We’re chatting about some wonderful films with some terrific filmmakers this week on BEHIND THE LENS, starting with director/co-writer ALLAN UNGAR talking about his new film, the action buddy comedy road trip, LONDON CALLING. Then in the second half of the show, director/co-writer CHRISTOPHER LEONE and writer/former paramedic PATRICK PIANEZZA are on hand for their new comedy/dramedy, CODE 3.
Directed by Allan Ungar with script by Omer Levin Menekse, Allan Ungar, and Quinn Wolfe, LONDON CALLING stars Josh Duhamel, and along with Josh is the scene-stealing Jeremy Ray Taylor, Aidan Gillen, Arnold Vosloo, Rick Hoffman, and Daniel Lasker, who is a solid standout here.
The story is a simple one. After fleeing the UK from a hit job gone wrong, a down-on-his-luck hitman named Tommy – played by Josh Duhamel – is forced to babysit Julian, the son of his new crime boss Benson, and show him how to become a man. And of course, we have the requisite hit man action elements, complete with gun fights, car chases, and in this case, some juvenile hijinks, and so much more.
But what elevates the simplicity of the story, which is packed with action and adventure, is the heartfelt bonding between Tommy and Julian, and the chemistry between Josh and Jeremy. As they embark on what can be described as a “road trip buddy action comedy”, their growing quasi-paternal bond is palpable and makes your heart smile in between the laughs. There is a sweetness to this as we watch this dynamic between hit man Tommy and his young babysitting charge Julian, play out. Casting Josh Duhamel as Tommy was ideal as we’ve seen Josh do action in films like “Bandit”, “Off the Grid”, or “Transformers”, drama like the adaptation of Nicholas Sparks “Safe Haven”, rom-coms like “When In Rome” and even pure comedy going all the way back to his first feature film, which is where I first took note of him, “Win A Date With Tad Hamilton.” This makes for a perfect tonal balance for the character of Tommy and for the film as Tommy interacts more and more with Julian, providing the fun of a friend but also some needed parental guidance. Julian’s father, mob boss Benson, is anything but a parent. And dare I even mention that we’ve got some cos-play aka LARP – Live Action Role Play sequences that play a big part in the development of Julian and in the ultimate relationship between Tommy and Julian. Allan’s got a lot to say about the LARP element of the film!
Watching them bond drives the story, but then, thanks to Allan’s collaboration with cinematographer Alexander Chinnici, the story and emotion are punctuated with not only beautiful imagery immersing us in London and Los Angeles, but also some outstanding montages that not only fuel the emotion of the story but showcase Chinnici’s impressive skills and the visual grammar he and Allan have designed. Sun flares, slo-mo, saturation of color, bright sun. It is all spectacular.
Talking about spectacular, we’ve got to bring production designer Warren Gray, art director Kerry Von Lillienfeld, and set decorator Roberto Bassi into the conversation as they transform Cape Town and its surrounding desert suburbs in South Africa into London and Los Angeles. Allan goes into great detail about their efforts and those of DP Chinnici. But for the beauty and clarity of the sun and blue sky, you would never know this wasn’t being shot in LA and London. And I have to say that LA should look even half as good as it does in this film.
For those that don’t know, the sun and air quality are completely different between LA and South Africa, and London and South Africa. And that directly impacts the visuals and the visual grammar of the film, particularly when it comes to lighting. As you’ll hear Allan discuss, Alex started with the direction of the sun in that part of the world, which was not an easy adjustment, and went from there. Ungar is big on kinetic camera movement, which means he likes deliberate camera movement during an exposure to create energetic images. With that in mind and working with the purity of the sky, the sun, and the air, the pair developed a visual language to deliver shots that were like a fly on the wall in the corner of the ceiling, looking down on things. And then there are also perfect eye-level shots. Making great use of the height and age differential between Josh and Jeremy, we get the power dutching of Josh’s Tommy being the “adult” or the one in control, but that then shifts as Tommy and Julian get closer and they are more eye level with each other, metaphorically addressing mutual respect and communication; equals. And there are even moments where Julian gets the upper hand, which is beautifully reflected in the camera movement.
In this exclusive interview, you’ll hear Allan discuss LONDON CALLING, highlighting the dynamic between Tommy and Julian, played by Josh Duhamel and Jeremy Ray Taylor. He praises cinematographer Alexander Chinnici for the film’s visual grammar, particularly the use of light and lens in South Africa, as well as the collaboration of his production team, including production designer Warren Gray, art director Kerry Von Lillienfeld, and set decorator Roberto Bassi, and their successful recreation of London and Los Angeles in Cape Town. Detailing the editing process, Allan describes his collaboration with editors Jeff Seibenick and Richard Starkey (who handled the opening titles), emphasizing the importance of carefully selecting shots. This was a challenging edit to balance all the elements at play here: action shoot-outs, chase scenes, cosplay or LARP sequences, emotional beats, and the buildup of the individual backstories for Tommy and Julian, which contribute to their buddy road trip camaraderie. He also discusses the challenges of integrating the LARPing element and the impactful score by Trevor Morris, which balances action and comedy.
LONDON CALLING is in theatres on September 19th.
Then, we’re coming in hot with sirens roaring and lights flashing thanks to director and co-writer Christopher Leone and writer/former paramedic Patrick Pianezza and their new film CODE 3.
Directed by Christopher Leone, CODE 3 is a high-octane action dramedy that follows a world-weary paramedic on his final 24-hour shift as he trains his eager but inexperienced replacement. What begins as a routine night quickly unravels into a chaotic, citywide odyssey, testing their endurance, instincts, and sense of humor as they race from one emergency to the next. Blending heart, irreverent comedy, and edge-of-your-seat action, CODE 3 offers a gritty, behind-the-scenes look at the life of first responders, where every call could mean disaster or redemption.
CODE 3 stars Rainn Wilson, Lil Rel Howery, Aimee Carrero, Rob Riggle, and Yvette Nicole Brown.
The screenplay is grounded in real-life experience and was co-written by former paramedic Patrick Pianezza and director Christopher Leone, lending the film an authentic and emotionally resonant core. As you’ll hear in this interview, the thing for which Patrick and Christopher are most proud is the medical accuracy and authenticity of the film. Something else that is important to them is the subtextual commentary on the healthcare system and first responders, much of which is told with the breaking of the 4th wall by Randy.
What tickles me is that I’m a product of the 60s and the 70s, when “Emergency!” was one of the top-rated shows in the country, one of the last, or only, shows that really focused on the EMTs or paramedics. So to now see a 21st-Century tale like CODE 3 that incorporates real-life situations and circumstances, again, is a joy, and the authenticity and the intensity that Christopher and Patrick bring to this is just fantastic on every level. From a very smartly written script that’s very crisp to rapier dialogue, the situational experiences are beyond believable.
CODE 3 is unflinchingly fun, entertaining, and eye-opening at the same time.
Starting out as a college assignment for Patrick about 12 years ago, what struck Christopher when he read it was that Patrick’s take was comedic in this very stressful, very exciting, sometimes very hilarious but heartbreaking job, treating it as comedy, but comedy that told the truth about burnout.
One of the standouts with the film is the humanity that gets the EMTs through a shift – a 24-hour shift. And of course, telling this through the eyes of Rainn Wilson’s character of Randy, an 18-year paramedic who is working his final shift with his longtime partner Mike, and breaking in his replacement, a young, eager female named Jessica, is what sucks you in as you watch. Rainn Wilson is pure gold. As bitter as Randy is at the healthcare system, his care and caring for the people he’s helping never falters. No matter what he faces, including the very assholic ER doctor, Dr. Serrano (brilliantly played by Rob Riggle), or the challenges he faces with the cops interfering in very intense situations, some involving mental health and veterans, Randy keeps on going and providing first-rate care. I can see no one else in the role of Randy but Rainn Wilson.
Joining Wilson is Lil Rel Howery as his partner, Mike. Howery not only gets to show off his comedy skills going toe to toe with Wilson, but there is one stand-off scene with Howery that is so intense, you will be on the edge of your seat. I had no idea that Lil Rel Howery could bring that kind of gravitas to the fore. It’s a wow. And Christopher directs the hell out of the scene. Supporting players include Rob Riggle as the jerk ER doctor who hates Randy (and vice versa), and Yvette Nicole Brown, who is hilarious as Randy’s supervisor, Shanice, and who provides some terrific laugh-out-loud moments peppered throughout the film. Aimee Carrero as newbie Jessica really grounds the paramedic trio of Randy, Mike, and Jessica, and is a perfect foil for Wilson as she plays naive, smart, and compassionate. As you’ll hear Christopher say, “There’s a secret to getting great performances, which is just hiring great actors.”
Something that Christopher and Patrick, especially Patrick, were adamant about was that the three leads had to be medically correct and authentic in their performances. There was a day of training for Wilson, Howery, and Carrero. They learned and got certified in CPR so they could do it accurately on screen. They also did ride-alongs with LA County Station 14 out of South Central, which by call volume, is the busiest house in all of LA.
In this exclusive interview, Christopher Leone and Patrick Pianezza highlight the film’s authentic portrayal of paramedic life thanks to Patrick’s paramedic experiences. Christopher has nothing but praise for Patrick’s script for its blend of comedy and seriousness, focusing on burnout and the true nature of the job. The film’s visual grammar, led by cinematographer Mark Williams, captures the claustrophobic yet dynamic environment of an ambulance and the emotionality of the situations, as well as extensive exteriors around LA, including under the LAX flight path and on the freeway. Christopher also goes into detail on developing the visual grammar and shooting with the Sony Venice camera. Plus, he talks about editor Jay Friedkin, who delivers a film that is fast-paced urgency, but with calm efficiency. And we talk about Maximilian Eberle’s score, which uses medical instruments to create a truly unique sound!
CODE 3 is in theatres now.
