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JAMES WONG on why he returned to the franchise:
“I attribute it to this moment – I was going to the theatres in Woodland Hills [California], and I was going up the escalator and I saw the Final Destination 2 poster looming above me, and I went up to it and looked at the credit block and I didn’t see my name on it. I really felt like I was missing something.”
MARY ELIZABETH WINSTEAD:
“You want to do interesting work as an actor, and this was a great role. Whether or not people particularly care or not about the acting in it, and just want to go see the deaths, I understand that that’s part of it, but as long as I know that I did a good job, hopefully some other people out there will see that I put my all into it.”
RYAN MERRIMAN:
“I’ve always been a fan of the Final Destination movies because it’s not like some guy running around with a knife, and not some cliché spirit haunting them. It’s actual events, and it’s really smart how it all goes down.”
JAMES WONG:
“The thing we wanted to change for the third one was that not only is death sadistic, but that he will actually show you how you’re going to die, in the form of digital photos, and then do it to you anyway. Also in the first two you always knew who was next in line to be killed, and we worked in to this one, what if you didn’t know who was ahead of you? You wouldn’t know if they’ve already died, so we added that element.”
WINSTEAD on riding the rollercoaster:
“I have a love/hate relationship with them. I loved them, and now, after going on one 20 times in a row, I just have that memory of my head killing me, and feeling like it was going to explode. I felt like I could have a brain hemorrhage at any moment.”
MERRIMAN:
“It was more like a good tequila hangover, but I’d definitely never ride that rollercoaster again, the one we did 26 times in a row.”
WONG:
“We seriously considered doing this one in 3D. We researched the 3D technology and went to Jim Cameron’s company, where they showed us the technology that he used for Ghost of the Abyss. But there was only one caveat, which was the movie screens themselves would have had to change to silver screens, which are much brighter than the screens they have now. When I told [the studio] it was going to be around $15,000 each theatre, they said, ‘Forget it!’ [he laughs]
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THE CONCEPT:
