This week on BEHIND THE LENS we’re going from the Old West down into the deep blue, or not so blue, sea, discussing two wonderful films with two terrific filmmakers - LAST BREATH and GUNSLINGERS.
First up, take a listen to my exclusive interview with director ALEX PARKINSON talking about LAST BREATH. Currently in theatres, LAST BREATH is a heart-pounding film that follows seasoned deep-sea divers as they battle the raging elements to rescue their crewmate trapped hundreds of feet below th...
This week on BEHIND THE LENS we’re going from the Old West down into the deep blue, or not so blue, sea, discussing two wonderful films with two terrific filmmakers - LAST BREATH and GUNSLINGERS.
First up, take a listen to my exclusive interview with director ALEX PARKINSON talking about LAST BREATH. Currently in theatres, LAST BREATH is a heart-pounding film that follows seasoned deep-sea divers as they battle the raging elements to rescue their crewmate trapped hundreds of feet below the ocean’s surface. Based on a true story of events that occurred in 2012, as well as Alex’s 2019 documentary on the incident, LAST BREATH is an electrifying story about teamwork, resilience, and a race against time to do the impossible.
Compelling. Riveting. Nerve-racking. Nail-biting tension. The emotional tonal bandwidth is through the roof.
It’s not often you get to speak with a filmmaker who has made a documentary and adapted it into a narrative feature, but that’s exactly whatALEX PARKINSON has done with LAST BREATH.
In this exclusive interview, Alex discusses the transition from his 2012 documentary to the 2025 narrative film, emphasizing the experiential and emotional depth achieved in the feature. Listen as Alex highlights the importance of cinematic visuals, particularly the underwater scenes shot in real sea water and lensed by one of the best underwater photographers in the business - Ian Seabrook -, not to mention the use of authentic sounds and music to enhance the story's tension. Performances are outstanding thanks to Woody Harrelson, Simu Liu, and Finn Cole as our three divers and Cliff Curtis, Mark Bonnor, and MyAnna Buring as the ship’s crew hovering over the dive site. Thanks to Tania Goding’s editing, we are immersed in the story. Always stressing authenticity, we dive into Alex's decision to include real footage from the 2012 event, showcasing the real-life camaraderie among the divers which our actors bring to life so vividly on screen. A wonderful film. An interesting interview.
Then it’s time to hear from writer, director, and editor Brian Skiba talking about his new film, the rootin’ tootin’ western GUNSLINGERS, which is out this coming Friday - April 11th - In Theaters, On Demand, and On Digital. Talk about a fun film! Action packed, lots of shootouts, a hanging, a solid story with amazing cast, cinematic in scope thanks to widescreen scenes, and it’s got Nicolas "Fucking" Cage(!!!!!) in another one of his unique, show stopping, and indelible roles. I always enjoy speaking with Brian, especially when it comes to westerns and he has outdone himself with GUNSLINGERS.
The story is one that embodies the spirit of Old West and all those black hat versus white hat gunslinging films. When the most wanted man in America surfaces in a small Kentucky town, his violent history -- and a blood-thirsty mob seeking vengeance and a king’s ransom -- soon follow. With an old-as-time battle between brothers at its heart, as brothers Thomas and Robert face off against one another and bullets tear the town to shreds, this lightning-fast gunslinger makes his enemies pay the ultimate price for their greed.
Written and directed by Brian Skiba, GUNSLINGERS boasts an all-star cast that includes Stephen Dorff, Heather Graham, Nicolas Cage, Randall Batinkoff, Cooper Barnes, Tzi Ma, Jeremy Kent Jackson, Costas Mandylor, Scarlet Stallone, William McNamara, Forrie J Smith, and Eric Mabius.
In this exclusive interview, Brian talks about the development of the film, casting Stephen Dorff in the good guy role (a surprise move), and working with Randall Batinkoff again, who is not only in the film but also serves as a producer with his new distribution finance company. Diving into the physical production process, Brian discusses the film's visual grammar, inspired by classic Westerns, and his collaboration with cinematographer Patrice Lucien Cochet. And what a story with the editing process, which ultimately found Brian editing the film himself (as should have been the plan all along). And we don’t overlook Richard Patrick's score, developed over six weeks, which only adds to the film's success.
