All we had to do was tweak it a little for Torque. First the camera goes out through the engine and up the gel pipe and it ends up dissolving into someone’s eyes and then dissolves out, then we almost subliminally morphed in an eye at the end of the shot. The second time we do it, we start off in the bike, but end up in a body shooting through a spine and go out his brain. They may be the types of jokes that only pure visualists can appreciate. Everybody else will probably think that all we did was rip off the Fast and the Furious.
MVWire: What was the shooting schedule?
JK: The shoot was actually very short only 66 days and $50 million does not go very far in Hollywood. The Fast and The Furious 2 was almost twice as expensive as our movie.
MVWire: Have you always had in mind that you would go from music videos into directing movies?
JK: I wanted to be a filmmaker. How else do you break into the film business when you’re from Houston Texas with a mailman for a dad and a waitress for a mom and no connections to Hollywood? You get your hands on a camera and shoot a music video, which is the cheapest thing you can do. |
| Previous |
|  |
Music videos helped me because it was practice. I’ve done it for thirteen years and probably over 900 shooting days. I could have taken the easy road, but I continually tried to test myself. I have gotten a bad reputation with record companies for being too opinionated. But it has helped me working in film because now I know how to play the game.
MVWire: What was it like dealing with so many people, not only behind the scenes, but politically as well?
JK: Torque wasn’t a big budget film. In a music video, I easily spend a million dollars a minute. After extracting salaries, studio expenses etc., the working budget for this film was close to $25 million, which is equivalent to shooting a 250K music video. |
| Next |
|
