The Challenges of Creating Power Rangers Dino Fury


SIMON BENNETT: I think having directed four seasons means that I understand how the jigsaw puzzle that is Power Rangers works. When I first came on board as a director, it was mindbogglingly difficult.

All the component pieces, how it all fits together, Japanese footage, second unit, main unit, stunts, action, who does what. Any one scene might be broken into three or four parts to different people who manage different aspects of their scene. Working out how they all fit together and communicating with all the various people who are responsible for all the various pieces, is a challenge as a director.

What I’m doing now as showrunner, it’s the same challenge, but writ large, because my purview also encompasses writing the stories, and at the other end of the shoot, post production, visual effects, music, all those elements. I’ve done this before on other shows and I really enjoy having that creative overview.

With Power Rangers, it is so complex and big, the machine, that it’s never dull. I’m constantly occupied from the moment I wake up, to the moment I go to sleep I’ve got questions coming at me about this bit of that episode, or that bit of this episode. I’m rushing into visual effects to approve a shot, or into writing to solve a question, or talking to the directors, or I’m on set helping out maybe with a performance scene that second unit find themselves directing.

So I’ve done a bit of directing on Dino Fury as well, which keeps my hand in. It’s incredibly busy and a lot of fun because at the heart of Power Rangers there’s a kind of joy, because the material is light, it’s silly, it’s fun, and it’s exciting. It brings out the inner kid in everyone working on it. Which is one of the things that makes it a pleasure to work on.

Are there any new focuses behind the scenes to keep all things, as you said in our last interview, consistent behind the scenes?

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