Can you talk more about the easter eggs and homages?

There’s so many of them! Fuck. I don’t even know where to start.

How do you choose?

Fortunately, my crew – Lucas [Godfrey], our prop maker, and Rene, and the set decoration people – they’re sort of the next generation of nerds. I’m in this generation of nerds, and they’re like two generations down from me. So they’re like, ‘Fuck, we’re working on Creepshow!’ We were always digging for easter eggs and things to find. Some of the props – there’s this kind of famous prop from the original Creepshow which was an ash tray. That came about because they put it one episode and Nick Mastandrea, who was George’s key grip at the time, would slide the ash tray into every episode as a joke. One of my best friends owns the original ash tray, and I said, ‘Dude, you’ve gotta send it down.’ So it’s in every episode. We’ve been doing that, and in the Stephen King episode, there’s probably 30 Stephen King easter eggs in there because I want people to look and then they’ll watch it a couple more times. There’s a lot of little things. Comic books, the voodoo doll – I forget half of them because we’ve been shooting for seven weeks. I’ll probably go back and go, ‘Oh shit, I forgot about that one!’ But it’s been fun because even the art department guys come and go, ‘Look, we made this!’ and I’m like ‘That’s great, I didn’t think about that!’ Even “The House of the Head,” which is the Josh Malerman story, which Cailey Fleming stars in – who’s in Walking Dead, she plays young Judith, she’s fucking unbelievable actress – it’s a really great psychological thriller about a little girl who comes home and her dollhouse is haunted. She goes to the store and she’s like, ‘I need help,’ and she goes to the store and gets a cop and puts the cop toy in and then the cop gets killed and she goes and gets an Indian. We did a little Chief Woodenhead from Creepshow 2 as the Indian. All that nerdy shit where we’re doing it and I’m like, ‘No one’s ever going to notice this,’ and on set, half the crew is like, ‘Is that Chief Woodenhead?!’ I’m like, ‘How the fuck do you guys know that? This is great.’ So there’s a lot of that kind of stuff, and it’s been fun. Now I only have four days left. If you’d have asked me in February, I’d have been [crying], ‘It’s so hard.’

Do you think if you had a second season, you’d do this type of schedule again?

No. I got greedy. I’ll be really honest. I wanted to tell as many stories as I could. I just thought if you’re going to do Creepshow, it’s not one story, one hour. It just didn’t feel right. So we really jumped into the whirlpool deep, but thank God the crew that we had, and Aimee Holmberg our production designer, and the makeup effects guys and everybody, it’s been amazing. The fact that nobody’s ever said, ‘No, we can’t do that.’ They’ve always been like, ‘Well, we should do this.’ You walk on set and you’re like, ‘Holy fuck, how’d you guys do that in three days?’ We built a set, you shoot on it for three days, you go to another set and shoot on it for three days and you walk back, and it’s completely rebuilt into a different [thing]. How do you do that? I wouldn’t have even thought. Like, there was a morgue here yesterday, and then three days ago there was an apartment here, and now there’s another. It’s pretty astounding. I was telling the Walking Dead line producer that working on this show has been like the Matrix, where you just get plugged in and a second later, you’re like, ‘I know kung fu.’ I’ve learned everything about making movies, and I’ve been making movies for a long fucking time. But it’s like [mimics being plugged in], OK, got it. So I think in retrospect, when we’re done editing and mixing and sound effects, and there’s a poster that’s out and I’m at Comic-Con talking about it, it’s going to be like, ‘It was like a dream. How the fuck did we do it?’ It’s like they say, you just never stop shooting. When I was directing, I was like, you can’t stop. I felt kind of bad for the crew, because I was literally going, ‘All right guys, now we’re over here!’ and we shoot that, and ‘Now we’re over here!’ and we shoot that, all running around, but they all stayed in it, man, and that’s a tribute to this group of people. It was hard, and I move fast, so they’re like, ‘Yeah that’d be great but –’ and I’m already gone, off to the next set someplace.

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