Michael W. Gray didn’t set out to make AMERICAN SUMMER because he wanted to recreate a simpler time. He set out to make the kind of movie his father wished still existed.
RUNNER reveals something more about Scott Waugh —something Waugh himself now recognizes when he says, “I think I found my stride.”
Silence can be terrifying. Not movie silence. Not the manufactured quiet that telegraphs the inevitable crash, scream or jump scare waiting somewhere on the
With BUDDY, CASPER KELLY doesn’t “want it to be just a good time. I want people to have a good time. But if you want to dig deeper, I want there to be things in the ground for you to find if you do dig deeper.”
According to BRANDO BENETTON, “Instead of feeling exhausted after making this movie…it only made all of us so more excited to be like, okay, what’s next!”
Rather than cloak terror in darkness, Bennett and Brooks wanted to create “horror in the daylight,” allowing menace to flourish in fully illuminated, sun-drenched spaces
As Mark Frydman relates, the seed of LUCKY STRIKE is not a logline or a concept. It is a teenager in Europe, a school trip, and a room full of men who had once crossed oceans under fire.
“I was just kind of blown away by the… stories we were seeing in this far-off, exotic place that was important and vital and fascinating and a bit dangerous.”
“I feel like I learned so much as a director through the edit because the story can change so much and you don’t realize that when you’re on the page with it.”
What NewRuleFX creates isn’t simply a collection of props—it’s the invisible craftsmanship that allows filmmakers to tell stories safely and convincingly. Johnson refers to the company’s work broadly as “special effects props.”
“You have to go where you’re scared to do anything interesting. To move anywhere with your life, you have to venture out of your comfort zone now and then. This was very much out of mine.”
For cinematographer JAMES KNIEST, making THE DEVIL’S MOUTH was “fascinating, challenging, and I think very fruitful.”
