Production
Grease 2 was intended to be the second film (and first sequel) in a proposed Grease franchise of four films and a television series (The third and fourth films were to take place in the sixties and during the counterculture era.), however, the projects were scrapped due to the underwhelming box office performance of Grease 2. The sequel's working title, Son of Grease, was changed to the more straightforward current title by producers, much to the annoyance of leading man Maxwell Caulfield, who unsuccessfully tried to have it reinstated.
Filming took place entirely on location in Norwalk California, working to a 58-day shooting schedule. According to director Patricia Birch, the script was still incomplete when filming commenced. Sequences that were filmed but cut during post-production include scenes in which Frenchy helps Michael become a motorcycle rider, and a sequence at the end of the film showing Michael and Stephanie flying off into the sky on a motorcycle.
In the film, after Stephanie wins the contest, it goes on to show the stakeout in the final scene. Originally, there were a few minutes dedicated to a scene in which Michael (believed to be dead in his alter ego, by Stephanie) comes out on stage as Stephanie is exiting the stage, unbeknownst to her that he is the cool rider and he is alive. He attempts to ask her what's wrong and she storms past him and runs off crying, then it cuts to the stakeout. There was a scene in the film within the "Who's that Guy?" number in which Goose (Christopher McDonald) accidentally smashes Rhonda's nose at the Bowl-A-Rama door. None of these scenes have been shown on DVD since the film's release.
Read more about this topic: Grease 2
Famous quotes containing the word production:
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“I really know nothing more criminal, more mean, and more ridiculous than lying. It is the production either of malice, cowardice, or vanity; and generally misses of its aim in every one of these views; for lies are always detected, sooner or later.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)