It’s post-Oscar Monday on BEHIND THE LENS, and most of Hollywood is probably still recuperating from a night of celebration.  Some big winners last evening, notably ONE BATTLE AFTER ANOTHER, SINNERS, and KPOP DEMON HUNTERS, and you'll hear me talk about the evening with the good, the bad, and, to borrow from Sigourney Weaver, the adorable.  

But beyond Oscars, this week we're looking ahead with films that could be in contention for the 99th Academy Awards next year, namely COLD STORAGE and screenwriter DAVID KOEPP, and DO NOT ENTER and director MARC KLASFELD.

First up is screenwriter - and now author - David Koepp talking about his sci-fi thriller COLD STORAGE.  You all know who David is.  He’s the screenwriter behind Jurassic Park, Stir of Echoes, the Mummy, several Indiana Jones movies, Zathura, Death Becomes Her, Carlito’s Way, and so many more.  Some are original scripts.  Many are adaptations of books or novellas from authors like Michael Crichton and Stephen King.  But now, with COLD STORAGE, David is adapting his own book!

I love COLD STORAGE and every deliriously pulpy, smartly crafted minute of it. This is the kind of sci-fi thriller that knows exactly what it is, leans into its genre DNA with confidence, and still takes the time to honor craft, character, and clarity. It’s funny, tense, occasionally campy in the best way, and relentlessly entertaining.

Directed by Jonny Campbell and adapted by David Koepp from his own novel, the film drops us into a self-storage facility built atop an old U.S. military base—always a good idea—where a parasitic fungus sealed away decades earlier decides it’s time to stretch its spores. What follows is a breathless, darkly humorous ride that balances body-bursting horror, clean science exposition, and character-forward storytelling without ever losing momentum.  

The film stars Liam Neeson, Lesley Manville, Joe Keery, Georgina Campbell, and Vanessa Redgrave.

In this exclusive interview, David discusses adapting his novel "Cold Storage" into a film, highlighting the challenges of preserving the book's humor and snark while simplifying complex scientific concepts. He also emphasized the importance of character-driven storytelling, noting the difficulty of cutting favorite parts from his own work.  And being so science-heavy, he detailed his research process, which involved collecting relevant articles and consulting a microbiologist. He also touched on the balance between visual explicitness in screenwriting and maintaining reader engagement.  It’s a fun, energetic interview, so take a listen!

Then we go from sci-fi thriller with snark and humor to a straight-up terror-filled tale from director MARC KLASFELD  - DO NOT ENTER.  And I’ll tell you all right now, if you’re from Philly or Jersey and have fond memories of going down the shore or all those stories and rumors about haunted places, horrid creatures like the Jersey Devil, or mobsters galore, then this is definitely the film for you.

Directed by Marc with script by Dikega Hadnot, Spencer Mandel, and David Morrell, DO NOT ENTER is the story of The Creepers, thrill-seeking urban explorers who love pushing things to the edge, and their latest stunt – livestreaming from New Jersey’s abandoned Paragon Hotel – is their biggest yet. With its mobster past, supposed ghosts, and rumored stash of $300 million, the Paragon is catnip to the Creepers, a surefire way to increase their fanbase. But fear has other plans. Daring to enter the Paragon, not heeding the warnings, the Creepers fend off deadly rivals while supernatural creatures stalk them from the shadows, testing their endurance, sanity, and willingness to pay fame’s heavy price.

Marc discusses the film's production, including the use of a massive abandoned building in Bulgaria for the Paragon, and the collaboration with cinematographer Yon Thomas. He highlights the importance of sound design, particularly the echo in empty spaces, and the casting process, which involved extensive rehearsals. And how about shooting in Bulgaria as a stand-in for the Jersey shore??  Marc also reveals his next project, a hardcore horror movie, and reflects on the challenges and lessons learned from directing DO NOT ENTER.

This is Marc’s second feature film after his debut narrative feature directorial in 2005 - the flawlessly funny L.A. Riot Spectacular.  Yes, 2005.  He’s spent the last 20 years directing music videos.  Marc and I spoke back then, so it was wonderful to reconnect with him the other day and discuss DO NOT ENTER.  Enjoy!

Join me again next week when I’ll have more films to discuss and more filmmakers to chat with.  In the meantime, make sure to check out behindthelensonline.net, where I have plenty of new interviews and reviews already out for you!

I love this week’s BEHIND THE LENS (and hope you will, too), and my interview with writer/director PAUL BOYD talking about his new film SCARED TO DEATH.  But first, how about a bit of MONARCH: LEGACY OF MONSTERS and a new era of YELLOWSTONE with MARSHALS!

Moving into PAUL BOYD and SCARED TO DEATH, let me say at the outset, Paul is fantastic. He knows his craft, and he knows how to tell a story. He spent about 30 years directing music videos, including 10+ for Shania Twain on her biggest hits, as well as videos for INXS, Tina Turner, Lenny Kravitz, Bryan Adams, the Backstreet Boys, and more, before moving into feature films. Paul has a very distinguished and skilled pedigree. And now, he brings us SCARED TO DEATH.  And I'll be honest, I had so much fun watching this film.

A simple premise that melds worlds as we meet Jasper, a young filmmaker working as a PA to a bitch for a boss director named Max, who seizes a chance to direct when his cast and crew attend a seance in a haunted abandoned orphanage; a seance Jasper put together. Trapped inside, they're haunted by ghostly orphans and a sinister force.

A film within a film always bodes for fun, as do haunted houses and a terrific cast. And here we have a cast led by the one and only Lin Shaye (as the bad bitch boss director Max), along with Kurt Deimer as one of the actors known as “The Grog”, Bill Moseley as the weasely realtor/seance medium Felix, Olivier Paris as Jasper, BJ Minor as actor Johnny and Victoria Konefal as “well known actor” Lena.

In this exclusive conversation, Paul dives deep into the making of his horror-comedy SCARED TO DEATH, a self-described “love letter to horror movies” that blends satire, absurdity, and genuine genre reverence. We explore the film's genesis and how the film uses a haunted-house movie-within-a-movie setup to examine belief, fear, masks people wear, and the absurdities of Hollywood itself. Paul details the personal inspirations behind the story (including buying a supposedly haunted house once owned by Charlie Chaplin), the joyful collaboration with his cast and crew, and the deliberate balance of scares, humor, and emotional undercurrents. The interview also unpacks the film’s visual and sonic language—from its iconic house location and master-shot staging to its rhythmic editing and on-point sound design—before landing on what Boyd ultimately discovered about trusting his instincts and letting a film evolve beyond what’s written on the page.

As you’ll hear, we break down the visual grammar and Paul’s work with cinematographer Steven Poster, whose work all of you are well familiar with - DONNIE DARKO, SOUTHLAND TALES, LIFE STINKS, ROCKY V, NEXT OF KIN, REVENGE OF KITTY GALORE, and more, and how they developed a color palette, lenses used, dutching, angles, POV, etc. And how about Paul’s work with editor Ed Shiers who just happens to also be a drummer with an incredible sense of rhythm, something that comes in handy with editing? Plus, Misha Segal’s score AND Kurt Diemer’s end credit song “Scared to Death”, which is fantastic. And you’ll hear Paul talk about the location house in Altadena where the film was shot. The first home ever built in Altadena, and one of the only homes to survive the Altadena fires last year, and you’ll find out how it lucked out.

And yes, Paul gets the entire show today. That’s how much cinematic exploration we did in this interview, not to mention, he’s a terrific guy, and I love his film! So take a listen, and enjoy, as PAUL BOYD discusses SCARED TO DEATH.

SCARED TO DEATH is in theatres on Friday, March 13, 2026!

It's a jam-packed show this week on BEHIND THE LENS with two fantastic films and two equally fantastic filmmakers, both of whom are enthusiastic, energetic, and excited about filmmaking.  You’ll be hearing from writer/director CINQUE LEE in the second half of the show, talking about his new film LAST RIDE.  But first up is my exclusive interview with writer/director NASTASYA POPOV, going in-depth about her narrative feature directorial film, IDIOTKA.

In this sharp, irreverent comedy, a disgraced fashion designer with a dangerously low credit score, Margarita, enters a reality show (a la Project Runway) with a six-figure cash prize that would save her babushka’s West Hollywood apartment. But as the competition intensifies, the show’s slick producer Nicol pushes her to spin her family’s struggle into spectacle, forcing Margarita to decide whether to play along or take control of her own narrative, one unhinged look at a time.

Written and directed by Nastasya Popov, IDIOTKA stars Anna Baryshnikov, Camila Mendes, Julia Fox, Benito Skinner, Saweetie, Owen Thiele, Galina Jovovich, Mark Ivanir, Nerses Stamos, and Ilia Volok.

In this conversation, NASTASYA POPOV goes deep into the making of IDIOTKA, a film inspired by her own semi-autobiographical experiences and blending themes of immigration, housing issues, and intergenerational family dynamics with a reality TV satire.  We spend a lot of time talking about the production elements, particularly the film’s cinematography and Nastasya’s work with DP Kristen Correll in developing the film’s visual grammar, the production design by Francesca Palombo, and costuming by Sophie Kay and Natasha Simchowitz.  These three elements work synergistically in terms of color, lighting, and the balance between cinematic style and reality TV.  Editing is also crucial, and we dive into the work of Taylor Joy Mason and Rob Paglia.  For my money, it was a smart move to bring Rob on board, given his television editing experience and the reality-TV aspect of IDIOTKA.  Nastasya is also quite candid about the creativity required for this film, given the budgetary constraints, as well as the collaborative effort of her team. Filled with heart and a film dedicated to Nastasya’s grandmother, you’ll see and feel that as you watch the film.   

Now we go from the fun of comedy to the fear, tension, and friendship that we find in the survival thriller LAST RIDE from writer/director CINQUE LEE.  

LAST RIDE is set in the winter of 1982, where three 12-year-old American boys find themselves stranded in a cable car with a dead body, suspended midair in the mountains of Norway during a rare celestial planetary alignment. Ironically, we just had a 6-planet planetary alignment on Saturday night.

Written and directed by CINQUE LEE (and yes, he is Spike’s brother), LAST RIDE stars Roman Griffin Davis (JO JO RABBIT, THE LONG WALK, GREENLAND 2), Felix Jamieson (GAME OF THRONES), Charlie Price (THE GREAT), and Kristofer Hivju.

I love Cinque.  He is so enthusiastic, so passionate, but also so filled with heart when you speak with him, that it’s no surprise that you see and feel all of that onscreen.  In this exclusive interview, Cinque breaks down the production for us with great insight into much of the movie magic he brought into the mix.  Highlighting the visual and emotional depth achieved within a cable car setting, he emphasizes the importance of capturing the authenticity of 12-year-old boys' behavior and the innovative visual grammar, including using multiple cameras and practical effects like real Northern Lights and “painting on water” to achieve visuals that are organic versus CGI.  He also shares the challenges of filming in Finland (which stands in for Norway), the meticulous sound design, and the personal inspiration drawn from lost childhood friendships, which leads to the film's themes of trauma, friendship, and the impact of past experiences on present lives.  A fascinating conversation.

ENJOY!

Welcome back to another week of BEHIND THE LENS!  This week, we’re taking a look at WORLDBREAKER, an apocalyptic, action-oriented, sci-fi, creature feature with a dad and daughter dynamic that is told from the perspective of a young teenage girl, directed by BRAD ANDERSON.

Described as a pulse-pounding sci-fi action thriller about survival, sacrifice, and a young woman’s fight to step out of the shadows and into the war she was born to face, we encounter this apocalyptic world at a time of war following “The Stitch”, a rift in the earth that released the Breakers, monsters that infect and twist their victims.  There are also the Hybrids, the term for infected humans when attacked and injured by the Breakers.  Men succumbed first to the Breakers, leaving women to lead the fight.  Willa’s mother is one of the war’s fiercest warriors.  Her father, a battle-scarred veteran not yet infected by the monsters, hides with Willa on a remote island, training her to survive.   Their fragile peace is shattered when a mysterious girl drifts ashore.  Willa, longing for connection, shelters her in secret—until the truth emerges and danger follows.  With Breakers closing in, Willa must rely on her father’s training and her own courage to survive.

As I mentioned, WORLDBREAKER is directed by Brad Anderson and written by Joshua Rollins, and stars Luke Evans, Billie Boullet, and Milla Jovovich, with the bulk of the film carried by Evans and Boullet as Dad and daughter Willa. 

I just spoke with Brad on Friday about the making of WORLDBREAKER.  

As mentioned, WORLDBREAKER blends apocalyptic sci-fi, action, creature feature thrills, and an unexpectedly emotional father–daughter story into what Brad sees as a modern fable where heart and horror meet, which is something akin to the darker Old World tales of the Brothers Grimm or Nordic or Irish storytelling legends. 

Shot on location and set against the wild, mist-shrouded landscapes of Northern Ireland, the film leans into real locations and the dramatic landscapes of the cliffs, coast, forests, and sea.  Brad is a big believer in visual storytelling and using wide shots and suspenseful techniques to develop that.  As a result, WORLDBREAKER has a restrained, suspense-driven visual style, and a color palette of deep greens and greys to create a world that feels both mythic and grounded.  

As you’ll hear Brad discuss in this exclusive interview, he keeps us in Willa’s point of view - as both a female and a daughter who looks up to her father - as she comes of age under the protection and training of her father.  The dynamic between these two characters is the heart of the film and has to be resonant and heartfelt, and thanks to Luke Evans and Billie Boullet, it is.  They anchor the film’s heart.  What I noticed is Luke’s wonderful rapport with Billie, something that I have seen from him in prior films, such as the father-son dynamic in “Dracula Untold.”  Luke Evans is terrific working with young actors and kids. 

Drawing on the tradition of Grimm’s fairy tales and the “less is more” monster strategy of “Jaws”, Brad emphasizes what we don’t see, using sound design and a carefully crafted score by Matthew Rogers with beautiful Celtic shadings of instrumentation and classical editing rhythms to balance horror with hope, emotion, and suspense.   Visual tonal bandwidth and the visual grammar are beautifully designed and achieved thanks to Brad and his cinematographer, Daniel Aranyo.  And you’ll hear Brad’s excitement as he talks about the editing process, “his favorite” part of filmmaking, and working with editor Brian Philip Davis to find pacing, as well as develop some wonderful montages, particularly of Willa’s fight training sequences.  

For Brad, WORLDBREAKER is another exploration of the space where genuine emotion and genre tension meet—what he calls the yin and yang of heart and horror....and with this film, he finally got to do a creature feature!

Enjoy!

I’m very excited about this week’s BEHIND THE LENS and my special guest, director KEVIN LEWIS.  This marks Kevin’s third appearance on #BTLRadioShow, following the brilliantly bonkers WILLY’S WONDERLAND and PIG HILL. Still, this time we’re talking about his new film MISDIRECTION, which, in many respects, is a big departure from the horror films you’ve come to know and love from Kevin.

Set over one long night in a glass-walled modern house, MISDIRECTION follows a couple driven to carry out a series of high-end heists to pay off a dangerous mob debt. When their latest break-in — targeting a prominent defense attorney — spirals out of control, the pair find themselves caught in a web of secrets, deception, and deadly consequences.

A glasshouse should offer clarity, but in MISDIRECTION, it does the opposite — reflecting, refracting, and distorting truth until every face becomes suspect.  With a script by Lacy McClory, Kevin sets this sleek neo-noir thriller inside a space that promises transparency, then weaponizes it, turning glass, marble, and open space into instruments of paranoia over the course of one long, unforgiving night as Sara and Jason are planning that one final heist before leaving their life of crime behind. Everything goes smoothly until things don’t.  Their target, wealthy lawyer David Blume, returns home unexpectedly and stops their escape in its tracks.  But Blume is neither the easy mark they thought him to be nor the person they thought he was; but then, neither are Sara and Jason.

Directed by Kevin Lewis and written by Lacy McClory, MISDIRECTION stars Frank Grillo, Olga Kurylenko, and Oliver Trevana.

As you’ll hear, Kevin frames the difference as being driven entirely by what each script demands, not by genre labels like “horror” vs “non-horror,” but you can see and hear clear contrasts in how he talks about them.

For MISDIRECTION (contained, non-horror neo-noir thriller), it’s about being trapped in one house where the house is a character.  It’s “non-horror” and more because it demands intimate, performance-driven, one-environment suspense, versus the bigger, location-driven, concept-y mechanics of “Pig Hill” and “Willy’s Wonderland”.  Each film’s geography dictates his directing muscles and he makes perfect use of each of them with MISDIRECTION.

With Willy’s, you’re trapped in a pizza fun land for kids; with MISDIRECTION you’re trapped in this glass house with three people who might be lying to you. The locations are characters, but the way they create tension is completely different. 

The deeper we get into MISDIRECTION, the more emotionally complex it becomes, and Kevin dives into how performance and action influenced the emotional tonal bandwidth as he leans on performance first, and action second to create that emotional complexity; the fights are really extensions of what the actors are already playing.   With performance driving the tone, Kevin talks about the film as “primal” and built on jealousy, anger, and dark emotions. 

Working with longtime editor Ryan Liebert, Lewis starts MISDIRECTION as a slow burn, then tightens the screws by cutting from wide, glass-walled compositions into suffocating close-ups and ticking-clock inserts, so the tension creeps up until the house feels as claustrophobic as any horror set.

On his first collaboration with DP Matti Eerikainen, a favorite DP of Renny Harlin, Kevin found a partner who wasn’t just chasing a cool look but was moved by the script’s emotional core, shaping MISDIRECTION’s handheld, anamorphic, glass-and-shadows aesthetic around the characters’ inner lives.

Every craft choice is in service of jealousy, secrets, and moral gray areas: the glass house promises transparency but hides pockets of darkness; handheld anamorphic keeps us trapped in real time with people who may be lying; Olga Kurylenko’s stripped-down look as Sara removes any glamour barrier between the audience and Sara’s guilt; and even Bob, her battered stuffed dog, becomes a visual reminder of how love, hurt, and loyalty can coexist in the same fragile object.

With some time to spare this week, we've also got some fun, female-centric Oscar trivia for you about the 98th Academy Awards.

And while you can see MISDIRECTION on digital, make sure to hit the theatre to check out Luc Besson's DRACULA.  I've got a few things to say about that.   And yes, I love the film.

Enjoy!

This week is a fun week for me with BEHIND THE LENS, given the two films that we’re talking about and the two filmmakers I’m speaking with.  It’s a great way to kick off my 44th year as a film critic, although I was published with reviews going back 5 years before that!  Today you’ll hear from one of my all-time favorite directors, RENNY HARLIN, as we talk about THE STRANGERS: CHAPTER 3, which now completes his trilogy of the rebooted classic.  And, then there’s writer/director BRYAN FULLER, who makes his feature directorial debut with the sumptuous and fun visual feast, DUST BUNNY.    So, let’s get started!

First up - RENNY HARLIN and THE STRANGERS: CHAPTER 3.

The Strangers began back in 2008 thanks to w/d Bryan Bertino, who treated us to the tale of James Hoyt and Kristen McKay, who visit an isolated vacation home to enjoy some time together.  Hopeful bliss turned into terror, making their stay a bloody nightmare.  In 2018, director Johannes Roberts, with a script by Bryan Bertino and Ben Ketai, rebooted the franchise with The Strangers: Prey at Night, starring Bailee Madison, Lewis Pullman, and Christina Hendricks.  It was always Johannes’s intent to do a sequel, but that didn’t pan out.  But then in 2024, RENNY HARLIN stepped into the franchise with what has become a three-chapter series with all three films shot at the same time over 53 days of principal photography, with a cast led by Madelaine Petsch.

In The Strangers: Chapter 1, we met Maya and Rory, whose car breaks down in the creepy and eerie small mountain town of Venus, forcing them to spend the night in a remote cabin. Panic ensues as they are terrorized by three masked strangers who strike with no mercy and seemingly no motive.

In 2025, Renny gave us the next chilling chapter with Madelaine Petsch returning as Maya, and joining her are, among others, Gabriel Basso and Richard Brake.  Chapter 2 picks up the morning after Chapter 1 ended, where we find Maya as the sole survivor of The Strangers’ murdering spree of the previous night.  But the night’s events aren’t over as she must now do everything in her power to survive the continued, relentless attacks from the masked killers.  The film expanded from a cabin to the town and forested areas, becoming very physical, very tactile, and very visceral.

Now, we have the final piece of the puzzle with THE STRANGERS CHAPTER 3.  Maya is again the last woman standing. She survived what she thought was the worst of the worst, but now she must move on.  But how to do that, when she must face the masked killers one last time in a brutal, full-circle reckoning of survival and revenge. This final chapter is very internalized, very observational as Maya tries to absorb what all has happened while trying to understand the psyche of these masked psychopaths.  Where lighting and lensing were the key tools in the cinematic toolbox for Chapter 2, sound becomes all-important with CHAPTER 3.  And that’s what Renny and I focus on in this exclusive interview, once again very short on time for real in-depth analysis, but we did our best.  

Highlighting the film’s psychological depth and sound design, Renny emphasizes not only the importance of sound in creating tension, such as a diner scene and Maya's limping footsteps in an underground, stoned tunnel, but also describes the meticulous process of recreating sounds and auditory context.  We delve into the significance of a saw mill location and how that inspired Renny to alter the story with some creative additions.  We also talk about his use of needle drops, like Heart’s “Crazy On You” and  "Knights in White Satin," to enhance the story's impact.  The film's internalized psychological aspects and the seamless integration of sound and visuals are extremely well done.  So take a listen as RENNY HARLIN talks THE STRANGERS: CHAPTER 3.

Switching gears into a film that I absolutely love is my conversation with writer/director BRYAN FULLER, talking DUST BUNNY.  This is a cacophony of creativity and truly a sumptuous visual feast!  How the work of production designer Jeremy Reed was ignored by the Academy members in Oscar nominations is beyond me.  His work, in concert with that of costume designers Olivier Beriot and Catherine LaTerrier, and cinematographer Nicole Hirsch Whitaker, is vibrant, alive, and magical.

DUST BUNNY may be Bryan’s first feature directorial, but he is no stranger to creativity as a writer for Star Trek - Discovery, Voyager, Deep Space 9, Hannibal, Pushing Daisies, and so much more.

Written and directed by Bryan Fuller, DUST BUNNY stars Mads Mikkelson, Sigourney Weaver, and a scene-stealing performance by Sophie Sloan as the precociously adorable Aurora.

In DUST BUNNY, ten-year-old Aurora (Sophie Sloan) has an intriguing neighbor (Mads Mikkelsen) who kills real-life monsters - a hit man for hire. When Aurora needs help killing the monster that ate her family, she procures his services. Suspecting that her parents may have fallen victim to hit men gunning for him, Aurora’s neighbor guiltily takes the job. To protect Aurora, he’ll need to contend with an onslaught of assassins, a mysterious associate with killer heels (Sigourney Weaver), and accept that some monsters are real in this fantastical and wickedly inventive feature directorial debut from visionary creator Bryan Fuller.

DUST BUNNY fuels creativity and imagination, not only in Bryan but in anyone watching the film.  In this exclusive interview, we go deep into the film’s visuals and creative elements, and visual references and themes to things like Maurice Sendak's Where the Wild Things Are, and of course, Wile E. Coyote and Roadrunner.  Emphasizing the importance of imagination and creativity, Bryan discusses his own childhood influences, which come bubbling forth here.  Giving lots of love and praise to his collaborators, notably many of whom are female, we break down color, lighting, lensing, production design, costume, and music, with all designed to maintain Aurora's perspective.  We also have a few thoughts on the film garnering an R-rating versus PG-13 (which I believe it should have been.)

How can you not want to see a film premised upon “A little girl hires a hitman to kill the monster under her bed”!   Take a listen as writer/director BRYAN FULLER takes us through DUST BUNNY from inception to visual splendor.

Welcome back to another week of BEHIND THE LENS!  

I’m excited about today’s show and my exclusive interview with my special guest, director/writer/editor TOM BOTCHII, talking about his new film RELENTLESS.  And let me tell you, RELENTLESS is exactly what its title promises: a sustained assault of motion, impact, and withheld meaning. It begins as a home invasion and refuses to let go, barreling forward as a near-wordless cat-and-mouse chase that doesn’t pause to explain itself—at least not until the audience is already locked into its grip.  What I found interesting in speaking with Tom is that he has a wonderful sense of humor that belies the violence, hatred, and revenge that unfolds in this film.  He is so engaging and fun.  I can’t wait to speak to him again.

And in addition to Tom and RELENTLESS, how about some fun facts about the 98th Academy Award Nominations?  Keep listening after Tom's interview for some trivia night-ready Oscar factoids for you.

RELENTLESS starts as a seemingly straightforward home invasion robbery but quickly becomes a sustained chase between two men—Teddy, a homeless drifter, and Jun, a successful businessman—layering the pursuit with ideas drawn from what Tom calls the “Twitter mentality.” Not Twitter as a platform, but as psychology: rage without listening, guilt assigned without process, justice declared without context. 

A two-hander that stars Jeffrey Decker as Teddy and Shuhei Kinoshita as Jun, Tom wanted multiple journeys within the same film. The first is visceral: survive the pursuit. The second is moral and psychological: are we even right about who’s guilty?

In this exclusive interview, Tom discusses the inspiration and creation of his film RELENTLESS, emphasizing its brutal and primal nature. As the film progresses, violence becomes bloody and brutal, increasing in that brutality until it reaches a savage, even barbaric level of primal ferocity. 

As we break down the film’s thematic and emotional structure, David Christopher Pitt’s cinematography is critical for its creativity in creating visuals that track the themes.  Some outstanding set pieces which showcase David’s work include key scenes such as a tense bubble-car-wash fight, where a camera lens broke, and a home invasion sequence using multi-level set pieces.  Co-editing the film along with Tom is DP David Pitt, who is doing double duty here, a challenging task indeed, given that the film's structure avoids dialogue initially, building tension through action and minimal exposition.  Something I found quite interesting is Tom’s highlighting the importance of audience perspective, noting that subtle actions can convey character plights effectively.   And you get some very fun anecdotes that include insights on practical effects, such as using shoelaces to resemble barbed wire, and Jun leaving his home to escape Teddy, but bringing only his sneakers with him, which he changes in the middle of an intersection.  A fascinating reason for that little addition to the film.

So, take a listen as writer/director/editor TOM BOTCHII digs deep into the creation and making of RELENTLESS.

Then keep listening for some fun, noteworthy tidbits about this year’s Oscars and the little Golden Boy himself.

Enjoy!  

Welcome back to BEHIND THE LENS!  This past weekend was Dances With Films Film Festival NY and from all accounts, it was a blast.  You all know how much I love to champion indie films, which makes DWF one of my fave fests.  And how lucky are we to not only have DWF in Los Angeles later in the year, but also an abbreviated version in NY!

I was privileged to screen a few of the fest films before their premieres and screenings at Dances, as well as speak with some very talented filmmakers, who you are going to hear from right now.  Two standout world premieres at Dances With Films and films that I already love are the elegant and emotionally beautiful STOP TIME from PAUL SCHWARTZ, and the edge-of-your-seat human thriller ROOF from Salvatore Sciortino and Joshua Tate.  So sit back and take a listen as we dive in.

First up, let’s take a look and a listen at STOP TIME and my exclusive interview with writer, director, editor, and cinematographer PAUL SCHWARTZ.  And did I mention he also composed the film’s end credit song?  As mentioned, STOP TIME had its world premiere on Saturday at Dances With Films NY film festival, and while currently on the festival circuit, I anticipate it won’t be long before the film gets a distribution deal.

STOP TIME tells the intertwined stories of Peter de Vries, a photographer, and Adrianna Maier, a theatrical lighting designer. Both are carrying heavy burdens of sadness: burdens that mutual friends of theirs believe each could lighten for the other. Over the course of 24 hours in New York City, their lives circle, until they meet at the opening of Peter’s gallery show, which leads them both down an unexpected path. 

Written and directed by PAUL SCHWARTZ, STOP TIME stars Nelson Avidon, Tara Westwood, Patty McCormack, Kelly Deadmon, Christina Toth, Catherine Quirico, and Daria Karic.

In this exclusive interview, writer/director/editor/cinematographer Paul Schwartz discussed his film STOP TIME, which he expanded from a 44-minute short. The film, shot in black and white, explores themes of loss and recovery, inspired by his wife's breast cancer diagnosis. The story revolves around a photographer named Peter, with Adriana's backstory adding depth. Schwartz did a mix of formats, including using Super 8 film for vintage home movies, and employed creative editing techniques, including time-lapse and superimpositions. The sound design, blending ambient sounds and music, enhances the emotional impact.  Schwartz, with a background in music and ballet, meticulously crafted the film, aiming for a delicate, ballet-like elegance.

Now, I want to let you know that after listening to this week's show and this interview with Paul Schwartz, you can go to the website, www.behindthelensonline.net, and not only hear this interview in its entirety as a stand alone, but you'll find my full review of the film, and an exclusive interview with none other than the legendary Patty McCormack talking about STOP TIME and several other projects she's currently working on.  And yes, we talk about Rhoda and "The Bad Seed", too!

Now, let’s switch gears with a film that I was riveted by.  ROOF.  That’s it.  One word.  ROOF. It’s a human thriller, a nail-biter, it has some wonderful cinematic nods to beloved films of the past few decades, boasts strong performances, creativity, and, in all honesty, is a Must See Film.

The premise is simple and effective.  When a catastrophic blackout leaves two strangers, Dev, a trader who just lost the company millions, and Mary, a pregnant woman with nowhere to turn, trapped on a rooftop in downtown L.A. over July 4th weekend,  survival becomes a brutal waiting game. With no water, no exit, and the city oblivious to their cries for help, the heat and hunger push them to the brink, both physically and mentally. As desperation sets in, a bond forms between them, blurring the lines between fear, trust, and something deeper. But as their bodies weaken and the ledge starts looking like the only escape, they must decide: wait for a rescue...or take fate into their own hands

Directed by SALVATORE SCIORTINO with script by JOSH TATE, ROOF stars Asif Ali and Bella Heathcote.  

In this fun, exclusive interview, Josh Tate and Salvatore Sciortino discuss ROOF, highlighting its meticulous production details.  Sal praises Jonathan Pope's cinematography, noting the visual interest despite limited resources on a rooftop.  Josh shares the film's development, from its initial concept inspired by "The Hangover" to its thematic evolution from existentialism to a journey from selfishness to selflessness.  They emphasized the importance of intentional set design, lighting, and editing, and even the make-up and hair departments, with their realism, which only added to the already outstanding performances by Asif Ali and Bella Heathcote.  Adding depth to the film is the score composed by Curtis Green, and the end credit song by Kate Grahn.  Now, if Kate’s name sounds familiar, it’s because she is the daughter of Emmy-winning actress and "General Hospital" fan favorite Nancy Lee Grahn, who has always kept her fans in the loop with Kate’s burgeoning music career.  So, for all you fans of GH and Nancy, Kate’s song is an added perk to seeing ROOF.

ROOF is also currently on the festival circuit, so keep your eyes peeled for this one, because you don’t want to miss it either at future film festivals or on distribution, which I expect will be sooner rather than later.  And you can find my full review of ROOF and stand-alone interview with the guys on the website.

Take a listen and enjoy!

We're looking at another emotional film this week on BEHIND THE LENS as I chat with writer/director and actor STEVEN GRAYHM in this exclusive interview about his latest film, SHEEPDOG, one of the most important and powerful films you will see this year.

There have been a number of films over the years, especially since all of the Middle East conflicts, that address PTSD or some form of it.  Some of those films “work”, while others fall flat and are formulaic and unaffecting.  One of the best documentaries done over the past decade is THAT WHICH I LOVE DESTROYS ME, directed by Ric Waugh. Another emotional, no-holds-barred narrative is BLOOD STRIPE by director Remy Auberjonois that focuses on a female combat veteran and her battle with vigorous PTSD.  An interesting perspective comes from 2017's MEAGAN LEAVEY directed by Gabriela Cowperthwaite, which focuses on a Marine corporal and her K9 combat companion, and not only her fight to adopt her combat dog Rex after both are injured, but also dealing with both human and canine PTSD.

And now we have a very unique film with SHEEPDOG, thanks to STEVEN GRAYHM.   

SHEEPDOG is the story of decorated U.S. Army combat veteran Calvin Cole (Steven Grayhm), who is court-ordered into treatment and into the care of a VA trauma therapist in-training. Things become even more complicated when Calvin's father-in-law, a retired Vietnam Veteran (Vondie Curtis-Hall), shows up on his doorstep having just been released from prison. As Calvin’s plan to run from his past becomes even more challenging, he learns through the support of his community: tough love and compassion, that he must put himself back together again for his family – and for himself.

Written and directed by Steven Grayhm, SHEEPDOG stars Emmy Nominee Vondie Curtis-Hall, Academy Award Nominee Virginia Madsen, Tony Nominee Lilli Cooper, Dominic Fumusa, Matt Dallas, and Steven Grayhm.

As you’re about to hear in this exclusive interview, STEVEN GRAYHM discusses his film SHEEPDOG, an emotional powerhouse about PTSD, featuring authentic portrayals and filled with hope. The film explores the impact of PTSD over time, with characters from different eras, and the importance of seeking help.  In this conversation, Steven emphasizes the refinement process over 14 years, the intimate cinematic style, and the collaboration with cinematographer Evans Brown. He highlights the diverse treatment methods for PTSD, including EMDR and art therapy, and the meticulous editing and sound design. The film's success on the festival circuit underscores its impactful storytelling.

What is most interesting from the get-go is the film’s title.  SHEEPDOG itself signals Steven's intent. Drawn from Lt. Col. Dave Grossman’s book On Combat, the metaphor divides the world into sheep, wolves, and sheepdogs—those who run toward danger to protect others. But as you’ll hear Steven explain, many veterans discover that when the uniform comes off, the “wolf” follows them home in the form of guilt, memory, isolation, and unresolved trauma. This film, he stresses, is about that unseen battle—and about post-traumatic growth rather than combat heroics.

The genesis of the project was unexpectedly intimate. In 2011, Steven's car broke down during a solo drive from Vancouver to Los Angeles. The tow truck driver who picked him up, recently out of the military, began to talk about his marriage, his children, financial strain, and the medications tied to his service.  What struck Steven most was not the content of the confession, but the context. The driver repeatedly told him he had never shared these things with his wife or therapist. “That was the seminal moment,” Steven recalls, “of being able to share your stories like that with a complete stranger that would listen without prejudice.”

That encounter became the emotional seed of SHEEPDOG. Later that same summer, Steven and actor Matt Dallas traveled across the country, sitting with veterans and their families, confirming that the tow truck driver’s story was far from unique. These conversations—often held at kitchen tables with spouses and children nearby—reshaped Grayhm’s understanding of PTSD as not just an individual burden, but a communal one. The film’s ensemble structure grew directly from that realization.

Research was not an abstract phase but an ongoing immersion. He volunteered at the Detroit VA Medical Center, observing and participating in treatments including EMDR, prolonged exposure therapy, art therapy, and tapping. He describes undergoing an early, rudimentary version of EMDR himself and witnessing its effectiveness firsthand.

The first draft ran nearly 187 pages and included full deployment sequences. Over fourteen years, Steven treated the screenplay as a living document—expanding through research, then relentlessly distilling it down to 90 pages.

Working with cinematographer Evans Brown, the visual grammar is classic and unobtrusive, designed to earn the audience’s trust.  Of course, with Steven in 80% or more of the scenes in the film, Evans became his last point of contact before stepping in front of the camera and was his eyes and ears behind the lens.  He has an interesting POV on wearing multiple hats throughout this production. 

Unique is Steven’s approach to the film in post-production, viewing visuals, editing, and sound as a "single organism."  Editor Brent McReynolds helped “find the film” while the sound design was orchestrated with surgical care—knowing when to let silence breathe and when music can deepen connection rather than soften it.

An emotional powerhouse.  An outstanding film.  An insightful interview with a passionate and dedicated filmmaker that covers so much more than this brief recap above.

Take a listen as writer/director/actor STEVEN GRAYHM discusses SHEEPDOG.

Welcome back to another year of BEHIND THE LENS and BTLRadioShow!!  I’m excited to be back and kick off Year 12 of BTLRadioShow. I am beyond thrilled to start the new year with a very special guest and talk about the absolute “Must See” film of 2026.   And that guest is none other than my friend of 40+ years - director RIC ROMAN WAUGH - and that film is GREENLAND 2: MIGRATION.  

I first met Ric when he and his brother Scott, also an acclaimed director, were in their teens learning the stunt trade and working with their dad, legendary stuntman Fred Waugh.  So to see Ric, and Scotty, move through the world of stunts and stunt coordination and into directing as well as writing, has been an absolute privilege and joy. And to see how damn good they are as filmmakers!  Wow!  It blows my mind - especially with Ric and his cadre of films like FELON, SHOT CALLER, SNITCH, NATIONAL CHAMPIONS, KANDAHAR, ANGEL HAS FALLEN, the powerhouse documentary THAT WHICH I LOVE DESTROYS ME about veterans and PTSD, and GREENLAND.  

Action, emotion, practical in-camera action, explosions - Ric loves pyrotechnics  (just think ANGEL HAS FALLEN and KANDAHAR).  His films are always emotionally layered and capture all the shades of grey, both sides of the coin.  And now with the next chapter of "Greenland", GREENLAND 2: MIGRATION, Ric tops his own level of excellence with more depth, humanity, and breathtaking action than ever before.  

I’ll be honest with you.  GREENLAND 2: MIGRATION is the first film Ric has ever done that made me ugly cry AND put me on the edge of my seat with terror, fear, and quite a few jump scares.  This film is a perfect marriage of action, practical effects, incredible camera work by Martin Ahlgren, keen editing, and superb performances.  Then ice it all with David Buckley’s score, and you have perfection.  GREENLAND 2: MIGRATION is award-worthy on multiple levels.

As you all may recall, 5 years ago, we saw Comet Clarke decimate the earth in “Greenland,” and we followed the Garrity family as they fought to make it to safety in underground bunkers in Greenland.  Definitely action-packed, nail-biting tension.  Now, 5 years later, we are again following the Garrity family - John, Allison, and their son Nathan, this time as they’re forced to leave the safety of their bunker in Greenland to traverse a shattered world in search of a new home.  Radiation from Clarke, although abating somewhat,  has permeated the earth for the past 5 years, making it unsafe to go outside of the bunkers unless suited up.  There are pockets of survivors around the globe -but as the immediate effects of Clarke have died down somewhat, new challenges have surfaced with changed polarity of the earth and the tides, ongoing sporadic fractures of the comet still crash into the earth, earthquakes, tidal waves.  Even military communications are spotty at best.  So what does John Garrity do when his family is once again in immediate danger and forced out into “the world and the contaminated air”?   He fights for their survival.  And what a fight it is.

Gerard Butler and Morena Baccarin are back as John and Allison Garrity, and Roman Griffin Davis steps in as their now 15-year-old son, Nathan.  You may remember Roman Griffin Davis from his scene-stealing performance in Taika Waititi’s “JoJo Rabbit”, so you know he’s got the chops to stand tall with Gerard Butler.

Just before Christmas, Ric and I had the opportunity to chat about GREENLAND 2:  MIGRATION.  Now, any of you who have heard our prior conversations know that we can chat for a long time.  LOL!  This go round, we were only given about 30 minutes, but we covered quite a bit into Ric’s vision and directorial process for this film.  

Highlighting the emotional integrity of GREENLAND 2: MIGRATION with a focus on family resilience and hope, the film explores the aftermath of the comet’s impact, emphasizing human connection and survival. As you’ll hear, Ric has nothing but praise for his cinematographer Martin Ahlgren, particularly the use of low light and developing contrast.  (Martin is also the DP on Ric’s next film coming out on January 30th, “Shelter” starring Jason Statham.) Ric also discusses one of the big challenges with GREENLAND 2: MIGRATION, which is integrating visual effects with practical sets and action.  Always a standout in a Ric Waugh film is the work of Ric’s longtime collaborator, production designer Vincent Reynaud.

In GREENLAND 2: MIGRATION, Ric builds every aesthetic choice around three intertwined ideas: hope, legacy, and the shift from mere survival to actually living. Visually, the film moves from the gray, claustrophobic bunker into a world where color and clarity slowly return, echoing his research into how “Mother Nature rebounded when it was scorched completely black,” from Australia’s fires to Chernobyl’s Red Forest. Thematically, he frames this chapter not as a disaster sequel but as an existential next step, asking, “What we’re all striving for is, what is our legacy… what’s our legacy to leave this planet in a different place, in better shape when it’s been destroyed, and we’re starting back from scratch.” That philosophical weight sits on a deeply human axis — a family, a son, and a future — as Ric pushes the story “from surviving… to living again, you know, to actually living your life versus just trying to hold on and survive,” with David Buckley’s poignant, voice driven score and an angelic, hope filled finale cue amplifying the emotional journey.

As we break it all down, Ric and I dig deep into every element of the film.  Take a listen as RIC ROMAN WAUGH discusses GREENLAND 2: MIGRATION.

What a way to kick off our 12th year of  BEHIND THE LENS!  Wow!  And make sure to check out the website behindthelensonline.net for a detailed written version of the interview, as well as my review of GREENLAND 2: MIGRATION, which will hit on Wednesday.  And there’s also lots of new interviews and some reviews out, all ready for you to check out.  And make sure to tune in again next week when I’m talking SHEEPDOG with writer/director STEVEN GRAYHM.