Can you talk about how long it took for you guys to make the movie? It looked like you were obviously on location. So how was that?

Laura Harris: Eight weeks?

Christopher Smith: Eight weeks shoot. We like to say the worst thing was bugs, mosquitoes and getting bit and there were loads of big mosquitoes.

Laura Harris: Yeah, I got insect bites.

Christopher Smith: Shall I tell the story about the ticks? Guy comes in and says, "Gotta watch for ticks. Ticks get in your hair. So when you get home, you want to watch your pubes. Wanna wash your pubes."

Laura Harris: Or stay covered.

Christopher Smith: Or stay covered but watch your pubes because they'll get in there.

Laura Harris: Or, if you're not covering your pubes. Other than that, the kind of Hungarian idea of stuntmen is a lot different. They're kind of more like the Fall Guy. Over here now and certainly in England as well, it's more of a science. It's all done with- - those guys just get in the truck and take off. So that big truck scene, we only had one coach. We were more worried about the stunt not working and the coach getting broke than the guy because he turned up with his motorcycle helmet on and went, "Where's the coach?" We flew a guy in from England to work it out properly and he said, "You should do it 30 miles an hour. That will just tip the coach onto its side and be a perfect crash." And he just went, "Nah, me go 60." Like that, real big, just went over at 60 and took off. It was such a spectacular crash he knocked himself out cold, then his friend, another stuntman came over, pulled his crash helmet off and started slapping his face. His neck was just going like that, he sort of came to and went, "Ah ha ha. Good, right?" Then we had to dress the bodies more bloody because the crash was more than we- - we'd already shot the bits to go after so we had to go reshoot them and kind of put more blood on.

What are you each working on next?

Christopher Smith: Well, I don't know what I can say.

Laura Harris: He loves it when I say I'm under contract with ABC. We just finished a James Patterson that might be a series into a pilot so if that doesn't go, I'm still under contract.

Christopher Smith: I'm doing a psychological thriller, kind of a horror movie set on a ship or an ocean liner in the Caribbean. Yes! Tough racket but yeah.

On location?

Christopher Smith: On location, no doubt. I keep on having demands that you have to be able to walk the camera from the interior to the exterior with no cuts. Otherwise they'll put you in some dirty little studio. It's very important that we have no cuts.

What's the story?

Christopher Smith: It's kind of like Memento. It's about a girl who gets trapped in a time loop. You don't realize that things start repeating so it's kind of like a nightmare. It works like that. I don't want to say too much more because I'm scared that if I don't get this thing completely finished- - we're just finishing the finance now. We don't have it finished, so "That's a good idea, Bermuda Triangle movie." It's not a Bermuda Triangle movie but it kind of hints that there is kind of explanations for why things go missing and where people go and it plays on that. So it's kind of a weird film. It's kind of like Memento is what's going to happen. It all works in reverse.

Who is it financed by?

Christopher Smith: We're probably hoping to get an American release deal so we get the American money for the release in America in advance of the film, which loses you money if you- - the way it works is that, I didn't know this before, but you go to festivals, it's best to hold back your American release because then you can get a big payday for it but the other way, they pay less, we get the money for the film and they get the film released in America. So that's hopefully what we're going to do.

Is your pilot a half hour, an hour?

Laura Harris: It's an hour. It's a straight one hour drama, four women solving crimes, solving murders actually.

That'll have guns probably.

Laura Harris: I play a DA, Angie Harmon plays a lieutenant and there's a court reporter and a coroner.

Christopher Smith: In '70s clothes? Is it in '70s clothes like Cagney and Lacey? That'd be cool.

Laura Harris: It would be cool.

Is it weird to do a pilot and not know?

Laura Harris: I call it paid vacation because that's my perspective on it. But it is weird. It kind of bides you time to not have to think about doing anything else which I use that as a privilege at the moment. Otherwise you focus on working. But you have to wait. You've got to wait. You can't do anything else.

Christopher Smith: Can you do films?

Laura Harris: Well, I can. Like realistically, in the next two weeks, we'll find out if the show goes. If it doesn't and something massive came up, I could ask them permission to get let out of the deal.

Christopher Smith: I like the sound of that. It's like an old Hollywood [deal]. 

Laura Harris: But then they can withhold payment. They pay me for a year. There's scheduled payments.

Christopher Smith: So you're paid to not work. It's great.

Was it hard to be in a horror scene and switch back and do comedy?

Laura Harris: I think the way it was scheduled, I didn't feel like we were flipping back and forth. And also, I was always just responding to the situation as it was. There was never a comedic version of Maggie and then a horror, scared version of Maggie. It was always just her responding to the circumstance. So it was easy because of that.

Christopher Smith: Yeah, like the beat in the pie scene which is kind of the most kind of funny comedy scene is that they're all just playing it like this idiot has got a pie. That's it. However you play it, you could do it broader but with each person, we tried to keep it sort of played straight even though it's ludicrous as a plan. "You found a pie."

Was there a test screening process in England?

Christopher Smith: No, we don't have as much to lose in terms of budgets so it's not as kind of- - it doesn’t go on like a big studio picture, on and on and on. We did some kind of off the record without our studio knowing kind of tests with friends of friends and things like that, in small screening rooms so we could get a vibe for it. And then once we did that, we then did a proper big test because obviously the studio had [release?] fears over there. Like is the airplane scene going to offend people, and all that kind of stuff. So we did a bit of that but all the things we worried about came back on top really for us. The whole situation of doing tests is only scary if you haven't finished the sound yet and someone says, "I didn't jump there" or "I didn't do this or that," you've got some executive that really doesn't like that scene and you sort of say, "When I put the sound on it…" Those things are tricky if you don't get a good sound job done before you do it. The sound is a lot.

Laura, did you go through a teen horror phase? If not is it nice to go back as a grown up?

Laura Harris: I was sort of involved. I did a movie called The Faculty with Rodriguez in a moment when those kind of movies were hot. But it was- - I guess we did like a Tommy Hilfiger campaign and it's definitely part of that mojo. But I'm glad to come back to it now having watched the thing and having watched Invasion of the Body Snatchers and appreciating the genre which I didn't take advantage of Rodriguez's total passion for the genre at the time. I would hear him mentioning things but he didn't actually say, "Here's a movie. Sit down and watch it." I'm so glad that I've done that now because the appreciation for it has just so deepened the experience of getting covered in blood every day. Not that that isn't deep unto itself because it is and I love it, but yeah.

Do you enjoy roles that are physically demanding?

Laura Harris: For a purpose that feels good, sure, yeah, definitely.

Is it more fun?

Laura Harris: Yeah, it's like I was saying to Chris earlier, I learned on this movie that I don't really have a lot of- - I'm not a trained actor so I don't feel like I'm in full control of my body physically. I'd like to be able to use it as more of a tool than I have so far. So it's neat to have that experience and learn like where you can grow and do better. Definitely that's part of something that I can do better at.

Did you do your own stunts?

Laura Harris: We had a stunt double but just I think for the yanking up into the thing.

Christopher Smith: All the fighting, everything like that, was all them.

Was the airplane scene the biggest effect in the movie?

Christopher Smith: Yeah, well, we spent a lot of money on little things, clean up jobs. Sometimes when you're shooting at a bit of a faster speed, we have a little of that. But yeah, in terms of- - it was weird how just getting that right was weird. We'll just hope nothing bad happens now. It's not like I've given anyone the idea. The idea's out there. I got the idea from the idea being out there so I guess we just wanted that little scene that just went outrageous. We had this missile in the scene, originally he fired it and it was going to come back and blow the house up and I've seen that before. So I just went, okay, what's the most outrageous thing we can do with this missile? What if it just took out a passenger jet? And it made me laugh. I sneaked it into the script and waited for the notes to come back and looked at the notes and they weren't on there. Or no one would notice.

Talk about doing the CGI?

Christopher Smith: No, we got a 747 to fly… What we did is we filmed the plane and put it in. All we did on the day was the guy went [imitated the kickback] and we just turned the camera on and fired up in to the air. It's so broad that scene really.

Are notes in England just as bad as in America?

Christopher Smith: Yeah, the only problem you get, the problem is imagine you guys are the execs. Everyone's got to feel like they've done they're little work. That's the problem so everyone's got to give their notes. They've all got to do their own notes. So you're not just going to go, "You know what? I thought the whole thing was great." If that's you're note, you might feel "Well maybe it wasn't" so you pick on the thing you thought was least great. I think what happens is, if you just stare, I think people will have to say something. So some of the notes were terrible. You'd get one note, "Should we cut out the foot in the fridge thing?" Seriously because they think it might be just too funny after the tension starts. I go, "Ignore that." Just obviously. Then you find that you've ignored so many of the notes that you get the note saying, "Chris, stop ignoring our notes. We're not doing this for fun. At least try our notes." So I said, "Well, I'm not going to try taking the foot out because I'm never going to take it out." What happens is if you get a good note next to a load of ridiculous notes, you miss the good notes. So what they should do, which I'm doing on the film I'm just writing, they have to have someone edit their notes. So I've requested to have an editor of their notes so they'll go, "I think your note's good and your note's not as good." And then they just put the ones that they all agree with as a good note. So that's what we're trying.