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I\u2019m very excited about this week\u2019s BEHIND THE LENS because I get to talk about RENNY HARLIN and his new film DEEP WATER!<\/p>\n
After 33 years of chatting with Renny and talking about his films, he truly is not only one of my favorite filmmakers, but one of my favorite people. \u00a0His intelligence, his skill, his dedication to the craft of moviemaking and storytelling, his directorial vision, and his kindness. \u00a0I adore him. \u00a0Chatting with Renny is always a joy, and no matter how long we talk, it\u2019s never long enough. \u00a0And that\u2019s what happened last week when we sat down for an exclusive interview to discuss DEEP WATER. \u00a0Renny wanted an hour. \u00a0Publicists said no and offered 4 minutes. \u00a0I begged and got 15 minutes. \u00a0BUT, undeterred, when the formal interview (which ran 20 minutes) ended, Renny and I spent another 30 minutes together on our own, talking about the film, filmmaking, and other things.<\/p>\n
For those who aren\u2019t familiar with the film as yet, DEEP WATER is the story of an airline flight from Los Angeles to Shanghai that goes down in the middle of the Pacific. After surviving the crash, the survivors soon discover they\u2019re not alone, and they must survive the shark-infested waters. Simple right? \u00a0Not the way Renny Harlin tells it.<\/p>\n
DEEP WATER is directed by Renny Harlin, written by Pete Bridges and John Kim, and stars, among others, Aaron Eckhart, Sir Ben Kingsley, Molly Belle Wright, Angus Sampson, Kelly Gale, Elijah Tamati, and Kate Fitzpatrick. \u00a0Cinematographer is D.J. Stipsen, with editing by Geoff Lamb, with Fernando Vel\u00e1zquez providing the score.<\/p>\n
As usual, Renny was engaging and insightful. \u00a0Unfortunately, due to the limited interview time, we didn\u2019t get to cover all the aspects of the making of DEEP WATER, including the physical production design that gives the film so much realism and immersion. \u00a0Did you know Renny built an entire plane that seated 300 passengers for this film? \u00a0And then broke it into three main sections – the cockpit, the fuselage, and the tail? \u00a0The tail was built vertically and then dropped 30 feet underwater, as when the plane crashes into the ocean and breaks apart, the tail lands on a coral reef – an unstable coral reef that the weight of the plane keeps crushing further. \u00a0Filling the plane with extras and strapping everyone in their seats, he then used stuntmen as those passengers sucked out of the plane when there are explosions and the plane breaks apart. \u00a0He also used stuntmen as the dead bodies in the plane and underwater in submerged portions of the plane. \u00a0This is beyond realistic and immersive.<\/p>\n
But what we did get to cover was Renny\u2019s meticulous approach to filmmaking, particularly highlighting the film’s exceptional sound design, score mix by Marc Blanes, DJ Stipsen\u2019s cinematography, Fernando Velazquez’s composition, noting the emotional impact of the single piano note motif that recurs throughout the film, and of course, Geoff Lamb\u2019s editing. \u00a0As comes as no surprise in a film of Renny\u2019s, the soundscape is crucial, including details like muffled underwater sounds, ticking clocks, and the sizzle of fire, all of which contribute to the film’s tension and realism.<\/p>\n
Renny dives into his extensive research and planning that went into the film, especially in creating authentic cockpit procedures and realistic character reactions during moments of crisis. He also explains his deliberate choices in sound and music, such as reducing audio in key moments to heighten emotional impact and focusing on melodic elements rather than traditional suspense cues.<\/p>\n
Shifting to film’s visual grammar, there\u2019s plenty of praise for the cinematography by DJ Stipsen, noting the dynamic camera work that moves through different sections of the plane and into the water, creating a sense of immediacy and danger. \u00a0 A key component of the film is Renny\u2019s work not only with DJ in detailing how they planned lens choices, lighting, and camera placement to enhance the story, but also with editor Geoff Lamb.<\/p>\n
The film’s character development is strong, as the narrative allows viewers to connect with multiple characters, something that is always important to Renny. \u00a0Standout, however, is the character of Becky, the grandmother, exquisitely played by Australian actress Kate Fitzpatrick, along with the children in the film, step-siblings Finn and Cora, beautifully played by Elijah Tamati and Molly Belle Wright, respectively, with Molly stealing every scene she\u2019s in. And her chemistry with Aaron Eckhart is off-the-charts heartwarming. \u00a0You\u2019ll hear Renny explain the challenge of balancing action with character moments, stressing that emotional investment in the characters is essential for the film’s impact. And talk about a loving anecdote – he shares the story of casting Kate Fitzpatrick as Becky, describing her return to acting after a long hiatus and the emotional resonance she brought to the role.<\/p>\n
After my review published last week, Kate Fitzpatrick reached out to me about the film! \u00a0And had some wonderful things about the experience (which you’ll hear in this show).\u00a0\u00a0I can\u2019t thank Kate enough for reaching out with her insight and behind-the-scenes fun!\u00a0 She’s an honorary stuntwoman now!<\/p>\n
And I also give you some pearls and fun takeaways from this weekend’s TCM Classic Film Festival.<\/p>\n
Go to the theatre.\u00a0 See DEEP WATER and bask in the Dolby Atmos sound.<\/p>\n
DEEP WATER is now in theatres!<\/strong><\/em><\/span><\/p>\n
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