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 flow. Something you don’t often hear is a director loving an editor’s willingness to challenge him and make tough decisions for the benefit of the story, which is what Warner did. Mark Warner is an editor dear to my heart, having cut a few films that I worked on as a PA very early in my career. And what’s a film without a score? THE GET OUT has a terrific one thanks to composer Bryan Senti.
I’ve got to mention another film that is in theatres now that is a “Must See”, and that is Rod Lurie’s LUCKY STRIKE. Set in December 1944 during the Battle of the Bulge in WWII and starring Scott Eastwood, LUCKY STRIKE is one of the most powerful and emotionally immersive viewing experiences on the screen today, LUCKY STRIKE derives its power not only from its World War II authenticity and remarkable technical and visual craftsmanship, but from experiencing the war through the first-person perspective of Captain Castle, an engineer who voluntarily enlisted and left his young family to join the fight against the Nazi regime. World War II remains one of the few wars in history where good and evil are so clearly defined, a fact that lends itself powerfully to both filmmaking and storytelling. Production values are high, the cinematic structure is gorgeous, and Eastwood delivers the best performance of his career to date. Trust me when I say, do not miss LUCKY STRIKE.
And this Friday, July 3rd is the Season One finale of DUTTON RANCH. Have you been watching? If not, time to binge and catch up – especially since it was FINALLY announced that we’re getting Season Two! Thank goodness, as this show just ups the ante and danger ever higher from week to week, and Episode 7 gave us some shocking insight into just how dirty Beulah and the 10 Petal Ranch is, not to mention the crossroads facing young Carter. I’d say hold onto your hats because the season finale this Friday could prove to be equal to a gunfight at the O.K. Corral!! I’m champing at the bit!
Plenty of new reviews and interviews on the website for you at www.behindthelensonline.net, along with all of our BTL Radio Shows (all 11 ½ years worth and counting!), just in case you’ve missed some and the terrific interviews in them.
Until next time, HAPPY 4TH OF JULY!!
