Original subtitles

This documentary contains many spoilers.

We strongly recommend viewing it only

after you have viewed the feature film.

This program was produced exclusively

for this DVD because the film it

chronicles was not intended for

children. Neither is the following.

Jo

[Music]

right when it's out of frame.

>> Start sending it up, Joe. Slowly going

up slow.

>> Really feel like Victor has created a

story. That's an archetype that this is

a story of those two kids going down

that lonely country road and running

into some kind of wild mystical uh

thing.

>> After a summer of watching The Blair

Witch and The Six Sense and remembering

that these were the kinds of movies that

I made in high school and joyously made

in high school and never thought of

making any other kind of film that I

should really write my monster movie.

And uh Jeepers Creepers just kind of

leapt out of that. And I grew up

watching the old Universal movies. I'm

I'm not from the Freddy generation or

from the Friday the 13th generation. I'm

I'm too old for that. My brother and I

would watch Creature Features with Bob

Wilkins was our host and we would we'd

watch Creature from the Black Lagoon and

Dracula and Frankenstein and all the old

Universal monster movies which were

based more on suspense and Shadows on

the Wall, which even though Jeepers

Creepers will have a few graphic

moments, we've tried hard not to really

predicate it on gore, but rather on

suspense and on images that would be

hard to forget just because they're sort

of unnerving and uh indelible. It's

really a very simple story. Boy, girl,

creature.

>> I like devoting my time to one or two

characters. In fact, if you look at any

of my films, you'll see that I like to

stick to one person. He's usually a

person close to my own sensibilities

because I know and trust his reactions

and I think I can authentically portray

his or her journey through the film.

Derry, who's the younger brother, you

know, I had no problem writing him

because he felt so much like me. But the

older sister, and I do have an older

sister, and this is partially based on

her because she is a uh very strong and

smart survivor,

um I don't think I wrote her to her full

potential. And Gina Phillips, who plays

her, came in and she wasn't going to let

me get away with any false moments. She

became Trish and said, "No, Trish really

wouldn't do this. Wouldn't she do this

and this?" And she didn't make her part

grow out of some kind of ego. She made

her part grow because she was absolutely

right. This this is not a person who

would stand by and watch this happen.

She'd be more active in this. She'd be

more assertive here. That's an example

of how my own limitations as a writer

are forgiven because of the talents of

casting smart. We wanted to read

everyone and we boiled it down from

about I would say at least 70 or 80

girls in town to two really gifted ones

that we felt just played for real

instead of post.

>> You just said you didn't know everything

now. Just what the hell are you full of

[ __ ] about and what aren't you? Okay.

>> You think this is some kind of fun?

>> Just cut the [ __ ] [ __ ] Tell us

what the hell you're trying to do.

>> Derry starts as a very light, open,

innocent kind of character. and mine.

Trish from the beginning is a bit

cynical. She's wounded. Um,

she's just broken up with her boyfriend

who's done some not so nice things to

her and I think she's been wounded by a

man or two and she has lots of walls up

and she's much guarded, more guarded

than he is. and she's, you know, kind of

tough and guarded and very pre what

their history was. So that when we play

one of those games, I know is this

something we've played for 10 years or

is this something that's the first time

we've played it and that changes what

we're doing and how we're relating to

each other.

>> I think that's another reason I love his

script so much. You know, they're not

written in in sort of a contrived way.

They're not like setups to to lead to

another series of of horrible events and

series of, you know, creature sightings.

I love that the heart of the movie

wasn't about slashing or the heart of

the movie is this relationship with the

brother and sister.

>> If you cast really smart and you've got

people who really inhabit the characters

and come up with really good suggestions

that are still on the same page as your

story, they help it grow and change into

something even more authentic.

>> I learned it from you. Why don't you

just told you I learned it from you and

kick it because you're going to come

around the side here anyway. you just

kind of

>> studios used to be afraid to use writer

directors because they felt that the

writers were so in love with their words

that once they got onto the set they

wouldn't be able to let anything go or

anything change.

>> Now it's like the industry has changed.

It's like they want writer directors.

But I think the important part of being

a writer director is being able to know

that the writing is the first stage and

you're a proud papa. But in the next

stage, you have to be a responsible

parent and let that story grow and

change and become something that might

be outside what you wanted it to be.

>> What's really difficult is is shooting

scenes like I said in peace meal and

having to get physically get your heart

up to a state of of you know shock and

trauma. So, I I do a lot of running

around before and a lot of push-ups just

to get, you know, the the the blood

flowing and the blood pumping, like

visibly shaking. It's one thing to feel

that, but it's another you really, it

has to be a physical thing. The whole

body's got to be involved.

>> Having the director also be the writer

when something's not working or he has

to change something because suddenly the

weather's changed.

He rewrites the scene like this. He

makes it work. He wants our opinions. He

wants our input. But if I have an idea,

he is there's never a moment where he's

like, "Well, it's different than my

line." He He's He wants whatever's best

for the movie, whatever's best for the

characters.

>> What if it was you? Instead of looking

away, stare him down for that pregnant

moment and see how that plays. Okay,

you're doing great, though. Both things.

>> I think names get in the way of a story

like this. But, um, I love the idea that

these kids are just breaking

>> off camera almost, but you're great. But

we're on you and we're buying it 100%.

Thanks to Francis, we had the autonomy

to hire whoever we wanted, which is

rare. And uh I was thrilled that we got

fresh faces and really, really gifted

ones.

>> All right, stand by. Here we go.

I met with Victor and he said, "Here's

the script." And he said, "Just go home

and read it." So I did and I loved it. I

was like riveted by it. I was like, "Oh

my god, this is a really good monster

movie. It's not like a psychological

thriller. It's not, you know, a teen

slasher movie. It's a monster movie and

it's serious."

>> I was going to hire Brad to do some

storyboarding basically. Well, Brad came

in the first day and he had three or

four pictures of the creature based on

the uh script and uh they were so

fantastic. In fact, the first thing the

first one we saw was just so awesome

that we immediately emailed it to

Francis who emailed us back and said,

"Oh my god, this is great."

>> That was a part of the script at the cat

lady's house and she says that one line,

"That ain't my scarecrow." And I thought

that was really gothic. This image of

this guy standing in front of this old

rotted scarecrow that was just like the

essence of how dark and ragged this

character was that he would blend into

the scarecrow. I grew up in Nebraska

and you know with rolling corn fields in

the middle of nowhere like you know

picketed fences and barbed wire and old

trees and all that kind of stuff. just

like barren fields and just old houses

and things that you just see driving

around Nebraska. And uh there's a

certain eeriness to all of that.

>> What if a man who wasn't a man could

dress in such a way that you would think

he was until he got right up close to

you and you saw that he was not a man at

all?

>> Yeah. the creeper himself, the way he

was described in the script where he at

first appeared like a old man in ragged

clothing and uh on closer inspection you

find out that there's something wrong

with him. He looked like an old man at

first, but there was like this eeriness

about his face where you look like it's

not quite right. And then of course the

longer you looked and the more you

realize there's something really

different and strange and wrong with

what this individual is. was so clever

in revealing more and more of the

creature as you go through the film.

It's not just that guy in an old coat.

He changes and he morphs and there's

always something else going on with the

creature than you know. He flies. He

must be a vampire. He's got wings. And

then you see him with his clothes off.

He's got a reptile's body. He's got

these huge leathery wings. He's like a

gargoyle. We know there's got to be one

more step beyond that where you don't

know what he is. That was like I think

the biggest treat to create a movie

monster that you didn't recognize from

somewhere else that was like, "Oh,

that's like weird and new." You know,

that's so wonderful for a horror movie

fan to see that and go, "Wow, something

fresh." Somebody put the effort into

doing something new and fresh. Giving

less information about the creeper than

just like saying, "Here's exactly what

he is and you know exactly what he's

going to do and how he works and all the

rules about it." um leaving him vague

and leaving him mysterious and you only

get little suggestions of what he is or

what he isn't and that makes it all the

more scary because you you don't know

what he's going to do. You don't know

how to stop him. You don't know why he's

coming after you. You don't know what he

wants. You know, it's just this complete

horrible dark force you know nothing

about. In the script, he's got a

worksman's table in there with stuff on

it. And um when we were talking about

what the set was going to look like, uh

Victor was getting into like the creeper

is an artist and originally we had like

this drawing of this big wood table and

uh I had him look like he had carved up

the legs and the front half of the table

and the rest of it was still just wood

planks. And uh on the top of the table

he had carved in this demonic thing

which at first in the film you'd go wow

that's like you know some satanic symbol

cuz at first at this point in the movie

you just think he's a serial killer or

something. He's you know dumping bodies

down this hole behind the church. He's a

serial killer and look he's carved like

some kind of Satan thing into this

table. You know he's a devil worshipping

maniac. But then by a little kid, I was

drawing monsters. I like the first

things I ever drew were like monsters.

And uh to be able to have like drawn a

monster and to have somebody come in and

say, "Oh yeah, this is nice. We're going

to now make it into a real thing and

then step by step see like the costume

people come in and say, "Yeah, this is

the clothes it's going to wear and these

are the boots and the pants and the

shirt and all that kind of stuff." And

then the, you know, the makeup effects

guys come in and say, "This is how we're

going to sculpt it, and this is what the

back of the head's going to look like."

And then see the actor come in, you

know, this is how it's all going to fit

on him, and this is the way it's going

to walk, and this is way it's going to

have an attitude. And then to see it

turn into this living, breathing

creature. I mean, it's just amazing.

It's just awesome. I mean, it's like,

you know, the pinnacle of any horror

movie fan is to see a monster that you

drew turn into a living, breathing

thing. I'd go and I'd talk to Breck in

between takes sometimes and you know

he'd be in this huge great gothic

monster makeup and uh a little kid

inside me be jumping up and down going

it's the monster it's the monster and

all excited I'm trying to act cool and

around him and he's like you know having

all this patience with me you know I'm

the monster you know and he's telling me

about other projects he's working on and

you know and it was like his voice

coming out this really scary horrific

you know gothic pig monster was just

great. I mean, it was just surreal. It

was wonderful. There's nothing else like

it. If you have a chance to do it, you

should try it.

As a director, my job is to make the

strongest impressions as quickly as

possible in telling my stories.

As a result, I wanted both Trish's car

and the creeper van to have distinct on

camera personalities. And after my

production designer, Steven Leggler took

me through old cataloges of different

cars from past to present, the only cars

with real cool angles and personalities

came from the 50s and 60s. Later model

sedans, as I had described in my script,

all look like eggs on wheels compared to

the lines and fins and incredible and

classic architecture of these vintage

cars.

getting close to the deadline of

shooting and still without a car

selected for Trish and Derry. We were

driving to the art department one day in

central Florida and at a stoplight there

was this wonderful old car idling next

to us with this old fellow driving it

and he had kept it up. So it was really

beautiful and I was like that's it? What

is that? What kind of car is that? And

it was pure happen stance that we found

the right car to be the great character

that takes the kids through this roller

coaster ride.

We didn't have the budget to buy, paint,

and restore three Chevy Impalas or

remove the transmissions from their

steering wheels and put them on the

floor as per my script. So, everyone was

trying to steer me away from them, no

pun intended, except for my producer

Barry Opper, who seemed to understand

that to have the right car, which is

essentially a character in the film, was

worth the extra money.

I think the problem when the

restrictions are running a show, when

the limitations are running a show, you

don't have the ability to say, "Let's go

for it." And therefore, you may come in

on time, on budget, but I think the

thrill of

>> but it was more challenging for our cast

and crew than I thought it ever would

be. Since the shot was free moving

between two cars, Trish and Derry's car

was being towed by a process trailer

while the actors playing the troopers

were in a free flowing car.

The troopers had to keep an exact

distance between them and Gina and

Justin's car so that when Jack Carpenter

drove the camera car back and forth

between the two vehicles, everyone was

lit and framed correctly. Jack had to

hit such precise marks when rolling back

and forth that I still don't know how he

did it. The entire shot took hours to

line up and shoot. And it depended on so

many people being in the right place at

the right time that I was amazed by the

second or third take that we had it and

it was working.

Actually, you don't see the creeper at

first. All you see pretty much is his

truck. He is a truck. It's his shell.

It's like, you know, he's encased in

this metal monstrous armor that he lives

inside and then like at night he can

actually come out. So, uh, this is the

first step to this huge, dirty,

disgusting, nasty looking truck. And it

has a voice like, you know, some archaic

monster.

[Applause]

It has horns. If you're looking up at

it, those three little lights at the top

are horns. It's a lot like a medieval

helmet almost of some dark knight. You

know, it's got like these weird blacked

out visor with these horns on the front

and this metal grill of a mouth and

it's, you know, it's just this really

demonic looking thing. They originally

wanted a van, but they couldn't find a

van that looked as menacing as this

truck. So, they went ahead and built a

back to it. I've got plenty of room in

the back there to hang all my weapons of

destruction and do all my uh gathering

of bodies.

>> We were still in Los Angeles in

production. And I was driving around and

uh I think going into work one day to do

more boarding and this old van drove by

me and it was really old and the paint

on it was all messed up and it was like

rusted and there was like this strange

work rail welded to the side of it and

there's like all decayed and strange and

I saw that and I was like wow that's

like you know that's that's like the

creeper truck something this disgusting.

The cab that I absolutely loved for the

front of the Creeper van was from a Rio

truck from the late 1940s. It was from a

flatbed truck, so my production

designer, Steven Leggler, needed to

design a box for the back to turn it

into a van.

While our transportation department

worked on the mechanics of the truck,

putting the pieces from several

junkyards back together, Steven had a

set and effect shop in Orlando build the

box and rear doors, and did what Steven

called the scenic painting, distressing

them to look old and rusty and nasty.

Steven built three creeper vans, all

matching, and two of which ran. One had

the original engine, and another had a

souped-up V8 with an automatic

transmission used for the chase and

stunt shots.

What the hell is that? Is that the Is

that the Holy [ __ ] that's creepy.

>> The last thing he did was to design his

front bumper for ramming the car and to

look terrifying. Steven said he modeled

it somewhat after the cow catcher on an

old steam locomotive, but reversed the

shape, making it narrower in the center

and wider on the outsides. It looked

more like a rammer, and it also gave it

more of a face. Steven designed the van

almost a little too good because on the

first day of shooting when we wanted to

tap the Chevy with the creeper van for

some side view shots of the truck

attack, the big fender Steven designed

was so effective that even at just

cruising speed, the van demolished the

back end of our picture car.

Unfortunately, it was our A car, which

means the best of the three Chevys got

badly bashed. And on day one, when there

are still shots to do with it undamaged,

my director of photography, Don

Fontleroy, really kind of saved the

truck attack sequence. As assistant

cameraman and camera operator, Don

worked on so many big budget action

flicks, like T2, for example, that what

he brings to the table is an incredible

body of experience and ability. He told

me before we shot the truck attack that

we had five cameras and he wanted to use

them all. He strapped the creeper van

with three cameras and let it take off

chasing Trish and Derry's car with their

stunt doubles driving. The result were

three notable and dramatic angles all

used in the film.

The first was a high camera slashed to

the top of the creeper truck and it gave

us the eerie and shaky bird of prey

angle that sort of rocketed after the

kid's car in just the way the script

talked about. The shakiness of the

angle, which couldn't be avoided because

of the precarious nature of the camera

and the old truck it was attached to,

only seemed to help the angle convey a

sense of speed and power. The second

camera was slashed low to the ground on

the front of the creeper van's cow

catcher.

With this low angle camera attached to

the creeper truck and fit with a

wide-angle lens, it allowed us to go

after the Chevy and get in very close as

if we were smashing into it.

[Applause]

The wide-angle lens took full advantage

of the beautiful fins and the angles of

the back of the Chevy and made the car's

swerves and jolts even more dramatic.

The third camera dawn slashed to the

side of the creeper van just behind the

front right wheel. This became my

favorite angle for the chase because the

spinning wheel and the road rushing

under it created such a velocity that it

became sort of mesmerizing, especially

as it came up on the fleeing Chevy. Don

told me I would need lots of little

pieces to really show this attack the

way I wanted to show it. There's a

certain amount of experience and

enthusiasm that a director would be a

fool to fly in the face of, and I

certainly felt that way with Donnie, who

just had a terrific approach for every

sequence in Jeepers. But I felt that the

truck chase especially, he went in and

came out with stuff that surpassed my

expectations and storyboards completely.

Like Don said, it's amazing what one

mounted camera down low with a tire in

the foreground can achieve.

>> Came to give me speed

and action cars. Action cars.

My memories of the Chevys and the

Creeper van are only that they rarely

worked. More than a few takes were

scrubbed because one or two of them just

plain puttered out

>> bird

in 1971. I must have been 12 or 13. Duel

was a movie of the week. And I don't

think consciously I was going, "Okay,

I'm going to do my little version of

Duel here in the first act of my movie."

But once I saw the dailies of the of the

big old truck coming up and going back

and forth, I just said, "Oh my god, I'm

doing Duel. I'm making Duel." In fact,

our creature is a truck for the first

third of the film. He has three for

>> basically a bad dude, you know. I'm a

I've been tracking people for centuries.

Um, and um, I'm an enigma of sorts, you

know. Nobody really knows exactly what I

am in the film.

>> Darwin would love this guy. He's he's

just he's just a higher up on the on the

food chain and he's he's doing what he's

got to do. You know, now that you

mention it, he's not such a bad guy

after all. It's not all that often that

a director or a producer will ask the

makeup artist or the makeup effects

artist their opinion on something.

They'll just say, "When can we have

this?" when they were doing their

casting

their uh tests, when they were

interviewing different actors to do it,

they actually asked me my opinions on

who they were thinking on choosing and u

naturally they went with Jonathan Breck.

He had a lot of charisma and I thought

he had a great look.

>> Like most auditions, 95% of the people

aren't even in the ballpark.

4% are. Yeah, there's something there,

but 1% is like that's it. You know it

when you see it, you know? It's like

within the first 10 seconds. Breck

shaved his head for the part. So, he

walked in completely bald-headed.

>> I had a really strong feeling that this

character would be, you know, would be

really clean and bald, and that's what I

wanted to show him. So, I shaved my head

and went in and um got the part.

Jonathan Breck.

[Music]

[Music]

He's a very nicel lookinging guy, but

once he once he took his hair away, he

didn't look nice anymore. His eyes just

kind of burned out at you. And he was

very intimidating. And uh when he first

came in and did the sniff test, we

called it, you know, we were scared.

Really scared.

Victor and Brad Parker had been working

on designs from what I understand for

about 8 months. By the time they came to

us to ask us to build stuff, they

already had it designed for the creature

pretty well locked down. and they knew

what they wanted and it was our job to

take it and and uh make changes to it so

that it was practical to do on a human

being. The script originally said that

the creature has facial wings that open

up. So, we were trying to design series

of wrinkles and things that we could

somehow make it believable.

Having somebody who's basically encased

in a in a creature costume and and

shooting in in a humid, warm environment

is always a challenge.

>> There's been a few times when I've been

like, you know, felt like things were

closing in on me a little bit. You know,

one night that comes to mind is when I'm

riding on top of the car on the roof of

the cop car and I actually uh pull the

cop through the roof of the car and chop

his head off with my battle axe. That

night was, you know, just in the full

makeup. I was leaning over, squatting

down basically in a squatting position

the whole time and pouring a sweat to

the point where the cameraman, everybody

next to me was literally it was wasn't

even a drip. It was literally a

for the creeper. We we built five

complete suits and then about 10 masks,

both stunt masks and and masks that

Jonathan Breck wears, as well as

numerous prosthetic appliances that that

we use for the closer days when they

they're going to be shooting close-up.

>> Ryan's one of those guys whose work is

so incredible that half of the pictures

he had done, I didn't know they had

makeup effects in them. That to me is

the greatest compliment that I can pay a

makeup effects person. I mean, I didn't

know Alpuccino had a fake nose in the

Oliver Stone picture, and I I didn't

know that Brian did it. So, it's like,

wow.

>> Jonathan um has uh gone to great lengths

to not get to know our actors on the set

at all. So, when the kids first are

revealed to the creature, it is on set

on camera.

>> I think it's a great idea that if they

got to know me as a person, they would

see somebody behind the creature, and we

really didn't want them to do that.

Anything that we can do to help our

fear, I think, is good. And um and that

the unknown, the fact that we haven't

met him yet and that he's he's really

just still a mysterious

thing uh is going to be good.

>> I was talking to a friend the other day

and he said, "No, where are you?" And I

said, "Well, I'm in the middle of a

retirement village in Central Florida

and there's a hurricane coming and I

can't hang out with any of the any of

the any any of the cast, you know." And

he was like, "Oh, wow. This is a pretty

grueling shoot for you." And I was like,

"Yeah, but it's it's going to pay off.

Victor is very shotsp specific when he

lines up to do something. He knows

exactly what he wants to see. And thank

God for that because then we can adjust

what we need to do. If we know that the

creature is going to be squatting down

over a victim, then we can make sure

that there aren't any weird

imperfections showing on the back side

of the suit or uh up his crotch or or

areas where there would be tension on

the rubber. and it would look strange.

It would we'd see it stretching like a

rubber suit and not looking like flesh

over muscles.

He already had a ponytail type hair

piece in the back of the design before

we were involved. So, I wanted to

incorporate patches of hair into like

the groin, the crotch area that we could

easily hide flaps, patches up the back

to hide zippers and and bring some more

hair onto the body and and give it

something interesting to to look at.

Victor is uh very attentive. He's very

alert and when he hears a comment and he

likes it, he'll he'll work with it. In

one case, once he finally saw Jonathan

in the complete suit when we did like a

dress rehearsal for him, he he thought,

"Wow, maybe we should show more of the

creature in its entirety." Because

originally the the end of the film was

the only time we saw the creature as his

true form, whether it be a demon or a

gargoyle or whatever you want to call

it. That was very late in the film. But

once Victor saw the suit, he was like, I

want to see more of this in the film. I

don't want to keep him in his clothing.

>> I can take credit for the idea of this

creature and I did get to make the final

decisions on its look, but without Brad

and then Brian, you know, those are the

guys that really delivered a truly

original and indelible creature to the

movie. And for that, I am, you know,

forever grateful.

[Music]

The largest part of the month and a half

we spent shooting nights took place on

what my director of photography, Don

Fontleroy, liked to call six moons over

Florida. That's because it really did

look like six small moons rising at the

start of each shooting night. Donnie

chose 18 massive lights called super

denos and were raised up by six condors,

large industrial cranes that can put a

lot of weight high in the sky and all to

create on film what would look like

moonlight. Enough to light a piece of

country road 3/4 of a mile long.

[Applause]

Trish's double was a young lady named

Jennifer Badger. Um she was always up

for the job and uh she did a real real

nice job. Uh especially with with the

car sequence where we had a little

tricky driving to do with this big huge

boat of a car. You know, we got to spin

it around on on these back narrow

backcountry lanes and there's you know

there's barely room to drive it down the

road much less spin it around.

[Applause]

Victor has prepared this movie on a

level that I've never seen a director

prepare a movie on. He storyboarded

every shot. Um he has critically gone

through each word in the script. And but

having done that as we adapt to the

day-to-day shooting, he is prepared to

change that to take advantage of the

situation that we're in or to help deal

with the the problems that we're facing.

>> It's about playing that card game. You

know, we have some great cards in the

beginning, but we haven't played our

strongest cards yet. We even have more

fantastic cards to play.

>> Okay, we're set. Take it, Jim.

>> 3 2 1.

[Applause]

Two stunt people did the running over

the car. Hank Amos and Kevin Ball, both

phenomenally talented guys. And then uh

when we got it to where I was happy with

it and I thought it was what Victor

wanted to see, then we would bring

Victor in to to look at it and he would

say yay or nay.

>> What we had him in was a suspension

system that that took part of their

weight but yet allowed them to be in

control. So, as the car is coming at

them, uh, they time their own actions

that way, you know, nobody can time

things for you better than you can when

you're in the situation. And so, they

were totally in control themselves at

the time. And and they did just a

phenomenal job. She's standing up. So,

we had to fly them on a wire rig coming

down the wall, crawling sideways, and it

the attitude and the body language of

the creature was just like just creepy

coming at you. And I really enjoyed

that. Settle everyone

and

action.

>> I love the fact that I live alone with

cats.

I mean that I I could very well end up

that way.

Cats are fascinating. Cats are something

to watch and learn from. I mean they

they're very comforting like a baked

potato.

I always write for someone in mind, but

it's so rare that I actually get the

person that in the case of Eileen, it's

it's really fantastic.

>> Okay, now let's see the push in on

Eileen past the barrel just for let's

see what that looks like.

Aim at the scarecrow, I see what this

looks like.

>> All right, come the scarecrow light.

>> You know, this is really where this

plays, you guys. As soon as she comes

out, we're going to push into this.

Okay. Okay.

>> I love old school actors and actresses

because they they just have no barriers

anymore. They just sort of say, which is

the way it should be with everybody, but

they're just unabashed and completely

honest.

>> So, it's always exciting when another

actor comes in and kind of mixes it up a

bit. And I think she's so talented that

she's just going to make it more

interesting and all the scenes so much

better.

>> Excited to work with her because I've

seen her work before. You know, I'm a

fan. actually pick her up by the neck

and smell her and you know all that kind

of stuff. It's going to be a ball, you

know. I think we're going to have a

really good time doing it.

>> Action.

[Music]

>> The creature's very real. I mean, I

could have a nice conversation with him,

but Victor didn't write that

>> action.

>> You know what WC Field said, and we

didn't have any kids.

>> I have never worked with this many

animals before.

Oh dear.

>> Did you hear what I just said?

>> We cut

>> action.

And cut

>> and action.

[Applause]

One of the most important things about a

movie like this is you you shouldn't

really trust the filmmaker. You know, I

have to kind of subvert

your faith in me as a storyteller. If

you think you can second guess me, I

have to prove early that you can't so

that you just have to surrender your

expectations and let me take you on the

ride.

[Music]

I didn't know how to drive a stick shift

before this movie, I have to admit. So,

I went and took stick shift driving

lessons before and I went out in the

student driver car. Felt like a huge

dork in the student driver car. Yes. And

my first lesson, all I did was stall.

In the world of digital effects, Jeepers

Creepers had its small share of

computerenerated magic, though we plan

to use CGI as little as possible. The

exception to the rule about a real live

creeper working in front of the camera

were his wings.

>> One, two, three.

>> For those, we relied on the magic of E=

MC².

The CGI wings were added.

[Music]