I was like, we're having zombie animals in this movie.
Why not?
It's a goddamn zombie tiger.
That's crossing the line.
We open on Scott flipping burgers. Was Dave a pro at this?
Uh, no.
He did a pretty good job,
but a lot of those burgers,
if you look at them, are kind of overdone,
and kind of warped.
We were cooking burgers for quite a while.
I was with the camera, right back in the corner in this greasy…
Like, it was a greasy section of that little restaurant,
and I was pressed up against it, so…
Mr. Ward.
How would you like to make $50 million?
This is the casino in Atlantic City that we dressed completely.
Those are our slot machines.
And then I had this idea that, you know,
Dave would have his guns in a crate and put them under his bed.
He just pulled it out.
Everything we did, all those people we saved.
Look where it got us.
And then that's Tig, of course, doing the gas.
We built kind of a rooftop set, and she was doing that in the lobby.
And this is this cool big old warehouse in Albuquerque
where we shot that sequence with the warehouse,
the obligatory make-the-plan scene.
You ready to play?
Yeah, like, these doors blew off,
and one of them hit the side of the set and poked a hole in it.
And if you were outside the set,
some pieces of set, like, blew into the…
Thank God no one was injured.
There is $200 million in the vault beneath the strip.
What we did is we weighed the money,
and we started to talk about the practicalities of moving cash.
At a scale beyond 200 million, you start to need a forklift.
And even that, in the case of this,
there might have been $200 million in there,
but we never were going to be able to get a full $200 million out,
not with this amount of guys in one trip,
and then have enough room in the helicopter to carry that.
So there's a lot of that math went on.
It's not too late to go back.
And then these containers were real containers.
We built a real wall out of containers.
And then inside of the containers, there was like a snaky passageway
where you could get from one side to the other.
And then this, we rebuilt this sign, kind of in proximity,
and then that was all green screen back there.
In this scene,
well, these are 99% CG zombies.
We didn't have the makeup effects for so many people.
There are big sequences where we had hundreds of zombies,
but that one was wide enough, where it was always going to be CG.
And then here comes Athena, the queen zombie.
Sh…
And that's Spider, who is the general there, with her.
They're not what you think.
Now this pool was in Atlantic City.
We had found this abandoned pool,
and I just loved the idea that
the zombies used this sort of pool area as their base.
And if you look down in the pool itself,
there's bones and stuff,
from, like, when Zeus turns up, creates an alpha.
He bites him and throws him down,
but clearly some of them didn't make it.
Oh, Scheiße.
Well, this is just pandemonium, in a great way.
It is definitely not Bruno Mars,
though that would have been amazing casting.
I loved doing that shot of Dave running on the tables.
That was a drawing that we had done early on.
I had this idea of like,
we should do him just running across the tables
and shooting zombies.
And there's Omari with the saw.
Just reaping the harvest, as we like to say.
If you watch the palm trees when the napalm goes off,
it's pretty, pretty beautiful.
What is this?
I think, for a while,
there was this whole sequence where like,
there was like a zoo that,
you know, had been overrun by zombies,
and so there was a bunch of zombie…
All sorts of different creatures.
Obviously, we ended up with a white tiger in Vegas.
That felt like the real… You couldn't get it wrong.
My team of, my crack visual effects team went down
to Carole Baskin's place down in Florida, and, um…
They used the actual, her tigers -
this was before we even saw the show -
uh, to, uh…
To get the tiger's movements.
Our tiger's named Valentine, of course.
And by the way, it's a bad sign.
It's a harbinger of doom, I think, for the human race.