Behind The Lens

BTL Radio Show - 12/15/2025 with special guest RYAN FRANCIS talking about SPEED TRAIN

 
Welcome back to another week of BEHIND THE LENS!  And it’s the final show of 2025!!   And this week, we shine a light on a man who’s a producer, director, writer, and actor in his latest film, SPEED TRAIN - RYAN FRANCIS.
 
I have had the pleasure of knowing Ryan for over two decades.  I reviewed his first short film and multiple feature films thereafter, and interviewed him.  And over the years, he has moved from being an actor in front of the camera to going behind the camera into directing and, most recently, also producing.  And now he brings us a fast-paced, entertaining futuristic film that posits some interesting questions for us as individuals and a society - SPEED TRAIN.
 
SPEED TRAIN is set in a distant future where tech reigns supreme and a disgraced tech genius hijacks a bullet train and uses the brain-chipped passengers as weapons. As chaos erupts, rebels, cheerleaders, and an FBI agent must battle AI threats and mercenaries alike. With time running out, they fight not only for survival but to reclaim their freedom from a world slipping into digital control.
 
Directed by Ryan Francis and written by Ryan Francis and Judah Ray, SPEED TRAIN stars Nicky Whelan, Scout Taylor-Compton, Oliver Masucci, Louis Mandylor, Jade Patteri, Liana Ramirez, Mike Manning, Kristos Andrews, and Devanny Pinn.
In this very candid, fun, and unfettered conversation, writer/director/producer and actor Ryan Francis discusses his career growth from acting to directing, highlighting his recent film SPEED TRAIN, as well as discussing at length some of his prior films of late in which he only acts or serves an Executive Producer versus directing; notably, “Reverence” (in which he has a killer death scene - pun intended), “The Jurassic Games: Extinction”, “Trail of Vengeance”, “The Flood”, and “3 Days in Malay”.  He also discusses two upcoming films he’s excited about, “Bruton” and “Bring the Law.”
 
As we specifically dig into the making of SPEED TRAIN, Ryan shares the challenges of directing a futuristic sci-fi film in 12 days with a small budget, praising his team, including DP Nico De La Fere and editor Austin Nordell.  A large portion of our conversation also discusses the film's themes of AI and human reliance on technology, which is something that plays a major role in SPEED TRAIN.  An interesting aspect of our discussion also revolves around the challenges of the film industry, the importance of maintaining a passion for making movies, and the need to bring audiences back to the theater experience.
 
Now, mind you.  This is only a 50+ minute portion of our interview.  There is still more that we covered on other cinematic subjects, such as distribution, but I’ll have that for you at a later date on www.behindthelensonline.net.  But right now, here's director/writer/actor/producer RYAN FRANCIS talking all things SPEED TRAIN and more!
 
You can see SPEED TRAIN right now in theatres and On Demand.
 
And that’s it for this week and this year!  If you missed any episodes, you can find them all on www.behindthelensonline.net, Podbean, iTunes, multiple other podcast platforms, and on our YouTube channel.
 
But never fear, I’ll be back on January 5, 2026, to kick off year 12 of BTL Radio Show with my guest, my friend, RIC ROMAN WAUGH, talking GREENLAND 2: MIGRATION.  And if you think 20+ years of knowing Ryan Francis is a long time, how about over 40 years knowing Ric and his brother, Scotty, who is also a director.
 
So until January 5, 2026, have a safe and happy holiday season.  Go to the theatres.  See lots of movies. 
 

BTL Radio Show with Adam Volerich talking DRINK AND BE MERRY, and CELIA ANISKOVICH discussing THE MERCHANST OF JOY

 
Welcome to another week of BEHIND THE LENS. This week, it’s all about Christmas as I welcome director/co-cinematographer/co-editor ADAM VOLERICH, talking about his feature directorial debut, DRINK AND BE MERRY, and director CELIA ANISKOVICH, who is filled with the Christmas spirit as she talks about her documentary, THE MERCHANTS OF JOY.
 
So, let’s get that cinematic sleigh going with Adam Volerich and DRINK AND BE MERRY.
 
At a struggling New York dive bar in the days leading up to Christmas 2019, Chet, a beleaguered bartender in a state of extended arrested development, must balance caring for his misanthropic, aging regulars - who have nowhere else to go, and rely on him for far more than pouring drinks - with his naive desires to muster some Christmas spirit. As Adam himself describes it - “You know this bar. Maybe you were a regular. Maybe you were just passing through. But you sat, and you sipped all the same. The Bartender treated you well. The Barflies bantered with each other...It’s a liminal space where the outside world exists only in the memories of those seated on the stools, and they’re all doing their best to forget it. It’s comfortable. It’s cozy. That’s how you remember it anyway."
 
In this exclusive conversation, Adam talks about how his real-life experiences at the Assembly Bar in Queens inspired DRINK AND BE MERRY and how screenwriter Leon Winters put pen to paper to capture the lifeblood of a dive bar and its patrons. Set on Christmas Eve Day and Eve, the film was shot at the Elm Witch Pub in New Brunswick and looks extremely festive, as many dive bars do for the holidays.
 
Jefferson White, best known as the beloved character Jimmy on “Yellowstone”, stars as Chet, the bartender who cares about his regulars while his own life has no clarity or cheer. A strong suit of the film is the visual grammar developed by Adam and co-cinematographer Jack Mannion, with some fantastic imagery that ranges from sparkling ECU’s to a B&W dreamlike sequence to night shoots of a post-closing time Chet walking the streets. That visual style emphasizes the contrast between the warm, nostalgic bar and Chet's harsh, sparse apartment and the darkness and solitude of the night.  Listening to him discuss the visual magic, including the production design, is enlightening.  Adam also has much to say about his collaborative process, most notably between himself, Mannion, and co-editor Dominick Nero, and provides great insight into the challenges of transitioning from shorts to features.
 
Then we move from the warmth of a cozy, nostalgic bar to the hustle and bustle of New York City with THE MERCHANTS OF JOY and documentarian CELIA ANISKOVICH.
 
A funny, heartwarming, and grounded documentary that follows five families who sell Christmas trees in New York City each holiday season, THE MERCHANTS OF JOY captures the cast of characters behind the city’s Christmas tree stands– small business owners who bring holiday cheer to the streets each season, along with a healthy dose of friendly (and sometimes not-so-friendly) competition with each other.
 
As you’ll hear Celia discuss in this exclusive interview, the project began with an Epic Magazine article about the Christmas Tree trade. Propelled by her own love of Christmas, she dove into the project without a penny of funding and maxed out her credit cards. With a tiny crew in tow, she found herself not only directing the film but also driving the crew van, fetching coffee, and generally serving as the production’s one-woman power grid. This is truly lo budget/no budget/micro budget guerrilla filmmaking.
 
Describing how she developed the story and honed in on the vendors' personal stories, emphasizing the joy and community spirit, it all revolved around the schedules of the individual vendors as they all had more than one location, ping-ponging between multiple lots, drifting from point A to point B with no warning. Celia and her team simply showed up, cameras ready, hoping for the best and bracing for whatever version of chaos arrived. Because prep time was practically nonexistent, the film evolved into a verité sprint—raw, real, and absolutely unscripted. Celia wanted authenticity, not ornamentation.
 
The film's editing process was challenging, starting with a six-and-a-half-hour assembly. Aniskovich aimed to capture the essence of a Christmas movie while maintaining authenticity. The documentary's success is attributed to the trust and openness of the participants, who shared personal and difficult stories.
 
Of course, a film like THE MERCHANTS OF JOY all starts with winning the trust of the vendors, and that started with Big Greg. Celia breaks it all down for us, and in her voice, you can hear her appreciation and respect for Big Greg, whose story comes full circle.
 
As Celia admits, what began as a scrappy passion project grew into something deeply meaningful - a real Christmas movie. Messy, F-bomb-filled, heartfelt, and joyously human.
 
ENJOY!!  

BTL Radio Show - 12/01/2025 with guests MICHELLE DANNER and MICHAEL J. WEITHORN

While today’s films and filmmakers may not be about holiday movies, they do fit with the love and laughter of the holidays as MICHELLE DANNER joins me talking about her new film, the beautiful and romantic UNDER THE STARS, while writer/director MICHAEL J. WEITHORN is on hand discussing his fantastic film, THE BEST YOU CAN.
 
First, let’s turn our attention to Puglia, Italy, and UNDER THE STARS with MICHELLE DANNER.  Directed by Danner with a script by Victoria Vinuesa, UNDER THE STARS stars Toni Collette, Andy Garcia, Alex Pettyfer,  Eva De Dominici, Rob Estes, and Vincent Riotta.
 
UNDER THE STARS follows a struggling romance novelist named Ian, played by Alex Pettyfer, in what I consider to be the best performance of his career, trapped in a lifeless relationship and plagued by writer’s block. Hoping to reignite his passion, he travels to Italy for inspiration - only to unexpectedly fall for Ariana, a spirited local who challenges everything he thought he knew about love and himself.  And as if that’s not enough, how about tossing in Ian’s aunt Audrey and Ariana’s father Giacomo?
 
In this exclusive interview, Michelle and I discuss UNDER THE STARS, highlighting its enchanting setting in Puglia, Italy, and the personal connection she felt there, inspired by her late Italian mother.  Emphasizing the importance of the cinematography in UNDER THE STARS, and the exquisite location, Michelle talks about her collaboration with her DP, Pierluigi Gigi Malavasi, to capture the romantic, beautiful setting.  Adding to the immersive nature of the film is the work of production designer Franckie Diago and costume designer Chiara Ferrantini, which enhances the visual appeal. Of course, the score is important in a film with romance and Italy, and for that, Michelle turned to composer Andrea Guerra, who delivers a beautiful score that was performed by a live orchestra.  An interesting element of this conversation is Michelle’s reflections on the relaxed Italian filming schedule and the joyful, uplifting nature of the film. 
 
Shifting gears but still enjoying the lightness and laughter and life, we turn our attention to writer/director MICHAEL J. WEITHORN and THE BEST YOU CAN.
I have long admired the work of MICHAEL J. WEITHORN, best known for his decades in television as creator, executive producer, and writer of the sitcom "The King of Queens", as well as a writer for "Family Ties", "True Colors", and "Ned and Stacey."  He has a gift not only for comedy, but also for the love, laughter, sorrow, and tears that come from everyday life.  Although he dipped his toe into the directing waters back in 2010 with the feature "A Little Help", in addition to an episodic here and there, Michael has more or less stayed in the writing and producing lane; that is, until now, as he picks up his pen and steps into the director's chair with the wonderful narrative feature THE BEST YOU CAN.
 
Reuniting Kyra Sedgwick and Kevin Bacon on screen for the first time in twenty years, THE BEST YOU CAN is a sharp, touching, and laugh-out-loud exploration of change, losing our bearings, and finding connection in the most unexpected places. This character-driven comedy is a reminder that sometimes the people who understand us best are the ones who are nothing like us.
 
A beautiful blend of comedy and drama, with THE BEST YOU CAN, Michael gives us a film filled with heart and humor, an ease of connection between the characters and the audience, and the blending of unlikely relationships that give way to some of life's best moments.  For someone with a strong television background, together with his cinematographer Andrew Wonder, Michael steps out of the traditional three-camera format (thank you Desi Arnaz) and embraces more traditional cinematic lensing with camera movement that's looser and playful, just like the growing dynamic between our two main principals, perfectly played by Kyra Sedgwick and Kevin Bacon.  THE BEST YOU CAN is warm and wonderful storytelling, especially at this holiday time of the year.
 
Written and directed by MICHAEL J. WEITHORN, THE BEST YOU CAN stars Kyra Sedgwick and Kevin Bacon, along with Judd Hirsch, Brittany O’Grady, Meera Kumbhani, and Olivia Luccardi.
 
In this exclusive interview, Michael highlights the film’s blend of drama and comedy and the unique connection between characters from different backgrounds. He praised cinematographer Andrew Wonder for his contributions, particularly in creating a cinematic style and nuanced visual storytelling. Weithorn also credited editor Tricia Holmes for her skill in balancing the film's tonal shifts and enhancing key scenes. He shared insights on casting Kevin Bacon and Kyra Sedgwick, emphasizing their professionalism and commitment to their roles. Weithorn reflected on his growth as a director, stressing the importance of collaboration and casting.
 
ENJOY!  
 
 

BTL Radio Show - 11/24/2025 with guests MARISA GUTERMAN & KEITH GERCHAK and ZAC MONCRIEF & JON COLTON BARRY

With it already Thanksgiving this week, it’s time for BEHIND THE LENS (and all of you) to haul out the holly, put up the tree, fill up the stockings, and grab those dreidels because the holiday season is here! And what better way to kick off the Yuletide than to get in the spirit of the season with #BTLRadioShow, talking about two wonderful films and four fabulous filmmakers. So get ready as MARISA GUTERMAN and KEITH GERCHAK tell us all about their feature directorial debut, the nostalgically charming LOST & FOUND IN CLEVELAND, while ZAC MONCRIEF and JON COLTON BARRY fill us with the fun and joy of Christmas and their animated delight, A CHUCK E. CHEESE CHRISTMAS. Can you believe there has never been a Chuck E. Cheese Christmas movie???
 
Our first stop today is Cleveland with the wonderfully warm and toasty slice of Americana, LOST & FOUND IN CLEVELAND. A look at the American Dream set in “the best location in the nation”, this is a slice of life set over a 24-hour period that follows the personal odysseys of five very different people, whose lives intertwine when America’s favorite televised antiques appraisal show comes to Cleveland. A true tapestry of the heart of America, co-directors and co-writers MARISA GUTERMAN and KEITH GERCHAK bring us a tale that shows us what is truly to be cherished in our lives.
 
Boasting an amazing cast with Dennis Haysbert, Dot-Marie Jones, Esther Povitsky, Jeff Hiller, Jon Lovitz, June Squibb, Stacey Keach, Loretta Devine, Mark L. Walberg, Martin Sheen, Yvette Yates Redick, and the scene stealing Benjamin Steinhauser, the film spans the generations and all walks of life, this is a film that has something and someone for every age, every demographic, and fills you with the holiday spirit.
 
As you listen to Marisa and Keith, they highlight the film’s heartfelt portrayal of core moral values and Americana. The film, with its setting inspired by “Antiques Roadshow”, uses music and nostalgia to explore themes of self-worth and the American Dream. As they break it down for us, they discuss the 12-year production process in detail, including casting challenges and the importance of authenticity. Of course, discussing the outstanding work of cinematographer Davon Slininger and production designer Kristen Adams is mandatory, as both showcase the intimate storytelling and all of Cleveland's unique charm. And we talk music and monologues, and more.
 
Then we dive headfirst into Christmas and Santa and Mrs. Claus and presents and elves and Chuck E. Cheese and his friends with A CHUCK E. CHEESE CHRISTMAS.
 
Written and executive produced by ZAC MONCRIEF and JON COLTON BARRY, and co-directed by ZAC MONCRIEF, A CHUCK E. CHEESE CHRISTMAS is a unique blend of family-friendly animation, songs destined to become holiday classics, and filled with holiday cheer as Chuck E and his pals Helen Henny, Jasper Jowls, Bella Brinca, Munch, and Pasqually create a plan to throw a surprise party to lift Santa’s Christmas spirit! But surprising the man who “sees you when you’re sleeping and knows when you’re awake” won’t be easy. Can the gang pull it off in time to save Christmas?
 
A CHUCK E. CHEESE CHRISTMAS is a film that puts a smile on your face and your heart from beginning to end. And it boasts two new tunes co-written by Zac Moncrief, composer Ben Bromfield and Jon Colton Barry’s legendary songwriter father Jeff Barry who gave us the Christmas anthem, “Christmas (Baby Please Come Home)” popularized by Darlene Love and Mariah Carey, along with songs like “I’m A Believer” by The Monkees, “Sugar Sugar” by the Archies, and so many more. You’ll hear Jon talk all about bringing his dad into the production, while Zac and Jon give us an interesting perspective and breakdown on the relationship between animation and music, and why they include music and lyric songs in all of their animated productions. And by the way, there are music videos for the film’s two new songs, “What Would We Do Without Christmas” and “Robot Banana Christmas,” which are now available on various streaming platforms as well as the Chuck E. Cheese YouTube channel.
 
The dynamic duo also talks about the film’s themes and avoiding commercialism while featuring handmade decorations and a heartwarming story about Santa Claus's low spirits. Inspired by classic Christmas specials of days gone by, they aimed to capture the essence of family and celebration, choosing 2D animation but with a modern twist to evoke nostalgia, and how about score composer Ben Bromfield paying out of his pocket for a live orchestra for the score to enhance the story and the emotional depth. That’s how much he believed in this film. And trust me when I tell you this film is not an ad for the restaurants.
 
Enjoy!
 

BTL Radio Show - 11/17/2025 with STEPHEN SHIMEK talking MURDER AT THE EMBASSY and LOTFY NATHAN discussing THE CARPENTER'S SON

This week on  BEHIND THE LENS, we’ve got a theme of mystery going on, and I love the films that we’re examining and the directors we’re hearing from.  And who doesn’t love a good mystery? First up, you’ll hear from director STEPHEN SHIMEK talking about MURDER AT THE EMBASSY, the second film in the Miranda Green murder mystery franchise.  Set in 1930s Cairo, with its pyramids and antiquities at the height of Egyptology and archaeology, there’s more than a murder lurking around each mummy.  And the film is shot on location in Cairo!  And then at the midpoint of the show, you’ll hear from writer/director LOTFY NATHAN talking about THE CARPENTER’S SON, a film that has already drawn some ire in the Christian community as it is developed from the apocryphal Infancy Gospel of Thomas about the childhood of Jesus and fills in the New Testament canonical gospels, often clashing with some of those accepted writings.  A powerful and fascinating film that is exquisitely made.  And did I mention it stars Nic Cage as Jesus’ earthly father, the carpenter Joseph?
 
But first, we’ll take a little trip to Cairo with director STEPHEN SHIMEK and MURDER AT THE EMBASSY.
 
The story is fun.  The film is entertaining and beautiful as it drenches you in the beauty and wonder of Egypt.  When private detective Miranda Green is called to investigate a suspicious murder inside Cairo’s seemingly impenetrable British Embassy, she discovers a second crime has been committed that could spark war across the globe. Everyone within the walls of the embassy is a suspect, but the ultimate evil force is lurking right around the corner.  Think Agatha Christie meets Indiana Jones meets Jessica Fletcher.  The film is light and bright, visually and in its tone.  The mystery plot works, the characters are well done with believable ambiguity and guilt spread around, performances are solid. 
 
Directed by STEPHEN SHIMEK and written by Mark Brennan, MURDER AT THE EMBASSY stars Mischa Barton, Mido Hamada, Kojo Attah, Nell Barlow, Raha Rahbari, Antonia Bernath, and Richard Dillane.
 
As you’ll hear Stephen discuss, being a lover of mysteries himself, shooting this film and being in Cairo was a dream come true.  Of course, quite often making dreams come true is not as easy as it sounds, and that was certainly the case here.  Working with cinematographer Brian Vilim, who is also a producer on the film and whom Stephen has worked on prior films, the two developed a delightful visual grammar that showcased the region, while constantly adapting their filming techniques to the changing conditions brought by light, the sand, desert winds, and the heat.  Not often that a filmmaker talks about hydration being a production element to concern himself with, but Stephen gets into that, too. Tricky was the editing process to balance suspense, humor, and “information,” and for that Stephen turned to editor Matthew Jensen, whose openness to experimentation allowed them to try various pacing and structural approaches until they found what best served the film.  And how about not only working with a dog, but worrying about a handful of camels, some donkeys, and yes, live scorpions?
 
Then we switch gears and talk about another type of mystery with writer/director LOTFY NATHAN and THE CARPENTER’S SON.  Not your cut-and-dry faith-based or historical religious film, Lotfy pushes the envelope here as he draws from the apocryphal Infancy Gospel of Thomas for this story. What Lofty delivers is a fascinating story.  I was riveted and enthralled from beginning to end.  And yes, the fact that Nic Cage stars as Joseph, aka The Carpenter, adds another whole layer to the film.
 
Written and directed by LOTFY NATHAN, THE CARPENTER’S SON stars Nic Cage as “The Carpenter” aka Joseph, Noah Jupe as “The Boy” aka Jesus, and FKA Twigs as “The Mother” aka Mary.
 
Combining inspiration from apocryphal gospels with a focus on emotional realism and narrative depth, in this exclusive interview, Lotfy discusses drawing from non-canonical sources to fill in gaps about Jesus’ youth and to imagine the dynamic between Joseph and Jesus, despite the original text’s lack of direct narrative.  What can be described as an origin story, the film explores the father-son complexity, showing Joseph as a strict, deeply religious man who feels overwhelmed and sometimes confounded by the extraordinary child in his care, and Lotfy sought to ground this with believable motivations and moments of conflict and connection.  The result is an immersive narrative, particularly the father-son dynamic, which is the heart and soul of THE CARPENTER’S SON.
 
Shot on location in Greece and Crete on 35mm, the film is visually stunning. Simon Beaufils' cinematography is glorious.  ECUs and macros abound, and work so well as connective tissue, metaphorically speaking to the wonder/importance of a thing or a moment, especially when we are talking biblically. As we dig into the “making of” THE CARPENTER’S SON, Lotfy explains the meticulous world-building process, including historical research and collaboration with his production designer Jean-Vincent Puzos and DP Simon Beaufils.
 
An extremely interesting aspect of our conversation focuses on the sound design, which is impeccable and critical for the storytelling and world-building, thanks to limited dialogue. The ambient soundscape speaks loudly, playing a stronger narrative role and creating a vivid and visceral atmosphere.  Adding to the sound design is Lorenz Dangel's unique score, which incorporates chorale music and ambiguous instrumentation, carefully blending with the ambient elements to maintain tonal ambiguity, sometimes making the audience question whether they are hearing something good or evil.
 
And of course, there’s Nic Cage, and Lotfy has a lot to say about Nic and his performance and his process as he embodied Joseph’s intense internal struggle, religious fervor, and sense of overwhelming responsibility as Jesus’ guardian.  We see the internal struggles ultimately manifest in an emotional explosion of anger and frustration in the third act, as only Nic Cage can do.  It is Nic Cage at his most Nic Cage.  Contrasting Cage is the calm of FKA Twigs as Mary, while Noah Jupe is outstanding as the angst-filled 15-year-old Jesus, who is baffled, confused, angry, tempted, and unsure of what this power is that he seems to have.
 
Take a listen!  

BTL Radio Show - 11/10/2025 with guests SHANE DAX TAYLOR talking EXIT PROTOCOL and MICHAEL DOWSE talking TRAP HOUSE

This week on BEHIND THE LENS it’s all about action thanks to director SHANE DAX TAYLOR and his new film, EXIT PROTOCOL, and director MICHAEL DOWSE and his latest film, TRAP HOUSE.
 
First up, let’s take a look at TRAP HOUSE and my exclusive interview with director MICHAEL DOWSE. It's been years since I spoke with Michael about “Goon” so it's nice to reconnect with him now for TRAP HOUSE; a fun multi-generational action film that boasts outstanding action set pieces, some superb cinematography thanks to Matt Flannery and a lightness of touch and visual tone that is really enjoyable and entertaining.
 
TRAP HOUSE is set in El Paso, Texas, where DEA Agent Ray Seale and his team infiltrate a drug trafficking operation run by notorious cartel boss ‘Guzman’. But things go wrong, and one of his team is shot and killed. In the aftermath, the slain agent’s son, Jesse, is devastated and struggles financially, having to move back to Spain with his mom. Ray’s own son, Cody, feels sorry for Jesse and bands together a group of other DEA kids to utilize their skills and access to resources to enact revenge, stealing money from trap houses operated by the cartel.
 
As the teenage ring of thieves goes for riskier targets, the DEA and the cartel close in. Cody quickly realizes he’s entered them all into a deadly game, and when Ray finds out the truth, he must protect his son from the increasing danger that has resulted from their heists.
 
Directed by Michael Dowse and written by Gary Scott Thompson and Tom O'Connor, TRAP HOUSE stars Dave Bautista and Bobby Cannavale as DEA agents Ray Seals and Andre Washburn, Jack Champion as Ray’s son Cody, and Sophia Lillis, Whitney Peak, Zaire Adams, and Blu del Barrio as Cody’s friends, plus Inde Navarette and Kate del Castillo.
 
Digging into the making of TRAP HOUSE, Michael highlights its blend of action, comedy, and drama. Notable is the script's detailed action set pieces and the emotional depth of Cody and Ray's relationship, which was all on the page from the start. As you’ll hear, visual storytelling is crucial, and Michael makes the most of it through his collaboration with cinematographer Matt Flannery, who implements night vision, gas masks, and a dust storm, as well as capturing dynamic action sequences. Calling on editor Tim Porter, Michael discusses the “challenging but effective” editing process. Another element of TRAP HOUSE is the film’s score, composed by Jack Latham and Amanda Yamate, which balances the high-energy action with emotional depth. Michael also discusses learning the importance of working with a robust second unit, and that he found drama easier to handle than comedy.
 
Then we keep the action going with director SHANE DAX TAYLOR and his new film EXIT PROTOCOL. I love this film. I had so much fun watching the terrific blend of action, emotion, humor, and performances. And the story is great fun!
 
This is a "simple" tale of assassins. A notorious hitman, Hayden, who made a career of killing other assassins, wants out. But walking away is not that easy. He’s got one last job to do, and that is to take out his rival, Mangold. Unfortunately, Hayden gets double-crossed by his boss, who has hits out on Mangold AND Hayden. Now marked for death, Hayden unexpectedly finds himself partnering with Mangold to outrun his boss and the third hitman in the mix.
 
Directed by Shane Dax Taylor and written by Chad Law, EXIT PROTOCOL stars Scott Martin, Dolph Lundgren, Charlotte Kirk, Lina Maya, Stephanie Beran, and Michael Jai White.
 
Not only is Shane articulate, thoughtful, and knowledgeable in his craft, but he also opened our interview by telling me what a fan he is of BTL and that he has been a listener for years!
 
I can honestly say that in my 44+ years as a film critic and the almost 12 years of doing this show, Shane is a first for me, as he talked in depth about the challenges of stepping in as director after the original director passed away. How does one even handle that? Shane talks about how he did it, a big part of which was his crew, with whom he had worked prior, cinematographer Mark Rutledge and editor Jake Buchheit, as well as Dolph Lundgren and Scott Martin, not to mention his long-standing relationship with writer Chad Law.
 
Diving into the production aspects, such as developing the visual grammar and focusing on a light and bright tone, and the importance of showing the beauty of the world and allowing actors to shine, a big challenge with filming was wildfires, which affected camera angles and placement, lighting, as well as last-minute evacuations from a fire zone. And how about the flooding that came after the fires, wiping out the principal cabin used in filming? All of this gave Shane some solid lessons in adaptability and the importance of having trust in your team. We also discuss Yagmur Kaplan's score and the film's editing with pacing and balancing action with quieter moments, while letting the subtle humor shine through.

BTL Radio Show - 11/03/2025 with guests MATT WHITAKER discussing TRUTH & TREASON and BRADFORD THOMASON & BRETT WHITCOMB talking THE SPIRIT OF HALLOWEENTOWN

Extending Halloween a bit longer this week on BEHIND THE LENS as we chat with documentarians BRADFORD THOMASON & BRETT WHITCOMB about THE SPIRIT OF HALLOWEENTOWN. Plus, writer/director MATT WHITAKER discusses the powerful and important narrative film TRUTH & TREASON.
 
But first, let’s keep that Halloween feeling going with THE SPIRIT OF HALLOWEENTOWN. Who hasn’t seen or doesn’t know about the utterly charming HALLOWEENTOWN franchise? It became a Halloween staple from the moment it released in 1998, and was so beloved it spawned 3 sequels! But it all started in the little town of St. Helens, Oregon, where the original film was shot.
 
Now, Bradford Thomason and Brett Whitcomb return to St. Helens to discover how this picturesque town and its Halloween-loving residents decided to capitalize on the town’s starring role in HALLOWEENTOWN, inviting tourists each year to celebrate the film and Halloween with them.
 
Brad and Brett are the perfect documentarians to bring us THE SPIRIT OF HALLOWEENTOWN. You might already know one of their acclaimed documentaries, “Butterfly In The Sky” about PBS, Reading Rainbow, and Levar Burton. And now, they have trained their camera on St. Helens, documenting the colorful cast of characters that live there with everyone from the Queen of Halloweentown to a former cheerleader to the Klondike bar owner, and even the folks responsible for the Alien Museum, and explore the legacy and impact the film has had on their town. They even give us a look at a paranormal investigation and a seance! A charming character study that captures the spirit of Halloween enthusiasts, as well as the small-town disagreements and drama that arise when colorful residents disagree passionately, this is an artfully crafted documentary that will entertain both fans of HALLOWEENTOWN and those who appreciate fascinating human behavior.
 
I spoke with Brad and Brett on Halloween to find out about the tricks and treats of THE SPIRIT OF HALLOWEENTOWN. Co-directing the film, Brad also served as editor, while Brett was the cinematographer. Highlighting the town's month-long preparations and breaking the film down with a weekly countdown until the big parade and lighting of the town's pumpkin on Halloween, they take us through various events and businesses, including commentary by the residents about the positive impact on businesses and the community's enthusiasm. Brad goes into detail about the editing process, with both of the guys discussing collaboration and working with the townspeople, as well as the importance of capturing authentic stories and always keeping the spirit of Halloween and Halloweentown alive.
 
Shifting gears, I want to talk about an important and powerful film - TRUTH & TREASON. I’ve briefly mentioned it the past two weeks, but this is such an important film given the current political climate, that I don't want you to miss this fascinating and emotional interview with writer/director MATT WHITAKER.
 
TRUTH & TREASON is based on the true story of German youths Helmuth Hubener, Karl-Heinz Schnibbe, and Rudi Wobbe, who fought Hitler and the Third Reich with the most powerful weapon of all – their words. An amazing true story that has remained untold for too long and now, thanks to Whitaker and Karl-Heinz Schnibbe, comes into the light.
 
As World War II rages, 16-year-old Helmuth Hubener is forced to confront a terrible truth—loyalty to his country now means loyalty to a lie. When his trusted bishop urges obedience to the Nazi regime, he begins to question everything. And after his Jewish friend, Salomon Schwarz, is taken away, he secretly listens to banned radio broadcasts and launches a resistance, exposing the truth. But in a nation ruled by fear, defiance comes at a cost—and as the regime closes in, he must decide what it truly means to be a good German.
 
As Matt breaks it all down for us, we learn about the genesis of the film, what led Matt to this true story, and how that led to the idea of a film, then a script, and ultimately, a film. As you’ll hear, authenticity and historical accuracy were essential, which led them to real historical locations in Lithuania, and capturing the right visual and atmospheric tone, such as the contrasts of light and darkness and the physical constraints of tunnels and cells. Calling on cinematographer Bianca Cline, Matt and Bianca developed a visual grammar that was not only cinematic but that captured and supported the emotion of each and every scene.   
 
Matt discusses the the importance of this film, the courage of Helmuth Hubener and his friends, casting and performance, visual inspirations, authentic locations, set and design details, thematic use of light and darkness, symbolism, sound design by those masters at Formosa Group, Aaron Zigman’s amazing score, not to mention the editorial challenges which, in addition to the film, gave way to a four-part series that dives even deeper into the real events and is now streaming on Angel.com.

BTL Radio Show - 10/27/2025 with PEDRO KOS talking IN OUR BLOOD and JON BERARDO discussing THE MANNEQUIN

It’s my favorite week of the year for BEHIND THE LENS - Halloween Week!  And to celebrate my favorite holiday of the year, I’ve got some chilling, spooky, terrifying tales for you as PEDRO KOS breaks down his new film, the horrifying IN OUR BLOOD, while JON BERARDO talks about the blood-drenched noirish THE MANNEQUIN.
 
First up, let’s take a look at IN OUR BLOOD.  Directed by Oscar-nominated documentary filmmaker PEDRO KOS in his first narrative feature, IN OUR BLOOD masterfully blends psychological mystery with chilling horror. The film weaves a twisted tale of reconciling with the ghosts of our past and confronting the complicity we share in creating a world that preys on the most vulnerable.  Directed by PEDRO KOS with script by Mallory Westfall, IN OUR BLOOD stars Brittany O’Grady, E.J. Bonilla, Alanna Ubach, Krisha Fairchild, Leo Marks, Bianca Comparato, and Steven Klein. 
 
In IN OUR BLOOD, nothing is as it seems when filmmaker Emily Wyland (Brittany O’Grady) teams up with cinematographer Danny (E. J. Bonilla) to shoot an intimate documentary about reuniting with Emily’s estranged mother after a decade apart. When her mother suddenly goes missing, possibly succumbing to the addictions that first tore her family apart, Emily and Danny must piece together increasingly sinister clues to find her before it’s too late.
 
An intense narrative that blends documentary realism with genre elements in this exclusive interview, Pedro Kos discusses the film and his freshman foray into narrative filmmaking with this story, which explores themes of humanity and vulnerability. The thematic and emotional layers are superbly crafted, as is the genre meld that brings shocking horror into the mix.
 
As we bite into the making of IN OUR BLOOD, Pedro discusses casting and some superb performances, most notably by Alana Ubach, Krisha Fairchild, and E.J. Bonilla, who immerse themselves in their respective characters, all of which are a testament to Pedro, given that he has not worked with actors since his days in college theatre.  It’s refreshing to hear him talk about his approach to working with the actors and “creating a safe space for them to experiment and bring their characters to life.”  
 
Cinematography is also a big part of bringing IN OUR BLOOD to life and we break down Pedro’s collaboration with cinematographer Camilo Monsalve in developing the film’s visual grammar, camera movement, lighting, color, and the importance of shooting in Las Cruces and how that influenced the film’s visual tonal bandwidth.  And this is all just the tip of the iceberg.  
 
Then we get a bit bloody, a bit supernaturally creepy, a bit mysterious, and a bit noirish thanks to writer/director JON BERARDO and his new film THE MANNEQUIN that transports us hauntingly through time from a glorious black and white prologue to a grisly exorcism.  Written and Directed by Jon Berardo, THE MANNEQUIN stars  Isabella Gomez, Lindsay Lavanchy, Shireen Lai, Maxwell Hamilton, Gabriella Rivera, with Krystle Martin and Jack Sochet.
 
In THE MANNEQUIN, Liana Rojas, a creatively starved stylist assistant, discovers that the historical downtown Los Angeles factory building where her fashion designer sister mysteriously died is haunted by a serial killer posing as a headshot photographer for film studios who brutally murdered and dismembered his victims half a century earlier. This knowledge forces Liana and her friends to find a way to free themselves from the curse and escape the sinister ghost before they lose their own body parts.
 
THE MANNEQUIN is delicious. And as you are about to hear, Jon is a creative voice that is beyond visually expressive, and understands character, understands space and spatial relations, and understands the importance of sound to deliver a fully immersive cinematic experience.  Not only does Jon discuss the film's creativity, twists, and jump scares, but also the economical approach to filmmaking.  Giving the backstory of his inspiration for THE MANNEQUIN, Jon drew inspiration from the 2020 pandemic and created mannequin art during lockdown while living in his own loft in Downtown LA.  
 
As we examine the making of THE MANNEQUIN, you’ll learn how important and challenging location and lighting were for Jon and cinematographer Jonathan Pope, especially with the building itself, a former textile factory from the 1920s, and the current freeway that runs nearby.  Part and parcel to the loft itself, sound design came into play and is meticulously executed on multiple levels by sound designer David Eichhorn, who had to strip freeway traffic sounds and recreate a sonic ambience to fill the large loft space.  Using static effects and the contrast between the loft's modern and vintage feels, Jon highlights the particulars of David’s work.
 
And then there’s creating a visual and emotional contrast with the home of one of the characters that brings in negative space and contrasting colors.  A real stand-out in THE MANNEQUIN is the period-perfect make-up and hair, as well as some fabulous practical bloody horror make-up. And of course, we talk casting.
 
You’ve got a couple of terrific horror films to check out this week for Halloween.  But don’t forget to hit your local theatre and see the masterful work of Guillermo del Toro’s FRANKENSTEIN, one of the best films of the year and a hot contender for upcoming awards.
 

BTL Radio Show - 10/20/2025 with guests BRANDON SLAGLE talking AFFINITY and NEIL MARSHALL discussing COMPULSION

A terrific show for you this week on BEHIND THE LENS as you’re about to hear from two directors of whose work I am a huge admirer and have been for years, both whom I love chatting with, and each with a new film out - NEIL MARSHALL joins me to discuss his new psychological erotic thriller COMPULSON, while BRANDON SLAGLE is back with me for the 5th or 6th time talking about his latest, the powerhouse martial arts-action-sci-fi film AFFINITY.
But first, we’ve got director BRANDON SLAGLE discussing his latest film, AFFINITY.  I always love chatting with Brandon, and as he correctly remembered and reminded me, our first interview for “Frost” was more than 90 minutes long.  Sadly, the publicist for this interview didn’t schedule us with nearly enough time, but Brandon and I always work with what we’ve got!  Since then, we’ve chatted about “The Flood”, “Breakout”, “Battle for Saipan”, and more.  But what excites me today is that we’re talking about AFFINITY, which pushes Brandon’s skills into a genre blend and shows us a completely different and wonderful side of his talents.
Set and shot in Bangkok, Thailand, AFFINITY stars Chilean martial-arts star Marko Zaror as Bruno, an ex-SEAL struggling with PTSD.  He lives a life in fear of his demons until one day, when he discovers a beautiful woman named Athena with no past of her own. Together they begin to build a life, but when she disappears, Bruno must return to his violent past if he’s going to save her from a shocking conspiracy.  
Directed by Brandon and written by Gina Aguad, Christopher M. Don, Liam O'Neil, and Marko Zaror, with the story by Marko, AFFINITY stars Marko Zaror, Louis Mandylor, Brooke Ence, and Jane Murro.  
As to be expected in a Brandon Slagle film, the action is fast-paced, intense, and riveting, but what makes this film differ from Brandon’s prior works is this action-sci-fi genre blend which is something Marko is passionate about, and the emotional poignancy of the story, not to mention a superb use of color and vibrancy in the film’s visual tonal bandwidth.
As we dive into AFFINITY, we explore the visual grammar and Brandon’s work with his cinematographer Niccolo de la Fere, who is always fantastic with lighting and lensing.  Some of you may recognize Nico’s name as he was also DP on Christian Sesma’s shark film INTO THE DEEP, which Christian and I discussed, as well as editor Ernesto Diaz Espinoza, who directed and edited the action-packed martial arts film DIABLO starring Scott Adkins and Marko Zaror, for which Ernesto and I had a wonderful in-depth chat.  
For AFFINITY, Brandon explained that in designing the visual grammar and color palette, he and Nicolo wanted to present Bangkok not just as a stand-in for another city, but to authentically show its diverse facets—from working-class neighborhoods to extreme wealth. The color tones and visual style were intentionally crafted to set the mood and, importantly, to place the film slightly "out of time," as if set in the near future. The palette and camera work reinforce both emotional beats and the narrative, with the collaboration between Brandon and Niccolo focusing on making the visuals integral to the storytelling and atmosphere.
As you’ll hear Brandon discuss, editing is so important to him in his films, and having Ernesto on AFFINITY was key to the editing process.  We also dive into the emotional dynamic between the characters of Bruno and Athena, which really showcases a previously unseen depth in Zaror’s acting.  And how about some lighter, even comedic moments from Louis Mandylor, something we’ve not seen in all of his collaborations with Brandon.
A film with a unique visual style, emotional depth, and some very unexpected twists, take a listen as director BRANDON SLAGLE talks about it all!
 
Then say hello to another director who has spread his visionary wings and stepped somewhat outside of the box from what we have come to expect from him - NEIL MARSHALL.  I have long loved Neil’s work, going back some 20+ years to “The Descent” and “Centurion” and up through his episodic television work, with “Black Sails”, “Game of Thrones”, “Westworld” ,and more.  Known for action and thrills, with COMPULSION, Neil now delves into a genre meld that we haven’t seen from him before - the psychological erotic giallo thriller with a film noir vibe, complete with a 21st century femme fatale, murder mysteries, an exotic location, and plenty of bloodshed.  COMPULSION is positively delicious.
Inspired by Neil’s admiration for erotic thrillers of the 1980s and 1990s such as “Fatal Attraction” and “Basic Instinct”, something woefully missing from cinema today, he out to blend the sensuous, suspenseful style of those films with an homage to giallo—a genre of stylish Italian thriller/horror movies—resulting in Compulsion's unique mix of erotic thriller and murder mystery elements. The inspiration to set the story in a visually distinct locale was also influenced by his desire to film somewhere bright and warm, ultimately leading to Malta, which further shaped the film’s visual and narrative style
Written and directed by NEIL MARSHALL, COMPULSION focuses on the story of a young woman’s visit to her stepfather’s villa in Malta that spirals into danger when she’s targeted by con artists and a violent murder forces her into a deadly cover-up.  As a local detective closes in, trust cracks and dark secrets are exposed.  The film stars Anna-Maria Sieklucka, Charlotte Kirk, Zach McGowan, Giulia Garietti, and Harvey Dean.
As we delve into this production, we discuss the film’s strong female characters and equally strong performances, something I believe is a trademark of Neil’s, along with the blend of erotic thriller and giallo elements.  Of course, we talk about his three leading ladies and his casting of them, along with bringing in Zach McGowan and Harvey Dean for a bit of male testosterone.  
As you’ll hear, Neil and his cinematographer Ali Asad leverage Malta’s unique architecture and light to paint a rich, lustrous tapestry on which his actors get to play.  An interesting element of our conversation involves Neil’s insistence on practical in-camera effects, which impacted the shooting location.  As with many shoots in “ancient” or centuries-old locations, quite often extra care must be taken with the properties and homes used for the filming, often requiring false walls and ceilings to not damage the existing interior structure.  Neil lucked out with COMPULSION and found a perfect stone residence to serve as Evie’s millionaire father’s home, and one which the owners weren’t opposed to being blood-soaked on the stone walls and marble floors, which was particularly important for one 6-minute scene in particular.  A fight sequence was filmed in one shot to preserve continuity and intensity. And as you’ll hear Neil describe, it resulted in the marble floor becoming extremely slippery with fake blood, so the fight was carefully choreographed to keep all actors down on the ground, avoiding injuries and making the scene feel like “mud wrestling with blood.”  This also impacted how DP Ali Asad also lit and lensed the scene. Other similar scenes with practical effects also impacted the camera’s approach.   Neil also talks about shooting erotic sequences, something new to him.  
Another key aspect of the film is the sound design and synth score, which subconsciously adds tension and terror to the unfolding murder mysteries.   And how about some plot twists that will have you jump out of your chair?  Take a listen as NEIL MARSHALL talks about all of this and more.

BTL Radio Show - 10/13/2025 with guests KIAH ROACHE-TURNER talking BEAST OF WAR and ALLEN DANZIGER & RAY SPIVEY talking THE WEEDHACKER MASSACRE

BEHIND THE LENS is kicking off the Halloween season today with a terrific making-a-movie-within-a-movie full of blood and hacking, madness, mayhem, and ridiculum - THE WEEDHACKER MASSACRE.  And joining me to talk about this bloody (and funny) gem are writer/editor RAY SPIVEY and actor/executive producer ALLEN DANZIGER. Recognize those names?  Ray has been on the live show with me before.  And as for Allen, did you ever hear of a little film called “The Texas Chainsaw Massacre” and a character affectionately called by fans Chainsaw Jerry?  Well, that’s Allen, and we’ve got him!
But first, we’re going Down Under with writer/director KIAH ROACHE-TURNER and his WWII film, BEAST OF WAR.  And I’ll let you in on a little hint.  The “beast” is a bloodthirsty shark. I always enjoy speaking with KIAH and watching his films.  So creative, so well done, so entertaining.  By the way, have you guys seen Kiah's film “Sting”?  If you haven’t, check it out.  It’s fantastic.
Speaking of fantastic, that’s exactly what BEAST OF WAR is, and that’s due in large part to Kiah’s use of practical in-camera effects and an animatronic shark.  No CGI here.  And thank goodness!  You all know how particular I am when it comes to sharks and shark movies.
Inspired by the real-life story of the HMS Armidale, which was sunk by Japanese zeroes in WWII while crossing the Timor Sea, along with some of the personal WWII experiences of Kiah’s grandfather, BEAST OF WAR is the tale of a young troop of Australian soldiers who must find a way to survive the harsh seas on a quickly shrinking life raft which was nothing more than a small hunk of their ship that hadn't been obliterated. Hundreds of miles from anywhere, they must confront interpersonal conflicts, enemy attacks, and the advances of one very large, very hungry great white shark. 
Written and directed by Kiah Roache-Turner, BEAST OF WAR stars Mark Coles Smith, Joel Nankervis, Sam Delich, Lee Tiger Halley, Sam Parsonson, Maximillian Johnson, Tristan McKinnon, and Aswan Reid.
With a brief amount of time to dive into the making of BEAST OF WAR, Kiah highlights the challenges of working with practical shark effects, which interestingly, were inspired by some of Kiah’s own work on  Matthew Holmes' "Fear Below" - as you may recall, I interviewed Matthew about “Fear Below” and his level of authenticity and practical effects and wouldn’t you know it, Kiah also called on the expertise of production designer Esther Rosenberg and costumer/vintage prop houser Tracy Rose Parks for BEAST OF WAR.  Here, Kiah emphasized the use of a 40-meter indoor water tank and innovative lighting techniques of his DP Mark Wareham to create a realistic and atmospheric setting.  In addition to lighting, Wareham’s lensing and camera blocking and dutching are unreal!  Beyond the visual grammar and visual tonal bandwidth, the soundscape is critical, and Kiah turned to Folklore for the film’s sound design.  The sound fuels suspense, and its layering is so realistic.  As you’ll hear him discuss, Kiah wanted the shark to have a sound similar to what Spielberg did with the yellow barrels in “Jaws.”  Folklore delivered by incorporating an air raid siren lodged in the shark's side.  Superb production elements, amazing performances, particularly from Mark Coles Smith and Joel Nankervis, and a shark to die for, BEAST OF WAR delivers on every level.
And now, let the fun begin with ALLEN DANZIGER and RAY SPIVEY and THE WEEDHACKER MASSACRE.  This is Ray’s second trip to BTL.  He last appeared on the live show with me in 2023, talking about his demonic thriller “Storage Locker”, and I am thrilled to have him back, this time with his partner in crime, ALLEN DANZIGER.  These two are not only tons of fun together, but each brings something terrific to the film - and to this interview.  Now, as I wrote earlier, some of you may recognize the name Allen Danziger, as Allen is legendary in the horror industry thanks to his turn as Chainsaw Jerry in “The Texas Chainsaw Massacre”!  After a 48-year retirement from acting, Allen has returned to the screen in THE WEEDHACKER MASSACRE, and he is a hoot!!  
So what is THE WEEDHACKER MASSACRE?  From Ray’s fertile and creative mind, this is the story about the remaking of a bad horror movie by the cast and crew of The WeedHacker Massacre film, who go to the site of where the real murders occurred 10 years ago. Bad acting, bounced payroll checks, and the killer's return threaten what is to become their worst movie ever.
Directed by Jody Stelzig and written by Ray Spivey, who also serves as editor, THE WEEDHACKER MASSACRE, is filled with weird and wondrous characters like Digger, Skunk, Dufus, Rufus, and Mayor Dick Gunter, Willie Wonder and Pokerface, all played by a talented cast, among them Allen Danziger as Sheriff Danzinshoos, Sean Reyna as Pokerface, David Trevino as Willie Wonder, Parrish Randall, Jody Stelzig, and more.
As we hack into the making of THE WEEDHACKER MASSACRE with Allen and Ray, Ray shares the inspiration behind the film, which is that of a friend’s hair (seriously), and the concept of an indie film group facing challenges in making a film.   Highlighting the large cast, the fun on the set, the music, and the complexity of filming a film within a film, there are plenty of laughs in our conversation that are inspired by the antics of the film itself.  Filled with behind-the-scenes anecdotes, perhaps the greatest revelations and fun come from Allen Danziger himself as he talks about “The Texas Chainsaw Massacre”, the fan love and Chainsaw Jerry Bobbleheads, his 48-year absence from acting, and some fun surprises.  And yes, the three of us have ideas for merch...and a sequel.