Episode Transcript
[00:00:00] Speaker A: This podcast is a collaboration between Costard and Touchstone Productions and the Dads from the Crypt podcast.
[00:00:06] Speaker B: Nice place.
[00:00:08] Speaker C: We got about 10,000 termites holding hands here.
[00:00:12] Speaker D: I hope you boys are ready to have fun.
Just the thought of all that naked flesh waiting for you. Oh, I joined you myself that somebody has to watch the door. Been so busy tonight.
[00:00:28] Speaker B: Foreign.
[00:00:37] Speaker E: Welcome to another episode of the how not to Make a Movie podcast. I'm Alan Katz. In this episode, part two of our five part retelling of the Bordello of Blood saga, we'll get into how and why we cast Bordello the way that we did. Spoiler alert. It was sheer fucking stupidity. Here's a basic rule of thumb for anything where you're going to hire actors. Get the casting wrong, you're screwed. You can't undo bad casting, except maybe by firing the actor. But sometimes that choice isn't on the table. You're stuck with the bad actors you got. There's a difference between bad actors and bad actors. Even an actor who's bad at acting can be a good actor in terms of their attitude. But a bad actor, even one who's a good actor, they'll kill you. The worst of the lot are the bad actors who can't act either. Now, to complete the picture, there are plenty of good actors who are good actors.
And in making Bordello of Blood, we experienced all four actor types. The problem is, sometimes one bad actor can hold more sway than all the good actors combined. That's what happened on Bordello of Blood. But then, not all the bad actors were actors, right? We had an executive producer in Joel Silver whose fucked up priorities caused him to compromise his golden goose, the Tales from the Crypt franchise, just to service an actor on another movie set. That would be Sylvester Stallone.
If there's an asshole to 2D in this story, it's him. And there are quite a few assholes in this story. Now, in my film and TV career, I hired lots and lots of actors. But here's a secret.
I never hired any of them to act. Ever. Hell, acting was the last thing I wanted any of them to do. You see, acting is required in a large theater where people in the back row will need to see and hear the acting. So it needs to be larger than life, theatrical. But acting for the camera is entirely different because, well, the camera's so close, it sees everything like the actor's acting, and it just looks stupid. Seriously, the last thing I want any actor to do on camera is acting. Rather, I want them I need them to be. That is, I need them to be as emotionally naked and honest as possible without any artifice or acting, because that'll end up on the cutting room floor. In the second episode of the Bordello of Blood story, I'll take you behind the scenes to our casting process, such as it was. But first, I'll tell you the sad, tragic story of the one that got away, Dead Easy, the movie we actually wanted to make instead of Bordello. You'll hear how an obscure deal point in the contract Universal Pictures made with one of our executive producers, Robert Zemeckis, in order to keep him at the studio, turned into a movie no one, Zemeckis included, ever wanted to make. You'll hear from our casting director, the amazing Victoria Burroughs, about how we brought in a young, unknown actor named Salma Hayek to read for the female lead in Dead Easy and how she blew away that room. You'll hear from our brilliant production designer, Greg Melton, both about the challenges of making an anthology show like Tales from the Crypt, where you had to reinvent the wheel every week, and the challenges faced when trying to put words in a script not always written with clarity. Guilty as charged onto the screen. And you'll meet Ed Tapia, then the greatest assistant ever. Now a TV producer in his own right. Ed knows where all the bodies are buried because, well, he helped us bury him. And of course, you'll also meet my partner in crime at the time and my friend once again, Gil Adler. Slowly but surely, as Bordello of Blood's production picked up steam, which it had to quickly because we had only three weeks to rewrite, design, scout, prep and and cast the movie, every day became stupider than the day before it. Bordello quickly achieved a kind of critical mass of stupidity and arrogance. Bad luck, lots and lots and lots of really, really bad behavior. But hey, you're on a movie set, right?
[00:05:18] Speaker B: Movie sets are bad behavior factories.
[00:05:21] Speaker E: And Bordello of Blood was just gearing up to be an uber factory of stupidity and especially very bad behavior.
[00:05:39] Speaker A: Hi, I'm Alan Katz, and welcome back to the how not to Make a Movie podcast, the Making of Bordello of Blood. While this episode will focus mostly on how we cast Bordello, maybe a better word is miscast. I want to lay out some context first for the characters you're going to meet. Show business doesn't attract shy, retiring personalities. It's a larger than life world that attracts larger than life people. There's a reason we all chose this business instead of selling insurance.
So if you recall, Universal pulled the plug on Dead Easy because they didn't want to eat the half a million bucks they'd spent buying a student script called Bordello of Blood in order to keep one of its writers, Bob Zemecka, in their stable. At Universal, though switching literally everything except the fact that we were making a movie, the meter never stopped running. That meant we had just three weeks to, one, rewrite our boss's script without pissing him off, and two, turn from prepping one movie in one place to prepping a completely different movie in a completely different place, which itself was turning into a question mark. There's no telling what kind of movie Dead Easy would have been had we gotten to make it. And there's not a doubt in my mind that making it would have been a bear. But we wanted to make Dead Easy. We were deeply invested in it. While not a one of us gave a rat's ass about Bordello, as anyone who was lucky enough to work on Tales from the Crypt can tell you, doing that show, it was special. Really, really special. We were a tight, happy creative team doing a show we all loved doing. And Dead Easy was, to all of us, the most natural extension of our creative team's creative evolution.
[00:07:24] Speaker B: Dead Easy was a story about found memory, about a man remembering his father and his childhood in New Orleans, and his father had gotten sucked into a voodoo curse soul. That was the price to be paid for the father to come back from the voodoo netherworld to which he had been cast. And getting back into this world, it was the price of the soul of his son, now a grown man.
[00:07:52] Speaker C: It still sounds like a good idea.
[00:07:54] Speaker B: We really saw it as a chance to stretch our creative legs.
[00:07:58] Speaker C: Yeah. And also, I think we thought it was a good story, and it was different enough from Demon Knight, and it was in the Tales from the Crypt world. And it felt like, wow, this is a great match.
[00:08:10] Speaker B: It was a movie that could be written, direct it, and you would see the, you know, where really the craft of writing and the craft of directing were going to be required to pull off a successful story, a successful movie.
[00:08:26] Speaker A: Greg Melton was Crypt's production designer. He and Gil had been working together as far back as Freddy's Nightmares. Among Greg's credits since Crypt and Mordello are the Walking Dead and Marvel's Agents of SHIELD Series. Craig's a really talented guy, but being a PD on an anthology series, that's not like anything else. There aren't any standing sets the whole world is completely different every episode, and it's filled with completely different characters who must be reflected in those worlds. Great production design is all about attention to detail, making that imaginary world real so that we can shoot it. That's the PD's responsibility.
[00:09:04] Speaker F: Remember doing a lot of scouting, too? I was down there for, like, three weeks. Yeah, or you guys came down, Right? You know, we were looking for, like, a lot of really tough stuff. Roads that drove through swamps which really don't exist. We got all the way down to, like, Morgan City in our scout sweep down there. You know, all the location scouting that we did. Inside of New Orleans, there's a big house, like a bayou house, I remember, that we had designed. Then there was some. Like a whole other netherworld conceptually wrap our heads around. How do we.
[00:09:35] Speaker B: What the other side would look like in that brief, brief interim where suddenly we. We're in that middle ground between here and there.
[00:09:42] Speaker F: Right, right, right. And, you know, this is like, you know, this is before, you know. You know, you could just wrap it in blue screen, physically figure it all out as a. As a physical environment.
[00:09:54] Speaker A: There were lots of other benefits to shooting in New Orleans. Food, for instance.
[00:09:59] Speaker C: The five of us went for emeralds for dinner. And because of the film commission, he knew we were coming in and we were scouting, and so he actually came out of the kitchen and said to us, you know, went around the room, what do you like? What do you like? What do you like? And we pretty much said, you know, we like everything. And he said, well, if that's the case, will you allow me to make dinner? I'll just make dinner. And we all said, yeah, that'd be. Oh, wow, that's fantastic. Right.
[00:10:24] Speaker B: Our location manager. I cannot remember her name. She was very well connected to the whole social structure.
[00:10:31] Speaker C: Yes.
[00:10:31] Speaker B: I don't know if Emeril had started his TV show yet.
[00:10:34] Speaker C: I don't think he had.
[00:10:35] Speaker B: In New Orleans, he was a star.
[00:10:38] Speaker A: And speaking of stars, while we never had the chance to cast our leads, we did begin reading and auditioning actors for the support roles. Victoria Burroughs was Tales from the Crypt's casting guru. She still casts most of Bob Z's movies and Peter Jackson's movies, too. Victoria has an amazing eye for fresh talent, and she brought in an amazing fresh talent to read for Dead Easy.
[00:11:01] Speaker B: Salma Hayek.
[00:11:03] Speaker G: Right. That was the most fun reading.
[00:11:07] Speaker B: Wow.
Wow.
[00:11:09] Speaker G: So Paul Weber was my assistant or associate on that.
[00:11:15] Speaker E: Yes, yes.
[00:11:16] Speaker G: I remember us all sitting in the room, and Selma came in and he read with her. And he turns around to us when she leaves because we were all gobsmacked at how, you know, great she was. And he goes, I'd go straight for her.
It was like she just had it, you know, it was like, oh, my God, we have the cast.
[00:11:39] Speaker A: It wouldn't surprise me one bit if Ms. Hayek walked in, felt our passion for Dead Easy, and simply went with it. It was that kind of project.
[00:11:49] Speaker B: It had every last ounce of our passion, of everyone on the creative team. It would have been easy to make. No, there would have been arguments galore, absolutely. But it would have been arguments over something we cared deeply about.
[00:12:03] Speaker F: I think I was in New Orleans when they pulled the plug, because I think I remember getting a call down there, yes, come home. It's over.
And I remember calling my agent going, they just shut down the movie.
Don't worry, You've got a guarantee. So I was like, all right, I'll come home. Remember, very quickly, it was just gone.
[00:12:28] Speaker C: I had. I had had a conversation with Joel where, you know, he was suggesting that this was before Demon. He was suggesting I do Demon Night. And I didn't want to do a horror. I didn't want to do just a goblin, you know, a ghost in a.
[00:12:42] Speaker B: House, a monster movie.
[00:12:43] Speaker C: But it's a monster movie, and I didn't want to do that. I thought, you know, we did tell some of Crypt. That's close enough to monsters. We. I wanted to do something better and different and other than that, so. So he said, okay, then you'll do the second one, because they want to do the first one. We got to the second one, and I remember when we came back from New Orleans, I went in to see Joel, you know, to say, what. What's going on here? And where he explained a little bit of what was going on. And I said to him, but. But I want to do Dead Easy.
And he said, and I'll never forget this. Without me, without even a thought or a beat in between, he said, okay, then we'll get somebody else to do Bordello Blunt, but that's the one that's going next. And I remember sitting there going, so I was going to do the first one. I decided not to do the first one, and now I'm doing the second one with a script that I really like that you and I did, and now I'm not doing that. So do I say no and wait for the third one? Another year and a half or not?
[00:13:41] Speaker B: And that would hinge on the success of the second. And now It's a piece that is completely out of our control.
[00:13:47] Speaker C: Yeah.
[00:13:48] Speaker B: If we walk back down the decision making tree.
Universal's concern that Bob Zemeckis would make a deal with Dreamworks was very understandable.
Their move to appeal to Bob. Bob, what can we do to keep you here in the fold? Understandable. Bob's reaction. Okay, here's what would work. Understandable. Bob when he said, hey, something that one of the parts of the deal that could help make me stay is you know, buy the first student script that Gail and I ever wrote.
I'm absolutely certain that when Bob said that his intention was and we'll make it as the second tells from the Crypt movie, the thought never crossed his mind. These two had nothing to do with each other.
[00:14:35] Speaker C: Right. I don't think he ever thought that, nor did I think he thought that they would buy it.
[00:14:39] Speaker B: This is a deal point.
[00:14:41] Speaker C: Yeah.
[00:14:42] Speaker B: That's what makes the whole story so maddening. It really comes down to a deal point. Then, hey, it's not hard to understand why Universal said, well okay, we're not going to eat a half a million dollars. There's a way for us to make this work in a business sense. They're being good business people, you can't question that. And hey, there's Bob Zemeckis and Bob Gale's name on this script. That's Back to the Future guys. Their names are a script meant a hell of a lot more than your name or my name or Mr.
Of course, you know. So if you look at it from Universal's point of view.
[00:15:17] Speaker C: Oh no, I totally understand. I totally understand.
[00:15:20] Speaker B: If we were all Greek, this would be a tragedy.
[00:15:24] Speaker A: While Victoria Burroughs began sending out scripts and reading actors Gil, Greg Melton, our DP Robert Priestley and I flew up to Vancouver to scout locations, find a home base to use as a studio and find a Canadian production manager to oversee day to day set operations. In the middle of a run of bad luck, we scored some good. Universal hooked us up with an ambitious, smart production manager named Colleen Neistat. Thirty years later, Colleen is a Vancouver city councillor. How lucky for Vancouver.
[00:15:59] Speaker H: Ever since I received the email from you, I've been thinking about my movie business career and the highs and the lows. Lows. And there is no question that Bordello of Blood was one. If it was even possible to take off your resume, which of course IMDb makes impossible. If you're in the credits, you're recorded. Mind you, I had a different surname at the time, but it was a tough show.
[00:16:23] Speaker A: In short order, Colleen found us a studio. 90,000ft of abandoned GM parts factory, way more than we needed, including ample office and workshop space. She found us the glass church we wanted for the movie's climax, and she put together a pretty terrific crew.
Vancouver today is a first rate moviemaking town, which makes it easy to forget that back when we made Bordello, it wasn't yet that Vancouver was still a few years away from having the production chops it has now. Everything we needed to make Bordello was right in Los Angeles, just as it was for Demon Knight, our crypt crew. They were in Los Angeles. Our special effects team was in Los Angeles. And Iatse the union to which our crew belonged, they too were in Los Angeles. And Joel was perpetually at war with them. Sometimes Joel had the upper hand. Sometimes the union did. Not too long before Bordello, the IA had struck the set of Weird World, a TV movie we did for Fox. After the union shut down that set, Joel began looking for payback. Bordello presented the perfect opportunity. Why did we shoot Bordello of Blood in Vancouver? To piss off the IA in Los Angeles.
[00:17:35] Speaker E: Literally no other reason.
[00:17:37] Speaker B: What are we gonna do now? I need something fresh and unique that.
[00:17:40] Speaker C: People are gonna know about it.
[00:17:41] Speaker B: No, you're a fucking moron. What's wrong with you guys? What do I got? I got two schmucks.
[00:17:47] Speaker A: It's impossible to compare Joel Silver to anyone else. He's what used to be called an impresario. At the time we made Bordello, Joel truly was a master showman who understood, understood the movie world in a very particular way. His track record certainly spoke for itself. He made all the Lethal Weapon and Die Hard movies, just for starters. He'd go on to make the Matrix movies, the Predator movies, lots of great action movies. He understood how important it is to cast your movie just right. And that was why, though Gil and I had our own thoughts about casting, Joel took it upon himself, as our more experienced executive producer, to save us from ourselves and show us how to cast a feature film.
[00:18:29] Speaker C: Well, we assumed we would have more involvement, shall I say, not even control involvement, in some of the huge decisions.
[00:18:36] Speaker B: We could rewrite it to our heart's content, but the movie, the story, was what the story was. A private detective in a small Southern town becomes aware of the fact that a group of vampire prostitutes are operating in the basement of a local mortuary. That's it. That's the whole story.
We did not have time to approach it from the logic point of view.
[00:19:02] Speaker C: Well, no, because we were told that they had a release date about a year, a month later, and therefore, in their calculations, we had to be shooting in three weeks, otherwise we wouldn't make the release date. Basically, they told us we had three weeks to do the rewrite and then be ready to go into prep.
[00:19:20] Speaker B: Rafe Goodman part we had. Danny Baldwin was who you and I had in mind, I think, for the female lead. I remember Bridget Wilson for.
[00:19:32] Speaker G: Yes, yes. Good memory.
[00:19:33] Speaker E: Yeah.
[00:19:34] Speaker B: For the part that ultimately Erica Leniak got.
And for our villain, the most important piece in the horror movie, our Freddy Krueger, we wanted Robin Givens.
[00:19:46] Speaker E: Is my memory.
[00:19:47] Speaker G: Yes.
[00:19:48] Speaker A: That was Gil's memory, too, by reputation.
[00:19:51] Speaker B: Robin. Robin might not have been the easiest person to work with, but I don't think that mattered. Hey, we worked for Joel Silver.
[00:20:00] Speaker C: Correct.
[00:20:03] Speaker B: Difficult personalities were not a. We're not a threat to us.
[00:20:06] Speaker C: I tell people I specialize in difficult personalities.
[00:20:09] Speaker E: Yeah.
[00:20:09] Speaker B: So I think had we. All right, given the fact that, hey, you're doing Bordello, like it or not. All right, so if we had cast Danny Baldwin, if we had cast Robin Givens.
All right, the female lead, I think, is more of a plug and play, I think we'd have had a great villain. Robin Givens would have given us. Oh, I don't know. I will bet it would have been a terrific performance, and I think we'd have gotten exactly what we wanted from Dennis.
Joel, however, had other ideas.
[00:20:43] Speaker C: He did, indeed. I never found out, like, where those ideas came from, if Universal had anything to do with it, or it was just Joel.
[00:20:51] Speaker B: Well, let's. Let's start at the top with. With. With Dennis. I know that wasn't Universal's idea because when we told Universal what we wanted to. To pay Dennis $1 million, when there was a quarter million dollars in the budget, their attitude wasn't Hooray. It was, hey, don't look at us. Take that out of your budget.
And that is exactly what we did. I can't imagine who in our audience, our Tales from the Curypt audience, would have gone, Dennis Miller. I understand the Angie decision, and we'll come to that. Yeah, I understand the Erika Eleniak decision. That was not a bad name for us. And we were not aware of the fact that she had.
Her life had changed to a degree. She wasn't thinking quite the same way as in her earlier successful years, but she was gettable and our audience would relate to her and liked her. So that was not a. That was. Couldn't argue with that.
[00:21:47] Speaker E: Idea.
[00:21:47] Speaker B: That was a good idea.
[00:21:48] Speaker A: Here's something either I didn't know or forgot about. Before we cast Angie to play our villain, another surprising name came up.
[00:21:56] Speaker G: Marla Maples was in the mix.
[00:21:59] Speaker B: Was she really?
Oh, my God, was she really?
[00:22:04] Speaker G: And I, you know, was she with.
[00:22:07] Speaker B: Trump at that time?
[00:22:10] Speaker G: I'm not sure. I can't remember.
[00:22:14] Speaker A: A quick digression.
Hearing the name Marla Maples brought back the memory of another conversation one Gil and I overheard while we were driving to Beverly Hills with Joel one afternoon. In our early crypt years, that whole drive is a story unto itself. But as we went along, Joel took a call from Donald Trump. I don't remember what the point of the call was, but at the very end of it, Joel referenced the fact that Gil and I, Tales from the Crips producers, were in the car with him. You should do an episode, said Joel. I'd love to, said Trump.
[00:22:45] Speaker B: Send me a script.
[00:22:47] Speaker A: Just for the record, we never sent him a script and we didn't hire Marla Maples.
[00:22:53] Speaker G: You know, Erica fit it better when.
[00:22:56] Speaker B: We suddenly went after Dennis.
Were you part of any of that negotiation, any part of that conversation as our casting director, did you have to make the offer to Dennis?
[00:23:05] Speaker G: I think business affairs did that because it was, you know, a big, you know, usually more than the.
[00:23:11] Speaker B: So it never even touched us. It was all up above us.
[00:23:16] Speaker G: It was a hard understand. Yeah.
[00:23:18] Speaker B: And certainly to this day, we've never gotten the answer to that question. Why Dennis Miller? We're not going to find the answer.
[00:23:26] Speaker E: Here either, are we?
[00:23:28] Speaker G: No, I chalked it up to. There is maybe some, you know, a lot of times there's promises to work together in the future and do other things.
I can understand why Dennis Miller chose it, you know, because it was a challenge. It was different for him.
Didn't quite understand why.
[00:23:51] Speaker B: I would say where Dennis is concerned, he took it because we offered him a million dollars, which is a million dollars more than anyone had offered him, really, to do anything where feature films are concerned. Not where his HBO show is concerned, you know, master of that. But feature films, he'd done a couple of small parts, not a million dollars worth. Well, none of us thought that. Universal certainly didn't think that. They, they didn't pony up any breakage for that extra. 750. We had 250 in the budget. And Universal said, well, he's nothing to us.
Take it out of your budget.
Which is what we did. We were $12 million. 750, man. That came out of Special effects that took a couple of days. Literally. We took days off the schedule, days we needed.
We took all that out of the budget to pay for an actor that to this day, I don't know why we cast Rosebud.
Yeah, exactly, Rosebud. That's the explanation for why Dennis Miller. Okay, we'll move on from there because we're gonna have to go burn a sled.
[00:25:02] Speaker A: At the time we swapped out Dead Easy for Bordello with an item making it in Vancouver, Joel was producing another movie, a much bigger movie than ours in Seattle. Assassins, directed by Tails and G executive producer Dick Donner, starring Antonio Banderas and Sly Stallone, to whom Angie Everhart was engaged at the time. At some point, someone got the bright idea to connect these two movies. Now, I was not privy to any conversations, but whatever was said, my guess is it went something like, hey, Joel, since you're going to be doing another movie in Vancouver, you should put my girlfriend in here. That way she could visit during the weekends.
That was how it was presented to us.
On the surface, it almost sounds benign, doesn't it? Kind of romantic, even. The man's name is Sly. Don't forget he's a big movie star. He breathes different air than the rest of us. At least he thinks he does. The trouble starts when we don't disagree with them.
But let's stick a pin in all the ulterior motives for the moment and go with the story we were given. A big star on one movie set asks his producer to do him a favor on another movie set.
[00:26:13] Speaker B: But that favor, it wasn't really on its surface. Yes, it was an outside the box idea, but it wasn't entirely crazy in Joel's defense. But we were panicked, and understandably so.
[00:26:30] Speaker C: Well, because it really felt like a. A reason to put. Since we were making it in Vancouver and they were shooting Assassins in Seattle, that was a convenience that they wanted to offer to Stallone for his girlfriend so that she could come visit him on the weekends.
[00:26:46] Speaker B: He had a movie that was unreleased at that point called Fair Game. Joel did?
[00:26:51] Speaker C: Yeah.
[00:26:51] Speaker B: And I think Joel might have thought that he was on the cusp of the next great trend in movies.
Supermodels, big movies. And as far as he knew, Fair Game was going to open big. Cindy Crawford was going to.
[00:27:08] Speaker C: It was gonna be huge, which it wasn't.
[00:27:11] Speaker A: Yeah.
[00:27:12] Speaker B: And that happened after. I think that that happened after we were in production. Yeah. It might even happen while we were in production. It crossed our line. Too late for us to go, oh, Wait, let's rethink that. Yeah, it was. The ship had sailed. There was nothing we could do. And we were about to be the second movie that did not, that was not going to succeed on the strength of its supermodel casting. Angie being really rather new and having never really the biggest, played parts like, like the scene she played in Billy's Jade. Yeah, good part, small part. But you know, that's, that's one thing. What we were going to ask this actress to do was something entirely different.
Nevermind outside her comfort zone, to be fair, outside her skill set at that moment. It's a huge ask and not necessarily, oh, not at all a fair ask. We were putting the weight of this movie on her shoulders.
[00:28:16] Speaker A: So we call our friend Billy Friedkin, who just worked with Angie in his feature film Jade.
[00:28:22] Speaker B: Billy was, he said, she's good in what I had her do.
What you are talking about probably might be outside the box. And that was the advice that Billy Friedkin. Yeah, Billy the Exorcist Friedkin was giving to us about the casting of our horror movie.
[00:28:46] Speaker C: Yeah, but you see, it was really more about making Stallone comfortable because Donner didn't want to have trouble with him on Assassins.
[00:28:54] Speaker B: Of course, of course, of course. So here again, we weren't casting our movie to get the best possible actress. We were casting our movie because of a political decision on a whole other movie set.
[00:29:07] Speaker A: We take one last shot. We propose a screen test. We figure that if Stallone sees the woman he loves on video, not quite getting there as a movie villain, he'll do right by the woman he loves and pull the plug on this madness. And so we do a screen test with Angie. The problem, she walked into it having been directed by Stallone. It doesn't matter what she does or how the screen test plays. The fix is in.
And just like that, our three leads were cast. Well, two were cast. Dennis and Angie. We were still out to Erica Eleniak to play our female lead. She too asked for more money than was in our budget for that role. It wasn't the million dollars Dennis demanded, but just like Dennis's salary, the overage would come off the budget. Remember what we said about smart producers making a buck look like a buck 15? What do you do when your buck turns into 63 cents?
But even after we agreed to pay Erica what she wanted, still she wouldn't commit to the role. Dark clouds were looming over cloudless Vancouver. Jeez, it sounds like a horror movie, doesn't it? And then, just like in a horror movie, the phone calls start coming from inside the house. Well, from inside Assassin's house.
[00:30:20] Speaker B: As soon as she started working on our movie, they called our set and they said, hey, is there any way you could hold on to Angie for the weekends?
[00:30:27] Speaker H: I remember this because the point of.
[00:30:30] Speaker B: The exercise of getting her onto the movie and then not having her in Seattle for the weekends was because he had something else going on.
[00:30:38] Speaker C: Yeah.
[00:30:39] Speaker A: On the next episode of how not to Make a Movie, the making of Bordello of Blood, the actual movie making begins. Our actors all arrive and so does Joel, and an international incident nearly breaks out.
[00:30:53] Speaker B: For real.
[00:30:54] Speaker A: See you next time.
Excuse me. You're the second, right? Why is my name misspelled on the call sheet?
The how not to Make a Movie podcast is executive produced by me, Alan Katz, and by Jason Stein. Our artwork was done by the amazing.
[00:31:14] Speaker B: Jody Webster and Jason.
[00:31:16] Speaker A: Jody, along with Mando, are all the host hosts of the fun and informative Dads from the Crypt podcast. Follow them for what my old pal the Crypt Keeper would have called terrorific crypt content.