He took “Escape” to Korea for editing and post production work. For some scenes, “where I wanted more control, more time to work with the actors on performance,” they shot footage without actors which was then used as backdrop for the cast, which acted in front of a special effects green screen.Īnd through it all, Moore, a filmmaking alumnus of Winter Park’s Full Sail University, maintained strict secrecy - never getting caught or even asked what he was doing. They filmed in a hotel room at the Contemporary Resort. “We probably rode Small World 25 times, just me and the camera guys.” “Cast and crew rode those rides ten, eleven times to get the take right,” Moore says, laughing. A blown take - a missed line or botched focus or framing in the camera - meant getting everyone to the back of the line and waiting for the next monorail or Thunder Mountain train. So they shot in black and white and worked out ways to make the camera look locked down and cinematic even when they were capturing the family boarding the monorail or It’s a Small World ride. Moore didn’t want “found footage” (“Blair Witch” style shaky cameras) or a “home movie” look. We were just a small group of people who just came in, went to our locations, filmed, got what we needed, and left.” We had the same cameras that a lot of tourists bring into the park…We respected the signs that said ‘No flash photography’. “It wasn’t like we were sneaking special equipment into the park or disrupting patrons there. Just a tiny cast and crew, conventional, off-the-shelf cameras, a collection of Disney World annual passes and a lot of invention and patience and they’d shoot their movie, out in the open but on the down low, without Disney knowing about it. So, we just did it.” “Escape from Tomorrow” became the ultimate act of guerrilla filmmaking. “I didn’t feel like they’d give us a permit to film there. “It is better to ask forgiveness than to ask permission,” as the old saying goes, and that became Moore’s credo. Moore decided to make a movie at Disney World about one family’s nightmarish visit - a film with heated arguments, broken dreams and sexual misadventures, badly behaved kids and a corporate conspiracy. “As a parent, I came to appreciate what my dad went through.” “The idea for my movie came from those trips there as a child, with my father,” Moore, now 37, says. Seeing things from that point of view inspired his surreal take on the Theme Park Weekend from Hell - “Escape from Tomorrow.” Then, years after his relationship with his father grew strained, Moore came back to Disney World as a parent himself. Those Disney World visits stuck with him, “but more as paternal memories” he says than Memories of the Mouse. We spent most of our time in EPCOT, in that vision of the future.” “I’d get off the plane,” Moore remembers, “and we’d drive straight over to Disney’s Polynesian Resort and hop on the Monorail into the park. The son of divorced parents who grew up in Chicago, he’d spend summers with his dad, in Winter Park, Fla., just outside of Orlando. Randall “Randy” Moore got the Disney bug early.
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