How different was it going into something like Repo compared to a normal film?
DLB: I wouldn’t say the Saw films were easy, because that’s not the right word. They were like a machine and I was a clog in this machine; I came in every morning, did my job and then I would run home. With Repo, the work still has not ended and there is no machine. We have been setting up MySpace accounts, blogging, taking pictures and sending them to all our friends. It has been a kind of underground movement. That didn’t happen with Saw. With Saw, I would walk off of the movie set and next thing I know there are 3000 billboards and movie screens across the United States, TV and radio ads, bumper stickers. To put it in perspective, Saw III opened on 3500 movie screens, the biggest of the whole series, Repo had 12. Not just 12 in America, 12 across the world. Do you both have a greater personal attachment to Repo than other projects? TZ: Definitely. We are literally touring it like a concert. In many ways I think that it needed to happen this way. In no way has it been easy and in no
