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Behind The Lens: Daily Summaries Delivered
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JoinTomatometer-approved, veteran film critic debbie lynn elias and a line-up of talented and informed guests as she goes BEHIND THE LENS and below the line with movie reviews and interviews with an in-depth look at the filmmaking process from producing to performance to production design, directing, cinematography, costuming, scoring, editing, scripting, casting and more.
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- 3 days ago1h 0m
BTL Radio Show - 07/27/2026 with director JESSE V. JOHNSON discussing ABOVE & BELOW
It’s finally here! It’s SHARK WEEK 2026! And who doesn’t love SHARK WEEK? I know I do! To celebrate this time-honored tradition, this week we're talking sharks and shark movies with director JESSE V. JOHNSON and his new film ABOVE & BELOW. But first, a little background for you on Shark Week! Starting as a programming experiment on July 17, 1988 on the Discovery Channel, Shark Week has blossomed into one of the most anticipated viewing celebrations of the year. This year’s Shark Week delivers 20 jaw-dropping, blockbuster premieres across every night, packed with pulse-pounding action, epic breaches, and high-stakes encounters. Featuring pioneering technology, groundbreaking investigations, and unbelievable stunts, each special dives into the mysterious worlds of these apex predators, bringing audiences closer to their raw power and untamed nature like never before. Thanks to the popularity of Shark Week, National Geographic hopped into the viewing shark cage with their own celebration, Shark Fest, which is now in its 14th year with documentary programming on the National Geographic channel as well as on Disney+ and Hulu, running all during the month of July. Ever since Peter Benchley’s 1974 best selling novel and Steven Spielberg’s subsequent release of the movie “Jaws” in 1975, the fascination with and celebration of sharks has taken the world by storm. And while Shark Week and Shark Fest honor the scientific and informative aspects of sharks on the small screen every July, did you know that there have been over 400 shark-themed movies produced worldwide since cinema began, be it for theatre or home video/streaming release? Personally, I think that number is a bit low. Let’s face it. People love sharks. In honor of this special time of year, and although there are several new shark-themed films currently out and/or releasing this week, today we’re talking about one sharktastic movie - ABOVE & BELOW - with director JESSE V. JOHNSON. You already know Jesse’s work thanks to films like Chief of Station, Thieves Highway, The Debt Collector films, and Hell Hath No Fury, but now, with ABOVE & BELOW, the former stuntman-turned-director who has never been afraid to push bodies, cameras, stunt teams, and himself to their limits, dives into new territory as thanks to Anthony Giordano's screenplay for ABOVE & BELOW, Johnson was presented with something altogether different. Water. Lots and lots of water. And sharks. More significantly, it gave him a group of young protagonists far removed from the weathered, world-weary characters with whom Jesse generally gravitates. And dare I say up front that ABOVE & BELOW is simply SHARKTASTIC! A basic premise, but one that has tension reigning supreme above the water and danger lurking below, in ABOVE & BELOW, during a Mexican shark dive, five friends are ambushed after discovering cartel cocaine. Trapped in a shark cage, Tatiana and Kaley are forced by the cartel to retrieve a bag of drugs on the seafloor. Battling legendary Great White sharks, dwindling air, and armed killers, the survivors mount a brutal fight to outsmart their captors and escape. Directed by Jesse Johnson with script by Anthony Giordano, ABOVE & BELOW stars Antonio Banderas, Laura Marano, Louis Mandylor, Jess Liaudin, Timothy V. Murphy, Christina Ochoa, Donncha Tynan, Ryan Bertroche, and Diego Llinas, while the team behind the lens includes one of my fave cinematographers Maxime Alexandre, editor Matthew Lorentz, and composer Maria Vertiz. In this interview, Jesse and I get in the shark cage and cover all things ABOVE & BELOW from Maxime’s beautiful lensing to Matthew’s rapier editing that sadly sacrificed some sharks and left them on the cutting room floor to Maria’s score and the musical challenges you face so as not to fall prey and imitate John Williams’ unforgettable Jaws composition. And then there’s the casting with some real surprises courtesy of Laura Marano and Jess Liaudin, and laugh out loud anecdotes about Louis Mandylor, sharks, and a corpse. Plus, another great endorsement for Nu Boyana studios, this time from Jesse. It’s a fun interview. It’s insightful as to the filmmaking process for ABOVE & BELOW. And it’s revealing into Jesse’s work as a filmmaker and his mindset and considerations. ABOVE & BELOW is in theatres on July 29th, but for even more new movie shark viewing, make sure to check out THE DEVIL’S MOUTH which takes us deep into the underwater rivers and caves of Thailand. It releases on Prime Video this week on the 29th. My interview with cinematographer James Kniest is already up on behindthelensonline.net, so make sure to check that out, too. And for some campy B-movie shark fun, you do not want to miss the new WATER PARK SHARK, also streaming on
- 1 weeks ago58 min
BTL Radio Show - 07/20.2026 with writer/director/composer ERIC OWEN dissecting IN A COLD VEIN
Get ready for a fun interview today on BEHIND THE LENS as I talk with writer/director and composer ERIC OWEN about his latest film IN A COLD VEIN. While we dig into the making of IN A COLD VEIN, we also have a lot of fun talking cats, duct tape, and blood. And my regular readers and listeners know how much I love talking duct tape and excessive use of blood in films. IN A COLD VEIN is Eric’s sophomore directorial following his debut feature in 2023, THIRST. I’ll tell you right now, I see growth in his filmmaking with IN A COLD VEIN, notably with the technical elements and using the tools in the cinematic toolbox. IN A COLD VEIN has a very simple plot - Dean is kidnapped and left for dead. Who kidnapped him, how and why are the questions that unfold as the story progresses. Desperation takes hold as Dean unleashes a firestorm of vengeance to find his 9-year-old son who is missing. But the truth behind the conspiracy is a shocking betrayal that may cost him everything. Written and directed by Eric Owen, IN A COLD VEIN stars, among others, Evan Gamble as Dean, Brian Villalobos and P. Michael Hayes as kidnappers Phil and Steve, Marc Pouhe, Mor Cohen, Cliff Dean, and Steve Brudniak as a trucker named Chuck. On the production side, Josh Taylor delivers on lighting and lensing while Samantha McDanel builds tension and suspense with the film’s editing. Nihar Gagneja dazzles with the film’s sound design and mix with a celebration of silence. And as mentioned, Eric is also the film’s composer. In this exclusive interview, Eric and I dive deep into the making of his thriller IN A COLD VEIN, focusing on how working within the confinements of a van, and shooting at night, impacted the visual grammar developed by Eric and his DP Josh Taylor, including the film’s color palette, not to mention the importance of close-ups and ECUs given the film’s use of minimal dialogue, a bound and gagged protagonist Dean, and selected silence. Roughly 80% of the film plays in close-up or ECUs. Explaining how the film grew from a single first-shot image—an eye opening in extreme close-up, pulling back to reveal a bound man in a van—and then expanded into a multi-phase thriller: an assassination-survival story that evolves into a mystery about who ordered the hit and finally into a revenge narrative, this in-depth conversation really takes you through the mechanics of cinematic creation. Delving into the layered characters, perhaps one of the most interesting being Chuck the truck driver, we segue into the dialogue structure and sound design which help build each character and the twists and turns of the story. Dissecting the sound structure and score is very interesting, particularly Eric’s development of the score and how he gravitates toward odd time signatures, minor keys, and tritone-heavy harmonies to keep the viewer slightly off-balance, while still making the music “groovy” and listenable. On the editorial front, interesting for all of you filmmakers out there is that Eric says the cut itself wasn’t the hardest part, because he and DP Josh Taylor often shot with specific, limited coverage in mind. The real challenge came in precision moments of violence and surprise, like the under-the-table hand-stab shot which is hands down, one of the movie’s “money shots.” Eric cites the horror film “Smile” as inspiration for the way that scares are structured and timed, and reiterates his belief that a few well-earned jump scares are better than an onslaught of cheap ones. And among all of the cinematic dissection, which is much more than what I just described, there are a lot of laughs along the way, especially about duct tape and blood usage. IN A COLD VEIN is currently available On Digital and On Demand. I also want to encourage everyone to head to your nearest theatre and see Christopher Nolan’s THE ODYSSEY on the biggest screen possible. If you can, IMAX is an absolute viewing must. So is Dolby Atmos sound!! Sound design and mix is beyond a WOW! This film is masterful on every level and truly Nolan’s interpretation of the Homer Classic. And mark my word, this is an Oscar contender on every level, including the newest awards category, Casting Director. From cinematography to editing to a beautiful haunting score to hair and make-up and costuming to production design, THE ODYSSEY is flawless filmmaking. I’m just sorry that the Academy Award for Stunt Design won’t be given out until the 100th Academy Awards for films released in 2027 because the action sequences on land and sea are eye-poppingly intense and beyond award-worthy. As I have already stated on social media, Christopher Nolan IS cinematic brilliance. Make sure to check out behindthelensonline.net for more movie reviews and interviews - and there are plenty of new ones with more to
- 2 weeks ago1h 5m
BTL Radio Show - 07/13/2026 with director/writer/actor BRITT BANKHEAD talking THE TOWN THAT TAKES
A new filmmaker for you today on BEHIND THE LENS! BRITT BANKHEAD - director, co-writer, producer, and lead actor joins me talking about his narrative feature directorial debut, THE TOWN THAT TAKES. How many of you remember some of your elementary school lessons about the early settlers of the colonies? I know I do, and so does Britt, and he is bringing us an interesting and entertaining film that blends the legend of CROATOAN with a present-day mystery-horror film that focuses on those 115 settlers in Roanoke, Virginia, who went missing in the 1500s. Inspired by CROATOAN, the only clue left behind following the disappearance of the Lost Colony of Roanoke, the film transforms one of America's most enduring unsolved mysteries into a chilling blend of Southern Gothic atmosphere, investigative suspense, a whodunnit, and supernatural terror, and lots of old-school action. For generations, historians, researchers, authors, and paranormal enthusiasts have searched for answers surrounding the disappearance of the Roanoke colonists. Science and documents have shown what theoretically happened, but with no definitive explanation ever discovered, the event remains one of the most debated mysteries in American history. The only clue left behind was a single word in Algonquin: CROATOAN. The official synopsis for THE TOWN THAT TAKES is that this is the story of Dean Richardson, a troubled Army veteran living alone in Georgia, who travels to North Carolina following the sudden death of his ex-wife. After the funeral, he brings his estranged twelve-year-old son, Wyatt, home with him in hopes of rebuilding their fractured relationship. Their journey takes an unexpected turn when they stop in a small backwoods town haunted by whispers surrounding the mysterious word "CROATOAN." After encountering unsettling locals and witnessing increasingly strange events, Dean finds himself caught in a growing nightmare when a motel clerk is found brutally murdered, and he becomes the prime suspect. As veteran Detective Douglas O'Shea and rookie Detective St. Clair investigate a series of unexplained deaths connected to the area, evidence begins pointing to something far more sinister than a simple murder case. Reports of impossible attacks, missing persons, and strange encounters spread throughout the county while Wyatt suddenly disappears. Forced into an uneasy alliance with O'Shea, Dean races to find his son and uncover the truth behind the legend of CROATOAN before an ancient evil claims another victim. Directed by Britt Bankhead, and written by Bankhead and Jon Blaze, THE TOWN THAT TAKES stars Bankhead as Dean Richardson, Miles Mussenden and Grace Patterson as Detectives O’Shea and St. Claire, respectively, Nico Tirozzi as young Wyatt (and he is fantastic), and Mike Markoff as Officer Adams. And it’s not just Britt Bankhead wearing multiple hats. Joining him is Jon Blaze, who, in addition to being co-writer, is also cinematographer and editor. As you’re about to hear in this exclusive interview, Britt and I also pay great attention to composer Edward Antoine, sound mixer Landon Lipinski, and stunt coordinator John Moio, whom I first met some 44 years ago. He’s now 87 and STILL knocking ‘em dead with old-school car chases and fight scenes! In this exclusive conversation, Britt and I dig deep into the challenges and creative decisions of bringing this story to life, not the least of which is Britt’s workload of wearing multiple hats on the project. And as comes as no surprise, Britt does admit that, while rewarding, he would likely not take on so many roles simultaneously in the future due to the intense demands and lack of sleep. Britt reflects on the challenges of directing and acting simultaneously, the importance of trusting his team, and the need for adaptability on an indie film set. The editing process, led by Jon Blaze, was described as collaborative and crucial to maintaining tension, especially in key scenes like a powerful interrogation sequence. We’re talking location scouting and the benefit of having an entire community on board with your film shoot, especially the police department, which allowed them to shut down intersections and perform practical stunts, including old-school car chases and fight scenes under the tutelage of stunt coordinator Moio. Key to the film is that Britt prioritized practical effects, including a unique creature and the extensive use of makeup and blood effects reminiscent of 1980s slasher films. A big part of our conversation deals with the collaborative relationship between Britt and Jon Blaze, especially in developing the film's visual style, shot lists, and handling the logistics of night shoots and complex action sequences. And casting! Britt’s got a solid cast with two amazing stan
- 3 weeks ago55 min
BTL Radio Show - 07/06/2026 with writer/director ANTHONY FRITH talking MOCKBUSTER
It’s another entertaining and enlightening episode of BEHIND THE LENS thanks to director/co-writer ANTHONY FRITH and his documentary MOCKBUSTER. Now, MOCKBUSTER isn’t your typical documentary. This is a documentary directed by Anthony Frith concurrently with his directing of another Asylum B-movie classic, THE LAND THAT TIME FORGOT. I know you know The Asylum, the studio responsible for the SHARKNADO franchise and a few hundred other glorious B-movie genre gems that inevitably revolve around sharks, aliens, dinosaurs, Nazis, Russians, nukes, bad accents, vampires, zombies and generally a take-off on known blockbusters by altering titles and scripts ever so slightly into what have become known as “Mockbusters.” Now, don’t ever knock The Asylum and its founders/creators, David Latt, David Rimawi, and Paul Bales. These guys have perfected a business model and moviemaking formula that lets them churn out films, many in less than a week with principal photography, do all the post-production in a well-oiled in-house machine, and then bring them straight to you on digital/video/dvd aka direct-to-video platform. And their films are, on the whole, a ton of fun. Enter Australian filmmaker ANTHONY FRITH. Anthony has an interesting background but has primarily made a living making corporate video shorts and PSAs like “how to grieve” video manuals, but has long dreamed of directing a feature film. One day, the light bulb went off, and he got the idea to reach out to The Asylum, asking to direct a film. As luck would have it, The Asylum had a movie for him to direct - THE LAND THAT TIME FORGOT. Terrific! But, Anthony has to adhere to The Asylum model - 6 days to film, there is no script yet, and we want it shot in Australia. Okay! But Anthony took things a step further. He saw comedic potential in documenting the process of making a film for The Asylum and spoke with David Latt, CEO and Head of Production, about his idea to shoot a documentary of the making of THE LAND THAT TIME FORGOT while he was shooting THE LAND THAT TIME FORGOT. Needless to say, Latt loved the idea and said go for it, which meant Anthony would be directing two films simultaneously - a documentary and a narrative, with the documentary capturing the entire Asylum process of B-movie filmmaking. Thus, MOCKBUSTER was born. MOCKBUSTER is a scream! And this conversation with Anthony is almost too much fun as Anthony and I dive into the logistics and challenges of directing two films concurrently. THE LAND THAT TIME FORGOT was financed entirely by The Asylum, while it was left to Anthony and his documentary producers to find financing for MOCKBUSTER. As you will hear, Anthony makes it clear that the two productions maintained separate budgets and did not overlap financially. They also had separate crews. As we dive deeper, Anthony discusses the intense pre-production and scheduling required to manage both projects, especially during the six-day principal photography window for THE LAND THAT TIME FORGOT. That 6-day shoot was a key element of Anthony’s approach to MOCKBUSTER as everything about the doc relied upon the timetable for THE LAND THAT TIME FORGOT. Working with his cinematographer Maxx Corkindale, they meticulously planned the documentary's aesthetic and coverage, often coordinating via in-ear monitors to capture key moments without disrupting the feature's production. The documentary crew blended into the background, allowing the feature's cast and crew to focus on their work while still being observed for the documentary. Post-production processes for the two films were also distinct. Asylum handled all editing and post for their feature in-house, with Anthony providing minimal input. Notable are scenes showcasing legendary Asylum VFX Supervisor Glenn Campbell, who passed away in late 2024. In contrast, Anthony was deeply involved in editing MOCKBUSTER alongside editor David Scarborough, with whom he shared a strong creative rapport and did not have time constraints like those of the Asylum for the feature film, which allowed Anthony and David to take their time. And dare I say that David did a knock-out job with the editing, striking a balance between the behind-the-scenes on the doc and the in-camera process of the Asylum feature. They worked together to shape the documentary's narrative and comedic tone, even as they waited for the feature's ending to be completed. Composer Bryony Marks joined late in the documentary process, but quickly delivered a full score that captures the fun of MOCKBUSTER. It’s interesting as we go back and forth between MOCKBUSTER and THE LAND THAT TIME FORGOT, almost like Anthony jockeyed back and forth in his mind during production. Filled with practical production details, and fun anecdotes about doing double duty at the same
- 3 weeks ago1h 17m
BTL Radio Show - 07/01/2026 Bonus! with JOSH DRAGOTTA and DOUG "FINI" FINICAL talking CABALI AND THE TIKI MUG OBSESSION
Surprise! It’s a bonus edition of BEHIND THE LENS! So many terrific interviews of late with some very energetic and enthusiastic filmmakers, and all rather lengthy, that I can’t fit them all in on our weekly Monday show. And because of the fun and enthusiasm of these filmmakers, I want you to hear and enjoy that enthusiasm rather than read a written feature. So you’re getting some bonus episodes, and this is one of them as I chat with director and editor JOSH DRAGOTTA and Tiki mug collector and film subject DOUG “FINI” FINICAL about the documentary CABALI AND THE TIKI MUG OBSESSION. CABALI made its Los Angeles premiere at Dances With Films last month. What a fun, fun film and what passionate and engaging guys. I, for one, have always admired the artistry of tiki mugs, but until this film, never knew the history of the Tiki culture. CABALI AND THE TIKI MUG OBSESSION fills that void as it examines the history, artistry, and resurgence of Tiki culture through the collectors, artists, and enthusiasts who helped preserve it during a period when much of the culture was disappearing. And did you know that the Tiki culture, as it’s called, started right outside of LA in Venice, California? Focusing on the evolution of Tiki mug collecting from a niche hobby into a worldwide community rooted in design, craftsmanship, nostalgia, and preservation, the film also follows Doug “Fini” Finical, a longtime Tiki collector whose extensive collection of over 1000 Tiki mugs inspired the creation of Cabali, a modern speakeasy-style Tiki bar in Oro Valley, Arizona. Hand in hand with this exploration of the Tiki culture and its artistry, we follow Fini’s journey as he tries to build his dream - Cabali, a Tiki bar in Arizona. From location to color to decor to Tiki carvings to a lava wall (which is beyond cool), we hear from the architects and contractors as they meet the many, many challenges of Fini’s dream project. So determined to build Cabali, Fini even sold his house to get money for the build. Over 100 interviews were conducted for this documentary, including appearances by actress and comedian Kate Flannery, who is a Tiki devotee, Rock & Roll Hall of Famer Todd Rundgren, painter, designer, and illustrator Shag, and a wide range of artists, collectors, musicians, and Tiki historians connected to the culture’s ongoing revival. With a mix of interviews, archival materials, film, home movies, photos, vérité footage, and stylized cinematography, CABALI AND THE TIKI MUG OBSESSION goes beyond the collectibles themselves and looks at the community that formed around them. As you’ll hear in this interview, CABALI was a multi-year project with an unknown outcome. Josh breaks down the challenges and creative process behind editing the film, noting his background as an editor and the very deliberate choice to intertwine two narrative threads: the broader history of Tiki and the specific story of Cabali’s creation. He discusses how the visuals, including vibrant cinematography by Ryan Mihalyi and expert color work by David Taylor, were designed to immerse viewers in the world of Tiki, paralleling the artistry of the mugs and bar with the film’s own visual style. The use of dynamic camera angles, close-ups, and color was discussed as a way to highlight the craftsmanship involved in both the mugs and the bar’s construction. As comes as no surprise, we spend a good deal of time touching on the editing process, with Josh revealing that he cut two separate linear films—one about Tiki history and one about Cabali’s construction—before merging them into the final non-linear narrative, noting the difficulty of deciding when to stop filming and interviewing, and acknowledging that some interviews took years to secure. Important to Josh was to include a wide range of voices from the Tiki community while condensing a visually and historically rich story into a tight runtime. We also delve into the film’s sound design and music, with special mention of Silas Hite’s main title score and Tony Marsico’s contributions, which blend surf rock, Polynesian influences, and jazz notes to evoke the mid-century era when Tiki culture flourished. The music is not only energetic but also propels the narrative. And something that tickled me to no end is the film’s opening titles with Hite’s title score. Vibrant, bold, and alive, the film’s opening titles, which were inspired by the legendary Saul Bass and created with the help of Emily Eckstein, Silas Hite, and Ralph Smith, represent a shared aesthetic sensibility and collaborative approach to animation and design, as was the intention to create a visually striking introduction that sets the tone for the film. Fini joined the conversation to share his perspective on the organic development of the project. He
- Jun 29, 202644 min
BTL Radio Show - 06/29/2026 with director DERRICK BORTE talking about THE GET OUT
Another fun week on BEHIND THE LENS! Another terrific film and filmmaker! That's right! This week, it's all about THE GET OUT with director/co-writer DERRICK BORTE. But first. . . Dances With Films has come to a close in Hollywood. Some fantastic films this year. You’ve heard some of my interviews the past couple of weeks with DWF filmmakers, and I still have a few more that you’ll be reading and/or hearing this coming week. I have some definite DWF fave films that I hope we’ll see with distribution deals in the coming months, notably YALE starring Kevin Dunn, the oh-so-fun documentary CABALI AND THE TIKI MUG OBSESSION, TENDER co-written and directed by Adam Hoelzel and starring Jess Weixler and Jesse Garcia, a wonderful short film GOOD VIBES ONLY, the high octane BANDIT, and one of my top picks at DWF this year, the incredibly powerful documentary THE LAST PLACE ON EARTH which spans a nine-year journey into the heart of Sumatra’s Leuser Ecosystem from writer/director David Booth Gardner as we follow a group of extraordinary wildlife activists as they risk everything to save one of Earth’s last untouched wildernesses from the devastation of the illegal palm oil industry. Deforestation, animal poaching, and global warming. When you think animal poaching, most think about Africa. When you think deforestation, most think about the Amazon. But Sumatra is a complex convergence of everything and Gardner lays it all out for you here. Keep your eye out for this documentary, people. The World Premiere was at DWF, so I anticipate maybe some more festivals or a savvy distributor snapping it up quickly. This week we’re talking about the fantastic THE GET OUT with co-writer/director DERRICK BORTE! What a fun ride! Wow! I laughed. I was entertained. I love the story. I love the third-act twist. The cast, led by Russell Crowe, is phenomenal. The production values are top-notch. Of course, how could they not be with Brendan Galvin as your DP and Mark Warner as your editor? And the film is in limited release in select theatres right now and hits digital tomorrow, Tuesday the 30th! Directed by Derrick Borte with screenplay by Derrick and Daniel Forte, based on the novel STRIP by Thomas Perry, THE GET OUT stars Russell Crowe, Luke Evans, Teresa Palmer, with the scene-stealing duo of Nina Dobrev and Aaron Paul. A fun premise, nightclub owner Manco (Russell Crowe) is on the verge of leaving his dangerous past behind for retirement with his girlfriend Sunny (Teresa Palmer). When masked gunmen Carrie and Jeff (Nina Dobrev, Aaron Paul) rob him and he finds himself squeezed by ruthless cartels, a mysterious newcomer, Joe Carver, (Luke Evans) arrives with an interest in buying Manco’s business - money laundering and all. With danger closing in from all sides, Manco must navigate a deadly web of deception, power, and survival - where escape may no longer be an option. I have long admired Derrick Borte and his films, going all the way back to “The Joneses” and most recently, his last outing with Russell Crowe, “Unhinged”. In this comprehensive look at the creative process behind THE GET OUT, from adaptation and casting to visual style, editing, and music, and let’s not forget humor, Derrick showcases the collaborative efforts that contributed to the film's success. Digging into the adaptation process, which is something we don’t talk about enough, you’ll hear Derrick talk about working with Russell Crowe and co-writer Daniel Forte. Borte explains that the film was adapted from Thomas Perry's book, and yes, they took creative liberties to better connect the ensemble of characters around the central figure of Manco. Interesting are Derrick’s thoughts on the importance of weaving supporting characters like Joe Carver, Jeff, Carrie, and Manco’s assistant Spence into the narrative, building toward an explosive climax. Of course, casting is king, and there’s a lot to be said about Nina Dobrev and Aaron Paul as Carrie and Jeff, respectively, who steal the show. Structurally, I love that although this is an ensemble, each character within the ensemble believes that they are the main character, which adds a fun level of absurdity and depth to the story. And how about Russell Crowe, who plays Manco, as kind, gentle, and morally complex, bringing humanity and likability to the role. He makes Manco endearing. And yes, we break down the film’s visual style and the visual grammar on the whole with Derrick and Brendan Galvin opting for practical effects, especially in car chase sequences, which were shot almost entirely in-camera to enhance realism and engagement. Plus, Derrick explains the reasons for wider shots and longer takes, and treating Los Angeles as a character, even though the film was shot in Australia. The editing process with Mark Warner was collaborative and dynamic, with Warner's expe
- Jun 22, 20261h 42m
BTL Radio Show - 06/22/2026 with MICHAEL GLOVER SMITH talking HEKLA and DOUG BREMNER discussing THE GOOSE THAT LAID THE GOLDEN EGG
It’s another week of BEHIND THE LENS shining a spotlight on DANCES WITH FILMS and a couple of the wonderful films and filmmakers in this year’s festival, namely HEKLA and w/d MICHAEL GLOVER SMITH and THE GOOSE THAT LAID THE GOLDEN EGG and w/d DOUGLAS BREMNER. First up - MICHAEL GLOVER SMITH and HEKLA! HEKLA is a comedy/drama about the emotional cost of pursuing a creative life. Set over one hectic day in Chicago, it explores how ambition, identity, and vulnerability collide when you’re chasing something as personal – and uncertain – as an acting career. Hekla Gudmunsdottir (Elizabeth Stam), a determined actress, races through auditions, breakups, and self-doubt, risking her heart and career to claim her voice and step fully into the artist and woman she’s meant to be: Hekla goes on four auditions, gets new headshots, and plays Lady Macbeth in a dive bar, all while attempting to keep intrusive thoughts of a recently ended relationship at bay. Beneath the humor and dramatic momentum lies a story about the importance of showing up for yourself, even when the world isn’t clapping for you yet. Written and Directed by MICHAEL GLOVER SMITH and co-written by Elizabeth Stam, HEKLA stars Elizabeth Stam, Wendy Robie, Mary Tilden, Brookelyn Hebert, and Sadieh Rifai. And let me put these folks on your artisans' radar right now because their work in HEKLA is beyond outstanding - cinematographer Jose Perez, editor Eric Marsh, production designer Heather Kuhlmann, and composer Trev Gibb. These magicians give HEKLA the visual textures and excitement that it has. In this exclusive interview, Michael and I break down HEKLA and all of its production elements. There’s much to see and much to unpack with this film, starting with its unique structure of five acts, each with distinct titles and styles, inspired by both classic cinema and personal experiences with casting. The film follows a day in the life of HEKLA, an actress navigating multiple auditions, with each act able to stand alone as a short film. Michael collaborated closely with lead actress Elizabeth Stam, who co-wrote the script, and credits the film’s visual impact to cinematographer Jose Perez and production designer Heather Kuhlmann. The movie uses mostly black-and-white visuals with bursts of vibrant color to reflect HEKLA’s inner world, drawing inspiration from classic Hollywood and the French New Wave. Editing by Eric Marsh and a pre-recorded, dreamlike score by Trev Gibb further enhance the film’s tone. The interview also touches on the film’s open, ambiguous ending and the collaborative, fast-paced production process. Shifting gears, and I do mean shifting, we move into a medical legal tale told from a very unique perspective - that of the medical expert. THE GOOSE THAT LAID THE GOLDEN EGG is inspired by a true story involving writer/director DOUG BREMNER. In addition to being a filmmaker, Doug is also a professor of psychiatry and a medical researcher. He did brain imaging research on the effects of an acne medication, isotretinoin (Accutane), on the brain, and as a result became an expert witness in multi-district litigation related to depression and suicide in teenagers who had taken the drug. The research was funded by private donations from affected families. THE GOOSE THAT LAID THE GOLDEN EGG is a fictionalized story with elements of truth. In reality, the plaintiffs settled with the drug manufacturer, and part of the settlement was a confidentiality clause that precluded them from talking about the settlement. In the film, we meet Amanda Bellaconda, a mother grieving the death of her son as the result of suicide, who seeks the help of Dr Jack Forteo to understand why teenagers are suddenly taking their own lives after taking a medication for acne. Carinaderm (the fictional drug in the film) is the goose that keeps laying golden eggs, an acne medication bringing in a billion dollars a year for the Renzon Pharmaceutical Company. When Dr. Forteo sees a potentially lethal side effect of their blockbuster acne pill, Renzon doesn’t hesitate to pull out the stops with personal attacks and accusations of fraud, bringing Forteo’s marriage and career to the brink of destruction. With nothing left to lose, Forteo goes on a journey to revisit a tragedy from his own past. When he unearths painful secrets and deceptions that parallel those he has discovered in the pharmaceutical company, his voyage of self-discovery gives him the strength to resume his struggle, leading to the ultimate conclusion. THE GOOSE THAT LAID THE GOLDEN EGG is written and directed by DOUG BREMNER and stars Andy Evans as expert witness Dr. Jack Forteo, David de Vries, Hannah Fierman, Shaan Sharma, Caroline Avery Granger, and Nisey Woods. In this exclusive conversation with writer/director DOUG BREMNER discussing THE GOOSE THAT LAID THE GOLDEN EGG, we start with the film’s ver
- Jun 15, 20261h 1m
BTL Radio Show - 06/15/2026 with special guest director JAY SILVERMAN discussing YALE
Last week was all about Tribeca Film Festival and some wonderful animated short films that had their premieres there. This week it’s all about Dances With Films, which starts this week on June 18 and runs through June 28 at the TCL Chinese Theatre complex in Hollywood. And there are some great films for you to look forward to seeing, starting with the opening night film - the world premiere of YALE from director JAY SILVERMAN. I love this film! YALE is based on a true story about screenwriter Van Billet’s maternal grandfather. When he first learned about his family lore as a young teen, he couldn’t believe it was true and knew he had to write about it. YALE is directed by Jay Silverman and written by Van Billet and stars Kevin Dunn, Caitlin McGee, Kathleen Gati, Rachael Harris, Dominic Leeder, Nene Nwoko, and Benjamin Mackey. Abandoned by her beloved father, Yale Parker, when she was nine, Mackenzie (MAC) Mitchell’s adult life has been consumed with alcohol and run-ins with the law, causing a deep rift with her son, Ryan, 12. When Ryan needs an emergency kidney transplant, his only chance at survival might be the last person Mac wants to ask for help — her father, whom she hasn’t seen for thirty years. Their reunion is complicated when Yale reveals a jaw-dropping secret that he has eight other families that he kept hidden from her all her life…and one of them might be a match to save her son. As this odd couple set off on an epic road trip to track down her half-siblings, an unexpected bond begins to form between them, ultimately both learning that ‘genes’ run deep. I spoke with director JAY SILVERMAN the other day about YALE. This is our fourth interview together chatting about his films. He is always a joy and is so generous of spirit. And he loves storytelling and making movies. I will always have time for Jay and his films. Setting YALE head and shoulders above the crowd starts with Kevin Dunn, who plays Yale Parker. When was the last time you got to see Kevin Dunn - a cinematic and television institution - with a leading role where he got to showcase drama, comedy, and lots and lots of heart? Beyond the heartfelt script, Kevin is one of the main reasons that make Yale so special. As you’re about to hear in this exclusive interview with Jay, and forgive the roundaboutness of our conversation as we kind of hit everything backwards and sideways, we cover all the aspects and elements of YALE. We start by chatting about Kathleen Gati, who plays Bunny, an ex-stripper and current wife of Yale. Being a die-hard Kathleen Gati fan thanks to her years on “General Hospital”, knowing that she was in the cast was one of the reasons I was excited for YALE, as I know what she brings to the table. And for all you GH fans and Kathleen Gati fans, do not look to see Mutter, aka Dr. Liesl Obrecht, anywhere in Bunny. This is another side to Kathleen’s talents that she delights us with as she brings her unique qualities to YALE, including her versatility and comedic talent. And I’ll be honest with you. Normally, I don’t excise any part of my conversations with talent unless it’s something off the record or very personal and not to be shared, but I did trim this interview and cut out about 7 minutes of Jay and me discussing “General Hospital.” Seriously. As we dove into YALE, Jay shared insights into the casting process, noting that both Kathleen and Rachael Harris (another winner in my book who I will see in anything), though in smaller roles, are crucial to the film's impact. As we moved into discussion on Kevin Dunn, who plays Yale Parker (also known as Hymie Hymowitz), Jay explained that the story, written by Van Billet, attracted Kevin because of its complexity and blend of comedy and drama, rooted in real-life experiences. We also discussed the challenge and reward of working with child actors, specifically Benjamin Mackey, who plays Ryan, and how his authentic, non-precocious performance adds depth to the film. The casting process was further detailed, with Jay explaining how Kevin was cast only two months before filming, and how the chemistry between the actors led to the addition of new scenes. And how about Caitlin McGee as Yale’s daughter Mac? The dynamic between Kevin and Caitlin McGee is fantastic. It is the father-daughter relationship you didn’t know you needed! And then there’s the comedic chemistry between Nene Nwoko as Dr. Ekubo and Kevin, which just soars. And of course, Dominic Leeder as Ryan’s father and Mac’s ex-husband Josh, does plenty of emotional heavy-lifting and has some very touching scenes with Benjamin Mackey. Jay emphasizes the organic approach to diversity in the overall casting and the importance of genuine on-screen relationships. When it comes to the technical aspects of the film, Jay is once again working with cinematograp
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