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JoinTomatometer-approved, veteran film critic debbie lynn elias and a line-up of talented and informed guests as she goes BEHIND THE LENS and below the line with movie reviews and interviews with an in-depth look at the filmmaking process from producing to performance to production design, directing, cinematography, costuming, scoring, editing, scripting, casting and more.

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  • #157
    Monday · 51 min

    BTL Radio Show - 08/24/2026 with ALICIA MacDONALD talking FINDING EMILY and CASPER KELLY talking BUDDY

    It’s a fun show this week on BEHIND THE LENS, thanks to director ALICIA MacDONALD talking about her new film opening on Friday, FINDING EMILY, and writer/director CASPER KELLY discussing his new film BUDDY, which also opens in theatres this Friday! First up, we’re going to Manchester, England with FINDING EMILY. Directed by Alicia MacDonald and written by Rachel Hirons, FINDING EMILY is the story of a lovesick musician named Owen who is given the wrong number for his dream girl, “Emily”, which leads him to team up with a driven psychology student from the United States, Emily Raine, to find her. Together, they spark a hilarious campus-wide frenzy that tests their own hearts and ambitions along the way. Side note for all of you - there are 40,000 students at the University. 318 are named Emily... plus some non-students also named Emily. And Owen’s ideas for finding “the right Emily” bring on all sorts of hilarity and heart. Set in Manchester, England, and celebrating all things Manchester from locations to shops to music, FINDING EMILY stars Angourie Rice and Spike Fearn as Emily Raine and Owen, respectively, (perfectly cast pairing, I might add) and Minnie Driver and the hard-nosed Dean Emily Watkinson. FINDING EMILY is truly a revival of the British romantic comedy, and it is firing on all cylinders with a youthful energy while tackling themes of how to be romantic in today’s world, dealing with emotional messiness, starting fresh as you move into the next chapter of your life aka adulting, and more. Alicia’s feature directorial debut, this is a crafts-heavy film that fully creates and immerses us in this collegiate world while embracing Manchester and the UK, and celebrating the individual Emilys we meet along the way. As Alicia explains in this exclusive interview, the primary goal for FINDING EMILY was to create an authentic, honest romantic comedy with an "indie soul" rather than a glossy studio feel. And she succeeds thanks to Rachel Clark’s cinematography and visual grammar with resulting visual tonal bandwidth, Bobbie Cousins production design and color scheme, Sarah Hassan’s costuming which informs and defines characters, incredible editing by Phil Hignett in finding the funny and balancing comedic beats with serious emotion while developing perfect pacing that has a cadence that fits the film’s score by Morgan Kibby and plethora of fantastic needledrops from Manchester bands. By film’s end, you’ll feel like you’re in college and actually fitting in with the Gen-Z crowd! Alicia and I cover it all! Shifting gears, get ready for a fun-filled look into the world of BUDDY courtesy of writer/director CASPER KELLY. I had so much fun watching this film and speaking with Casper about it. BUDDY is very cool. Fresh. Original. A novel idea! So, who is BUDDY? Well, BUDDY is a bright orange unicorn and star of the fictional classic childrens' television show who brought joy and life lessons into your living room. And Casper takes us inside the world of “It’s Buddy!” where we meet a group of children who spend their days singing, dancing, and helping Buddy spread happiness, while learning important life lessons. But what happens when one child refuses to play along, displeasing and angering Buddy? BUDDY may invite the easy shorthand of "R-rated Barney," but Casper Kelly's film reaches much farther back. Its real spiritual kinship lies with the earnest, brightly colored children's programming of the 1960s and '70s—especially NEW ZOO REVUE, with its anthropomorphic characters, songs, moral lessons, and unapologetically theatrical world-building—along with the handmade fantasy of Sid and Marty Krofft. Kelly understands that world well enough to know that the surest way to destroy it is first to make us believe in it. Bright, cheerful, relentlessly educational, and constructed with loving analog artifice, BUDDY initially plays its children's television conceit absolutely straight. There are no knowing winks telling us how ridiculous this all is. Talking animals, singing children, friendly household objects, cardboard fantasy kingdoms, and lessons about proper behavior are simply the rules of Buddy Park. And then, slowly, cracks begin to appear. By the time Kelly is finished, those cheerful life lessons have given way to something considerably darker. Blood. Death. And Dismemberment. Oh My! Murderous puppets. Mangled bodies. And crimes against innocent children's television furniture that should frankly land somebody in prison. A candy-colored confection of comedy and fun becomes a dark horror. As you’ll hear Casper admit, he wants BUDDY to entertain, but he also wants viewers willing to look beneath all that brightly colored fur to find something else, which is where his development of different worlds and influences like the beloved award-winning sci-fi novel A WRINKLE IN TIME, and even the WIZARD OF OZ, influence the Buddy world. As we discuss at length, Casper gives us permission to go to the dark side as there are lessons to be learned there as well. As Patrick Swayze memorably taught us in ROAD HOUSE: Be nice until it's time to not be nice. With Buddy, there definitely comes a time to not be nice. A wonderful part of our conversation revolves around Casper’s work with cinematographer Zach Kupperstein, a favorite of mine and someone who I’ve spoken to at length about other films. Zach’s lens prints are joyously all over BUDDY. And then there’s creating the analog tv world, and other worlds once we “go over the fence” and leave Buddy Park, eventually finding ourselves in a glossy digital land punctuated with 5.1 soundscape versus the mono of “It’s Buddy!”. And we cover Anna Kathleen’s marvelous production design, Shawna-Nova Foley’s costuming, Josh Ethier’s editing and the incredible puppeteering work of Devon Ludlow and Sedwan Hooks, plus, terrific voice work, including a fave of mine Patton Oswalt as the voice of Strappy the backpack zipper. Then there's the score by Michael Yezerski and stand alone songs by Shawn Coleman that you will hear over and over and over again in your head for days on end. A fun, fun, film that one might even call a bit twisted (ya think??), and an equally fun interview! FINDING EMILY and BUDDY are in theatres on August 28th!

  • #156
    August 17 · 41 min

    BTL Radio Show - 08/17/2026 with director BEN GREGOR talking THE MAGIC FARAWAY TREE

    I’m very excited to bring you this week’s BEHIND THE LENS Radio Show and my exclusive conversation with director BEN GREGOR talking about THE MAGIC FARAWAY TREE, a film, like the book on which it’s based, that keeps the child inside of us alive with fun and fantasy and good storytelling that speaks to family, imagination, and risk and is a shared language to us all. I’ve been under embargo on this one until today, and I’m so happy I can bring you this fun and interesting interview. Adapted from Enid Blyton’s beloved classic novel THE MAGIC FARAWAY TREE, the film centers on Polly, Tim, and their three children - Fran, Beth, and Joe - a modern family forced to relocate to the remote and rustic English countryside due to financial difficulties. As they adapt to their new lives with no electricity and no wifi and none of the modern conveniences they were used to, the children discover a magical tree and its extraordinary and eccentric residents, including treasured characters Moonface, Silky, Dame Washalot, Saucepan Man, Mr. Watzisname and Oom Boom Boom. At the top of the tree, they are transported to spectacular, fantastical lands like the Land of Goodies, the Land of Birthdays, the Land of Back to Front, the Land of Knowalls, and through the joys and challenges of their adventures, the family learns to reconnect and value each other for the first time in years. Directed by Ben Gregor and written by Simon Farnaby based on Enid Blyton’s beloved novel of the same name, THE MAGIC FARAWAY TREE stars Andrew Garfield, Claire Foy, Nonso Anozie, Nicola Coughlan, Jessica Gunning, Jennifer Saunders, Rebecca Ferguson, Dustin Demri-Burns, Oliver Chris, Mark Heap, and more. The real magic and wonder and fun of THE MAGIC FARAWAY TREE comes courtesy of the incredible crafts artisans who bring the worlds of THE MAGIC FARAWAY TREE to life - cinematographer Zac Nicholson, editor Gary Dollner, production designer Alexandra Walker, art directors Janet Harwood, Hannah Moseley and Jo Riddell, composer Isabella Summers, and costume designer Ann Maskrey whose work here is truly award-worthy. It was a joy to speak with director BEN GREGOR about THE MAGIC FARAWAY TREE, as we examined the adaptation of such a beloved book that is both freeing and freewheeling, and how to steep the movie world in Blytopia. A frothy, light, pure delight with serious crafts, Ben highlights the film’s fanciful and imaginative elements, particularly the importance of staying true to Enid Blyton's source material while adding creative touches as he described the meticulous set design, not the least of which includes the edible sets and the absence of plastic in "Blytopia”. As we keep climbing up THE MAGIC FARAWAY TREE and all of its utterly enchanting, fanciful, kooky fun, we take a look at elements of scale, the use and design of practical effects, Zac Nicholson’s gorgeous cinematography and the use of color and contrast between the faraway worlds and the real world. When it comes to Gary Dollner’s editing, it is beautiful and seamless on every level, delivering some exquisite montage sequences. And the work of Zac and Gary beautifully showcases the creativity and magic that comes from Alexandra Walker’s production design, the art direction, Ann Maskrey’s costuming, and the fanciful hair and make-up. As Ben explains, an interesting aspect of this production is that it required they invent new techniques to achieve Ben’s desired result. Everything had to be found, salvaged, made or created in-house with a “Swiss Family Robinson” ingenuity. Real world machinery (like a big drilling screw) echoed fantasy inventions. On every level, the fantasy world is mirrored in the real world, underlining the power of inspiration and imagination. Striving for authentic wonder and adventure so that reactions, particularly of the kids, would be genuinely gobsmacked, everything was grounded in a world you could touch and taste. They even created their own visual effects company to handle what VFX they did use. But Ben is quick to stress, and does so several times, that this is an independent, handcrafted production that leans into physicality and tactility rather than relying on digital shortcuts. Discussing his key philosophies in making the film, Ben expounds on his thoughts on collaboration, the power of the words “I don’t know”, and creating an environment where people’s first drafts actually ended up in the film. As we tie in elements of THE MAGIC FARAWAY TREE with its nods to other fantasy worlds like Matilda, James and the Giant Peach, Narnia, Hitchhiker’s Guide to the Galaxy, The Hobbit, and Lord of the Rings where village life naturally tips over into fantasy, one of the most wonderful homages within the film is to The Wizard of Oz with a key scene that may find you reaching for tissues. And all of this talk of fantasy gives rise to some wonderful anecdotes from Ben, particularly one involving his own childhood and Roald Dahl! So sit back, relax, and take a listen as director BEN GREGOR talks about the fantastically wonderful and delightful THE MAGIC FARAWAY TREE..... Enjoy!

  • #155
    August 10 · 38 min

    BTL Radio Show - 08/10/2026 with writer/director/actor REED ARNOLD talking DO US PART

    Sorry we didn't have a BEHIND THE LENS show for you last week, but some unforeseen circumstances prevented it. But I'm back this week with a fun interview with a very affable, engaging, funny, and talented director, writer, and actor, REED ARNOLD, as we talk about his feature directorial debut DO US PART. A fun, fun rom com, filled with a lot of heart, terrific performances, and some great physical comedy, DO US PART is the perfect relaxing summer entertainment. And for those of you in New York City, the film just opened in theatres on Friday the 7th. For those of you in LA, it opens this Friday the 14th. And for everyone in between, it will also be available On Demand on the 14th, as well. There are romantic comedies that aim for a chuckle, and then there are the rare ones that leave you, as I told Reed, laughing yourself silly. DO US PART comfortably lands in the latter category. Yes, it carries “shades of My Best Friend’s Wedding” in its DNA, but Reed gleefully cranks everything “to the nth degree with comedy,” layering in rapid-fire dialogue, intricate physical set pieces, and a surprisingly heartfelt third act that refuses to let go of the laughs even as it leans into genuine emotion. On what should be the happiest day of his life, Ryan's wedding is thrown into chaos when Rose, his best friend from college—and the woman who has secretly loved him for years—arrives uninvited, determined to finally tell him how she feels. As old emotions resurface, Ryan's best man, Mark, finds himself scrambling to keep a web of long-buried secrets from detonating before the couple can say "I do." Starring Travis Laughlin as our groom Ryan, Reed Arnold as Ryan’s best man and long time best friend Mark, and Kelly Russo as Rose, the third prong in this collegial friendship, the dynamic between the three is seamless, palpable, and beyond believable. But beyond that, their individual and collective acting talents with comedic timing - both in dialogue and physical comedy - is superb. As I told Reed, Kelly has some shades of Lucille Ball in her performance as Rose. As writer and director, Reed delivers a clean, sharply defined concept. While the film’s freewheeling banter and screwball energy feel spontaneous, he built them on a premise he hadn’t quite seen before, even in the well-trodden realm of wedding-set rom-coms. And this began as a very successful stage play in North Hollywood, California before Reed ultimately decided to turn it into a film. And with turning it into a film, came the considerations of expanding the story and making everything cinematic. Luckily he turned to Nic Vannatta as his cinematographer. Nic delivers a film that looks far more expensive than it actually was, something Reed credits to Nic’s mastery of “lighting,” “framing,” and “lenses,” and the way he deployed those tools to carve out distinct visual worlds of a bright but slightly stark wedding day balanced against soft, nostalgic college flashbacks. The visual grammar is clean, sharp, visually interesting, and beautiful, with camera placement and framing to mirror the emotional journey of the characters, and is quite often very metaphoric. As you’ll hear in this interview, Reed delves into his processes taking this story to the stage and then to the screen both in expanding the story and then working with Nic Vannatta to develop the visual tonal bandwidth and visual grammar, working with his cast - notable is that Reed, Travis and Kelly all met in acting class many years ago, the high energy score and the work by Josh and Stephen Tackett with the music and with the sound design, the editing, and of course, Reed wearing all those hats and answering the big questions - would director Reed ever work with actor Reed again and vice versa..... So, take a listen and enjoy the fun and insight from writer/director/actor REED ARNOLD into DO US PART. And don't forget to check out www.behindthelensonline.net for more interviews and reviews! A good one for all you cash-strapped, lo budget/no budget/microbudget indie filmmakers to take a gander at is my interview with Ryan Johnson, Founder and Head Fabricator of NEW RULE FX. If you need it breakable, bloodied, dirtied, stunt safe and hero worthy props and materials, NEW RULE FX is the place for you. Check out the interview and then check in with Ryan Johnson and NEW RULE FX!

  • #154
    July 27 · 1 hr

    BTL Radio Show - 07/27/2026 with director JESSE V. JOHNSON discussing ABOVE & BELOW

    It’s finally here! It’s SHARK WEEK 2026! And who doesn’t love SHARK WEEK? I know I do! To celebrate this time-honored tradition, this week we're talking sharks and shark movies with director JESSE V. JOHNSON and his new film ABOVE & BELOW. But first, a little background for you on Shark Week! Starting as a programming experiment on July 17, 1988 on the Discovery Channel, Shark Week has blossomed into one of the most anticipated viewing celebrations of the year. This year’s Shark Week delivers 20 jaw-dropping, blockbuster premieres across every night, packed with pulse-pounding action, epic breaches, and high-stakes encounters. Featuring pioneering technology, groundbreaking investigations, and unbelievable stunts, each special dives into the mysterious worlds of these apex predators, bringing audiences closer to their raw power and untamed nature like never before. Thanks to the popularity of Shark Week, National Geographic hopped into the viewing shark cage with their own celebration, Shark Fest, which is now in its 14th year with documentary programming on the National Geographic channel as well as on Disney+ and Hulu, running all during the month of July. Ever since Peter Benchley’s 1974 best selling novel and Steven Spielberg’s subsequent release of the movie “Jaws” in 1975, the fascination with and celebration of sharks has taken the world by storm. And while Shark Week and Shark Fest honor the scientific and informative aspects of sharks on the small screen every July, did you know that there have been over 400 shark-themed movies produced worldwide since cinema began, be it for theatre or home video/streaming release? Personally, I think that number is a bit low. Let’s face it. People love sharks. In honor of this special time of year, and although there are several new shark-themed films currently out and/or releasing this week, today we’re talking about one sharktastic movie - ABOVE & BELOW - with director JESSE V. JOHNSON. You already know Jesse’s work thanks to films like Chief of Station, Thieves Highway, The Debt Collector films, and Hell Hath No Fury, but now, with ABOVE & BELOW, the former stuntman-turned-director who has never been afraid to push bodies, cameras, stunt teams, and himself to their limits, dives into new territory as thanks to Anthony Giordano's screenplay for ABOVE & BELOW, Johnson was presented with something altogether different. Water. Lots and lots of water. And sharks. More significantly, it gave him a group of young protagonists far removed from the weathered, world-weary characters with whom Jesse generally gravitates. And dare I say up front that ABOVE & BELOW is simply SHARKTASTIC! A basic premise, but one that has tension reigning supreme above the water and danger lurking below, in ABOVE & BELOW, during a Mexican shark dive, five friends are ambushed after discovering cartel cocaine. Trapped in a shark cage, Tatiana and Kaley are forced by the cartel to retrieve a bag of drugs on the seafloor. Battling legendary Great White sharks, dwindling air, and armed killers, the survivors mount a brutal fight to outsmart their captors and escape. Directed by Jesse Johnson with script by Anthony Giordano, ABOVE & BELOW stars Antonio Banderas, Laura Marano, Louis Mandylor, Jess Liaudin, Timothy V. Murphy, Christina Ochoa, Donncha Tynan, Ryan Bertroche, and Diego Llinas, while the team behind the lens includes one of my fave cinematographers Maxime Alexandre, editor Matthew Lorentz, and composer Maria Vertiz. In this interview, Jesse and I get in the shark cage and cover all things ABOVE & BELOW from Maxime’s beautiful lensing to Matthew’s rapier editing that sadly sacrificed some sharks and left them on the cutting room floor to Maria’s score and the musical challenges you face so as not to fall prey and imitate John Williams’ unforgettable Jaws composition. And then there’s the casting with some real surprises courtesy of Laura Marano and Jess Liaudin, and laugh out loud anecdotes about Louis Mandylor, sharks, and a corpse. Plus, another great endorsement for Nu Boyana studios, this time from Jesse. It’s a fun interview. It’s insightful as to the filmmaking process for ABOVE & BELOW. And it’s revealing into Jesse’s work as a filmmaker and his mindset and considerations. ABOVE & BELOW is in theatres on July 29th, but for even more new movie shark viewing, make sure to check out THE DEVIL’S MOUTH which takes us deep into the underwater rivers and caves of Thailand. It releases on Prime Video this week on the 29th. My interview with cinematographer James Kniest is already up on behindthelensonline.net, so make sure to check that out, too. And for some campy B-movie shark fun, you do not want to miss the new WATER PARK SHARK, also streaming on Prime Video. How can you say no to a film shot in a water park with sharks swimming down the water slides? You can’t. My review of that fun bit of chum will be out this week. Of course, don’t pass up Renny Harlin’s DEEP WATER which is currently streaming in the US on major platforms and available On Demand, as well as DVD and Blu-ray. And make sure to check out some of the sharktastic programming on Discovery Channel this week! Enjoy!

  • #153
    July 20 · 58 min

    BTL Radio Show - 07/20.2026 with writer/director/composer ERIC OWEN dissecting IN A COLD VEIN

    Get ready for a fun interview today on BEHIND THE LENS as I talk with writer/director and composer ERIC OWEN about his latest film IN A COLD VEIN. While we dig into the making of IN A COLD VEIN, we also have a lot of fun talking cats, duct tape, and blood. And my regular readers and listeners know how much I love talking duct tape and excessive use of blood in films. IN A COLD VEIN is Eric’s sophomore directorial following his debut feature in 2023, THIRST. I’ll tell you right now, I see growth in his filmmaking with IN A COLD VEIN, notably with the technical elements and using the tools in the cinematic toolbox. IN A COLD VEIN has a very simple plot - Dean is kidnapped and left for dead. Who kidnapped him, how and why are the questions that unfold as the story progresses. Desperation takes hold as Dean unleashes a firestorm of vengeance to find his 9-year-old son who is missing. But the truth behind the conspiracy is a shocking betrayal that may cost him everything. Written and directed by Eric Owen, IN A COLD VEIN stars, among others, Evan Gamble as Dean, Brian Villalobos and P. Michael Hayes as kidnappers Phil and Steve, Marc Pouhe, Mor Cohen, Cliff Dean, and Steve Brudniak as a trucker named Chuck. On the production side, Josh Taylor delivers on lighting and lensing while Samantha McDanel builds tension and suspense with the film’s editing. Nihar Gagneja dazzles with the film’s sound design and mix with a celebration of silence. And as mentioned, Eric is also the film’s composer. In this exclusive interview, Eric and I dive deep into the making of his thriller IN A COLD VEIN, focusing on how working within the confinements of a van, and shooting at night, impacted the visual grammar developed by Eric and his DP Josh Taylor, including the film’s color palette, not to mention the importance of close-ups and ECUs given the film’s use of minimal dialogue, a bound and gagged protagonist Dean, and selected silence. Roughly 80% of the film plays in close-up or ECUs. Explaining how the film grew from a single first-shot image—an eye opening in extreme close-up, pulling back to reveal a bound man in a van—and then expanded into a multi-phase thriller: an assassination-survival story that evolves into a mystery about who ordered the hit and finally into a revenge narrative, this in-depth conversation really takes you through the mechanics of cinematic creation. Delving into the layered characters, perhaps one of the most interesting being Chuck the truck driver, we segue into the dialogue structure and sound design which help build each character and the twists and turns of the story. Dissecting the sound structure and score is very interesting, particularly Eric’s development of the score and how he gravitates toward odd time signatures, minor keys, and tritone-heavy harmonies to keep the viewer slightly off-balance, while still making the music “groovy” and listenable. On the editorial front, interesting for all of you filmmakers out there is that Eric says the cut itself wasn’t the hardest part, because he and DP Josh Taylor often shot with specific, limited coverage in mind. The real challenge came in precision moments of violence and surprise, like the under-the-table hand-stab shot which is hands down, one of the movie’s “money shots.” Eric cites the horror film “Smile” as inspiration for the way that scares are structured and timed, and reiterates his belief that a few well-earned jump scares are better than an onslaught of cheap ones. And among all of the cinematic dissection, which is much more than what I just described, there are a lot of laughs along the way, especially about duct tape and blood usage. IN A COLD VEIN is currently available On Digital and On Demand. I also want to encourage everyone to head to your nearest theatre and see Christopher Nolan’s THE ODYSSEY on the biggest screen possible. If you can, IMAX is an absolute viewing must. So is Dolby Atmos sound!! Sound design and mix is beyond a WOW! This film is masterful on every level and truly Nolan’s interpretation of the Homer Classic. And mark my word, this is an Oscar contender on every level, including the newest awards category, Casting Director. From cinematography to editing to a beautiful haunting score to hair and make-up and costuming to production design, THE ODYSSEY is flawless filmmaking. I’m just sorry that the Academy Award for Stunt Design won’t be given out until the 100th Academy Awards for films released in 2027 because the action sequences on land and sea are eye-poppingly intense and beyond award-worthy. As I have already stated on social media, Christopher Nolan IS cinematic brilliance. Make sure to check out behindthelensonline.net for more movie reviews and interviews - and there are plenty of new ones with more to come! And be on the lookout, because I’m doing some deep dive interviews and reviews this week and next in honor of SHARK WEEK!!! Enjoy!

  • #152
    July 13 · 1 hr 5 min

    BTL Radio Show - 07/13/2026 with director/writer/actor BRITT BANKHEAD talking THE TOWN THAT TAKES

    A new filmmaker for you today on BEHIND THE LENS! BRITT BANKHEAD - director, co-writer, producer, and lead actor joins me talking about his narrative feature directorial debut, THE TOWN THAT TAKES. How many of you remember some of your elementary school lessons about the early settlers of the colonies? I know I do, and so does Britt, and he is bringing us an interesting and entertaining film that blends the legend of CROATOAN with a present-day mystery-horror film that focuses on those 115 settlers in Roanoke, Virginia, who went missing in the 1500s. Inspired by CROATOAN, the only clue left behind following the disappearance of the Lost Colony of Roanoke, the film transforms one of America's most enduring unsolved mysteries into a chilling blend of Southern Gothic atmosphere, investigative suspense, a whodunnit, and supernatural terror, and lots of old-school action. For generations, historians, researchers, authors, and paranormal enthusiasts have searched for answers surrounding the disappearance of the Roanoke colonists. Science and documents have shown what theoretically happened, but with no definitive explanation ever discovered, the event remains one of the most debated mysteries in American history. The only clue left behind was a single word in Algonquin: CROATOAN. The official synopsis for THE TOWN THAT TAKES is that this is the story of Dean Richardson, a troubled Army veteran living alone in Georgia, who travels to North Carolina following the sudden death of his ex-wife. After the funeral, he brings his estranged twelve-year-old son, Wyatt, home with him in hopes of rebuilding their fractured relationship. Their journey takes an unexpected turn when they stop in a small backwoods town haunted by whispers surrounding the mysterious word "CROATOAN." After encountering unsettling locals and witnessing increasingly strange events, Dean finds himself caught in a growing nightmare when a motel clerk is found brutally murdered, and he becomes the prime suspect. As veteran Detective Douglas O'Shea and rookie Detective St. Clair investigate a series of unexplained deaths connected to the area, evidence begins pointing to something far more sinister than a simple murder case. Reports of impossible attacks, missing persons, and strange encounters spread throughout the county while Wyatt suddenly disappears. Forced into an uneasy alliance with O'Shea, Dean races to find his son and uncover the truth behind the legend of CROATOAN before an ancient evil claims another victim. Directed by Britt Bankhead, and written by Bankhead and Jon Blaze, THE TOWN THAT TAKES stars Bankhead as Dean Richardson, Miles Mussenden and Grace Patterson as Detectives O’Shea and St. Claire, respectively, Nico Tirozzi as young Wyatt (and he is fantastic), and Mike Markoff as Officer Adams. And it’s not just Britt Bankhead wearing multiple hats. Joining him is Jon Blaze, who, in addition to being co-writer, is also cinematographer and editor. As you’re about to hear in this exclusive interview, Britt and I also pay great attention to composer Edward Antoine, sound mixer Landon Lipinski, and stunt coordinator John Moio, whom I first met some 44 years ago. He’s now 87 and STILL knocking ‘em dead with old-school car chases and fight scenes! In this exclusive conversation, Britt and I dig deep into the challenges and creative decisions of bringing this story to life, not the least of which is Britt’s workload of wearing multiple hats on the project. And as comes as no surprise, Britt does admit that, while rewarding, he would likely not take on so many roles simultaneously in the future due to the intense demands and lack of sleep. Britt reflects on the challenges of directing and acting simultaneously, the importance of trusting his team, and the need for adaptability on an indie film set. The editing process, led by Jon Blaze, was described as collaborative and crucial to maintaining tension, especially in key scenes like a powerful interrogation sequence. We’re talking location scouting and the benefit of having an entire community on board with your film shoot, especially the police department, which allowed them to shut down intersections and perform practical stunts, including old-school car chases and fight scenes under the tutelage of stunt coordinator Moio. Key to the film is that Britt prioritized practical effects, including a unique creature and the extensive use of makeup and blood effects reminiscent of 1980s slasher films. A big part of our conversation deals with the collaborative relationship between Britt and Jon Blaze, especially in developing the film's visual style, shot lists, and handling the logistics of night shoots and complex action sequences. And casting! Britt’s got a solid cast with two amazing standouts. Of course, I had to ask what Britt learned about himself as a filmmaker in making THE TOWN THAT TAKES. Think perseverance, teamwork, and the importance of not overextending oneself by taking on too many roles. Bottom line is that THE TOWN THAT TAKES is a strong directorial debut for Britt Bankhead. So, take a listen as director/co-writer/producer/ and lead actor BRITT BANKHEAD talks all things THE TOWN THAT TAKES. THE TOWN THAT TAKES is in select theatres now!

  • #151
    July 6 · 55 min

    BTL Radio Show - 07/06/2026 with writer/director ANTHONY FRITH talking MOCKBUSTER

    It’s another entertaining and enlightening episode of BEHIND THE LENS thanks to director/co-writer ANTHONY FRITH and his documentary MOCKBUSTER. Now, MOCKBUSTER isn’t your typical documentary. This is a documentary directed by Anthony Frith concurrently with his directing of another Asylum B-movie classic, THE LAND THAT TIME FORGOT. I know you know The Asylum, the studio responsible for the SHARKNADO franchise and a few hundred other glorious B-movie genre gems that inevitably revolve around sharks, aliens, dinosaurs, Nazis, Russians, nukes, bad accents, vampires, zombies and generally a take-off on known blockbusters by altering titles and scripts ever so slightly into what have become known as “Mockbusters.” Now, don’t ever knock The Asylum and its founders/creators, David Latt, David Rimawi, and Paul Bales. These guys have perfected a business model and moviemaking formula that lets them churn out films, many in less than a week with principal photography, do all the post-production in a well-oiled in-house machine, and then bring them straight to you on digital/video/dvd aka direct-to-video platform. And their films are, on the whole, a ton of fun. Enter Australian filmmaker ANTHONY FRITH. Anthony has an interesting background but has primarily made a living making corporate video shorts and PSAs like “how to grieve” video manuals, but has long dreamed of directing a feature film. One day, the light bulb went off, and he got the idea to reach out to The Asylum, asking to direct a film. As luck would have it, The Asylum had a movie for him to direct - THE LAND THAT TIME FORGOT. Terrific! But, Anthony has to adhere to The Asylum model - 6 days to film, there is no script yet, and we want it shot in Australia. Okay! But Anthony took things a step further. He saw comedic potential in documenting the process of making a film for The Asylum and spoke with David Latt, CEO and Head of Production, about his idea to shoot a documentary of the making of THE LAND THAT TIME FORGOT while he was shooting THE LAND THAT TIME FORGOT. Needless to say, Latt loved the idea and said go for it, which meant Anthony would be directing two films simultaneously - a documentary and a narrative, with the documentary capturing the entire Asylum process of B-movie filmmaking. Thus, MOCKBUSTER was born. MOCKBUSTER is a scream! And this conversation with Anthony is almost too much fun as Anthony and I dive into the logistics and challenges of directing two films concurrently. THE LAND THAT TIME FORGOT was financed entirely by The Asylum, while it was left to Anthony and his documentary producers to find financing for MOCKBUSTER. As you will hear, Anthony makes it clear that the two productions maintained separate budgets and did not overlap financially. They also had separate crews. As we dive deeper, Anthony discusses the intense pre-production and scheduling required to manage both projects, especially during the six-day principal photography window for THE LAND THAT TIME FORGOT. That 6-day shoot was a key element of Anthony’s approach to MOCKBUSTER as everything about the doc relied upon the timetable for THE LAND THAT TIME FORGOT. Working with his cinematographer Maxx Corkindale, they meticulously planned the documentary's aesthetic and coverage, often coordinating via in-ear monitors to capture key moments without disrupting the feature's production. The documentary crew blended into the background, allowing the feature's cast and crew to focus on their work while still being observed for the documentary. Post-production processes for the two films were also distinct. Asylum handled all editing and post for their feature in-house, with Anthony providing minimal input. Notable are scenes showcasing legendary Asylum VFX Supervisor Glenn Campbell, who passed away in late 2024. In contrast, Anthony was deeply involved in editing MOCKBUSTER alongside editor David Scarborough, with whom he shared a strong creative rapport and did not have time constraints like those of the Asylum for the feature film, which allowed Anthony and David to take their time. And dare I say that David did a knock-out job with the editing, striking a balance between the behind-the-scenes on the doc and the in-camera process of the Asylum feature. They worked together to shape the documentary's narrative and comedic tone, even as they waited for the feature's ending to be completed. Composer Bryony Marks joined late in the documentary process, but quickly delivered a full score that captures the fun of MOCKBUSTER. It’s interesting as we go back and forth between MOCKBUSTER and THE LAND THAT TIME FORGOT, almost like Anthony jockeyed back and forth in his mind during production. Filled with practical production details, and fun anecdotes about doing double duty at the same time, as well as the unique challenges of directing two films in different genres simultaneously, it’s also refreshing to hear Anthony’s praise for the MOCKBUSTER producers and crew (and of course, the folks at The Asylum, especially line producer Brendan Petrizzo who worked mathematical monetary miracles to pull off THE LAND THAT TIME FORGOT). And yes, Anthony reflects on the steep learning curve of making a feature-length film and the adaptability required to manage unforeseen changes during production. You can see MOCKBUSTER this Friday, July 10th, when it opens in select theatres with more to come, and is available nationwide on digital.

  • #150
    July 5 · 1 hr 17 min

    BTL Radio Show - 07/01/2026 Bonus! with JOSH DRAGOTTA and DOUG "FINI" FINICAL talking CABALI AND THE TIKI MUG OBSESSION

    Surprise! It’s a bonus edition of BEHIND THE LENS! So many terrific interviews of late with some very energetic and enthusiastic filmmakers, and all rather lengthy, that I can’t fit them all in on our weekly Monday show. And because of the fun and enthusiasm of these filmmakers, I want you to hear and enjoy that enthusiasm rather than read a written feature. So you’re getting some bonus episodes, and this is one of them as I chat with director and editor JOSH DRAGOTTA and Tiki mug collector and film subject DOUG “FINI” FINICAL about the documentary CABALI AND THE TIKI MUG OBSESSION. CABALI made its Los Angeles premiere at Dances With Films last month. What a fun, fun film and what passionate and engaging guys. I, for one, have always admired the artistry of tiki mugs, but until this film, never knew the history of the Tiki culture. CABALI AND THE TIKI MUG OBSESSION fills that void as it examines the history, artistry, and resurgence of Tiki culture through the collectors, artists, and enthusiasts who helped preserve it during a period when much of the culture was disappearing. And did you know that the Tiki culture, as it’s called, started right outside of LA in Venice, California? Focusing on the evolution of Tiki mug collecting from a niche hobby into a worldwide community rooted in design, craftsmanship, nostalgia, and preservation, the film also follows Doug “Fini” Finical, a longtime Tiki collector whose extensive collection of over 1000 Tiki mugs inspired the creation of Cabali, a modern speakeasy-style Tiki bar in Oro Valley, Arizona. Hand in hand with this exploration of the Tiki culture and its artistry, we follow Fini’s journey as he tries to build his dream - Cabali, a Tiki bar in Arizona. From location to color to decor to Tiki carvings to a lava wall (which is beyond cool), we hear from the architects and contractors as they meet the many, many challenges of Fini’s dream project. So determined to build Cabali, Fini even sold his house to get money for the build. Over 100 interviews were conducted for this documentary, including appearances by actress and comedian Kate Flannery, who is a Tiki devotee, Rock & Roll Hall of Famer Todd Rundgren, painter, designer, and illustrator Shag, and a wide range of artists, collectors, musicians, and Tiki historians connected to the culture’s ongoing revival. With a mix of interviews, archival materials, film, home movies, photos, vérité footage, and stylized cinematography, CABALI AND THE TIKI MUG OBSESSION goes beyond the collectibles themselves and looks at the community that formed around them. As you’ll hear in this interview, CABALI was a multi-year project with an unknown outcome. Josh breaks down the challenges and creative process behind editing the film, noting his background as an editor and the very deliberate choice to intertwine two narrative threads: the broader history of Tiki and the specific story of Cabali’s creation. He discusses how the visuals, including vibrant cinematography by Ryan Mihalyi and expert color work by David Taylor, were designed to immerse viewers in the world of Tiki, paralleling the artistry of the mugs and bar with the film’s own visual style. The use of dynamic camera angles, close-ups, and color was discussed as a way to highlight the craftsmanship involved in both the mugs and the bar’s construction. As comes as no surprise, we spend a good deal of time touching on the editing process, with Josh revealing that he cut two separate linear films—one about Tiki history and one about Cabali’s construction—before merging them into the final non-linear narrative, noting the difficulty of deciding when to stop filming and interviewing, and acknowledging that some interviews took years to secure. Important to Josh was to include a wide range of voices from the Tiki community while condensing a visually and historically rich story into a tight runtime. We also delve into the film’s sound design and music, with special mention of Silas Hite’s main title score and Tony Marsico’s contributions, which blend surf rock, Polynesian influences, and jazz notes to evoke the mid-century era when Tiki culture flourished. The music is not only energetic but also propels the narrative. And something that tickled me to no end is the film’s opening titles with Hite’s title score. Vibrant, bold, and alive, the film’s opening titles, which were inspired by the legendary Saul Bass and created with the help of Emily Eckstein, Silas Hite, and Ralph Smith, represent a shared aesthetic sensibility and collaborative approach to animation and design, as was the intention to create a visually striking introduction that sets the tone for the film. Fini joined the conversation to share his perspective on the organic development of the project. He recounted how his initial idea for a DIY-style documentary about building a bar evolved once Josh saw his extensive Tiki mug collection, realizing there was a deeper story about the artists and the subculture. Fini emphasized his initial reluctance to be the film’s subject, preferring the focus to be on the artists, but acknowledged that his role as an enthusiastic collector helped humanize the story and make it accessible to a wider audience. And, of course, we talk money and financing as the boys describe the logistical and financial challenges of making the film, including the need to travel to various Tiki hotspots and the dual task of funding both the bar’s construction and the documentary. Josh is generous with his praise of the film’s executive producers and a tight-knit group of supporters for making the project possible. As part and parcel to the financial threads of this doc and the building of Cabali is the collaborative nature of the bar’s construction, with artists and craftsmen contributing unique skills, often at personal financial sacrifice, driven by passion for the project. Now I’m sure you’re all asking yourselves the big question - what about the drinks? Those beautiful fruity, umbrella-wearing drinks that are served in those gorgeous Tiki mugs? Don’t worry. I’ve got you covered, as those were two of my big questions when it came to the film’s content. It’s a fun, fun interview. Josh imparts so much wisdom about his experience and the challenges faced in making CABALI AND THE TIKI MUG OBSESSION that all of you filmmakers and aspiring filmmakers will glean something that might aid you in your passion projects, as this truly became a passion project for Josh as well as Fini. For more information on CABALI AND THE TIKI MUG OBSESSION and upcoming festival screenings and distribution news, go to cabalidoc.com. And if you’re in Southern California, you can catch CABALI AND THE TIKI MUG OBSESSION on July 18th at 5pm at the Bay Theatre in Seal Beach, followed by a performance by The Martini Kings!

  • #149
    June 29 · 44 min

    BTL Radio Show - 06/29/2026 with director DERRICK BORTE talking about THE GET OUT

    Another fun week on BEHIND THE LENS! Another terrific film and filmmaker! That's right! This week, it's all about THE GET OUT with director/co-writer DERRICK BORTE. But first. . . Dances With Films has come to a close in Hollywood. Some fantastic films this year. You’ve heard some of my interviews the past couple of weeks with DWF filmmakers, and I still have a few more that you’ll be reading and/or hearing this coming week. I have some definite DWF fave films that I hope we’ll see with distribution deals in the coming months, notably YALE starring Kevin Dunn, the oh-so-fun documentary CABALI AND THE TIKI MUG OBSESSION, TENDER co-written and directed by Adam Hoelzel and starring Jess Weixler and Jesse Garcia, a wonderful short film GOOD VIBES ONLY, the high octane BANDIT, and one of my top picks at DWF this year, the incredibly powerful documentary THE LAST PLACE ON EARTH which spans a nine-year journey into the heart of Sumatra’s Leuser Ecosystem from writer/director David Booth Gardner as we follow a group of extraordinary wildlife activists as they risk everything to save one of Earth’s last untouched wildernesses from the devastation of the illegal palm oil industry. Deforestation, animal poaching, and global warming. When you think animal poaching, most think about Africa. When you think deforestation, most think about the Amazon. But Sumatra is a complex convergence of everything and Gardner lays it all out for you here. Keep your eye out for this documentary, people. The World Premiere was at DWF, so I anticipate maybe some more festivals or a savvy distributor snapping it up quickly. This week we’re talking about the fantastic THE GET OUT with co-writer/director DERRICK BORTE! What a fun ride! Wow! I laughed. I was entertained. I love the story. I love the third-act twist. The cast, led by Russell Crowe, is phenomenal. The production values are top-notch. Of course, how could they not be with Brendan Galvin as your DP and Mark Warner as your editor? And the film is in limited release in select theatres right now and hits digital tomorrow, Tuesday the 30th! Directed by Derrick Borte with screenplay by Derrick and Daniel Forte, based on the novel STRIP by Thomas Perry, THE GET OUT stars Russell Crowe, Luke Evans, Teresa Palmer, with the scene-stealing duo of Nina Dobrev and Aaron Paul. A fun premise, nightclub owner Manco (Russell Crowe) is on the verge of leaving his dangerous past behind for retirement with his girlfriend Sunny (Teresa Palmer). When masked gunmen Carrie and Jeff (Nina Dobrev, Aaron Paul) rob him and he finds himself squeezed by ruthless cartels, a mysterious newcomer, Joe Carver, (Luke Evans) arrives with an interest in buying Manco’s business - money laundering and all. With danger closing in from all sides, Manco must navigate a deadly web of deception, power, and survival - where escape may no longer be an option. I have long admired Derrick Borte and his films, going all the way back to “The Joneses” and most recently, his last outing with Russell Crowe, “Unhinged”. In this comprehensive look at the creative process behind THE GET OUT, from adaptation and casting to visual style, editing, and music, and let’s not forget humor, Derrick showcases the collaborative efforts that contributed to the film's success. Digging into the adaptation process, which is something we don’t talk about enough, you’ll hear Derrick talk about working with Russell Crowe and co-writer Daniel Forte. Borte explains that the film was adapted from Thomas Perry's book, and yes, they took creative liberties to better connect the ensemble of characters around the central figure of Manco. Interesting are Derrick’s thoughts on the importance of weaving supporting characters like Joe Carver, Jeff, Carrie, and Manco’s assistant Spence into the narrative, building toward an explosive climax. Of course, casting is king, and there’s a lot to be said about Nina Dobrev and Aaron Paul as Carrie and Jeff, respectively, who steal the show. Structurally, I love that although this is an ensemble, each character within the ensemble believes that they are the main character, which adds a fun level of absurdity and depth to the story. And how about Russell Crowe, who plays Manco, as kind, gentle, and morally complex, bringing humanity and likability to the role. He makes Manco endearing. And yes, we break down the film’s visual style and the visual grammar on the whole with Derrick and Brendan Galvin opting for practical effects, especially in car chase sequences, which were shot almost entirely in-camera to enhance realism and engagement. Plus, Derrick explains the reasons for wider shots and longer takes, and treating Los Angeles as a character, even though the film was shot in Australia. The editing process with Mark Warner was collaborative and dynamic, with Warner's experience and objectivity helping to shape the film's pacing and narrative flow. Something you don’t often hear is a director loving an editor’s willingness to challenge him and make tough decisions for the benefit of the story, which is what Warner did. Mark Warner is an editor dear to my heart, having cut a few films that I worked on as a PA very early in my career. And what’s a film without a score? THE GET OUT has a terrific one thanks to composer Bryan Senti. I’ve got to mention another film that is in theatres now that is a “Must See”, and that is Rod Lurie’s LUCKY STRIKE. Set in December 1944 during the Battle of the Bulge in WWII and starring Scott Eastwood, LUCKY STRIKE is one of the most powerful and emotionally immersive viewing experiences on the screen today, LUCKY STRIKE derives its power not only from its World War II authenticity and remarkable technical and visual craftsmanship, but from experiencing the war through the first-person perspective of Captain Castle, an engineer who voluntarily enlisted and left his young family to join the fight against the Nazi regime. World War II remains one of the few wars in history where good and evil are so clearly defined, a fact that lends itself powerfully to both filmmaking and storytelling. Production values are high, the cinematic structure is gorgeous, and Eastwood delivers the best performance of his career to date. Trust me when I say, do not miss LUCKY STRIKE. And this Friday, July 3rd is the Season One finale of DUTTON RANCH. Have you been watching? If not, time to binge and catch up - especially since it was FINALLY announced that we’re getting Season Two! Thank goodness, as this show just ups the ante and danger ever higher from week to week, and Episode 7 gave us some shocking insight into just how dirty Beulah and the 10 Petal Ranch is, not to mention the crossroads facing young Carter. I’d say hold onto your hats because the season finale this Friday could prove to be equal to a gunfight at the O.K. Corral!! I’m champing at the bit! Plenty of new reviews and interviews on the website for you at www.behindthelensonline.net, along with all of our BTL Radio Shows (all 11 ½ years worth!), just in case you’ve missed some and the terrific interviews in them. Until next time, HAPPY 4TH OF JULY!!

  • #148
    June 22 · 1 hr 42 min

    BTL Radio Show - 06/22/2026 with MICHAEL GLOVER SMITH talking HEKLA and DOUG BREMNER discussing THE GOOSE THAT LAID THE GOLDEN EGG

    It’s another week of BEHIND THE LENS shining a spotlight on DANCES WITH FILMS and a couple of the wonderful films and filmmakers in this year’s festival, namely HEKLA and w/d MICHAEL GLOVER SMITH and THE GOOSE THAT LAID THE GOLDEN EGG and w/d DOUGLAS BREMNER. First up - MICHAEL GLOVER SMITH and HEKLA! HEKLA is a comedy/drama about the emotional cost of pursuing a creative life. Set over one hectic day in Chicago, it explores how ambition, identity, and vulnerability collide when you’re chasing something as personal – and uncertain – as an acting career. Hekla Gudmunsdottir (Elizabeth Stam), a determined actress, races through auditions, breakups, and self-doubt, risking her heart and career to claim her voice and step fully into the artist and woman she’s meant to be: Hekla goes on four auditions, gets new headshots, and plays Lady Macbeth in a dive bar, all while attempting to keep intrusive thoughts of a recently ended relationship at bay. Beneath the humor and dramatic momentum lies a story about the importance of showing up for yourself, even when the world isn’t clapping for you yet. Written and Directed by MICHAEL GLOVER SMITH and co-written by Elizabeth Stam, HEKLA stars Elizabeth Stam, Wendy Robie, Mary Tilden, Brookelyn Hebert, and Sadieh Rifai. And let me put these folks on your artisans' radar right now because their work in HEKLA is beyond outstanding - cinematographer Jose Perez, editor Eric Marsh, production designer Heather Kuhlmann, and composer Trev Gibb. These magicians give HEKLA the visual textures and excitement that it has. In this exclusive interview, Michael and I break down HEKLA and all of its production elements. There’s much to see and much to unpack with this film, starting with its unique structure of five acts, each with distinct titles and styles, inspired by both classic cinema and personal experiences with casting. The film follows a day in the life of HEKLA, an actress navigating multiple auditions, with each act able to stand alone as a short film. Michael collaborated closely with lead actress Elizabeth Stam, who co-wrote the script, and credits the film’s visual impact to cinematographer Jose Perez and production designer Heather Kuhlmann. The movie uses mostly black-and-white visuals with bursts of vibrant color to reflect HEKLA’s inner world, drawing inspiration from classic Hollywood and the French New Wave. Editing by Eric Marsh and a pre-recorded, dreamlike score by Trev Gibb further enhance the film’s tone. The interview also touches on the film’s open, ambiguous ending and the collaborative, fast-paced production process. Shifting gears, and I do mean shifting, we move into a medical legal tale told from a very unique perspective - that of the medical expert. THE GOOSE THAT LAID THE GOLDEN EGG is inspired by a true story involving writer/director DOUG BREMNER. In addition to being a filmmaker, Doug is also a professor of psychiatry and a medical researcher. He did brain imaging research on the effects of an acne medication, isotretinoin (Accutane), on the brain, and as a result became an expert witness in multi-district litigation related to depression and suicide in teenagers who had taken the drug. The research was funded by private donations from affected families. THE GOOSE THAT LAID THE GOLDEN EGG is a fictionalized story with elements of truth. In reality, the plaintiffs settled with the drug manufacturer, and part of the settlement was a confidentiality clause that precluded them from talking about the settlement. In the film, we meet Amanda Bellaconda, a mother grieving the death of her son as the result of suicide, who seeks the help of Dr Jack Forteo to understand why teenagers are suddenly taking their own lives after taking a medication for acne. Carinaderm (the fictional drug in the film) is the goose that keeps laying golden eggs, an acne medication bringing in a billion dollars a year for the Renzon Pharmaceutical Company. When Dr. Forteo sees a potentially lethal side effect of their blockbuster acne pill, Renzon doesn’t hesitate to pull out the stops with personal attacks and accusations of fraud, bringing Forteo’s marriage and career to the brink of destruction. With nothing left to lose, Forteo goes on a journey to revisit a tragedy from his own past. When he unearths painful secrets and deceptions that parallel those he has discovered in the pharmaceutical company, his voyage of self-discovery gives him the strength to resume his struggle, leading to the ultimate conclusion. THE GOOSE THAT LAID THE GOLDEN EGG is written and directed by DOUG BREMNER and stars Andy Evans as expert witness Dr. Jack Forteo, David de Vries, Hannah Fierman, Shaan Sharma, Caroline Avery Granger, and Nisey Woods. In this exclusive conversation with writer/director DOUG BREMNER discussing THE GOOSE THAT LAID THE GOLDEN EGG, we start with the film’s very unique perspective - that of an expert witness in a medical legal case. The conversation covers the importance of legal accuracy, especially regarding the cases of Daubert and Frye standards. It was also important to Doug to create strong, multidimensional female characters. Doug gives us great detail about the casting process, location challenges, and the collaborative work with his cinematographer Jim McKinney and editor Kristina Kromer to achieve authentic visuals, not to mention some behind-the-scenes anecdotes. He explained how real-life experiences as an expert witness informed the script and character development, and described the editing, scoring, and sound design process. The film stands out for its realistic portrayal of courtroom dynamics and the pressures faced by expert witnesses, offering a fresh take compared to typical legal or medical dramas. HEKLA is screening at DWF on Tuesday, June 23, 2026, while THE GOOSE THAT LAID THE GOLDEN EGG screens on Saturday, June 27, 2026.

  • #147
    June 15 · 1 hr 1 min

    BTL Radio Show - 06/15/2026 with special guest director JAY SILVERMAN discussing YALE

    Last week was all about Tribeca Film Festival and some wonderful animated short films that had their premieres there. This week it’s all about Dances With Films, which starts this week on June 18 and runs through June 28 at the TCL Chinese Theatre complex in Hollywood. And there are some great films for you to look forward to seeing, starting with the opening night film - the world premiere of YALE from director JAY SILVERMAN. I love this film! YALE is based on a true story about screenwriter Van Billet’s maternal grandfather. When he first learned about his family lore as a young teen, he couldn’t believe it was true and knew he had to write about it. YALE is directed by Jay Silverman and written by Van Billet and stars Kevin Dunn, Caitlin McGee, Kathleen Gati, Rachael Harris, Dominic Leeder, Nene Nwoko, and Benjamin Mackey. Abandoned by her beloved father, Yale Parker, when she was nine, Mackenzie (MAC) Mitchell’s adult life has been consumed with alcohol and run-ins with the law, causing a deep rift with her son, Ryan, 12. When Ryan needs an emergency kidney transplant, his only chance at survival might be the last person Mac wants to ask for help — her father, whom she hasn’t seen for thirty years. Their reunion is complicated when Yale reveals a jaw-dropping secret that he has eight other families that he kept hidden from her all her life…and one of them might be a match to save her son. As this odd couple set off on an epic road trip to track down her half-siblings, an unexpected bond begins to form between them, ultimately both learning that ‘genes’ run deep. I spoke with director JAY SILVERMAN the other day about YALE. This is our fourth interview together chatting about his films. He is always a joy and is so generous of spirit. And he loves storytelling and making movies. I will always have time for Jay and his films. Setting YALE head and shoulders above the crowd starts with Kevin Dunn, who plays Yale Parker. When was the last time you got to see Kevin Dunn - a cinematic and television institution - with a leading role where he got to showcase drama, comedy, and lots and lots of heart? Beyond the heartfelt script, Kevin is one of the main reasons that make Yale so special. As you’re about to hear in this exclusive interview with Jay, and forgive the roundaboutness of our conversation as we kind of hit everything backwards and sideways, we cover all the aspects and elements of YALE. We start by chatting about Kathleen Gati, who plays Bunny, an ex-stripper and current wife of Yale. Being a die-hard Kathleen Gati fan thanks to her years on “General Hospital”, knowing that she was in the cast was one of the reasons I was excited for YALE, as I know what she brings to the table. And for all you GH fans and Kathleen Gati fans, do not look to see Mutter, aka Dr. Liesl Obrecht, anywhere in Bunny. This is another side to Kathleen’s talents that she delights us with as she brings her unique qualities to YALE, including her versatility and comedic talent. And I’ll be honest with you. Normally, I don’t excise any part of my conversations with talent unless it’s something off the record or very personal and not to be shared, but I did trim this interview and cut out about 7 minutes of Jay and me discussing “General Hospital.” Seriously. As we dove into YALE, Jay shared insights into the casting process, noting that both Kathleen and Rachael Harris (another winner in my book who I will see in anything), though in smaller roles, are crucial to the film's impact. As we moved into discussion on Kevin Dunn, who plays Yale Parker (also known as Hymie Hymowitz), Jay explained that the story, written by Van Billet, attracted Kevin because of its complexity and blend of comedy and drama, rooted in real-life experiences. We also discussed the challenge and reward of working with child actors, specifically Benjamin Mackey, who plays Ryan, and how his authentic, non-precocious performance adds depth to the film. The casting process was further detailed, with Jay explaining how Kevin was cast only two months before filming, and how the chemistry between the actors led to the addition of new scenes. And how about Caitlin McGee as Yale’s daughter Mac? The dynamic between Kevin and Caitlin McGee is fantastic. It is the father-daughter relationship you didn’t know you needed! And then there’s the comedic chemistry between Nene Nwoko as Dr. Ekubo and Kevin, which just soars. And of course, Dominic Leeder as Ryan’s father and Mac’s ex-husband Josh, does plenty of emotional heavy-lifting and has some very touching scenes with Benjamin Mackey. Jay emphasizes the organic approach to diversity in the overall casting and the importance of genuine on-screen relationships. When it comes to the technical aspects of the film, Jay is once again working with cinematographer Andrew Jeric. Jay and Andrew opted for a documentary-style, handheld camera approach, using wide shots to reflect the characters' emotional landscapes. Although the film is set in Philadelphia, it was shot in Los Angeles, with authentic B-roll shot in Philly and cutting-edge technology that convincingly recreated the East Coast setting. Jay explains the logistical and creative reasons for shooting in LA, including access to talent and resources, and the use of innovative technology to capture multiple camera angles simultaneously for car scenes. Music was another highlight thanks to composer Stefano Tomaselli’s jazz-infused score, which Jay said was inspired by the film "Sideways." The score was crafted with real instruments and acclaimed musicians, adding to the film's emotional resonance and period authenticity. Jay also credited his production and costume design teams for their contributions to the film's look and feel. Of course, you’ll hear us discuss the film’s themes, particularly the metaphorical use of Yale's car as a symbol for the characters' personal journeys and struggles. And we dive into the five-year development process, the importance of honoring the real-life inspiration behind the story, and the need to portray flawed but lovable characters. Giving you a heads-up now to join me again next week, as you’ll hear from more DWF filmmakers, and there will be more interviews and reviews popping up on behindthelensonline.net between now and the festival’s end on June 28th, including a conversation with Michael Glover Smith talking about HELKA, and Doug Bremner chatting about the very interesting THE GOOSE THAT LAID THE GOLDEN EGG. Another film you need to check out at DWF is the hilarious comedy OUT OF ORDER, which has its LA Premiere on June 22nd. I spoke with filmmaker Guy Jacobson last year about this one, and it is beyond laugh-out-loud funny. And who doesn’t love Tiki Mugs? I know my longtime friend Nancy loves Tiki Bars and Mugs, so the documentary CABALI AND THE TIKI MUG OBSESSION is right up her alley, and hopefully yours, and it has its LA premiere on June 20. There are so many more DWF films I am loving this year. I encourage anyone in the LA area to go to the Dances With Films website and buy your tickets now - especially for the Opening Night World Premiere of YALE on June 18th at 7:30pm at the TCL Chinese Theatres!

  • #146
    June 8 · 1 hr 25 min

    BTL Radio Show - 06/08/2026 with guests JESSE WEGLEIN talking ROAR and SARAH AFFLECK talking DEAR UPSTAIRS NEIGHBORS

    It's a fun week on BEHIND THE LENS as we’re talking animation and the Tribeca Film Festival! And not just any animation, but world premiere animation shorts - DEAR UPSTAIRS NEIGHBORS and ROAR, both animated gems led by filmmakers with a Pixar pedigree - animation editor SARAH AFFLECK and writer/director JESSE WEGLEIN, respectively. First up, we’re gonna roar with writer/director/editor/dp/and songwriter JESSE WEGLEIN and his beautiful short ROAR! ROAR follows a neurodivergent young girl with selective mutism who, after being uprooted from Tokyo to San Francisco, must navigate a chaotic new culture and an isolating silence by transforming her internal K-Pop soundtrack into a vibrant visual language to find her place—and her new roar. As you’re about to hear, JESSE WEGLEIN discusses his animated short film ROAR, highlighting its visual sensory appeal and personal connection to San Francisco. The film, inspired by Weglein's wife's move from Tokyo to the Bay Area, addresses the challenges faced by neurodivergent individuals. Weglein, with 16 years at Pixar, employed a highly believable yet stylized animation style, emphasizing expressive eyes and naturalistic settings. A key element of ROAR is the color palette, which is directly tied to the neurodivergent spectrum and uses color symbolism, such as red for the Golden Gate Bridge and blue for Autism Awareness, to enhance the believability and emotional impact of the animation. An interesting visual aspect of ROAR is the use of extreme close-ups (ECUs) to represent sensory overload and focus, which Jesse explains as being a deliberate choice, as the use of ECUs simulates a micro lens camera, representing the sensory challenges faced by neurodivergent individuals. Jesse left no stone unturned in making ROAR a fully sensory and targeted film. Another fun element of ROAR is the music, which is a song written by Jesse and which integrates Hawaiian instruments to bridge cultural themes between the East and the West, with Hawaii being that middle bridge. World premiering at Tribeca this past Saturday, there is an encore screening on June 13th and ROAR is also on the festival circuit with other festivals popping up down the road. But the really cool news is that Jesse is working on a feature-length ROAR along with three other projects through his studio ILLUMINAI. I suggest you follow Illuminai on socials and check out the studio’s site to keep up on all of their upcoming projects. Based on ROAR, we are going to be falling in love with a lot of Jesse’s films in the future. Then, more animation goodness for you from animation editor SARAH AFFLECK and DEAR UPSTAIRS NEIGHBORS. DEAR UPSTAIRS NEIGHBORS is the fantastical and all-too-relatable story of one woman’s epic battle against her noisy neighbors for a good night’s sleep. As I told Sarah Affleck, this short from director Connie He could directly pertain to my condo neighbors, and I’m betting some of your neighbors, too! This is one high-energy, FUN, short film! Director Connie He (a Pixar alum) and her crew had assistance from Google DeepMind’s custom video generation models to craft the saturated spectacle. Sarah, an animation editor and director who also came from Pixar working on “Elemental” and Netflix working on “Wendell and Wild”, among others, smartly mirrors the gonzo style of the animation and story with her playful, rapid edits, bringing even more feisty fury to the short’s key battle scenes. I had the privilege of speaking with Sarah Affleck just before the Tribeca Film Festival World Premiere of DEAR UPSTAIRS NEIGHBORS. Surprisingly, over the past 44+ years, this is the first time I have spoken with an animation editor. And what an interview it turned out to be! As you’re about to hear, Sarah delves deep into DEAR UPSTAIRS NEIGHBORS and goes beyond “just editing” as given the collaborative nature of Connie’s vision, everyone could weigh in on every element, and for an editor that involves images, color saturation, sound, music. Highlighting the film’s meticulous pacing, which was musically informed, and the use of sound to create a cacophonous effect, Sarah emphasizes the collaborative process with director Connie He, and the importance of technology in enhancing creativity. The film, which took two years to produce, features traditional animation techniques and a dynamic sound mix by Mark Needham. On board early, Sarah’s extensive input from early storyboarding to finding pacing, timing editing cuts and style to the beat and meter of the music, to the intimate process of animation editing where music and sound effects are integrated from the start (vastly different from live action editing) to the final edit and more, ensured the film's narrative and visual elements aligned seamlessly. Take a listen and Enjoy!

  • #145
    June 1 · 42 min

    BTL Radio Show - 06/01/2026 with actor KATIE CASSIDY and director JON KEEYES talking SPEED DEMON

    Welcome back to a new week and a new month of BEHIND THE LENS! Glad to be back after the Memorial Day holiday. Hope yours was fantastic! I've got a terrific show for you today, thanks to actor and producer KATIE CASSIDY and director JON KEEYES talking all things SPEED DEMON! And what a film it is! A runaway train. A demon named Asmodeus. A nun called upon to perform an exorcism. On paper, it sounds like the kind of high-concept supernatural action-horror mash-up that could easily veer into camp. Instead, director Jon Keeyes and star/producer Katie Cassidy deliver something far more compelling. Beneath the demonic possession, biblical imagery, and escalating terror lies a deeply human story about grief, addiction, faith, and self-discovery. And at the center of the story is Sister Lu. The official synopsis of SPEED DEMON is: When Father Novak and Sister Lu board a train from Montreal to New York City, they aren’t prepared for the danger and evil that would pursue them. After the train is taken over by the demon Asmodeus, Father Novak and Sister Lu must battle possessed passengers on a runaway train, with Sister Lu forced to overcome her faltering faith and perform the first exorcism done by a nun. SPEED DEMON is directed by JON KEEYES, written by Domenico Salvaggio, and stars Katie Cassidy, William H. Macy, Allen McCullough, Sari Arambulo, Jeremy Matthew Feight, Sky Vaux Fuller (scene stealer!!), Noriko Sato, Michael John Importa, and John Patrick Jordan. And what would a Jon Keeyes film be without his multiple right hands - DP Austin Schmidt and editor RJ Cooper, plus production designer Diego Diaz and the award-worthy work of special effects make-up artisan, Greer Gillespie. As Sister Lu, Katie Cassidy delivers one of the best performances of her career. You see and feel not only her inner conflict, but her determination to survive and triumph over ALL of the demons unfolding on this train ride. Cassidy is one badass nun! She brings terrific street smarts, attitude, and appropriate foul language into play when trying to gather and inspire a group of passengers who she needs to help her with an exorcism if they are to survive the train ride - especially when it is discovered the engineer and conductor are dead AND thanks to the smarts of young 11-year old Sofia who is a voracious reader and wise beyond her years, they learn that the train will crash when it hits a certain curve on the tracks and everyone will die - much to the glee of the demon Asmodeus. As you'll hear, Katie and Jon discuss the cast, the casting process (Jon goes into great detail on this), and what he was looking for in a cast, developing the ensemble chemistry, and the scene-stealing Sky Vaux Fuller as Sofia, and the heartwarming and hopeful chemistry she brings to the film. But what would a Jon Keeyes film be without his longtime DP Austin Schmidt and editor RJ Cooper! We go deep into Austin's lighting and lensing, his constantly varying camera angles, developing visual grammar and making the most of a linear train car, and the creation of "the inbetween" and celebration of negative space. Another element of the principle triumvirate of SPEED DEMON is production designer Diego Diaz and Jon has plenty to say about Diego's work building and designing the trains, around which Austin crafted his lighting and lensing. Some terrific technical discussion here! And not to be overlooked is the work of Special Effects Makeup Artisan Greer Gillespie, whose "demonic" work is award-worthy. And yes.....we talk sequel!! It's a lively and interesting conversation with Katie and Jon. Of course, I have to remind you about DUTTON RANCH. We're four episodes in, and it is surpassing Yellowstone in story excellence. You can catch SPEED DEMON right now on streaming platforms. Other films to be on the lookout for this week are HUNGRY on June 3rd, and you can read all about those HUNGRY hippos in the Bayou in my review and interview with writer/director James Nunn on Wednesday when the embargo lifts. Plus, Friday, June 5th, do not miss the action thriller from Down Under, SEVEN SNIPERS, from director Sandra Sciberras. A truly sonic experience in tension. My review and interview with Sandra are out now. Until next week - Enjoy!

  • #144
    May 18 · 53 min

    BTL Radio Show - 05/18/2026 with special guest writer/director JING AI NG discussing FORGE

    This week on BEHIND THE LENS, we turn our attention to the Miami art world and first-time feature director Jing Ai Ng with her film FORGE. I thoroughly enjoyed this film from a story perspective and from a directorial and production perspective. As I’ve been seeing in quite a few films of late from first-time feature directors, once again, production values are high, but story and character are at the center of it all. On seeing FORGE, I would never believe that this was Jing’s first feature directorial effort. And she is the screenwriter, as well! So, what is FORGE about? Set in Miami, we meet the resourceful Zhang siblings—Raymond and Coco— who sell forged paintings to unsuspecting parties. Coco is an artist whose own work is so beautiful that it should be hanging in galleries, something that continues to frustrate her and her dream. Raymond, on the other hand, makes a buck by providing fake IDs, licenses, passports, and other documents, including those that attest to the provenance of works of art. The Zhang family is unaware of what Coco and Raymond are doing, and happily own and run a family Chinese restaurant. Despite their thriving underground operation, the siblings are still short on cash when they cross paths with disgraced millionaire Holden Beaumont. Sensing an opportunity to make a fortune, Holden convinces the Zhangs to forge long-lost masterpieces as a front for his family’s collection. Meanwhile, FBI Art Crimes agent Emily Lee moves from New York to Miami, discovering a plethora of forgeries cropping up in the South Florida art market. As Emily continues to investigate the Zhang siblings’ work, their lives converge to devastating effect in the Zhang family's dim sum restaurant FORGE is written and directed by JING AI NG and stars Kelly Marie Tran, Andie Ju, Brandon Soo Hoo, and Edmund Donovan, among others. Some fabulous artisans showcasing their talents on FORGE, including cinematographer Leo Purman, editor Briana Chmielewski, production designer Arielle Ness-Cohn, and composers Marco Carrion & Ian Chang. The first thing that I took note of with FORGE is that it is very montage-heavy without droning on or being “too much.” My favorite montage sequencing uses dissolves and superimposition as Coco ages canvas and paints while her brother Raymond forges paperwork for the provenance of each piece. At 1hr 13 minute mark, a tense montage shows Coco painting these masterpieces while Agent Lee is researching art crimes, and two minutes later, a quick follow-up montage shifts the film’s entire tone. One of the most interesting things about FORGE is that the film focuses on the antagonists - Coco and Raymond and Holden - over the protagonists (the FBI). We get to know and understand them, especially Coco, who is a fascinating character and wonderfully portrayed by Andie Ju. At its core, the film is a character study of Coco, in particular. She cherishes art and appreciates it, and is a talented artist of her own right who dreams of having a painting done by her hang in a gallery - even if it’s a forgery of someone else’s work. Holden and Raymond are in it for money and greed. All of the puzzle pieces start solidifying in the third act, thanks to Kelly Marie Tran’s character, FBI Agent Lee, as she puts all of the connections together within the Floridian Chinese community. As tone shifts further late in the third act, the lighter, dreamy score motifs we’ve heard throughout the film shift to heavy bass piano while we see an interesting visual juxtaposition that speaks volumes. In this exclusive conversation, Jing Ai Ng and I break it all down in this in-depth discussion. What I love about Jing’s origin story of FORGE is that she drew inspiration from the infamous Knoedler Gallery art forgery scandal in New York, particularly focusing on the mysterious Chinese forger who was never apprehended and whose story has never been told. Given that no one has ever heard his side of the Knoedler story, Jing had this fantastic blank canvas of creative freedom to craft a unique narrative centered on Coco, a complex character whose journey in the Miami art world blurs the lines between antagonist and protagonist. As you’ll hear, Jing emphasized how the film invests the audience emotionally in Coco and her family, making viewers care deeply about her motivations and struggles, despite her criminal actions. The film’s visual style is a standout element, with Jing and cinematographer Leo Purman developing a consistent color palette influenced by Florida’s landscape artists. They collaborated with a local Miami painter to create original artworks for the film, ensuring authenticity and a strong sense of place. Production designer Arielle Ness-Cohn played a crucial role in distinguishing the film’s various worlds: the opulence of Holden Beaumont’s (Edmund Donovan) high-rise life, the warmth and intimacy of the Zhang family’s Chinese restaurant, and the shadowy, expansive warehouse where Coco works. And then there's the work of editor Brianna Chmielewski, who used visual sequences to convey character development and shift the film’s tone without relying on excessive dialogue. The score, composed by Marco Carrion and Ian Chang, weaves Asian instrumentation with electronic elements, mirroring Coco’s dreamy, internal world and reinforcing the cultural identity of the story. And, of course, we talk casting, particularly since the production did not have leads attached to it at the outset. Make sure to check out FORGE this week and next! It’s at the Landmark Nuart in Los Angeles right now and opens in NY at the Quad Cinema this Friday the 22nd, with a wider rollout thereafter. BUT I'm not only talking about FORGE today, how about some DUTTON RANCH?? And yes, I did watch the first two episodes four times on Friday, starting at midnight on Paramount+ when it released, and then on linear television at 8pm Friday night on Paramount Network. This is THE series to watch. This is everything you love about "Yellowstone" and more. Fingers crossed for a Season Two announcement sooner rather than later. Because of the Memorial Day holiday next week, and because I may just be heading out for my 50th high school reunion next weekend, I won’t have a new show for you next Monday. BUT keep checking the website as new stuff is going up all this week, and then starting next week, all of those FYC Emmy interviews I’ve been doing will start popping up. PLUS, Dances With Films is just around the corner, and come June 1st, you’ll start seeing and hearing interviews on some of those films. So until BTL Radio Show returns on June 1st, stay safe, have a wonderful holiday weekend, and.......May the Force of Grogu be with you....

  • #143
    May 11 · 1 hr

    BTL Radio Show - 05/11/2026 with guest writr/director JOHN MICHAEL KENNEDY discussing AN ENEMY WITHIN

    What a terrific show I’ve got for you this week on BEHIND THE LENS as I get to introduce you to a wonderful British filmmaker, writer/director JOHN MICHAEL KENNEDY, who makes his narrative feature directorial debut with the mystery thriller, AN ENEMY WITHIN. Not only is this John’s narrative feature directorial debut, but as I found out, this interview that you are about to hear was his very first interview, something I found surprising given the excellence of his short films. So this is a real treat for all of you - and for me. There is something deliciously venomous pulsing through AN ENEMY WITHIN, writer-director John Michael Kennedy’s tightly coiled debut narrative feature. Part Gothic chamber thriller, part psychological standoff, part family bloodsport, Kennedy constructs a sharply staged mystery where inherited privilege, buried resentment, emotional insecurity, and self-delusion become loaded weapons aimed squarely at everyone trapped inside a sprawling English estate. And the beauty of Kennedy’s film lies in the fact that virtually nobody inside that house deserves our trust. On his wedding night, Caleb Wingate (beautifully played by William Moseley) receives a chilling ultimatum: kill his wealthy father-in-law before midnight or his bride dies. And, of course, Caleb is marrying Julia, the youngest daughter of the Wingate’s business adversary, the Foresights. As tensions escalate and a mysterious sniper known only as “The Wolf” closes in from outside the estate grounds, long-simmering family fractures erupt into manipulation, betrayal, shifting alliances, and increasingly dangerous revelations. But while the setup initially suggests a straightforward whodunit or contained thriller, Kennedy has far more ambitious ideas in mind. At its core, AN ENEMY WITHIN is not about innocence corrupted. It is about people who have already compromised themselves emotionally, morally, or psychologically long before the first gun is ever raised. Kennedy’s screenplay thrives on the understanding that every character sees themselves as justified. Nobody believes they are the villain of the story. Instead, they rationalize greed, cruelty, deceit, and selfishness as necessary pathways toward happiness, security, control, or survival. That moral grayness gives the film a far richer emotional texture than many modern ensemble thrillers that rely solely on mechanical twists. And the twists here work because they feel inevitable rather than arbitrary. Written & Directed By John Michael Kennedy, AN ENEMY WITHIN stars William Moseley, Patrick Baladi, Kim Spearman, Alexander Lincoln, Tristan Gemmill, Kate Isset, Toyin Omari-Kinch, Frances Wilding, Mollie Dorman, and Harrison Daniels. The film’s cinematographer is Lorenzo Levrini, the editor is Gustav Lindquist, and the composer is Caleb Blood. This is such a fun, twisting, turning mystery. I love the detail and how all of the pieces come together. And the character construct? Excellent! Plus, staying relatively contained within the study/bar with its heavy tapestried draperies and the dark woods with centuries of patina is a gorgeous metaphor for the walls closing in on the man behind the killer, for death, for claustrophobia. Beautiful and telling visual grammar. John and his DP Lorenzo Levrini avoid ECUs and they have minimal close-ups, staying in mid-shots or a mid-two shot but giving interesting angles such as eye level with the floor when gunshots come through the windows and folks are crawling on the floor, or on the couch with everyone standing around the fatally wounded and dying Foresight family patriarch Robert (great performance by Patrick Baladi) as if he’s already in the grave, or at least in the coffin. And the ending is, quite literally, to die for! In this exclusive interview, writer/director John Michael Kennedy provides an in-depth look at AN ENEMY WITHIN, focusing on its exploration of the Wingates and the Foresights, two dysfunctional, greedy families whose interactions are marked by betrayal and shifting alliances. Kennedy emphasizes that none of the characters are truly likable or innocent; instead, each is a puppet master at different points, manipulating events for their own perceived happiness, echoing themes from Shakespeare and Mary Shelley's "Frankenstein." The script is carefully structured so that every character's motives and actions are interconnected, creating a tapestry of suspicion and inevitable twists that feel earned rather than contrived. Lorenzo Levrini’s camera work is dynamic, avoiding repetitive shots and instead offering new perspectives with each return to the central bar room, enhancing the feeling of a psychological standoff. The production design, despite budget constraints, is resourceful and effective, with careful attention to color palettes—greens, golds, reds, and blacks—to reflect the characters' emotional states and the story's escalating danger. The film's editing maintains momentum and suspense, especially in scenes involving the mysterious "Wolf" character, whose surveillance adds another layer of intrigue. The sound design and score blend classical and modern elements, using motifs like a ticking clock to heighten the sense of urgency and reinforce the house as a character in its own right. And John also discusses the significant challenges of low-budget filmmaking, particularly during the COVID-19 pandemic, as well as some of his upcoming projects that I, for one, cannot wait to see come to fruition. So, take a listen as writer/director JOHN MICHAEL KENNEDY talks about AN ENEMY WITHIN. A couple of other films I briefly want to mention to you today that are absolute “Must See” films. First is THE SHEEP DETECTIVES, which is a tale that follows George Hardy (Hugh Jackman), a shepherd who loves to read murder mysteries to his sheep, never suspecting that they can understand him. When George is found dead under mysterious circumstances, the sheep decide to solve the crime themselves, even if it means leaving their meadow for the first time and facing the fact that the human world isn't as simple as it appears in books. This is the most delightful film of the year! It makes your heart smile!! You laugh, you cry, and you fall in love with these fluffy balls of wool. THE SHEEP DETECTIVES is in theatres now and is based on the 2005 mystery novel "Three Bags Full: A Sheep Detective Story" by Leonie Swann. The other film you must see, also based on a novel, is REMARKABLY BRIGHT CREATURES on Netflix, starring Sally Field as an older widow named Tova, whose life is changed by a friendship with a giant Pacific octopus named Marcellus, and Cameron, a new-in-town employee looking for his father, played by Lewis Pullman. Sally and Lewis are the new pairing we didn’t know we needed! Sally and Marcellus are the other new pairing we didn't know we needed! Alfred Molina voices Marcellus and is so wonderful, so soothing, that I could listen to him all day as Marcellus. Based on Shelby Van Pelt’s bestselling novel, as with THE SHEEP DETECTIVES, this is one of the rare instances where the film is better than the book, and both books are fantastic. If you still haven’t seen Renny Harlin’s DEEP WATER, get to the theatre now and kick off the start of summer right - with sharks and a plane crash. Disaster and survival. You can’t beat it! And make sure to check out behindthelensonline.net, where I’ve got more new interviews and reviews, plus highlights of the 2026 TCM Classic Film Festival, including 15 red carpet interviews that are entertaining and insightful. Enjoy!

  • #142
    May 4 · 39 min

    BTL Radio Show - 05/04/2026 with special guest RENNY HARLIN diving into DEEP WATER

    I’m very excited about this week’s BEHIND THE LENS because I get to talk about RENNY HARLIN and his new film DEEP WATER! After 33 years of chatting with Renny and talking about his films, he truly is not only one of my favorite filmmakers, but one of my favorite people. His intelligence, his skill, his dedication to the craft of moviemaking and storytelling, his directorial vision, and his kindness. I adore him. Chatting with Renny is always a joy and no matter how long we talk, it’s never long enough. And that’s what happened last week when we sat down for an exclusive interview to discuss DEEP WATER. Renny wanted an hour. Publicists said no and offered 4 minutes. I begged and got 15 minutes. BUT, undeterred, when the formal interview (which ran 20 minutes) ended, Renny and I spent another 30 minutes together on our own, talking about the film, filmmaking, and other things. For those who aren’t familiar with the film as yet, DEEP WATER is the story of an airline flight from Los Angeles to Shanghai that goes down in the middle of the Pacific. After surviving the crash, the survivors soon discover they’re not alone, and they must survive the shark-infested waters. Simple right? Not the way Renny Harlin tells it. DEEP WATER is directed by Renny Harlin, written by Pete Bridges and John Kim, and stars, among others, Aaron Eckhart, Sir Ben Kingsley, Molly Belle Wright, Angus Sampson, Kelly Gale, Elijah Tamati, and Kate Fitzpatrick. Cinematographer is D.J. Stipsen, with editing by Geoff Lamb, with Fernando Velazquez providing the score. As usual, Renny was engaging and insightful. Unfortunately, due to the limited interview time, we didn’t get to cover all the aspects of the making of DEEP WATER, including the physical production design that gives the film so much realism and immersion. Did you know Renny built an entire plane that seated 300 passengers for this film? And then broke it into three main sections - the cockpit, the fuselage, and the tail? The tail was built vertically and then dropped 30 feet underwater, as when the plane crashes into the ocean and breaks apart, the tail lands on a coral reef - an unstable coral reef that the weight of the plane keeps crushing further. Filling the plane with extras and strapping everyone in their seats, he then used stuntmen as those passengers sucked out of the plane when there are explosions and the plane breaks apart. He also used stuntmen as the dead bodies in the plane and under water in submerged portions of the plane. This is beyond realistic and immersive. But what we did get to cover was Renny’s meticulous approach to filmmaking, particularly highlighting the film's exceptional sound design, score mix by Marc Blanes, DJ Stipsen’s cinematography, Fernando Velazquez's composition, noting the emotional impact of the single piano note motif that recurs throughout the film, and of course, Geoff Lamb’s editing. As comes as no surprise in a film of Renny’s, the soundscape is crucial, including details like muffled underwater sounds, ticking clocks, and the sizzle of fire, all of which contribute to the film's tension and realism. Renny dives into his extensive research and planning that went into the film, especially in creating authentic cockpit procedures and realistic character reactions during moments of crisis. He also explains his deliberate choices in sound and music, such as reducing audio in key moments to heighten emotional impact and focusing on melodic elements rather than traditional suspense cues. Shifting to film's visual grammar, there’s plenty of praise for the cinematography by DJ Stipsen, noting the dynamic camera work that moves through different sections of the plane and into the water, creating a sense of immediacy and danger. A key component of the film is Renny’s work not only with DJ in detailing how they planned lens choices, lighting, and camera placement to enhance the story, but also with editor Geoff Lamb. The film's character development is strong, as the narrative allows viewers to connect with multiple characters, something that is always important to Renny. Standout, however, is the character of Becky, the grandmother, exquisitely played by Australian actress Kate Fitzpatrick, along with the children in the film, step-siblings Finn and Cora, beautifully played by Elijah Tamati and Molly Belle Wright, respectively, with Molly stealing every scene she’s in. And her chemistry with Aaron Eckhart is off the charts heartwarming. You’ll hear Renny explain the challenge of balancing action with character moments, stressing that emotional investment in the characters is essential for the film's impact. And talk about a loving anecdote - he shares the story of casting Kate Fitzpatrick as Becky, describing her return to acting after a long hiatus and the emotional resonance she brought to the role. After my review published last week, Kate Fitzpatrick reached out to me about the film! And had some wonderful things about the experience (which you'll hear in this show). I can’t thank Kate enough for reaching out with her insight and behind-the-scenes fun! She's an honorary stuntwoman now! And I also give you some pearls and fun takeaways from this weekend's TCM Classic Film Festival. Go to the theatre. See DEEP WATER and bask in the Dolby Atmos sound. Go to behindthelensonline.net and check out all of my TCMFF red carpet interviews as well as more new movie reviews and interviews. Enjoy! So strap yourselves in and take a listen as director RENNY HARLIN dives into DEEP WATER.

  • #141
    April 27 · 31 min

    BTL Radio Show - 04/27/2026 with director DAVID MACKENZIE talking about the explosive FUZE

    As promised, this week on BEHIND THE LENS is all about director DAVID MACKENZIE and his new explosive film, FUZE. Directed by David Mackenzie and written by Ben Hopkins, FUZE boasts an amazing cast - Aaron Taylor-Johnson, Theo James, Saffron Hocking, Gugu Mbatha-Raw, Elham Ehsas, and Sam Worthington. Executed with razor-sharp precision, FUZE is a tightly coiled, high-wire heist thriller that unfolds like a cinematic shell game—constantly shifting perspective, redirecting attention, and daring audiences to keep up. Built around the discovery of an unexploded World War II bomb in London, the film uses its premise not just as a ticking clock, but as the perfect cover for a meticulously orchestrated crime. As authorities race against time to contain the crisis, alliances blur and moral boundaries are crossed, the film deftly propels audiences through a series of calculated twists, delivering a wildly entertaining ride. One of the real strong suits of FUZE is that the unexploded WWII ordnance is a very real thing in Europe and the UK. As a matter of fact, just three days before David and I spoke last week, an unexploded bomb was found in Europe. So with a WWII bomb as a starting point, FUZE layers in a bank heist, so we’re watching two big events unfolding at the same time. But then you have to look at all of the players - the military doing the defusing led by Aaron-Taylor Johnson as the bomb expert, the law enforcement led by a very strong Chief Inspector played by GuGu Mbatha-Raw, and then our criminals led by Theo James and Sam Worthington. Performances are beyond reproach and the intensity that each of our main characters has is riveting - in addition to Mbatha-Raw, Johnson as Major Tranter, James as Karalis, and Worthington as “X”. But not to be overlooked are the work from supporting players Alexander Arnold, Honor Swinton Byrne, and Elham Ehsas. The twists and turns, and seeing these three main story elements play out is like watching a shell game. Just when you think you know which shell the pea is under, you discover it’s not there. The hand is quicker than the eye. And with FUZE, while you’re trying to watch all the shells, you’re not focusing on the young Corporal who finds it suspicious that the bomb is shiny where there should be 85 years of rust. And what about the locals who are pressuring the police to let them back into their homes? And just who are these criminals pulling off the bank job - and why in hell are they leaving the gold bars! FUZE rises and falls on its editing, and David is working once again with editor Matt Mayer, who crafts a relentless rhythm that drives the film forward with near-surgical intensity. With over 300 scenes packed into just over 90 minutes, the editing is lean, jagged, and deliberately disorienting—in the best possible way. Cuts come just before you expect them, pushing the narrative forward while subtly denying the audience time to fully process what they’ve seen. And then there’s the wonderful cinematography from Giles Nuttgens, who reunites with David to deliver a masterclass in controlled realism. Tightly composed two-shots and close-ups keep audiences focused on the mechanics of the moment—bomb disposal procedures, vault breaches, tactical movements—while quietly obscuring the larger truth hiding in plain sight. But then there’s the score courtesy of Tony Doogan, who reteams with David for the fourth time, delivering music that builds like a tightening coil—minimalist, rhythmic, and relentless, pulsing beneath the action and amplifying tension. And just when we think tension is ratcheted up as high as it can go, David Mackenzie zings us with a brilliant tonal shift and comedic release. It is always a joy to speak with David. He teased me a few months ago about FUZE when we were discussing “Relay”. Everything he baited me with was an understatement once I saw FUZE. So get ready, sit back, and take a listen as David Mackenzie and I discuss "FUZE," from the original story and its visual interpretation to its clarity, believability, and structured narrative, which builds tension through editing. And how about those 300+ scenes and a tight edit! David talks about working with cinematographer Giles Nuttgens again and their organic shooting style, practical lighting, and the dynamic between characters, particularly the chief superintendent and her team. And we get into the score and specific performances, particularly from Theo James and Sam Worthington. And as a reminder, TCM Film Festival starts this Thursday, April 30th, in Hollywood at the fabulous TCL Chinese Theatre with "home base" at the also legendary Hollywood Roosevelt. I'll be on the red carpet Thursday night and bouncing around the fest through the weekend. Tickets are still available, and I believe some passes are as well. Go to tcm.com for all of your festival information! Enjoy!

  • #140
    April 20 · 52 min

    BTL Radio Show - 04/20/2026 with special guest writer/director ANTON SIGURDSSON discussing REFUGE

    This week on BEHIND THE LENS, it’s all about tension and terror, blood and brutality with writer/director ANTON SIGURDSSON’s psychological thriller/mystery, REFUGE. Four estranged friends reunite on a fishing trip, but a missing child and a desperate father's accusation turn the reunion into a deadly reckoning. Brutal, bloody.....lots of duct tape involved. Terror-filled. A twisted ending that will probably surprise most. Written and directed by Icelandic filmmaker ANTON SIGURDSSON, REFUGE boasts a wonderful cast of Adam Sinclair (Sam), Adam Dorsey (Mike), Donald Paul (Barry), and Christopher Dietrick (Jay). Behind the lens, we have high storytelling production values thanks to cinematographer Gunnar Audum Johansson and editor Sharif M.Es. Ali, amazing production designer Jarrett Staaf, and a score by Yu Miyashita. Shot in Lake Placid, the story is set outside Philadelphia, which you get from the film’s opening with a beautiful superimposed montage of multiple news reports that cover the disappearance and presumed murder of a little girl in the area. Her father is Sam, one of the four friends who get together at this “cabin in the woods”. There’s something deceptively simple about the premise of REFUGE. Four longtime friends gather at a remote cabin. One of them—Sam—has never recovered from the disappearance of his young daughter. Grief lingers. Questions fester. And before long, suspicion turns inward, accusations fly, and the walls—both literal and emotional—begin to close in. But as Anton reveals, REFUGE is anything but simple. What unfolds on screen as a brutal, blood-soaked psychological thriller and mystery is, at its core, a meticulously engineered exercise in visual and sonic storytelling—one built under pressure, on the fly, and, in more ways than one, discovered in the moment. As a single-location, four-hander that leans heavily into performance and character dynamics, this is a structure that could easily have translated to the stage. But for Anton, the challenge—and the opportunity—was to make it unmistakably cinematic. That was achieved in a carefully calibrated visual grammar developed in close collaboration with cinematographer Gunnar Audum Johansson, a longtime creative partner who instinctively understands Anton's instincts as both a storyteller and visual architect. Rather than relying on traditional coverage to build a scene in the edit, Anton and Gunnar construct tension within the frame, allowing shots to breathe, performances to unfold in real time, and camera movement to carry emotional weight. It's a beautiful tonal visual dance. So get ready, as writer/director Anton Sigurdsson discusses REFUGE, highlighting its single-location, four-hander format and a character study of friendship. Inspired by personal experiences in Iceland, the film was shot in 11 days with a small crew and a budget-conscious approach. Emphasizing the importance of visual storytelling, Anton discusses working with his cinematographer, Gunnar Audum Johansson, and developing visual grammar through techniques such as extreme close-ups, camera Dutching, and slow motion. We dive into the meticulously crafted sound design, which enhances the narrative, with a focus on ambient sounds, Yu Miyashita’s score, and a mix of old and new cinematic styles. And how about the tightly cut, tension-riddled editing from editor Sharif M. Es. Ali that includes some beautiful montages that serve as exposition. Plus, duct tape. We talk duct tape! AND, we even get some tidbits about Anton’s next film, A BETTER PLACE, a crime thriller with Theo Rossi and Billy Campbell. Enjoy! And you can watch REFUGE right now on VOD!

  • #139
    April 13 · 47 min

    BTL Radio Show - 04/13/2026 with guests BEN WHEATLEY talking NORMAL and ANEIL KARIA talking HAMLET

    This week it’s all about “To See or Not To See”, and after hearing today’s exclusive interviews with BEN WHEATLEY discussing NORMAL and ANEIL KARIA talking all things HAMLET, I think you’ll agree that the answer will easily be - Must See. Both of these films are fresh and fantastic, from story to performances to production values. First up today is director ANEIL KARIA talking about HAMLET starring Riz Ahmed. It takes guts to handle Shakespeare and adapt and reimagine, but director Aneil Karia did an amazing job with HAMLET. One of the most interesting aspects of the film comes courtesy of Michael Lesslie’s screenplay. Michael did a wonderful job adapting “Macbeth” for director Justin Kurzel, and once again delivers an adaptation that is relatable and attainable for today’s audience with HAMLET. Shakespeare’s most enduring tragedy is reimagined in a bold, modern adaptation set within London’s elite South Asian community. When Hamlet returns home for his father’s funeral, he is stunned to discover his uncle Claudius is poised to marry his newly widowed mother. Visited by his father’s ghost, Hamlet learns of a brutal murder at Claudius’s hands—and spirals into a quest for vengeance that exposes the rot at the heart of the family’s empire while threatening his own sanity. HAMLET boasts a standout cast that includes Riz Ahmed in the title role, along with Morfydd Clark, Joe Alwyn, Art Malik, Sheeba Chadha, and Timothy Spall. In this exclusive interview with Aneil, we highlight the visual and emotional impact of the film. The script, stripped down by Michael Lesslie maintains Hamlet's POV throughout, enhancing immersion. Stuart Bentley's cinematography reflects Hamlet's mental state, from rigid formalism to turbulent handheld shots. The film's contemporary setting, including a vibrant wedding scene at the Meridian Grand, contrasts with the sterile environments of the crematorium and the family home. The score by Maxwell Sterling blends classical and contemporary elements, adding to the film's emotional depth. Working with editor Mikkel Eg Nelson, the editing process was challenging but successful in maintaining pace and depth. Switching gears and genres, we head to the small town of NORMAL with director BEN WHEATLEY. I love Ben Wheatley’s work, be it High Rise, Free Fire, Rebecca, Meg 2 or now, NORMAL. Ben can tackle any genre and always delivers first-rate films with high production values, excellent performances, and, in many cases, go-for-broke action and intensity. I think I have to put NORMAL in the latter category. Directed by Ben Wheatley and written by the brilliant Derek Kolstad, and starring Bob Odenkirk, NORMAL is the latest collaboration from this powerhouse team. Described as a kinetic neo-Western action film with Odenkirk as an unassuming substitute sheriff with a troubled past who, after moving to a quaint Midwestern town, responds to a bank robbery and unknowingly uncovers something far more explosive. In addition to Odenkirk, NORMAL stars, among others, Henry Winkler, Lena Headey, Jess McLeod, Ryan Allen, and more. NORMAL is weird, wacky, and wonderful, brimming with originality, spurting blood, fantastic action, great deadpan humor, and first-rate performances. It is an absolute blast. When was the last time you watched folks covering up dead bodies and bright red blood with snow, and be thankful for having had the blizzard?? In this exclusive interview, director BEN WHEATLEY discusses NORMAL, highlighting the work of DP Armando Salles and in-camera practical effects, originality, and the importance of visual storytelling. He emphasizes the use of practical effects over CGI, the character development, and the metaphorical blizzard symbolizing the town's chaos. Harry Gregson-Williams’ score, a mix of electronic and folk elements, complements the narrative. We also dive into Bob Odenkirk's performance and the stunt team's dynamic work. And who would have thought Odenkirk did most of his own stunts! Working again with editor Jonathan Amos, Ben talks about focusing on maintaining pace and tension. And of course, how can you not talk about casting The Fonz himself, Henry Winkler. ENJOY!

  • #138
    April 6 · 48 min

    BTL Radio Show - 04/06/2026 with special guest JOSHUA ENCK discussing A GREAT AWAKENING

    As promised, this week on BEHIND THE LENS, we’re talking about the religious-themed, historical drama A GREAT AWAKENING. Brought to us by director/co-writer Joshua Enck and those terrific folks at Sight & Sound, A GREAT AWAKENING tells the true story of an unlikely friendship between Reverend George Whitefield and Benjamin Franklin that resulted in one of the most defining moments in American history - the American Revolution. The film is enlightening, eye-opening, engrossing, and entertaining. It is beyond immersive, visually and emotionally. With the colonies on the brink of collapse in 1739, the Reverend George Whitefield sparked the first Great Awakening, uniting an entire generation with his thundering proclamation of liberty in Christ. In a miraculous turn of events, one of Whitefield’s closest friends and greatest promoters becomes none other than Benjamin Franklin. With the nation’s freedom hanging in the balance, Franklin discovers true liberty cannot only be written into law - it must be awakened in the hearts of the people. Directed by Joshua Enck and co-written by Enck, Jeff Bender, and Jonathan Blair, A GREAT AWAKENING stars Jonathan Blair as George Whitefield and John Paul Sneed as Benjamin Franklin. Elegantly non-linear in its structure, the film is bookended with the summer of 1787 - an important time in our country’s history as the Continental Congress was deep in debate and argument, trying to hammer out our Constitution. And in case you’ve forgotten your history, the Constitution was eventually written and signed on September 17, 1787. As you're about to hear Joshua Enck discuss, we are treated to Whitefield’s journals and other writings, and letters between Franklin and Whitefield, with Ben and his grandson reading them and Ben reflecting on his friendship with Whitefield and the events of the colonies pre-Revolutionary War. This very effectively serves as transitions between the past and present. But it’s the power of performance and the power of the spoken word that mesmerize and rivet you to the screen. As George Whitfield, Jonathan Blair is spellbinding as he preaches Whitfield’s actual sermons. You cannot look away when he is on the screen or when he is speaking. I dare say he rivals Charlton Heston’s Moses and Burt Lancaster’s Elmer Gantry for powerful preaching. Blair’s passion and conviction immerse him in the role and in the story being told. Similarly, John Paul Sneed is a delight as Benjamin Franklin. However, thanks to Howard Da Silva’s indelible, award-winning turn as Franklin on stage and on screen in the musical 1776, Sneed faced the challenge of making this incarnation of Franklin his own. He succeeds beautifully. He brings a playfulness to scenes where he gets to show off his experiments with electricity - yes, including flying a kite in a thunderstorm with a key - as well as being a concerned statesman in others or a loving grandfather in others. Together, Blair and Sneed are magnetic. I spoke with director and co-writer JOSHUA ENCK last week and discussed the making of A GREAT AWAKENING with him. Highlighting its historical authenticity and creative elements, Joshua goes into detail about that authenticity, including that 90% of the content is based on his original sermons and Whitefield's letters. As you’ll hear, Joshua has great praise for his production team as they aimed for a cinematic experience, using anamorphic lenses at the insistence of cinematographer Steve Buckwalter, original blueprints and plans where possible, color selections, and a beautiful score from Chad Marriott, complete with choir and chorale elements. Jordan Graff's editing ensured seamless transitions with this non-linear story, maintaining audience engagement. But for Joshua Enck, at the forefront of everything is the importance of faith and teamwork in the film's creation. Enjoy!

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