Safety to humans is the most important, then safety to people’s property, such as someone’s home if we’re shooting in it, or in the case of Return to Return to Nuke ‘em High, where we lived in the empty funeral home, we made sure to respect it and not do damage. Everybody on our set is young and fairly inexperienced, and one could get very easily injured. And it’s dangerous, making movies is very dangerous. The pressure is enormous, because we’re making, as you say, movies that are very ambitious, that have thousands of people in them, and usually have transformation scenes and special effects scenes and special effects makeup scenes, and when you’ve got day after day of having three or four hundred background people who have to come and volunteer their services, and in the case of Return to Return to Nuke ‘Em High, wear outfits that look like Tromaville high school students or teachers, it’s a big deal. LK: It’s always very difficult, and this year is my 50 th year of making feature-length movies and I still get extremely anxious about it. You have to be there, you have to do it.ĭC: As your films have gotten more and more ambitious, has the process become easier for you, or harder? They can’t teach you this stuff in film school. The “making of” process is as good as a year in film school. Heavy emotional events, all involved in the making of Troma movies. There’s lots of getting together, whole lotta lovin’. There’s a whole lot of loving when you have 80 people or so living in an empty church. Check that out, because you’ll see people propose to each other, people try to start fistfights. LK: What I would suggest you do, if you want to see how difficult it is to make a Troma movie, the behind the scenes feature-length documentary, about Poultrygeist: Night of the Chicken Dead, is called Poultry in Motion: Truth is Stranger than Chicken.
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