![]() ![]() And everyone who works on the movie has to do multiple jobs. But yeah, it’s not because I’m a control freak or anything, I really just got it. It’s just more efficient than any other way. I would just not be able to do it because of the inefficiency that would happen. The whole time! I can’t imagine this movie anywhere else. When did you think, “Oh, I’m so glad that I made this movie in my studio.” Troublemaker Studio, of course, it’s part of the cost of saving. You’re going to have nothing on the screen and the money, we ask for very little money for these movies, so it has to look like a huge summer movie, they’re putting it out like a summer movie but it costs nothing. Yeah, if it’s my movie, I have to make sure that the money gets put on the screen, or it’s going to get pissed away. When you first got in, you were so much worried about the dollar and everything like that, you still have that same mentality. Sounds like you haven’t really changed much. The editor was the guy who cuts David Fincher’s movies and he’s cutting it. Since they were paying for it, I said alright, they gave me the DP, the guy who shot Avatar, it was fantastic to work with all of these amazing people. If I had did it, I would have done it cheaper, the same commercial. Give me this guy and this guy, give me this top guy.” I mean when I go do commercials, I did a commercial called the Black Mamba, I was only hired as a director and I didn’t have to pay for the commercial, it was expensive. That’s what most directors do, they go, “Surround me with the best people. I’d rather hire the best composer or the best cinematographer. I would if I had more money! Believe me, I’d rather not have to go to work that day. This is the fourth in the series, you still have the title director, writer, composer, producer, was there one of those things you were going, “You know what, maybe I’ll just step aside and try to do. The family films are great outlets for that because you do get a lot of ideas for things, family-oriented. ![]() You want to do something for those experiences and those kind of jokes, those kind of sensibilities. I’ve always gravitated to both, I’ve always really liked doing the genre pictures, but I come from a family of ten kids, I have five kids of my own. What about the fact that you do, I don’t know if there’s a lot of people who do a really adult movie like Sin City and then a really family-friendly movie like this one, that’s just for kids. It’s two different, everybody has those sides to them. I compare it to if you have kids, you know, if you hang out with your buddies you talk one way, then when you’re hanging out with your kids you have a different voice on, you have your dad voice, you’re very appropriate. “Wait a minute, I’m not around adults.” It’s a different sensibility. It doesn’t sometimes, I get in big trouble, I start cussing at the kids. You’ve got this pattern of doing an adult movie and then a kids movie, I’m curious, when you’re on set, how does your approach change? Or it doesn’t? ![]() Oh, we designed the sheet, we designed them in a way that they would fit into the DVD cases too, so when we put a whole bunch and you don’t have to worry about anything that’s left behind gets put into the DVD box. How much did you get involved in developing the sheets? I knew if we did 4D we needed to push the envelope one more time, so I remembered seeing a John Waters movie in the eighties called Polyester that had a scratch and sniff thing, so I thought, “Oh, I’ll do that, I’ll do Aromascope.” The second one I switched to digital, which brought the idea that, “I bet I could bring 3D back if I shot digital, you could do digital 3D, just put two cameras together.” So Spy Kids 3D was the first 3D movie in like twenty years, and it was the biggest of the Spy Kids, so it kind of started this whole resurgence of 3D. The first one was probably about a step above the times, no one was really making family films at that time, so it kind of hit pretty big. It was a very innovative series of it’s time in a very scrappy way. Yeah, I mean, I was thinking already to do 4D. The first one too, we made the first one knowing, “We’re just making the first one,” but it did so well that we went ahead and made a second one and then a third one, then a fourth one.ĭid the Aromascope come because it’s the fourth one? Is that where the idea came from? It could be, they are all audience dependent. If this one turns out well we’ll do another one in 5D.
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