It’s a move away from the action/horror, that the first movie so vividly portrayed, and a move towards a more urban drama. “If you like moody, suspense thrillers then there’s potentially a different audience that can be added to the existing ones. I’m hoping that the Spawn fans will come, and they’re the ones that are actually gonna go. They’re loyal, they’re gonna come anyways and I’m not gonna take advantage of that, I’m here to present Spawn in a different light and see whether they go ‘I hate it’ or ‘it’s not bad.’” The change to a more dramatized version of Spawn also makes it a lot easier for McFarlane to get funded. “There are budgetary issues in all of this. I was able to switch the movie over to Columbia, and this is the stuff that doesn’t always get out to the papers. If I go to Columbia and give them this big fantastic movie on Spawn, it’s tough for them to swallow that. They’d say ‘Why should we give you $70 million when the first movie only made under $60 million?’ They have to look at their risk, so if I can come up with an idea that I’m excited about and that is more drama than special effects, then I can go in there and say, ‘no I don’t need $70 million, I need $25 million.’ If I need half of what I asked for the first time then all of the sudden they make decisions upon the budget, and of course the content.