BRANDO BENETTON Keeps Changing the Angle with THE GIRL IN THE RIVER – Exclusive Interview
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!”
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.”
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.”
“I continue to feel obligated to capture the truth as much as possible,” he says. “And I’m trying on every film right now to do something new. I just love this business so much that I want to do everything I can in it.”
