Behind The Lens

I’ve got a fun show for you today as we’re talking comedy.  Laugh-out-loud funny comedy, dark comedy, and screwball comedies, thanks to DELILAH NAPIER and LUCY POWERS as they talk about their film FLOATING CAROUSEL, and CLAIRE SCANLON who talks about her fabulously fun screwball comedy, THE LOVE HYPOTHESIS.
 
First up are DELILAH NAPIER and LUCY POWERS and FLOATING CAROUSEL.  FLOATING CAROUSEL is a dark comedy that follows five characters in their 20s. We meet our five core - a Gender Studies masters student, a messy philanderer, an in-denial Sugar Baby, an aspiring cabaret artist, and a professional cuddler - in a web of dystopian dating scenarios in modern-day New York City. The film takes a surreal turn when two of the characters plot an elaborate revenge scheme that inadvertently unleashes an infestation across New York. A humorous and raunchy look at the transactional nature of our modern day relationships - in a time which has been called the “loneliest century.”
 
FLOATING CAROUSEL is written, directed, edited and stars DELILAH and LUCY, featuring additional cast of  Glori Dei Filippone, Brittany Bradford, Jon Rudnitsky, Reg Rogers, Dylan T. Jackson, and Julian Cihi.  The film’s cinematographer is Fletcher Wolfe and composer is Anna Dubrich.
 
In this interview, you’ll hear Delilah and Lucy discuss the creative process behind the film and explain that the storylines were inspired by real-life dating experiences, originally conceived as short films before evolving into a feature. They detail their multi-faceted roles in writing, directing, and editing on an ultra-low budget and also talk about intentional visual choices, such as using claustrophobic framing to contrast with a wide, cathartic third act. Finally, they highlight the importance of the element of surprise in storytelling and the use of waltz-like musical scores to reinforce the film's carousel theme.  And bedbugs.  Let’s not forget bedbugs.
 
And now, changing gears, we’re going from dark comedy to balls out screwball comedy thanks to CLAIRE SCANLON and her latest film THE LOVE HYPOTHESIS.  
 
Based on the New York Times best-selling novel by Ali Hazelwood, THE LOVE HYPOTHESIS follows Olive (Lili Reinhart), a brilliant Ph.D. candidate focused on her future in academia. But when she realizes her best friend Ahn (Rachel Marsh) has fallen for her crush Jeremy (Nicholas Duvernay), Olive impulsively kisses intimidating professor Adam Carlsen (Tom Bateman) to prove she’s moved on. What begins as a desperate act of friendship spirals into a fake relationship with rules, boundaries, and a mutually beneficial agreement. When their arrangement begins to blur the lines between performance and reality, Olive is forced to test her most daunting hypothesis yet: that love might actually be worth the risk.
 
Directed by Claire Scanlon and written by Sarah Rothschild based on Ali Hazelwood’s best selling novel, THE LOVE HYPOTHESIS stars Lili Reinhart and Tom Bateman, together with Rachel Marsh, Nicholas Duvernay, and Jaboukie Young-White.  Cinematographer is the fabulous Matthew Clark, with editing done courtesy of Kim Boritz-Brehm and Tia Nolan, with a score by Laura Karpman.  A very female centric POV made with a female centric gaze (but for Matthew Clark), and I love it. 
 
It’s funny. It’s charming. It’s fun and frothy. And it makes you smile and laugh from beginning to end. The casting and chemistry on multiple levels is superb. Production values speak volumes.  And I can’t get over the authenticity of these characters and this story.
 
In this exclusive interview, you’ll hear Claire breakdown and detail the project's origins, while exploring the film's visual language, explaining how cinematography and framing enhance character intimacy and emotional intensity. She also identifies the movie as a classic screwball comedy, emphasizing its physical humor and intelligent pacing. Additionally, she highlights the importance of the musical score and the nuanced performances of the cast. Finally, Claire reflects on her transition from episodic television to feature films, advocating for prioritizing directorial vision over people-pleasing.   
FLOATING CAROUSEL is currently in theatres in New York, while THE LOVE HYPOTHESIS is streaming on Prime Video.
 
Make sure to check out behindthelensonline.net for full reviews and interviews on these films along with many others.  Lots of new stuff popping up for you!
 
Enjoy!
 

 
I am thrilled to bring you this week’s BEHIND THE LENS and this week’s featured interview because we’re talking with Moore.  Geoffrey Moore.
 
There is an inevitability to Geoffrey Moore playing a British spy.
 
He knows it. We know it. And when asked whether he had any trepidation about stepping into the role of MI5 agent Hugh in KNIGHTFALL given that his father happened to be Sir Roger Moore, Geoffrey doesn't hesitate.  “No. Money is the answer.”  The laugh, the wit.  That sums up Geoffrey Moore.
 
Witty, funny and self-deprecating, Moore is fully aware of the enormous cinematic elephant standing in the room with him—and entirely unwilling to spend the next half hour genuflecting before it. His is a particularly British wit: quick, dry and responsive, catching an idea in midair and tossing it back with an unexpected spin.  And you’ll hear for yourselves, when the laughter subsides, Geoffrey gets to the more thoughtful truth.
 
As you’ll hear, Geoffrey talks about the privilege of what he does and why, but there’s something more striking about him - his mindset and philosophy - both which come courtesy of his father.  The balance between privilege and responsibility runs throughout this conversation with Geoffrey about KNIGHTFALL, his return to substantial acting after years away from the camera, and the rather unexpected discovery that stepping back in front of one felt remarkably like coming home.
 
There is something wonderfully refreshing about an espionage thriller that remembers the most important weapon in a spy’s arsenal is his brain.
 
Lean, character-driven, and refreshingly free of gadgetry and bombast, KNIGHTFALL puts intelligence before action and then makes that action count. Produced by Jonathan Sothcott, director Ben Fortune and writers Robert Dunn, James Smy, and Bob Schultz deliver a grounded British spy thriller in which moves and countermoves matter, relationships carry consequences, and a chessboard proves every bit as important to understanding the film as a gun.  And Geoffrey Moore is one part of a very interesting puzzle. 
 
At the center of it all is Ros, played by Jeanine Nerissa Sothcott, a scientist holding the only key to a stolen briefcase containing a deadly man-made biological weapon.  On one side is her father, Charles Knight (Ian Ogilvy), a former MI5 spy catcher whose retirement is interrupted when Ros becomes a target. On the other is Ros’s boyfriend Hugh (Geoffrey Moore), a younger, cooler MI5 agent very much of the contemporary intelligence world. Ros stands between the two men personally and generationally, giving KNIGHTFALL an emotional dimension beyond simply stopping the bad guys before they get the deadly contents of that briefcase.
 
As you will see when you watch the movie, which is streaming now, Geoffrey has charisma to burn, with a vocal timbre and cadence that can be startlingly evocative of his father, Sir Roger Moore. Yet he possesses his own distinctly contemporary screen presence, making the character of Hugh feel entirely at home as the younger MI5 man.
 
A real gift in KNIGHTFALL is putting Moore opposite Ian Ogilvy which also gives the film a lovely bit of cinematic history without ever turning it into a stunt. Ogilvy famously succeeded Roger Moore as Simon Templar, starring in Return of the Saint after Moore’s tenure in The Saint. Now Ogilvy and Moore’s son inhabit two generations of the British intelligence world together.  The Saint and the son of a Saint.
 
Fortune wisely doesn’t beat us over the head with it. There are no winking Bond gags, no desperate attempts at pastiche, no gadgetry inserted merely to capitalize on the Moore name. KNIGHTFALL respects that heritage and then gets on with telling its own story.  And Geoffrey gets on with playing Hugh.
 
A fun and fascinating conversation as Geoffrey talks about returning to acting, working with producer Jonathan Sothcott, doing his own stunts AND love scenes, and so much more, not the least of which is a wonderfully warm remembrance of being on set with his father and the lessons he learned from him.  One of the most enjoyable conversations I’ve had over the decades, I think you’ll enjoy this one too.
 
Make sure to join me again next week for another interesting, fun, and entertaining interview.  Who that will be, I’m not sure as yet.   And in the interim, go to behindthelensonline.net where you’ll find a myriad of new movie reviews and interviews with new releases and festival films.
 

Welcome back to another week of BEHIND THE LENS!  Hope you had a wonderful Labor Day weekend.
 
I was going to air director Scott Waugh’s interview on RUNNER starring Owen Wilson and Alan Ritchson today, but given that the review has been out, my interview feature with Scott is also out, and there’s so much positive traction on the film already (I’m so thrilled you guys are loving it!!), that I’m switching things up and bringing you PADRAIC “PAT” McKINLEY and his new film THE WEIGHT!
 
What a film!
 
Directed by Pat McKinley and written by Matthew Booi and Shelby Gaines, THE WEIGHT stars Ethan Hawke, Russell Crowe, Julia Jones, Austin Amelic, Avi Nash, Sam Hazeldine, and the oh so adorable Avy Berry.
 
A taut thriller set in Oregon in 1933 during the depths of the Great Depression, THE WEIGHT stars Ethan Hawke as Samuel Murphy, a father torn from his daughter and imprisoned in a brutal work camp where Russell Crowe’s corrupt and imposing Clancy offers him a chance at early release: help smuggle gold through miles of unforgiving wilderness.
 
What follows is not merely an adventure or survival story, but a testament to the human spirit and the need for personal freedom, anchored by the gut-wrenching power of a father’s love for his daughter.  This is the story of an ordinary man in an extraordinary circumstance.
 
Ethan Hawke is an old-fashioned "everyman" kind of hero.  Think Jimmy Stewart. You cannot look away when he is onscreen.  Russell Crowe is rock solid as the corrupt and shady Clancy.  Watching Hawke and Crowe in toe-to-toe face-offs is riveting.  Standout is Julia Jones as Anna.  Anna, a Native American, who joins Samuel’s gold-toting group along their trek.  As the lone female in the testosterone-fueled group, watching Anna’s character development and interactions with the men, particularly Samuel, elevates some of the film’s basic themes of survival and loyalty.
 
Exciting for me is that THE WEIGHT, and this interview with Pat, demonstrates the lengths filmmakers will go to get a shot, the right shot, and serve the story. But it also speaks to something much larger about THE WEIGHT, a film in which virtually everything—on screen and behind the camera—is about endurance, conviction, freedom, friendship, and just how far one is willing to go for something, or someone, worth fighting for.
 
In this exclusive interview with director Pat McKinley, who also served as the film’s editor, Pat discusses the creative process behind the film, highlighting the importance of collaboration, specifically praising cinematographer Matteo Cocco for his immersive, documentary-style approach in the Bavarian forest. Shooting in the Bavarian Forest presented its own set of challenges with lighting, lensing, staging, and lugging equipment through the rough terrain.  And let me say that shooting this in Germany in the Bavarian Forest as a stand-in for Oregon and the Pacific Northwest adds another layer of storytelling to THE WEIGHT.  
 
For those that don’t know, the Bavarian Forest is one of the Dark Sky Parks in the world.  And Dark Sky Parks are areas where genuine natural darkness still exists. The Bavarian Forest is designated as an International Dark Sky Park and Reserve, and is recognized for its exceptional stargazing opportunities and efforts to reduce light pollution. This designation includes both the Bavarian Forest National Park and the adjacent Bavarian Forest Nature Park, covering approximately 940 square kilometers in Germany.  Dark Sky Parks are free of human interference and preserve the natural and untamed land.
 
As you’ll hear, Pat has some incredible insight into developing the cinematography and working with Matteo in this untamed natural landscape.  And he’s got a great anecdote about Matteo, too!  
 
Going rapid fire given the brief amount of time allotted for our interview, Pat details how the production overcame financial and logistical hurdles through teamwork.  The conversation also covers the film's technical artistry, including Shelby Gaines’ organic, experimental score and the intricate sound design led by Pat’s co-editor Matt Woolley and re-recording mixer Martyn Zub of Formosa Group.  Pat also reveals layers of the collaborative nature of cast and crew, notably a third act scene that Ethan Hawke suggested when Pat couldn’t find a train station for the originally written scene.  Ultimately, Pat emphasizes that while shooting presented many obstacles, the dedicated efforts of his crew during post-production allowed them to achieve a high level of professional and emotional storytelling.  And what a high level it is!
 
You can see THE WEIGHT this Friday, September 18th,  in theatres nationwide.  
 
There are a lot of new films out right now in theatres and On Demand and On Digital.  I just want to put a few of the indie gems on your radar.  One is a sweet nostalgic film is AMERICAN SUMMER starring Steve Guttenberg as a 50-something year old guy looking back on his best summer ever.  Then there are two bloody horror films for you - FEED which has an interesting juxtaposition of social media influencers and vampires; and GATOR FACE which is oh so fun with real alligators and the “leader” of the gators wearing a to-die-for gator coat and a gator mask that is shaped like a gator snout but strongly resembles a WWI gas mask.   For a change of pace, the British spy thriller KNIGHTFALL is now on digital and it stars Ian Ogilvy, Jeanine Sothcott, and none other than Geoffrey Moore (son of 007 Sir Roger Moore).  I’ll be speaking with Geoffrey on Tuesday.  Plus, I’m speaking with the wonderful James Nunn again this week talking about ONE LAST SHOT to close out the “One Shot” trilogy with Scott Adkins. And folks - it is action-packed.   And there's so much more already onn the calendar and in the queue!  
 
For those of you hitting Fantastic Fest in Austin, make sure you check out James Cullen Bressack’s new film I HAVE PROOF.  My review and interview with James are completed but under embargo right now, so be on the lookout for those next week.  A slew of new reviews and/or interviews are on behindthelensonline.net right now. So check them out.
 
And who knows what you’ll hear on BTL Radio Show next week. Maybe Moore.  Geoffrey Moore.  Tune In and find out!
 
 

This week on BEHIND THE LENS, I've got an interesting and fun interview for you as I talk with director KEVIN MACDONALD about his new film, the psychological thriller THE RUNNER.  Plus, it will tease you a bit before THE RUNNER releases on September 2nd on Prime Video!
 
But before I get started, how many of you hit the theatre this weekend to see BUDDY? If you haven’t, run, don’t walk to the nearest theatre for this sick, twisted, hilariously funny, unexpectedly thoughtful, and gleefully drenched in blood film. BUDDY is one of those increasingly rare genre concoctions that feels genuinely fresh and I think the majority of you will have a lot of fun with it.
 
Now, as for today. THE RUNNER and director KEVIN MACDONALD.
 
Directed by Kevin Macdonald, who you probably best know for The Last King of Scotland or How I Live Now (I also love his work with The Mauritanian and Black Sea), and written by Mark Gibson who has previously brought us the oh-so-fun Snow Dogs and the animated film The Wild, together they bring us THE RUNNER.
 
THE RUNNER stars Gal Gadot as Maia Marten, a sharp, resourceful high-powered lawyer at the pinnacle of London’s legal world. She is also a single mother.
 
During her routine morning run, a single phone call shatters her world: her son has been taken. The instructions to get him back are simple and merciless — keep moving, follow every command, and tell no one. Stop, and he dies. Forced to sprint through the city and obey a series of sinister commands, Maia must confront an impossible question: how far will she go to bring her son home?
 
A pulse-pounding psychological thriller set against the backdrop of London’s hyper-connected streets, THE RUNNER is a visceral, high-stakes race where every second counts, every choice carries a price, and a mother's unstoppable love becomes the most dangerous weapon of all.
 
My review on THE RUNNER is embargoed until 9pm PT tomorrow, September 1st, so I have to be a bit cagey in talking about this film. But, just so you know, the review is already finished and is on the website scheduled to go live at 9pm PT on Tuesday night. So, make sure to hop on behindthelensonline.net Tuesday night or anytime after that for my actual full review of THE RUNNER.
 
The first word that came to my mind watching THE RUNNER is gripping. Followed by a perfect marriage of sight and sound, and that’s exactly the focus of my interview with KEVIN MACDONALD - Anthony Dod Mantle’s incredible cinematography, an impeccably mixed and layered soundscape courtesy of Glenn Freemantle and his amazing team, Sam Rice-Edwards’ editing (and it’s hard to believe this is his first feature narrative film edit although he has edited documentaries with Kevin before), and Tom Hodge’s score married with some very telling needledrops.
 
As you’ll hear in this interview, we dig into Anthony Dod Mantle’s lensing and his some amazing camera work. You already know of his talents thanks to films like “The Last King of Scotland” which he did with Kevin, “Slumdog Millionaire” and “127 Hours” with Danny Boyle, and most recently, the utterly charming “My Penguin Friend”, so what you see unfold on screen with THE RUNNER should not come as a surprise. Anthony has a very keen eye and will pick up on the smallest details and slide them into frame. What really amazed me about this shoot, however, is that much of it was shot on the streets of London. They couldn’t close streets or sidewalks in many areas so they ended shooting among regular crowds and traffic with Gal Gadot running...and an ambitious roller skating camera operator named Myron in the middle of it all capturing the kinetic energy. And although Anthony likes to operate the camera himself, for those scenes he let Myron skate and shoot while he shot with a long lens camera.
 
And then there’s Sam Rice-Edwards editing which can only described as whipsmart and rapier, paced and modulated with Maia’s running pace so we feel like we’re running in her shoes and sweating just as much as she is. But what he also does is incrementally parse out visual information about the Caller very sparingly. A fingernail here. Curling toes there. A profile of just an eye. A sliver of a computer monitor. And as the film progresses, the glimpses get a bit bigger so that we can slowly start to put the puzzle together in our minds and visually, but it keeps us on tenterhooks from beginning to end. Rounding things out is Tom Hodge’s score meshed with some incredible needledrops, bookending the film with Blondie’s “Heart of Glass” and “Hanging on the Telephone.”
 
The one element we didn’t get to address in this very brief, but rapid-fire interview, was Gal Gadot. But let me just say this. I cannot think of anyone who could play this role but for Gal Gadot. “Wonder Woman” and all that image entails and brings to Gadot’s pedigree is on full display in THE RUNNER.
 
Another film to put on your radar for this Friday, September 4th when it releses in theatres and digitally is THE GIRL IN THE RIVER from first time feature director and writer, Brando Benetton. A terrific interview and another tension building film for you.  The interview is already out and it’s a very thoughtful and interesting one as Brando really dives into the community of Canton, Mississippi where the film was shot and discusses how key Canton was to making this film and crafting the visual tonal bandwidth. That’s not something that too many directors think about and embrace. And you will love the cast - Maggie Grace, Devon Sawa, Tiffany Haddish (who is fantastic in this dramatic role), Ralph Macchio, and Andrew Stevens. 
 
ENJOY!
 

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!