Before we start this Q & A on Breakin' 2, we would like to take this opportunity to say that Breakin' 2 is one of our
all-time favorite dance films. In fact, we've often described Breakin' 2 as "the feel-good dance movie of the 1980s",
due to its youthful energy and positive message. On that note, "thank you Sam for giving us Breakin'2", a movie
that we consider an “absolute gift” to dance movie lovers everywhere.
Q. Now, to kick things off, could you comment on the film's message and what are some of the things that inspire you most
A. I did not write the script to Breakin' 2, it was written by Jan Ventura and Julie Reichert. I worked with them during
the writing but they came with most of the ideas. This was not conceived as a message movie but as an fill good entertainment
and fun flick a vehicle to showcase more hip hap dancing. If there was a massage in the film it is a byproduct. Just like
in the movie positivity and optimism are two of the main thing that inspire me most in life.
Q. Where you a fan of dance movies before embarking on Breakin' 2 and if so which dance movies had impressed you at the
A. Not very specifically but in general terms, yes. I love the old fashion dance movies of the 1930s the 40s and the 50s
Gene Kelly and Fred Astaire. Singing in the rain, American in Paris and the like. But then I also thoroughly enjoy some of
the more recent ones like Dirty Dancing, Flashdance, All that Jazz and others.
Q. Joel Silberg directed the original Breakin', so how was it that the sequel, Breakin' 2 fell into your hands?
A. I don't know the answer to this question. Logically he should have directed it but for some reason or another he did
not. The producer Menahem Golan asked me to direct it and I was glad to do it. I never enquired nor asked anyone for the reason
and so I guess I'll never know.
Q. As you were an in-house director with Cannon, did you know Breakin' Director Joel Silberg personally and did you ever
visit the set of the original Breakin' while it was in production?
A. Joel Silberg was a famous film and theater Israeli director, As an Israeli I was familiar with some of his work and
I knew about him but never met him in Israel. I was introduced to him in the cast and crew screening of Ninja III: The Domination.
He came to check out the performance of Lucinda Dickey and that was the first and last time I ever met him. I did not visit
the set of Breakin'.
Q. We have heard that some Director’s make a distinct choice not to see an original film before making a similar
film. Had you seen Breakin' before sitting in the director’s chair for the sequel?
A. Like everyone else I was obviously aware of the huge success of Breakin' and we all probably saw it in an in-house
screening during the writing stage but I have no recollection of such an event. I do remember that I went to a screening of
Beat Street that came out at the same time and it did not impress me definitely not like Flashdance.
Q. After directing two action-packed Ninja films for Cannon, your next film, Breakin' 2 was a dramatic change into a different
genre. Did you find the sudden switch from action to dance daunting or was it an easy transition?
A. I did not find a significant difference between the two genres. From a technical point of view directing a dance number
is kind of similar to directing an action sequence. The light and bright atmosphere of a dance movie is very different from
the have and sinister feeling required in an action flick but other than that it takes the same cinematic skills and knowhow
to direct both. We are not talking about directing a wild comedy which involves a different talent. As a matter of fact my
background as an action director helped a lot when it came to directing a dance movie. By that point I had gained vast knowledge
and experience in directing and creating sophisticated action sequences such as fights and chase scenes. When it came to directing
dance sequences I discovered that there is no big difference between the two. It is all about deconstructing the certain piece
of action or dance to its elements on the set, in a way that later, in the editing room using the cinematic language, it could
be reconstructed in the most effective way, to enhance it to the delight of the potential audience.
In any case for me the transition was trouble-free.
Q. Word is, Breakin' was made for a miniscule amount, with figures ranging from $900,000 to $1.2 million. What was the
budget for Breakin' 2 and how long was the shooting schedule?
A. The budget of Electric Boogaloo was much bigger; in the vicinity of $4,000,000. The shooting toke about nine weeks
of six working days with two filming unites to complete.
Q. Some reports suggest that Shabba-Doo almost knocked back Breakin' 2. Can you give us some insight on why Shabba-Doo
almost dropped out of the sequel?
A. When I met Shabba-Doo and throughout the preparation and filming I was never under the impression that he was anything
then 100% behind the project. If there was any conflict between him and the producers, it was never brought to my attention.
Only years later, reading an interview I found out that there was a compensation issue between him and the producers. I also
learned then that at the time of filming he was not thrilled with the overall tone, the storyline and the look the movie,
the way it was taking shape, but back then he never disclosed these fillings to me and was rather very enthusiastic and willing
to cooperate with me that was my impression back then.
Q. We have heard that actor Mario Van Pebbles was almost cast in Steve Notario's role of Electro Rock dancer "Strobe".
Was he ever considered as a back-up for Shabba-Doo if he didn't return?
A. I never heard of such an idea. Shabba-Doo was the star of the successful Breakin' and they definitely needed him for
the sequel. If there was a money problem it was resolved without me being involved. In any case Mario Van Pebbles was not
a dancer and therefore I did not cast him in the part of Strobe the leader of the Electro Rocks.
Q. Lucinda Dickey was a relative newcomer when she starred in Ninja III. What was it like working with her a second time
after she had just starred in a hit film like Breakin'?
A. The way I see it the trade of a professional actor is to portray different characters in different plays by it veteran
or a newcomer. So therefore Ninja III was never mentioned on the set of Breakin' 2 neither was her previous character, here
she was Kelly K that's all.
Q. Sonny Bono's daughter, "Susie", appeared in Breakin' 2. How was she cast and did her father Sonny ever show
up on the set?
A. Susie Bono or Susie Coelho was Sonny Bono's 3rd wife and not his daughter. By the time of filming they were already
divorced so therefore, naturally he never visited her on the set. Her character's name was Rhonda and the way I remember it
she was very pleasant to work with.
Q. What was it like working with Ice-T? Was he present on the set when he wasn't involved in his scenes and whose decision
was it to feature him as the storyteller on the Breakin' 2 trailer?
A. Ice-T was on the set only when he was required to perform on stage, other than that he wasn't there. I never saw him
around. As you probably know as a director I was never involved in the marketing of the movies I directed nor was I ever consulted
regarding that subject and that includes posters and trailer. I have no idea how it came to be that Ice-T was enlisted to
do the narration of the trailer. At the time he was a famous rapper and so I presume that the distribution company, Tri-Star,
paid him handsomely to do it, for promotional reasons.
Q. Boogaloo Shrimp's love interest, Sabrina Garcia, is an adorable presence in the film and a definite fan favorite. It
seems she didn't pursue further acting after this film. Can you tell us how she got the role and what it was like working
A. At the time of filming Michael "Shrimp" was about 16 or 17 years old. Sabrina was 14 or 15 years of age dancer.
She was discovered by the dace/choreography team during the dancers open call auditions and brought to the attention of casting
people as potential Lucia. Eventually we cast her for that role exactly for the reasons that you are listing, she was adorable
and that's all. I remember that Michael liked her a lot but couldn't do much about it because her mother was there at all
time vigilantly watching over her everywhere.
Q. We have heard that Christopher McDonald was offered the chance to reprise his role as James but knocked back the sequel.
Is there much truth to this or is it just a rumor of sorts?
A. I don't know.
Q. Breakin' 2 was made in the tradition of the classic Hollywood musicals. It seems this was an obvious choice. Was this
your vision going in, or did producer Menahem Golan have a big influence on the look and feel of the film?
A. The producer Menahem Golan was definitely excited about this movie, he was emotionally invested in it and involved
in shaping the script. it was actually very creative and fruitful working with him on that movie. I remember that every weekend
we met in his house to discuss the script and potential additions and changes to it. He was engaged in watching the dailies
every night and always had suggestions for improvements and additional dance numbers. Several times during production he suggested
to me few ideas but it was occasional. He was not involved in the shaping of the vision the look and the fill. I deliberately
made it in the tradition of classic musical and the talented creative team surrounding me was instrumental in achieving that
goal. Production designer Joseph Garrity, Costume Designer Dorothy Baca, Choreographer Bill Goodson and cinematographer Hanania
Baer. We toke the Neon and Pastel colors popular with the Hip-Hop crowd of the time and exaggerate it to a point of saturation
to create excitement, youthfulness and hope.
Q. One of our favorite sequences in Breakin' 2 is the energetic opening, when the gang make their way from the streets
of East L.A. to the park and then to "Miracles Youth Centre". Was it in the script to kick off the film in this
way or was it an inspired choice by someone? Also, how long did it take to film this iconic dance sequence and were there
any hiccups along the way?
A. One of the element in the formula of all the action movies I directed was a big action sequence right at the beginning.
It was a precursor or a calling card of the movie to come. It was a pledge the audience that they are going to experience
great exiting action if they stick around to see the movie. When it came to directing Electric Boogaloo I migrated the same
idea of precursor. It was to be a big dance movie so I opened the movie with a big and long dance number, getting the audience
in the mode and letting them know the direction this movie is going in. This dance was an integral part of the script and
mostly the brainchild of our choreographer Bill Goodson. As evident in the final result on screen it took careful preparation
and rehearsals to achieve it. This particular dance sequence jumps from one location to another so it was not filmed in a
continues manner but interrupted in accordance of location and logistics demands. It took us about two to three in each location
so accumulatively it was about 8 to 10 shooting days, It is also worth mentioning that three to four filming unites were used
simultaneously in the shooting of every segment of the sequence to ensure its adequate "coverage" and variety of
different viewing angles in creating the cinematic wealth.
But not everything went smooth; at one point I got a citation from the Labor Department and the police. One day while
shooting a wide shot of all the dancers coming down the street during the first big street dance number, a bunch of kids on
bicycles came to me and asked if they could be in the scene. They just wanted to participate in it, to be part of the excitement.
Unaware of all sorts of labor and traffic regulations, I sent the group of kids to ride their bikes with our dancers. When
the scene was over I was approached by a police officer and another official, apparently from the Department of Labor, and
both informed me that I had violated several laws regarding traffic and youth employment. Luckily, since it was the first
time, both gave me only a warning, that if I did it again I would be off the picture and have to face a judge.
Q. The film's inventive hospital sequence takes the production briefly into an alternate fantasy realm. Was this scripted
or did it just become fantasy by chance?
A. The fantasy portion of the dance in the hospital with the sexy nurses was conceived by Shabba-Doo and the dance choreographer
Bill Goodson. Apparently it was not a totally original idea, according to Shabba-Doo they have done a similar dance previously
in a TV show in the past. So in principal a dance number in the hospital sequence was originally in the script but the sexy
nurses portion was not mentioned in it but rather added on during the production.
Q. As we all know, improvisation takes place on every set. How much of Breakin' 2 was improvised and were there any particular
sequences that involved more improvisation than others?
A. As you mentioned improvisation often takes place while filming especially with the dialogue. I usually encouraged the
actors to experiment with the dialogue and to adapt situations to the location, so that probably happened. The only scene
that I remember where I opened it up totally to improvisation was the one that depict Turbo and Ozone coming to visit Kelly’s
parents house for dinner. Every portion of that sequence included some improvisation. In regard to the dance numbers I cannot
tell anything since it's not my field of expertise but I suspect that Shabba-Doo's solo dance on top of the roof of Miracles
is all improvisation.
Q. Boogaloo Shrimp was a major talent for someone his age and his upside-down ceiling dance almost steals the film. How
difficult was it to create this set-piece and was there any rivalry on the set between Shrimp & Shabba-Doo for screen-time?
A. The idea to add a scene of Turbo (Michael Boogaloo Shrimp) dancing on the ceiling was inspired by a similar scene of
Fred Astaire in the movie Royal Wedding. Creating such a dance scene involves a very elaborate mechanism of a room set that
can mechanically rotate. As the dancer makes his way across the walls and ceiling, he is actually standing up and the room
rotates under his feet. So in reality, when he is on the ceiling, he is actually standing up and the ceiling is under his
feet. As the dance continues, the room rotates until the floor is once again under his feet. The camera is anchored to the
floor and goes up when the ceiling comes down and the dancer on it. In the final shot it looks like the dancer is on the ceiling
dancing upside down. The only difficult part is that everything in the windows and all the lighting setup has to rotate with
the rotating room. The dancer also faces a challenge in reorienting himself every second to the revolving reality around him.
Regarding the second part of your question my personal impression was that Shrimp & Shabba-Doo worked on the set in
harmony. At the time Michael was very young and a protégé of Adolfo but yet they both got equal time on the screen regarding
the dancing together and solo dances yet story wise Shabba-Doo is more of a lead and that was a given on the set as well.
Q. There has been talk that when the original Breakin' was shot there was some friction between Shabba-Doo and Lucinda
Dickey, as she wasn't a street dancer. Had the two stars ironed out their differences by the time they made the sequel?
A. The way I remember it Shabba-Doo was a temperamental character very passionate about his work as a dancer. I don’t
know about the relationships on the set of Breakin' but if there was any tension on the set of Breakin' 2, any that I was
aware of, it revolved around the demands of Shabba-Doo for perfection in performing the dances. Other then that it was a given
that Lucinda is part of the team.
Q. Both Breakin' films hint at a relationship between Shabba-Doo & Lucinda Dickey but they skirt around the details.
Fans have often wondered, if they were ever romantically involved off-screen?
A. Not to my knowledge.
Q. Legend has it that boxer Muhammad Ali was living next-door to the house used for Lucinda's parent’s home.
There are some great photos floating around on the internet of yourself and the cast goofing around with Ali. It must have
been a real thrill to meet such a supreme athlete. Can you elaborate on the day you met Ali?
A. The dinner scene in Kelly's parents' house was shot in a mansion that once belonged to Mary Pickford, in a very nice
LA neighborhood. Since the movie always had a following of groupies hanging around the set, there were a lot of people standing
outside the house. Rumors started to circulate that Muhammad Ali was living next door to the set. Indeed, around 11 AM, drawn
by the general commotion, out comes Muhammad Ali to everybody's delight. He stayed to eat lunch with us, walked around and
spoke with all the kids, and was a really good sport. I was such a great thrill to meet him and take that famous photo with
Q. During Ali's brief visit to the set, did anyone ever think about inviting him to appear in the film? A cameo appearance
by Ali would have surely boosted the marketability of Breakin' 2 to an entirely different audience. Do you look at this encounter
as a missed opportunity of sorts?
A. To the best of my knowledge no one did, I certainly did not make such an offer. In any case at that particular scene
and in this point of the story it could not have happened, it would have been disruptive.
Q. Is it possible that there may be some lost Breakin' 2 footage of Ali floating around in a vault somewhere that could
one day be used as supplementary material in a DVD re-issue?
A. Definitely not
Q. One of the great things about Breakin' 2 is that it radiates a party vibe on-screen, where everyone is clearly having
a ball of a time. Was it just as much fun when the cameras stopped rolling?
A. The atmosphere on the set was celebratory at all times. Every day, at my request, started with the loudspeakers blaring
with music either from our own soundtrack or other songs. To me and I believe that to all the others filming Electric Boogaloo
was a blast. So many young people and children with so much positive and creative energy on the set was contagious so everybody
was in good mood at all times.
Q. Directing the spectacular finale of Breakin' 2 must have been a huge task. How long did it take to shoot and how did
you go about recruiting all the extras for this elaborate sequence?
A. The biggest challenge in the production of the movie was organizing and executing the final show scene, with about
four thousand extras in the crowd, multiple dance and song numbers, with various dance groups and individual dancers and singers.
In addition there is security, crowd control, communication between multiple camera units, coordination of location and timing
and much, much, more. The on stage show was conceived and directed with my blessing by Bill Goodson. The crowd control was
handled with my approval by the assistant directors David Womark and Tommy Burnes. The huge crowd was assembled through advertising
and announcements in local radio stations with the promise that Ice-T and the Breakin' trio will perform on stage. My main
job was to work with the cinematographer Hanania Baer and the other filming units making sure that all the various elements
of that show and the occurrences around it, which I staged and directed, are “covered” in the most effective
and visually exiting way.
Q. It is believed that Soul Train host Don Cornelius was supposed to feature in the finale. Can you explain why Don didn't
A. I don't know the answer. Either he was busy that day or production did not agree to pay him the amount that he demanded
or he just didn't want to do it. I don't know.
Q. What is your favorite sequence in Breakin' 2 and what was the most challenging sequence to shoot?
A. Well, the climatic end sequence which is, as you mentioned, a none stop fill good celebration is both my favorite one
and was the most challenging to plan, coordinate, supervise and guide into one huge optimistic energetic sequence. It is so
vibrant in colors, music, different acts, songs and dances and it builds up toward a climatic ending in an exuberating way.
The photography works, the editing works, the art and wardrobe work, the choreography is great, the rapping and singing are
great, and if I might say so also the directing. So every time I watch it exits me anew.
Q. We spotted you as an extra in one of the Breakin' 2 crowd-scenes. Could you explain how this cameo appearance came
about and do you make a habit of popping up in your own movies, like Director Alfred Hitchcock often did?
A. I did not make it a tradition to appear as an extra in every movie I directed, it usually happened because the crew
or cast is pressuring me to do it. It is a way for them to tease the director as a sign of camaraderie and having fun on the
Q. Michael "Boogaloo Shrimp" Chambers and Adolfo "Shabba-Doo" Quinones are certainly catchy hip-hop
names. Were you ever given a special hip-hop nickname on the set and did any of the dancers try to teach you some special
A. Funny that you are asking since the answer is yes. The name I was given by the hip-hop cast was "Sam the Sham"
I guess because it’s was a good rhyme and it sounds cute like I was one of them. Then they did try to teach me some
moves and the only one I kinda' mastered was the wave with the two arms extended and the wave travels from one end to the
other and back.
Q. Were there any major or minor dance sequences edited out of the final cut of Breakin' 2, if so, does any such footage
exist and what is the likelihood of a Director’s cut with the extra footage?
A. The first cut of the movie was pretty long and so I am sure that we cut out some stuff, not necessary dance numbers
but definitely some dialogue scenes. In the final show on stage some minor dance numbers had to be shortened or cut out since
it went on for too long in the first cut. Cannon bankruptcy case was very messy and so I don't know if the unedited material
ended up in the hands of the distributor Tristar or was forgotten in some bounder warehouse and ended up in a trash bin after
it was cleaned up. Or maybe it still seats in some lab volt somewhere, I don';t have the answer. My feeling is that this one
is a traffic cut and it is the director's cut, I supervised it and approved it and in this form it was adored by the audiences
so it needs no improvement or changes.
Q. We have dabbled in video editing for the past 30 years or so and we find it an extremely enjoyable creative outlet.
As a Director, how much input do you usually have with the editing of your films? In the case of Breakin' 2, how much say
did you have with the final cut of the film?
A. I do believe that a movie comes to life in the editing process. Yes, writing and filming are crucial stages, no doubt
about it, but the editing breathe life into the film and at the same time it can be reshaped and improved. Except for one
or two cases I was always very involved in the editing of the movies that I directed from beginning to end. Because of the
urgency of Tristar to open up the movie in theaters as soon as possible we actually had seven editors working on that movie
around the clock none stop and I was hopping among them working hand in hand with the supervising editor Marcus Menton. In
the final stages Menahem Golan got involved and the three of us together made all the decisions regarding the shape and final
edit of the movie.
Q. Did you or the cast do much press for Breakin' 2 after the film wrapped or did Cannon allow the film to speak for itself?
A. Cannon Films sold the movie Breakin' 2 Electric Boogaloo to Columbia/Tristar for distribution in the second week of
filming. Tristar handled the marketing when the movie came out and as I remember Shabba-Doo, Shrimp and Lucinda did a lot
of press and exhibition dancing to promote the movie domestically in North America and in other countries as well. At some
places as a trio and in some other places they have been split for individual appearances. The movie was a sequel and already
had a brand name to it, I was not asked to do any of that promotion, I presume they didn't need my help.
Q. We have seen some photos of you on set wearing an "Electric Boogaloo" t-shirt. Do you still have that t-shirt
or any other memorabilia from Breakin' 2?
A. I was utterly surprise to find out that I still have this T-shirt as well as one from Ninja III: The domination. Regretfully
through the years I did not collect any memorabilia from the movies I directed except for photos and posters. Some of the
photos in this book are from my privet collection.
Q. We love both Breakin' films but we believe that in some regards Breakin' 2 could be a cut above the original. When
production wrapped, did you think that you had a hit on your hands and was there any talk about you directing a Breakin' 3?
A. You see, the first Breakin' was conceived as a low budget ";we are taking a risk" kind of a movie. When it
came to Breakin' 2 the company (Cannon) already knew the kind of hot property they had in their hands. The intention was to
make a bigger and more impressive movie. In addition right at the beginning, in the second week of filming a big major company
Columbia/Trisatr purchased it for distribution, I don't know what were the terms of the deal but it was such that Cannon felt
comfortable to spend descent amount of money in the production budget. So I don't know if that was the only reason for the
sequel being a cut above the original. Beside money there are many ingredients that contribute to the final result of any
finished movie; story, acting, songs, dances and probably the directing as well, but must important in my opinion is the "cinematic
magic" a term that is very hard to define. That's the key to any successful film. When the editing was completed we conducted
one test screening, with mostly young crowd, by the end of that screening, measuring from the audience's reaction, I pretty
much had the feeling that Electric Boogaloo is going to be hit. As some of you know after the success of Breakin' 2 I got
involved right away in an even bigger mega success; the American Ninja franchise and so back then I was so busy that I did
not pay attention to this questionable choice not to produce a third sequel to Breakin'
Q. Shortly after the Breakin' films, Cannon released Rappin' starring Mario Van Pebbles with a cameo by Ice-T. Due to
Ice-T’s appearance, some look at Rappin' as Cannon's Breakin' 3. Were you ever attached to Rappin' and was it ultimately
what Breakin' 3 became or were the two concepts always separate entities?
A. At the time of the making of Rappin' I was already either in the Philippines directing American Ninja or in New Orleans
directing Avenging Force both with Michael Dudikoff and Steve James. I was not involved in any way, shape or form in the making
of Rapping and I have no clue why the Cannon decided to switched from Breakin' to Rappin'. I'm pretty sure that Menahem Golan,
head of the company, came up with that idea.
Q. Renowned film critic Roger Ebert gave the original Breakin' 1.5 stars out of 4, while he gave your sequel 3 stars out
of 4. It must have been a great feeling to receive that kind of praise from such a respected critic. Do you often look at
reviews of your films or is this something you try to steer clear of?
A. Yes for a young beginner like myself it was indeed a morale buster and a confirmation that my directorial way is bearing
fruits. Everyone likes to receive compliments, right? Now the type of movies that I directed throughout my career usually
don't get positive reviews in the press, I did not mined reading them or not reading them. What was written did not make me
stop and reevaluate my ways in the film industry the projects I choose or my directorial style. I made movies to please certain
kind of audience the best way I knew, regardless of reviews.
Q. Were there official movie premieres for the two Breakin' films and if so where were they held? Also, were there any
famous people in attendance that were not involved in the making of the films?
A. I am sure that in both cases there were cast and crew screenings which are not real premieres. Except for Runaway Train
Cannon usually did not hold fancy premieres, I don't remember any. Breakin' 2 was not distributed by Cannon anyway but by
Tristar and the rushed the movie into theaters in a very short notice because of the disaster
they had with Supergil that was losing money in many theaters and was replaced by Electric Boogaloo so I don't remember
any premiere screening for it.
Q. Considering your success with Breakin' 2, we often wondered if you were ever approached to direct some of Cannon's
other dance films such as Salsa (1988) and Lambada (1990)?
A. No, by the time they produced those movies I was already directing for other companies and not for them.
Q. Breakin' received a "PG" rating, while Breakin' 2 was awarded a "G" rating. Clearly, the original
has a grittier feel. Was there a conscious effort to make this sequel more family friendly?
A. Of course, this was the request by the production and the distribution companies.
Q. We have shocked ourselves that we are writing not one but two books about the Breakin' phenomenon 34 years later. When
you were shooting Breakin' 2, did you ever think that you would still be answering questions about the film all these years
A. Not at all, as you know most of the low budget independently produced movies disappear as time marches by. For such
a movie to be relevant so many years after it came out first it is an incredible phenomena. It is impossible to predict that
it might happened at the time of filming.
Q. In the pop culture lexicon, Breakin' 2's flashy subtitle "Electric Boogaloo" has become an affectionate moniker
associated to movie sequels. How did it come about and who gets the credit as the mastermind behind the name "Electric
A. The Grantland website in its Hollywood Prospectus section published an extensive article titled "How Breakin'
2 Electric Boogaloo Became a Movie and Then a Meme" The writer of the article did a thorough research and came up with
few conclusions. The article is available in the internet. In any case I was not involved in coming up with this name it was
already in place when I was asked to direct the movie. As I understand it Menahem Golan invented this name perhaps together
with Shabba-Doo and Boogaloo Shrimp based on a similar name of a dancing group with a similar name: the Electric Boogaloo
Lockers that twisted, necked, and locked on Soul Train in the 1970s but no one knows for sure. The phrase by itself became
synonymous with the 80s and a substitute for the word "sequel". I just read the following sentence somewhere on
the internet; "we are waiting for a sequel to the bible that will be called Bible II: Electric Boogaloo". Even the
latest documentary that encompasses the history Cannon film is titled Electric Boogaloo: The Wild, Untold Story of Cannon
Q. Finally, you're often renowned for all the exciting action films that you have directed but we like to think of Breakin'
2 as your "jewel in the crown", that special film in your catalogue that highlights your versatility as a filmmaker.
Why do you think Breakin' 2 has brought so much joy to so many and where does it sit in your legacy?
A. Breakin' 2 brought joy to so many because in is full of fun, optimistic, positive, youthful and colorful movie. I am
faltered to know that you consider it the jewel of the crown of my moviemaking career. Within my legacy Breakin' 2 is actually
the second most popular film the one that tops it in the number one spot is American Ninja with Michael Dudikoff but it must
be noted that Electric Boogaloo is clean of any blood and violence and therefore appeals to boys and girls of all ages young
and mature and that is for my a source for a lot of satisfaction.
Thanks again, Sam. Tony & Doug Pichaloff