Behind The Lens

BTL Radio Show - 06/23/2025 with JESSE COWELL, SERGIO COMACHO & JONATHAN ADELSON, plus a look at some films at DANCES WITH FILMS

This week it’s all about DANCES WITH FILMS on BEHIND THE LENS, which is taking place right now at the TCL Chinese 6 Theatres in Hollywood. You all know my love of indie films and filmmakers, and DWF is showcasing some of the very best this year.   And while I would love to talk about every film and interview every filmmaker for this show, that’s a bit impossible to do, so I’ll have to make do with a couple of interesting interviews and some festival screening recommendations for you.  Get ready as we’re talking about the comedy short, B!TCH I’M EARLY with w/d JESSE COWELL and the documentary pilot UNITED CRAFTS of AMERICA with filmmakers SERGIO COMACHO & JONATHAN ADELSON, plus the delightful animated short POW!, a strong drama with THE MILITIA, and the outstanding documentary ONE BUT MANY.
Get ready for one of the most fun-filled and hilarious, yet philosophical, conversations about filmmaking as writer/director/editor/cinematographer JESSE COWELL breaks down his award-winning short film B!TCH I’M EARLY, which is screening on June 25th at 5pm PT.
B!TCH I’M EARLY is brought to us by JESSE “JESKID” COWELL, and is a comedy short that follows two women in the corporate world vying for a promotion. Their conflict escalates from arguments to a race to the office. The six-minute film satirizes corporate culture with effective comedic timing and increasing tension while also providing tacit commentary on ageism, racism, and diversity.   I laughed myself silly with this one and have watched it 10 times already.
Laughter ensues in this interview and on screen as Jesse and I break down every production element of  B!TCH I’M EARLY.  Emphasizing the importance of the craft of filmmaking, Jesse discusses cinematic storytelling and using visual techniques like Dutch angles and montages to enhance the film's humor and satire and, in the case of B!TCH I’M EARLY, the importance of music and some fantastic compositions by violinist Elizabeth Tsung.  Jesse also discusses his casting process for not only this film, but his works in general, which led him to two fantastic comediennes, Michelle Batista and Jesenia, which garners Jesse’s thoughts on the collaborative process of improv.  And let me tell you, watching Michelle and Jesenia is a masterclass in improv.  Jesse also touches on the broader themes of corporate culture, the importance of new voices in filmmaking, and, above all, his recent rediscovery of joy in the craft.  
Now we shift gears for the thirst-quenching tasty treat, the series pilot,  UNITED CRAFTS OF AMERICA, which is screening at DWF on Saturday, June 28th at 1:15pm.
Directed by SERGIO COMACHO and written by JONATHAN ADELSON, UNITED CRAFTS OF AMERICA offers an intimate look into America’s most vibrant craft beer cities, uncovering the country’s most innovative breweries and the passionate people behind them. The journey begins with New York City’s Interboro Spirits & Ales, where co-owners Laura Dierks and Jesse Ferguson blend beer and hip-hop to create one of NYC’s most influential breweries, breathing new life into the city’s rich brewing heritage. For these brewers, craft beer is more than just a beverage—it’s a symbol of identity, community, and pride. From the rustic charm of small-town breweries to the urban sophistication of city brewpubs, this series shows how craft beer is the story of America.
Hopefully, this pilot episode will garner enough interest and financial backing to complete the series, the first year of which Sergio and Jonathan have planned out to include craft breweries in places like San Diego, Portland, Montana, Asheville, and Boston.  
In this exclusive interview, Sergio and Jonathan break down this pilot episode discussing the inspiration for the series, finding Interboro Spirits & Ales, research, developing a through line, filming (which is simply gorgeous thanks to DP Joel Froome and the Sigma Cine Series and Laowa 2x macro lenses used), beer styling!!!, calling on author/ journalist/and beer critic John Holl to serve as a guide, musical score, and creating an intimacy with the storytelling and the imagery, among others.
There are a few other DWF films that I want to mention and want to get on your radar, either for the future or so you can check them out at the festival this week.
A short film that I have to mention is the animated delight POW!.  It screened on June 22, 2025, but be on the lookout for this little gem on the festival circuit.  Written and directed by Joey Clift, POW! is the story of a Native American kid named Jake who scrambles to charge his dying video game console at a bustling intertribal powwow.  Calling on his roots as an enrolled Cowlitz Indian Tribal member, POW! is an animated comedy about Joey’s own experiences attending powwows as a young Native American kid and how loving video games and loving your culture don't have to be mutually exclusive.  POW! is heartwarming, adorable, and funny with charmin,g vibrant animation, melding different styles that include opening titles that look like vintage gaming pixels.  Particularly outstanding is the voice work of Angela Startz as Jake’s grandmother, who provides Jake with some real wisdom (as all grandmothers do!) and a bit of history lessons thanks to some wonderful “in the mind's eye” animation of Native American history.  Kids and parents alike will relate to POW!, no matter what age or ethnicity!   Please put this one on your radar and keep an eye out for POW! Down the road.  It’s one of the best 8 minutes you’ll ever have.
Another film that deserves mention is THE MILITIA.  THE MILITIA makes its World Premiere at DWF on Wednesday, June 25 at 7:00pm.  This is the tale of young Daniel Pierce, who dreams of joining the local militia alongside his father when he turns eighteen. But when his father becomes the target of the local sheriff, Daniel and his friends band together to form their own militia in a troubled effort to save him. THE MILITIA is written and directed by Dylan King Welter and boasts solid production values and a breakout performance by Sam Williamson as Daniel Pierce.
Lastly, the outstanding documentary ONE BUT MANY, directed by Janna Giacoppa.    ONE BUT MANY is an unflinching documentary that investigates how Human-Wildlife Conflict has become the fastest-growing threat to endangered species and how Human-Wildlife Conflict is being weaponized—used against the very people and animals it affects most. The film exposes deep ties between the trophy hunting industry and policy decisions driven by both the U.S. and African governments, leaving communities and wildlife in deadly peril. But in parts of Kenya, where trophy hunting has been banned for decades, extraordinary models of coexistence are not only emerging—they’re thriving. With raw truth and radical hope, ONE BUT MANY dares to reimagine how humans and wildlife share space in an increasingly complex world.
ONE BUT MANY is directed by Janna Giacoppo and co-written by Giacoppo and Joel Olicker, and was filmed in Zimbabwe, Zambia, Kenya, South Africa, Botswana, and England.  Consider this a strong primer on the human-wildlife conflict while providing us with many reasons to be hopeful for the future.  Make sure to check out my interview with the film’s editor and co-producer Marie-Noelle Marquis, which is already up on www.behindthelensonline.net, to get a deep dive into the editing and storytelling process.  ONE BUT MANY is screening on Sunday, June 29th at 2:30pm at the TCL Chinese 6 in Hollywood.
Until next week!!  

BTL Radio Show - 06/16/2025 with JON S. BAIRD & STEVEN ROGERS and GREG PORPER & JOHN SCHIMKE

 
This week on BEHIND THE LENS, we’ve got a lotta laughs thanks to director/writer/producer GREG PORPER and co-director/co-writer/ and editor JOHN SCHIMKE, who talk about their new, and often side-splitting comedy that opens this Friday, DON’T TELL LARRY.  And who doesn’t love musical theater, especially fresh off last week’s exhilarating Tony Awards?  Also on hand talking about their new film and first collaboration, EVERYTHING’S GOING TO BE GREAT, are two filmmakers whose work I have long admired, director JON S. BAIRD and writer/producer STEVEN ROGERS.
Kicking things off is my exclusive interview with director JON S. BAIRD and his partner in crime for EVERYTHING’S GOING TO BE GREAT, writer STEVEN ROGERS.  I had the pleasure and privilege and speaking with Jon several years ago about his delightful film STAN & OLLIE and before that, FILTH.  Jon is a gifted and thoughtful director who brings his light touch to EVERYTHING’S GOING TO BE GREAT.  And Steven Rogers, well, you all know some of his films - I, TONYA, the wonderful HOPE FLOATS with Sandra Bullock, Harry Connick Jr, and Gena Rowlands, Stepmom, and he’s the man who came up with the story for KATE & LEOPOLD starring Hugh Jackman and Meg Ryan.
EVERYTHING’S GOING TO BE GREAT is a love letter to the theater and everyone who had a dream.  A dramedy at heart, as we hear with the rousing opening strains  “There’s No Business Like Show Business”, we meet the Smart family.  Led by Buddy and Macy Smart, theirs is an unpredictable life of regional theatre while trying to raise their sons, Les and Derrick.  Les dreams of nothing but a future in the theatre (and dare I say that his dreams also include conversations with Tallulah Bankhead, Noel Coward, and Ruth Gordon) while Derrick wants only to stay in one place, go to school, have friends, and play football.  Often living on a shoestring, if even that, Buddy refuses to give up on his dreams for the family, while Macy has to try and keep the family together and afloat.  A true journey of self-discovery while grappling with identity and belonging, each member of the Smart family learns the power of owning the spotlight, no matter what stage of life you’re in.
A fantastic cast is led by Bryan Cranston and Allison Janney, with a scene-stealing and show-stopping performance by Benjamin Evan Ainsworth as Les. Jack Champion stars as Derrick—you probably know Jack from films like SCREAM 6, FREAKY TALES, and RETRIBUTION. Chris Cooper pops in as Macy’s estranged brother, Walter.
Solid production values, first-rate performances, especially when Cranston and Ainsworth are together, this is a film not to be missed. So take a listen as JON S. BAIRD and STEVEN ROGERS as they talk about EVERYTHING’S GOING TO BE GREAT, from their collaboration and the film's origins to casting challenges particularly for the roles of Les and Derrick to the upbeat positive atmosphere on the set led by Cranston and Janney to Rolfe Kent’s score to balancing comedy and drama to the beautiful visual style courtesy of cinematographer Mark Wolf which grounded the film in reality while incorporating stylized elements.
Shifting gears, we move on to laugh-out-loud hilarity with DON'T TELL LARRY, a film that I like to describe as “I Love Lucy” on crack, and my exclusive conversation with co-director/co-writers GREG PORPER and JOHN SCHIMKE.  John also serves as the film’s editor.  Talking with them, I understand completely how the comedic tone of this dark comedy arose.  Greg and John are a barrel of laughs themselves. 
DON’T TELL LARRY is the story of Susan, who tells a harmless little white lie about an office party to her truth-obsessed co-worker Larry in order to secure a promotion.  It doesn’t take long before she finds herself in over her head when tragedy strikes, and all signs point to Larry as responsible. Terrified her secret will be exposed, Susan ropes in her well-meaning but clueless co-worker Patrick to help cover up her tracks—but every move they make unleashes a whirlwind of chaos. From random drug tests and car explosions to a suspicious detective and a rising body count, Susan’s workweek spirals into a full-blown clusterf*ck.
The film stars Patty Guggenheim as Susan, Kenneth Mosley as poor Patrick, Kiel Kennedy as Larry, Dot-Marie Jones as Kim, and Ed Begley Jr as the big boss Bruce.
I don’t even know where to begin in describing my conversation with Greg and John. As not only do we break down every production and casting element, but we also touch on potential branding tie-ins for financing a sequel.  As you will hear, we highlight John’s editing process was extensive, with significant cuts to maintain pacing and tension, casting and production challenges (many of which all of you indie filmmakers of no budget/lo budget/micro budget films will appreciate and understand), as well as Jason and Nolan Livesays score and its range and impact.  The guys also detail their  21-draft screenplay journey, emphasizing the importance of setup, build, and payoff.  And let’s not forget the specific casting of Kiel Kennedy, Patty Guggenheim, and Kenneth Mosley.  But how about the visual grammar developed with cinematographer Derek Bauer, along with the film's color palette, particularly the use of yellow for Larry!  Kudos to Bauer for a nice visual tonal bandwidth balancing fear, terror, and comedy.  And you’ll find out what a “pusher and a cracker” are.  
NOW, a word of warning to you.  Once the hilarity ensued, there was no stopping Greg and John in this conversation, so you might hear some spoilery kinds of things.  Of course, they will probably make you want to see the film even more!
Enjoy! 
 

BTL Radio Show - 06/09/2025 with DAVID JOSEPH CRAIG & BRIAN CRANO, EVAN ARI KELMAN, and MATTHEW JENSEN

 
This is a fun episode of BEHIND THE LENS as I'm doing something this week that I haven’t done before - and that is give you an interview with a film’s director, followed by my interview with his cinematographer.  The film is the thriller BARRON’S COVE.  The director/writer is EVAN ARI KELMAN.  The cinematographer is MATTHEW JENSEN.    But hilarity also ensues today thanks to co-writers/directors DAVID JOSEPH CRAIG and BRIAN CRANO as they talk about their new laugh-filled collaboration, I DON’T UNDERSTAND YOU.
Based on their own life experiences, David and Brian give us Dom (Nick Kroll) and Cole (Andrew Rannells), a couple on the verge of adopting a baby, embark on an Italian vacation — the perfect opportunity to reconnect before the new addition arrives. Everything is picture-perfect, the epitome of a European babymoon, when things begin to spiral out of control. Lost on the way to dinner, their car gets stuck in a ditch, stranding them in rural nowhere during a torrential downpour. These two Americans, who are used to being catered to, are now in a foreign land with no cell service, zero comprehension of the Italian language, and, as fear takes over, escalating turmoil that could explode at any moment.
Co-Written and Co-Directed by Brian Crano and David Joseph Craig, I DON’T UNDERSTAND YOU stars Nick Kroll, Andrew Rannells (who was a Grand Marshall in yesterday’s pride parade in Hollywood), Morgan Spector, Nunzia Schiano, Eleanora Romandini, Paolo Romano, and Amanda Seyfried.
As you’ll hear, Brian and David highlight the humor and language barriers that are the core of I DON’T UNDERSTAND YOU.  They even recount a true incident where they got stuck in a ditch in rural Italy, which inspired the film's plot. The film was written during the pandemic, emphasizing miscommunication and physical comedy.  It's interesting in that they had to reverse engineer elements of the story somewhat once they found their location - in Italy. The key location, a farmhouse, was chosen for its suitability and challenges that give rise to some incredible physical comedy at which Nick Kroll and Andrew Rannells both excel.  But of course, there isn’t just humor in this film.  There’s a bit of bloodshed and horror, which itself will have you splitting your sides with laughter.   We also talk about working with cinematographer Lowell Meyer and how lucky they were to get the legendary editor Nancy Richardson, who worked closely with them to capture the comedy and horror elements.  
Then we switch gears from laughter to the nail-biting tension of a thriller - BARRON’S COVE.  Written and Directed by EVAN ARI KELMAN, BARRON’S COVE stars Garrett Hedlund, Brittany Snow, Christian Convery, Hamish Linklater, Stephen Lang, and Raul Castillo.
BARRON'S COVE follows a father with a violent past (Hedlund) as he grieves the sudden loss of his only child. Convinced of a cover-up and intent on obtaining answers about his son’s death, he kidnaps the troubled boy he holds responsible – the son of a prominent local politician, which ignites a media firestorm and frenzied manhunt. But as he grows ever closer to uncovering the truth, he is left to wonder whether his pursuers are really seeking to protect the boy or merely the secrets he keeps.
Talking with Evan, it's clear that he has a deep-rooted passion for this project, and thanks to that passion, his thoughtfulness and attention to detail in bringing this story to life with believability and emotional resonance shine through on every level.  With a 22-day shoot, complex set-ups and scenes, many night shoots (and Evan shot night-for-night), water work, stunts, fires, and kids, a collaborative relationship with his production team was essential to the making of BARRON’S COVE.  Thanks to cinematographer Matthew Jensen, the visual grammar speaks volumes while showcasing the work of production designer Jordan Crockett, which provides the emotional foundation for the action of Hedlund’s Caleb.  Editor Hanna Park met the pacing challenges while letting us see and feel the emotional arcs and growth of Caleb and Ethan, and still building and ratcheting up the requisite tension of this thriller.  
Completing the picture of BARRON'S COVE is cinematographer MATTHEW JENSEN, who talks about his collaboration with Evan and goes deeper into the lighting and lensing of the film and their importance as storytelling tools.  Known of late for his work on tentpole studio films, with BARRON’S COVE, Matthew returns to independent filmmaking and discusses the challenge of working with a smaller crew and limited resources.  He highlights the importance of framing, avoiding extreme close-ups, and using negative space effectively. You’ll also hear him talk about working with production designer Jordan Crockett and the strategic use of natural light and darkness to enhance the story's themes. 
 

BTL Radio Show - 06/02/2025 with CARLYLE EUBANK talking BROKE and JAMES BAMFORD talking THE LAST GUNFIGHT

A fun BEHIND THE LENS for you this week thanks to writer/director CARLYLE EUBANK, who joins me talking about his feature directorial debut, BROKE, and director JAMES BAMFORD, who breaks it all down for THE LAST GUNFIGHT.
It’s long been said to write what you know.  Well, that’s exactly what writer/director CARLYLE EUBANK has done with BROKE, his feature directorial debut.  Some of you might recognize Carlyle’s name and if you do, it’s probably thanks to “The Signal” which was written by Carlyle and directed and co-written by his brother William, or “Muzzle”  starring Aaron Eckhardt which he co-wrote with William and which was directed by John Stalberg, Jr.  But as Carlyle now steps into the director’s chair with BROKE, this is 100% Carlyle Eubank.  
Riding horses since before he could walk, Carlyle grew up living the Western lifestyle. He often helped his neighbors gather, sort, ship, and brand their cattle and continues to do so today. Familiar with all aspects of modern-day cowboy life, it makes sense that his first directorial feature, with a script written solely by him, would be a western.
BROKE is a contemporary western that follows the story of True Brandywine, played by Wyatt Russell, a bareback bronc rider clinging to his fading rodeo career. When True gets trapped in a freak spring blizzard, he must battle injuries, illness, and the bitter cold. While fighting for his survival, True is forced to face his choices and the circumstances that led him to his tenuous situation. 
Joining Wyatt Russell as True is Dennis Quaid, who plays his father George, while Mary McDonnell of “Dances with Wolves” fame plays his mother Mary.  Veteran actor Tom Skerritt is also on board as is Johnny Berchtold, who plays True’s younger brother Caleb.
BROKE has great emotional depth and texture thanks to an incredibly well-crafted and complex character in True Brandywine, providing what feels like a meditation on life, showcasing the complexities, not only within True, but within all of us. Your parent wants you to do one thing, you have your own mindset, and your heart is pulling you in another direction, even though you might not be making money, but you're happy. What outweighs what? And where do you go? I don't think there's a person anywhere who can't relate to that.
In this exclusive interview, Carlyle and I dissected the film from script to screen, discussing the immersive and beautiful cinematography of Charlie Sarroff, the creative use of flashbacks, shooting in different seasons on location in Montana to create the passage of time, as well as natural visual differences.  We even get into the challenges of filming in harsh winter conditions, including equipment failures and the need for some CGI to maintain continuity, such as with snowflakes.  I love our snowflake discussion!  And rodeos!  Actual rodeo footage and bronc busting from about 6 rodeos around the state that they traveled to and filmed at.  Casting is also covered, with much of the film’s success attributed to its immersive storytelling and the strong performances of Dennis and Wyatt, capturing the complex father-son dynamic. And let’s not forget Glenn Garland’s seamless editing.
Then we shift gears with THE LAST GUNFIGHT and yet another exclusive interview with one of my favorite directors and a fantastic guy in general, JAMES BAMFORD.  We chat so often that letting only a couple of months go by without talking is like going through withdrawal.  James is a fantastic director.  He came up through the stunt world as a stuntman, stunt coordinator, second unit director, and ultimately feature director so you know that his action is going to be spot on in every film.  His films are always action-packed, boast excellent casting, superlative well-choreographed and executed action, and solid stories.  Some of my fave Bamford films include "Shadow Land", "Air Force One Down", "Utopia", "Man With No Past", and "High Ground".  
Anyone who has seen a James Bamford film already will note several things - he has an amazing producing and story partner in Steven Paul (just listening to the two of them together is a kick in the ass) - Steven is credited with the story for THE LAST GUNFIGHT with script by JD Zeik, he has core actors and production department heads who he collaborates with on many of his films - notably his fight choreographer Radoslav Parvanov, for one, and actor Jon Voight who is working with James for the fourth time with THE LAST GUNFIGHT, and James shoots his films at Nu Boyana Studios in Bulgaria.   What I love about James shooting at Nu Boyana is that it feels like the golden age of movies, where films were shot on the lot at MGM or Fox, or Universal.  You recognize touchstones of the studio lot.  James has now utilized all of the streets, sets, and buildings at Nu Boyana, and in THE LAST GUNFIGHT, there are quite a few nods to a prior film of his that was shot there.
I think THE LAST GUNFIGHT is James’ biggest endeavor to date and has a large ensemble cast and some of the biggest and most impressive action sequences that will have you thinking of John Wick thanks to all of the action disciplines employed.  This is also a story that expands beyond what we’ve seen from James before.  THE LAST GUNFIGHT takes place in a ruthless underground tournament, where the world’s top assassins fight to the death. But hidden among them is a rogue crew with its own deadly agenda: infiltrate the competition, survive the bloodbath, and take down the mastermind pulling the strings.  As alliances shift and the bodies pile up, the real battle isn’t just for survival - it’s for revenge, and a fortune worth killing for.   Starring Academy Award® winner Jon Voight, Adam Woodward, Charlotte Vega, Shaina West, the superb Rade Serbedzija, and a new actor for my radar, the scene-stealing and oh-so-dead pan-funny Dearbhla Molloy.
In this exclusive interview, James and I break it all down for you, highlighting the action-packed and fun nature of the story, particularly the character dynamics and John Voight's performance.  Interesting is that this go round, James is working with Ivan Vatzov as his cinematographer and A-camera operator.  Ivan was a camera operator on "Expendables 3" so he knows how to shoot action, use light to its best advantage, and he also brought some unique visual elements to play.  We talk about the casting of this one and how this casting was a bit different than James’ other films, as the actors had to be able to execute the action sequences themselves, which meant casting started very early for this shoot.  As usual, we also talk about Radoslav’s complex yet fluid fight choreography.  And some new areas of discussion between James and me - sound design and the great attention paid to the different weaponry and environs, and the pre-planning and physical preparation for this film due to its physical complexity throughout the studio lot.

BTL Radio Show - 05/19/2025 with NATHAN FURST & GRIFF FURST and FELIPE VARGAS

This week it’s all about horror as we take a look at two distinctly different types of horror films. One that is dark and twisted and steeped in ancient lore and curses - ROSARIO .  The other with a lighter comedic tone that may have you rethinking getting yourself a cute, cuddly puppy, but horror nevertheless and with a bit of action thrown in - A BREED APART.
First up, NATHAN FURST and GRIFF FURST, aka THE FURST BROTHERS, co-writers, co-directors, and co-editors of A BREED APART.
A BREED APART is the tale of a group of social media influencers who find themselves on a private island owned by the famous Vince Ventura.  Expecting a weekend of unrivaled viral opportunity, it doesn’t take long before our five “contestants” find themselves as part of their own horrific reality show when the guests are pitted against each other to capture the island’s legendary man-eating dogs before they become victims of the monstrous canines.  Succeed and win $1 million and the island itself.  Plus, you’re doing wonders for pet adoption! 
As you’ll hear, we break down A BREED APART discussing the genesis of the film, the production, themes and challenges, including the film’s meta narrative and focus on social media influencers, which provides some wonderful subtextual commentary.  As expected, a big part of our conversation goes to the dogs, as the brothers give us the scoop on the canine aspect of the film - 10 real dogs during filming, supplemented by CGI dogs so it looked like 50-60 dogs at times. The real dogs were trained by six trainers, and they were particularly good at swimming scenes in the Guatemalan lake.  However, because the real dogs looked too happy and friendly, the filmmakers ended up using over 1,500 visual effects shots to make the dogs look more menacing. 
You’ll also hear Nathan and Griff talk about the logistical challenges of filming in Atitlan, Guatemala, most notably with the “action sequences” through trails in jungle areas that often required the camera operators to be running behind the actors and dogs.  The crew had to drive three hours from civilization, then load onto a boat to reach shooting locations.  Then the camera operators and crew had to hike equipment up hills and navigate a challenging tropical landscape.  This is just a smattering of what you’re about to hear, so take a listen as Nathan Furst and Griff Furst give us all the ins and outs of A BREED APART.
Then we switch gears and go deep and dark with director FELIPE VARGAS talking about ROSARIO.  Directed by Felipe and written by Alan Trezza, ROSARIO is the story of a Wall Street stockbroker, Rosario Fuentes, who returns to her grandmother's apartment after her sudden death. While sorting through her Grandmother's belongings, Rosario uncovers a horrifying secret—a hidden chamber filled with occult artifacts tied to dark generational rituals. As supernatural occurrences plague her, Rosario must confront her family’s buried secrets and face the truth about the sacrifices and choices they made.   
A fascinating conversation with Felipe, we delve into the themes of the film, which blends horror with heart and a touch of dark humor courtesy of screenwriter Alan Trezza as the story focuses on generational sacrifice and cultural roots.  The underlying theme of sacrifice - specifically the sacrifices parents and grandparents make for their children to succeed - deeply resonated with Felipe, which drew him to this script for his first feature directorial.   As we explore the making of ROSARIO, you’ll hear Felipe discuss the unique visual language created by production designer Carlos Osorio and cinematographer Carmen Cabana as Felipe emphasizes the use of practical effects, including handcrafted prosthetics, to create an organic, tangible, tactile, visceral experience. 
A deliberate visual approach set the film apart from traditional horror aesthetics, making the visual experience as important to the storytelling as the narrative itself.
Filmed in Colombia, and reflective of Felipe’s cultural heritage, not only provided creative control over the set design, but allowed for Palo Mayombe cultural consultants to come on board the production who could authentically represent the religious and cultural elements of the story.
 

BTL Radio Show - 05/12/2025 with guests DUNCAN SKILES and LORCAN FINNEGAN

An interesting movie mix for you this week with director DUNCAN SKILES and his new film NEIGHBORHOOD WATCH, and director LORCAN FINNEGAN and his latest THE SURFER.  As different as night and day, both films showcase storytelling creativity and some incredible - and indelible - performances, most notably from Nic Cage in THE SURFER.
First up, NEIGHBORHOOD WATCH.
Simon, a young man grappling with mental illness, becomes convinced that he has witnessed an abduction of a young woman. When he reports it to the police and they refuse to believe him, he reluctantly seeks the help of his neighbor Ed (Morgan), a jaded, retired security guard with his own troubled past.  As the unlikely duo delves deeper into the mystery, their pursuit of the truth forces them to confront not only the dark secrets surrounding the disappearance but also the unspoken wounds that haunt them both.
Directed by DUNCAN SKILES, who you may know best for directing THE CLOVEHITCH KILLER, NEIGHBORHOOD WATCH rises and falls on the compelling mystery plot and the performances by Jeffrey Dean Morgan as Ed and Jack Quaid as Simon. As you will hear from Duncan in this pre-recorded exclusive interview, he was drawn to writer Sean Farley’s script for its unique and heartwarming dynamic between Ed and Simon.  Duncan found it sweet, bittersweet, and not overly sentimental. The script had a mix of elements - thrills, mystery, and comedy - which appealed to him, and which he brings to life with a naturalistic look and feel thanks to cinematographer Luke McCoubrey.  After THE CLOVEHITCH KILLER, Duncan was looking for something lighter, and this script was an easy read where he found himself rooting for the characters and wanting to spend time with them. The script's ability to create characters he cared about was the key factor that made him want to direct "Neighborhood Watch".
The film took over a year to cast, was shot in 18 days on a tight budget, and showcased Birmingham, Alabama’s suburban locations, which played into the naturalism of the story. The editing process was detailed and lengthy, focusing on maintaining tension and humor.  Jojo Draven’s score, described as melodic and synthetic, enhanced the film's emotional depth.   But what soars in NEIGHBORHOOD WATCH is the performances of Jeffrey Dean Morgan and Jack Quaid.  Believable and resonant, they make you care about Ed and Simon.  You quickly become invested in these characters, particularly Simon, as he deals with his mental illness. As if the mystery story isn’t enough, this is where Jack Quaid rivets you to the screen.  His nuance and intensity when he has “attacks” will have you holding your breath waiting to see if the attack will pass or intensify.  And when this happens, Jeffrey Dean Morgan as Ed is our eyes and ears, and heart.  Building on that are some incredible visuals by DP McCoubrey that try to give an image of what Simon is feeling.  Just wonderful work on all counts.  A big contrast to Duncan’s prior darker works, this marks a shift in his storytelling as he very successfully balances suspense with heartwarming themes.
Listen as Duncan breaks it all down from script to screen in this exclusive interview.
 
Then we switch gears and hit the western coast of Australia with the sun and the surf with director Lorcan Finnegan with THE SURFER and a total mind fuck, batshit brilliant performance by Nic Cage.  Needless to say, I love this movie!
A psychological thriller directed by Lorcan Finnegan, a man identified as "The Surfer" - played by Cage - returns to the idyllic beach of his childhood to surf with his son, played by Finn Little of “Yellowstone” fame.  But his desire to hit the waves is thwarted by a group of locals led by Scally - maniacally played by Julian McMahon - whose mantra is “don’t live here, don’t surf here.”  Humiliated and angry, the man is drawn into a conflict that keeps rising in concert with the punishing heat of the summer and pushes him to his breaking point. 
Cage is brilliant. No one but him could pull off the role of “The Surfer”.  The film is an unforgettable, visceral and visual performance.  A psychological thriller that emphasizes color, lighting, and incredible camera work to create a nostalgic, hypnotic atmosphere, contrasting wide-open landscapes with close-ups to reflect the protagonist's mental state is gobsmackingly lush and gorgeous, particularly the super saturation of color and the sun which reflects off pristene blue waters and white on white sand. 
As you’ll hear Lorcan discuss, initially a few pages, the script evolved into a tale of a man's emotional journey, stripped of his material possessions and ultimately his sanity. The film's score enhances the dreamy, nostalgic feel. Finnegan collaborated closely with cinematographer Radek Ladczuk, whose work you may know from “The Babadook”, editor Tony Cranston, and sound designer Aza Hand to achieve the film's unique visual and auditory experience.
Interesting is that the story is told from a subjective point of view, allowing the audience to experience the protagonist's mental descent alongside him. From a directorial standpoint, Lorcan was also attracted to the challenge of telling a story that takes place over just a few days in a single location, while creating an intense, trippy experience that mirrors the character's internal psychological state. The opportunity to make a film in Australia and continue the tradition of Australian New Wave cinema was an additional motivating factor for him.
Take a listen as Lorcan breaks down THE SURFER from Cage to story to casting to cinematography to editing to sound to score, and even the appearance of native snakes and a kookabura.  
 

BTL Radio Show - 05/05/2025 with special guest RACHEL SUISSA

It’s a fun BEHIND THE LENS this week thanks to writer/director/actor Rachel Suissa who I spoke with a few weeks ago specifically for today’s show which is a salute to Mothers and Mother’s Day courtesy of Rachel’s new film GREEK MOTHERS NEVER DIE.
Based on Rachel's own life, mapcap adventures, and mother-daughter angst, GREEK MOTHERS NEVER DIE is a love letter not only to Rachel’s own mother, but mothers everywhere.  And what a perfect time to see the film as it releases on May 9th just in time for Mother’s Day on Sunday the 11th.
Written, directed and starring Rachel Suissa, GREEK MOTHERS NEVER DIE is a delightful rom-com, brimming with Greek passion and plenty of family drama, as late bloomer Ella dreams of becoming a singer, but her overbearing Greek mother, Despina insists she take over the Gyros business and marry a Greek man. 
Ella‘s story begins in Greece as the only child of Jack, an American singer-song writer and Despina, a Greek, zany, overprotective Gyros owner. Nick, Ella’s only friend, is a 10 year old shy, nerdy looking boy.  As comes as no surprise, Ella and Nick grow up and their friendship turns into love, but in 2010 the Greek economy collapses, Nick vanishes and Jack dies. Despina and Ella are forced to move to America for their survival. Now Ella is a 27 years old with zero love life.  Still dreaming of becoming a singer, Despina pressures her to take over the Gyros business. During their daily fights, Despina suddenly drops dead of a heart attack only to return as a ghost, haunting Ella with unwanted advice and romantic guidance, especially after Nick re-surfaces, now a handsome single doctor.  With a little intervention from the Greek Gods, and Despina, in this heartwarming tale, will Ella will ultimately take control of her life, find the meaning of true love and learn how to deal with the passing of her mother?
Written, directed and starring Rachel Suissa, the film features Abby Miner as Ella, Rachel Suissa as Delphina, Wade Hunt Williams as The Chief aka Zeus, Simon Rérolle as Nick, and Sophia Sutton as Ella’s BFF Heather, just to name a few.
As you are about to hear, Rachel Suissa is passionate about this film.  It is a part of her and her life story.  Rachel is animated, engaging, and thoughtful, all things that you’ll hear in this exclusive conversation as we break down every element of the film, starting with highlighting its universal appeal and personal connections that it evokes.  Rachel bares it all as she talks about the genesis and journey to make the film and shares anecdotes about her mother's influence, including a humorous scene where her mother bribed someone to hang out with her. We discuss the film's casting, particularly Abby Miner as Ella, which has a genuine and authentic feel.  As we break down the production elements of GREEK MOTHERS NEVER DIE, we dive into the cinematography, editing process - and Rachel’s unique method for selecting an editor, location and a favorite highlight of mine, the use of comic book graphics as scene interstitials, as well as the importance of music, which blends Greek and American themes. And Rachel even gives us some early intel on her next film, another fish out of water tale called “The American.”
GREEK MOTHERS NEVER DIE is available for pre-order now on AppleTV and releases digitally on May 9th with exclusive theatrical showings at some AMC theatres in New York City.
 
 

BTL Radio Show - 04/14/2025 with CLAES BANG, JONAH HAUER-KING & NICK HAMM, and DAFNA YACHIN & CHARLENE DAVIS

I think you’ll enjoy this week's BEHIND THE LENS and the films we are discussing, but more than that, the filmmakers and actors I’m speaking with.  Some jam-packed interviews today as we kick things off with my exclusive interview with actors CLAES BANG and JONAH HAUER-KING, together with writer/director NICK HAMM talking about his beautiful epic WILLIAM TELL.  And then you’ll hear from writer and executive producer CHARLENE DAVIS and director/producer DAFNA YACHIN discussing their new film RELATIVE CONTROL. This first interview is one of those times I wish we could have done the interview in person; of course, I wish that with every interview.  But in this case, these three gentlemen are so much fun and have such a wonderful rapport that I know that being together in person would have been an even bigger blast than what you’re about to hear.  I’m talking about CLAES BANG, JONAH HAUER-KING, and NICK HAMM and their wonderful film, WILLIAM TELL.   Written and directed by Nick, based on the play by Friedrich Schiller, they have beautifully married history and legend and brought it to life in an indelible epic result.  
Many of you may have heard of William Tell in your early school days.  Legend has it he’s the man who shot an apple off of his son’s head with an arrow.  But it’s the history around the legend that is what gives this story its weight and wonder.  Set in the 1300s, 14th Century, Switzerland - and shot on location in Switzerland mind you - the nations of medieval Europe struggle for power, the ruthless Austrian Hapsburg Empire invades neighboring Switzerland. Thanks to a number of events that unfold, the peaceful huntsman, William Tell, is thrust into the heart of their resistance.
As you’ll hear, we dive into the heart of William Tell and some of the key production elements, including Jamie Ramsey’s cinematography and the beauty and importance of widescreen vistas, along with character development and historical accuracy. Claes's performance stands out in the development of Tell, which focuses on his inner turmoil and PTSD. The film's epic battle sequences and the challenging shoot-the-apple-off-the-head scene are discussed, emphasizing the actors' extensive training in crossbow and broadsword and the collaborative effort required. Nick explains the film's vision, the integration of violence, and the importance of the apple scene as a metaphor for political terrorism.  Nick also discusses the editing process and working with editor Yan Miles to develop the film's classical structure are also touched upon.
Be it legendary or not, this movie is sumptuous. It is glorious. It is epic. It is beautiful and fascinating. This is, at its heart, a fascinating character study of William Tell punctuated with intense, brutal action offset by the pastoral life Tell so desperately desires and richly deserves.    And by the way, in addition to Claes and Jonah, WILLIAM TELL also stars Sir Ben Kingsley, Jonathan Pryce, Ellie Bamber, Rafe Spall, and as the deliciously evil villain Gessler, Connor Swindells, just to name a few.
 
Then we shift gears as we dive into RELATIVE CONTROL with the women behind this gem - director DAFNA YACHIN and screenwriter CHARLENE DAVIS.
RELATIVE CONTROL is the story of a middle-aged, type-A attorney's life spirals as she juggles her handful of an ex-cop father, forgetful mother, unemployed son, a reignited romance, and a hostile takeover in the biggest corporate control battle of her career.  Directed by Dafna Yachin and written by Charlene Davis, RELATIVE CONTROL captures the humor, heartbreak, and chaos of balancing family caregiving and career with poignant authenticity.   And did you know that there are over 30 million family caregivers in the U.S. right now, making this a relatable and timely story for multigenerational audiences?
As you’ll hear, Charlene and Dafna break down the film from script to screen.  Written by Charlene, the script - her first after a decades long career as an attorney - is based on Charlene’s personal experiences - was developed over a few years and speaks to not only the challenges of caring for aging parents, but caring for yourself as time marches on and the responsibility for caring for your parents overtakes one’s own life. There is some magical casting here with Teri Polo as Sara and Patrick McDade as Sara’s father Joe.  Their chemistry truly captures the dynamic of a daughter and father navigating complex family dynamics.   While Charlene focuses more on the script, Dafna dives into Anthony Berenato Jr’s cinematography, developing a visual tonal bandwidth of lightness and bright tones versus the heavier subject matter, working with editor John Knapich, and some of the production challenges which involved a 14-day shoot, the impact of the pandemic, and shooting in 100 degree Delaware heat in July and August with the film set in the Fall/Winter.  

BTL Radio Show - 04/07/2025 with guests ALEX PARKINSON and BRIAN SKIBA

This week on BEHIND THE LENS we’re going from the Old West down into the deep blue, or not so blue, sea, discussing two wonderful films with two terrific filmmakers - LAST BREATH and GUNSLINGERS.
First up, take a listen to my exclusive interview with director ALEX PARKINSON talking about LAST BREATH.  Currently in theatres, LAST BREATH is a heart-pounding film that follows seasoned deep-sea divers as they battle the raging elements to rescue their crewmate trapped hundreds of feet below the ocean’s surface. Based on a true story of events that occurred in 2012, as well as Alex’s 2019 documentary on the incident, LAST BREATH is an electrifying story about teamwork, resilience, and a race against time to do the impossible.   
Compelling.  Riveting.  Nerve-racking.  Nail-biting tension. The emotional tonal bandwidth is through the roof.
It’s not often you get to speak with a filmmaker who has made a documentary and adapted it into a narrative feature, but that’s exactly whatALEX PARKINSON has done with LAST BREATH.
In this exclusive interview, Alex discusses the transition from his 2012 documentary to the 2025 narrative film,  emphasizing the experiential and emotional depth achieved in the feature.  Listen as Alex highlights the importance of cinematic visuals, particularly the underwater scenes shot in real sea water and lensed by one of the best underwater photographers in the business - Ian Seabrook -, not to mention the use of authentic sounds and music to enhance the story's tension.  Performances are outstanding thanks to Woody Harrelson, Simu Liu, and Finn Cole as our three divers and Cliff Curtis, Mark Bonnor, and MyAnna Buring as the ship’s crew hovering over the dive site.  Thanks to Tania Goding’s editing, we are immersed in the story.  Always stressing authenticity, we dive into Alex's decision to include real footage from the 2012 event, showcasing the real-life camaraderie among the divers which our actors bring to life so vividly on screen.  A wonderful film.  An interesting interview.  
Then it’s time to hear from writer, director, and editor Brian Skiba talking about his new film, the rootin’ tootin’ western  GUNSLINGERS, which is out this coming Friday - April 11th - In Theaters, On Demand, and On Digital.  Talk about a fun film!  Action packed, lots of shootouts, a hanging, a solid story with amazing cast, cinematic in scope thanks to widescreen scenes, and it’s got Nicolas "Fucking" Cage(!!!!!) in another one of his unique, show stopping,  and indelible roles.  I always enjoy speaking with Brian, especially when it comes to westerns and he has outdone himself with GUNSLINGERS.
The story is one that embodies the spirit of Old West and all those black hat versus white hat gunslinging films.  When the most wanted man in America surfaces in a small Kentucky town, his violent history -- and a blood-thirsty mob seeking vengeance and a king’s ransom -- soon follow.   With an old-as-time battle between brothers at its heart, as brothers Thomas and Robert face off against one another and bullets tear the town to shreds, this lightning-fast gunslinger makes his enemies pay the ultimate price for their greed. 
Written and directed by Brian Skiba, GUNSLINGERS boasts an all-star cast that includes Stephen Dorff, Heather Graham, Nicolas Cage, Randall Batinkoff, Cooper Barnes, Tzi Ma, Jeremy Kent Jackson, Costas Mandylor, Scarlet Stallone, William McNamara, Forrie J Smith, and Eric Mabius.
In this exclusive interview, Brian talks about the development of the film, casting Stephen Dorff in the good guy role (a surprise move), and working with Randall Batinkoff again, who is not only in the film but also serves as a producer with his new distribution finance company.  Diving into the physical production process, Brian discusses the film's visual grammar, inspired by classic Westerns, and his collaboration with cinematographer Patrice Lucien Cochet. And what a story with the editing process, which ultimately found Brian editing the film himself (as should have been the plan all along).  And we don’t overlook Richard Patrick's score, developed over six weeks, which only adds to the film's success.

BTL Radio Show - 03/31/2025 with special guest AMI CANAAN MANN

This week, we’re talking about a very special film about a very special woman which was made by another special woman.
The film is AUDREY’S CHILDREN and that special woman is pioneering pediatric oncologist Dr. Audrey Evans and her groundbreaking work in the 1960s and 70s at Children’s Hospital of Philadelphia, or CHOP as it is more commonly known.  And that special filmmaker is director AMI CANAAN MANN.
AUDREY’S CHILDREN tells the untold true story of visionary British physician Dr. Audrey Evans, who burst onto the scene in 1969 as the first female Chief of Oncology at the world-renowned Children’s Hospital of Philadelphia. Battling sexism, medical conventions, and the subterfuge of her peers, Evans developed the first Neuroblastoma Staging System, co-founded the first Ronald McDonald House with the Philadelphia Eagles for families of CHOP cancer patients, and, ultimately, impacted the lives of millions of children and families around the world.
And it’s director, AMI CANAAN MANN, who brings Dr. Evans's story to life with AUDREY’S CHILDREN. Written by Julia Fisher Farbman, AUDREY’S CHILDREN stars Natalie Dormer as Audrey Evans, Clancy Brown as C. Everett Koop, Jimmi Simpson as Dr. Dan D’Angio, Brandon Michael Hall as Dr. Faust, and a scene-stealing performance by young Julianna Layne as young cancer patient Mia, who will just capture your heart. And for all of you Eagles fans out there, look for a nice cameo from Jim Murray, Jr. who plays his dad Jimmy Murray, former General Manager of the Eagles and co-founder of the Ronald McDonald House with Dr. Evans. Did you know that there are now over 685 Ronald McDonald Houses around the world? And it all started with Audrey Evans, the Eagles, and Philadelphia.
Production values of AUDREY'S CHILDREN are first-rate thanks to cinematographer Jon Keng, along with editor Matt Ramsey, composer Genevieve Vincent, production designer Amber Unkle, set dresser Kimitha Cashin, and costume designer Sarah Maiorino.
It was wonderful to reconnect with AMI CANAAN MANN after more than a decade since we last spoke about her work with “Texas Killing Fields”. And as you’ll hear in this exclusive conversation, we cover everything from Mice to Ronald McDonald as Amy emphasizes the importance of capturing Audrey Evans's story, particularly her groundbreaking research in pediatric oncology. Mann praises the cast, particularly Natalie Dormer and Jimmi Simpson, for portraying Audrey and Dan.
Diving deep, we discuss the film's visual style, using vintage lenses and natural lighting to create an authentic 1960s atmosphere. The production design, including Audrey's vibrant wardrobe and the deliberate use of patterns, enhances the film's emotional depth. And let’s not forget the film’s editing and Genevieve Vincent’s beautiful musical score, inspired by jazz and boasting a lot of the musicians from the renowned Baked Potato here in Los Angeles, all further enhancing the narrative's impact.  When you see the film, it’s hard to believe it was shot in only 23 days.
With a female star, director, writer/producer, and more, the story of one of the nation’s most significant female physicians is hitting theaters during Women’s History Month. March 6th also would have been the late Dr. Audrey Evans’s 100th birthday. After years of collaborating and supporting the film, Evans passed away two weeks into the start of physical production.
So, take a listen to my exclusive interview with director AMI CANAAN MANN discussing AUDREY’S CHILDREN.