Gremlins 2: The New Batch - Wikipedia
Background
The original Gremlins was a financial success, and Warner Bros. asked its director Joe Dante to make a sequel straight away. Dante declined, because he saw Gremlins as having a proper ending, and thus a sequel would only be meant to be profitable. Moreover, the original film was a taxing experience for Dante, and he wanted to move on. Work on Gremlins 2 proceeded without him, as the studio approached various directors and writers. Storylines considered included sending the gremlins to cities like Las Vegas or even the planet Mars. After these ideas fell through, the studio returned to Dante, who agreed to make the sequel after receiving the rare promise of having complete creative control over the movie; he also received a budget triple that of the original film’s. Dante later acknowledged that by this point too much time had passed between the films, thus possibly reducing Gremlins 2’s appeal.[5]
The film was released in 1990, and as the filmmakers later noted, this was a time when cable television, genetics and frozen yogurt were becoming more common and influential.[citation needed] This all left a mark on Gremlins 2, as Clamp’s media empire ran many cable television channels. Gremlins 2 actually exaggerated what could be seen on cable television at the time, although as the filmmakers noted in 2002, that humour might be lost on present-day audiences. Cable television later grew to provide that type of variety. Genetics in 1990 is reflected in the laboratory seen in Gremlins 2, and frozen yogurt is what the mogwais eat after midnight.[3]
[edit] Plotting
With more control over the film, Dante engineered a project that he later referred to as “one of the more unconventional studio pictures, ever.” Dante included some material that he believed Warner Bros. would not have allowed had they not wanted a sequel to Gremlins. Allowed to break a number of rules in filmmaking, he also later claimed it was the film into which he had put the most of his personal influence. Dante imagined Gremlins 2 as a satire of Gremlins and sequels in general. Another basic description of Gremlins 2 was that, as Dante said, an hour into the film it becomes “extremely cartoony.”[3]
The recommended screenwriter, Charlie Haas, brought to the project the basic storyline of moving the gremlins to New York City, and he also imagined a corporate head (the character Clamp) being Billy’s boss and at the center of the new disaster. When the Warner Bros. executives grew concerned about the expense of portraying the gremlins attacking an entire city, Haas came up with the idea of confining the action within Daniel Clamp’s “smart building”. Haas also included a great deal of material in his screenplay that proved too elaborate to produce, including having a cow–hamster hybrid running on a treadmill in the laboratory.[3]
In keeping with Dante’s desires to satirize the original film, the sequel has some meta-references and self-referential humor. These include a cameo appearance by film critic Leonard Maltin. He holds up a copy of the original Gremlins video and denounces it, just as he had in reality.[citation needed] However, his rant is cut short when gremlins pounce on him. Partly for this scene, one academic called Dante “one of contemporary cinema’s great pranksters.”[6]
Additionally, when Billy is trying to explain the safety precautions regarding the mogwai to staff in the building, the staff find them quite absurd and interrogate Billy on the application of the rules. This scene originates from the fact that the filmmakers themselves saw the rules as irrational, and some questions in the scene were based upon queries raised by fans of the original film.[3]
At one point in the film, Dante attempted to involve his audience in the story by making it seem as if the gremlins had taken over whatever theatre Gremlins 2 would be screened in. The film seems to be broken by the gremlins, who then engage in shadow puppetry over a white screen. Professional wrestler Hulk Hogan then appears in a cameo appearance and intimidates the gremlins into running the rest of Gremlins 2; this joke was inspired by a similar stunt in William Castle’s film The Tingler (1959). The studio feared people might really leave the theater if they thought the film had broken. Dante thus secured the inclusion of the sequence by assembling some people for a preview of the film. When the scene was shown, the real-life audience found it enjoyable and stayed in the theatre. Dante later described this scene as one of the most widely enjoyed jokes in Gremlins 2. When Gremlins 2 made its debut on home video, the filmmakers altered the scene, to make it seem as if VCRs had been broken by the gremlins. This time actor John Wayne forces the gremlins into continuing the film, although voice impersonation was needed since Wayne had been dead since 1979.[3] Notably, a clip from Falling Hare, a film released in 1943 featuring Bugs Bunny and a gremlin, appears in this version.
The original version of the film was longer, but executive producer Steven Spielberg claimed there were too many gremlins, and several scenes were cut as a result. One deleted scene portrayed three of the main gremlins, Daffy, Lenny and George, sneaking into television host Grandpa Fred’s studio and “helping” him host, which worked because Grandpa Fred’s show was supposed to be scary.[4]
Hugo Martin - “Avril 14th”
The cover is a simple guitar arrangement of Aphex Twin’s “Avril 14th” (which can be found on disc one of Drukqs), and I’ll be damned if I don’t like it more than the original.
THE FINAL BAER!
(via purns)
Thoughts on tech
I started teching shows at UCB in NY in late 2002, just before Pat Baer. It’s a really awesome thing, teching shows. You do learn a TON.
Pat teched my very complicated “Dark Side of the Moon” show, which was a play about real estate brokers that was synced up to the entire Dark Side of the Moon album. I strongly believe that he’s the only one who could have pulled it off as well as he did.
The tech booth will miss you, Mr. Baer. Now go on to bigger and better things!
Tomorrow will be the last day I tech a show at UCB. I started teching in early 2003 and have been getting paid to do it since 2004. It’s the longest job I’ve ever had and I’ve learned a lot. Not just about how to tech a show, but also what kind of comedy I like and what I feel works and doesn’t.
I can’t count the number of unique shows I’ve tech, or how many hours I’ve spent in rehearsals. In the past few years, I’ve stepped in as a substitute director for some of the shows I tech, and the experiences I’ve gained through my years of teching have shaped what kind of director I am.
Below are lessons I’ve learned, advice I was given and will give to anyone who asks, and a few gripes (of course). I will focus on sketch and one person show tech, and leave my opinions on teching improv for another day.
Let’s start with rehearsals. Rehearsals should not be a daunting task. Here’s some things to remember:
1. It’s your responsibility to schedule a tech rehearsal. Your tech person will most likely not track you down and demand a tech. It’s your show, be in charge of it.
2. The tech person doesn’t know your show, and he/she may not know you personally. This is important to remember if you find yourself frustrated in the rehearsal process.
3. Come prepared! Bring a full, current, easy to read script. Write down all lighting and sound cues. Speaking of sound cues, bring a cd! If you can, have a backup cd or a playlist on an ipod. If you’ve got a powerpoint presentation or slide show, have it on a cd, but why not also put it on a usb drive or have it stored in an email? If you have video, bring the DVD! Even if its a rough cut, it gives the tech person an idea of what will be the finished product.
4. Have your director come to the tech rehearsal and let them run it. Nothing slows down a tech like several voices fighting for control.
5. This is a TECH rehearsal. Your tech person is there to learn the cues, not watch you run a sketch 5 times for the actors. Directors have argued this point with me, and I have in the past suggested doing a cue to cue, THEN going through the sketches and working on moments at the end of the tech. This should also avoid the problem of rushing through the tech if you’re running out of time.
Okay. Tech went great. Your first show went well. You’re going to do more shows. Here’s some other things to keep in mind:
1. Are you going to have the same tech person? Do they still have the script? The CD? The DVD? This is YOUR responsibility to find out. All you need to do is email them. I would recommend doing this as soon as possible. Don’t assume the tech person will contact you, that’s not always part of their job.
2. Did you change a blackout line? Maybe swapped a sketch? If you have minor changes, you can probably get away with just emailing them to the tech person. Don’t arrive right before the show with a bunch of changes and catch the tech person off guard. If you’ve made huge changes to the show, then you should probably schedule a tech rehearsal. Again, this is your responsibility.
That’s about it for now. Just remember, I’ll be watching.
Digg Van Winkle
Hey friends, my Rip Van Winkle video is doing pretty well on Digg, but if you Dugg it, it would be doing even better!
