Behind The Lens

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.

BTL Radio Show - 07/21/2025 with STEVE MIMS & BRIAN RODGERS and DAN ALLEN

This is a fun episode of BTL RADIO SHOW as we’re going back to nature and into the forest.  That’s right.  It’s back to nature this week as we take a look at a fantastically informative and entertaining short documentary that you can watch right now FOR FREE, and you all know how much I love FREE stuff.  And that documentary is CHARMIN WIPES OUT A FOREST.  In my exclusive chat with writer/director/editor STEVE MIMS and producer BRIAN RODGERS, we delve into the making of this doc and Charmin toilet paper specifically.  Then, get ready for director and editor DAN ALLEN, who joins me discussing his latest film from The Twisted Childhood Universe - BAMBI: THE RECKONING.  
Let’s kick things off with CHARMIN WIPES OUT A FOREST.  Who would have thought someone would make any film about toilet paper, let alone one about Charmin, the biggest-selling brand in the United States?  Charmin accounts for 25% of the US toilet paper market today.  Most of us remember the early ad campaigns for Charmin with Mr. Whipple and the unforgettable “Please, don’t squeeze the Charmin”.  And for quite a few years now, we’ve been seeing multiple tv spots and ads with the animated bear family using Charmin.   But now, thanks to STEVE MIMS and BRIAN RODGERS, we find out the truth behind the toilet paper.
CHARMIN WIPES OUT A FOREST is a comic in-depth exposé of the massive deforestation required to deliver the nation’s most popular bath tissue.  Although we are greeted with a comic opening to the doc, Steve and Brian deliver a shocking yet hopeful message to consumers.  This is a big problem that manufacturer Procter & Gamble will never do anything about, but we can. Filmed on location in the boreal forest of Canada and featuring an array of scientists, experts, and members of the descendants of the Gamble family who founded P&G,  the film presents a tight, entertaining story designed to reach mainstream consumers with a story that can easily have a happy ending.  Did you know that the boreal forest stores more than 208 billion metric tons of carbon? Did you know that just to make Charmin toilet paper (made of virgin fiber only), more than 14 million trees are destroyed each year?  The boreal forest is essential to our survival, and only 1% of Canada’s “old growth” remains today.  “Old Growth” forests are those with trees that are at a minimum 150-250 years old, with many of the junipers in the forest over 1500 years old and the pinyon trees over 900 years old.  Cutting down and replanting trees in tree farms is not sustainable for the future, as it will take over 100 years for new plantings to become old growth. 
Highlighting the environmental impact of Procter & Gamble's toilet paper production, the doc uses humor to engage viewers, something that was inspired by Steve and Brian’s last documentary on Home Depot's deforestation in Ecuador.  As we discuss the making of CHARMIN WIPES OUT A FOREST, Steve and Brian detail their extensive research on Canadian forestry practices, including clear-cutting and the use of glyphosate, a key ingredient in Roundup, which is the subject of quite a few class action lawsuits.  They hope to educate consumers about sustainable alternatives and reduce P&G's market share by encouraging all of us consumers to switch to eco-friendly products.
Then we’re going deep into the part of the forest that hasn’t been cut down with BAMBI: THE RECKONING.  Oh, how I love these twisted childhood universe films.  How many of you have seen "Winnie the Pooh: Blood & Honey 1 and 2"?  If you haven’t, get on it.  What about "Peter Pan’s Neverland Nightmare" or "Mary Had a Little Lamb" or Simon Phillips’ "Mouse Trap"?  While these latter three films are not part of the TCU, they are all of the same vein.  If you’ve seen any of these, I know you’re going to love BAMBI: THE RECKONING.
The official synopsis for BAMBI: THE RECKONING:  "After a mother and son get in a car wreck, they soon become hunted by Bambi, a mutated, grief-stricken deer on a deadly rampage seeking revenge for the death of his mother.
Directed and edited by DAN ALLEN and written by Rhys Warrington based on Felix Salten’s 1923 novel “Bambi Life in the Woods”, the film maintains the original book's themes of family, love, and hardship, and has some 21st-century subtext included on the horrors of man towards nature.   
As Dan and I break down the film, he highlights the casting challenges, particularly with child actor Tom Mulhern, and his scenes with Roxanne McKee, who plays the mother of his character Benji, always cognizant of time, limited shooting hours, safety, and more.  He also speaks to the logistical difficulties of shooting at night in freezing temperatures, as well as the benefits of creating this world of the forest.   A key element of the film is its sound design, as not only does it celebrate silence, but also the forest's ambient sounds, creating a haunting atmosphere which composer Greg Birkumshaw incorporates into his score.  Dan also details the editing process and finding that balance of tension and emotional impact, and so much more.  We cover it all.
TAKE A LISTEN. . .

BTL Radio Show - 07/14/2025 with R.T. THORNE talking 40 ACRES and JOHNNY MARTIN discussing OFF THE GRID

Took a little 4th of July break last Monday, but we’re back this week with two interesting interviews talking about some impactful and entertaining films: the character-driven post-apocalyptic thriller 40 ACRES with director R.T. THORNE, and the action thriller OFF THE GRID with director JOHNNY MARTIN.
First up, let’s take a look at R.T. Thorne’s narrative feature directorial debut, 40 ACRES. A bold, no-holds-barred action-thriller from debut filmmaker R.T. Thorne, 40 ACRES is set in a famine-decimated near future where a former soldier and her family struggle to safeguard their farm as they make one last stand against a vicious militia hell-bent on taking their land.
Co-written by Thorne together with Glenn Taylor and Lora Campbell, 40 ACRES stars, among others, Danielle Deadwyler, Kataem O’Connor, Michael Greyeyes, and Milcania Diaz-Rojas.
As you'll hear, R.T. emphasizes the film's character-driven narrative centered on a mother-son relationship and the broader family story. Exploring themes of survival, trust, and cultural preservation, set against a post-apocalyptic backdrop, he highlights the importance of historical knowledge and cultural practices for the family’s resilience. The film’s visual style, enhanced by cinematographer Jeremy Benning and production designer Peter Cosco, creates a rich, immersive world. The score, composed by Todor Kobakov, adds to the film’s tension and energy. Thorne also credits his editors, Sandy Pereira and Dev Singh, for their crucial role in the film’s success.
Shifting gears, we move on to a fun interview with director JOHNNY MARTIN talking about his new film OFF THE GRID, in which he takes Macgyvering to a new level.
OFF THE GRID is the story of Guy, a man who has gone “off the grid.” But why? After a morally bankrupt company tries to weaponize a brilliant scientist’s revolutionary technology, he goes off the grid to safeguard humanity. When the company sends a strike force to find him, they make their biggest mistake of all – they weaponize the man they are trying to catch. Armed with unrivaled brains and brawn, the wild genius turns Guerrilla warfare into a deadly science.
Directed by JOHNNY MARTIN with script by Jim Agnew, OFF THE GRID stars Josh Duhamel, Greg Kinnear, Peter Stormare, Maria Elsa Camargo, and a breakout performance by Michael Zapesotsky.
In this exclusive conversation, Johnny breaks down OFF THE GRID piece by piece, starting with his desire to create an action movie without guns, focusing instead on the lead character of Guy and his use of unconventional “MacGyvered” weapons, all of which were handmade by Johnny and Josh Duhamel to ensure they would work within the film construct. Approaching this with an observational nature and the importance of location as a character, Johnny details the casting process, particularly with Greg Kinnear and Michael Zapesotsky, and the challenges of filming in Mississippi’s dense forest from a character standpoint. Logistically, Johnny discusses his collaboration with cinematographer David Stragmeister in developing the film’s visual grammar and celebrating the small-town intimacy that Clinton, Mississippi, provided. He also highlights the editing process and working with editor Vincent Tabaillon, who is perhaps best known for action and building tension in films like "Taken 2", "Transporter 2", "Escape Plan 2: Hades", and "Clash of the Titans". Also important to OFF THE GRID is the work of composer Frederik Wiedmann.
By maintaining a commitment to authenticity and practical storytelling, Johnny and his team behind the lens and in front of it created a deeply immersive experience that makes the OFF THE GRID world feel tangible and real.

BTL Radio Show - 06/30/2025 with NICK VERDI talking SWEET RELIEF and DANIEL J. CLARK & JOE KWACZALA talking AMERICAN COMIC

This week, we’re taking a look at a new indie film that just released in select theatres and on Eventive VOD on Friday, SWEET RELIEF, with writer/director/editor NICK VERDI.  And we’ll take one more look at Dances With Films 2025 with the oh-so-funny mockumentary AMERICAN COMIC with director/cinematographer/editor DANIEL J. CLARK and writer/actor JOE KWACZALA.  AMERICAN COMIC helped close out the festival last night.
First up, let’s turn our lens to SWEET RELIEF.  Written and directed - and edited - by NICK VERDI, SWEET RELIEF is a film that starts as a slow burn, gaining momentum as seemingly unrelated characters and storylines begin to interweave until the shocking, explosive climax in this arthouse thriller.
Parents and teachers in a small New England town are in a panic over kids playing SWEET RELIEF, an online murder challenge in which the player must nominate someone they'd like to see die. Three teenagers play the game as a joke, unaware of the dire consequences awaiting them.
Meanwhile, Jess and Nathan are a bored, millennial couple struggling to get by. Nathan is annoyed with his mother, and Jess is annoyed with Nathan.  Jess’s curiosity and boredom lead to a dangerous situation of her own when she meets Gerald, a confidential police informant and perhaps a sadistic child killer.
As you will hear in this exclusive interview, we break down the film as Nick explains the film's genesis, including the challenge of shooting in six consecutive days with a large cast and outdoor settings, and the film’s non-linear narrative.  He details the evolution of the story and some of the decisions he made along the way.  The film's strong suits include solid production values, character development, which boasts some standout performances by Paul Lazar and B.R. Yeager, a unique blend of pastoral imagery and unsettling themes, Joseph Ogden’s lighting and lensing, and the importance of Jack Stratton’s sound design and Renato Montenegro’s score.  The sound and score are a real highlight in SWEET RELIEF.
Switching gears now, let’s bid farewell to Dances With Films 2025 with one of its closing night films - the hilarious mockumentary AMERICAN COMIC and my exclusive conversation with director/DP/editor DANIEL J. CLARK and writer and actor JOE KWACZALA. Who I had a chance to speak with on Saturday before the world premiere of AMERICAN COMIC debuted last night.
AMERICAN COMIC is a verité-style mockumentary that follows two up-and-coming stand-up comedians, who, despite their superficial “cultural” differences, share remarkable similarities when it comes to egotism, self-destruction, and social ineptitude. As the film satirically pulls back the curtain on the unique subculture of stand-up comedy, self-absorbed competitiveness intensifies, leading to some shocking and unexpected revelations.
The film was written by Joe Kwaczala, who is a recognized stand-up comedian, and directed by Daniel J. Clark, who directed the documentary "Behind the Curve."  Filmed in real comedy clubs across the country with live audiences who didn’t realize that Joe  Kwaczala was in character, so much of what makes this film so good is that the reactions from every show are genuine. And amazingly, Joe plays both roles as the comedians in the film and does so with such deftness and skill that you’ll be wondering how he does it.  
This is an insightful conversation as Joe and Dan talk about the inspiration for the film, which includes Joe’s stand-up routines but was inspired by Daniel’s documentary work.  And when you see the film, you’ll understand why Daniel’s adeptness at documentaries makes him the perfect director and editor for AMERICAN COMIC.  They discuss the challenges and logistics of being on the road and filming in real comedy clubs and capturing authentic audience reactions, Joe’s challenges in playing Jay and Jovan, each with distinct personalities, hitting more than a dozen comedy clubs, and often shooting multiple shows per night, and how about selecting the clubs and gaining entre.  Daniel also delves into the editing process, focusing on maintaining authenticity. 
Enjoy!
 
 
 

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

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