The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.
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We shot in a place called Asheville, which is like beautiful, beautiful forests. And then part of it we shot all the reaping stuff, which was just crazy - because the reaping in the book and in the script is such an emotional thing for everyone. It really did feel like that when we were shooting it.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.
We shot ten minutes of the movie, and now we're looking for completion funds.
They sent me the script and I thought that there was something very appealing and funny about it. Also, I was familiar with Mike Myers' work in Saturday Night Live, but I did not know the extent to which he would make this creation.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
The first year we actually did a lot of night shooting and the writers weren't even allowed on location.
There was so long from when we did the pilot and then when the show was eventually picked up by Comedy Central - and, in fact, we had to shoot the pilot twice.
When I look back at it, I'm mostly amazed at how poorly it was shot. David Kelley is a great writer, and I thought the scripts were great, but it just looks so cheap.
After Cannes, my agent told me to get the next flight to LA. He was right. I had a part in 'Prime Suspect 3' by the end of the week.
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