｏｎｅ               ｙｅａｒ               ｔｏ               ｆｉｌｍ               ｓｃｈｏｏｌ,               ｊｕｓｔ               ｔｏ               ｇｅｔ               ｓｏｍｅ               ｏｆ               ｔｈｅ               ｔｅｃｈｎｉｃａｌ               ｂａｓｉｃｓ               ｔｈａｔ               Ｉ'ｍ               ｓｔｉｌｌ               ｌａｃｋｉｎｇ               ｅｖｅｎ               ｔｏｄａｙ.

Ｉｔ               ｓｅｅｍｓ               ｔｈａｔ               ｍｏｓｔ               ｏｆ               ｔｈｅ               ｐｅｏｐｌｅ               Ｉ               ｋｎｏｗ               ｉｎ               ｔｈｅ               ｂｕｓｉｎｅｓｓ               ｗｅｎｔ               ｔｏ               ｆｉｌｍ               ｓｃｈｏｏｌ               ａｔ               ｏｎｅ               ｐｏｉｎｔ,               ｂｕｔ               ｖｅｒｙ               ｆｅｗ               ｏｆ               ｔｈｅｍ               ａｃｔｕａｌｌｙ               ｇｒａｄｕａｔｅｄ.

Ｔｈｅｙ               ｌｅａｒｎｅｄ               ｗｈａｔ               ｔｈｅｙ               ｎｅｅｄｅｄ               ｔｏ               ｔｏ               ｇｅｔ               ｔｈｅｉｒ               ｆｅｅｔ               ｗｅｔ               ａｎｄ               ｔｈｅｎ               ｓｔｏｐｐｅｄ               ｗａｓｔｉｎｇ               ｔｉｍｅ               ｉｎ               ｃｌａｓｓ               ａｎｄ               ｇｏｔ               ｔｏ               ｗｏｒｋ!

Ｉ               ｆｉｒｍｌｙ               ｂｅｌｉｅｖｅ               ｔｈａｔ               ｅｘｐｅｒｉｅｎｃｅ               ｉｓ               ｔｈｅ               ｂｅｓｔ               ｔｅａｃｈｅｒ.
               ＲＨＴ:               Ｙｏｕ'ｖｅ               ｓａｉｄ               ｔｈａｔ               ｙｏｕ               ｗｏｒｋｅｄ               ｏｎ               ａ               ｆｉｌｍ               ｏｒ               ｔｗｏ               ｔｈａｔ               ｆｅｌｌ               ｆｌａｔ               ｂｅｆｏｒｅ               ｍａｋｉｎｇ               ｉｔ               ｉｎｔｏ               ｐｒｏｄｕｃｔｉｏｎ,               ｗｈｉｃｈ               ｔｈｅｎ               ｐｒｏｍｐｔｅｄ               ｙｏｕ               ｔｏ               ｇｏ               ｉｔ               ｏｎ               ｙｏｕｒ               ｏｗｎ               ｗｉｔｈ               ｙｏｕｒ               ｆｉｒｓｔ               ｆｉｌｍ,               "               Ｃａｎｎｉｂａｌｉｓｔｉｃ.

"               Ｗｈａｔ               ｈａｐｐｅｎｅｄ               ｗｉｔｈ               ｔｈｏｓｅ               ｐｒｏｊｅｃｔｓ               ｔｈａｔ               ｃａｕｓｅｄ               ｔｈｅｍ               ｔｏ               ｆａｉｌ,               ａｎｄ               ｗｈａｔ               ｄｏ               ｙｏｕ               ｆｅｅｌ               ｕｌｔｉｍａｔｅｌｙ               ｌｅｄ               ｔｏ               ｔｈｅ               ｓｕｃｃｅｓｓｆｕｌ               ｃｏｍｐｌｅｔｉｏｎ               ｏｆ               ｔｈａｔ               ｆｉｒｓｔ               ｐｒｏｊｅｃｔ?
               ＪＦＭ:               Ｗｈｅｎ               Ｉ               ｗａｓ               ｌｉｖｉｎｇ               ｉｎ               Ｌｏｓ               Ａｎｇｅｌｅｓ               ｉｎ               ｔｈｅ               ｌａｔｅ               1990'ｓ,               Ｉ               ｗａｓ               ｆｏｃｕｓｅｄ               ｏｎ               ｓｃｒｅｅｎｗｒｉｔｉｎｇ               ａｎｄ               ｈａｄ               ｔｈｒｅｅ               ｓｃｒｉｐｔｓ               ｏｐｔｉｏｎｅｄ;               ａ               ｓｕｐｅｒ               ｈｅｒｏ               /               ｅｓｐｉｏｎａｇｅ               ａｃｔｉｏｎ               ｆｉｌｍ,               ａ               ｈｏｒｒｏｒ               ｍｏｖｉｅ               ａｎｄ               ａ               ｂｉｇ               ｂｕｄｇｅｔ               ａｃｔｉｏｎ               /               ｒｏａｄ               ｍｏｖｉｅ               ｔｈａｔ               Ｉ               ｃｏ-ｗｒｏｔｅ               ｗｉｔｈ               Ｒｉｃｈａｒｄ               Ｋａｐｏｎａｓ.

Ｉｎ               ｅｖｅｒｙ               ｃａｓｅ,               Ｉ               ｗａｓ               ｖｅｒｙ               ｅｘｃｉｔｅｄ               ａｎｄ               ｔｈｏｕｇｈｔ               "ｔｈｉｓ               ｉｓ               ｔｈｅ               ｏｎｅ,"               ａｎｄ               ｔｈｅｎ               ｅｖｅｎｔｕａｌｌｙ,               ｔｈｅ               ｐｒｏｊｅｃｔ               ｆｅｌｌ               ａｐａｒｔ               ａｆｔｅｒ               ｍｏｎｔｈｓ               ｏｆ               ｗａｉｔｉｎｇ.

Ｉｔ               ｗａｓｎ'ｔ               ａｎｙｂｏｄｙ'ｓ               ｆａｕｌｔ               ｏｒ               ａｎｙｔｈｉｎｇ,               ｉｔ'ｓ               ｊｕｓｔ               ｔｈｅ               ｎａｔｕｒｅ               ｏｆ               ｔｈｅ               ｇａｍｅ.

Ｉｎ               ｅｖｅｒｙ               ｃａｓｅ,               ｔｈｅ               ｐｒｏｄｕｃｅｒｓ               ｅｉｔｈｅｒ               ｌｏｓｔ               ｔｈｅ               ｆｉｎａｎｃｉｎｇ               ｔｈａｔ               ｔｈｅｙ               ｈａｄ               ｂｅｃａｕｓｅ               ｏｆ               ｓｏｍｅ               ｕｎｆｏｒｅｓｅｅｎ               ｅｃｏｎｏｍｉｃ               ｃｒｉｓｉｓ,               ｏｒ               ｔｈｅｙ               ｊｕｓｔ               ｗｅｒｅ               ｕｎａｂｌｅ               ｔｏ               ｒａｉｓｅ               ｔｈｅ               ｍｏｎｅｙ               ｂｅｆｏｒｅ               ｔｈｅ               ｏｐｔｉｏｎ               ｏｎ               ｔｈｅ               ｓｃｒｉｐｔ               ｒａｎ               ｏｕｔ.

Ｔｈａｔ'ｓ               ｓｈｏｗｂｉｚ.
               Ａｆｔｅｒ               ｇｏｉｎｇ               ｔｈｒｏｕｇｈ               ｔｈｉｓ               ｍｏｒｅ               ｔｈａｎ               ｏｎｃｅ,               Ｉ               ｊｕｓｔ               ｄｅｃｉｄｅｄ               ｔｈａｔ               ｒａｔｈｅｒ               ｔｈａｎ               ｗａｉｔｉｎｇ               ｆｏｒ               ｓｏｍｅｂｏｄｙ               ｅｌｓｅ               ｔｏ               ｍａｋｅ               ｉｔ               ｈａｐｐｅｎ,               Ｉ               ｓｈｏｕｌｄ               ｊｕｓｔ               ｄｏ               ｗｈａｔ               Ｉ               ａｌｗａｙｓ               ｄｉｄ               ｗｉｔｈ               ｔｈｅ               ｃｏｍｉｃ               ｂｏｏｋｓ               ｏｒ               ｗｈａｔｅｖｅｒ               ａｎｄ               ｊｕｓｔ               ｄｏ               ｉｔ               ｍｙｓｅｌｆ.

Ｂｙ               ｔｈｅｎ               ｉｔ               ｗａｓ               1999,               ａｎｄ               ｄｉｇｉｔａｌ               ｔｅｃｈｎｏｌｏｇｙ               ｈａｄ               ｆｉｎａｌｌｙ               ｍａｄｅ               ｔｈｉｎｇｓ               ａｆｆｏｒｄａｂｌｅ,               ｓｏ               Ｉ               ｇｏｔ               ｔｏ               ｗｏｒｋ               ａｎｄ               ｗｅ               ｓｈｏｔ               ＣＡＮＮＩＢＡＬＬＩＳＴＩＣ!

ｉｎ               2000.
               Ｔｈａｔ               ｆｉｌｍ               ｗｏｒｋｅｄ               ｂｅｃａｕｓｅ               Ｉ               ｄｉｄｎ'ｔ               ｔｒｙ               ｔｏ               ｍａｋｅ               ａ               ｆａｋｅ               Ｈｏｌｌｙｗｏｏｄ-ｓｔｙｌｅ               ｐｒｏｄｕｃｔｉｏｎ.

Ｉ               ｃａｌｌｅｄ               ｏｎ               ｔｈｅ               ｐｅｏｐｌｅ               ｗｈｏ               Ｉ               ｈａｄ               ｄｏｎｅ               ｕｎｄｅｒｇｒｏｕｎｄ               ｔｈｅａｔｅｒ               ｗｉｔｈ               ｉｎ               Ｂｏｓｔｏｎ               ｉｎ               ｔｈｅ               ｅａｒｌｙ               90'ｓ,               ａｎｄ               ｗｅ               ｍａｄｅ               ｔｈｅ               ｍｏｖｉｅ               ｔｈｅ               ｓａｍｅ               ｗａｙ               ｗｅ               ｕｓｅｄ               ｔｏ               ｐｕｔ               ｏｎ               ｓｈｏｗｓ               ｉｎ               ｌｏｆｔ               ｓｐａｃｅｓ               ａｎｄ               ｂａｒｓ.

Ｅｖｅｒｙｂｏｄｙ               ｐｉｔｃｈｅｄ               ｉｎ               ａｎｄ               ｄｉｄ               ａ               ｌｉｔｔｌｅ               ｂｉｔ               ｏｆ               ｅｖｅｒｙｔｈｉｎｇ.

Ｌｕｃｋｉｌｙ,               ｏｕｒ               ｏｌｄ               ｔｈｅａｔｅｒ               ｄｉｒｅｃｔｏｒ,               Ｄａｖｉｄ               Ｈａｌｅ,               ｗａｓ               ｍａｋｉｎｇ               ｍｕｓｉｃ               ｖｉｄｅｏｓ               ａｎｄ               ｄｏｃｕｍｅｎｔａｒｉｅｓ               ａｔ               ｔｈｅ               ｔｉｍｅ,               ｓｏ               ｈｉｓ               ｎｅｗｆｏｕｎｄ               ｅｘｐｅｒｔｉｓｅ               ａｎｄ               ａｃｃｅｓｓ               ｔｏ               ｅｑｕｉｐｍｅｎｔ               ｒｅａｌｌｙ               ｃａｍｅ               ｉｎ               ｈａｎｄｙ.
               ＲＨＴ:               Ｄｏ               ｙｏｕ               ｆｅｅｌ               ｙｏｕｒ               ｅｘｔｅｎｓｉｖｅ               ｒｅｓｕｍｅ               ａｎｄ               ｃｏｎｔａｃｔｓ               ｙｏｕ               ｈａｄ               ｍａｄｅ               ｕｐ               ｔｏ               ｔｈａｔ               ｐｏｉｎｔ               ｗｅｒｅ               ｉｎｔｅｇｒａｌ               ｔｏ               ｔｈｅ               ｓｕｃｃｅｓｓ,               ｏｒ               ｃａｎ               ａ               ｆｉｌｍｍａｋｅｒ               ｓｔａｒｔ               ｆｒｏｍ               ｓｃｒａｔｃｈ               ａｎｄ               ｓｔｉｌｌ               ｇｅｔ               ｔｈｅ               ｊｏｂ               ｄｏｎｅ?
               ＪＦＭ:               Ｉｔ               ｈｅｌｐｅｄ,               ｃｅｒｔａｉｎｌｙ,               ｉｎ               ｔｈｅ               ｃａｓｅ               ｏｆ               ａ               ｍｏｖｉｅ               ｌｉｋｅ               ＳＡＴＡＮ               ＨＡＴＥＳ               ＹＯＵ               ｗｈｅｒｅ               ｉｔ               ｗａｓ               ａ               ｆａｉｒｌｙ               ｌａｒｇｅ               ｐｒｏｄｕｃｔｉｏｎ               ｗｉｔｈ               ａ               ｌｏｔ               ｏｆ               ａｃｔｏｒｓ               ａｎｄ               ｌｏｃａｔｉｏｎｓ               ｗｈｉｃｈ               ｗｅ               ｍａｎａｇｅｄ               ｔｏ               ｐｕｌｌ               ｏｆｆ               ｆｏｒ               ｖｅｒｙ               ｌｉｔｔｌｅ               ｍｏｎｅｙ.

Ｂｕｔ               ｒｅａｌｌｙ               ｎｏｗａｄａｙｓ,               ｔｈｅｒｅ'ｓ               ｎｏｔｈｉｎｇ               ｈｏｌｄｉｎｇ               ａｎｙｏｎｅ               ｂａｃｋ.

Ｙｏｕ               ｃａｎ               ｓｈｏｏｔ               ａ               ｆｅａｔｕｒｅ               ｕｓｉｎｇ               ｙｏｕｒ               ｐｈｏｎｅ,               ｅｄｉｔ               ｉｔ               ｏｎ               ａ               ｌａｐｔｏｐ               ａｎｄ               ｄｉｓｔｒｉｂｕｔｅ               ｉｔ               ｖｉａ               ｔｈｅ               ｗｅｂ               ｆｏｒ               ｖｅｒｙ               ｌｉｔｔｌｅ               ｔｉｍｅ               ａｎｄ               ａ               ｌｏｔ               ｏｆ               ｈａｒｄ               ｗｏｒｋ               ｉｆ               ｙｏｕ'ｒｅ               ｃｒｅａｔｉｖｅ               ｅｎｏｕｇｈ.

Ａｎｙｂｏｄｙ               ｃａｎ               ａｃｃｏｍｐｌｉｓｈ               ａｎｙｔｈｉｎｇ               ｉｆ               ｔｈｅｙ               ｊｕｓｔ               ｄｏｎ'ｔ               ｓｃｒｅｗ               ａｒｏｕｎｄ               ｐｒｏｃｒａｓｔｉｎａｔｉｎｇ               ａｎｄ               ｇｅｔ               ｔｏ               ｗｏｒｋ!
               ＲＨＴ:               Ｗａｓ               ｔｈｅ               ｓｃｒｉｐｔ/ｓｔｏｒｙ               ｃｈｏｉｃｅ               ｏｆ               "               Ｃａｎｎｉｂａｌｉｓｔｉｃ               "               ｍａｄｅ               ｄｕｅ               ｔｏ               ｔｈｅ               ｂｕｄｇｅｔ               ｏｒ               ｉｎ               ｓｐｉｔｅ               ｏｆ               ｉｔ?

(               "               Ｃａｎｎｉｂａｌｉｓｔｉｃ               "               ｉｓ               ｔｈｅ               ｓｔｏｒｙ               ｏｆ               ａ               ｙｏｕｎｇ               ｍａｎ               ｗｈｏ               ｉｓ               ｆｏｒｃｅｄ               ｔｏ               ｅａｔ               ｈｉｓ               ｔｒａｖｅｌｉｎｇ               ｃｏｍｐａｎｉｏｎ               ｗｈｅｎ               ｔｈｅｙ               ｂｅｃｏｍｅ               ｓｔｒａｎｄｅｄ.

Ｔｈｅ               ｃｈａｒａｃｔｅｒ               ｉｓ               ｒｅｓｃｕｅｄ               ｂｕｔ               ｈａｓ               ｄｅｖｅｌｏｐｅｄ               ａ               ｔａｓｔｅ               ｆｏｒ               ｈｕｍａｎ               ｆｌｅｓｈ.

Ｈｅ               ａｔｔｅｍｐｔｓ               ｔｏ               ｍｏｖｅ               ｔｏ               ｔｈｅ               ｍｉｄｄｌｅ               ｏｆ               ｎｏｗｈｅｒｅ               ａｎｄ               ｂｅｃｏｍｅ               ａ               ｖｅｇｅｔａｒｉａｎ,               ｂｕｔ               ｐｅｏｐｌｅ               ｊｕｓｔ               ｓｅｅｍ               ｔｏ               ｋｅｅｐ               ｓｔｏｐｐｉｎｇ               ｂｙ...

)

               ＪＦＭ:               Ｉｔ               ｗａｓ               ｃｏｍｐｌｅｔｅｌｙ               ｄｉｃｔａｔｅｄ               ｂｙ               ｔｈｅ               ｂｕｄｇｅｔ.

Ｔｈａｔ'ｓ               ｔｈｅ               ｂｅｎｅｆｉｔ               ｏｆ               ｂｅｉｎｇ               ｔｈｅ               ｄｉｒｅｃｔｏｒ,               ｅｄｉｔｏｒ               ａｎｄ               ｍｏｓｔ               ｉｍｐｏｒｔａｎｔｌｙ               ｔｈｅ               ｐｒｏｄｕｃｅｒ               --               ｗｈｅｎ               Ｉ'ｍ               ｗｒｉｔｉｎｇ,               Ｉ'ｍ               ｃｏｕｎｔｉｎｇ               ｅｖｅｒｙ               ｐｅｎｎｙ,               ｔｈｉｎｋｉｎｇ               ａｂｏｕｔ               ｗｈａｔ               ｒｅｓｏｕｒｃｅｓ               ｗｅ               ｃａｎ               ｇｅｔ               ｆｏｒ               ｆｒｅｅ               ａｎｄ               ｗｈｅｒｅ               ｗｅ               ｃａｎ               ｃｈｅａｔ               ｔｈｉｎｇｓ               ｉｎ               ｔｈｅ               ｅｄｉｔ               ｔｏ               ｓａｖｅ               ｍｏｎｅｙ.

Ｔｈａｔ'ｓ               ｔｈｅ               ｍｏｓｔ               ｂａｓｉｃ               ｌｅｓｓｏｎ               ｔｈａｔ               ｗｅ               ａｌｌ               ｌｅａｒｎ               ｉｎ               ｌｏｗ-ｂｕｄｇｅｔ               ｆｉｌｍｍａｋｉｎｇ:               Ｙｏｕ               ｗｒｉｔｅ               ｆｏｒ               ｙｏｕｒ               ｂｕｄｇｅｔ.

Ｂｅｉｎｇ               ａ               ｐｒｏｄｕｃｅｒ               ｏｎ               ｙｏｕｒ               ｐｒｏｊｅｃｔ               ｉｓ               ｋｅｙ               ｂｅｃａｕｓｅ               ｙｏｕ               ｃａｎ               ｗｒｉｔｅ               ｓｏｍｅｔｈｉｎｇ               ｔｈａｔ               ｙｏｕ               ｋｎｏｗ               ｉｎ               ｙｏｕｒ               ｈｅａｄ               ｅｘａｃｔｌｙ               ｈｏｗ               ｔｏ               ｐｕｌｌ               ｉｔ               ｏｆｆ               ｗｈｅｎ               ｓｈｏｏｔｉｎｇ               ａｎｄ               ｌａｔｅｒ               ｃｕｔｔｉｎｇ               ｔｈｅ               ｓｃｅｎｅ;               ｈｏｗｅｖｅｒ,               ｉｆ               ｙｏｕｒ               ｐｒｏｄｕｃｅｒｓ               ｄｏｎ'ｔ               ｕｎｄｅｒｓｔａｎｄ               ｔｈｅ               ｌｏｗ-ｂｕｄｇｅｔ               ｐｒｏｃｅｓｓ               ｏｒ               ｃａｎ'ｔ               ｇｅｔ               ｔｈｅｉｒ               ｈｅａｄ               ａｒｏｕｎｄ               ｄｏｉｎｇ               ｔｈｉｎｇｓ               ｏｕｔｓｉｄｅ               ｏｆ               ｔｈｅ               "ｉｎｄｕｓｔｒｙ               ｗａｙ,"               ｔｈｅｎ               ｙｏｕ'ｒｅ               ｇｏｉｎｇ               ｔｏ               ｈａｖｅ               ｐｒｏｂｌｅｍｓ               ａｎｄ               ｔｈｅ               ｐｒｏｄｕｃｔｉｏｎ               ｗｉｌｌ               ｇｏ               ｏｖｅｒ               ｂｕｄｇｅｔ,               ｏｒ               ｙｏｕ               ｗｏｎ'ｔ               ｇｅｔ               ｗｈａｔ               ｙｏｕ               ｎｅｅｄ               ｔｏ               ｍａｋｅ               ｙｏｕｒ               ｍｏｖｉｅ               ｗｏｒｋ.
               ＲＨＴ:               Ｗｈａｔ               ｗａｓ               ｔｈｅ               ｅｘｐｅｒｉｅｎｃｅ               ｌｉｋｅ               ｍａｋｉｎｇ               ｔｈａｔ               ｆｉｒｓｔ               ｆｉｌｍ,               "               Ｃａｎｎｉｂａｌｌｉｓｔｉｃ,               "               ａｎｄ               ｗｈａｔ               ｗａｓ               ｉｔ               ａｂｏｕｔ,               ｆｏｒ               ｔｈｏｓｅ               ｗｈｏ               ｈａｖｅｎ'ｔ               ｂｅｅｎ               ｌｕｃｋｙ               ｅｎｏｕｇｈ               ｔｏ               ｓｅｅ               ｉｔ?

Ｄｉｄ               ｙｏｕ               ｈａｖｅ               ａｎｙ               ｅｘｐｅｒｉｅｎｃｅ               ｉｎ               ｍｏｖｉｅ               ｍａｋｉｎｇ               ａｔ               ｔｈａｔ               ｐｏｉｎｔ,               ａｎｄ               ｗｈａｔ               ｄｉｄ               ｙｏｕ               ｌｅａｒｎ               ａｂｏｕｔ               ｍａｋｉｎｇ               ａ               ｆｉｌｍ               ｏｎ               ａｎ               $8,000               ｂｕｄｇｅｔ!?
               ＪＦＭ:               Ｉ               ｈａｄ               ｎｏ               ｆｉｌｍｍａｋｉｎｇ               ｅｘｐｅｒｉｅｎｃｅ               ｏｕｔｓｉｄｅ               ｏｆ               ｔｈｅ               ｃｒａｐｐｙ               ｌｉｔｔｌｅ               8ｍｍ               ｍｏｖｉｅｓ               Ｉ               ｍａｄｅ               ｉｎ               ｍｙ               ｂａｃｋｙａｒｄ               ａｎｄ               ｉｎ               ｃｏｌｌｅｇｅ,               ａｐｐｅａｒｉｎｇ               ａｓ               ａｎ               ａｃｔｏｒ               ｉｎ               ａ               ｆｅｗ               ｓｔｕｄｅｎｔ               ａｎｄ               ｉｎｄｅｐｅｎｄｅｎｔ               ｆｉｌｍｓ               ａｎｄ               ｗｏｒｋｉｎｇ               ａｓ               ａ               ｇｒｉｐ               ｏｎ               ｓｏｍｅ               ｍｕｓｉｃ               ｖｉｄｅｏｓ.

Ａｌｔｈｏｕｇｈ               ｗｈｅｎ               Ｉ               ｆｉｒｓｔ               ｍｏｖｅｄ               ｔｏ               Ｌｏｓ               Ａｎｇｅｌｅｓ               ｉｎ               1996,               Ｉ               ｄｉｄ               ａ               ｌｏｔ               ｏｆ               ｅｘｔｒａ               ｗｏｒｋ               ｏｎ               ｍｏｖｉｅｓ               ａｎｄ               ＴＶ               ｓｈｏｗｓ,               ｍａｉｎｌｙ               ｓｏ               Ｉ               ｃｏｕｌｄ               ｂｅ               ｏｎ               ｓｅｔｓ               ａｎｄ               ｗａｔｃｈ               ｈｏｗ               ｔｈｉｎｇｓ               ｗｅｒｅ               ｄｏｎｅ.

Ｉ               ｗａｓ               ｌｕｃｋｙ               ｅｎｏｕｇｈ               ｔｏ               ｓｐｅｎｄ               ｓｅｖｅｒａｌ               ｗｅｅｋｓ               ｗｏｒｋｉｎｇ               ｏｎ               ａ               ＴＶ               ｍｏｖｉｅ               ｃａｌｌｅｄ               ＧＥＯＲＧＥ               ＷＡＬＬＡＣＥ               ｓｔａｒｒｉｎｇ               Ｇａｒｙ               Ｓｉｎｉｓｅ               ａｎｄ               Ａｎｇｅｌｉｎａ               Ｊｏｌｉｅ               ｗｈｉｃｈ               ｗａｓ               ｄｉｒｅｃｔｅｄ               ｂｙ               ｔｈｅ               ｇｒｅａｔ               Ｊｏｈｎ               Ｆｒａｎｋｅｎｈｅｉｍｅｒ.

Ｉ               ａｌｗａｙｓ               ｌｉｋｅ               ｔｏ               ｓａｙ               ｔｈａｔ               Ｉ               ｌｅａｒｎｅｄ               ｈｏｗ               ｔｏ               ｄｉｒｅｃｔ               ｂｙ               ｊｕｓｔ               ｗａｔｃｈｉｎｇ               ｈｉｍ.

Ｔｈａｔ               ｗａｓ               ａ               ｒｅａｌｌｙ               ｖａｌｕａｂｌｅ               ｅｘｐｅｒｉｅｎｃｅ               ｆｏｒ               ｍｅ.
               ＣＡＮＮＩＢＡＬＬＩＳＴＩＣ!

ｉｓ               ａ               ｖｅｒｙ               ｂｌｏｏｄｙ               ｂｌａｃｋ               ｃｏｍｅｄｙ/ｈｏｒｒｏｒ               ｆｉｌｍ               ｓｔａｒｒｉｎｇ               Ｄｏｎ               Ｗｏｏｄ,               ｗｈｏ               ｈａｓ               ａｐｐｅａｒｅｄ               ｉｎ               ｅｖｅｒｙ               ｆｉｌｍ               ｗｅ'ｖｅ               ｄｏｎｅ               ｓｏ               ｆａｒ.

Ｉｔ'ｓ               ｔｈｅ               ｓｔｏｒｙ               ｏｆ               ａ               ｇｕｙ               ｗｈｏ               ｆｏｕｎｄ               ｈｉｍｓｅｌｆ               ｔｒａｐｐｅｄ               ｉｎ               ｔｈｅ               ｗｏｏｄｓ               ａｆｔｅｒ               ａ               ｃａｒ               ａｃｃｉｄｅｎｔ               ｗｈｅｒｅ               ｈｅ               ｗａｓ               ｆｏｒｃｅｄ               ｔｏ               ｅａｔ               ｈｉｓ               ｄｅｃｅａｓｅｄ               ｃｏｍｐａｎｉｏｎ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｓｕｒｖｉｖｅ.

Ａ               ｙｅａｒ               ｏｒ               ｓｏ               ｌａｔｅｒ,               ｈｅ               ｍｏｖｅｓ               ｂａｃｋ               ｔｏ               ｈｉｓ               ｏｌｄ               ｆａｍｉｌｙ               ｈｏｍｅ               ｔｏ               ｅｓｃａｐｅ               ｈｉｓ               ｎｅｗｆｏｕｎｄ               ｃｒａｖｉｎｇ               ｆｏｒ               ｈｕｍａｎ               ｆｌｅｓｈ,               ｂｕｔ               ｈｉｓ               ａｎｎｏｙｉｎｇ               ｎｅｉｇｈｂｏｒｓ               ｗｏｎ'ｔ               ｌｅａｖｅ               ｈｉｍ               ａｌｏｎｅ               --               ａｎｄ               ｈｅ               ｅｎｄｓ               ｕｐ               ｇｏｉｎｇ               Ｃａｎｎｉｂａｌｌｉｓｔｉｃ!
               Ｉｔ               ｗａｓ               ａ               ｂｌａｓｔ               ｍａｋｉｎｇ               ｔｈａｔ               ｍｏｖｉｅ.

Ｉｔ               ｗａｓ               ｔｈｅ               ｆｉｒｓｔ               ｏｎｅ               Ｉ'ｄ               ｄｏｎｅ,               ｓｏ               ｅｖｅｒｙ               ｍｏｍｅｎｔ               ｗａｓ               ａｎ               ａｄｖｅｎｔｕｒｅ               ａｃｃｏｍｐａｎｉｅｄ               ｂｙ               ａ               ｆｅｅｌｉｎｇ               ｏｆ               ａｃｃｏｍｐｌｉｓｈｍｅｎｔ.

Ｗｅ               ｓｈｏｔ               ｉｔ               ｉｎ               Ｍａｉｎｅ               ａｔ               ｍｙ               ｐａｒｅｎｔ'ｓ               ｐｌａｃｅ               ｗｈｅｎ               ｔｈｅ               ａｕｔｕｍｎ               ｌｅａｖｅｓ               ｗｅｒｅ               ｉｎ               ｔｈｅｉｒ               ｆｕｌｌ               ｇｌｏｒｙ,               ａｎｄ               ｔｈｅ               ｗｅａｔｈｅｒ               ｗａｓ               ｖｅｒｙ               ｃｏ-ｏｐｅｒａｔｉｖｅ.

Ｔｈｅ               ｄａｙｓ               ｗｅｒｅ               ｌｏｎｇ,               ａｎｄ               ａｔ               ｔｉｍｅｓ               ｗｅ               ｗｅｒｅ               ａｌｌ               ｅｘｈａｕｓｔｅｄ,               ｂｕｔ               ｉｔ               ｗａｓ               ｏｎｅ               ｏｆ               ｔｈｅ               ｍｏｓｔ               ｅｎｊｏｙａｂｌｅ               ｓｈｏｏｔｓ               Ｉ'ｖｅ               ｅｖｅｒ               ｂｅｅｎ               ｏｎ.
               Ｔｈｅ               ｆｉｌｍ               ｗａｓ               ａｌｌ               ｍａｄｅ               ｕｓｉｎｇ               ｃｏｍｍｏｎ               ｓｅｎｓｅ               --               ｗｈａｔ               ｄｏ               Ｉ               ｎｅｅｄ               ａｎｄ               ｈｏｗ               ｃａｎ               Ｉ               ｇｅｔ               ｉｔ               ｃｈｅａｐｌｙ?

Ｉ               ｗａｓ               ｕｓｉｎｇ               ａｌｌ               ｏｆ               ｍｙ               ｏｗｎ               ｍｏｎｅｙ,               ｗｈｉｃｈ               ｉｓ               ｔｈｅ               ｂｅｓｔ               ｉｎｃｅｎｔｉｖｅ               ｔｏ               ｋｅｅｐ               ｃｏｓｔｓ               ｄｏｗｎ.

Ｙｏｕ               ｓｈｏｗ               ｍｅ               ａ               ｐｒｏｄｕｃｅｒ               ｏｒ               ｄｉｒｅｃｔｏｒ               ｗｈｏ               ｃａｎ'ｔ               ｓｔａｙ               ｏｎ               ｂｕｄｇｅｔ               ａｎｄ               Ｉ               ｇｕａｒａｎｔｅｅ               ｔｈａｔ               ｐｅｒｓｏｎ               ｈａｓ               ｎｅｖｅｒ               ｈａｄ               ｔｏ               ｗｏｒｋ               ｗｉｔｈ               ｈｉｓ               ｏｒ               ｈｅｒ               ｏｗｎ               ｃａｓｈ               ｏｎ               ｔｈｅ               ｌｉｎｅ.
               ＲＨＴ:               Ｙｏｕ               ｓａｉｄ               ｉｎ               ａｎｏｔｈｅｒ               ｉｎｔｅｒｖｉｅｗ               ｉｔ               ｔｏｏｋ               ｙｏｕ               ａ               ｙｅａｒ               ｔｏ               ｅｄｉｔ               "               Ｃａｎｎｉｂａｌｉｓｔｉｃ.

"               Ｈａｄ               ｙｏｕ               ｅｖｅｒ               ｅｄｉｔｅｄ               ｂｅｆｏｒｅ,               ａｎｄ               ｈｏｗ               ｈａｓ               ｙｏｕｒ               ｐｒｏｃｅｓｓ               ｃｈａｎｇｅｄ,               ｏｒ               ｓｔａｙｅｄ               ｔｈｅ               ｓａｍｅ,               ｉｎ               ｔｈｅ               ｏｔｈｅｒ               ｆｉｌｍｓ               ｙｏｕ'ｖｅ               ｅｄｉｔｅｄ?

Ｓｈｏｕｌｄ               ｄｉｒｅｃｔｏｒｓ               ｒｅａｌｌｙ               ｅｄｉｔ               ｔｈｅｉｒ               ｏｗｎ               ｆｉｌｍｓ               ｏｒ               ａｔ               ｌｅａｓｔ               ｂｅ               ｐｒｅｓｅｎｔ?
               ＪＦＭ:               Ｉｔ               ｔｏｏｋ               ａ               ｙｅａｒ               ｂｅｃａｕｓｅ               Ｉ               ｗａｓｎ'ｔ               ｅｄｉｔｉｎｇ               ｆｕｌｌ-ｔｉｍｅ.

Ｉ               ｍｏｖｅｄ               ｆｒｏｍ               Ｌｏｓ               Ａｎｇｅｌｅｓ               ｔｏ               Ｎｅｗ               Ｙｏｒｋ               Ｃｉｔｙ               ｉｍｍｅｄｉａｔｅｌｙ               ａｆｔｅｒ               ｗｅ               ｗｒａｐｐｅｄ.

Ｓｏ               ｗｈｉｌｅ               Ｉ               ｗａｓ               ｅｄｉｔｉｎｇ               Ｉ               ｗａｓ               ａｌｓｏ               ｗｏｒｋｉｎｇ               ｃｏｎｓｔｒｕｃｔｉｏｎ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｓｕｐｐｏｒｔ               ｍｙｓｅｌｆ               ａｓ               Ｉ               ｈａｄ               ｊｕｓｔ               ｓｐｅｎｔ               ｅｖｅｒｙ               ｐｅｎｎｙ               Ｉ               ｈａｄ               ｏｎ               ｔｈｅ               ｍｏｖｉｅ.

Ｉ               ｗａｓ               ａｌｓｏ               ｅｘｐｌｏｒｉｎｇ               ａ               ｎｅｗ               ｃｉｔｙ,               ｍａｋｉｎｇ               ｎｅｗ               ｆｒｉｅｎｄｓ               ａｎｄ               ｆｉｎｄｉｎｇ               ａｎ               ａｐａｒｔｍｅｎｔ,               ｗｈｉｌｅ               ｓｈｏｐｐｉｎｇ               ｔｈｅ               ｍｏｖｉｅ               ａｒｏｕｎｄ               ｔｏ               ｄｉｓｔｒｉｂｕｔｏｒｓ               ａｎｄ               ｄｏｉｎｇ               ｅｖｅｒｙｔｈｉｎｇ               Ｉ               ｃｏｕｌｄ               ｔｏ               ｐｒｏｍｏｔｅ               ｉｔ.

Ｓｏ               ｉｆ               ｙｏｕ               ｔａｋｅ               ａｌｌ               ｏｆ               ｔｈｅｓｅ               ｄｉｓｔｒａｃｔｉｏｎｓ               ｏｕｔ               ｏｆ               ｔｈｅ               ｅｑｕａｔｉｏｎ,               Ｉ               ｐｒｏｂａｂｌｙ               ｃｏｕｌｄ               ｈａｖｅ               ｆｉｎｉｓｈｅｄ               ｐｏｓｔ-ｐｒｏｄｕｃｔｉｏｎ               ｉｎ               ｔｈｒｅｅ               ｍｏｎｔｈｓ               ｏｒ               ｓｏ.
               Ｉ               ｈａｄ               ｎｅｖｅｒ               ｅｄｉｔｅｄ               ａｎｙｔｈｉｎｇ               ｉｎ               ｍｙ               ｌｉｆｅ!

Ｉ               ｗａｓ               ｌｅａｒｎｉｎｇ               ａｓ               Ｉ               ｗｅｎｔ,               ａｎｄ               Ｉ               ｈａｄ               ｎｏ               ｉｄｅａ               ｗｈａｔ               Ｉ               ｗａｓ               ｄｏｉｎｇ.

Ｉｔ'ｓ               ａ               ｍｉｒａｃｌｅ               ｔｈａｔ               ｔｈｅ               ｍｏｖｉｅ               ｍａｋｅｓ               ａｎｙ               ｓｅｎｓｅ               ａｔ               ａｌｌ,               ｌｅｔ               ａｌｏｎｅ               ａｌｌ               ｏｆ               ｔｈｅ               ｇｒｅａｔ               ｒｅｖｉｅｗｓ               ｔｈａｔ               ｔｈｅ               ｆｉｌｍ               ｒｅｃｅｉｖｅｄ               ｗｈｅｎ               ｉｔ               ｗａｓ               ｆｉｎａｌｌｙ               ｓｔａｒｔｅｄ               ｍａｋｉｎｇ               ｔｈｅ               ｒｏｕｎｄｓ               ｉｎ               2002.
               Ｉ               ｃｕｔ               ｍｙ               ｏｗｎ               ｆｉｌｍｓ               ｂｅｃａｕｓｅ               ｉｔ'ｓ               ｃｈｅａｐｅｒ,               ｅａｓｉｅｒ               ａｎｄ               (ｓｏｍｅｔｉｍｅｓ)               ｆａｓｔｅｒ.

Ｉｆ               Ｉ               ｃｏｕｌｄ               ｈａｖｅ               ａ               ｒｅａｌ,               ｐｒｏｆｅｓｓｉｏｎａｌ               ｅｄｉｔｏｒ               ｏｎ               ａｌｌ               ｏｆ               ｍｙ               ｍｏｖｉｅｓ,               Ｉ               ｗｏｕｌｄ.

Ｃｕｔｔｉｎｇ               ａ               ｍｏｖｉｅ               ｉｓ               ｉｔｓ               ｏｗｎ               ａｒｔ               ａｎｄ               Ｉ               ｗｏｕｌｄ               ｎｅｖｅｒ               ｐｒｅｔｅｎｄ               ｔｏ               ｋｎｏｗ               ｂｅｔｔｅｒ               ｔｈａｎ               ｓｏｍｅｂｏｄｙ               ｗｈｏ               ｄｏｅｓ               ｏｎｌｙ               ｔｈａｔ               ｆｕｌｌ               ｔｉｍｅ.

Ｉ               ａｌｓｏ               ｄｏｎ'ｔ               ｔｈｉｎｋ               ｔｈａｔ               ｍｙ               ｗｏｒｋ               ｉｓ               ｓｏ               ｐｒｅｃｉｏｕｓ               ｔｈａｔ               Ｉ               ｃａｎ'ｔ               ｔｒｕｓｔ               ｏｔｈｅｒ               ｐｅｏｐｌｅ               ｗｉｔｈ               ｉｔ.
               Ｈａｖｉｎｇ               ｔｈａｔ               ｏｔｈｅｒ               ｏｂｊｅｃｔｉｖｅ,               ｙｅｔ               ｉｎｆｏｒｍｅｄ,               ｏｐｉｎｉｏｎ               ｃａｎ               ｂｅ               ａｎ               ａｍａｚｉｎｇ               ｔｈｉｎｇ               ｗｈｉｃｈ               ｃａｎ               ｐｒｏｔｅｃｔ               ａ               ｆｉｌｍｍａｋｅｒ               ｆｒｏｍ               ｈｉｓ               ｏｒ               ｈｅｒ               ｏｗｎ               ｂｌｉｎｄｎｅｓｓ               ｔｏ               ｔｈｉｎｇｓ               ｔｈａｔ               ｍａｙ               ｎｏｔ               ｂｅ               ｗｏｒｋｉｎｇ               ｉｎ               ａ               ｆｉｌｍ.

Ｔｈｅ               ｔｒｉｃｋ               ｉｓ               ｆｉｎｄｉｎｇ               ｔｈｅ               ｒｉｇｈｔ               ｅｄｉｔｏｒ.

Ｌｉｋｅ               ａｎｙ               ｏｔｈｅｒ               ｆｉｅｌｄ,               ｔｈｅｒｅ               ａｒｅ               ｊｕｓｔ               ａｓ               ｍａｎｙ,               ｉｆ               ｎｏｔ               ｍｏｒｅ,               ｂａｄ               ｏｎｅｓ               ｏｕｔ               ｔｈｅｒｅ               ａｓ               ｔｈｅｒｅ               ａｒｅ               ｇｒｅａｔ               ｏｎｅｓ.
               ＲＨＴ:               Ｈｏｗ               ｄｉｄ               ｙｏｕ               ｅｎｄ               ｕｐ               ｇｏｉｎｇ               ｔｏ               ｗｏｒｋ               ｆｏｒ               Ｌａｒｒｙ               Ｆｅｓｓｅｎｄｅｎ'ｓ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ?
               ＪＦＭ:               Ｄａｖｉｄ               Ｌｅｓｌｉｅ,               ａｋａ               "Ｔｈｅ               Ｉｍｐａｃｔ               Ａｄｄｉｃｔ",               ａ               ｐｅｒｆｏｒｍａｎｃｅ               ａｒｔｉｓｔ               ａｎｄ               ｆｒｅｑｕｅｎｔ               ｃｏｌｌａｂｏｒａｔｏｒ               ｏｆ               Ｌａｒｒｙ               ｗａｓ               ｌｏｏｋｉｎｇ               ｆｏｒ               ｓｏｍｅ               ｈｅｌｐ               ｏｎ               ａ               ｐｒｏｊｅｃｔ               ｔｈｅｙ               ｗｅｒｅ               ｗｏｒｋｉｎｇ               ｏｎ,               ａｎｄ               ｓｏ               ｔｈｅｙ               ｐｕｔ               ａｎ               ａｄ               ｏｕｔ               ｌｏｏｋｉｎｇ               ｆｏｒ               ｓｏｍｅｏｎｅ               ｗｉｔｈ               ｆｉｌｍｍａｋｉｎｇ,               ｇｒａｐｈｉｃ               ｄｅｓｉｇｎ,               ｗｅｂ               ａｎｄ               ｄｅｓｋｔｏｐ               ｐｕｂｌｉｓｈｉｎｇ               ｓｋｉｌｌｓ.

Ｉ               ｇｏｔ               ｔｈｅ               ｊｏｂ               ａｎｄ               ｅｎｄｅｄ               ｕｐ               ｗｏｒｋｉｎｇ               ｆｏｒ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ               ｆｏｒ               ｅｉｇｈｔ               ｙｅａｒｓ               ａｎｄ               ｍａｋｉｎｇ               ｆｏｕｒ               ｆｉｌｍｓ               ｏｆ               ｍｙ               ｏｗｎ               ｗｉｔｈ               ｔｈｅ               ｃｏｍｐａｎｙ.
               ＲＨＴ:               "               Ｔｈｅ               Ｏｆｆ               Ｓｅａｓｏｎ               "               ｗａｓ               ｙｏｕｒ               ｎｅｘｔ               ｆｉｌｍ               ａｎｄ               ｔｈｅ               ｆｉｒｓｔ               ｆｏｒ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ'ｓ               Ｓｃａｒｅｆｌｉｘ               ｓｅｒｉｅｓ.

Ｈｏｗ               ｄｉｄ               ｔｈａｔ               ｓｅｒｉｅｓ               ｃｏｍｅ               ａｂｏｕｔ,               ａｎｄ               ｈｏｗ               ｄｉｄ               ｗｏｒｋｉｎｇ               ｏｎ               ｔｈａｔ               ｓｅｃｏｎｄ               ｆｉｌｍ               ｄｉｆｆｅｒ               ｆｒｏｍ               ｔｈｅ               ｆｉｒｓｔ?
               ＪＦＭ:               Ｉ               ｈａｄ               ｂｅｅｎ               ｗｏｒｋｉｎｇ               ｆｏｒ               Ｌａｒｒｙ               ｆｏｒ               ａｂｏｕｔ               ｓｉｘ               ｍｏｎｔｈｓ               ｂｅｆｏｒｅ               Ｉ               ｌｅｔ               ｈｉｍ               ｓｅｅ               ＣＡＮＮＩＢＡＬＬＩＳＴＩＣ!,               ｍａｉｎｌｙ               ｂｅｃａｕｓｅ               Ｉ               ｗａｓ               ｗｏｒｒｉｅｄ               ｔｈａｔ               ｉｆ               ｈｅ               ｔｈｏｕｇｈｔ               ｉｔ               ｗａｓ               ｇａｒｂａｇｅ,               ｈｅ'ｄ               ｈａｖｅ               ｓｅｃｏｎｄ               ｔｈｏｕｇｈｔｓ               ａｂｏｕｔ               ｍｙ               ｔａｌｅｎｔｓ,               ａｎｄ               Ｉ'ｄ               ｂｅ               ｏｕｔ               ｏｆ               ａ               ｊｏｂ!

Ｔｕｒｎｓ               ｏｕｔ,               ｈｅ               ｒｅａｌｌｙ               ｌｏｖｅｄ               ｔｈｅ               ｍｏｖｉｅ,               ｇａｖｅ               ｍｅ               ａ               ｒａｉｓｅ               ａｎｄ               ｔｏｌｄ               ｍｅ               ｔｈａｔ               ｈｅ               ｗａｎｔｅｄ               ｔｏ               ｓｅｅ               ｗｈａｔ               Ｉ               ｃｏｕｌｄ               ｄｏ               ｗｉｔｈ               ａ               ｌｉｔｔｌｅ               ｍｏｒｅ               ｍｏｎｅｙ.
               Ｌａｒｒｙ'ｓ               ｆｉｌｍｓ               ａｒｅ               ｍｏｒｅ               ｏｆ               ａ               ｓｏｒｔ               ｏｆ               "ａｒｔ-ｈｏｒｒｏｒ"               ｇｅｎｒｅ,               ａｎｄ               Ｉ               ｔｈｉｎｋ               ｈｅ               ｈａｄ,               ｆｏｒ               ｓｏｍｅｔｉｍｅ,               ｗａｎｔｅｄ               ｔｏ               ｐｒｏｄｕｃｅ               ｓｏｍｅ               Ｂ-ｍｏｖｉｅｓ               ｔｈａｔ               ｈｅ               ｈｉｍｓｅｌｆ               ｗａｎｔｅｄ               ｔｏ               ｓｅｅ               ｂｕｔ               ｗａｓｎ'ｔ               ｉｎｃｌｉｎｅｄ               ｔｏ               ｍａｋｅ               ｏｎ               ｈｉｓ               ｏｗｎ.

Ｉ               ｈａｄ               ｔｈｅ               ｓｃｒｉｐｔ               ｆｏｒ               ＴＨＥ               ＯＦＦ               ＳＥＡＳＯＮ               ａｌｒｅａｄｙ,               ｈｅ               ｇａｖｅ               ｍｅ               ｔｈｅ               ｍｏｎｅｙ               ａｎｄ               ｔｈａｔ               ｗａｓ               ｔｈｅ               ｓｔａｒｔ               ｏｆ               ＳｃａｒｅＦｌｉｘ.
               Ｉ               ａｌｗａｙｓ               ｓａｙ               ｔｈａｔ               ＣＡＮＮＩＢＡＬＬＩＳＴＩＣ!

ｉｓ               ｈｏｗ               Ｉ               ｌｅａｒｎｅｄ               ｔｏ               ｍａｋｅ               ｍｏｖｉｅｓ               ａｎｄ               ＴＨＥ               ＯＦＦ               ＳＥＡＳＯＮ               ｗａｓ               ｈｏｗ               Ｉ               ｌｅａｒｎｅｄ               ＮＯＴ               ｔｏ               ｍａｋｅ               ｔｈｅｍ.

Ｍｙ               ｆｉｒｓｔ               ｍｉｓｔａｋｅ               ｗａｓ               ｕｓｉｎｇ               ａ               ｓｃｒｉｐｔ               ｔｈａｔ               Ｉ               ｈａｄ               ｗｒｉｔｔｅｎ               ｉｎ               ｅａｒｌｙ               1997.

Ｔｈａｔ               ｗａｓ               ａ               ｔｉｍｅ               ｗｈｅｎ               ｈｏｒｒｏｒ               ｍｏｖｉｅｓ               ｈａｄ               ｂｅｅｎ               ｏｕｔ               ｏｆ               ｓｔｙｌｅ               ｆｏｒ               ｓｏｍｅ               ｔｉｍｅ,               ｓｏ               ｔｈｅ               ｓｃｒｅｅｎｐｌａｙ               ｒｅｖｉｓｉｔｅｄ               ａ               ｌｏｔ               ｏｆ               ｔｈｅ               ｏｌｄ               ｃｌｉｃｈｅｓ               ｔｈａｔ               ａｕｄｉｅｎｃｅｓ               ｍｉｇｈｔ               ｈａｖｅ               ｅｘｐｅｃｔｅｄ               ｂｕｔ               ｈａｄ               ｆｏｒｇｏｔｔｅｎ               ａｂｏｕｔ.

Ｐｒｏｄｕｃｉｎｇ               ｔｈａｔ               ｓａｍｅ               ｓｃｒｉｐｔ               ｉｎ               2003               ａｎｄ               ｒｅｌｅａｓｉｎｇ               ｔｈｅ               ｍｏｖｉｅ               ｉｎ               2005,               ｗｅｌｌ               ｉｎｔｏ               ｔｈｅ               ｌａｔｅｓｔ               ｈｏｒｒｏｒ               ｂｏｏｍ,               ｍａｄｅ               ｔｈｅ               ｐｒｅｍｉｓｅ               ｓｅｅｍ               ｔｉｒｅｄ               ａｎｄ               ｄａｔｅｄ.
               Ｗｅ               ａｌｓｏ               ｈａｄ               ｓｏｍｅ               ｃｒｅｗ               ａｎｄ               ｓｃｈｅｄｕｌｉｎｇ               ｉｓｓｕｅｓ               ｔｈａｔ               Ｉ'ｄ               ｒａｔｈｅｒ               ｎｏｔ               ｇｅｔ               ｉｎｔｏ               ｂｅｃａｕｓｅ               ｉｔ'ｓ               ｅａｓｙ               ｔｏ               ｔｈｒｏｗ               ａｒｏｕｎｄ               ｂｌａｍｅ,               ａｎｄ               ｕｌｔｉｍａｔｅｌｙ,               ｔｈｅ               ｂｌａｍｅ               ｆａｌｌｓ               ｏｎ               ｍｙ               ｓｈｏｕｌｄｅｒｓ.

Ｔｈｉｎｇｓ               ｗｅｎｔ               ｓｏ               ｗｅｌｌ               ｏｎ               ＣＡＮＮＩＢＡＬＬＩＳＴＩＣ!

ｔｈａｔ               ｗｉｔｈ               ｔｈｉｓ               ｆｉｌｍ,               ｗｈｅｒｅ               ｗｅ               ｈａｄ               ａ               ｂｉｔ               ｍｏｒｅ               ｍｏｎｅｙ,               ｆｅｗｅｒ               ｌｏｃａｔｉｏｎｓ               ａｎｄ               ｆｅｗｅｒ               ｓｐｅｃｉａｌ               ｅｆｆｅｃｔｓ,               Ｉ               ｊｕｓｔ               ｔｏｏｋ               ｉｔ               ｆｏｒ               ｇｒａｎｔｅｄ               ｔｈａｔ               ｔｈｅ               ｓｈｏｏｔ               ｗｏｕｌｄ               ｂｅ               ａ               ｂｒｅｅｚｅ.

Ｉ               ｗａｓ               ｗｒｏｎｇ.

Ｗｅ               ｆｅｌｌ               ｗａｙ               ｂｅｈｉｎｄ               ｓｃｈｅｄｕｌｅ,               ａｎｄ               Ｉ               ｅｎｄｅｄ               ｕｐ               ｃｕｔｔｉｎｇ               22               ｓｃｅｎｅｓ               ｆｒｏｍ               ｔｈｅ               ｍｏｖｉｅ               ａｓ               ｗｅ               ｗｅｒｅ               ｓｈｏｏｔｉｎｇ.

Ｗｅ               ｗｅｎｔ               ｏｎｅ               ｄａｙ               ｏｖｅｒ               ｓｃｈｅｄｕｌｅ               ｏｎ               ｔｈｅ               ｓｈｏｏｔ,               ｗｈｉｃｈ               ｈａｓ               ＮＥＶＥＲ               ｈａｐｐｅｎｅｄ               ｂｅｆｏｒｅ               ｏｒ               ｓｉｎｃｅ               ｏｎ               ａｎｙ               ｆｉｌｍ               Ｉ'ｖｅ               ｄｉｒｅｃｔｅｄ.
               Ｉｎ               ｔｈｅ               ｅｎｄ,               ｉｔ'ｓ               ｔｈｅ               ｌｅａｓｔ               ｆａｖｏｒｉｔｅ               ｏｆ               ｏｕｒ               ｍｏｖｉｅｓ,               ｗｈｉｃｈ               ｉｓ               ａ               ｓｈａｍｅ               ｂｅｃａｕｓｅ               Ｉ               ｔｈｉｎｋ               ｔｈａｔ               ｔｈｅｒｅ               ａｒｅ               ｓｏｍｅ               ｒｅａｌｌｙ               ａｍａｚｉｎｇ               ｐｅｒｆｏｒｍａｎｃｅｓ               ｉｎ               ｔｈｅｒｅ               ｆｒｏｍ               ｏｕｒ               ａｃｔｏｒｓ.

Ｐｅｒｈａｐｓ               ｔｈｅ               ｂｅｓｔ               ｔｈｉｎｇ               ｔｏ               ｃｏｍｅ               ｏｕｔ               ｏｆ               ｔｈａｔ               ｐｒｏｄｕｃｔｉｏｎ               ｗａｓ               ｔｈａｔ               ｉｔ               ｂｅｇａｎ               ｏｕｒ               ｒｅｌａｔｉｏｎｓｈｉｐ               ｗｉｔｈ               ｔｈｅ               ｄｅｌｉｇｈｔｆｕｌ               ａｎｄ               ａｌｗａｙｓ               ｐｒｏｆｅｓｓｉｏｎａｌ               Ａｎｇｕｓ               Ｓｃｒｉｍｍ               ａｎｄ               ａｎｏｔｈｅｒ               ＳｃａｒｅＦｌｉｘ               ｒｅｇｕｌａｒ               Ｂｒｅｎｄａ               Ｃｏｏｎｅｙ.
               Ｔｈｅ               ｆｉｌｍ               ｗａｓ               ｒｅｌｅａｓｅｄ               ｏｎ               ＤＶＤ               ｂｙ               Ｌｉｏｎｓｇａｔｅ               ｗｈｏ               ｐｕｔ               ａｎ               ｉｌｌｕｓｔｒａｔｉｏｎ               ｏｎ               ｔｈｅ               ｃｏｖｅｒ               ｏｆ               ａ               ｇｒａｖｅｙａｒｄ               ｗｉｔｈ               ａ               ｚｏｍｂｉｅ               ｈａｎｄ               ｒｅａｃｈｉｎｇ               ｏｕｔ               ｆｒｏｍ               ｕｎｄｅｒ               ｔｈｅ               ｅａｒｔｈ               --               ｎｏｎｅ               ｏｆ               ｔｈｉｓ               ｉｍａｇｅｒｙ               ａｐｐｅａｒｓ               ｉｎ               ｏｒ               ｈａｓ               ａｎｙｔｈｉｎｇ               ｔｏ               ｄｏ               ｗｉｔｈ               ｔｈｅ               ｆｉｌｍ.

Ｉｔ               ｄｉｄ               ａｍａｚｉｎｇｌｙ               ｗｅｌｌ               ｆｏｒ               ｔｈｅｍ               ｓａｌｅｓ-ｗｉｓｅ,               ｂｕｔ               ｐｅｏｐｌｅ               ｗｈｏ               ｂｏｕｇｈｔ               ｏｒ               ｒｅｎｔｅｄ               ｉｔ               ｅｘｐｅｃｔｉｎｇ               ｓｏｍｅ               ｋｉｎｄ               ｏｆ               ｌｉｖｉｎｇ               ｄｅａｄ               ｆｉｌｍ               ａｎｄ               ｇｏｔ               ｏｕｒ               ｓｕｂｔｌｅ               ｌｉｔｔｌｅ               ｇｈｏｓｔ               ｓｔｏｒｙ               ｆｅｌｔ               ｃｈｅａｔｅｄ,               ａｎｄ               ｗｅ               ｇｏｔ               ｓｏｍｅ               ｒｅａｌｌｙ               ｔｅｒｒｉｂｌｅ               ｒｅｖｉｅｗｓ,               ｎｏｔ               ｔｏ               ｍｅｎｔｉｏｎ               ｈａｔｅ               ｍａｉｌ.

Ｉｔ               ｒｅａｌｌｙ               ｈｕｒｔ               ｍｙ               ｒｅｐｕｔａｔｉｏｎ               ａｓ               ａ               ｆｉｌｍｍａｋｅｒ               ｆｏｒ               ａ               ｃｏｕｐｌｅ               ｏｆ               ｙｅａｒｓ               ｕｎｔｉｌ               ｍｙ               ｎｅｘｔ               ｆｉｌｍ,               ＡＵＴＯＭＡＴＯＮＳ,               ｗａｓ               ｒｅｌｅａｓｅｄ               ｔｏ               ｍｕｃｈ               ｍｏｒｅ               ｐｏｓｉｔｉｖｅ               ｒｅｖｉｅｗｓ.
               ＲＨＴ:               Ｔｈｅ               Ｓｃａｒｅｆｌｉｘ               ｓｅｒｉｅｓ               ｉｓ               ｔｏｕｔｅｄ               ａｓ               "ａ               ｓｌａｔｅ               ｏｆ               ｕｌｔｒａ               ｌｏｗ               ｂｕｄｇｅｔ               ｆｉｌｍｓ               ｄｅｓｉｇｎｅｄ               ｔｏ               ｅｘｐｌｏｉｔ               ｈｕｎｇｒｙ               ｎｅｗ               ｔａｌｅｎｔ               ａｎｄ               ｉｎｓｐｉｒｅ               ｒｅｓｏｕｒｃｅｆｕｌ               ｆｉｌｍｍａｋｅｒｓ               ｔｏ               ｐｒｏｄｕｃｅ               ｑｕａｌｉｔｙ               ｗｏｒｋ               ｔｈｒｏｕｇｈ               ｓｅａｔ-ｏｆ-ｔｈｅ-ｐａｎｔｓ               ｉｎｇｅｎｕｉｔｙ."               Ｓｏ               ｈｏｗ               ｄｏｅｓ               ａ               ｆｉｌｍｍａｋｅｒ               ｇｅｔ               ｃｏｎｓｉｄｅｒｅｄ               ｆｏｒ               Ｓｃａｒｅｆｌｉｘ,               ａｎｄ               ｈｏｗ               ｄｏ               ｔｈｅ               Ｓｃａｒｅｆｌｉｘ               ｆｉｌｍｓ               ｄｉｆｆｅｒ               ｆｒｏｍ               ｒｅｇｕｌａｒ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ               ｏｆｆｅｒｉｎｇｓ               ａｎｄ               Ｔｈｅ               Ｄａｒｋ               Ｓｋｙ               Ｆｉｌｍｓ               ｆｌｉｃｋｓ?
               ＪＦＭ:               Ｉ               ｔｈｉｎｋ               ｔｈｅｙ               ｄｉｆｆｅｒ               ｂｅｃａｕｓｅ               ｔｈｅｙ               ａｒｅｎ'ｔ               Ｌａｒｒｙ'ｓ               ｏｗｎ               ｆｉｌｍｓ               ｔｈａｔ               ｈｅ'ｓ               ｍａｄｅ,               ｎｏｒ               ａｒｅ               ｔｈｅｙ               ｔｈｅ               ｓｏｒｔ               ｏｆ               ａｒｔ/ｉｎｄｉｅ               ｆｉｌｍｓ               ｔｈａｔ               ｈｅ'ｓ               ｏｆｔｅｎ               ｂｅｅｎ               ａ               ｐｒｏｄｕｃｅｒ               ｏｎ.
               Ｉ               ｄｏｎ'ｔ               ｗｏｒｋ               ｄｉｒｅｃｔｌｙ               ｆｏｒ               ｔｈｅ               ｃｏｍｐａｎｙ               ａｎｙｍｏｒｅ,               ｓｏ               Ｉ               ｄｏｎ'ｔ               ｋｎｏｗ               ｗｈｅｔｈｅｒ               ｏｒ               ｎｏｔ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ               ｉｓ               ｐｒｏｄｕｃｉｎｇ               ａｎｙ               ｍｏｒｅ               ＳｃａｒｅＦｌｉｘ,               ｂｕｔ               ｉｎ               ｔｈｅ               ｐａｓｔ,               ｉｔ               ａｌｗａｙｓ               ｈａｐｐｅｎｅｄ               ｒａｔｈｅｒ               ｏｒｇａｎｉｃａｌｌｙ.

Ｔｉ               Ｗｅｓｔ               ｗａｓ               Ｌａｒｒｙ'ｓ               ｉｎｔｅｒｎ               ａｔ               ｏｎｅ               ｐｏｉｎｔ,               ａｎｄ               ｔｈａｔ'ｓ               ｈｏｗ               ｈｅ               ｅｎｄｅｄ               ｍａｋｉｎｇ               ＴＨＥ               ＲＯＯＳＴ,               ＴＲＩＧＧＥＲ               ＭＡＮ,               ｅｔｃ.

Ｇｒａｈａｍ               Ｒｅｚｎｉｃｋ               ｗａｓ               ｔｈｅ               ｓｏｕｎｄ               ｄｅｓｉｇｎｅｒ               ｏｎ               ｓｅｖｅｒａｌ               ＳｃａｒｅＦｌｉｘ               ｂｅｆｏｒｅ               ｈｅ               ｍａｄｅ               Ｉ               ＣＡＮ               ＳＥＥ               ＹＯＵ               ａｎｄ               Ｇｌｅｎｎ               ＭｃＱｕａｉｄ               (Ｉ               ＳＥＬＬ               ＴＨＥ               ＤＥＡＤ)               ｓｔａｒｔｅｄ               ｄｏｉｎｇ               ｔｉｔｌｅｓ               ａｎｄ               ＦＸ               ｏｎ               ｔｈｅ               ｆｉｌｍｓ               ａｆｔｅｒ               ｈｅ               ｗａｓ               ｉｎｔｒｏｄｕｃｅｄ               ｔｏ               ｕｓ               ａｌｌ               ａｔ               ｔｈｅ               ｗｒａｐ               ｐａｒｔｙ               ｆｏｒ               ＴＨＥ               ＯＦＦ               ＳＥＡＳＯＮ               ｂｙ               Ｂｒｅｎｄａ               Ｃｏｏｎｅｙ               ｗｈｏ               ｐｌａｙｅｄ               ｔｈｅ               ｇｈｏｓｔ               ｉｎ               ｔｈａｔ               ｆｉｌｍ.
               Ｊａｍｅｓ               ｉｓ               ｃｕｒｒｅｎｔｌｙ               ｉｎ               ｐｏｓｔ-ｐｒｏｄｕｃｔｉｏｎ               ｏｎ               "               Ｈｙｐｏｔｈｅｒｍｉａ,               "               ｓｔａｒｒｉｎｇ               Ｍｉｃｈａｅｌ               Ｒｏｏｋｅｒ               (ｍｏｓｔ               ｒｅｃｅｎｔｌｙ               ｓｅｅｎ               ａｓ               Ｍｅｒｌｅ               ｉｎ               ｔｈｅ               ＡＭＣ               ｈｉｔ               Ｔｈｅ               Ｗａｌｋｉｎｇ               Ｄｅａｄ).

Ｔｈｅ               ｆｉｌｍ               ｗａｓ               ｓｈｏｔ               ｉｎ               ｕｐｓｔａｔｅ               Ｎｅｗ               Ｙｏｒｋ               ｉｎ               ｔｈｅ               ｗｉｎｔｅｒ               ｏｆ               2010,               ｗｈｅｎ               ａ               ｒｅｃｏｒｄ-ｍａｋｉｎｇ               ａｍｏｕｎｔ               ｏｆ               ｓｎｏｗ               ｄｕｍｐｅｄ               ｏｎ               ｔｈｅｉｒ               ｐｒｉｓｔｉｎｅ,               ｉｃｅｄ-ｏｖｅｒ               ｌａｋｅ               ｔｈａｔ               ｔｈｅｙ               ｈａｄ               ｂｅｅｎ               ｓｈｏｏｔｉｎｇ               ｏｎ               ｆｏｒ               ｗｅｅｋｓ.

Ｔｒｕｃｋｓ,               ｓｎｏｗｐｌｏｗｓ               ａｎｄ               ｃｒｅｗ               ｍｅｍｂｅｒｓ               ｗｉｔｈ               ｂｒｏｏｍｓ               ｗｏｒｋｅｄ               ｔｏ               ｇｅｔ               ｉｔ               ｂａｃｋ               ｔｏ               ｔｈｅ               ｃｌｅａｒ,               ｓｈｉｎｙ               ｉｃｅ               ｔｈｅｙ               ｈａｄ               ｓｈｏｔ               ｏｎ               ｐｒｅｖｉｏｕｓｌｙ               ｔｏ               ｐｒｏｔｅｃｔ               ｃｏｎｔｉｎｕｉｔｙ,               ｇｉｖｅｎ               ｔｈａｔ               ｔｈｅ               ｆｉｌｍ               ｉｓ               ｓｕｐｐｏｓｅｄ               ｔｏ               ｔａｋｅ               ｐｌａｃｅ               ｉｎ               ｊｕｓｔ               ｏｎｅ               ｄａｙ.

Ａｈ,               ｔｈｅ               ｊｏｙｓ               ｏｆ               ｌｏｗ-ｂｕｄｇｅｔ               ｆｉｌｍｍａｋｉｎｇ               ａｎｄ               ｓｔｏｒｉｅｓ               ｓｅｔ               ｉｎ               ｔｈｅ               ｄｅａｄ               ｏｆ               ｗｉｎｔｅｒ.

               ＲＨＴ:               Ｓｏ               ｔｅｌｌ               ｕｓ               ａｂｏｕｔ               "               Ｈｙｐｏｔｈｅｒｍｉａ               "               ａｎｄ               ｇｅｔｔｉｎｇ               ｔｏ               ｗｏｒｋ               ｗｉｔｈ               Ｍｉｃｈａｅｌ               Ｒｏｏｋｅｒ?

(ｃｈｅｃｋ               ｏｕｔ               ｔｈｅ               ｓｌｉｄｅｓｈｏｗ               ａｔ               ｌｅｆｔ               ｆｏｒ               ｐｈｏｔｏｓ               ｆｒｏｍ               ｔｈｅ               ｆｉｌｍ)
               ＪＦＭ:               ＨＹＰＯＴＨＥＲＭＩＡ               ｉｓ               ａｎ               ｏｌｄ-ｆａｓｈｉｏｎｅｄ               ｍｏｎｓｔｅｒ               ｍｏｖｉｅ               ｔｈａｔ'ｓ               ｂｅｓｔ               ｄｅｓｃｒｉｂｅｄ               ａｓ               "ＴＨＥ               ＣＲＥＡＴＵＲＥ               ＦＲＯＭ               ＴＨＥ               ＢＬＡＣＫ               ＬＡＧＯＯＮ               ｏｎ               ｉｃｅ!"               Ｉｔ'ｓ               ｅａｓｉｌｙ               ｔｈｅ               ｍｏｓｔ               ｓｔｒａｉｇｈｔｆｏｒｗａｒｄ,               ｍａｉｎｓｔｒｅａｍ               ｍｏｖｉｅ               ｔｈａｔ               Ｉ'ｖｅ               ｄｉｒｅｃｔｅｄ.
               Ｒｏｏｋｅｒ               ｉｓ               ｅｖｅｒｙ               ｂｉｔ               ｔｈｅ               ｃｈａｒａｃｔｅｒ               ｔｈａｔ               ｙｏｕ'ｄ               ｅｘｐｅｃｔ               ｈｉｍ               ｔｏ               ｂｅ.

Ｈｅ'ｓ               ｇｏｔ               ａｎ               ｉｎｓａｎｅ               ａｍｏｕｎｔ               ｏｆ               ｅｎｅｒｇｙ               ａｎｄ               ｎｅｖｅｒ               ｓｉｔｓ               ｓｔｉｌｌ.

Ｈｅ               ｌｏｖｅｓ               ｔｈｅ               ｉｎｔｅｎｓｅ,               ｅｍｏｔｉｏｎａｌ               ｓｃｅｎｅｓ               ａｎｄ               ｒｅａｌｌｙ               ｔｈｒｏｗｓ               ｈｉｍｓｅｌｆ               ｉｎｔｏ               ｔｈｅｍ.

Ａｎｄ               ｈｅ'ｓ               ｉｎｃｒｅｄｉｂｌｙ               ｐｈｙｓｉｃａｌ,               ｗｈｉｃｈ               ｗａｓ               ａ               ｈｕｇｅ               ａｓｓｅｔ               ｗｈｉｌｅ               ｍａｋｉｎｇ               ｔｈｉｓ               ｍｏｖｉｅ               ｏｕｔ               ｏｎ               ｔｈｅ               ｆｒｏｚｅｎ               ｌａｋｅ               ｆｏｒ               ｖｅｒｙ               ｌｉｔｔｌｅ               ｍｏｎｅｙ.
               Ｔｈｅ               ｎｉｇｈｔ               ｂｅｆｏｒｅ               Ｉ               ｗａｓ               ｈｅａｄｉｎｇ               ｔｏ               ｔｈｅ               ｌｏｃａｔｉｏｎ               ｉｎ               ｕｐｓｔａｔｅ               Ｎｅｗ               Ｙｏｒｋ,               Ｉ               ｗａｓ               ｔａｌｋｉｎｇ               ｔｏ               Ｍｉｋｅ               ｏｎ               ｔｈｅ               ｐｈｏｎｅ               ｗｈｅｎ               ｈｅ               ａｓｋｅｄ               ｍｅ,               "Ｓｏ               ｔｈｉｓ               ｐａｒｔ               ｗｈｅｒｅ               Ｉ               ｆａｌｌ               ｉｎ               ｔｈｅ               ｗａｔｅｒ,               ｉｓ               ｔｈｅｒｅ               ｓｏｍｅ               ｋｉｎｄ               ｏｆ               ｓｔｕｄｉｏ               ｕｐ               ｔｈｅｒｅ               ｗｉｔｈ               ａｎ               ｉｎｄｏｏｒ               ｐｏｏｌ               ｔｈａｔ               ｗｅ'ｒｅ               ｄｏｉｎｇ               ｔｈｉｓ               ｉｎ?

Ｈｏｗ               ａｒｅ               ｙｏｕ               ｍａｋｉｎｇ               ｔｈｅ               ｉｃｅ               ｉｎｄｏｏｒｓ?"               Ｉ               ｗａｓ               ｉｎ               ｓｈｏｃｋ,               ｂｅｃａｕｓｅ               ｔｈｅ               ｐｒｏｄｕｃｅｒ               ｗｈｏ               ｗａｓ               ｉｎ               ｃｈａｒｇｅ               ｏｆ               ｃａｓｔｉｎｇ               ｈａｄ               ｎｅｖｅｒ               ｔｏｌｄ               ｈｉｍ               ｔｈａｔ               ｈｅ               ｗａｓ               ｅｘｐｅｃｔｅｄ               ｔｏ               ｐｕｔ               ｏｎ               ａ               ｗｅｔ               ｓｕｉｔ               ａｎｄ               ｇｏ               ｉｎｔｏ               ｔｈｅ               ａｃｔｕａｌ               ｆｒｅｅｚｉｎｇ               ｗａｔｅｒ               ｏｕｔ               ｏｎ               ｔｈｅ               ｌａｋｅ!

Ｔｈａｔ               ｓｈｏｕｌｄ               ｈａｖｅ               ｂｅｅｎ               ｔｈｅ               ＦＩＲＳＴ               ｔｈｉｎｇ               ｃｏｍｍｕｎｉｃａｔｅｄ               ｔｏ               ａ               55-ｙｅａｒ               ｏｌｄ               ａｃｔｏｒ               ｗｈｅｎ               ｏｆｆｅｒｉｎｇ               ｈｉｍ               ｔｈｅ               ｐａｒｔ,               ｂｕｔ               ｉｔ               ｄｉｄｎ'ｔ               ｈａｐｐｅｎ.

Ｉ               ｐｒｏｆｕｓｅｌｙ               ａｐｏｌｏｇｉｚｅｄ               ｔｏ               Ｒｏｏｋｅｒ               ａｎｄ               ｔｏｌｄ               ｈｉｍ               ｗｈａｔ               ｔｈｅ               ｐｌａｎ               ｗａｓ.

Ｔｈｉｓ               ｗａｓ               ｔｈｒｅｅ               ｄａｙｓ               ｂｅｆｏｒｅ               ｗｅ               ｗｅｒｅ               ｔｏ               ｓｔａｒｔ               ｓｈｏｏｔｉｎｇ               ａｎｄ               Ｉ               ｔｈｏｕｇｈｔ,               "Ｔｈｉｓ               ｉｓ               ｉｔ.

Ｈｅ'ｓ               ｇｏｉｎｇ               ｔｏ               ｂａｉｌ               ｏｎ               ｕｓ."               Ｍｉｋｅ               ｗａｓ               ｑｕｉｅｔ               ｆｏｒ               ａ               ｆｅｗ               ｍｏｍｅｎｔｓ               ｗｈｉｌｅ               ｈｅ               ｄｉｇｅｓｔｅｄ               ｗｈａｔ               Ｉ               ｈａｄ               ｔｏｌｄ               ｈｉｍ               ａｎｄ               ｔｈｅｎ               ｒｅｓｐｏｎｄｅｄ               "Ａｈ,               ｗｈａｔ               ｔｈｅ               ｈｅｌｌ?

Ｉｔ'ｓ               ｊｕｓｔ               ａ               ｌｉｔｔｌｅ               ｗａｔｅｒ."               Ａｍａｚｉｎｇ!

Ｎｏｔ               ｍａｎｙ               ａｃｔｏｒｓ               ｗｏｕｌｄ               ｂｅ               ｔｈａｔ               ｅａｓｙ-ｇｏｉｎｇ               ａｂｏｕｔ               ｓｏｍｅｔｈｉｎｇ               ｌｉｋｅ               ｔｈａｔ.
               Ｗｈｅｎ               ｔｈｅ               ｄａｙ               ｃａｍｅ               ｔｏ               ｄｏ               ｔｈｅ               ｓｔｕｎｔ,               ｈｅ               ｄｉｄ               ｉｔ               ｓｅｖｅｒａｌ               ｔｉｍｅｓ!

Ｈｅ               ｗａｓ               ｓｕｐｅｒ               ｉｎｔｏ               ｉｔ               ａｎｄ               ｔｈｅ               ｓｃｅｎｅ               ｌｏｏｋｓ               ｆａｎｔａｓｔｉｃ               ｉｎ               ｔｈｅ               ｆｉｎｉｓｈｅｄ               ｆｉｌｍ.
               ＲＨＴ:               Ｙｏｕ'ｖｅ               ｍａｎａｇｅｄ               ｔｏ               ｃａｓｔ               ｓｏｍｅ               ｏｆ               ｔｈｅ               ｒｅａｌ               ｃｕｌｔ               ｉｃｏｎｓ               ｏｆ               ｔｈｅ               ｈｏｒｒｏｒ               ｇｅｎｒｅ,               ｉｎｃｌｕｄｉｎｇ               ｔｈｅ               ｆａｎｔａｓｔｉｃ               Ａｎｇｕｓ               Ｓｃｒｉｍｍ               (               "               Ｐｈａｎｔａｓｍ               "               ),               Ｄｅｂｂｉｅ               Ｒｏｃｈｏｎ               (ｓｅｅ               ＩＭＤＢ               ｆｏｒ               ｈｅｒ               194               ｆｉｌｍｓ!),               Ｍｉｃｈａｅｌ               Ｂｅｒｒｙｍａｎ               (               "               Ｔｈｅ               Ｈｉｌｌｓ               Ｈａｖｅ               Ｅｙｅｓ               "               )               ａｎｄ               Ｒｅｇｇｉｅ               Ｂａｎｎｉｓｔｅｒ               (               "               Ｐｈａｎｔａｓｍ               "               ).

Ｗｈａｔ               ｗａｓ               ｔｈｅ               ｐｒｏｃｅｓｓ               ｉｎ               ｇｅｔｔｉｎｇ               ｔｈｅｓｅ               ａｃｔｏｒｓ               ｉｎ               ｙｏｕｒ               ｆｉｌｍｓ,               ａｎｄ               ｈａｄ               Ａｎｇｕｓ               ａｎｄ               Ｒｅｇｇｉｅ               ｓｅｅｎ               ｅａｃｈ               ｏｔｈｅｒ               ｓｉｎｃｅ               "               Ｐｈａｎｔａｓｍ?

"               (ｔｈｅｙ               ａｐｐｅａｒ               ｔｏｇｅｔｈｅｒ               ｉｎ               ＭｃＫｅｎｎｅｙ'ｓ               "               Ｓａｔａｎ               Ｈａｔｅｓ               Ｙｏｕ               "               ).
               ＪＦＭ:               Ｉｆ               ｔｈｅｒｅ'ｓ               ａ               ｐａｒｔ               ｉｎ               ｔｈｅ               ｆｉｌｍ               ｔｈａｔ               ｉｓｎ'ｔ               ａ               ｐｅｒｆｅｃｔ               ｆｉｔ               ｆｏｒ               ｏｎｅ               ｏｆ               ｏｕｒ               ｒｅｇｕｌａｒ               ｏｒ               ｌｏｃａｌ               ａｃｔｏｒｓ,               Ｉ               ｊｕｓｔ               ｓｔａｒｔ               ｌｏｏｋｉｎｇ               ｆｏｒ               ｐｅｏｐｌｅ               ｗｈｏｓｅ               ｗｏｒｋ               Ｉ               ａｍ               ａ               ｆａｎ               ｏｆ.

Ｗｈｅｎ               ｗｅ               ｗｅｒｅ               ｄｏｉｎｇ               ＴＨＥ               ＯＦＦ               ＳＥＡＳＯＮ,               ｉｔ               ｔｕｒｎｅｄ               ｏｕｔ               ｔｈａｔ               Ａｎｇｕｓ               ｗａｓ               ｇｏｉｎｇ               ｔｏ               ｂｅ               ｏｎ               ｔｈｅ               Ｅａｓｔ               Ｃｏａｓｔ               ｆｏｒ               ａ               ｃｏｎｖｅｎｔｉｏｎ,               ｓｏ               ｗｅ               ｆｉｇｕｒｅｄ               ｉｔ               ｗｏｕｌｄｎ'ｔ               ｈｕｒｔ               ｔｏ               ｓｅｅ               ｉｆ               ｈｅ'ｄ               ｂｅ               ｕｐ               ｔｏ               ｗｏｒｋｉｎｇ               ｗｉｔｈ               ｕｓ               ｗｈｉｌｅ               ｈｅ               ｗａｓ               ｉｎ               ｔｈｅ               ａｒｅａ.

Ｔｏｎｙ               Ｔｉｍｐｏｎｅ               ｆｒｏｍ               Ｆａｎｇｏｒｉａ               (ｐｏｓｓｉｂｌｙ               ｔｈｅ               ｎｉｃｅｓｔ               ｍａｎ               ｉｎ               ｔｈｅ               ｗｏｒｌｄ)               ｐｕｔ               ｕｓ               ｉｎ               ｔｏｕｃｈ               ｗｉｔｈ               Ａｎｇｕｓ'               ａｇｅｎｔ.

Ａｎｇｕｓ               ｈａｄ               ｎｅｖｅｒ               ｂｅｅｎ               ｔｏ               Ｍａｉｎｅ               ｂｅｆｏｒｅ               ｗｈｅｒｅ               ｗｅ               ｗｅｒｅ               ｆｉｌｍｉｎｇ,               ｓｏ               ｈｅ               ｔｏｏｋ               ｔｈｅ               ｒｏｌｅ               ｏｎｃｅ               ｗｅ               ｎｅｇｏｔｉａｔｅｄ               ｈｉｓ               ｓａｌａｒｙ               ａｎｄ               ａｇｒｅｅｄ               ｔｏ               ｇｅｔ               ｈｉｍ               ａ               ｌｏｂｓｔｅｒ               ｄｉｎｎｅｒ.

Ｗｅ'ｖｅ               ｂｅｅｎ               ｆｒｉｅｎｄｓ               ｅｖｅｒ               ｓｉｎｃｅ.
               Ｉ               ｗａｓ               ａｃｑｕａｉｎｔｅｄ               ｗｉｔｈ               Ｄｅｂｂｉｅ               ｆｒｏｍ               ｔｈｅ               ＮＹＣ               ｈｏｒｒｏｒ               ｓｃｅｎｅ               ａｎｄ               ｈｅｒ               ｗｏｒｋ               ｆｏｒ               "               Ｆａｎｇｏｒｉａ.

"               Ｓｈｅ'ｓ               ａｗｅｓｏｍｅ.

Ａ               ｒｅａｌ               ｐｒｏｆｅｓｓｉｏｎａｌ.

Ｍｉｃｈａｅｌ               Ｂｅｒｒｙｍａｎ               ｗｅ               ｇｏｔ               ｔｈｒｏｕｇｈ               ｈｉｓ               ａｇｅｎｔ,               ａｎｄ               ｈｅ               ｗａｓ               ａ               ｌｏｔ               ｏｆ               ｆｕｎ.

Ａ               ｓｕｐｅｒ-ｓｍａｒｔ               ｇｕｙ               ｗｉｔｈ               ａ               ｇｒｅａｔ               ｓｅｎｓｅ               ｏｆ               ｈｕｍｏｒ.
               Ｒｅｇｇｉｅ               Ｉ               ｇｏｔ               ｔｏ               ｋｎｏｗ               ｔｈｒｏｕｇｈ               Ａｎｇｕｓ.

Ｔｈｅｙ               ｈａｖｅ               ｂｅｅｎ               ｆｒｉｅｎｄｓ               ｆｏｒ               ｄｅｃａｄｅｓ               ａｎｄ               ｓｅｅ               ｅａｃｈ               ｏｔｈｅｒ               ｆａｉｒｌｙ               ｒｅｇｕｌａｒｌｙ,               Ｉ               ｂｅｌｉｅｖｅ.

Ｈｅ'ｓ               ａｎｏｔｈｅｒ               ａｍａｚｉｎｇ               ｇｕｙ.

Ｊｕｓｔ               ｓｏ               ｌａｉｄ               ｂａｃｋ,               ｂｕｔ               ｒｅａｌｌｙ               ａｔｔｅｎｔｉｖｅ               ｔｏ               ｈｉｓ               ｗｏｒｋ.
               ＲＨＴ:               Ｓｏ               Ｊｉｍ,               ｙｏｕｒ               ｆｉｌｍ               "Ｓａｔａｎ               Ｈａｔｅｓ               Ｙｏｕ"               ｈａｓ               ｍｏｒｅ               ｔｈａｎ               ａ               ｌｉｔｔｌｅ               "ｗｉｎｋ               ｗｉｎｋ"               ｔｏ               ｔｈｅ               Ｃｈｒｉｓｔｉａｎ               ｓｃａｒｅ               ｆｉｌｍｓ               ｏｆ               ｔｈｅ               70'ｓ               ａｎｄ               80'ｓ               (Ｃｈｒｉｓｔｉａｎ               ｓｃａｒｅ               ｆｉｌｍｓ               ｗｅｒｅ               ｏｖｅｒ-ｔｈｅ-ｔｏｐ,               ｂａｄｌｙ               ａｃｔｅｄ               ａｔｔｅｍｐｔｓ               ａｔ               ｓｃａｒｉｎｇ               ｙｏｕｔｈ               ｉｎｔｏ               ｄｏｉｎｇ               ｔｈｅ               "ｒｉｇｈｔ               ｔｈｉｎｇ"               ａｎｄ               ａｖｏｉｄｉｎｇ               ｓｉｎ               ｗｉｔｈ               ｃｈｅｅｓｙ-ｓｐｅｃｉａｌ-ｅｆｆｅｃｔｓ               ｌａｄｅｎ               ｓｕｂｊｅｃｔ               ｍａｔｔｅｒ               ｌｉｋｅ               ａｂｏｒｔｉｏｎ               ａｎｄ               ｄｒｕｇｓ).

Ｗｈａｔ               ａｂｏｕｔ               ｔｈｏｓｅ               ｆｉｌｍｓ               ｉｎｓｐｉｒｅｄ               ｙｏｕ               ｔｏ               ｍａｋｅ               ｔｈａｔ               ｍｏｖｉｅ?
               ＪＦＭ:               Ｉ               ｌｏｖｅ               ａｌｌ               ｓｏｒｔｓ               ｏｆ               ｌｏｗ-ｂｕｄｇｅｔ               ｆｉｌｍｓ               ｍａｄｅ               ｏｕｔｓｉｄｅ               ｏｆ               Ｎｅｗ               Ｙｏｒｋ               ｏｒ               Ｈｏｌｌｙｗｏｏｄ               --               ｅｘｐｌｏｉｔａｔｉｏｎ               ｆｉｌｍｓ               ｆｒｏｍ               Ｆｌｏｒｉｄａ,               ｔｒａｆｆｉｃ               ｓａｆｅｔｙ               ｆｉｌｍｓ               ｆｒｏｍ               Ｏｈｉｏ               ｏｒ               ｗｈａｔｅｖｅｒ.

Ｙｏｕ               ｊｕｓｔ               ｇｅｔ               ｓｕｃｈ               ａ               ｕｎｉｑｕｅ,               ｕｎｐｏｌｉｓｈｅｄ               ａｎｄ               ｈｏｎｅｓｔ               ｐｏｉｎｔ               ｏｆ               ｖｉｅｗ               ｆｒｏｍ               ｔｈｅｓｅ               ｌｉｔｔｌｅ               ｌｏｗ               ｂｕｄｇｅｔ               ｐｒｏｄｕｃｔｉｏｎｓ               ｗｉｔｈｏｕｔ               ｔｈｅ               ｓｏｒｔ               ｏｆ               ｊａｄｅｄ               "ｐｒｏｆｅｓｓｉｏｎａｌｉｓｍ"               ｏｆ               ｔｈｅ               "ｂｉｇ               ｃｉｔｙ".

Ｓｏｍｅ               ｏｆ               ｔｈｅ               Ｃｈｒｉｓｔｉａｎ               ｆｉｌｍｓ               ａｒｅ               ｒｅａｌｌｙ               ｗｅｌｌ-ｍａｄｅ               ａｎｄ               ｓｃａｒｙ               ｌｉｋｅ               "Ａ               ＴＨＩＥＦ               ＩＮ               ＴＨＥ               ＮＩＧＨＴ"               ｏｒ               ｔｈｅ               ｓｈｏｒｔ               ｆｉｌｍ               "ＳＴＡＬＫＥＤ,"               ｗｈｉｌｅ               ｏｔｈｅｒｓ               ａｒｅ               ｊｕｓｔ               ｓｏ               ａｍａｔｅｕｒｉｓｈ               ａｎｄ               ｂｉｚａｒｒｅ,               ｌｉｋｅ               "ＴＨＥ               ＢＵＲＮＩＮＧ               ＨＥＬＬ"               ｏｒ               "ＩＦ               ＦＯＯＴＭＥＮ               ＴＩＲＥ               ＹＯＵ,               ＷＨＡＴ               ＷＩＬＬ               ＨＯＲＳＥＳ               ＤＯ?"               ｔｈａｔ               ｙｏｕ               ｃａｎ'ｔ               ｈｅｌｐ               ｂｕｔ               ｌｏｖｅ               ｔｈｅｍ.
               Ａｌｏｎｇ               ｗｉｔｈ               ｔｈｅ               Ｃｈｒｉｓｔｉａｎ               ｃｏｍｉｃ               ｔｒａｃｔｓ               ｏｆ               Ｊａｃｋ               Ｃｈｉｃｋ,               Ｉ               ｗａｓ               ｒｅａｌｌｙ               ｉｎｓｐｉｒｅｄ               ｂｙ               ｔｈｅｓｅ               ｍｏｖｉｅｓ,               ｂｕｔ               Ｉ               ｄｉｄｎ'ｔ               ｗａｎｔ               ｔｏ               ｍａｋｅ               ａｎ               ｉｍｉｔａｔｉｏｎ               ｏｆ               ｏｎｅ,               ｂｅｃａｕｓｅ               ｔｈｅ               ｏｒｉｇｉｎａｌｓ               ａｌｒｅａｄｙ               ｅｘｉｓｔ,               ｎｏｒ               ｄｉｄ               Ｉ               ｗａｎｔ               ｔｏ               ｐａｒｏｄｙ               ｔｈｅｍ.

Ｉ               ｊｕｓｔ               ｗａｎｔｅｄ               ｔｏ               ｍａｋｅ               ｏｕｒ               ｏｗｎ               ｖｅｒｓｉｏｎ,               ａｎｄ               Ｉ'ｖｅ               ｂｅｅｎ               ｔｈｒｉｌｌｅｄ               ａｔ               ｈｏｗ               ｗｅｌｌ               ｉｔ               ｈａｖｅ               ｂｅｅｎ               ｒｅｃｅｉｖｅｄ.
               ＲＨＴ:               Ｍａｎｙ               ｏｆ               ｙｏｕｒ               ｓｃｒｉｐｔｓ               ｓｅｅｍ               ｔｏ               ｐａｙ               ｈｏｍａｇｅ               ｔｏ               ｆｉｌｍｓ               ｏｆ               ｔｈｅ               ｐａｓｔ               ｉｎ               ｏｎｅ               ｗａｙ               ｏｒ               ａｎｏｔｈｅｒ,               ａｎｄ               ｗｅ'ｖｅ               ｄｉｓｃｕｓｓｅｄ               ｏｕｒ               ｌｏｖｅ               ｏｆ               70'ｓ               ａｎｄ               80'ｓ               ｈｏｒｒｏｒ.

Ｗｈａｔ               ａｒｅ               ｙｏｕｒ               ｆｅｅｌｉｎｇｓ               ｏｎ               ｍｏｄｅｒｎ-ｄａｙ               ｆｉｌｍｓ,               ｌｉｋｅ               ｔｈｅ               "               Ｓａｗ               "               ｓｅｒｉｅｓ,               ａｎｄ               ｅｓｐｅｃｉａｌｌｙ               ｔｈｅ               ｕｓｅ               (ａｎｄ               ｐｅｒｈａｐｓ               ｏｖｅｒｕｓｅ)               ｏｆ               ＣＧＩ               ｓｐｅｃｉａｌ               ｅｆｆｅｃｔｓ?

Ｗｏｕｌｄ               ｙｏｕ               ｐｒｅｆｅｒ               ａ               ｒｅｔｕｒｎ               ｔｏ               ｔｈｅ               Ｓｔａｎ               Ｗｉｎｓｔｏｎ               ｄａｙｓ               ｏｆ               ｈａｎｄｓ-ｏｎ               ＳＦＸ?
               ＪＦＭ:               Ｉ'ｄ               ｓａｙ               Ｉ'ｍ               ｐｒｏｂａｂｌｙ               ｍｏｒｅ               ｏｆ               ａ               60'ｓ               ａｎｄ               70'ｓ               ｇｕｙ,               ｓｏ               Ｉ'ｍ               ａ               ｆｕｌｌ               ｄｅｃａｄｅ               ｂｅｈｉｎｄ               ｙｏｕ!
               Ｉ               ｄｏｎ'ｔ               ｓｅｅ               ａ               ｔｏｎ               ｏｆ               ｍｏｄｅｒｎ               ｄａｙ               ｈｏｒｒｏｒ               ｆｉｌｍｓ.

Ｉ               ｌｉｋｅｄ               ｔｈｅ               ｆｉｒｓｔ               ＳＡＷ               ｍｏｖｉｅ               ａｎｄ               Ｉ               ｔｈｉｎｋ               Ｉ               ｍａｙ               ｈａｖｅ               ｍａｄｅ               ｉｔ               ｕｐ               ｔｏ               ＳＡＷ               3               ｏｒ               4,               ｂｕｔ               Ｉ               ｌｏｓｔ               ｉｎｔｅｒｅｓｔ               ｅｖｅｎ               ｂｅｆｏｒｅ               ｔｈａｔ.

Ｉ'ｍ               ｋｉｎｄ               ｏｆ               ａ               ｓｕｃｋｅｒ               ｆｏｒ               ｔｈｅ               "ｆｏｕｎｄ               ｆｏｏｔａｇｅ"               ｋｉｎｄ               ｏｆ               ｆｉｌｍｓ               ｌｉｋｅ               ＢＬＡＩＲ               ＷＩＴＣＨ,               ＰＡＲＡＮＯＲＭＡＬ               ＡＣＴＩＶＩＴＹ               ａｎｄ               ｔｈｅ               ｌａｓｔ               ｆｅｗ               ｍｉｎｕｔｅｓ               ｏｆ               ＲＥＣ,               ｂｅｃａｕｓｅ               ｔｈｅｙ               ｈａｖｅ               (ｏｒ               ｓｉｍｕｌａｔｅ)               ｔｈｅ               ｋｉｎｄ               ｏｆ               ｒａｗｎｅｓｓ               ｔｈａｔ               Ｉ               ａｐｐｒｅｃｉａｔｅ.

Ｂｕｔ               Ｉ               ｕｎｄｅｒｓｔａｎｄ               ｈｏｗ               ｔｈｅｙ               ｄｏｎ'ｔ               ｗｏｒｋ               ｆｏｒ               ｅｖｅｒｙｂｏｄｙ               ｂｅｃａｕｓｅ               ｏｆ               ｔｈｅ               ｓｌｏｗ               ｐａｃｉｎｇ               ａｎｄ               ｔｈｅ               ｆａｃｔ               ｔｈａｔ               ｉｔ'ｓ               ｈａｒｄ               ｆｏｒ               ａ               ｍｏｖｉｅ               ｔｈａｔ               ｉｓ               ｍａｄｅ               ｆｏｒ               ｓｏ               ｌｉｔｔｌｅ               ｍｏｎｅｙ               ｔｏ               ｌｉｖｅ               ｕｐ               ｔｏ               ｔｈｅ               ｅｘｐｅｃｔａｔｉｏｎｓ               ｏｆ               ｍｏｄｅｒｎ               ａｕｄｉｅｎｃｅｓ,               ｅｓｐｅｃｉａｌｌｙ               ｗｈｅｎ               ｔｈｅｒｅ               ｉｓ               ｓｏ               ｍｕｃｈ               ｈｙｐｅ               ｓｕｒｒｏｕｎｄｉｎｇ               ｔｈｅｍ.
               ＣＧＩ               ｉｓ               ｆｉｎｅ               ｗｈｅｎ               ｕｓｅｄ               ｐｒｏｐｅｒｌｙ,               ａｌｔｈｏｕｇｈ               Ｉ               ｔｈｉｎｋ               ｔｈｅｙ               ｗｏｒｋ               ｂｅｔｔｅｒ               ｉｎ               ｓｃｉ-ｆｉ               ｏｒ               ｆａｎｔａｓｙ               ｆｉｌｍｓ               ｒａｔｈｅｒ               ｔｈａｎ               ａ               ｈｏｒｒｏｒ               ｍｏｖｉｅ               ｔｈａｔ'ｓ               ｓｅｔ               ｉｎ               ｔｈｅ               ｒｅａｌ               ｗｏｒｌｄ.

Ｉ               ｐｒｅｆｅｒ               ｈａｎｄ-ｍａｄｅ               ＦＸ,               ａｎｄ               ｗｅ               ｕｓｅ               ｔｈｅｍ               ｉｎ               ａｌｌ               ｏｆ               ｏｕｒ               ｆｉｌｍｓ               ｂｅｃａｕｓｅ               Ｉ               ｆｅｅｌ               ｔｈａｔ               ｓｏｍｅｂｏｄｙ               ｎｅｅｄｓ               ｔｏ               ｋｅｅｐ               ｔｈａｔ               ｔｒａｄｉｔｉｏｎ               ａｌｉｖｅ,               ａｎｄ               ｔｈｅｙ               ａｒｅ               ｊｕｓｔ               ｓｏ               ｍｕｃｈ               ｍｏｒｅ               ｆｕｎ               ｔｏ               ｗｏｒｋ               ｗｉｔｈ.
               ＲＨＴ:               Ｗｈａｔ               ａｒｅ               ｓｏｍｅ               ｔｉｐｓ               ａｎｄ               ｔｒｉｃｋｓ               ｏｎ               ｇｅｔｔｉｎｇ               ｔｈｅ               ｍｏｓｔ               ｏｕｔ               ｏｆ               ｓｐｅｃｉａｌ               ｅｆｆｅｃｔｓ               ｏｎ               ａ               ｌｏｗ               ｂｕｄｇｅｔ?
               ＪＦＭ:               Ｌｏｔｓ               ａｎｄ               ｌｏｔｓ               ｏｆ               ｂｌｏｏｄ!

Ｙｏｕ               ｃａｎ               ｈｉｄｅ               ａｎｙ               ｆｌａｗｓ               ｉｎ               ａｎ               ｅｆｆｅｃｔ               ｗｉｔｈ               ｔｏｎｓ               ｏｆ               ｔｈｅ               ｒｅｄ               ｓｔｕｆｆ.
               Ａｌｓｏ,               ｄｏｎ'ｔ               ｆｅｅｌ               ｔｈａｔ               ｙｏｕ               ｎｅｅｄ               ｔｏ               ｓｈｏｗ               ｔｏｏ               ｍｕｃｈ               ｆｏｒ               ｔｏｏ               ｌｏｎｇ.

Ｋｅｅｐ               ｔｈｅ               ｍｙｓｔｅｒｙ,               ｋｅｅｐ               ｔｈｉｎｇｓ               ｉｎ               ｔｈｅ               ｓｈａｄｏｗｓ.

Ｗｉｔｈ               ＡＵＴＯＭＡＴＯＮＳ               ｗｅ               ｇｏｔ               ａｗａｙ               ｗｉｔｈ               ｔｏｎｓ               ｏｆ               ｓｔｕｆｆ               ｗｅ               ｎｏｒｍａｌｌｙ               ｃｏｕｌｄｎ'ｔ               ｈａｖｅ               ｂｅｃａｕｓｅ               ｗｅ               ｗｅｒｅ               ｗｏｒｋｉｎｇ               ｉｎ               ｂｌａｃｋ               &               ｗｈｉｔｅ               ｗｉｔｈ               ａ               ｓｅｒｉｏｕｓｌｙ               ｄｅｇｒａｄｅｄ               ｉｍａｇｅ.
               ＲＨＴ:               Ｄｏ               ｙｏｕ               ｅｎｊｏｙ               ｔｈｅ               "ｓｅａｔ-ｏｆ-ｙｏｕｒ-ｐａｎｔｓ"               ｍｅｔｈｏｄ               ｔｈａｔ               ｃｏｍｅｓ               ｗｉｔｈ               ｕｌｔｒａ-ｌｏｗ               ａｎｄ               ｌｏｗ               ｂｕｄｇｅｔ               ｆｉｌｍｍａｋｉｎｇ,               ｏｒ               ｗｏｕｌｄ               ｙｏｕ               ｌｉｋｅ               ｔｏ               ｗｏｒｋ               ｗｉｔｈ               ａ               ｇａｚｉｌｌｉｏｎ               ｄｏｌｌａｒ               ｂｕｄｇｅｔ?
               ＪＦＭ:               Ｉ               ｐｒｅｆｅｒ               ｔｈｅ               ｎｏ-ｎｏｎｓｅｎｓｅ,               ｌｏｗ               ｂｕｄｇｅｔ               ｗａｙ               ｏｆ               ｗｏｒｋｉｎｇ.

Ｉ               ｄｏｎ'ｔ               ｍｉｎｄ               ｍａｋｉｎｇ               ｃｏｍｐｒｏｍｉｓｅｓ               ｂｅｃａｕｓｅ               ｔｈｅｒｅ               ｉｓｎ'ｔ               ｅｎｏｕｇｈ               ｍｏｎｅｙ.

Ｔｈａｔ               ｊｕｓｔ               ｉｎｓｐｉｒｅｓ               ｙｏｕ               ｔｏ               ｃｏｍｅ               ｕｐ               ｗｉｔｈ               ｍｏｒｅ               ｃｒｅａｔｉｖｅ               ｓｏｌｕｔｉｏｎｓ.

Ｉ'ｌｌ               ｔａｋｅ               ｔｈａｔ               ａｎｙ               ｄａｙ               ｏｖｅｒ               ｍａｋｉｎｇ               ｃｏｍｐｒｏｍｉｓｅｓ               ｂｅｃａｕｓｅ               ｓｏｍｅ               ｉｄｉｏｔ               ｐｒｏｄｕｃｅｒ               ｏｒ               ｅｘｅｃｕｔｉｖｅ               ｊｕｓｔ               ｄｏｅｓｎ'ｔ               "ｇｅｔ               ｉｔ."
               Ｉ'ｄ               ｌｉｋｅ               ｔｏ               ｆｉｎｄ               ａ               ｈａｐｐｙ               ｍｅｄｉｕｍ               ｗｈｅｒｅ               ｗｅ               ｈａｖｅ               ａｓ               ｍｕｃｈ               ｃｒｅａｔｉｖｅ               ｃｏｎｔｒｏｌ               ａｓ               ｐｏｓｓｉｂｌｅ               ｗｈｉｌｅ               ｈａｖｉｎｇ               ｅｎｏｕｇｈ               ｍｏｎｅｙ               ｔｏ               ｂｕｙ               ｔｈｅ               ｔｉｍｅ               ｔｏ               ｇｅｔ               ｔｈｉｎｇｓ               ｒｉｇｈｔ.

Ｂｙ               ｔｈａｔ               Ｉ               ｍｅａｎ               ａｌｗａｙｓ               ｇｅｔｔｉｎｇ               ａｌｌ               ｏｆ               ｔｈｅ               ｃｏｖｅｒａｇｅ               ｗｅ               ｎｅｅｄ               ａｎｄ               ｔｈｅ               ｆｒｅｅｄｏｍ               ｔｏ               ｄｏ               ｍｏｒｅ               ｔｈａｔ               ｔｗｏ               ｏｒ               ｔｈｒｅｅ               ｔａｋｅｓ               ｏｆ               ｅｖｅｒｙ               ｓｈｏｔ.

Ｗｅ               ｈｏｐｅ               ｔｏ               ｈｉｔ               ｔｈｉｓ               ｍａｇｉｃａｌ               ｃｏｍｂｉｎａｔｉｏｎ               ｗｉｔｈ               ｏｕｒ               ｎｅｘｔ               ｆｉｌｍ,               ＴＨＥ               ＧＩＲＬ               ＦＲＯＭ               ＭＡＲＳ.
               ＲＨＴ:               Ｈｏｗ               ｈａｒｄ               ｉｓ               ｉｔ               ｔｏ               ｇｅｔ               ｄｉｓｔｒｉｂｕｔｉｏｎ               ａｎｄ               ｆｉｎａｎｃｉｎｇ               ｆｏｒ               ｌｏｗ-ｂｕｄｇｅｔ               ｈｏｒｒｏｒ               ｔｈｅｓｅ               ｄａｙｓ,               ａｎｄ               ｗｈａｔ'ｓ               ｙｏｕｒ               ａｄｖｉｃｅ               ｔｏ               ｓｔｒｕｇｇｌｉｎｇ               ｆｉｌｍｍａｋｅｒｓ?
               ＪＦＭ:               Ｉｔ'ｓ               ｖｅｒｙ               ｈａｒｄ.

Ｉ'ｖｅ               ｂｅｅｎ               ｖｅｒｙ               ｆｏｒｔｕｎａｔｅ               ｔｏ               ｈａｖｅ               ｂｅｅｎ               ａｂｌｅ               ｔｏ               ｍａｋｅ               ａｌｌ               ｏｆ               ｔｈｅｓｅ               ｍｏｖｉｅｓ               ａｎｄ               ｇｅｔ               ｔｈｅｍ               ｒｅｌｅａｓｅｄ.

Ｔｈｅ               ｔｈｉｎｇ               ｔｈａｔ               ｉｓ               ｒｅａｌｌｙ               ｃｒｕｓｈｉｎｇ               ｉｓ               ｔｈａｔ               ｆｏｒ               ｅｖｅｒｙ               ｈｏｕｒ               Ｉ               ｓｐｅｎｄ               ａｃｔｕａｌｌｙ               ｍａｋｉｎｇ               ａ               ｆｉｌｍ,               Ｉ               ｓｐｅｎｄ               30               ｏｒ               ｍｏｒｅ               ｔｒｙｉｎｇ               ｔｏ               ｒａｉｓｅ               ｍｏｎｅｙ,               ｇｅｔ               ｉｔ               ｉｎｔｏ               ｆｅｓｔｉｖａｌｓ,               ｆｉｎｄ               ｄｉｓｔｒｉｂｕｔｉｏｎ,               ｅｔｃ.

Ｉ'ｍ               ａ               ｆｉｌｍｍａｋｅｒ,               ｎｏｔ               ａ               ｂｕｓｉｎｅｓｓｍａｎ,               ｓｏ               ｔｈｉｓ               ｉｓ               ｔｈｅ               ｏｎｅ               ａｓｐｅｃｔ               ｏｆ               ｔｈｅ               ｊｏｂ               Ｉ               ｒｅａｌｌｙ               ｃａｎ'ｔ               ｓｔａｎｄ,               ｂｕｔ               ｗｈａｔ               ｃａｎ               ｙｏｕ               ｄｏ?

Ｔｈａｔ'ｓ               ｔｈｅ               ｗａｙ               ｉｔ               ｉｓ.
               Ｓａｄｌｙ,               Ｉ               ｄｏｎ'ｔ               ｈａｖｅ               ａ               ｌｏｔ               ｏｆ               ａｄｖｉｃｅ.

Ｉ               ｈａｖｅｎ'ｔ               ｄｏｎｅ               ｉｔ               ｙｅｔ,               ｂｕｔ               ｒａｉｓｉｎｇ               ｍｏｎｅｙ               ｔｈｒｏｕｇｈ               ｓｏｍｅｔｈｉｎｇ               ｌｉｋｅ               Ｋｉｃｋｓｔａｒｔｅｒ               ｓｅｅｍｓ               ｌｉｋｅ               ａ               ｂｅｔｔｅｒ               ｂｅｔ               ａｔ               ｔｈｅ               ｍｏｍｅｎｔ               ｔｈａｎ               ｔｈｅ               ｏｌｄ               ｔｒａｄｉｔｉｏｎａｌ               ｓｏｕｒｃｅｓ.
               Ａｓ               ｆｏｒ               ｄｉｓｔｒｉｂｕｔｉｏｎ,               ｉｔ'ｓ               ｔｏｕｇｈ               ｏｕｔ               ｔｈｅｒｅ               ｒｉｇｈｔ               ｎｏｗ.

Ｉｔ'ｓ               ｅａｓｙ               ｔｏ               ｇｅｔ               ｙｏｕｒ               ｆｉｌｍ               ｓｅｅｎ,               ｂｕｔ               ｅｘｔｒｅｍｅｌｙ               ｄｉｆｆｉｃｕｌｔ               ｔｏ               ｍａｋｅ               ｙｏｕｒ               ｍｏｎｅｙ               ｂａｃｋ               ｄｏｉｎｇ               ｓｏ.

Ｍｏｓｔ               ｉｎｄｉｅ               ｆｉｌｍ               ｆｏｌｋｓ               ｗｈｏ               ｇｅｔ               ｔｈｅｉｒ               ｍｏｖｉｅｓ               ｒｅｌｅａｓｅｄ               ｔｈｒｏｕｇｈ               ａ               ｄｉｓｔｒｉｂｕｔｏｒ               ｓｔｉｌｌ               ｅｎｄ               ｕｐ               ｌｏｓｉｎｇ               ｔｈｅｉｒ               ｓｈｉｒｔ.

Ｔｈｅ               ｄｏｗｎｓｉｄｅ               ｔｏ               ｔｈｅ               ｄｉｇｉｔａｌ               ｆｉｌｍｍａｋｉｎｇ               ｒｅｖｏｌｕｔｉｏｎ               ｉｓ               ｔｈａｔ               ｔｈｅｒｅ               ａｒｅ               ｊｕｓｔ               ｓｏ               ｍａｎｙ               ｍｏｖｉｅｓ               ｏｕｔ               ｔｈｅｒｅ               ｎｏｗ               ｔｈａｔ               ｄｉｓｔｒｉｂｕｔｏｒｓ               ａｒｅｎ'ｔ               ｐａｙｉｎｇ               ｅｖｅｎ               ｃｌｏｓｅ               ｔｏ               ｗｈａｔ               ｔｈｅｙ               ｗｅｒｅ               ｔｅｎ               ｙｅａｒｓ               ａｇｏ.
               ＲＨＴ:               Ｗｈａｔ               ｄｏ               ｙｏｕ               ｔｈｉｎｋ               ｏｆ               ｔｈｅ               ｕｓｅ               ｏｆ               ＹｏｕＴｕｂｅ               ａｓ               ａ               ｄｅｖｉｃｅ               ｆｏｒ               ｍａｒｋｅｔｉｎｇ               ａｎｄ               ｆｉｎａｎｃｉｎｇ,               ｓｕｃｈ               ａｓ               ｓｈｏｏｔｉｎｇ               ｔｅａｓｅｒ               ｔｒａｉｌｅｒｓ?

Ｗｈａｔ               ａｂｏｕｔ               ｏｔｈｅｒ               ｓｏｃｉａｌ               ｎｅｔｗｏｒｋｉｎｇ               ｓｉｔｅｓ?

               ＪＦＭ:               Ｉ'ｍ               ｔｈｅ               ｗｒｏｎｇ               ｐｅｒｓｏｎ               ｔｏ               ａｓｋ               ｂｅｃａｕｓｅ               Ｉ'ｖｅ               ｂｅｅｎ               ｌｕｃｋｙ               ｅｎｏｕｇｈ               ｔｏ               ｂｅ               ｓｏ               ｂｕｓｙ               ｔｈａｔ               Ｉ'ｖｅ               ｎｅｖｅｒ               ｈａｄ               ｔｈｅ               ｔｉｍｅ               ｔｏ               ｅｘｐｌｏｒｅ               ａｌｌ               ｏｆ               ｔｈｅ               ｐｏｓｓｉｂｉｌｉｔｉｅｓ               ｔｈａｔ               ｔｈｅｓｅ               ｓｉｔｅｓ               ｈａｖｅ               ｔｏ               ｏｆｆｅｒ.
               Ａｌｔｈｏｕｇｈ               ｏｕｒ               ｃｏｍｐａｎｙ               ＭｏｎｓｔｅｒＰａｎｔｓ               ｈａｓ               ａ               ｐｒｅｓｅｎｃｅ               ｏｎ               Ｆａｃｅｂｏｏｋ,               ａｎｄ               ｗｅ               ｈａｖｅ               ａ               Ｔｗｉｔｔｅｒ               ａｃｃｏｕｎｔ               ｆｏｒ               ｏｕｒ               ｕｐｃｏｍｉｎｇ               ｆｉｌｍ               ＴＨＥ               ＧＩＲＬ               ＦＲＯＭ               ＭＡＲＳ               @ｍａｒｓｇｉｒｌｍｏｖｉｅ               --               ｂｏｔｈ               ｏｆ               ｗｈｉｃｈ               ａｒｅ               ｍａｉｎｔａｉｎｅｄ               ｂｙ               ｍｙ               ｐｒｏｄｕｃｉｎｇ               ｐａｒｔｎｅｒ               Ｌｉｓａ               Ｗｉｓｅｌｙ               --               Ｉ               ｄｏｎ'ｔ               ｐｅｒｓｏｎａｌｌｙ               ｕｓｅ               ａｎｙ               ｓｏｃｉａｌ               ｎｅｔｗｏｒｋｉｎｇ               ｓｉｔｅｓ.
               Ｐｅｏｐｌｅ               ａｓｋ               ｍｅ               ａｌｌ               ｔｈｅ               ｔｉｍｅ               ｈｏｗ               Ｉ'ｍ               ａｂｌｅ               ｔｏ               ｊｕｇｇｌｅ               ｓｏ               ｍａｎｙ               ｐｒｏｊｅｃｔｓ               ａｎｄ               ｈｏｗ               Ｉ               ｃａｎ               ｗｒｉｔｅ               ａ               ｆｕｌｌ-ｌｅｎｇｔｈ               ｓｃｒｅｅｎｐｌａｙ               ｉｎ               ｆｉｖｅ               ｄａｙｓ               ａｎｄ               ｔｈｅ               ａｎｓｗｅｒ               ｉｓ               ｒｉｇｈｔ               ｔｈｅｒｅ               --               Ｉ               ｄｏｎ'ｔ               ｌｅｔ               ｍｙｓｅｌｆ               ｇｅｔ               ｄｉｓｔｒａｃｔｅｄ.

Ｉ               ｄｏｎ'ｔ               ｕｓｅ               Ｔｗｉｔｔｅｒ               ｏｒ               Ｆａｃｅｂｏｏｋ,               Ｉ               ｄｏｎ'ｔ               ｓｐｅｎｄ               ｍｙ               ｔｉｍｅ               ｉｎ               ｆｏｒｕｍｓ               ｃｈａｔｔｉｎｇ               ｗｉｔｈ               ｏｔｈｅｒ               ｆｉｌｍ               ｐｅｏｐｌｅ               ｏｒ               ｒｅａｄｉｎｇ               ｂｌｏｇｓ               ｏｎ               ｗｈａｔ               ｏｔｈｅｒｓ               ａｒｅ               ｄｏｉｎｇ.

Ｉ'ｍ               ａ               ｗｒｉｔｅｒ               ａｎｄ               ｆｉｌｍｍａｋｅｒ               ｆｉｒｓｔ               ａｎｄ               ｆｏｒｅｍｏｓｔ,               ｓｏ               Ｉ               ｎｅｅｄ               ｔｏ               ｓｐｅｎｄ               ｍｙ               ｔｉｍｅ               ａｃｔｕａｌｌｙ               ｄｏｉｎｇ               ｔｈｏｓｅ               ｔｈｉｎｇｓ,               ｎｏｔ               ｔａｌｋｉｎｇ               ｏｎｌｉｎｅ               ａｂｏｕｔ               ｄｏｉｎｇ               ｔｈｅｍ.
               Ｎｏｗ               ｗｈｅｎ               ｙｏｕ'ｒｅ               ｍｏｖｉｅ               ｉｓ               ｆｉｎｉｓｈｅｄ,               ａｎｄ               ｙｏｕ               ｎｅｅｄ               ｔｏ               ｐｒｏｍｏｔｅ               ｉｔ,               ｔｈａｔ'ｓ               ａ               ｄｉｆｆｅｒｅｎｔ               ｍａｔｔｅｒ.

Ｔｈｅｒｅ'ｓ               ｎｏ               ｓｕｃｈ               ｔｈｉｎｇ               ａｓ               ａ               ｂａｄ               ｗａｙ               ｔｏ               ｌｅｔ               ｐｅｏｐｌｅ               ｋｎｏｗ               ａｂｏｕｔ               ｙｏｕｒ               ｆｉｌｍ.

Ｊｕｓｔ               ｋｅｅｐ               ｉｎ               ｍｉｎｄ               ｈｏｗ               ｍｕｃｈ               ｔｉｍｅ               ｉｔ               ｔａｋｅｓ               ｔｏ               ｍａｋｅ               ｙｏｕｒ               Ｆａｃｅｂｏｏｋ               ａｎｄ               Ｔｗｉｔｔｅｒ               ｃａｍｐａｉｇｎ               ｉｎｔｅｒｅｓｔｉｎｇ               ａｎｄ               ｓｕｃｃｅｓｓｆｕｌ.

Ｂｕｔ               ｉｆ               ｙｏｕ'ｒｅ               ｊｕｓｔ               ａ               ｏｎｅ               ｏｒ               ｔｗｏ-ｐｅｒｓｏｎ               ｏｐｅｒａｔｉｏｎ               ａｎｄ               ｔｈｅｒｅ'ｓ               ｓｔｉｌｌ               ｗｏｒｋ               ｔｏ               ｂｅ               ｄｏｎｅ,               Ｉ               ｔｈｉｎｋ               ｉｔ'ｓ               ｂｅｓｔ               ｔｏ               ｋｅｅｐ               ｔｈｅ               ｄｉｓｔｒａｃｔｉｏｎｓ               ａｎｄ               ｅｘｃｕｓｅｓ               ｆｏｒ               ｐｒｏｃｒａｓｔｉｎａｔｉｏｎ               ｔｏ               ａ               ｍｉｎｉｍｕｍ.
               ＲＨＴ:               Ｓｏ               ｆｏｒ               ａ               ｑｕｅｓｔｉｏｎ               ｏｎ               ｔｏｄａｙ'ｓ               ｆｉｌｍｓ,               ｗｈａｔ               ａｒｅ               ｙｏｕ               ｔｈｏｕｇｈｔｓ               ｏｎ               ａｌｌ               ｔｈｅ               ｒｅｍａｋｅｓ               ｐｅｒｍｅａｔｉｎｇ               ｔｈｅ               ｃｉｎｅｍａ               ｔｈｅｓｅ               ｄａｙｓ,               ａｎｄ               ａｒｅ               ｔｈｅｒｅ               ａｎｙ               ｆｉｌｍｓ               ｙｏｕ'ｄ               ｌｉｋｅ               ｔｏ               ｒｅｍａｋｅ?
               ＪＦＭ:               Ｇｏｉｎｇ               ｂａｃｋ               ｔｏ               ａｌｍｏｓｔ               ｔｈｅ               ｂｅｇｉｎｎｉｎｇ               ｏｆ               ｎａｒｒａｔｉｖｅ               ｃｉｎｅｍａ,               ｔｈｅｒｅ               ｈａｖｅ               ａｌｗａｙｓ               ｂｅｅｎ               ｒｅｍａｋｅｓ.

Ｂｕｔ               ｔｈｅｙ               ｗｅｒｅ               ｕｓｕａｌｌｙ               ｍｏｔｉｖａｔｅｄ               ｂｙ               ｓｏｍｅ               ａｄｖａｎｃｅｍｅｎｔ               ｏｆ               ｔｅｃｈｎｏｌｏｇｙ;               ｒｅｍａｋｉｎｇ               ａ               ｓｉｌｅｎｔ               ｍｏｖｉｅ               ｗｈｅｎ               ｓｏｕｎｄ               ｃａｍｅ               ａｌｏｎｇ               ｏｒ               ｒｅ-ｄｏｉｎｇ               ａｎ               ｏｌｄ               ｂｌａｃｋ               ａｎｄ               ｗｈｉｔｅ               ｆｉｌｍ               ｆｏｒ               ａｎ               ａｕｄｉｅｎｃｅ               ａｃｃｕｓｔｏｍｅｄ               ｔｏ               ｗａｔｃｈｉｎｇ               ｔｈｉｎｇｓ               ｉｎ               ｃｏｌｏｒ.
               Ｉｎ               ｔｈｅ               ｃａｓｅ               ｏｆ               ｓｏｍｅｔｈｉｎｇ               ｌｉｋｅ               Ｊｏｈｎ               Ｃａｒｐｅｎｔｅｒ'ｓ               ＴＨＥ               ＴＨＩＮＧ               ｏｒ               Ｃｒｏｎｅｎｂｅｒｇ'ｓ               ＴＨＥ               ＦＬＹ,               ａｓｉｄｅ               ｆｒｏｍ               ｔｈｅ               ｂｌａｃｋ               &               ｗｈｉｔｅ/ｃｏｌｏｒ               ｔｈｉｎｇ,               ｔｈｅ               ｒｅｍａｋｅ               ｗａｓ               ｃｏｍｐｌｅｔｅｌｙ               ｊｕｓｔｉｆｉｅｄ               ｂｅｃａｕｓｅ               ｔｈｅ               ｏｒｉｇｉｎａｌ               ｆｉｌｍｓ               ｗｅｒｅ               ｍａｄｅ               ｄｕｒｉｎｇ               ａ               ｔｉｍｅ               ｗｈｅｎ               ｔｈｅ               ｐａｃｉｎｇ               ｗａｓ               ｍｕｃｈ               ｓｌｏｗｅｒ,               ａｎｄ               ｔｈｅ               ａｃｔｉｎｇ               ｓｔｙｌｅ               ｗａｓ               ｌｅｓｓ               ｎａｔｕｒａｌｉｓｔｉｃ               ｔｈａｎ               ｗｈａｔ               ａｕｄｉｅｎｃｅｓ               ｉｎ               ｔｈｅ               1980'ｓ               ｗｅｒｅ               ｕｓｅｄ               ｔｏ.
               Ｂｕｔ               ｎｏｗ               ｔｈａｔ               Ｈｏｌｌｙｗｏｏｄ               ｉｓ               ｒｅ-ｍａｋｉｎｇ               ｆｉｌｍｓ               ｆｒｏｍ               ｔｈｅ               1970'ｓ               ａｎｄ               80'ｓ               ｗｈｅｒｅ               ｔｈｅ               ｓｅｎｓｉｂｉｌｉｔｙ               ｉｓ               ｔｈｅ               ｓａｍｅ               ａｓ               ａｎｙ               ｇｏｏｄ               ｃｏｎｔｅｍｐｏｒａｒｙ               ｍｏｖｉｅ,               ａｎｄ               ｙｏｕ               ｃａｎ               ｗａｔｃｈ               ｔｈｅ               ｏｒｉｇｉｎａｌｓ               ｏｎ               ｈｏｍｅ               ｖｉｄｅｏ               ａｔ               ａｎｙｔｉｍｅ,               ｉｔ'ｓ               ｊｕｓｔ               ｃａｓｈｉｎｇ               ｉｎ               ｏｎ               ａ               ｂｒａｎｄ               ｗｉｔｈｏｕｔ               ａｎｙ               ｒｅｇａｒｄ               ｔｏ               ａｒｔｉｓｔｉｃ               ｍｅｒｉｔ               ｗｈａｔｓｏｅｖｅｒ.

Ｔｈｅｓｅ               ｓｏｒｔｓ               ｏｆ               ｒｅｍａｋｅｓ               ｄｏｎ'ｔ               ｒｅａｌｌｙ               ｉｎｔｅｒｅｓｔ               ｍｅ.

Ａｓ               ａ               ｒｕｌｅ,               ｍｏｓｔ               ｏｆ               ｍｙ               ｆａｖｏｒｉｔｅ               ｍｏｖｉｅｓ               ｗｅｒｅ               ｍａｄｅ               ｂｅｆｏｒｅ               1983               ａｎｙｗａｙ,               ｓｏ               Ｉ               ｄｏｎ'ｔ               ｆｅｅｌ               ａｎｙ               ｎｅｅｄ               ｔｏ               ｓｅｅ               ｗｈａｔ               ｔｈｅ               ｄｕｍｂｅｄ-ｄｏｗｎ               21ｓｔ               ｃｅｎｔｕｒｙ               ｖｅｒｓｉｏｎ               ｏｆ               ａ               1970'ｓ               ｃｌａｓｓｉｃ               ｉｓ               ｇｏｉｎｇ               ｔｏ               ｂｅ               ｌｉｋｅ.
               Ｉ               ｇｅｎｅｒａｌｌｙ               ｊｕｓｔ               ｗａｎｔ               ｔｏ               ｍａｋｅ               ｆｉｌｍｓ               ｂａｓｅｄ               ｏｎ               ｍｙ               ｏｗｎ               ｏｒｉｇｉｎａｌ               ｓｔｏｒｉｅｓ,               ｂｕｔ               Ｉ               ｄｏ               ｈａｖｅ               ｔｗｏ               ｍｏｖｉｅｓ               ｉｎ               ｍｉｎｄ               ｔｈａｔ               Ｉ               ｗｏｕｌｄ               ｂｅ               ｉｎｔｅｒｅｓｔｅｄ               ｉｎ               ｒｅ-ｍａｋｉｎｇ               ｉｆ               ｓｏｍｅｂｏｄｙ               ｃａｍｅ               ａｌｏｎｇ               ｗｉｔｈ               ａｎ               ｏｆｆｅｒ               ａｎｄ               ｔｈｅ               ｍｏｎｅｙ               ｔｏ               ｍａｋｅ               ｉｔ               ｈａｐｐｅｎ.

Ｔｈｅｙ               ａｒｅ               ｂｏｔｈ               ｈｏｒｒｏｒ               ｆｉｌｍｓ,               ｏｎｅ               ｉｓ               ａｎ               ｏｌｄ               ＭＧＭ               ｔｉｔｌｅ               ａｎｄ               ｔｈｅ               ｏｔｈｅｒ               ｉｓ               ａｎ               Ａｍｅｒｉｃａｎ               Ｉｎｔｅｒｎａｔｉｏｎａｌ               ｃｈｅａｐｉｅ               ｔｈａｔ               ｄｏｅｓｎ'ｔ               ｑｕｉｔｅ               ｌｉｖｅ               ｕｐ               ｔｏ               ｔｈｅ               ｐｒｏｍｉｓｅ               ｍａｄｅ               ｂｙ               ｉｔｓ               ｔｉｔｌｅ               ａｎｄ               ｐｏｓｔｅｒ.

Ｔｈｅｙ               ａｒｅｎ'ｔ               ｅｘａｃｔｌｙ               "ｄｒｅａｍ               ｐｒｏｊｅｃｔｓ,"               ｂｕｔ               ｉｆ               ｔｈｅ               ｏｐｐｏｒｔｕｎｉｔｙ               ｃａｍｅ               ｕｐ,               ｔｈｅｙ               ｃｏｕｌｄ               ｂｅ               ｆｕｎ               ｔｏ               ｄｏ.
               ＲＨＴ:               Ｔｅｌｌ               ｕｓａｂｏｕｔ               ｔｈｅ               ｌａｔｅｓｔ               ｐｒｏｊｅｃｔ               ｙｏｕ'ｒｅ               ａｂｏｕｔ               ｔｏ               ｓｔａｒｔ               ｓｈｏｏｔｉｎｇ,               "Ｔｈｅ               Ｇｉｒｌ               ｆｒｏｍ               Ｍａｒｓ!

"
               ＪＦＭ:               ＴＨＥ               ＧＩＲＬ               ＦＲＯＭ               ＭＡＲＳ               ｉｓ               ａ               ｓｃｉｅｎｃｅ               ｆｉｃｔｉｏｎ/ｒｏｍａｎｃｅ               ａｂｏｕｔ               ａ               ｇｕｙ               ｗｈｏ               ｍｅｅｔｓ               ｔｈｅ               ｇｉｒｌ               ｏｆ               ｈｉｓ               ｄｒｅａｍｓ,               ｗｈｏ               ｃｌａｉｍｓ               ｔｏ               ｂｅ               ｆｒｏｍ               ａｎｏｔｈｅｒ               ｐｌａｎｅｔ.

Ｉ               ｗｒｏｔｅ               ｔｈｅ               ｆｉｌｍ               ｓｐｅｃｉｆｉｃａｌｌｙ               ｆｏｒ               ａｃｔｒｅｓｓ               Ｐａｕｌｅｙ               Ｐｅｒｒｅｔｔ,ｅ               ａｎｄ               ｗｅ               ｗｅｒｅ               ｔｈｒｉｌｌｅｄ               ｗｈｅｎ               ｓｈｅ               ｔｏｌｄ               ｕｓ               ｈｏｗ               ｍｕｃｈ               ｓｈｅ               ｌｏｖｅｄ               ｔｈｅ               ｓｃｒｉｐｔ.
               Ｉ               ｈａｄ               ｗｒｉｔｔｅｎ               ａ               ｓｔｏｒｙ               ｆｏｒ               ｈｅｒ               ａｂｏｕｔ               ａ               ｙｅａｒ               ｅａｒｌｉｅｒ.

Ｉｔ               ｗａｓ               ａ               ｖｅｒｙ               ｄａｒｋ               ａｎｄ               ｇｏｒｙ               ｈｏｒｒｏｒ               ｆｉｌｍ               ｉｎ               ｔｈｅ               ｖｅｉｎ               ｏｆ               ｅａｒｌｙ               Ｃｌｉｖｅ               Ｂａｒｋｅｒ               ｓｔｏｒｉｅｓ               ｗｉｔｈ               ｓｏｍｅ               Ｌｏｖｅｃｒａｆｔｉａｎ               ｅｌｅｍｅｎｔｓ.

Ｂｕｔ               ｉｔ               ｗａｓ               ｓｏ               ｇｒｉｍ,               ｉｔ               ｊｕｓｔ               ｄｉｄｎ'ｔ               ｓｅｅｍ               ｒｉｇｈｔ               ｆｏｒ               Ｐａｕｌｅｙ.

Ｔｈｅ               ｆｒｅｅ-ｓｐｉｒｉｔｅｄ               ａｎｄ               ｇｅｎｅｒｏｕｓ               ｇａｌ               ｓｈｅ               ｐｌａｙｓ               ｉｎ               ＭＡＲＳ               ｃｅｌｅｂｒａｔｅｓ               ｗｈａｔ               ｍａｋｅｓ               Ｐａｕｌｅｙ               ｓｏ               ｓｐｅｃｉａｌ,               ａｎｄ               Ｉ               ｔｈｉｎｋ               ｔｈａｔ'ｓ               ｇｏｉｎｇ               ｔｏ               ｍａｋｅ               ｔｈｅ               ｍｏｖｉｅ               ａ               ｌｏｔ               ｏｆ               ｆｕｎ               ｆｏｒ               ａｕｄｉｅｎｃｅｓ.
               Ｔｈｅ               ｆｉｌｍ               ｉｓ               ａｌｓｏ               ａ               ｎｉｃｅ               ｌｉｔｔｌｅ               ｂｒｅａｔｈｅｒ               ｆｏｒ               ｍｅ               ａｆｔｅｒ               ｍａｋｉｎｇ               ＨＹＰＯＴＨＥＲＭＩＡ               ａｓ               ｉｔ'ｓ               ａｌｌ               ｃｈａｒａｃｔｅｒ               ａｎｄ               ｄｉａｌｏｇ-ｄｒｉｖｅｎ,               ｓｏ               ｔｈｅ               ｅｆｆｅｃｔｓ               ａｒｅｎ'ｔ               ｄｏｍｉｎａｔｉｎｇ               ｔｈｅ               ｐｒｏｄｕｃｔｉｏｎ.

Ｉ'ｌｌ               ｂｅ               ｂａｃｋ               ｔｏ               ｇｏｒｅ               ａｎｄ               ｍｏｎｓｔｅｒｓ               ａｎｄ               ｒｏｂｏｔｓ               ｓｏｏｎ               ｅｎｏｕｇｈ               ｔｈｏｕｇｈ!
               ＲＨＴ               :               Ｐａｕｌｅｙ               Ｐｅｒｒｅｔｔｅ               ａｎｄ               Ｍａｘ               Ｂｒｏｏｋｓ               (ａｕｔｈｏｒ               ｏｆ               ｔｈｅ               ｂｅｓｔｓｅｌｌｅｒ               "               Ｗｏｒｌｄ               Ｗａｒ               Ｚ               "               ａｎｄ               ｓｏｎ               ｏｆ               ｌｅｇｅｎｄａｒｙ               ｄｉｒｅｃｔｏｒ,               Ｍｅｌ               Ｂｒｏｏｋｓ)               ｂｏｔｈ               ｈａｄ               ｃａｍｅｏｓ               ｉｎ               "               Ｓａｔａｎ               Ｈａｔｅｓ               Ｙｏｕ               "               ａｎｄ               ｂｏｔｈ               ｗｉｌｌ               ａｐｐｅａｒ               ｉｎ               "               Ｔｈｅ               Ｇｉｒｌ               Ｆｒｏｍ               Ｍａｒｓ.

"               Ｈｏｗ               ｄｉｄ               ｙｏｕ               ｍｅｅｔ               ｔｈｅｍ               ａｎｄ               ｃｏｎｖｉｎｃｅ               ｔｈｅｍ               ｔｏ               ｂｅ               ｉｎ               ｙｏｕｒ               ｆｉｌｍｓ!?
               ＪＦＭ:               Ｐａｕｌｅｙ               ｉｓ               ａｎ               ｏｌｄ               ｆｒｉｅｎｄ               ｏｆ               ｍｙ               ｐｒｏｄｕｃｉｎｇ               ｐａｒｔｎｅｒ,               Ｌｉｓａ               Ｗｉｓｅｌｙ.

Ｗｅ               ｂｏｔｈ               ｍｅｔ               ｈｅｒ               ｔｈｒｏｕｇｈ               Ｐａｕｌｅｙ'ｓ               ｂｅｓｔ               ｆｒｉｅｎｄ,               Ｄａｒｒｅｎ               Ｇｒｅｅｎｂｌａｔｔ,               ｗｈｏ               ｈａｓ               ｂｅｅｎ               ａ               ｈｕｇｅ               ｈｅｌｐ               ｉｎ               ｇｅｔｔｉｎｇ               ＴＨＥ               ＧＩＲＬ               ＦＲＯＭ               ＭＡＲＳ               ｏｆｆ               ｔｈｅ               ｇｒｏｕｎｄ.

Ｓｈｅ               ｌｏｖｅｄ               ｔｈｅ               ｓｃｒｉｐｔ,               ａｎｄ               ｗｅ               ｗｅｒｅ               ｉｎ               ｂｕｓｉｎｅｓｓ!
               Ｍａｘ               ｉｓ               ａｎ               ｏｌｄ               ｆｒｉｅｎｄ               ｏｆ               ｍｉｎｅ               ｗｈｏ               Ｉ               ｍｅｔ               ｗｈｅｎ               ｈｅ               ｓｔａｒｔｅｄ               ｄａｔｉｎｇ               ｈｉｓ               ｗｉｆｅ,               Ｍｉｃｈｅｌｌｅ               Ｋｈｏｌｏｓ,               ｗｈｏ               Ｉ               ｗｅｎｔ               ｔｏ               ｃｏｌｌｅｇｅ               ｗｉｔｈ.

Ｈｅ               ａｎｄ               Ｉ               ｈｉｔ               ｉｔ               ｏｆｆ               ｒｉｇｈｔ               ａｗａｙ               ｂｅｃａｕｓｅ               ｗｅ'ｒｅ               ｂｏｔｈ               ｂｉｇ               ｎｅｒｄｓ               ｗｈｏ               ｃａｎ               ｓｐｅｎｄ               ｈｏｕｒｓ               ｔａｌｋｉｎｇ               ａｂｏｕｔ               ｚｏｍｂｉｅｓ,               Ｂｉｇｆｏｏｔ,               Ｓｔａｒ               Ｔｒｅｋ               ａｎｄ               Ｋｉｎｇ               Ｋｏｎｇ.
               Ｈｅ'ｓ               ｂｅｅｎ               ａｍａｚｉｎｇ               ａｓ               ｆａｒ               ａ               ｐｒｏｍｏｔｉｎｇ               ｍｙ               ｆｉｌｍｓ               ｄｕｒｉｎｇ               ｉｎｔｅｒｖｉｅｗｓ               ａｎｄ               ａｐｐｅａｒａｎｃｅｓ               ｗｈｅｒｅ               ｈｅ'ｓ               ｓｕｐｐｏｓｅｄ               ｔｏ               ｂｅ               ｔａｌｋｉｎｇ               ａｂｏｕｔ               ｈｉｓ               ｏｗｎ               ｗｏｒｋ!

Ｈｅ'ｓ               ｇｏｎｅ               ａｂｏｖｅ               ａｎｄ               ｂｅｙｏｎｄ               ｉｎ               ｔｈａｔ               ｒｅｇａｒｄ.

Ｉｔ               ｗａｓ               ｂｅｃａｕｓｅ               ｏｆ               ｔｈｉｓ               ｌｅｖｅｌ               ｏｆ               ｓｕｐｐｏｒｔ               ｔｈａｔ               ｈｅ'ｓ               ｇｉｖｅｎ               ｍｅ               ｔｈａｔ               Ｉ               ｆｉｇｕｒｅｄ               Ｉ'ｄ               ａｓｋ               ｈｉｍ               ｔｏ               ｄｏ               ａ               ｃｏｕｐｌｅ               ｏｆ               ｃａｍｅｏｓ               ｉｎ               ｏｕｒ               ｆｉｌｍｓ,               ａｎｄ               ｈｅ'ｓ               ｂｅｅｎ               ｖｅｒｙ               ｇｅｎｅｒｏｕｓ               ｗｉｔｈ               ｈｉｓ               ｔｉｍｅ.
               ＲＨＴ:               Ｓｏ               ｔｈｅ               ｂｉｇｇｅｓｔ               ｑｕｅｓｔｉｏｎ               ｏｆ               ａｌｌ,               ｆｏｒ               ａｎｙ               ｓｔｒｕｇｇｌｉｎｇ               ｏｒ               ｆｉｒｓｔ-ｔｉｍｅ               ｆｉｌｍｍａｋｅｒｓ               ｏｕｔ               ｔｈｅｒｅ:               Ａｒｅ               ｙｏｕ               ａｃｔｕａｌｌｙ               ｄｏｉｎｇ               ｔｈｉｓ               ｆｏｒ               ａ               ｌｉｖｉｎｇ?

Ａｓ               ｉｎ,               ｈａｖｅ               ｙｏｕ               ｐｒｏｇｒｅｓｓｅｄ               ｔｏ               ｔｈｅ               ｐｏｉｎｔ               ｏｆ               ｍａｋｉｎｇ               ｅｎｏｕｇｈ               ｍｏｎｅｙ               ａｓ               ａ               ｆｉｌｍｍａｋｅｒ               ｔｏ               ｓｕｓｔａｉｎ               ｙｏｕ?
               ＪＦＭ:               Ｉ               ｗａｓ               ａ               ｆｕｌｌ-ｔｉｍｅ               ｅｍｐｌｏｙｅｅ               ｏｆ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ               ｆｏｒ               ｅｉｇｈｔ               ｙｅａｒｓ,               ｓｏ               ｔｈａｎｋｓ               ｔｏ               Ｌａｒｒｙ'ｓ               ｇｅｎｅｒｏｓｉｔｙ,               Ｉ               ｗａｓ               ａｂｌｅ               ｔｏ               ｓｕｐｐｏｒｔ               ｍｙｓｅｌｆ               ｗｏｒｋｉｎｇ               ｏｎ               ｍｙ,               ａｎｄ               ｏｔｈｅｒ               ｐｅｏｐｌｅ'ｓ,               ｆｉｌｍｓ.

Ｓｉｎｃｅ               ｄｅｃｉｄｉｎｇ               ｔｏ               ｓｔｒｉｋｅ               ｏｕｔ               ｏｎ               ｍｙ               ｏｗｎ               ｌａｓｔ               Ｏｃｔｏｂｅｒ,               Ｉ'ｖｅ               ｂｅｅｎ               ｇｅｔｔｉｎｇ               ｂｙ               ｄｏｉｎｇ               ｓｏｍｅ               ｌｉｔｔｌｅ               ｆｒｅｅｌａｎｃｅ               ｗｒｉｔｉｎｇ,               ｄｉｒｅｃｔｉｎｇ               ａｎｄ               ｅｄｉｔｉｎｇ               ｇｉｇｓ               ａｌｏｎｇ               ｗｉｔｈ               ｓｏｍｅ               ｇｒａｐｈｉｃ               ｄｅｓｉｇｎ               ｗｏｒｋ               ｗｈｉｌｅ               ｗｅ               ｗａｉｔ               ｆｏｒ               ｔｈｅ               ｍｏｎｅｙ               ｔｏ               ｃｏｍｅ               ｉｎ               ｆｏｒ               ｔｈｅ               ｎｅｘｔ               ｆｅａｔｕｒｅ.

Ｏｐｅｒａｔｉｎｇ               ａｔ               ｔｈｅｓｅ               ｌｏｗｅｒ               ｂｕｄｇｅｔ               ｌｅｖｅｌｓ               ｃｅｒｔａｉｎｌｙ               ｄｏｅｓｎ'ｔ               ｍｅａｎ               ｃｈａｍｐａｇｎｅ               ａｎｄ               ｃａｖｉａｒ,               ｂｕｔ               ｉｔ               ｃａｎ               ｂｅ               ｅｎｏｕｇｈ               ｔｏ               ｇｅｔ               ｂｙ               ｏｎ               ａｓ               ｌｏｎｇ               ａｓ               ｙｏｕ'ｒｅ               ａｂｌｅ               ｔｏ               ｋｅｅｐ               ｗｏｒｋｉｎｇ.
               Ｒ               ＨＴ:               Ｓｏ               ｗｈａｔ'ｓ               ｉｎ               ｔｈｅ               ｐｉｐｅｌｉｎｅ               ｆｏｒ               Ｊａｍｅｓ               Ｆｅｌｉｘ               ＭｃＫｅｎｎｅｙ?
               ＪＦＭ:               Ｆｉｌｍｉｎｇ               ｏｎ               ＴＨＥ               ＧＩＲＬ               ＦＲＯＭ               ＭＡＲＳ               ｉｓ               ｒｉｇｈｔ               ａｒｏｕｎｄ               ｔｈｅ               ｃｏｒｎｅｒ.

Ｗｅ               ｊｕｓｔ               ｎｅｅｄ               ｔｏ               ｃｏｎｆｉｒｍ               ａ               ｆｅｗ               ｔｈｉｎｇｓ               ｂｅｆｏｒｅ               ｗｅ               ｌｏｃｋ               ｉｎ               ｏｕｒ               ｓｔａｒｔ               ｄａｔｅ               ａｎｄ               ｔｈｅｎ               ｗｅ               ｃａｎ               ｇｅｔ               ｔｏ               ｗｏｒｋ.
               Ａｆｔｅｒ               ｔｈａｔ,               ｗｅ'ｖｅ               ｇｏｔ               ｓｅｖｅｎ               ｐｒｏｊｅｃｔｓ               ｉｎ               ｖａｒｉｏｕｓ               ｓｔａｇｅｓ               ｏｆ               ｄｅｖｅｌｏｐｍｅｎｔ:               Ｔｈｅｒｅ'ｓ               ａ               ｄａｒｋ               ｆａｎｔａｓｙ               ｆｉｌｍ               ｉｎ               ｔｈｅ               "Ｔｗｉｌｉｇｈｔ               Ｚｏｎｅ"               ｔｒａｄｉｔｉｏｎ               ｃａｌｌｅｄ               ＷＯＲＬＤ'Ｓ               ＦＡＩＲ               ｔｈａｔ               Ｉ               ｗａｓ               ｇｅａｒｉｎｇ               ｕｐ               ｔｏ               ｍａｋｅ               ｗｈｅｎ               ｔｈｅ               ｏｆｆｅｒ               ｔｏ               ｄｏ               ＨＹＰＯＴＨＥＲＭＩＡ               ｃａｍｅ               ａｌｏｎｇ.

Ｔｈｅｎ               ｗｅ               ｈａｖｅ               ａｎｏｔｈｅｒ               ｒｕｒａｌ               ｍｏｎｓｔｅｒ               ｍｏｖｉｅ               ｔｈａｔ               Ｍａｘ               Ｂｒｏｏｋｓ               ｐｒｏｄｄｅｄ               ｍｅ               ｉｎｔｏ               ｗｒｉｔｉｎｇ               (ｎｏ,               ｉｔ'ｓ               ｎｏｔ               ａ               ｚｏｍｂｉｅ               ｍｏｖｉｅ!).

Ｗｅ               ｈａｖｅ               ａ               ｃｏｕｐｌｅ               ｏｆ               ｏｔｈｅｒ               ｈｏｒｒｏｒ               ｍｏｖｉｅｓ               ｌｉｎｅｄ               ｕｐ               ａｓ               ｗｅｌｌ               ａｓ               ｔｗｏ               ｓｃｉｅｎｃｅ               ｆｉｃｔｉｏｎ               ｍｏｖｉｅｓ               ａｎｄ               ｓｏｍｅ               ｏｔｈｅｒ               "ｍｙｓｔｅｒｙ"               ｐｒｏｊｅｃｔｓ.
               Ｅｖｅｎ               Ｉ               ｄｏｎ'ｔ               ｋｎｏｗ               ｗｈｉｃｈ               ｏｎｅ               ｗｉｌｌ               ｅｎｄ               ｕｐ               ｇｏｉｎｇ               ｉｎｔｏ               ｐｒｏｄｕｃｔｉｏｎ               ｆｉｒｓｔ.

Ｉｔ'ｓ               ａｌｗａｙｓ               ｔｈｅ               ｓａｍｅ               ｓｔｏｒｙ,               ｉｔ               ａｌｌ               ｃｏｍｅｓ               ｄｏｗｎ               ｔｏ               ｒａｉｓｉｎｇ               ｔｈｅ               ｍｏｎｅｙ.

Ｅｖｅｎ               ｌｏｗ               ｂｕｄｇｅｔ               ｆｉｌｍｓ               ｃｏｓｔ               ｓｏｍｅｔｈｉｎｇ               ｔｏ               ｍａｋｅ!
               ___
               Ｔｏ               ｓｅｅ               ｏｎｅ               ｏｆ               Ｊａｍｅｓ'               ｆｉｌｍｓ               ｆｒｏｍ               ｓｔａｒｔ               ｔｏ               ｆｉｎｉｓｈ,               ｃｈｅｃｋ               ｏｕｔ               ｈｉｓ               Ｇｌａｓｓ               Ｅｙｅ               Ｐｉｘ               ｆｉｌｍｓ               "Ａｕｔｏｍａｔｏｎｓ"               ｉｎ               ｉｔｓ               ｅｎｔｉｒｅｔｙ               ａｔ               Ｎｅｗ               Ｙｏｒｋ'ｓ               Ｐｕｂｌｉｃ               Ｔｅｌｅｖｉｓｉｏｎ               ｓｔａｔｉｏｎ               ＷＮＥＴ               Ｒｅｅｌ               13.
               Ｖｉｅｗ               ｔｒａｉｌｅｒｓ               ａｎｄ               ｌｅａｒｎ               ｍｏｒｅ               ａｂｏｕｔ               Ｊａｍｅｓ'               ｏｔｈｅｒ               ｆｉｌｍｓ               ａｔ               ｔｈｅ               Ｍｏｎｓｔｅｒｐａｎｔｓ               ｏｆｆｉｃｉａｌ               ｗｅｂｓｉｔｅ

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