![]() McKay had certain ideas locked in place about the fight. Next to the video monitor where McKay, Apatow, and cinematographer Tom Ackerman would gather, there was an oversized paper tablet on a tripod with a list of the seventy or eighty shots they needed to capture that day. Not only did the setup involve dozens of shots, many of them with significant technical challenges, but the entire shoot had to be completed with one day of first‑unit work and one day of supplemental shooting by a second unit. ![]() It was so hot that costume designer Debra McGuire brought multiple shirts for each actor, to give them a chance to change out of their sweat‑encrusted clothes over the course of the day. The anchor showdown sequence was to be shot on location in a downtown Los Angeles parking lot on a scorching day, in a mostly abandoned district of warehouses near the Sixth Street Bridge. “Guys,” he told Ferrell and McKay, per a 2013 interview with Vulture, “you should just try taking a pass where you go further.” He suggested they think about what might happen if the news teams really did get into a fight, and the plan for a no‑holds‑barred throwdown began to cohere, with one day designated for the shoot. Meanwhile, producer and all‑around scriptwriting adviser Judd Apatow had prodded the writers in another direction. They pictured a violent showdown between Ron’s team and a rival news team that would feel like the Jets and Sharks facing off in West Side Story.Īccording to a couple of sources, DreamWorks was insistent that this scene-unwieldy as it was-be cut from the script. ![]() Pondering the relationship between the News Channel 4 team and their rivals in the early drafts of their script, McKay and Ferrell imagined them to be like the juvenile delinquents of classic movies like Blackboard Jungle and The Warriors, squabbling over turf. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |