“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.
“The mantra in these movies has always been that we play it for real time, and after 90 minutes Scott [Adkins] can barely breathe because he’s been through so much. And just the culmination of him doing it twice and entering the third movie was that exact sense of, like, he needs to be absolutely knackered to complete his arc.”
“The more different we are, the more the same we are, and that really comes through beautifully here.”
“One thing I learned is you need to work with people who you really trust. Showing up on set every day is like doing a trust fall every day, and if you hit your head on the concrete once, you don’t believe that they’re going to catch you the next day.”
Pat McKinley and his collaborators found a way to give THE WEIGHT the technical polish its story deserved without polishing away its humanity.
With I HAVE PROOF, JAMES CULLEN BRESSACK, ““really wanted to make something where we’re following a character that believes something so much that he will stop at nothing to try and prove what he believes.”
For PADRAIG REYNOLDS, “It doesn’t matter if it’s an indie budget. The number one thing is safety,” he says.
“I come from the Roger Corman School of Filmmaking, which is if you find an asset, you find a way of incorporating it into the movie.”
“I was very relieved to find that the first power, the original power ascribed to vampires in Irish and European legends, was mind control,” says van Belle. And mind control, he realized, is influence.
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
