All language subtitles for ENTREVISTAS MASTERS UNIVERSO 2

Masters Universe 2, I felt there was more

possibilities. I

had seen

the

first film, and I just thought that they had,

I mean, their budget was

extraordinarily high

by

Canon's standards, and I just thought that

they

chose a shot in

the United States, in

Los Angeles, which was very expensive,

and I thought that if we shot it

offshore,

we'd have a chance of maybe doing something

interesting with

the film.

I think I heard through my manager agent at

the time that there was going to be a

second picture.

And I

didn't want to do any more of that because

it was too cold wearing that

bikini I was wearing for 50 days, 50

nights.

I don't know why they decided to make a

sequel.

I had great fun doing it.

was very free.

I just kind of come up with any kind of

story I wanted to.

I had about three or four nights to write

the outline.

That's it.

And when I say nights, I said nights

because I just stayed up three or four

nights straight. I

had an office

on

in

their annex building on Wilshire near Sam

Viceny, and I

just drank a great deal of extremely strong

Irish breakfast tea

and stayed up four straight nights and

wrote the thing.

It was exciting.

When I was going to do Spider-Man

and Master of Universe

2,

we had certain

problems

that we had to

overcome, which was one,

how do you deal with

changing Peter Parker's physically

from a scrawny, small

high school kid

into this superhero body.

And

our solution was we would

cast an actor

that

was predisposed to--

he

had the genes to be able to make that move

to becoming

a more superhero body, gaining it.

And

we needed something in the middle

'cause we'd have to shut down production of

Spider-Man

while the actor

sort of morphed himself into

a superhero body. And

our solution was,

you know, 'cause they also wanted to do

Masters Universe 2, 'cause

their contract with Mattel was running out

of time, and

they also needed to do that.

And so that's how that

formula sort of came into that,

where we'd do all the pre-Peter Parker

before we got bit by this

Spider first.

We go in the Master's Universe 2, shoot the

whole film,

come back out of it and finish up

Spider-Man.

We came up with a story in which He-Man

comes to Earth

with his friends

and they help

an artist, an LA artist who is in a

wheelchair, based on actually production

designer of something that I directed.

Wonderful woman and we thought, that's

interesting, she lives in a loft, she's

paralyzed from the waist down, she's in a

wheelchair and she becomes his sort of

earthly partner in solving, in

ridding the universe of evil.

My idea for the sequel,

by the way, was supposed to make a movie

called I, Skeletor,

and to literally

tell it from

his perspective.

That's what I would have done, I think.

I think we were within two or three weeks

of shooting when

we found out that

Cannon had lost the rights to both

films.

We were sitting there with

literally, you know,

millions of dollars worth of prep

and sets and

The casts weren't such a big deal because

we could release the casts.

They weren't really expensive.

Their kind of in-house director there,

he was given it

to redo it,

and he turned it into Cyborg.

We're really trying to,

I guess,

respect and honor Cannon and Minakum

for taking the chance that this

small little movie, if we could do it for a price,

he could recoup enough

to make up for Masters 2 and Spider-Man.

We really wanted

to try to deliver something to Manakam and Yoram.