Episodes

  • BTL Radio Show - 06/29/2026 with director DERRICK BORTE talking about THE GET OUT

    BTL Radio Show - 06/29/2026 with director DERRICK BORTE talking about THE GET OUT
    Jun 29 2026
    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 experience and objectivity helping to shape the film's pacing and narrative ...
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    45 mins
  • BTL Radio Show - 06/22/2026 with MICHAEL GLOVER SMITH talking HEKLA and DOUG BREMNER discussing THE GOOSE THAT LAID THE GOLDEN EGG

    BTL Radio Show - 06/22/2026 with MICHAEL GLOVER SMITH talking HEKLA and DOUG BREMNER discussing THE GOOSE THAT LAID THE GOLDEN EGG
    Jun 22 2026
    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 very unique perspective - that of an ...
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    1 hr and 43 mins
  • BTL Radio Show - 06/15/2026 with special guest director JAY SILVERMAN discussing YALE

    BTL Radio Show - 06/15/2026 with special guest director JAY SILVERMAN discussing YALE
    Jun 15 2026
    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 cinematographer Andrew Jeric. Jay and Andrew opted for a ...
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    1 hr and 1 min
  • BTL Radio Show - 06/08/2026 with guests JESSE WEGLEIN talking ROAR and SARAH AFFLECK talking DEAR UPSTAIRS NEIGHBORS

    BTL Radio Show - 06/08/2026 with guests JESSE WEGLEIN talking ROAR and SARAH AFFLECK talking DEAR UPSTAIRS NEIGHBORS
    Jun 8 2026
    It's a fun week on BEHIND THE LENS as we’re talking animation and the Tribeca Film Festival! And not just any animation, but world premiere animation shorts - DEAR UPSTAIRS NEIGHBORS and ROAR, both animated gems led by filmmakers with a Pixar pedigree - animation editor SARAH AFFLECK and writer/director JESSE WEGLEIN, respectively. First up, we’re gonna roar with writer/director/editor/dp/and songwriter JESSE WEGLEIN and his beautiful short ROAR! ROAR follows a neurodivergent young girl with selective mutism who, after being uprooted from Tokyo to San Francisco, must navigate a chaotic new culture and an isolating silence by transforming her internal K-Pop soundtrack into a vibrant visual language to find her place—and her new roar. As you’re about to hear, JESSE WEGLEIN discusses his animated short film ROAR, highlighting its visual sensory appeal and personal connection to San Francisco. The film, inspired by Weglein's wife's move from Tokyo to the Bay Area, addresses the challenges faced by neurodivergent individuals. Weglein, with 16 years at Pixar, employed a highly believable yet stylized animation style, emphasizing expressive eyes and naturalistic settings. A key element of ROAR is the color palette, which is directly tied to the neurodivergent spectrum and uses color symbolism, such as red for the Golden Gate Bridge and blue for Autism Awareness, to enhance the believability and emotional impact of the animation. An interesting visual aspect of ROAR is the use of extreme close-ups (ECUs) to represent sensory overload and focus, which Jesse explains as being a deliberate choice, as the use of ECUs simulates a micro lens camera, representing the sensory challenges faced by neurodivergent individuals. Jesse left no stone unturned in making ROAR a fully sensory and targeted film. Another fun element of ROAR is the music, which is a song written by Jesse and which integrates Hawaiian instruments to bridge cultural themes between the East and the West, with Hawaii being that middle bridge. World premiering at Tribeca this past Saturday, there is an encore screening on June 13th and ROAR is also on the festival circuit with other festivals popping up down the road. But the really cool news is that Jesse is working on a feature-length ROAR along with three other projects through his studio ILLUMINAI. I suggest you follow Illuminai on socials and check out the studio’s site to keep up on all of their upcoming projects. Based on ROAR, we are going to be falling in love with a lot of Jesse’s films in the future. Then, more animation goodness for you from animation editor SARAH AFFLECK and DEAR UPSTAIRS NEIGHBORS. DEAR UPSTAIRS NEIGHBORS is the fantastical and all-too-relatable story of one woman’s epic battle against her noisy neighbors for a good night’s sleep. As I told Sarah Affleck, this short from director Connie He could directly pertain to my condo neighbors, and I’m betting some of your neighbors, too! This is one high-energy, FUN, short film! Director Connie He (a Pixar alum) and her crew had assistance from Google DeepMind’s custom video generation models to craft the saturated spectacle. Sarah, an animation editor and director who also came from Pixar working on “Elemental” and Netflix working on “Wendell and Wild”, among others, smartly mirrors the gonzo style of the animation and story with her playful, rapid edits, bringing even more feisty fury to the short’s key battle scenes. I had the privilege of speaking with Sarah Affleck just before the Tribeca Film Festival World Premiere of DEAR UPSTAIRS NEIGHBORS. Surprisingly, over the past 44+ years, this is the first time I have spoken with an animation editor. And what an interview it turned out to be! As you’re about to hear, Sarah delves deep into DEAR UPSTAIRS NEIGHBORS and goes beyond “just editing” as given the collaborative nature of Connie’s vision, everyone could weigh in on every element, and for an editor that involves images, color saturation, sound, music. Highlighting the film’s meticulous pacing, which was musically informed, and the use of sound to create a cacophonous effect, Sarah emphasizes the collaborative process with director Connie He, and the importance of technology in enhancing creativity. The film, which took two years to produce, features traditional animation techniques and a dynamic sound mix by Mark Needham. On board early, Sarah’s extensive input from early storyboarding to finding pacing, timing editing cuts and style to the beat and meter of the music, to the intimate process of animation editing where music and sound effects are integrated from the start (vastly different from live action editing) to the final edit and more, ensured the film's narrative and visual elements aligned seamlessly. Take a listen and Enjoy!
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    1 hr and 25 mins
  • BTL Radio Show - 06/01/2026 with actor KATIE CASSIDY and director JON KEEYES talking SPEED DEMON

    BTL Radio Show - 06/01/2026 with actor KATIE CASSIDY and director JON KEEYES talking SPEED DEMON
    Jun 1 2026

    Welcome back to a new week and a new month of BEHIND THE LENS! Glad to be back after the Memorial Day holiday. Hope yours was fantastic! I've got a terrific show for you today, thanks to actor and producer KATIE CASSIDY and director JON KEEYES talking all things SPEED DEMON! And what a film it is!

    A runaway train. A demon named Asmodeus. A nun called upon to perform an exorcism.

    On paper, it sounds like the kind of high-concept supernatural action-horror mash-up that could easily veer into camp. Instead, director Jon Keeyes and star/producer Katie Cassidy deliver something far more compelling. Beneath the demonic possession, biblical imagery, and escalating terror lies a deeply human story about grief, addiction, faith, and self-discovery. And at the center of the story is Sister Lu.

    The official synopsis of SPEED DEMON is: When Father Novak and Sister Lu board a train from Montreal to New York City, they aren’t prepared for the danger and evil that would pursue them. After the train is taken over by the demon Asmodeus, Father Novak and Sister Lu must battle possessed passengers on a runaway train, with Sister Lu forced to overcome her faltering faith and perform the first exorcism done by a nun.

    SPEED DEMON is directed by JON KEEYES, written by Domenico Salvaggio, and stars Katie Cassidy, William H. Macy, Allen McCullough, Sari Arambulo, Jeremy Matthew Feight, Sky Vaux Fuller (scene stealer!!), Noriko Sato, Michael John Importa, and John Patrick Jordan.

    And what would a Jon Keeyes film be without his multiple right hands - DP Austin Schmidt and editor RJ Cooper, plus production designer Diego Diaz and the award-worthy work of special effects make-up artisan, Greer Gillespie.

    As Sister Lu, Katie Cassidy delivers one of the best performances of her career. You see and feel not only her inner conflict, but her determination to survive and triumph over ALL of the demons unfolding on this train ride. Cassidy is one badass nun! She brings terrific street smarts, attitude, and appropriate foul language into play when trying to gather and inspire a group of passengers who she needs to help her with an exorcism if they are to survive the train ride - especially when it is discovered the engineer and conductor are dead AND thanks to the smarts of young 11-year old Sofia who is a voracious reader and wise beyond her years, they learn that the train will crash when it hits a certain curve on the tracks and everyone will die - much to the glee of the demon Asmodeus.

    As you'll hear, Katie and Jon discuss the cast, the casting process (Jon goes into great detail on this), and what he was looking for in a cast, developing the ensemble chemistry, and the scene-stealing Sky Vaux Fuller as Sofia, and the heartwarming and hopeful chemistry she brings to the film.

    But what would a Jon Keeyes film be without his longtime DP Austin Schmidt and editor RJ Cooper! We go deep into Austin's lighting and lensing, his constantly varying camera angles, developing visual grammar and making the most of a linear train car, and the creation of "the inbetween" and celebration of negative space. Another element of the principle triumvirate of SPEED DEMON is production designer Diego Diaz and Jon has plenty to say about Diego's work building and designing the trains, around which Austin crafted his lighting and lensing. Some terrific technical discussion here! And not to be overlooked is the work of Special Effects Makeup Artisan Greer Gillespie, whose "demonic" work is award-worthy.

    And yes.....we talk sequel!! It's a lively and interesting conversation with Katie and Jon.

    Of course, I have to remind you about DUTTON RANCH. We're four episodes in, and it is surpassing Yellowstone in story excellence.

    You can catch SPEED DEMON right now on streaming platforms. Other films to be on the lookout for this week are HUNGRY on June 3rd, and you can read all about those HUNGRY hippos in the Bayou in my review and interview with writer/director James Nunn on Wednesday when the embargo lifts. Plus, Friday, June 5th, do not miss the action thriller from Down Under, SEVEN SNIPERS, from director Sandra Sciberras. A truly sonic experience in tension. My review and interview with Sandra are out now.

    Until next week - Enjoy!
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    43 mins
  • BTL Radio Show - 05/18/2026 with special guest writer/director JING AI NG discussing FORGE

    BTL Radio Show - 05/18/2026 with special guest writer/director JING AI NG discussing FORGE
    May 18 2026
    This week on BEHIND THE LENS, we turn our attention to the Miami art world and first-time feature director Jing Ai Ng with her film FORGE. I thoroughly enjoyed this film from a story perspective and from a directorial and production perspective. As I’ve been seeing in quite a few films of late from first-time feature directors, once again, production values are high, but story and character are at the center of it all. On seeing FORGE, I would never believe that this was Jing’s first feature directorial effort. And she is the screenwriter, as well! So, what is FORGE about? Set in Miami, we meet the resourceful Zhang siblings—Raymond and Coco— who sell forged paintings to unsuspecting parties. Coco is an artist whose own work is so beautiful that it should be hanging in galleries, something that continues to frustrate her and her dream. Raymond, on the other hand, makes a buck by providing fake IDs, licenses, passports, and other documents, including those that attest to the provenance of works of art. The Zhang family is unaware of what Coco and Raymond are doing, and happily own and run a family Chinese restaurant. Despite their thriving underground operation, the siblings are still short on cash when they cross paths with disgraced millionaire Holden Beaumont. Sensing an opportunity to make a fortune, Holden convinces the Zhangs to forge long-lost masterpieces as a front for his family’s collection. Meanwhile, FBI Art Crimes agent Emily Lee moves from New York to Miami, discovering a plethora of forgeries cropping up in the South Florida art market. As Emily continues to investigate the Zhang siblings’ work, their lives converge to devastating effect in the Zhang family's dim sum restaurant FORGE is written and directed by JING AI NG and stars Kelly Marie Tran, Andie Ju, Brandon Soo Hoo, and Edmund Donovan, among others. Some fabulous artisans showcasing their talents on FORGE, including cinematographer Leo Purman, editor Briana Chmielewski, production designer Arielle Ness-Cohn, and composers Marco Carrion & Ian Chang. The first thing that I took note of with FORGE is that it is very montage-heavy without droning on or being “too much.” My favorite montage sequencing uses dissolves and superimposition as Coco ages canvas and paints while her brother Raymond forges paperwork for the provenance of each piece. At 1hr 13 minute mark, a tense montage shows Coco painting these masterpieces while Agent Lee is researching art crimes, and two minutes later, a quick follow-up montage shifts the film’s entire tone. One of the most interesting things about FORGE is that the film focuses on the antagonists - Coco and Raymond and Holden - over the protagonists (the FBI). We get to know and understand them, especially Coco, who is a fascinating character and wonderfully portrayed by Andie Ju. At its core, the film is a character study of Coco, in particular. She cherishes art and appreciates it, and is a talented artist of her own right who dreams of having a painting done by her hang in a gallery - even if it’s a forgery of someone else’s work. Holden and Raymond are in it for money and greed. All of the puzzle pieces start solidifying in the third act, thanks to Kelly Marie Tran’s character, FBI Agent Lee, as she puts all of the connections together within the Floridian Chinese community. As tone shifts further late in the third act, the lighter, dreamy score motifs we’ve heard throughout the film shift to heavy bass piano while we see an interesting visual juxtaposition that speaks volumes. In this exclusive conversation, Jing Ai Ng and I break it all down in this in-depth discussion. What I love about Jing’s origin story of FORGE is that she drew inspiration from the infamous Knoedler Gallery art forgery scandal in New York, particularly focusing on the mysterious Chinese forger who was never apprehended and whose story has never been told. Given that no one has ever heard his side of the Knoedler story, Jing had this fantastic blank canvas of creative freedom to craft a unique narrative centered on Coco, a complex character whose journey in the Miami art world blurs the lines between antagonist and protagonist. As you’ll hear, Jing emphasized how the film invests the audience emotionally in Coco and her family, making viewers care deeply about her motivations and struggles, despite her criminal actions. The film’s visual style is a standout element, with Jing and cinematographer Leo Purman developing a consistent color palette influenced by Florida’s landscape artists. They collaborated with a local Miami painter to create original artworks for the film, ensuring authenticity and a strong sense of place. Production designer Arielle Ness-Cohn played a crucial role in distinguishing the film’s various worlds: the opulence of Holden Beaumont’s (Edmund Donovan) high-rise life, the warmth and intimacy of the Zhang family...
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    53 mins
  • BTL Radio Show - 05/11/2026 with guest writr/director JOHN MICHAEL KENNEDY discussing AN ENEMY WITHIN

    BTL Radio Show - 05/11/2026 with guest writr/director JOHN MICHAEL KENNEDY discussing AN ENEMY WITHIN
    May 11 2026
    What a terrific show I’ve got for you this week on BEHIND THE LENS as I get to introduce you to a wonderful British filmmaker, writer/director JOHN MICHAEL KENNEDY, who makes his narrative feature directorial debut with the mystery thriller, AN ENEMY WITHIN. Not only is this John’s narrative feature directorial debut, but as I found out, this interview that you are about to hear was his very first interview, something I found surprising given the excellence of his short films. So this is a real treat for all of you - and for me. There is something deliciously venomous pulsing through AN ENEMY WITHIN, writer-director John Michael Kennedy’s tightly coiled debut narrative feature. Part Gothic chamber thriller, part psychological standoff, part family bloodsport, Kennedy constructs a sharply staged mystery where inherited privilege, buried resentment, emotional insecurity, and self-delusion become loaded weapons aimed squarely at everyone trapped inside a sprawling English estate. And the beauty of Kennedy’s film lies in the fact that virtually nobody inside that house deserves our trust. On his wedding night, Caleb Wingate (beautifully played by William Moseley) receives a chilling ultimatum: kill his wealthy father-in-law before midnight or his bride dies. And, of course, Caleb is marrying Julia, the youngest daughter of the Wingate’s business adversary, the Foresights. As tensions escalate and a mysterious sniper known only as “The Wolf” closes in from outside the estate grounds, long-simmering family fractures erupt into manipulation, betrayal, shifting alliances, and increasingly dangerous revelations. But while the setup initially suggests a straightforward whodunit or contained thriller, Kennedy has far more ambitious ideas in mind. At its core, AN ENEMY WITHIN is not about innocence corrupted. It is about people who have already compromised themselves emotionally, morally, or psychologically long before the first gun is ever raised. Kennedy’s screenplay thrives on the understanding that every character sees themselves as justified. Nobody believes they are the villain of the story. Instead, they rationalize greed, cruelty, deceit, and selfishness as necessary pathways toward happiness, security, control, or survival. That moral grayness gives the film a far richer emotional texture than many modern ensemble thrillers that rely solely on mechanical twists. And the twists here work because they feel inevitable rather than arbitrary. Written & Directed By John Michael Kennedy, AN ENEMY WITHIN stars William Moseley, Patrick Baladi, Kim Spearman, Alexander Lincoln, Tristan Gemmill, Kate Isset, Toyin Omari-Kinch, Frances Wilding, Mollie Dorman, and Harrison Daniels. The film’s cinematographer is Lorenzo Levrini, the editor is Gustav Lindquist, and the composer is Caleb Blood. This is such a fun, twisting, turning mystery. I love the detail and how all of the pieces come together. And the character construct? Excellent! Plus, staying relatively contained within the study/bar with its heavy tapestried draperies and the dark woods with centuries of patina is a gorgeous metaphor for the walls closing in on the man behind the killer, for death, for claustrophobia. Beautiful and telling visual grammar. John and his DP Lorenzo Levrini avoid ECUs and they have minimal close-ups, staying in mid-shots or a mid-two shot but giving interesting angles such as eye level with the floor when gunshots come through the windows and folks are crawling on the floor, or on the couch with everyone standing around the fatally wounded and dying Foresight family patriarch Robert (great performance by Patrick Baladi) as if he’s already in the grave, or at least in the coffin. And the ending is, quite literally, to die for! In this exclusive interview, writer/director John Michael Kennedy provides an in-depth look at AN ENEMY WITHIN, focusing on its exploration of the Wingates and the Foresights, two dysfunctional, greedy families whose interactions are marked by betrayal and shifting alliances. Kennedy emphasizes that none of the characters are truly likable or innocent; instead, each is a puppet master at different points, manipulating events for their own perceived happiness, echoing themes from Shakespeare and Mary Shelley's "Frankenstein." The script is carefully structured so that every character's motives and actions are interconnected, creating a tapestry of suspicion and inevitable twists that feel earned rather than contrived. Lorenzo Levrini’s camera work is dynamic, avoiding repetitive shots and instead offering new perspectives with each return to the central bar room, enhancing the feeling of a psychological standoff. The production design, despite budget constraints, is resourceful and effective, with careful attention to color palettes—greens, golds, reds, and blacks—to reflect the characters' emotional states and the story's escalating ...
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    1 hr and 1 min
  • BTL Radio Show - 05/04/2026 with special guest RENNY HARLIN diving into DEEP WATER

    BTL Radio Show - 05/04/2026 with special guest RENNY HARLIN diving into DEEP WATER
    May 4 2026
    I’m very excited about this week’s BEHIND THE LENS because I get to talk about RENNY HARLIN and his new film DEEP WATER! After 33 years of chatting with Renny and talking about his films, he truly is not only one of my favorite filmmakers, but one of my favorite people. His intelligence, his skill, his dedication to the craft of moviemaking and storytelling, his directorial vision, and his kindness. I adore him. Chatting with Renny is always a joy and no matter how long we talk, it’s never long enough. And that’s what happened last week when we sat down for an exclusive interview to discuss DEEP WATER. Renny wanted an hour. Publicists said no and offered 4 minutes. I begged and got 15 minutes. BUT, undeterred, when the formal interview (which ran 20 minutes) ended, Renny and I spent another 30 minutes together on our own, talking about the film, filmmaking, and other things. For those who aren’t familiar with the film as yet, DEEP WATER is the story of an airline flight from Los Angeles to Shanghai that goes down in the middle of the Pacific. After surviving the crash, the survivors soon discover they’re not alone, and they must survive the shark-infested waters. Simple right? Not the way Renny Harlin tells it. DEEP WATER is directed by Renny Harlin, written by Pete Bridges and John Kim, and stars, among others, Aaron Eckhart, Sir Ben Kingsley, Molly Belle Wright, Angus Sampson, Kelly Gale, Elijah Tamati, and Kate Fitzpatrick. Cinematographer is D.J. Stipsen, with editing by Geoff Lamb, with Fernando Velazquez providing the score. As usual, Renny was engaging and insightful. Unfortunately, due to the limited interview time, we didn’t get to cover all the aspects of the making of DEEP WATER, including the physical production design that gives the film so much realism and immersion. Did you know Renny built an entire plane that seated 300 passengers for this film? And then broke it into three main sections - the cockpit, the fuselage, and the tail? The tail was built vertically and then dropped 30 feet underwater, as when the plane crashes into the ocean and breaks apart, the tail lands on a coral reef - an unstable coral reef that the weight of the plane keeps crushing further. Filling the plane with extras and strapping everyone in their seats, he then used stuntmen as those passengers sucked out of the plane when there are explosions and the plane breaks apart. He also used stuntmen as the dead bodies in the plane and under water in submerged portions of the plane. This is beyond realistic and immersive. But what we did get to cover was Renny’s meticulous approach to filmmaking, particularly highlighting the film's exceptional sound design, score mix by Marc Blanes, DJ Stipsen’s cinematography, Fernando Velazquez's composition, noting the emotional impact of the single piano note motif that recurs throughout the film, and of course, Geoff Lamb’s editing. As comes as no surprise in a film of Renny’s, the soundscape is crucial, including details like muffled underwater sounds, ticking clocks, and the sizzle of fire, all of which contribute to the film's tension and realism. Renny dives into his extensive research and planning that went into the film, especially in creating authentic cockpit procedures and realistic character reactions during moments of crisis. He also explains his deliberate choices in sound and music, such as reducing audio in key moments to heighten emotional impact and focusing on melodic elements rather than traditional suspense cues. Shifting to film's visual grammar, there’s plenty of praise for the cinematography by DJ Stipsen, noting the dynamic camera work that moves through different sections of the plane and into the water, creating a sense of immediacy and danger. A key component of the film is Renny’s work not only with DJ in detailing how they planned lens choices, lighting, and camera placement to enhance the story, but also with editor Geoff Lamb. The film's character development is strong, as the narrative allows viewers to connect with multiple characters, something that is always important to Renny. Standout, however, is the character of Becky, the grandmother, exquisitely played by Australian actress Kate Fitzpatrick, along with the children in the film, step-siblings Finn and Cora, beautifully played by Elijah Tamati and Molly Belle Wright, respectively, with Molly stealing every scene she’s in. And her chemistry with Aaron Eckhart is off the charts heartwarming. You’ll hear Renny explain the challenge of balancing action with character moments, stressing that emotional investment in the characters is essential for the film's impact. And talk about a loving anecdote - he shares the story of casting Kate Fitzpatrick as Becky, describing her return to acting after a long hiatus and the emotional resonance she brought to the role. After my review published last ...
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    39 mins