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How long did it take for you to write the script for Chopping Mall?
It took Jim and I around two days to beat out a story outline, and around
a month to write the first draft screenplay. We got notes from Roger
and Julie Corman, and their assistants after that and we did a polish. It
seems like we spent around 6-7 weeks worth of writing to get a shooting
script. It seems ridiculously fast to me, now, after all these years.
How did you and director/writer Jim Wynorski get the project up
and running?
Jim and I had coffee one night, and he said that Vestron Video wanted a
horror film set in a shopping mall. More specifically, Vestron asked Julie
for the idea. Julie asked Jim if he could come up with an idea, on spec,
of course. The deal was, if they liked it, we could make it. So, Jim and
I came up with an idea for a "Phantom of the mall" thing, then after we
were done brainstorming, Jim said..."what if we took out the phantom
and replace him with a robot or robots?" It sounded like a cool idea to
me and we more or less wrote the story that you see in the film.
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What made you guys want to change the name of the title from Killbots to Chopping Mall?
Corman changed the name, and the key art, I believe, after it tested badly. They may have also thought people were confusing
it with a Giant robot type of movie, which it is not.
Did it cost much money to build the robots?
I never really knew the cost of the robots. They were not cheap, but my guess is that they did not cost a fortune either.
What material was use to create them and was it a nightmare putting not one but several robots together?
The bodies were fibreglass painted to look something like steel. Kind of like that buff metal finish on a DeLorean automobile.
The nightmare, if there was one, was all on BOB SHORT. His studio created the robots. But my impression was that they were
not difficult to build.
How long it did it take to create the first robot?
A matter of weeks. Everything happened very fast. It seemed that once the design was approved we saw the first robots rather
quickly. That was a very cool day for all of us. Roger and Julie, along with Jim and myself, went to Bob's studio and we were
given a demonstration. The Robots did all kinds of moves, and did them beautifully and effortlessly.
Did you have any problems with the robots between shooting scenes, if so what happened and how did you solve the
problem?
We had no problems with the robots between takes. I shot a lot 2nd Unit robot stuff, and the worst time I had with one was the
scene where it backs into an alcove and shuts off; that was 4, maybe 5 takes, which was unusual.The robots and their operators
almost always nailed my stuff, anyway, on the first or second take. They were great1 We were so naive. We never
contemplated that the robots wouldn't work! If they had behaved like the shark on JAWS we would have been dead ducks! The
only mechanical problem I remember was that out "A" camera broke down one night. Of course there was a British documentary
crew on set that night to record the drama. In the end it was not a real problem.
How long did it take to add in the visual effects of the laser beams firing from the robots in editing?
The lasers were done using rotoscope animation. Very old fashioned by comparison with today's digital effects. They did not
take terribly long as well. Nothing on this movie took too much time.
Looking back, are you happy with your work on Chopping Mall?
As a writer? Tough for me to say. I had a lot of fun writing it with Jim, and our goal was to make a fun drive - in movie and all
that implies. I like the movie way more than the script. I still enjoy my work as the second unit director. I like the robot shots I
designed, and the four or five scenes I did with the actors are okay. I loved the cast. They were all game, especially Kelli,
especially in the pet store scene with the spiders and snakes. Kelli is a very gutsy gal.
Did you ever think that Chopping Mall would ever reach a cult status, and how does it make you feel now, knowing it has?
I never thought that CHOPPING MALL would be anything other than a fun "midnight" movie. I only realized that it was a cult
picture a couple of years ago. I love that it has found such a big audience. I love that people seem to have such a good time
with it today. The film was not very successful when it played in theaters back in the day.
Over the past couple years we have been seeing a lot of robot films making a killing in the box office. Have you ever
considered directing a sequel or remake and have you ever heard from any studio or producer expressing interest in
making one?
I would love to make a sequel or a remake, but no one has asked. Frankly, CHOPPING MALL is the product of simpler times, and I
think, works best as an 80's experience. That said, given all the progress in the real world and the efx world, a new slant on this
story would probably be a bit more believeable and a bit easier to pull off.
What would be your most your favourite scene?
I always loved the scene with DICK MILLER. It still makes me laugh today. My favorite scene that I directed, was the scene with
the gals in the airduct. I really liked the performances.
How much was the budget and how well was it spent on set?
The budget was around seven hundred and sixty thousand dollars. The Mall, which has since been torn down, charged us twenty
thousand for twenty nights, and it was worth every penny. We had complete control of it from 9:01 at night to 8:59 in the
morning. It was like shooting on the biggest soundstage in Hollywood, but only bigger.
Why was their two different versions of the film. Where the TV cut had shown some extra footage, including a small
homage to Roger Corman's Attack of the Crab Monsters. But in the theatrical version for some reason these scenes never
appeared. Why is that?
The TV cut, which I hated, had some of the more R rated stuff cut out for broadcast. The rest was padding to bring it up to
broadcast length.
What kind of films were you a fan of growing up and which writers/directors had the greatest impact on you?
I loved SF and action films when I was a kid. My favorite movie of all time is the original Howard Hawks produced: "THE THING
from another world." I really like the John Carpenter version as well. Guys like SAM PECKINPAH, DON SIEGEL, JOHN STURGES,
HOWARD HAWKS. HITCHCOCOK, made movies that had a big impact and influence on me.
Kelli Maroney is one of my favourite actors. Can you share with us, what was it like to work with her?
I liked working with Kelli for a bunch of reasons. She was very professional and knew her stuff. She also had/has a wicked sense
of humor, almost a guy's sense of humor. It helped get us through some long nights. She could also cry on cue which always
impressed the hell out of me.
According to IMDB.com, after Chopping Mall you haven’t worked on any films, just a couple television episodes from
several shows. So what has Steve Mitchell been up to these days and will you ever get back into screenplay writing?
I co-wrote another film that Jim directed called:AGAINST THE LAW, which starred NICK MANCUSO, NANCY ALLEN, and RICHARD
GRIECO, which, sadly, was sold to a bottom of the barrel DVD company in the US. It looks like crap, even though it was well
shot. Sometimes it shows up on late night cable where it looks swell.
I did an uncredited rewrite on the SWAMP THING sequel, and I have been paid for a number of scripts that have not been
produced...yet. I'm still writing, working on a monster movie script at the moment, but in addition to my film and animation
work, I was a comic book inker for 25 years; working for companies like DC, MARVEL, DARK HORSE, and others.I'm kind of a
"jack of a few trades." I have always managed to stay busy.
What was it like to work with the "King of the Bs" Roger and his wife Julie Corman?
Roger is, of course, a legend. He is charming, a gentleman, but he can be a bit intimidating, at least to me back in the day.
During the shoot he was mostly hands off. He lets you make the movie and he weighs in as he sees fit. He has a famous
directing lecture that he gives to all his filmmakers. Jim and I got it on a friday afternoon sometime just before we shot. It was
great. He stresses that a director needs to sit a lot and not burn himself out. He also stresses that you really need to know what
you want some two or three set ups ahead. When you shoot, your art dept. needs to prep the next set ups before you get to
them to keep the day moving smoothly. He preaches efficiency, which applies to filmmaking at any budget. As far as Julie is
concerned, I felt that she never really cared much for making movies to tell you the truth. I never felt any real passion. But, that
said, she was always on our side during the production. If we needed anything, Julie gave it to us as long as it didn't blow out
the budget. True to the legend, the Corman's always watched the bottom line.
Did either Roger or Julie at anytime, wanted to at all change the script slightly in anyway. If so what did they change?
I remember a lot of notes after the first draft. We implemented them into the draft that was shot. Once we started to shoot
the script never really changed, except for the occasional on set improv.
Is there one independent filmmaker or studio who you really admire his/her work at this moment?
I like what Robert Rodriguez does. He makes the movies that he wants to make, and most of the time they are pretty good.
While he is definitely a cottage industry, he does not appear to be ruled by corporate thinking and marketing decisions. I really
enjoyed PLANET TERROR, because it reminded me of a lot of bad, but fun movies that I saw in really bad theaters in my youth.
If you were given the green-light to re-write Chopping Mall and direct it, what would you change/add or do definitely this
time. Also what actors would you hirer?
Tough question to answer. I think the key starting point is to know in advance where it would be shot. Jim and I planned on
shooting at the Beverly Center in LA, and we kind of designed the story to that mall. I would also try and give some depth to
the characters. In all fairness, the original kids were simple basic types. They became more alive, I think, because we had a
great cast, but I would want a bit more on the page. There are so many talented young actors at work today I would not know
where to start.
Being a screenplay writer, do you have one particular screenplay that you hope to one day bring to life, if so can you tell
us a little bit about it?
I have few of them. I have a modern day film noir called DIRTY that I would love to direct. It is about a dirty cop who gets out
of prison and tries to reboot his life. As an ex cop and an ex con he really does not fit anywhere in everyday society. He gets
involved with some shady mob types and some hot women. Lots of sex, violence, and snappy dialogue. It is a real tough guy/
gal movie and I hope that someday I get to make it.
Why is it, that you were never paid or even credited for your contribution towards The Return of Swamp Thing (1989)?
I was paid for my work on SWAMP THING. I did it to help Jim out in preproduction. The credit? I didn't expect it.
Comic book films are a huge hit nowadays in the box office. If you were completely funded to direct and write the
screenplay for one comic, from the several comic books you have inked. Which one would you pick and why?
I had long runs on BATMAN and IRONMAN as an inker, but those two are out of the loop. I did a PREDATOR mini series, and we
know about that guy. Soooo...I'm not really sure. I never worked on the book, but I would love to do something with SGT. FURY
& HIS HOWLING COMMANDOS. Love those characters!
How did you and Jim Wynorski feel when you got the call from Lions Gate, wanting the rights for Chopping Mall to
distribute on DVD?
We never got a call like that. Lion's Gate inherited/acquired the Vestron library so they had the DVD rights. Roger still has the
theatrical rights, I believe. Sort of a wacky deal when you look at it.
What would the chances be of it coming out on Blu-ray?
That is up to Lion's Gate. I hope that they somehow get the original elements if they do. The existing US DVD was put together
from the old video master with some freshening up. It does not look bad, but it could look so much better.
Is their anything you'd like to share with those who want to get into the filmmaking/screenwriting business?
It is a tough, hard business, and it has gotten even more so in the last ten years. Decisions are no longer made from the hip by
people who know something about movies. Money and marketing thinking almost always trump creativity. If you want to make
movies, you need to have access to money somehow, either to finance or support your dreams.
Thanks Steve for taking the time to do a interview with us at DVD Resurrections.com and thank you for creating one of the most
spectacular robot slasher B-grade films ever. And i think i speak not for myself but thousands of our readers that Chopping Mall,
is one of the most memorable childhood horror films that even today we cant get enough of it. Take care my friend.
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