Thompson: What did he see in Snake that you didn’t see in the character, had missed or hadn’t developed that he saw the opportunity for?Ĭarpenter: I don’t know exactly what it was, but I think he just wanted to revisit it and relive it. It was a world that I left behind, but he rekindled it, and he rekindled my own love for it. What do you think he brought with his increased involvement that wasn’t already on the table with the first one?Ĭarpenter: It was his passion for the character and his love for the world we had created. Thompson: Kurt was very keen to make this was very involved in it. Thompson: Where would you spend that? Would that have been on effects? Even though we had a bigger budget than Escape from New York, we didn’t have a big enough of a budget. Was there anything you wanted to try and realize that didn’t happen?Ĭarpenter: Well, several things didn’t happen the way I’d have liked them to. Thompson: I often ask directors about things they wanted to do in a movie, but it wasn’t possible either because of budgetary or time constraints or because the technology wasn’t available. Thompson: Is there anything that springs to mind that you would have liked to have included? Do you have any of that footage anywhere in the archives? Are you an archivist? Thompson: Was there a lot of stuff that you shot and didn’t make it?Ĭarpenter: There was some stuff, yeah, but not a lot. They loved the hang gliding, which I hoped they would. Thompson: What stood out quite early on when it came to things that audiences engaged with? Did it match up with your expectations?Ĭarpenter: Everybody loved the surfing, which I thought they would. It probably should have been cut down a little.Ī hang gliding Kurt Russell as Snake Plissken in a scene from 'Escape from L.A.' Paramount Pictures We had a length problem with Escape from L.A., and we never solved that. We’d sit and watch it with them and see what they would pick up on. ![]() How and when did you find out if it was working for audiences at the time? Were they seeing what you wanted them to see in it?Ĭarpenter: We only had test screenings with audiences. Thompson: Now we have social media to gauge how audiences react to a movie instantly. I just thought, ‘Whatever it does, it does.’ I don’t remember what Escape from New York opened with, but this one opened around the same figure, so that was fine. In a sense, they were okay because it was commensurate with the first one. I just remember getting calls about the numbers from Sherry Lansing at the studio. What do you remember about the opening weekend of Escape from L.A.? Did you go into any theaters and watch it with an audience?Ĭarpenter: No, I didn’t do that. I’m done with that movie, and I don’t want to revisit it. Armorer Steve Karnes at Ellis Props & Graphics was hired to build a new version of the Coreburner, this time based around the M16K, which worked far better.Carpenter: He’s a perfectionist, and I’m not. Originally, the weapon was supplied by Stembridge Gun Rentals and based upon a Rocky Mountain Arms Patriot fitted to a select-fire M16 lower receiver unit, but the Patriot upper was not designed to function on fully automatic fire, and thus, the Stembridge version of the Coreburner kept jamming when firing blank rounds on full-auto. ![]() In reality, the weapon is a heavily modified later-generation LaFrance Specialties M16K. The rifle used by Snake Plissken ( Kurt Russell) is identified in the film as a " Coreburner". ![]() Rifles / Carbines "Coreburner" (Modified LaFrance M16K) 2.3 Magnum Research Desert Eagle Mark VII.2.1 Smith & Wesson Model 629 Performance Center.1.1 "Coreburner" (Modified LaFrance M16K).
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