Behind The Lens

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 dept

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 i

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 lik

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 c

Welcome to another week of BEHIND THE LENS. This week, it’s all about Christmas as I welcome director/co-cinematographer/co-editor ADAM VOLERICH, talking about his feature directorial debut, DRINK AND BE MERRY, and director CELIA ANISKOVICH, who is filled with the Christmas spirit as she talks about her documentary, THE MERCHANTS OF JOY. So, let’s get that cinematic sleigh going with Adam Volerich and DRINK AND BE MERRY. At a struggling New York dive bar in the days leading up to Christmas 2019, Chet, a beleaguered bartender in a state of extended arrested development, must balance caring for his misanthropic, aging regulars - who have nowhere else to go, and rely on him for far more than pouring drinks - with his naive desires to muster some Christmas spirit. As Adam himself describes it - “You know this bar. Maybe you were a regular. Maybe you were just passing through. But you sat, and you sipped all the same. The Bartender treated you well. The Barflies bantered with each other...It’s a liminal space where the outside world exists only in the memories of those seated on the stools, and they’re all doing their best to forget it. It’s comfortable. It’s cozy. That’s how you remember it anyway." In this exclusive conversation, Adam talks about how his real-life experiences at the Assembly Bar in Queens inspired DRINK AND BE MERRY and how screenwriter Leon Winters put pen to paper to capture the lifeblood of a dive bar and its patrons. Set on Christmas Eve Day and Eve, the film was shot at the Elm Witch Pub in New Brunswick and looks extremely festive, as many dive bars do for the holidays. Jefferson White, best known as the beloved character Jimmy on “Yellowstone”, stars as Chet, the bartender who cares about his regulars while his own life has no clarity or cheer. A strong suit of the film is the visual grammar developed by Adam and co-cinematographer Jack Mannion, with some fantastic imagery that ranges from sparkling ECU’s to a B&W dreamlike sequence to night shoots of a post-closing time Chet walking the streets. That visual style emphasizes the contrast between the warm, nostalgic bar and Chet's harsh, sparse apartment and the darkness and solitude of the night. Listening to him discuss the visual magic, including the production design, is enlightening. Adam also has much to say about his collaborative process, most notably between himself, Mannion, and co-editor Dominick Nero, and provides great insight into the challenges of transitioning from shorts to features. Then we move from the warmth of a cozy, nostalgic bar to the hustle and bustle of New York City with THE MERCHANTS OF JOY and documentarian CELIA ANISKOVICH. A funny, heartwarming, and grounded documentary that follows five families who sell Christmas trees in New York City each holiday season, THE MERCHANTS OF JOY captures the cast of characters behind the city’s Christmas tree stands– small business owners who bring holiday cheer to the streets each season, along with a healthy dose of friendly (and sometimes not-so-friendly) competition with each other. As you’ll hear Celia discuss in this exclusive interview, the project began with an Epic Magazine article about the Christmas Tree trade. Propelled by her own love of Christmas, she dove into the project without a penny of funding and maxed out her credit cards. With a tiny crew in tow, she found herself not only directing the film but also driving the crew van, fetching coffee, and generally serving as the production’s one-woman power grid. This is truly lo budget/no budget/micro budget guerrilla filmmaking. Describing how she developed the story and honed in on the vendors' personal stories, emphasizing the joy and community spirit, it all revolved around the schedules of the individual vendors as they all had more than one location, ping-ponging between multiple lots, drifting from point A to point B with no warning. Celia and her team simply showed up, cameras ready, ho