Behind The Lens

BTL Radio Show - 10/6/2025 with LISA BRENNER talking ONE BIG HAPPY FAMILY and DEVIN MONTGOMERY talking MONSTERS WITHIN

We've got some multi-tasking, multiple-hat-wearing filmmakers on this week's BEHIND THE LENS as we're looking at two indie gems with two wonderful filmmakers.  First up, I’m chatting with veteran actor turned producer and now screenwriter, LISA BRENNER, who is on hand discussing her feature narrative screenwriting debut, ONE BIG HAPPY FAMILY, which she also produces and in which she stars alongside Linda Lavin in her final big screen performance.  In the second half of the show, you’ll hear from Devin Montgomery, who makes his feature directorial debut with the drama MONSTERS WITHIN.  And like Lisa, he also stars in his film, as well as serving as writer and editor. 
So, let’s talk about ONE BIG HAPPY FAMILY, which is actually based on Lisa’s own true story, and explores themes of family, identity, and unity, all done with heart and laughter. 
On her 40th birthday, Rachel is grappling with a looming midlife crisis and the nerve-wracking task of delivering a speech at her daughter’s Bat Mitzvah. But when a DNA test unexpectedly reveals that she’s only half-Jewish and her beloved father isn’t her biological parent, Rachel’s life is thrown into disarray, and suddenly, she’s embarking on a hilarious journey with her eccentric mother Lenore to find out who she really is.   And as if you hadn’t already guessed, Linda Lavin plays eccentric mother Lenore to Lisa’s Rachel. Directed by Matt Sohn, ONE BIG HAPPY FAMILY is written, produced, and stars Lisa Brenner along with Linda Lavin, Lumi Pollack, Dante Brasco, Sabrina Cofield, and Josh Fadem, among others.
I laughed from beginning to end. While the film focuses in large part on the relationship between a Jewish mother and daughter, this film will resonate with almost every daughter out there be they with Jewish mothers, German mothers, Italian mothers, Hispanic mothers, as all of those mothers have that “budinski” quality to them which is one of the film’s throughlines that let’s Linda Lavin shine.  The story itself is very well structured in terms of story and character development, as well as the visuals under Matt Sohn’s direction and the work of cinematographer Ryan Little.  I am particularly enamored with many of the one-liners peppered throughout, the majority of which I believe are delivered by Lavin, who brings such life, such joy, and such humor to the proceedings.  Lisa has a terrific grasp of the mother-daughter colloquial dynamic, as well as writing dialogue that feels natural and conversational. 
As you’re about to hear, Lisa discusses the genesis of the film and why, after her 30-some years in the business, this was the time to tell this story. A very hands-on producer, we also delve into the casting process as well as her collaboration with director Matt Sohn and the decisions as to the visual tonal bandwidth and the look and feel that Lisa wanted for the film. And she not only goes into great detail about casting Linda Lavin, but has some wonderful anecdotes for us about Lavin.  Lisa also touches on the challenges of concurrently balancing acting, writing, and producing, and her future plans to direct, as well as the challenges of staying relevant and working over the decades with this ever-changing medium.  And so much more.  Lisa is an absolute joy, and we had a lot of fun chatting about ONE BIG HAPPY FAMILY.  I hope you’ll have fun listening to us.
Then we’re going a bit darker with DEVIN MONTGOMERY and MONSTERS WITHIN.
MONSTERS WITHIN is the story of  Luke Wolf, a war veteran, who returns to his hometown, where his sister Elle is, who has Down Syndrome. Things are different, or maybe it's just that now he's different. After years of running from his problems, Luke must face his monsters.
Written, directed, produced, and starring Devin as Luke Wolf, MONSTERS WITHIN also stars Samuel French, Skeeta Jenkins, Daniella Montgomery, Kendall Cavener, and Katy Hayes.
A very impressive feature debut all around, MONSTERS WITHIN evolved from a short film he made in 2020 called "A Monster Within," which focused on a brother-sister relationship, inspired by his real-life relationship with his sister, Daniella, who has Down syndrome.  Devin wanted to tell a story that highlighted this dynamic and included his sister as the heart and soul of the film. Additionally, the film explores the idea that everyone has their own "monsters within"—personal struggles and challenges—which Devin observed both in himself and others. The story was also shaped by real-life events, such as his sister's health issues, which led to changes in the film's direction and deepened its emotional impact. All of this led Devin to create a film that is very introspective and that people could relate to on a personal level, reflecting the universal experience of facing inner demons.
There are some beautiful visuals in MONSTERS WITHIN thanks to not only cinematographer Brandon Stewart with dutched angles and macro ECUs, but one scene that showcases a monologue by Devin’s character of Luke, was also shot by Devin himself.  It is stunning.  As Devin and I talk about the film, he highlights the challenges of wearing multiple hats as writer, director, producer, editor, and lead actor, as well as emphasizing the emotional intensity of portraying a veteran with PTSD.  And we talk about montages and Devin's visual inspiration from Terrence Malick films.  
One of the interesting aspects of our conversation that other filmmakers will appreciate is the discussion of the editing process, which Devin referred to as “challenging and transformative”, but also nerve-wracking, and ultimately fascinating and rewarding.  Devin was editing while filming, and because he was shooting the film mostly in order, it gave him the opportunity to review and adjust the story as it unfolded and make creative decisions on the fly, especially after seeing impactful performances that inspired new storylines and character developments.   Interestingly, he taught himself how to edit during the 2020 pandemic lockdown, which he describes as a  “major learning experience” but one that played a key part in the film’s creative evolution.
 

BTL Radio Show - 09/29/2025 with RENNY HARLIN talking THE STRANGERS: CHAPTER 2 and MATTHEW BISSONNETTE talking DEATH OF A LADIES' MAN

I’m excited for this week's #BTLRadioShow thanks to director RENNY HARLIN and THE STRANGERS: CHAPTER 2, and writer/director MATTHEW BISSONNETTE, who brings us DEATH OF A LADIES' MAN.
THE STRANGERS began back in 2008 with the tale of a couple who visit an isolated vacation home to enjoy some time together. However, three masked assailants make their stay a nightmare. In 2018, director Johannes Roberts rebooted the franchise with THE STRANGERS PREY AT NIGHT. Then director Renny Harlin stepped into the franchise in 2024 with what has become a three-chapter series. All three films were shot at the same time over 53 days of principal photography, with a cast led by Madelaine Petsch.
In THE STRANGERS: CHAPTER 1 - we met Maya and Rory, whose car breaks down in a creepy and eerie small town, forcing them to spend the night in a remote cabin where they are terrorized by three masked strangers. Now we have THE STRANGERS: CHAPTER 2, again directed by Renny Harlin and written by Alan R. Cohen & Alan Freedland.
We now find Maya in a hospital as the sole survivor of The Strangers’ murderous spree of the previous night. But the night’s events aren’t over as she must now do everything in her power to survive the continued, relentless attacks from the masked killers while reckoning with the ways that these events are transforming her into someone else.
With CHAPTER 2, we go from one home to an entire town, expanding the terror and violence AND letting Renny embrace the environment of the town and fuel the character development of Maya as she fights to survive. An insightful and enlightening conversation, we dive headfirst into not only the evolution of the franchise but the challenges, along with Renny’s creative freedom in the second chapter as he develops and broadens not only the characters of Maya and The Strangers themselves, but the visual tonal bandwidth and visual grammar; emphasizing the importance of real environs, adding a tonally different - and beautiful - backstory, developing cinematographer Jose David Montero’s more challenging gorgeous and textured lighting and lensing, carreful planning to maintain tension without dialogue, the complexity of the editing with Michelle Harrison’s rapier edge-of-your-seat seamless integration of new and original material, and Justin Caine Burnett’s impeccable score that adds tonal elements that connect it to Chapter 1, but are enhanced and expanded to musically embrace the wider scope of the story.
THE STRANGERS: CHAPTER 2 is currently in theatres.
 
Then we turn to DEATH OF A LADIES' MAN with writer/director MATTHEW BISSONNETTE. Described as a “lyrical dramedy”, DEATH OF A LADIES' MAN is poetic and emotionally charged, infused with the music and spirit of Leonard Cohen, tackling multiple themes that evoke heartbreak, absurdity, and hope.
Gabriel Byrne stars as the hard-drinking, twice-divorced professor Samuel O’Shea whose life seems to be going into the toilet. First, he starts seeing things - Frankenstein at the bar, strangers breaking into Leonard Cohen songs, and conversations with his long-dead father, Ben O'Shea. He chalks it up to stress. But a terminal brain tumor diagnosis sends him reeling into a surreal, darkly funny odyssey through memory, regret, and an unexpected romance in Ireland. Retreating to his family’s remote Irish cottage, Samuel tries to write the novel he’s always avoided—and instead begins rewriting his own story.
In terms of thematic elements, we see father-son, father-daughter, husband and ex-wife, husband and ex-wife number two relationships, punctuated by self-doubt, the refusal to grow up or age. And part of that refusing to grow up or grow old often involves drinking copious amounts of alcohol daily, making Samuel a functioning alcoholic, destroying all of the relationships in his life. But as he navigates all of that, it brings forth such light and realization so that by the time we get to the third act, the film takes on a lightness of self that is beautiful and welcoming. Peppered throughout this tale is a brilliant performance by Gabriel Byrne, Leonard Cohen's music, and spectacular, surreal musical numbers. And yes, you will really see an ice hockey team skate ballet on ice.
In this exclusive conversation, Matt highlights themes of father-son and father-daughter relationships, self-doubt, and addiction. Surreal musical numbers depict internal struggles. Leonard Cohen songs, including "Bird on the Wire" and "Hallelujah," were carefully selected to enhance the narrative. The film's visual grammar, particularly the use of close-ups and wide shots, captures the emotional depth of the characters. And we talk casting, especially Gabriel Byrne and Brian Gleeson, which adds authenticity to the portrayal of complex family dynamics. A bonus in this conversation is the depth Matt goes into on developing the character of Samuel through costume and Gabriel Byrne’s work with costume designer Odette Gadoury.
DEATH OF A LADIES' MAN is currently available on VOD and digital platforms including Amazon, Apple TV, and more.
 
Enjoy! 

BTL Radio Show - 09/22/2025 with guests JOHNNY DANKS talking SHAKEY GROUNDS and VINCENT GRASHAW talking BANG BANG

An interesting show this week on BEHIND THE LENS as we take a look at two very different films and filmmakers, thanks to producer/actor Johnny Danks talking about his new film, SHAKEY GROUNDS, the first one produced under the banner of his company Dank Productions, and director/editor VINCENT GRASHAW discussing the emotionally powerful character study BANG BANG.
First up, Johnny Danks and SHAKEY GROUNDS. What began as a short film about coffee and a coffee shop, after 15 years, morphed into the feature film we have today, SHAKEY GROUNDS, which is not about coffee, but a film that features grunge music and captures Seattle's 1990s vibe.
SHAKEY GROUNDS is the story of a troubled musician and his band as they navigate personal demons and a shot at redemption with a disgraced record executive. After multiple obstacles, they rise together, finding purpose in their music and each other.
Directed by Michael Garcia with script by Trace Slobotkin, in addition to producing SHAKEY GROUNDS, Johnny Danks also co-stars as the disgraced record executive Nick. Joining Johnny on screen are Eric Roberts as his boss Lou Bernstein, Eric Nelson as Travis, the leader of The Cuticles band, Ella Cannon as the band manager and coffee shop manager Mel, and “General Hospital” fave Kelly Thiebaud, who is on board as Travis’ sister Carrie.
As you’ll hear in this conversation, Johnny goes in-depth discussing the 15 year writing process and his involvement in every aspect of the production from casting to location and shooting in Arkansas, to the decision to use original music, to logistics and particulars including two concert scenes in the film (and you haven’t really experienced a lo budget/micro budget film until you’ve had to schedule and wrangle 100+ non-actors in a concert sequence), to production design (which includes a build-out of a video store), to his own performance, and more.
 
Switching gears, we then move into the world of boxing with BANG BANG, an exquisite character study courtesy of director and editor VINCENT GRASHAW. I love this film and every element of the storytelling.
In BANG BANG, retired boxer Bernard “Bang Bang” Rozyski finds a renewed sense of purpose when he reconnects with his estranged grandson and begins training him in the very sport that destroyed his life. As the bond between them grows, questions arise about Bang Bang’s true motivations - including from an old flame who witnessed his explosive rise in the 1980s and his bitter rivalry with her cousin, now a formidable political figure and Detroit mayoral candidate, Darnell Washington. Is Bang Bang simply passing down his anger, or is there real redemption in his mentorship?
Directed by Vincent Grashaw with script by Will Janowitz, BANG BANG stars Tim Blake Nelson in a tour de force performance as Bang Bang. Nelson is brilliant in this role. Joining him are Glenn Plummer, Kevin Corrigan, Nina Arianda, Andrew Liner, Daniella Pineda, and Erica Gimpel.
BANG BANG is such a beautiful character study that is far from superficial, as Vincent really digs into the underbelly of what makes Bang Bang tick.  He pulls no punches in telling this story.  An amazing introspective performance by Tim Blake Nelson as Bang Bang.  Vincent and writer Will Janowitz have done an outstanding look into this man who can't quite get out of the past, but knows he's not there and isn't able to move on into the future.   There are solid structural elements from beginning to end.  A standout sequence involves Bang Bang returning to the house he lived in during his glory days, where he now finds three people who are living there, and he gets to regale them with tales of glory that they haven't heard before.   They are new to the legend of Bang Bang.  You see Bang Bang spark and come alive, and you see color come into play on every level.   Every production and storytelling element come together with this sequence, proving it to be a pivotal point in Bang Bang's story.
As Vincent and I dig into BANG BANG, he discusses the film's introspective portrayal of personal and professional demons, substance abuse, and the grit of a man who was once a champion. Explaining the casting process, particularly the selection of Tim Blake Nelson for the lead role, and the film's use of Detroit as a setting to reflect the city's decline, is a testament to the thought Vincent gave to this production and his vision for this story. He also highlights the importance of visual storytelling, including the use of color and space, and the collaborative effort with his cinematographer Pat Aldinger (who does his own camera work), as well as production designer Ben Miller. Editing the film himself, filmmakers and editors will appreciate Vincent’s detailed process, from the first cut to a “suicide cut,” and the sound design and editing that accompany it, including the music. One of the interesting things about BANG BANG is the surreptitious connection that Vincent has to the subject, given his grandfather was a Golden Gloves boxer, which proved to be a big draw for Vincent as he sees this as a love letter to the “has-been and once was” boxers.
 

BTL Radio Show - 09/15/2025 with guests ALLAN UNGAR and CHRISTOPHER LEONE & PATRICK PIANEZZA

We’re chatting about some wonderful films with some terrific filmmakers this week on BEHIND THE LENS, starting with director/co-writer ALLAN UNGAR talking about his new film LONDON CALLING.  Then in the second half of the show, director/co-writer CHRISTOPHER LEONE and writer/former paramedic PATRICK PIANEZZA are on hand for their new comedy/dramedy, CODE 3.
Directed by Allan Ungar with script by Omer Levin Menekse, Allan Ungar, and Quinn Wolfe, LONDON CALLING stars Josh Duhamel, and along with Josh is the scene-stealing Jeremy Ray Taylor, Aidan Gillen, Arnold Vosloo, Rick Hoffman, and Daniel Lasker, who is a solid standout here.
The story is a simple one.  After fleeing the UK from a hit job gone wrong, a down-on-his-luck hitman named Tommy - played by Josh Duhamel -  is forced to babysit Julian, the son of his new crime boss Benson,  and show him how to become a man. And of course, we have the requisite hit man action elements, complete with gun fights, car chases, and in this case, some juvenile hijinks, and so much more.
But what elevates the simplicity of the story, which is packed with action and adventure, is the heartfelt bonding between Tommy and Julian, and the chemistry between Josh and Jeremy.  As they embark on what can be described as a "road trip buddy action comedy", their growing quasi-paternal bond is palpable and makes your heart smile in between the laughs.
Watching them bond drives the story,  but then thanks to cinematographer Alexander Chinnici, the story and emotion are punctuated with not only beautiful imagery immersing us in London and Los Angeles, but some outstanding montages that not only fuel the emotion of the story but showcase Chinnici’s impressive skills and the visual grammar he and Allan have designed. Sun flares, slo-mo, saturation of color, bright sun.  It is all spectacular.  
In this exclusive interview, Allan discusses LONDON CALLING, highlighting the dynamic between Tommy and Julian. Ungar praises cinematographer Chinnici for the film's visual grammar, particularly the use of light and lens in South Africa, and the production team, including production designer Warren Gray, art director Kerry Von Lillienfeld, and set decorator Roberto Bassi, who successfully recreated London and Los Angeles in Cape Town.  Delving into the editing process, Allan details working with his editors, emphasizing the importance of selecting shots carefully. He also discusses the challenges of integrating the LARPing element and the impactful score by Trevor Morris, which balances action and comedy.
Then, we’re coming in hot with sirens roaring and lights flashing thanks to director and co-writer Christopher Leone and writer/former paramedic Patrick Pianezza and their new film CODE 3.  
Directed by Christopher Leone, CODE 3 is a high-octane action dramedy that follows a world-weary paramedic on his final 24-hour shift as he trains his eager but inexperienced replacement. What begins as a routine night quickly unravels into a chaotic, citywide odyssey, testing their endurance, instincts, and sense of humor as they race from one emergency to the next. Blending heart, irreverent comedy, and edge-of-your-seat action, CODE 3 offers a gritty, behind-the-scenes look at the life of first responders, where every call could mean disaster or redemption.
CODE 3 is unflinchingly fun, entertaining, and eye-opening at the same time. From a very smartly written script that’s very crisp to dialogue that's rapier, the situational experiences are beyond believable.   Told through the eyes of Rainn Wilson's character of Randy, working his final shift with his longtime partner Mike, played by Lil Rel Howery, and breaking in his replacement, a young, eager female named Jessica, played to perfection by Aimee Carrero, just draws you in. Supporting players include Rob Riggle as a jerk ER doctor who hates Randy (and vice versa), and Yvette Nicole Brown, who is hilarious as Randy's supervisor, Shanice.
In this exclusive interview, Christopher Leone and Patrick Pianezza highlight the film’s authentic portrayal of paramedic life thanks to Patrick's paramedic experiences. Christopher has nothing but praise for Patrick's script for its blend of comedy and seriousness, focusing on burnout and the true nature of the job.  The film's visual grammar, led by cinematographer Mark Williams, captures the claustrophobic yet dynamic environment of an ambulance and the emotionality of the situations, as well as shooting exteriors around LA, including under the LAX flight path.  Christopher also goes into detail on developing the visual grammar and shooting with the Sony Venice camera.  Plus, he talks about editor Jay Friedkin, who delivers a film that is fast-paced with a calmly efficient urgency.  And we talk about Maximilian Eberle's score, which uses medical instruments to create a unique sound!
 

BTL Radio Show - 09/08/2025 with CHAD HARTIGAN and MIKI MAGASIVA & ANAPELA POLATAIVAO

Two fabulous films and three fabulous filmmakers for you this week on BEHIND THE LENS as writer/director MIKI MAGASIVA and actor ANAPELA POLATAIVAO talk about the emotional, joyous, heart-filled, uplifting and inspirational, box-of-tissues-necessary film TINA, a beautiful film set and shot in New Zealand and infused with the Samoan and Maori culture; and then director CHAD HARTIGAN moves out of his heavier, more dramatic comfort zone and into something lighter, fun, and heartfelt that tackles some important themes, THE THREESOME.
So let's kick things off with TINA and my exclusive interview with MIKI MAGASIVA and actor ANAPELA POLATAIVAO. 
Written and directed by Miki Magasiva and starring Anapela Polataivao, Antonia Robinson, Zac O’Meagher,  Beulah Koale, Dalip Sondhi, Nicole Whippy, and Jamie Irvine, among others, TINA is an inspiring drama, a light-hearted rhythmic tear-jerker, and the story of Samoan teacher Mareta Percival. Struggling after the death of her daughter in the Christchurch earthquakes, Mareta reluctantly takes on the role of substitute teacher at an elite, wealthy private school and is surprised to find children crying out for guidance, inspiration, and love.  Using the symphony of her culture to empower her students, she forms a choir, bringing them together while unexpectedly rediscovering her passion again for being a teacher and mother...
A beautiful film, it was a joy to speak with Miki and Anapela and discuss the making of TINA with everything from casting to composing to cinematography to cultural authenticity as we travel on this journey of not only Mareta in dealing with her grief over the loss of her daughter along with newfound challenges, but also the journeys of her students and giving voice to the hearts of each and every one.  It’s a wonderful interview as Anapela, renowned in New Zealand and beyond for her work on stage as well as directing theatre, she is also an actor and singer, and an acting teacher, gives insight into the character and the importance of giving the Samoan and Maori culture a voice, while Miki digs into the technical aspects of this story and bringing it to life as his first narrative feature film.
Then, we shift some gears with director Chad Hartigan’s THE THREESOME.  And I do mean threesome, literally and figuratively.    I’m sure some of you know Chad’s prior work, THIS IS MARTIN BONNER and MORRIS FROM AMERICA, both heavier dramas.  Wanting to change things up a bit, with THE THREESOME, Chad does just that, moving into lighter fare.  
Directed by Chad and written by Ethan Ogilby, THE THREESOME stars as our threesome, a flawlessly funny and heartfelt Zoey Deutch, Jonah Hauer-King, and Ruby Cruz with some wonderful supporting performances by Jaboukie Yang-White and Josh Segarra, among others.
As you can imagine, an impulsive night leads to a wild threesome between Olivia (Zoey Deutch), Connor (Jonah Hauer-King), and Jenny (Ruby Cruz), leaving both women facing unexpected consequences, thrusting all three into the raw and beautifully messy chaos of adulthood.
CHAD is nothing if not a purposeful and thoughtful filmmaker and storyteller, as you’ll hear in this interview.  Discussing casting and some surprise behind-the-scenes anecdotes on that, we highlight the film's authentic emotional range and tonal shifts. The script, received during the pandemic, was developed over four years, with key castings including Zoe as Olivia, Jonah as Connor, and Ruby as Jenny.  Interesting are the themes presented within the film, which never get preachy.  Emphasizing the importance of character-driven storytelling and the film's visual style, which aimed to capture the intimacy and complexity of the characters' relationships thanks to some beautiful lighting and lensing by cinematographer Sing Howe Yam, Chad even digs into changing aspect ratios for this film and his reasons for this.  Talking about some specific scenes within the film, Chad really delves into his thought processes for his decisions and his directorial vision.  Working with editor Autumn Dea, the editing process proved challenging, with the final cut reducing from 2 hours and 40 minutes to a director's cut of 2 hours and 22 minutes, ultimately to 1 hour and 40 minutes.  And some of you filmmakers out there may be surprised to hear Chad talk about balancing character depth with audience appeal, a new experience for him.  An interesting conversation to be sure!
 
TAKE A LISTEN. . .
  

BTL Radio Show - 08/25/2025 with DAVID MACKENZIE talking RELAY and MICHAEL ANGELO COVINO & KYLE MARVIN talking SPLITSVILLE

A fun show this week on BEHIND THE LENS as I get to take a look at two new films that just opened in theatres on Friday and speak with three filmmakers whom I’ve spoken with in the past, all of whose work I admire, respect, and in the case of one director, can’t get enough of. I’m talking about the wonderful filmmaking team of MICHAEL ANGELO COVINO and KYLE MARVIN and their hilarious new non-rom com rom com, SPLITSVILLE, along with one of my fave filmmakers and the man who I believe helped put Taylor Sheridan on the map as a writer with the fabulous “Hell or High Water”, director DAVID MACKENZIE and his new thriller RELAY.
So let’s kick things off with the comedy stylings of Michael Angelo Covino and Kyle Marvin and SPLITSVILLE. One of the beautiful things about their collaboration is that they co-write their films, co-produce their films, and they both act in them, with Michael taking the laboring directorial oar. You should remember Michael and Kyle from their last outing, THE CLIMB, a laugh-out-loud black comedy exploring the “friendship” of two guys over two decades. THE CLIMB marked Michael’s directorial feature debut and he knocked it out of the park on every level.
Now the boys are back with one of the most hilarious films you will see all year, SPLITSVILLE. It’s a story of two couples. Ashley and Carey. And Julie and Paul. All best friends. And all with personalities as different as night and day. But while Ashley and Carey are on a road trip, driving down a multi-lane highway, out of the blue and left field Ashley asks Carey for a divorce. Let the hilarity and hijinks begin! Good-natured and kind of wimpy, Carey runs to besties Julie and Paul for support and a place to crash while he figures out what to do. It’s then that he finds out their secret to their happy marriage. It’s an open marriage. Shocked and curious, things take a left turn with Carey crossing the line, resulting in chaotic madness and mayhem for all concerned.
Directed by Michael Angelo Covino and written by Michael Angelo Covino & Kyle Marvin, SPLITSVILLE stars Kyle and Michael, along with Dakota Johnson, Adria Arjona, Nicholas Braun, David Castañeda, and O-T Fagbenle.
As Michael and Kyle discuss the making of SPLITSVILLE, we take a good look at physical comedy, something that is key to this film, in fact, bookending the film with strong, choreographed comedic fight scenes and a few in-between for good measure.  And the boys do all of their own stunts!
From beginning to end, SPLITSVILLE is a collaborative process for the boys. From the inspiration for and crafting of the story and script to their performances to the film’s production elements, everyone is involved. Notable is the part of our conversation about working with cinematographer Adam Newport Berra, whose work you might know from “The Last Black Man in San Francisco”, and not only developing the film’s visual grammar, but also the decision to shoot on 35mm film. Yes. SPLITSVILLE is shot on 35mm, something very important to Michael as it brings a sense of humanity through its texture, grain, and the "aliveness" it imparts to the images. The imperfections and spontaneity inherent in film add to this human quality, making the movie feel more organic and less sterile than digital. We also dive into editing. This is a film that requires rapier editing in order to not only set the energetic pace, but his the comedic beats and emotional beats. This led to editor Sarah Shaw, who also cut “The Climb”, and assistant editor Emmett Ashton. According to Michael and Kyle, working with Sarah and Emmet was fast and collaborative, emphasizing visual storytelling, which capitalized on some laugh-out-loud hilarity with things like goldfish and CVS receipts. From beginning to end, SPLITSVILLE is filled with humor and heart. Something that stands out for me, however, is the growth in Michael as a director since “The Climb” and the growth in Michael and Kyle as storytellers.
Then we switch gears and ratchet up the thrills and tension with RELAY and director DAVID MACKENZIE.  RELAY is a tense, New York thriller which has a timelessness to it while echoing the great paranoid thrillers of the 70s.
In RELAY, Riz Ahmed plays Ash, a world-class “fixer” who specializes in brokering lucrative payoffs between corrupt corporations and the individuals who threaten their ruin. He keeps his identity a secret through meticulous planning and always follows an exacting set of rules. But when a message arrives one day from a potential client named Sarah (Lily James) needing his protection just to stay alive, the rules quickly start to change.
Directed by David Mackenzie with script by Justin Piasecki, RELAY boasts a star-studded cast with Riz Ahmed, Lily James, Sam Worthington, Willa Fitzgerald, Jared Abrahamson, VictorGarber, Eisa Davis, and Matthew Maher.
As we dig into the making of RELAY, a big part of our focus highlights its blend of analog and high-tech elements, which are essential to keeping the audience on edge while building the paranoia and suspense. The integration of analog, old-school technology (like TTY keyboards, switchboards, newspapers, and vinyl LPs) with high-tech elements grounds the story in a tactile, visceral world and heightens the sense of surveillance and unease. Add to that the brilliant work of David’s longtime cinematographer Giles Nuttgens and visual grammar that employs wide-angle shots and surveillance-style imagery to establish a sense of distance and observation, contrasted with closer, more intimate framing as characters connect, which visually mirrors the growing tension and relationships. Known for his long, sustained opening oners, David doesn’t disappoint here and delivers in spades, creating innate tension and immersing the audience without breaking the spell, making viewers feel the paranoia and anticipation from the very first frame.
And key to much of the visual grammar and the visuals that Giles captures is thanks to Jane Musky’s production design and the use of live locations for filming.
As you’ll hear David talk about, scenes where characters build relationships without meeting in person were carefully constructed using editing and visual cues to draw them together and increase the sense of connection and tension. Working with editor Matt Mayer, the editing choices made keep the film feeling rough, jumpy, and edgy, maintaining a constant sense of unease and suspense.
And speaking of building character relationships, David has a lot to say about the casting process, which he describes as “meticulous” and a “slow burn process,” as he needed to find the right actors for each role, some of which may surprise you when you see the film.  Bottom line, though, was the importance of having a cast that can execute their roles truthfully and excitingly.
RELAY is like a puzzle, with each production element integrating or interlocking with another. It’s always fascinating to get inside David’s mind and understand his vision, and what a vision this is with RELAY. 
 
Both interviews are fascinating and cover a myriad of production elements!  Enjoy!

BTL Radio Show - 08/18/2025 with guests JEREMY RUDD and CHUCK RUSSELL

We’re going a bit dark this week on BEHIND THE LENS thanks to writer/director JEREMY RUDD and his directorial feature debut with DIE’CED: RELOADED, and the fabulous veteran director CHUCK RUSSELL and his latest dive back into the darkness with WITCHBOARD.
Let’s kick things off with JEREMY RUDD and his feature debut, DIE’CED: RELOADED, which follows the story of Benny, an infamous serial killer who escapes a high-security asylum on Halloween night, turning 1980s/90s Seattle into a blood-soaked nightmare.  Reborn behind a twisted scarecrow mask, he leaves a trail of carnage across the suburbs, as whispers of his gruesome past resurface, fueling panic in a city soaked in neon and fear. But Benny isn’t just killing for pleasure - he’s hunting someone.  A young woman unknowingly tied to the darkest chapter of his madness becomes his fixation, and the closer he gets, the bloodier it gets.   The result is a brutal, synth-drenched scarecrow slasher soaked in nostalgia, where Benny carves his place in horror history - one body at a time.
What makes DIE’CED: RELOADED interesting from a storytelling and production standpoint is that this began as a short film, conceived by Jeremy Rudd during the pandemic and inspired by slasher movies of the 80s and 90s.  With the idea of a film that would pay homage to those bloody slasher classics, Jeremy developed the scarecrow-like villain of Benny and blending elements of those classics with his own ideas, DIE’CED was born.  Garnering a cult following thanks to it being a viral online hit in 2023, Jeremy then took the next step and expanded DIE’CED into DIE’CED: RELOADED, taking a deeper dive into this new franchise villain.
Written and directed by Jeremy Rudd, DIE’CED: RELOADED stars Eden Campbell, Jason Brooks (who is fantastic as the non-verbal Benny), and Nigel Vona, among others.
In speaking with Jeremy in this exclusive interview, we highlight the film’s creative elements, including the opening title design and the use of red, black, and white, working with cinematographer Tyler Jones, discussing the visual grammar and lighting design which gives way to some very cool visual metaphors. Also, the challenges of extending the film by an additional 40 minutes or so to turn the short into a feature.  Initially, Jeremy handled all aspects of editing, color grading, and sound design himself, learning as he went, and he has some interesting things to say about that learning curve, including the film’s pacing, minimal dialogue, and gory kills.  And one of the biggest highlights of the film - beyond Jason Brooks’ incredible performance as Benny, the film’s score and needledrops - all of which I want on a soundtrack. 
Then we shift gears with the wonderful director, writer, and producer CHUCK RUSSELL.  I have long admired Chuck’s work, going back to “Nightmare on Elm Street 3" and since then, “The Scorpion King”, “Dreamscape”, “The Mask”, and a shift into action with one of my favorites, “Eraser”, and most recently, “Paradise City.”  But now, Chuck goes back to his roots, shall we say, with WITCHBOARD.  Now, WITCHBOARD may sound familiar to many of you.  It was a terrific franchise back in the late 80's to mid 90's, but now it’s time for a new generation and a reboot and reimagination. And Chuck Russell is just the filmmaker for the job.
Resurrecting the '80's horror classic with a chilling new vision, WITCHBOARD takes place in present-day New Orleans, where a cursed artifact unleashes a vengeful witch, drawing a young couple into a deadly spiral of possession, temptation, and occult terror.
Directed by Chuck Russell and co-written by Chuck and Greg McKay, WITCHBOARD stars Madison Iseman, Aaron Dominguez, Melanie Jarnson, Charlie Tahan, Antonia Desplat, and, one of my favorites, Jamie Campbell Bower.
Speaking with Chuck is a pure joy.  With no holds barred, we dug into all things witchy, notably the visual richness and historical accuracy of the film. 
Inspired to incorporate the historical significance of pendulum boards, or Witch Boards as they were also called, into the story,  after researching their origins and uses, Chuck noted that pendulum boards predate Ouija boards and were prevalent as far back as ancient Egypt, used for spell casting and fortune telling. He found it fascinating that these boards, which include astrological signs and symbols, were outlawed by the French Pope in the 1700s, with women being burned at the stake for possessing them. This direct historical connection to the occult and their transformation into Ouija boards intrigued him. So Chuck worked this into the story and then personally designed the film’s pendulum board to reflect both positive and negative balances, aiming for a nuanced portrayal rather than a purely demonic one.  You’ll love hearing Chuck discuss the witch facts of history and why they are so important to this new 21st Century WITCHBOARD universe. 
Diving into casting and performances, there is plenty of praise to go around, particularly for Jamie Campbell Bauer and Madison Iseman, who is phenomenal with Chuck noting their passion for their roles.  One of the most interesting story aspects of WITCHBOARD is integrating the 1700s storyline with the present and the seamless editing process by his team of Alex Marquez, Joe Plenys, and Emily Vallee.  Many filmmakers out there may find Chuck’s thoughts on the flexibility of digital editing compared to film and the seamless integration of visual effects to be of great interest.  
In our discussion, Chuck emphasizes the use of color and texture, particularly with the intricate design of the pendulum board and the positive and negative forces in the various avatars.  And when it comes to color and vibrancy, Chuck looked to a fave DP of mine, Yaron Levy, and gives us the details on the design of the visual grammar.  But let’s not forget the work of production designer Camille Parent.  It’s thanks to Yaron and Camille that we are treated to a balance of glamour and darkness to create an immersive cinematic experience.  As you’ll hear Chuck discuss, it was his intention to make the film "sumptuous and tempting" while also highlighting the dangers and allure of magic. He wanted to create a "glamorous world," but the trick was to make that world terrifying, drawing viewers in with its beauty and then unsettling them with its darker elements.   Rich colors, intricate set and production design, and dynamic lighting—such as candlelight and vivid color cues— reinforce this duality throughout the film, and Chuck goes into detail discussing the cinematic approach for both the allure and the threat presented.
Of course, what would an interview of mine on a film like WITCHBOARD be without talking about the score, and this one is just fabulous, courtesy of composer Sam Ewing; a contemporary score influenced by classical music.  Plus, Chuck and Sam fought for and won the use of a full orchestral score for the film.
 

BTL Radio Show - 08/11/2025 with guests KRISTIN SCOTT THOMAS and HOWARD J. FORD

I’m very excited about today’s show and for you to hear from these two fabulous directors - KRISTIN SCOTT THOMAS talking about the delightful, charming, and funny MY MOTHER’S WEDDING and HOWARD J. FORD talking up RIVER OF BLOOD and a leisurely kayak ride through the jungles of Thailand, complete with indigenous tribes who don’t like outsiders.  What could possibly go wrong!
Now, I know what a lot of you are thinking.  Kristin Scott Thomas?  Director?  Yes, you heard me correctly.  It is THAT renowned actor Kristin Scott Thomas who has now added director and writer to her credits with MY MOTHER’S WEDDING.  And what a directorial debut it is!!  You already know actor KRISTIN SCOTT THOMAS.  Now, meet writer and director KRISTIN SCOTT THOMAS in this exclusive interview as she discusses her directorial feature debut, the delightfully charming and heartwarming MY MOTHER'S WEDDING.
Directed by KRISTIN SCOTT THOMAS and co-written by Kristin and John Micklethwaite (her real-life husband), MY MOTHER'S WEDDING stars Scarlett Johansson, Sienna Miller, Emily Beecham, Freida Pinto, and Kristin Scott Thomas and is the tale of three sisters who return to their childhood home for a momentous occasion: the third wedding of their twice-widowed mother.  Over the weekend, the family gathers to celebrate the new marriage, but mother and daughters alike are forced to revisit the past and confront the future, all with help from a colorful group of unexpected wedding guests..
It's long been said to write about what you know, and that's exactly what KRISTIN SCOTT THOMAS has done with MY MOTHER'S WEDDING.  But she didn't stop with writing about something she is intimately familiar with, as this story is based on parts of her own life; she directs the story as well.  
An absolute joy speaking with Kristin about her writing and directorial process, from the first moment, it is clear that she not only was and is passionate about this very personal story, but understands the intricate details of the production and storytelling process and its collaborative nature.
There are great interpersonal dynamics, especially among the three sisters.  So authentic and believable. This film resonates from beginning to end with authenticity, truth, and heart.  And it looks beautiful!
As you’re about to hear, Kristin has nothing but praise for her team, starting with casting director Lucy Bevan and moving on with her department heads, including the brilliant Yves Belanger who does wonders with natural light, production designer Andrew McAlpine and costume designer Sinead Kideo whose costuming truly captures and defines the personality of each of the three daughters and their mother who is played by Kristin.  
One of Kristin’s goals was to balance comedy and tragedy, leveraging English humor, something which she nailed completely
Of course, there are also challenges to directing, and here she was dealing with the Royal Navy, shooting those sequences on an aircraft carrier on Day One.  And children, a number of children, something she welcomed for the authenticity kids bring to the table.
And we both have a lot of love for composer Rolphe Kent and his delightful score as well as Kristin’s choice for needledrops, which include Elton John, Cher, Carly Simon, Tom Jones, the Bee Gees, all of which were, as she describes it, “carefully curated.”
MY MOTHER’S WEDDING belies this being a first directorial effort or a first screenplay.  No stone is left unturned.  This is storytelling that encompasses all of the cinematic elements and weaves them together into this beautiful, heartwarming, and funny tapestry.  So take a listen as writer/DIRECTOR KRISTIN SCOTT THOMAS talks MY MOTHER’S WEDDING!
Now we go from the beautiful, joyful, and fun to the terror and horror of a Thai jungle with director HOWARD J FORD and RIVER OF BLOOD.  Another film that I love.  I have been an admirer of Howard’s for quite some time and always appreciate the diversity of his projects in terms of locations.  Is there nowhere on this Earth that HOWARD J. FORD cannot shoot a film?  A true adventurer with his films, most of which, I might add, focus on female protagonists, Howard has lensed his films high up on sheer rockface, in the bistering desert, in the heart of Africa, and now with RIVER OF BLOOD, in the jungles of Thailand. He is a believer in authenticity, practical effects, and actors who can work and deliver under some arduous conditions.  And it shows in every frame we see on screen.
RIVER OF BLOOD is the tale of a jungle kayak adventure that descends into terror when a group of four friends becomes the target of a merciless, bloodthirsty tribe.
Directed by HOWARD J. FORD and written by Tom Boyle, RIVER OF BLOOD stars Joseph Millson, Louis James, Ella Starbuck, Sarah Alexandra Marks, and David Wayman, many of whom you may recognize from Howard’s prior films.  When you can find actors who are more than adventurous and willing to subject themselves to unfamiliar and demanding environments, you hang onto them for subsequent work, if you can.
As you’ll hear Howard break it all down, he goes deep into his processes, starting with the challenges of filming in Thailand, including the search for jungle locations and the use of a local crew.   With nothing but praise for his Thai cinematographer Park, we discuss the creation and use of smoke, along with the choice of Sony FX3 and FX6 cameras.  And laying dolly track in the jungle?  Amazing.  But always at the forefront is Howard’s desire and demand for authenticity.   Speaking of authenticity, how about the use of real indigenous tribes as well as practical effects? One of the truly outstanding elements of RIVER OF BLOOD is the sound design and sound mix.  WOW!  We really get into Joe Vince’s sound design and the mixing work of Graham and Adam Daniel, particularly when you layer in the very cool score by Anthony and Jack Wade. 
Filled with lots of anecdotes and more than a few hints about his upcoming projects, Howard’s enthusiasm, exuberance, and passion come through loud and clear.  Take a listen.
 

BTL Radio Show - 08/04/2025 with guests NICK ROWLAND and SETH WORLEY

This week on BEHIND THE LENS, we’re looking at two films that, at their hearts, are about fathers and daughters and a father and son - the wonderful family film SKETCH and the fugitive thriller SHE RIDES SHOT GUN.  And joining me are two amazing filmmakers, NICK ROWLAND, director and co-writer of SHE RIDES SHOTGUN, and SETH WORLEY, the writer, director, and editor of SKETCH.
First, we take a look at SHE RIDES SHOTGUN, which is the story of  “Nate” McClusky and his daughter, Polly, who are on an emotional, thrilling, terrifying road trip across New Mexico as Nate tries to escape his own past — or at least to protect his 11-year-old child from paying for his mistakes. Along the way, driving a series of stolen cars from seedy motel to seedy motel, they take shocking risks, survive daunting threats, and become profoundly close. Polly musters courage and insight well beyond her years, and Nate displays vulnerability and fortitude he didn’t know he had. 
Based on the 2017 Edgar Award-winning novel of the same title by Jordan Harper, the film is at once an intimate two-hander drama and a fast-paced fugitive thriller. Still, it quickly turns heartrending and pulse-pounding, with a tonal and moral integrity that binds these characters together as they navigate a complex series of events.
Directed by NICK ROWLAND and co-written by author Jordan Harper along with Ben Collins & Luke Piotrowski, SHE RIDES SHOTGUN stars Ana Sophia Heger as Polly, Taron Egerton as Polly’s father Nick, along with Rob Young, David Lyons, Odessa Azion, Jamie Bernadette, and an out of the box, amazing performance by John Carroll Lynch in a role unlike anything you’ve seen him in before.
One of the things that most impresses me about SHE RIDES SHOTGUN is that the film stays firmly rooted in Polly’s perspective, from story to dialogue to eyeline, we see this story unfold through her eyes.  As you’ll hear Nick discuss in this exclusive interview, the real highlight of the film is the emotional depth that young Ana Sophia Heger brings to her performance as Polly.  You will be amazed watching her!  Taron Egerton is commanding and vulnerable and fearful as Nate, but put him together with Ana and their father-daughter dynamic is off the charts.  Similarly, there is nothing but praise for John Carroll Lynch and his off-camera gentle demeanor with Ana, which was crucial for some very intense scenes to work onscreen. Despite limited time and resources, Nick emphasized authenticity and flexibility in directing. The film's visual style, influenced by New Mexico's landscapes, is beautifully lensed by DP Wyatt Garfield. The icing on the cake is composer Benjamin John Power's score, which balances tenderness and brutality, enhancing the emotional narrative.
Switching gears to another father-daughter/father-son film, this one is for the whole family to enjoy - SKETCH.  I love this film!!!  SKETCH is a fabulously fantastic film.  Creative, imaginative, vibrant, colorful, and filled with heart.
Making his feature directorial debut with SKETCH is SETH WORLEY, who not only directs the film, but is writer and editor, as well as working on some of the CG compositing.
SKETCH is the story of the Wyatt family - dad Taylor, daughter Amber, and son Jack - along with Tony’s sister Liz.  Grieving the loss of their wife and mother, Amber is having a particularly difficult time coming to terms with her mom being gone.  And Taylor and Jack are so worried about Amber that they forget about dealing with their own grief.  Focusing her anger and grief into her art, which is very dark for an elementary school girl, the school psychologist encourages Amber to continue to draw; to have her own special notebook for her drawings, with the idea being it will channel her grief and help her come to terms with her mother’s passing.
But what happens when Amber’s drawing notebook falls into a strange pond and her drawings come to life with all of the unpredictability, chaos, and destructive mayhem that Amber drew on the page?  As these monsters take over the town, Amber and Jack, together with their friend Bowman Lynch, must track down the creatures before they cause permanent damage. In the meantime, Taylor, together with his sister Liz, is racing to find them through the fallout and navigate through a town in crisis to reunite his family and stop the disaster they never meant to unleash.
In this exclusive interview, Seth discusses his film SKETCH, highlighting the exceptional casting of Bianca Belle, Kue Lawrence, and Kalon Cox as Amber, Jack, and Bowman, respectively, as each brought authenticity and believability to their roles.  They are kids being kids.  We see the sibling dynamic and the friends dynamic, and then the parent-child relationships, most notably between Amber and her dad.  Interestingly, the story was inspired by a childhood memory of a drawing by Seth’s sister.  Tony Hale, cast as dad Taylor, and a producer on the film for the past 6-7 years of development, brought emotional honesty to the role as a dad looking out for his kids while ignoring his own emotional distress.  
The monster designs and visuals are gobsmackingly delightful and meticulously crafted to look like the drawings in Amber’s notebook.  Color is king in this wonderful world, as the vibrant colors, together with the film’s visual grammar courtesy of DP Megan Stacey, were carefully designed to enhance the storytelling.  You’ll hear Seth go into detail on the visuals and the visual grammar, as well as bringing the monsters to life with textures that are like those in the drawings - crayon, Sharpie markers, chalk, colored pencils.  The result is stunning.   And when it came to editing, it was a “smooth process” thanks to a well-honed script.  You’ll also hear Seth talk about the emotional truth and honesty within SKETCH, production challenges and considerations when working with children, and Seth’s own lessons learned with this debut feature directorial and the importance of preparation and collaboration, and more.
 

BTL Radio Show - 07/28/2025 with special guests SIMON PHILLIPS and JAMIE BAILEY talking THE OMRO HEIST

It's madness, mayhem, and a whole lotta fun on BEHIND THE LENS this week!!
And let me just kick off the show by saying - HEEEEEEE’S BAAAACK!!!  SIMON PHILLIPS is back with us today for his fifth appearance on Behind the Lens, which makes him the record holder with the most appearances by a single guest in the 11 years of the show.  And it looks like he’ll be back one or two more times before the end of 2025.  However, adding to the joys of having Simon on board today, his collaborator/partner in production crime, director, cinematographer, editor, and writer, JAMIE BAILEY, is also with us!  It’s a real treat to have Simon and Jamie both on the show together, especially as we’re talking about their latest venture - THE OMRO HEIST.
For those of you who know the work of Simon and Jamie, most of their collaborations have a horror bent to them.  Just think MOUSE TRAP (and the upcoming MOUSE TRAP 2: WELCOME TO THE MICKEYVERSE), WHAT LURKS BELOW, DEINFLUENCER (which has 2 sequels upcoming this year), and more, which makes THE OMRO HEIST interesting, as this is a heist film with some interesting characters and plot points.  No horror.  Just heist, madness, and mayhem, but with multiple themes that are set against the backdrop of a heist.
THE OMRO HEIST is the story of a bank robbery that goes wrong in a once quiet Wisconsin small town called Omro. When an FBI agent goes undercover during the bank siege in his hometown, he discovers the robbery is actually an elaborate cover-up orchestrated by a corrupt politician to destroy evidence of his criminal conspiracy.  The locals must then stand up to take down an evil gunman who will kill anyone who gets in his way.  No spoiler, but needless to say, SIMON PHILLIPS is the evil gunman, and a delicious one at that.
THE OMRO HEIST is directed by Jamie Bailey, written by Jamie Bailey and Simon Phillips, and stars Simon Phillips, Ken Bressers, Anthony Crivello, Damir Kovic, Nick Biskupek, Adam Huel Potter, Al Dias, Heather Arendt, and more.  
As mentioned, not only does Jamie Bailey direct and co-write the film, but he is also the cinematographer and editor.  The film is shot on location in Wisconsin, in an actual bank, and in its actual bank vault. And this is key when it comes to Simon.  As my regular listeners and readers may know, when Simon writes a script, he writes to a specific location.  He gets the location first and locks that in, and then writes the script.  A very economical and efficient production tactic.
Due to the schedules of Simon and Jamie, we pre-recorded this exclusive interview with Simon and Jamie on July 17th.  It was a great birthday gift for me to speak with them that day, but it also allowed Simon to then focus on his impending nuptials and a myriad of other cinematic projects in the pipeline
As you’ll hear, the boys highlight the unique challenges of filming in a real bank. Simon explains how Ken Bressers, a producer of the film and also an actor playing the Mayor, owned a bank in Wisconsin and let it be used for THE OMRO HEIST.  It’s a fun story that you’ll hear Simon regale.  Among others, Jamie details the improvisational approach to shooting, using minimal equipment, the creative decisions made on set, the importance of the sound design, and Jamie’s editing process.  With nothing but praise for the cast, we talk casting and performance at length, including Simon's villainous and fun performance.  Peppered throughout the conversation, Simon discusses the themes within the film, notably the emotional depth of the father-son relationship. The conversation also touches on their collaborative process, as well as their upcoming projects. 
So, take a listen as SIMON PHILLIPS and JAMIE BAILEY talk/laugh/chortle and delight and have a heckuva lotta fun talking THE OMRO HEIST.