For director Rebecca J. Matthews, “Magic happens if you can just creatively open yourself up to things and not stick too much to your original ideas. That’s when all the really cool stuff happens.”
“Everything, everything, everything pays off when you’re specific about all the elements,” Di Pace says.
“I actually think no matter the era that you’re living in, so much of our world is chaotic and confusing, and so to have a movie that reflects that chaos and confusion in a very specific way, I think is its own form of art, whether people want to call it that or not.”
With Jordan Downey serving as director, co-writer, and editor, THE CYCLE possesses an unusually unified creative perspective…He doesn’t simply ask audiences to watch THE CYCLE. He trusts them to experience it.
For Josh Pais, acting is not about repeating what has worked before. It’s about remaining curious enough, courageous enough, and open enough to discover something new. “I’m just always striving to get better at my craft. That’s what keeps me going, and it lights me up.”
Working with cinematographer and executive producer Chris Morsby, a compact cast, limited locations, and an equally lean crew, Gallant approached BACKPAY with an editor’s understanding of what could be accomplished within a tightly controlled production.
“I’m very quick to say I was standing on the shoulders of a gigantic, amazing true story, and my job was just to serve it, get out of its way.” But translating that true story into a cinematic experience required considerably more than simply recording events.
“I’m most proud of the character work. About being able to tell a breakneck action story that, to me, has deeper character relationships,..”
“What I really saw from the beginning was that I had an opportunity here to make a movie that reminded me of a lot of 1970s crime movies where genre movies were allowed to be character movies.”
“I felt I have to basically do a way more radical movie,”. . .“That’s why I did the movie—to shock the people. Also, to show, like, if you push everybody too far, then you will have kind of a vigilante justice.”
For ZOEY MARTINSON, the shifting relationship between young and old in a Ghanaian fishing village was something worth exploring. Somewhere inside those observations, THE FISHERMAN began to swim. And eventually, naturally, the fish started talking.
“It’s been nine years,” Perkash says of their partnership. “This is the first one we developed from scratch, from the beginning, from zero to realization.” For For Van Acker, that makes ORION “our baby.” And what a baby it is.
