We chat with TheMeg2 director Ben Wheatley about his love of Jaws, collaborating with Jason Statham, and making The Trench even bigger than TheMeg.:
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Following the events of the first film, rescue diver Jonas Taylor returns in The Meg 2: The Trench along with other survivors from the first mission for another fight with the megalodon. A new research team goes on an exploratory mission to the deepest parts of the ocean, but things become more dangerous than ever when a mining operation threatens their voyage.
In fact, I've probably watched Jaws every year since and always see new things in it. It's not just the greatest shark film of all time, but one the greatest films of all time. So, I take a lot of influence from that. And then I really love the kind of 70s Godzilla stuff, then Shin Godzilla, and the current cycle of legendary Godzilla movies. It's all that stuff.
I love the first Meg, but you don't necessarily need to have seen that movie to enjoy the experience with The Meg 2, which was fantastic. Jason Statham is obviously returning for this film. Can you talk to me about collaborating with him? Because if I'm not mistaken, he was really involved with the production of The Meg 2: The Trench?
Ben Wheatley: Wu Jing wanted to play a character. His persona is not dissimilar to Jason's in the action movies. He's done like Wolf Warrior and Wolf Warrior 2, and not so much Wandering Earth, but he didn't want to come on, and then do the same character as Jason. So there was a discussion there. And he wanted to do something different. He'd be the science character and Jason would be the kind of physical character. So that happened.
So it was all these kind of levels of threat that we wanted to weave into the movie and then kind of organically these creatures started to appear to us that we saw that kind of bat that side of it out. We didn't want that you could just get on the land and that'll be it you're safe. You're not safe anywhere in this.
On this the only problem we had was everything we shot the studios we're fine, because we could always go back and reshoot. But when we were shooting in Thailand, that was a definite dead stop at the end of that. So we were like "Christ!" And it was so complicated that stuff, but I think it was on the last day we looked at the rough cut and went " Oh yeah, okay. We managed that.
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