Behind The Lens

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

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

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

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

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

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

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

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

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

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