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Interview with Director Aaron Lee Yeager
Question: So, what was it like finally bringing your magnum opus to a close? Answer: My what? Question: The final installment of the Isle of Wysteria series. Answer: It was a nightmare. All of the sets and costumes from The Monolith Crumbles were supposted to be placed into storage. A week before shooting began, we open it up and we find nothing. Blammo. Empty as the hanger bay for Winder Woman’s invisible jet. Apparently, the production company had sold everything off to recoup their losses after the catering strike of ought four. So, here we are with a shooting schedule that’s already tight as a corset in july, and now we’ve got no costumes and no sets. I developed four ulcers in the space of about fifteen minutes. Question: What did you do? Answer: The only thing we could do. We shot the scenes with what we had. Athel is completely obsessed with that cosplay crap, so we just had her wear whatever weird Victorian steampunk mumbo-jumbo thing she brought in that day. Ripped off the gears and prayed no one would notice. Privet did all his scenes in his underwear, freaking sicko, so we had to digitally add clothes in in post-production. Most of the rest aren’t costumes at all. If you look closely in all of our group shots, the extras are just standing behind crudely drawn cardboard cutouts of their costumes. Question: What about sets? Answer: We shot this one gorilla style. We’d run into renaissance festivals and shoot as many scenes as we could before security kicked us out. We’d go to parks and tear out the jungle gyms and scare off the kids, heck one time we even shot an entire battle scene by going to medieval times and just having the stunt guys attack the performers. Problem was, they couldn’t see well in those masks, and a buncha waitresses got sent to the hospital. The lawyers had a conniption with that one. Just try putting ‘clubbed a servant wench’ on an insurance claim and see what happens. It ain’t pretty I’ll tell ya. |
