Michael Regilio

And usually you're brought in for, it can be one week, it could be two weeks, it could be three weeks. On Catching Fire, Catching Fire was actually a script doctoring job. So I was brought in for four weeks. So I did four weeks of work. And most of the time you don't get any credit for it. Most of the time you're just working kind of anonymously

And usually you're brought in for, it can be one week, it could be two weeks, it could be three weeks. On Catching Fire, Catching Fire was actually a script doctoring job. So I was brought in for four weeks. So I did four weeks of work. And most of the time you don't get any credit for it. Most of the time you're just working kind of anonymously

And working as a craftsman, you're taking the story, putting it up on blogs and going, what's working with this thing? What's not working with the story? How do I fix it? How do I optimize it, right? The movie's trying to do something. How do I make it work better? It really is just sort of just trying to optimize what the story itself is.

And working as a craftsman, you're taking the story, putting it up on blogs and going, what's working with this thing? What's not working with the story? How do I fix it? How do I optimize it, right? The movie's trying to do something. How do I make it work better? It really is just sort of just trying to optimize what the story itself is.

And working as a craftsman, you're taking the story, putting it up on blogs and going, what's working with this thing? What's not working with the story? How do I fix it? How do I optimize it, right? The movie's trying to do something. How do I make it work better? It really is just sort of just trying to optimize what the story itself is.

Sometimes you'll be brought in to punch up characters, to warm up characters, get the audience to like a character. Sometimes you'll be brought in to fix up the whole thing. Wow.

Sometimes you'll be brought in to punch up characters, to warm up characters, get the audience to like a character. Sometimes you'll be brought in to fix up the whole thing. Wow.

Sometimes you'll be brought in to punch up characters, to warm up characters, get the audience to like a character. Sometimes you'll be brought in to fix up the whole thing. Wow.

I mean, usually... The script is heading towards production. Usually there's a consensus that the script isn't working. Sometimes it's already in production, sometimes it's in post-production. And I've been brought in for, you know, the longest job I did was on Hunger Games Catching Fire. That was a four-week job.

I mean, usually... The script is heading towards production. Usually there's a consensus that the script isn't working. Sometimes it's already in production, sometimes it's in post-production. And I've been brought in for, you know, the longest job I did was on Hunger Games Catching Fire. That was a four-week job.

I mean, usually... The script is heading towards production. Usually there's a consensus that the script isn't working. Sometimes it's already in production, sometimes it's in post-production. And I've been brought in for, you know, the longest job I did was on Hunger Games Catching Fire. That was a four-week job.

The shortest was I was brought in for one day on a movie and just told to warm up the lead character a little bit in a character's introduction. And that was in post-production. They had already made the movie.

The shortest was I was brought in for one day on a movie and just told to warm up the lead character a little bit in a character's introduction. And that was in post-production. They had already made the movie.

The shortest was I was brought in for one day on a movie and just told to warm up the lead character a little bit in a character's introduction. And that was in post-production. They had already made the movie.

Yeah, I think that, I mean, a lot of times you're very cost-conscious. You're just trying to figure out, like, if they're doing reshoots, what's their reshoot budget? How many days are they going to be able to reshoot? And then you're picking and choosing. You're going, like, big problems, medium-sized problems, and small problems, and trying to, like, address the big problems or not.

Yeah, I think that, I mean, a lot of times you're very cost-conscious. You're just trying to figure out, like, if they're doing reshoots, what's their reshoot budget? How many days are they going to be able to reshoot? And then you're picking and choosing. You're going, like, big problems, medium-sized problems, and small problems, and trying to, like, address the big problems or not.

Yeah, I think that, I mean, a lot of times you're very cost-conscious. You're just trying to figure out, like, if they're doing reshoots, what's their reshoot budget? How many days are they going to be able to reshoot? And then you're picking and choosing. You're going, like, big problems, medium-sized problems, and small problems, and trying to, like, address the big problems or not.

And then I'll just say that I won't name the film, but I was brought in one time. There was a film, big-budget film. It had a full cast, full crew. They had rendered the sound stages. They were just ready to start going, and the studio was not completely happy with the script. They thought the script could be streamlined a little bit.

And then I'll just say that I won't name the film, but I was brought in one time. There was a film, big-budget film. It had a full cast, full crew. They had rendered the sound stages. They were just ready to start going, and the studio was not completely happy with the script. They thought the script could be streamlined a little bit.

And then I'll just say that I won't name the film, but I was brought in one time. There was a film, big-budget film. It had a full cast, full crew. They had rendered the sound stages. They were just ready to start going, and the studio was not completely happy with the script. They thought the script could be streamlined a little bit.