Oh, then it was twenty in a fifteen.

*blink*

I just remember it was five mph over. I was very drunk and slinging glass and soap socks.

Just awesome. We're all wondering in the office what they use for the VFX... I'd like to think Maya & Nuke but I have The Fear that it's Lightwave or Cinema4D...

And lots and lots of splash footage to screen over everything

That said, we have all decided the VFX are AWESOME.

Lightwave and Fusion are their weapons of choice.   

However, I did my shots with AE because it's the only comp software I know, fortunately for me they also have AE in-house.

This just in:  Asylum's campaign to have people put 2010: Moby Dick on their Netflix queue has resulted in a "larger than normal" DVD order from Netflix.

So, Moby should be available from Netflix very soon, thanks to all of you who helped game the system.    In the words of Captain Ahab - HA!

/edit:  oops, actually that was just one word.

One question I don't think you answered in the episode, Trey, is would you do it again?

Beldar brings up a good point -- Invid, I think maybe you could clarify your question.

Do you mean "if you could go back in time, knowing what you know now, would you still take the gig," or do you mean "If the Asylum came to you tomorrow, saying they really liked 2010: MOBY DICK, and offered you 1985: BIG BROTHER AND BIGGER RATS, would you say yes"?

My answer is a conditional yes.   

There's a lot I like about what the Asylum does, and the best thing is that they make movies.  I've got three potential "real" projects that have all been mired in months of negotiations now.  It'll be a great day if any of them actually happen, but the waiting is maddening, and they may never happen at all.    But in the case of Moby (and most Asylum projects), it's "we're shooting a movie next Monday, you wanna direct it?"  and boom, done.   And my favorite part of the process is being on set, no matter how bad and desperate and crazy it gets.   Post-production is just the necessary evil that comes afterward.  So if that call came again tomorrow, I might indeed say yes again.   

That being said, an even better scenario would be if I wrote the movie myself, because then I'd know what the heck I was making and have a chance to give it some thought beforehand.  And now that I know  the Asylum post-pipeline, I could shape the project from the ground up, so the post was more manageable.   And finally, it'd be nice to get some say in the crewing - while the vast majority of the Moby crew were great, there were a few weak links that were in over their heads and that cost us time.

Assuming Asylum would ever allow any of those things, or ask me to direct again anyway, of which I know not of their plans. 

But the paycheck alone would not be a draw.   I've actually been doing freelance fx work for the Asylum lately - 'twas just my luck that Moby was the last project they did with a two-person fx team, now they've tripled the in-house personnel and even farm out additional shots to folks like me - and being an Asylum fx contractor pays better than directing. 

If the movies with better fx don't bring in more money, I wonder how long that will last

The only "Warner" connection I'm aware of is that Asylum movies almost always end up on Time-Warner/Comcast PPV, there's even an internal "Time Warner deadline" for every film, that's when it gets submitted to TW for review and, hopefully, acceptance.

So maybe they've got some kind of distribution arrangement with Warner for other markets like iTunes as well, but I'm just guessin'.