{"id":853,"date":"2014-02-24T11:03:48","date_gmt":"2014-02-24T19:03:48","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=853"},"modified":"2014-10-11T11:13:25","modified_gmt":"2014-10-11T18:13:25","slug":"joe-begos-adds-a-human-touch-to-almost-human","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/joe-begos-adds-a-human-touch-to-almost-human\/","title":{"rendered":"JOE BEGOS Adds a Human Touch to ALMOST HUMAN"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

It\u2019s always a treat to speak with a new voice in the filmmaking stratosphere.\u00a0 It\u2019s even better when that voice has a new perspective and interpretation of a genre or story or well oiled character.\u00a0 And it\u2019s a delight when that new voice is able to bring that new perspective to fruition.\u00a0 Such is the case writer\/director\/cinematographer Joe Begos and his feature film debut, ALMOST HUMAN.<\/p>\n

Blending two wonderfully cinematic genres – alien abduction and slasher horror – Begos achieves not only chills, thrills and jump out of your seat moments and storied realism, but adds an element of humanity within his protagonist, something rarely seen amidst blood, guts and core.\u00a0 Despite the film\u2019s low budget, Begos shoots in New England locations with which he is familiar, utilizing the scenery at hand to his best advantage while executing creature creation with effective practical techniques and, as luck with have it, achieving some happy accidents that bode well for the film as a whole.<\/p>\n

Keeping the plot line simple, ALMOST HUMAN opens with an eerie and beautifully lensed disappearance\/alien abduction of Mark.\u00a0 Leaving his best friend Seth shell shocked over his disappearance and sparking a media frenzy that quickly dissipates, two years pass and Mark suddenly, inexplicably, returns.\u00a0 Coinciding with his return, however, is a frenzied killing spree.\u00a0 Could Mark be the killer?\u00a0 Knowing something is amiss, Seth and his ex-girlfriend Jen, also a friend of Mark\u2019s, fear the worst and start to dig for answers.<\/p>\n

I had a chance to speak with Begos in this exclusive 1:1 interview talking aliens, horror, lo budget\/no budget and yes, even VHS tapes.<\/p>\n

\"joe<\/p>\n

This is a fun little project you have here with ALMOST HUMAN.\u00a0 I love the horror.\u00a0 I loved all the old school elements you bring to the table, but then you give your protagonist character\u00a0 Seth this really warm humanity.<\/strong><\/p>\n

Like a blue collar everyman.<\/p>\n

Blue collar everyman, and he cares and he\u2019s truly worried about everybody around him and what\u2019s going to happen.\u00a0 We don\u2019t see that in horror films as a rule.\u00a0 It\u2019s typically bloodshed, bloodshed, bill, bloodshed.\u00a0 We don\u2019t see that humanity.\u00a0 A beautiful element to this film and to this script.\u00a0 Totally unexpected.<\/strong><\/p>\n

I\u2019m glad that you responded to it.<\/p>\n

Where did this story come from?<\/strong><\/p>\n

I grew up in that area [New England].\u00a0 I\u2019d always been fascinated with alien abduction as a kid because it seems like if you\u2019re going to get abducted by aliens, it\u2019s going to be in the middle of New England in the woods. [laughing]\u00a0 I had this fascination with alien abductions and I knew I always wanted to make an abduction movie.\u00a0 When it came time, I was like, \u2018Okay, we\u2019re just gonna go make this movie.\u00a0 We\u2019re gonna make it back home.\u00a0 What can we do for our project?\u2019\u00a0 Well, it\u2019s gonna be an alien abduction movie.\u00a0 There\u2019s only like three good ones that have been made.\u00a0 I really wanted to open with this abduction, slam it on the audience, knock \u2018em on their ass and then we deal with the aftermath.\u00a0 I always wanted to make a slasher movie, too, but if you make a generic slasher movie it gets lost very easily.\u00a0 So, I thought a cool twist to add that so it\u2019s almost like A Fire in the Sky Meets The Terminator<\/em>.\u00a0 That\u2019s what I like about The Terminator<\/em>.\u00a0 You have this inhuman threat and then you\u2019ve got the two human characters who are heroic.\u00a0 And these are just like normal people.\u00a0 Seth\u2019s clocking in at his hardware store job and ten hours later he\u2019s burying an axe in an alien! [laughing]\u00a0 So, I think that that adds – I like that whole aspect.\u00a0 That\u2019s all I know.\u00a0 Growing up in a town like that, people work at hardware stores or they work at coffee chops or they mow lawns and that\u2019s just kinda how the town is.\u00a0 It\u2019s really small and everybody knows each other.<\/p>\n

It\u2019s also one of the great things that come into the story is your retaining that small town without making it look forced like a set.\u00a0 That is the rural way of life up in New England.<\/strong><\/p>\n

I just shot it.\u00a0 I wrote it on how my friend\u2019s lives are.\u00a0 We would just go into these places like the hardware store or the diner.\u00a0 We did no production design.\u00a0 That just what it looks like.\u00a0 That\u2019s just Rhode Island. [laughing]\u00a0 Rhode Island looks exactly like Maine.\u00a0 It\u2019s almost like that section of the country is trapped in 1987 anyway.\u00a0 It feels like there\u2019s been no development.<\/p>\n

I\u2019m surprised that you found parts of it that were like 1987 and not 1978!<\/strong><\/p>\n

[laughing] Exactly!\u00a0 I wouldn\u2019t have minded doing 1978 though.\u00a0 That would have been awesome.\u00a0 I\u2019ve read a couple of reviews where they go, \u2018Oh, how convenient this town seems to have chainsaws, axes an all this other stuff.\u2019\u00a0 If you\u2019ve ever been to my town, you walk into somebody\u2019s backyard and they\u2019ve got a barn full of this shit.\u00a0 [laughing]\u00a0 That\u2019s exactly what it\u2019s like.\u00a0 Everybody\u2019s got a pick-up truck with an exe in the back, a sledgehammer.<\/p>\n

One of the actors [Graham Skipper] who plays Seth, he\u2019s from the middle of Texas and then he\u2019s lived in LA and New York most of his life.\u00a0 He had to break the chain of the axe.\u00a0 And he was like, \u2018I\u2019ve never swung an axe before.\u2019\u00a0 I\u2019m like, \u2018What!!! wait, wait, wait!\u00a0 What!!!\u201d\u00a0 Weird stuff like that.\u00a0 Growing up in that town, to me that\u2019s just normal. [laughing]<\/p>\n

So did we have to allow for axe training?<\/strong><\/p>\n

I had to go in there and swing that mother fucker and show them how it\u2019s done.<\/p>\n

You didn\u2019t have to have an axe-wielding stunt double?<\/strong><\/p>\n

 <\/p>\n

No, no. [laughing]<\/p>\n

\"almost<\/p>\n

In addition to writing and directing, you did your own cinematography with ALMOST HUMAN.\u00a0 I love the palette that you developed.\u00a0 You have that sickly green pallor and denuded fabrication throughout the film but for the opening scene with the initial abduction and the inky pitch black night and the alien blue light.\u00a0 How did you develop that and was part of the consideration working with Josh Either and the editing that would be implemented?<\/strong><\/p>\n

We\u2019ve been working together for awhile so we have a shorthand.\u00a0 When he reads a script that I wrote, I\u2019m very detailed.\u00a0 I literally write in the shots and some of the staging.<\/p>\n

You\u2019re essentially shot listing as you\u2019re writing then?<\/strong><\/p>\n

Yeah.\u00a0 I know I\u2019m gonna be directing it so to me, if I\u2019m writing a blueprint for making the movie, I want all that stuff in there. . .Insofar as the palette of it, to me it was very important that this be a winter movie.\u00a0 I love movies that take place in the winter, especially horror movies, because you see the breath.\u00a0 Knowing what I know, it\u2019s like super blue.\u00a0 All the trees are dead.\u00a0 You can just look at it and you\u2019re freezing.\u00a0 And the temperatures of this movie were so cold.\u00a0 I wanted to open the movie up.\u00a0 If you\u2019re in Rhode Island at night by the fire or a night over with your friends, a very quiet pitch black night, and I wanted to just evoke that feeling that this is just a typical night but not everything is tossing its head.\u00a0 Then we come back and two years later this town is still at a standstill.\u00a0 It\u2019s dead cold.\u00a0 Everything\u2019s dead.\u00a0 I just thought that was an interesting way to go.\u00a0 I wanted to make it look like we shot this in 1987 on 16mm in the winter.\u00a0 I knew that going in all along so I had planned for that while we were shooting.\u00a0 We shot in winter.\u00a0 In the DI [Digital Intermediate – converts film to digital bits and back to film again], I picked a film stock from 1987 and it went in there and the entire DI was under those conditions.<\/p>\n

Another aspect of the film that I think is exceptionally well done is the insertion of \u201cnews stories\u201d.\u00a0 You have the news stories being reported on tv\u2019s within the diner, within homes, in the hardware store.\u00a0 That\u2019s where we get some pops of color that distinguishes the rural world of Seth and company from the rest of the world; like a separation off church and state. You keep that graininess of 1987 television reporting on the tv screens which works really well and adds a heightened level of period of authenticity.\u00a0 Did you use a different film stock for that or just work with color correction in post?<\/strong><\/p>\n

What we did with that –\u00a0 and its something that usually bothers me in a lot of indie movies, the news stuff always looks so fake to me, like it\u2019s not believable – my big thing with that is, we\u2019re gonna go out and we\u2019re gonna shoot all this news footage a month before we make the movie.\u00a0 So, I went out and shot it.\u00a0 And what we did is that it was HD and we degraded it to standard definition, then put it up to VHS and then input the VHS back into the computer and then burn it to a DVD and played it on tv\u2019s from the 1980’s.\u00a0 So in all these scenes, they\u2019re actually watching that \u201cnews\u201d footage on the tv.\u00a0 I feel like that helps add to the realism if you\u2019re in this room where this guy is obviously watching what looks like a real newscast on a tv that looks like it\u2019s from the 1980’s.\u00a0 To me, it\u2019s just a big part of adding a sense of realism to the movie.\u00a0 I\u2019m a big fan of having the actors have every single type of element around them.\u00a0 I don\u2019t want them to be reacting to a blank tv or a digital ball that\u2019s going to be added later.\u00a0 I want to shoot the reality of what\u2019s going on.<\/p>\n

\"almost<\/p>\n

Speaking of reality, with your \u201ccreature creation\u201d, you\u2019ve got the umbilical cords between mouths, milky semen-like coating on bodies and in pods.\u00a0 How did you go about designing all of that?\u00a0 It was so effectively done.<\/strong><\/p>\n

I wanted to keep everything as simple as possible as we had very strict budget constraints.\u00a0 I wanted – and needed – to keep it all as simple as possible but still be effective.\u00a0 So [creatures] kind of organically came from that and knowing certain camera tricks we could use to make stuff work.\u00a0 I\u2019d been doing a lot of shorts so a lot of the effects were stuff I knew I had pulled off successfully before and I knew how to do.\u00a0 I was like, \u2018I know this is gonna work.\u00a0 We\u2019re not just throwing shit at the wall.\u2019\u00a0 That\u2019s how I approached the effects in this because I knew it was going to be such a pain in the ass with a short shooting schedule and so many effects pieces.<\/p>\n

Did you create the pod coverings?\u00a0 Was that practically created or did you do that with CGI?<\/strong><\/p>\n

There is not one shot of CGI in the movie.\u00a0 Literally, not one drop of blood.\u00a0 Everything was created.\u00a0 [With the pods] people are actually inside so it was chicken wire with a base around it and then we colored it.\u00a0 We slit it and then get the person in there and then glue it all back together so they actually had to rip themselves out.\u00a0 Then we had hot lights over it so they would be reflecting the entire time.\u00a0 Then we had fog machines running through the back so there would be some sort of haze coming off as they were opening up.\u00a0 That was all done live.\u00a0 It\u2019s pretty awesome because it was so cold out that when the guy actually comes out [of the pod] his body is so warm that he\u2019s steaming and smoking and it looks so awesome.\u00a0 It was so unexpected!<\/p>\n

It looks fantastic on screen!\u00a0 People forget how good the practical applications look.\u00a0 They are becoming so jaded with CGI.<\/strong><\/p>\n

It\u2019s so funny.\u00a0 While we were shooting, everybody was [making a grimace], \u2018Well, this is kind of \u2018okay\u2019.\u2019\u00a0\u00a0 The thing with practical effects too is that it\u2019s never gonna look as good as you want it, but when they show up [on film] and you see what you get, it\u2019s \u2018Alright!!\u00a0 Now we can change the lighting, we can change the shot, we can adapt to make this look as good as possible.\u2019\u00a0 Whereas if you have CG, you\u2019re just shooting, hoping that it\u2019s gonna look good and then you\u2019re stuck with that.\u00a0 That\u2019s why having practical effects are: This is what we have.\u00a0 What\u2019s the way we can make this look the best.\u00a0 That\u2019s why when you\u2019re watching the pods, if you were just standing in the room it was kind of\u00a0 \u2018blech\u2019<\/em>,\u00a0 but if you were going to shoot it creatively and at its best, that\u2019s why I like practical effects so much more.\u00a0 Not only do they look better but it allows you to figure out the best way to make it look and organically direct and add atmosphere to it.<\/p>\n

Hands on is so much better because you do have more creative control.\u00a0 And I think it helps the actors to give a much more genuine performance.\u00a0 Here, you\u2019ve got Graham Skipper and Vanessa Leigh as Seth and Jen who are so rooted in truth and reality, they\u2019re very grounded.\u00a0 I don\u2019t think you would have achieved that same performance level if you didn\u2019t have the practical effects.<\/strong><\/p>\n

For sure.\u00a0 And there\u2019s something about going in there and getting your hands bloody and moving shit around.\u00a0 It fits so cool and it gets everybody amped up to see that.<\/p>\n

\"almost<\/p>\n

One of the fun castings is, of course, Josh Ethier, as our first victim, Mark.\u00a0 What led you to also have him do triple duty since he\u2019s also producer and editor?\u00a0 Granted, he fits the part.\u00a0 Rustic mountain man with the beard.\u00a0 He\u2019s very believable.<\/strong><\/p>\n

With Josh, we met each other when we were like 13, so we had just been making films since then.\u00a0 During that process we figured out what each one of our strengths were.\u00a0 Josh was a musician, well, he\u2019s still a musician, but when I met him that was his main focus, so he had a very good rhythm of things and was very good at computer programming and stuff like that.\u00a0 He started cutting stuff and we would just produce everything together.\u00a0 Because it was usually just us making stuff and I was the director, I would just shoot and he would just act.\u00a0 It became something like he\u2019s not necessarily an actor, but we have that shorthand where I know his strengths, I know what he can do well.\u00a0 He has a very good screen presence and I think he can do well at certain things.\u00a0 We knew this was going to be such a low budget and I knew he was going to be there the entire time anyway, it was going to be non-SAG, so it seemed like a no-brainer to write him as the villain.<\/p>\n

Jumping from shorts to a feature, what was the most challenging aspect of the process for you?<\/strong><\/p>\n

Getting the money.\u00a0 It was mostly self-financed but I guess finding the finishing funds.\u00a0 We had enough money to get the movie in the can and then we had to use the cut to gradually piece together the rest of the money.\u00a0 That was a long process of doing that.\u00a0 But because we had been making shorts and I found all my main crew members – I found my AC and my sound guy and Josh – I had an all-star team of people who I always worked with so we had a very good flow, so this was just doing a short with a longer schedule.\u00a0 Usually we\u2019d shoot over a weekend and now we had 18 days.\u00a0 It was just adapting to that.\u00a0 You don\u2019t realize how tired you are.\u00a0 When you\u2019re doing six day weeks and 18 hour days, I was a zombie.\u00a0 I guess it was that and then just trying to piece together the money.\u00a0 Luckily I had the experience of doing all those shorts, without which there\u2019s no way I would have been able to do this.\u00a0 I don\u2019t know how people just make a feature with no directorial experience.\u00a0 I was petrified on this and I had already been [directing] for 10 years.<\/p>\n

From your perspective, why would anyone jump into a feature film if they\u2019d never picked up a camera before?<\/strong><\/p>\n

It\u2019s not good for your career.\u00a0 You don\u2019t want to make all your mistakes on the thing that\u2019s gonna judge your entire career.\u00a0 Make those mistakes before.\u00a0 That\u2019s the thing I try to tell people.\u00a0 Just shoot and shoot and shoot.\u00a0 Even if you\u2019re gonna go shoot something in your apartment with two people that nobody\u2019s ever gonna see, you\u2019re gonna learn something from that.\u00a0 I just think that\u2019s so important for people to do and not enough people do it, for some reason.\u00a0 With the DSLR\u2019s now, everybody thinks they\u2019re a cinematographer.\u00a0 It pisses me off!<\/p>\n

You mentioned the sound.\u00a0 The sound here is something I took note of.\u00a0 First of all, the development of that high pitched shriek sound.<\/strong><\/p>\n

Josh actually did the sound design, too.\u00a0 He did about 90% of it and then I brought it to a mix stage where they amped it up.\u00a0 It was me and him.\u00a0 We were creating it.\u00a0 With each edit we would grow the sound design.<\/p>\n

How did you come up with that particular pierce?\u00a0 It\u2019s very distinctive and harkens back to piercing sounds in old Hammer movies.<\/strong><\/p>\n

Because of how the characters react to it in the movie, I wanted the audience to have the same reaction and I definitely didn\u2019t want it to sound human.\u00a0 We took Josh\u2019s original scream.\u00a0 Then I\u2019m pretty sure we layered it with a pig squeal, a fire alarm and something else and did a lot of filtering to it, just spent a lot of time with it.\u00a0 Then our mixer.\u00a0 Something really cool is that we start it – some of them last 15 seconds – we started kinda low [soft] and it just grows and grows and grows until a point where it\u2019s almost to where you can\u2019t bear it and it suddenly cuts out. [laughing] I read a review where somebody said that they\u2019ve never seen a director have the audacity to torture his audience through sound design like me and the only thing my movie\u2019s good for is interrogation torture because of the sound design.\u00a0 I was like, \u2018That\u2019s effective, I guess!\u2019 [laughing boisterously]<\/p>\n

I love the sound design because it\u2019s very emotionally evocative.\u00a0 It\u2019s very specific but unidentifiable so you get that whole alien concept.\u00a0 It adds just another layer and level to the film, taking it to the believable.\u00a0 Not to many guys worry about their sound design.\u00a0 Also, in your exteriors in the woods, you can hear the leaves crackle, the branches snapping.\u00a0 Kudos to you because you really paid attention.<\/strong><\/p>\n

The base thing with any movie, having no stars and being such a wild card, is that you\u2019re gonna decide within 30 seconds if it\u2019s something you wanna watch.\u00a0 If the audience feels like it looks and sounds cheap that\u2019s gonna be a put off to them.\u00a0 I think it\u2019s important to engage them right away and let them know \u201cthis is the real deal\u201d.\u00a0 I think that\u2019s where a lot of indies, not fail, but drop the ball, as they don\u2019t put as much stock into that stuff.\u00a0 Literally, the sound is 50% of the picture.\u00a0 You\u2019ve got to make the picture sound good.\u00a0 Our budget was under $100K and half of our budget went to DI and the sound just because it\u2019s so important.\u00a0 I don\u2019t regret allotting the budget that way.<\/p>\n

\"almost<\/p>\n

I think it paid off.\u00a0 Since you\u2019ve been making films since a kid, what would you say is the greatest gift that filmmaking gives to you?\u00a0 What is about filmmaking that drives you?<\/strong><\/p>\n

The satisfaction of watching your finished product.\u00a0 I\u2019ve never been 100% happy with something but there\u2019s no greater feeling to me than my having a finished movie and watching it and having people watch it.\u00a0 I\u2019ve gotten some of my best friendships out of making films, collaborative and social friendships.\u00a0 Josh, that\u2019s how we met and worked on stuff together and became friends through that.\u00a0 The friendships and the satisfaction.\u00a0 Plus, now I have somewhat of a career which is a gift that it has given me.\u00a0 The hard work\u2019s finally paid off somewhat.<\/p>\n

What are you working on now?\u00a0 Anything new or just riding out the PR with ALMOST HUMAN right now?<\/strong><\/p>\n

I\u2019ve got a few movies.\u00a0 My dream second project is a telekinetic revenge movie.\u00a0 Like Deathwish\u00a0 Meets Scanners<\/em>.\u00a0\u00a0 Super brutal and action packed.\u00a0 That\u2019s the movie I want to make next.\u00a0 It seems like the obvious progression. [laughing] I don\u2019t know why, but to me in my head it sounds right.\u00a0 I’m putting together an anthology horror movie because I come from that world of shorts.\u00a0 That seems like if I\u2019ve got some down time, let\u2019s go out and shoot this short and let\u2019s go short that short.\u00a0 Then you can put it in a feature and have it have that spine like Creepshow<\/em> and Tales From the Darkside<\/em>.\u00a0 I would love to, at some point, get an anthology in the can.\u00a0 Then depending on how this does, possibly another one of these.<\/p>\n

I was gonna ask!\u00a0 Because unlike some, I do watch all the way through the credits so I saw the final shot.\u00a0 That\u2019s the first note I made to myself, \u2018Stay through the credits.\u00a0 Sequel set-up.\u2019<\/strong><\/p>\n

Our 8 minutes of credits.\u00a0 I\u2019m sorry you had to sit through 8 minutes of credits!\u00a0 It\u2019s really long [laughing] but it\u2019s worth it.<\/p>\n

Definitely worth it!\u00a0 You have humanity.\u00a0 You have inhumanity.\u00a0 You have blood, guts, abductions and pod people. But the one killing device you left out is a wood chipper.\u00a0<\/strong><\/p>\n

Budget wouldn\u2019t allow for that unfortunately.<\/p>\n

I was expecting or hoping for a Tucker & Dale<\/em> wood chipper scene.\u00a0<\/strong><\/p>\n

Maybe in the sequel.<\/p>\n

I would love to see that.\u00a0 I\u2019ll even finance your wood chipper.<\/strong><\/p>\n

I\u2019ll take you up on that.<\/p>\n

#<\/p>\n

Woodchipper or not, Joe Begos has more than a steady hand with breathing life into ALMOST HUMAN thanks to Begos\u2019 human touch.<\/p>\n

2\/13\/14<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias It\u2019s always a treat to speak with a new voice in the filmmaking stratosphere.\u00a0 It\u2019s even better when that voice has a new perspective and interpretation of a genre or story or well oiled character.\u00a0 And it\u2019s a delight when that new voice is able to bring that new perspective to […]<\/p>\n","protected":false},"author":2,"featured_media":854,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[162],"class_list":["post-853","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-joe-begos-adds-a-human-touch-to-almost-human"],"yoast_head":"\nJOE BEGOS Adds a Human Touch to ALMOST HUMAN - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/behindthelensonline.net\/site\/interviews\/joe-begos-adds-a-human-touch-to-almost-human\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"JOE BEGOS Adds a Human Touch to ALMOST HUMAN\" \/>\n<meta property=\"og:description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/behindthelensonline.net\/site\/interviews\/joe-begos-adds-a-human-touch-to-almost-human\/\" \/>\n<meta property=\"og:site_name\" content=\"Behind The Lens Online\" \/>\n<meta property=\"article:published_time\" content=\"2014-02-24T19:03:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-10-11T18:13:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2014\/10\/joe-begos.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"214\" \/>\n\t<meta property=\"og:image:height\" content=\"317\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debbie lynn elias\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"debbie lynn elias\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"20 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/interviews\\\/joe-begos-adds-a-human-touch-to-almost-human\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/interviews\\\/joe-begos-adds-a-human-touch-to-almost-human\\\/\"},\"author\":{\"name\":\"debbie lynn elias\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#\\\/schema\\\/person\\\/2d9b602095eb0ce3d363efb75ad0b5d4\"},\"headline\":\"JOE BEGOS Adds a Human Touch to ALMOST HUMAN\",\"datePublished\":\"2014-02-24T19:03:48+00:00\",\"dateModified\":\"2014-10-11T18:13:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/interviews\\\/joe-begos-adds-a-human-touch-to-almost-human\\\/\"},\"wordCount\":3922,\"publisher\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/interviews\\\/joe-begos-adds-a-human-touch-to-almost-human\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/wp-content\\\/uploads\\\/2014\\\/10\\\/joe-begos.jpg\",\"keywords\":[\"JOE BEGOS Adds a Human Touch to ALMOST HUMAN\"],\"articleSection\":[\"Interviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/interviews\\\/joe-begos-adds-a-human-touch-to-almost-human\\\/\",\"url\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/interviews\\\/joe-begos-adds-a-human-touch-to-almost-human\\\/\",\"name\":\"JOE BEGOS Adds a Human Touch to ALMOST HUMAN - 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