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