If you’re a fan of sci-fi movies like Mega Piranha, Transmorphers, Almighty Thor or Snakes on a Train, there’s every chance you’ve come across a movie from the creative minds at The Asylum.
The Asylum was founded by former Village Roadshow executives David Rimawi, Sherri Strain, and director David Michael Latt in 1997, and has since established itself as the premiere studio for pumping out “mockbusters”.
With Universal Channel’s Mockbuster Mayhem well underway, we spoke with The Asylum’ co-founder David Latt from his Los Angeles office.
What’s happening at The Asylum right now?
Right now we’re shooting a film in Austria, which is not the same as Australia apparently. I’ve learnt that the hard way [laughs]. We’re shooting Grimm’s Snow White up there. And we’re prepping for two films that start next week. One is called Celebrity Sex Tape and the other one is called Air Disaster. We’re used to doing one film every month, now we’re producing two films every month.
How long does it take from coming up with an idea to completion?
From concept to delivery, it takes about four months.
Is it true that you’ve never made a movie that has lost any money?
That is true. There’s nothing really special about it other than we make our movies really cheap. We know going in what the buyers will pay for a film and the secret is you don’t make the movie for more than the buyers will pay. As an investor, you’ll always be pretty happy.
How hands on are you with the movies that Asylum produces?
The ones that suck I have nothing to do with. The one’s that are really good, I’m all over them. [laughs]. I’m to blame for a lot of them. There are three partners at Asylum and we each share a lot of the blame.
What’s your favourite type of creature or mutant to be the focus of the movie?
The good thing about early stage Alzheimer’s is that you forget a lot of things that you do. So my favourite thing is Snow White right now; that’s my favourite movie of all time. Next week it will be Celebrity Sex Tape and that’s going to be my favourite, although that’s probably going to be my favourite for different reasons. There’s never necessarily a favourite other than what’s going on right now.
Who came up with the term ‘Mockbuster’? I’ve read two versions, and one attributes you with coming up with the word.
If that’s what you want to believe, I’ll accept that! The man that created that worked for the New York Post. He came up with the term when he interviewed us. We have stolen it from him and trademarked it as our own because that’s the kind of company we own, but no, I did not come up with the term.
You mentioned you’re producing double the amount of films at present… is that because the demand from the public has grown?
It’s the deal with the devil that we made. We’re making more films because the market place has really fractionalised and become more specific. The film that we make for Time Warner is different to the film that we make for Syfy and the film that we make for Syfy might not be able to be sold to Syfy International who are very focused on their own thing so now we’re really gearing up to make films for them. It’s become so specific, which is why we’re making more movies.
We’ve got Mega Python Vs Gatoroid premiering in Australia this weekend which stars Deborah Gibson and Tiffany. How easy or difficult is it to get actors to take part in your films?
At the end of the day most actors are worried about whether or not the cheque clears. Actors like to act, and there are a few actors that won’t play in the sandbox that we play in because they want to preserve some sort of reputation. But I think the reputation of our company doesn’t hide the fact of what type of films we’re making. We’ve just made the movie Two Headed Shark Attack, which is very kitschy and we got some great actors involved with that. I’d say most of the actors that get on board with us usually like to come back for another film because we’re quick and easy. Rather than sitting at home watching soaps all day, we’re a good pay cheque and we try to keep the sets fun and I think actors and the crew respond to that.
How have advances in technology helped speed up the production of films, compared to those that you were making five years ago?
I’m old school. The films I’ve directed I’ve only shot on 35mm film. Syfy channel requires us to film on 35mm film, the film Mega Python Vs Gatoroid was filmed on 35mm film. But for the most part, we film now on HD. You know, it’s a lot quicker, we get to film a lot more footage, and you’re not restrained by the cost of the film because film is so expensive. For visual effects, it’s so much easier if you’re shooting on HD. Film has this organic grain that is hard to work with. It also has this jump or skip you have to work with because of the film gates. It’s made it a lot easier to make films with HD.
Asylum is known for knocking off the big-budget blockbusters like Snakes on a Train or Transmorphers for instance, how do you get around that with the big studios?
The studios are scared of us. [laughs] We’re very scary people. You know, by the time the studios got around to figuring out we exist we were already a brand; we get our occasional letter to cease and desist but we don’t pay attention to it. We’re like a foreign company with mock titles, and I think now if a studio sees we’re doing a mockbuster version of their titles they think ‘wow, our film is going to be successful’.
Is this your dream job?
No, I’d rather work in fast food. Get me out of here, I’m telling you. [laughs] With the exception of the pay cheque, I’m very fortunate. I’m very lucky it’s been great so far.
What do you do with all the creatures once you’re done filming?
Well they’re usually trashed by the time we’re done with them, but I’m looking at the model of a two-headed shark right now, so they hang out at the office until they get stolen. I can send you one of the teeth from this model if you like.
