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 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.”
An endlessly fascinating, wildly entertaining, often hilarious, sometimes heartbreaking, and ultimately moving portrait of acclaimed creature creator and special effects master Steve Johnson.
Philip Byron used to teach 6 a.m. spin classes. I exercise by perfectly balancing a glass filled with ice while lifting it from the bar.
Curiosity is contagious. As Shields himself put it: “Everybody on this movie learned everything.”
TOMMY JACKSON’s LAND OF WOLVES comes from an unfiltered voice fueled by ambition.
For writer/director BLAIR MOORE, BADLAND RISING is “a character-driven film with complementary action that suits those characters.”
“We are capable of bringing our dreams into the world…I feel a lot more capable, and I feel that other people who don’t believe that they’re capable are capable.”
“Constraints lead to creativity.” Those constraints ultimately became one of the film’s greatest strengths.
