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Behind The Lens

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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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  • 23 episodes
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  • Avg 53 min
  • English

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  • #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!

  • #137
    March 30 · 40 min

    BTL Radio Show - 03/30/2026 with guest OSCAR BOYSON discussing OUR HERO, BALTHAZAR

    Sorry that I missed all of you last week with BEHIND THE LENS, but I had no voice. And you all know how catastrophic that is when I cannot talk and sound worse than a Budweiser bullfrog. So my apologies. But it’s a new week, and I’ve got a working voice and working internet, so let’s take a look at a film and filmmaker that just blew me away - OUR HERO, BALTHAZAR and its co-writer/director OSCAR BOYSON. OUR HERO BALTHAZAR marks Oscar’s feature directorial debut, but it is certainly not his first time in the cinematic rodeo given his prior directing experience with some episodics and shorts, but also serving as a producer on films like UNCUT GEMS and FRANCES HA, as well as working his way through the various components of filmmaking, including sound recording, editing, production design, and more, giving him a nice grounding for a feature directorial experience. OUR HERO, BALTHAZAR is a brilliant directorial calling card for Oscar. Co-written by Oscar with Ricky Camilleri, OUR HERO, BALTHAZAR stars Jaeden Martell and Asa Butterworth, along with Chris Bauer, Jennifer Ehle, Pippa Knowles, Avan Jogia, and more. The film rises and falls on the performances of Jaeden and Asa, both of whom will knock your socks off. This is the story of a headlong race through a world where success can be measured in engagement and tragedy has become content, following two neglected teens thrown together by a chance online encounter. Privileged yet lonely New Yorker Balthy Malone (Jaeden Martell) dreams of becoming a hero, while struggling Texan Solomon Jackson (Asa Butterfield) seeks recognition by posting violent threats. When Balthy, in an act of misguided heroism, travels to Texas in an attempt to befriend Solomon and avert a possible tragedy, he is drawn into a dangerous and thrilling new world. Despite their differences, both find refuge from their crushing loneliness in each other’s company, but for all Balthy’s good intentions, his decisions are driving them close to the precipice of disaster. These performances are unlike anything you’ve seen from Jaeden and Asa over the course of their careers. Many of you may know Jaeden from his early work in ST. VINCENT or THE CONFIRMATION or later work like with KNIVES OUT, IT, MR. HARRIGAN’S PHONE, or the chilling mini-series DEFENDING JACOB. While Asa stole our hearts in THE BOY IN THE STRIPED PAJAMAS (and if you still haven’t seen it since release in 2008, I encourage you to do so), HUGO, NANNY McPHEE RETURNS, plus turns in ENDER’S GAME and the TV series SEX EDUCATION. But for his blue eyes, Asa is physically unrecognizable in OUR HERO, BALTHAZAR. In what can only be described as some of the most surprising but inspiring casting, Jaeden Martell delivers a career-defining performance as Balthy, a young man whose wealth and upbringing have positioned him to “do something meaningful,” yet left him emotionally adrift. Opposite him, Asa Butterfield is nothing short of revelatory as Solomon. Stripped of the warmth audiences often associate with him, Butterfield leans fully into a frenetic, volatile energy that feels both unpredictable and painfully grounded. Their chemistry is electric. What is interesting is that Oscar never sensationalizes the film’s subject matter. While the premise touches on issues of gun violence and online threats, the film never exploits these elements for shock value. Instead, it focuses on the emotional and psychological pathways that lead to those moments. As you'll hear in this interview, Oscar breaks it all down and explains that that at the center of it all are two transformative performances from Jaeden Martell and Asa Butterfield—roles that push both actors far beyond anything audiences have seen from them before. And that was entirely his point. Martell’s Balthazar is a study in contradiction, while Butterfield’s Solomon is a frenetic, volatile young man whose rapid-fire energy masks a deeper emotional fracture. Digging deep, Oscar discusses the impetus for this story and the multiple themes tackled; and of course, executing and reinforcing those themes through a carefully constructed visual grammar developed with cinematographer Chris Messina, and most particularly by allowing the camera to move fluidly within a scene, capturing performances in real time and thus capturing the rawness of the characters’ emotional states. It’s fascinating and immersively dynamic to watch. We also dive into Emily Constantino’s costume design and Steven Phelps production design, and more. This is a fascinating and insightful interview with co-director/writer OSCAR BOYSON! Enjoy! If you’re in NY, you’ve already had a chance to see the film in theatres as it opened on Friday. If you are in LA, the film opens this Friday and then expands across the United States throughout April. You do not want to miss this film! And you can find my full review and a written interview with Oscar on my website at www.behindthelensonline.net.

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