On being proud of everyone who worked on this to make it magic:
“So we gathered everybody up and we started laying it all out together and then set it up like a movie and went and shot it. I think we had seven cameras and we used a couple of drones in the process to shoot some of Taker’s arrival and things like that, but laid it out like a movie and shot.
I’m watching all these camera shots, and look, we had a certain period of time to do this. Can’t shoot ’till it gets dark and then you got a certain period of time in which to do it. Then you’re done. Right? And there’s no second takes.
I saw people after saying Taker could go forever and in this kind of format because like the physicality, there’s physicality. Like dude, AJ was flying around on the dirt on the hard ground with rocks. They were beating the tar out of each other, and it was a long shoot. We got it done, and it turned over pretty good.
I was proud of it. I was proud of the team that shot it. One because when I told them you guys are going to shoot The Undertaker match for WrestleMania, there was a lot of puckering going on, let’s just say.
It’s The Undertaker and it’s WrestleMania. They were really excited about the opportunity, but that’s a lot of pressure. Then you get all that stuff and you see everything that you have on camera, but then it comes down to the edit.
Once it went back to the TV studio, there’s a couple of guys that just made magic out of it. We went through it with them like you would a movie and here’s what we’re looking for. And then they took it and just created magic with it and scored it and did everything they needed to do with it.
Top to bottom team effort. First and foremost Taker and AJ and Gallows and Anderson, spectacular performances, but from the team that built that set which was like literally a little grass yard.”
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