We talked about that and I was like, man if we could make Fear The Walking Dead have the same feeling that Body Snatchers did, then we're golden. The beginning is shot one way and then the angles start becoming a little more extreme and unsettling. The paranoia starts to build and these people are all of a sudden replaced.and even the camera angles change. The movie that Adam and I talked about a lot when prepping was Phil Kaufman's Invasion of the Body Snatchers. You have an encyclopedic knowledge of horror films that has come in handy while working on The Walking Dead, but it seems like here you're going to be delving into 1940s and 1950s suspense films. The fact that Fear The Walking Dead could be anyone at this table. Our characters, you know - Rick Grimes is larger than life and they're all based on the comic books. It's so well-layered, and I couldn't be more excited about how different the shows are.It's so different, and it still has a little bit of the DNA, but it's just really exciting. This whole show is about the fact that the audience is watching and the audience knows more than the characters do. They don't know that there's a bomb, but the audience does. That kind of attitude, I love the Hitchcock analogy that two characters sit at a table and there's a bomb underneath. I just did it, because you don't know in the middle of it. And in the Northridge Earthquake, I went downstairs and flipped the lights on and all these things you're never supposed to do. When an earthquake happens, they tell you what you're supposed to do and you've got to have your earthquake kit ready, but when it happens.nothing's ready. One of the great things about Los Angeles is that because it's such a melting pot to begin with, you really get an opportunity to exploit that and to really get a feeling for what society's like. And again, we have Los Angeles as our backdrop. The nice thing is, Maria Caso, who's our production designer on the pilot, is a really talented woman and the production design is very different.
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