Anne rice the mummy movie
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Really upbeat and rousing.Today I’m going to talk about my favourite book writter, Anne Rice. Where people aren’t expecting it at all.” For instance when we cut to the end titles - I always thought we should have this really rousing music. But he takes me by surprised by saying, “Instead of doing it faster, how about we do it really slow Every once and a while I’ll have ideas and throw them his way. Thank you!” Jerry just makes it work perfectly. I remember when he first saw it he (Jerry) said something like - “Oh thanks I’ve got the big moment when the two leads are going to kiss and you keep cutting over to the comic side kick. It plays the romance perfectly and switches over to the comedy perfectly without over playing either. Like the last scene in the movie, you’ve got romance inter-cut with John Hanna who’s comedy. I think that’s because it just had everything, ancient Egypt, Cairo, the twenties, action, romance, horror, humor. I kept going over to his house and listening to stuff, he’s just really good. He saw the first draft and said right away, “Oh, I want to do this.” He said as soon as you get a script let me see it. We just hit it off on DEEP RISING and I told him at the time I was going to do THE MUMMY. Then I got onto DEEP RISING, he read the script and just wanted to do it. SS - I had met Jerry before and we tried to work together on JUNGLE BOOK and it all just fell apart. I realized that the audience doesn’t care about that! They don’t need to know that! Generally that’s what gets cut out. I hate having holes in the story so I tend to over explain Then we go to post (post production) and you suddenly realize there’s I can and surround myself with the best people so I can trust them to do their Then the productionĭesigner does it in his or her own way. Various actors each changes it, each in their own way. So I re-write itĪnd I say the same thing, “It’s perfect!” Then the notes come in again, I re-read Later I look at and say, “Oh shit.” Then I have a bunch of notes. Then I get away from it and I give it to people and I get notes. Every time I finish a draft of a script I think its perfect. So when you say from the pitch to the final mix, yes. SS - For me it’s always an evolving process all the way up to the last days of the final a kidnapper? An extortionist?” He don’t get an answer, so he yells, “Then what the hell are you doing here?!” Then we cut to the 3 thousands charging horses and then to Brendon who looks at the camera and says, “I was just looking for a good time.” Another reason we cut that out was we realized he was our lead guy and we thought we shouldn’t start out with himnbeing funny. He says something like, “So what were you. But about Brendon’s character, all that was really said was when Benny was trying to guess what O’Connell did. Kevin (Benny) is hysterical and I always let my comic side go, but at the end of filming I’ve got to watch it because too much a good thing is just too much. Mainly it just was about Benny being funny. 3 thousands guys on horses racing across the desert and our 2 leads are just yapping away so we cut it out.
#Anne rice the mummy movie movie#
While we were making the movie we thought, you know, this is taking too long. But the scene I was talking about was when the two guys (O’Connell and Benny) are on top of the big wall running and having this conversation and then Benny trips on this big sand dune and knocks Brendon on his ass then they go running down this ramp all the while having this conversation. I always kinda wanted him to be the Clint Eastwood kind of “Man with no name.” In the first one you learn everything about Evie but you learn nothing about O’Connell. Well Brendon’s character was never really explained. and the next day they call me and said, “Hey, you’ve got the job!” When we came out of the meeting the Producers Jim Jackson and John Daniels turned to me and said, “You know, we’ve been trying to make this for ten years and tried to make it between 8 - 15 million dollars.” So I said, “Well you know, that’s not what I just pitched.” I want to do was the big event MUMMY.
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I did this really long, beat by beat, character by character pitch. It was funny, because when I went in I pitched for an hour and a half. They said, “Oh, yeah, sure, we’ve been trying to get this going for about ten years. So I set up a meeting and said I wanted to pitch my version of THE MUMMY. So at that time new people had taken over at UNIVERSAL and I knew some of them. When I was about half way through the production of DEEP RISING I read in the trades one day that it had fallen apart once again. SS - I had always wanted to do THE MUMMY, I had wanted to it for years but every time I checked into it they had a new director, new writer on board.