“[Matthew said working on the film was a complete blast:] I was excited to get out of bed every morning. It was like a great dance, working with him, ... He catches a wave and rides it! It was really fun.”
“My favorite thing to do between working is go drive around the roads and highways of America camping out. So this time I'm still camping out, but I also have my house -- my canoe -- wrapped in a 'Sahara' billboard. So [I'm] combining the two -- a road trip, plus I'm selling. It's nice,”
“The first day we were shooting, you've got that 35 millimeter camera and then I've got two or three other video cameras and I can look into those cameras, but I can't look into the 35 millimeter, obviously, ... Well, the first day of shooting, I'm sitting there, talking to one camera and then I'm looking in all the cameras. Ron had to come up and say, 'Don't look at this one.'”
“I was responsible for Brandon Lang, ... That was my job, to be able to make a believable character who you can understand and go through the whole story with.”
“It was a big dance, working with him, ... It was a lot of new moves that I've never seen before, but always with the rhythm. It was a real vital experience. It's easy to go out there and tell the truth, because you're in a scene and you catch a wave, so to speak. You're not conscious of where you're going, but you're on a wave. And usually those turn out to be either the worst take or the best, but all you need is one that's the best, you know?”
“You can make these things for cheap. This one cost $35 million. You make $70 million on 'The Wedding Planner,' you're dancing in the streets. You make $70 million on 'Sahara' (which cost $130 million), you're not dancing in the streets.”
“Very seldom to you read about stories like this. It's based on something that happened ... history. I was inspired by it. It really happened and it stayed on my mind. I wanted to be a part of it somehow.”
