Previous January 12, 2025 Next A BITESIZE CHAT WITH DEAN FLEISCHER CAMP Dean Fleischer Camp is an award-winning filmmaker and bestselling author best known for co-creating the viral sensation Marcel the Shell. With Marcel the Shell with Shoes On now a critically acclaimed feature film, we sat down to chat with him about what the character means and Marcel's feature film debut. BB: Thanks for taking the time to chat with us. Tell us a bit about the reactions and the response for Marcel the Shell with Shoes On. It has gotten such an amazing reception; Cher has even tweeted about it! I mean, that's a crowning glory. How much better can you get than that? DFC: *laughs* Big fan. BB: Tell us about what the reception has been like? I know it's expanding to theaters across North America now and more people are going to get a chance to see it, but tell us about some of the reactions. What has your own response been to that? DFC: It's been amazing. It's been so fun to talk with people, and it's been sort of surreal to me. I don't know if you've ever worked on something for seven years in kind of a vacuum, but we worked on this film for seven years, and I remember when we premiered it at Telluride [Film Festival]. I started hearing laughter and crying, and it was just so moving and surprising. I was just, like, “oh, yeah, that joke I forgot was funny three and a half years ago, it's really funny and gets a big laugh.” It's just…yeah, it's thrilling. The memes that people have been making are incredible, and I don't know, I'm just grateful for the entire experience. BB: Something that really struck me was just how much of a philosophical character Marcel is with these meditations on life and death and love. I mean, for you, when you and Jenny [Slate] were developing the character, was that always the impetus to sort of give us this prism of life through this unique character? DFC: I think the original short that I made was, you know, there wasn't too much thought put into it. We made it in like 48 hours, and Jenny and I wrote it very quickly. She improvised, and I crafted the character very quickly. It was all kind of a rush and just done on a whim because it made us laugh. But I think what we realized once we saw the response, and once we started making a few more shorts, was that this character is so much richer and deeper than he appears, and that there was so much more to explore about him. There was such a rich inner life, and it always feels like a total pleasure to write for this character, to create stories for him. I often find that I'm just as moved by and inspired by him, by his circumstances in life and his approach to life, as anyone. BB: What inspired the documentary-style because it's such a unique way to take it. It's almost a meta-approach because, of course it was viral before, but it just feels so much more real this way than taking any other narrative approach. DFC: I have always been into documentaries, and I've worked on documentaries. I've also worked on things that blur the line between documentary and scripted narratives. So, it has always been something I'm exploring. To me, it provides a way for an audience to have an intimate interaction with a character that does away with the artifice of, you know, what you might get from a Pixar movie or a Disney movie that doesn't have that approach. For whatever reason, stripping that away allows people to respond to Marcel like he's a real person. So, that inspired… I mean, the original shorts were sort of, although they're so short, we didn't really explore it… but the original shorts were a documentary format. I have intentionally edited it to feel like a rough cut of a documentary. It cuts them off mid-sentence and things like that. It always felt like part of the magic that those shorts bottled was this great tension that happens when you combine stop-motion, which is the most labor intensive, pre-visualized art form on Earth, with this aesthetic or film grammar that feels unquestionably spontaneous and authentically documentary. And when you combine those two things, I think it's just total magic, so I was really focused on preserving that for the feature. BB: Why did you explore such dark themes in this movie? Like, Marcel is such an innocent and happy character, but then you have the themes of loss and loneliness. Why did you go into that dark route for such a happy-go-lucky character? DFC: Well, I think that he's inspiring for that reason. I think it's part of the reason why he resonates with so many people. You can't really have the happiness and the real, you know, nectar of life if you haven't also been through and processed the grief of it. Part of what I was interested in portraying in this movie is that pain and grief and loss are an inherent part of the cycle of life, and that you cannot, literally both in nature but also - at least I've found in my own life - you can't create new growth without death and decay. Those things enrich the soil that growth sprouts from. BB: Did you always have the plan to take it from a short film to a feature, and what was that process like? And, almost more importantly, what does the future hold for Marcel? DFC: I don't know what the future holds for Marcel, but I hope it's a lot, you know? I hope that after the film comes out, there are audiences that will want to see… I don't know if it's a sequel or a TV series or more shorts or what… but I would love to continue to explore the character in whatever way is fun and cool and chill for me and Jenny. You know, we created this whole community of characters that are only in the last three minutes of the movie, but I was sort of so sad watching it, like “oh my gosh, we fleshed out all these great characters.” Some of them are some of my favorite comedians…Nathan Fielder, a fellow Canuck…as well as the voice talent. They're so funny and so great, and I hope we get a chance to explore those characters as well. It was always kind of the plan to turn this character into a feature. At the time that I made the shorts, I was an editor for a living, doing, you know, the worst editing gigs, and was interested in segueing into directing. I've always loved movies, so that was kind of always the plan. But after the first one took off, like when something goes viral or is popular on the internet, you can get meetings with all the major studios and do this sorta water-bottle-tour of Los Angeles. But they're not going to trust you to make your weird feature. They just want you to license your character that is beloved to them to make something that’s a more familiar kind of tentpole franchise. Going through that process, it was recognizable right away, like, “okay, I'm really young. They're not going to trust me to do this. We're gonna have to make this film independently, and it might take a long time.” But ultimately, I'm so glad that we had this more patient process, and that we found the right supporters, creatively and financially, that we could, you know, expand Marcel's world in a good way that felt holistic to the character we made. Make sure to check out Marcel the Shell with Shoes On now in theatres. Interview conducted on July 14th, 2022 by Nick van Dinther. Photo Credits: Banner - Chris Pizzello/AP; Photo 1 - A24; Photo 2 - Maria Andreotti

Previous Next January 24, 2024 WRITTEN BY: ADRIANO We truly are in the thick of awards season, and like usual, the majority of attention is centred on the acting categories. This year, several performances are dominating the conversation, and with actors like Lily Gladstone, Emma Stone, Cillian Murphy, and Da’Vine Joy Randolph receiving their flowers, I can’t help but smile. That said, while most of the performances being recognized are more than deserving, there are bound to be a few that have unfortunately fallen by the wayside, especially considering the incredible year in film we just had. As such, I wanted to take this opportunity to acknowledge some of my favourite performances from 2023 that, for whatever reason, are not getting the awards recognition they fully deserve. Warning: Mild Spoilers KŌJI YAKUSHO ( PERFECT DAYS) Some performances may seem like there is very little happening on the surface, and then there is Kōji Yakusho in Perfect Days . In theory, Yakusho isn't asked to do much at all in the Wim Wenders drama, as he's relatively silent the whole movie as he goes around Tokyo cleaning toilets and going about his day-to-day. But with how little he projects, it's what's on the inside when you look into his eyes that conveys so much more. Yakusho's character, Hirayama, constantly rides a high-wire act of dissatisfaction and heartache, but just peering into him, you can see the little things that bring him such joy. That’s what makes Perfect Days one of 2023's most endearing watches. The last shot alone, where we stay on Yakusho for a little under a minute, shows the pure talent on display. GLENN HOWERTON ( BLACKBERRY) I've been a fan of It's Always Sunny in Philadelphia for years, and I’ve always been remarkably impressed with the talent of Glenn Howerton. His line delivery always gets something out of me, especially during Dennis Reynolds' more rage-fueled moments. So, to my delight, he finally got to show off what he can do outside of Sunny with Matt Johnson's BlackBerry . As Jim Balsillie, Howerton was tasked with portraying a corporate shark with a short-tempered mentality towards his enemies. He could have played this lazily, and it still would have been entertaining. But he didn't. Yes, he yells a lot, but he becomes a room-silencing force to be reckoned with, a feeling he sometimes is able to convey with just a stare. I hope this is just the beginning of a more distinguished career for Howerton. HAVANA ROSE LIU ( BOTTOMS) When done right, a comedic performance can be just as effective as a dramatic one, and Emma Seligman's high school comedy Bottoms is filled with hysterical performances that elevate the already very funny script (shoutout to Marshawn Lynch). However, since seeing the film in August, Havana Rose Liu has remained in my mind for her pitch-perfect comedic timing throughout the film. In a film where I laughed quite a lot, the scenes where I laughed the hardest were due to Liu's starry-eyed yet strong and confident delivery. Two moments in particular that stand out to me are, one, her reaction to hearing she has been cheated on, and two, when she confronts the cheating boyfriend. The reactions are polar opposite, but firmly believable because of Liu. CARA JADE MYERS ( KILLERS OF THE FLOWER MOON) With Leonardo DiCaprio, Lily Gladstone, and Robert De Niro giving knockout performances, it can be hard to remember just how incredible the entire ensemble of Martin Scorsese's Killers of the Flower Moon is. It's a film filled with impactful performances compacted in smaller roles. Take Cara Jade Myers for example… As one of the victims, Myers portrays Anna Brown with a stern confidence that makes her character arguably the most memorable outside of the central three. On the surface, Brown is a reckless alcoholic, but through Myers, we have a woman aware of the wolves circling her, fearful of her fate while also fighting for her humanity. We don't get much time with her, but the time we do have makes it all the more heartbreaking when she is gone. JACOB ELORDI ( PRISCILLA) After 2022's star-making turn from Austin Butler as Elvis Presley, to get another version of the King of Rock ‘n’ Roll so soon seems jarring. Thankfully, Jacob Elordi's portrayal of Presley in Sofia Coppola's Priscilla allows him to capture a unique portrait of the icon. Elordi nails the Elvis of it all, in the sense that he truly feels like Elvis Presley, from the mannerisms to the voice. There are even moments where the physical resemblance is frightening (props to the hair and makeup department). That said, what makes his performance so special is how human he comes across…in beautiful ways, and more importantly, ugly ways. Elordi expresses the love he shared with Cailee Spaeny's Priscilla Presley very believably, but also the stress and weight of the world on his shoulders, resulting in the toxic side effects that are fully felt. If Butler's Elvis was meant to reaffirm our perception of Presley, Elordi's was meant to show us a side we've never seen before. SOPHIE WILDE ( TALK TO ME) If there is one performance this year that feels like a true lightning-in-a-bottle, star-is-born moment, it has to be Sophie Wilde for her turn as Mia in Danny and Michael Philippou's debut horror film Talk to Me . In the beginning, Mia seems like your run-of-the-mill high school senior, but little does she know, her life is about to be altered in the worst ways. In one of the year's most surreal moments, when she first begins the ritual and becomes "possessed", Wilde is unrecognizable. Her physicality in the moment is truly haunting to watch, and that's just one scene, mind you. As the film goes on and the spirits begin to fully encapsulate her, Wilde portrays her character’s descent in a way that is true to the Philippou brothers' crazy vision, but never in a way that feels fake, not for a second. Also, keep in mind, this is Wilde's feature film debut. MARGARET QUALLEY ( SANCTUARY) Being that Zachary Wigon’s Sanctuary is a chamber piece, a weak performance can diminish the overall effect of the film. Christopher Abbott certainly brings a vulnerability to ground the film, but Margaret Qualley gives this movie a life that takes the film up several notches from scene to scene. From the beginning, even under a facade, there's something mysterious and seductive about Qualley. It isn't until her true persona and motives are revealed, when the twisted game of wills begins, that Qualley truly lets loose. By nothing more than the way she speaks, you can tell that she holds all the power, holding Abbott's character deep in the palm of her hand. By the end, despite the character's clear flaws, Qualley has a way of even roping viewers in, making us almost root for her plight. That is the marking of a truly effective performance right there. ALISON OLIVER ( SALTBURN) Given the star power on display in Emerald Fennell's Saltburn , from rising stars Barry Keoghan and Jacob Elordi to industry titans Richard E. Grant and Rosamund Pike, it's quite impressive that, for me, the stand out is far and away Alison Oliver. As Venetia, Oliver bursts into the film silently, yet instantly alluring. Throughout the film, there's something mysterious about Oliver's cadence. You can't tell if she's mischievous or seductive. As the film goes on, we begin to see she's just broken, and only personally satisfied through pleasure. In the film's second most notable bathtub scene, Oliver's monologue displays something I feel the film needed more of: vulnerability. Yes, she's a good person, but she's still seeking happiness, and in that moment, it feels like Oliver is expressing the acceptance that Venetia will never get. PATTI LUPONE ( BEAU IS AFRAID) In Ari Aster's Beau is Afraid , the topic of the trauma and anxiety that toxic parental figures can inflict upon their children is taken to many, many extremes. Joaquin Phoenix's Beau is quite a damaged character, so when we finally meet the woman who caused all this torment, she had to be an immediate force of nature. With barely any screen time, Patti LuPone accomplishes just that, instantly…and I mean INSTANTLY. Mona's gaslighting and putdowns feel like gunshots, and LuPone's stern delivery cut deep into Beau, almost justifying the previous two-plus hours of him being the way he is. To be honest, if I had a mother like Patti LuPone's character, I'd probably be a neurotic oddball as well. MILO MACHADO-GRANER ( ANATOMY OF A FALL) Last, but most certainly not least, I must talk about a performance from my favourite film of 2023, Justine Triet's Anatomy of a Fall . Much has justifiably been said about Sandra Hüller's earth-shattering performance, but one performance that I can't help but think about is Milo Machado-Graner as Daniel. I'm always blown away when a child actor can be so comfortable and magnetic in front of the camera, and Machado-Graner is no exception. One might argue that part of what makes me so impressed with this performance is merely the fact that he was 13 years old at the time of filming, but no matter his age, what he pulls off as the grieving Daniel is truly outstanding, particularly towards the final act as the focus on him and his beloved dog, Snoop, take centre stage to deliver some of the most impactful acting of the year. Photo Credits: Photo 1 - DCM; Photo 2 - Elevation Pictures; Photo 3, 8 - MGM; Photo 4 - Apple; Photo 5, 6, 9 - A24; Photo 7 - Neon; Photo 10 - La Pacte

Previous Next March 5, 2025 WRITTEN BY: ADRIANO Saturday Night Live (or SNL , for short) is simply a monumental institution. The sketch comedy series recently celebrated its 50th season with an anniversary special that brought out former cast members and hosts to perform. Indeed, the show has birthed the careers of some of the greatest comedic minds in history, including the late John Belushi, Gilda Radner, Chris Farley, and Norm MacDonald. As many have been celebrating the history of SNL in the wake of the Anniversary Special and Concert, I wanted to take the time to honour some of the best post-SNL careers. Please note, I will not be including any cast members who were only on the show for one season, including the likes of Ben Stiller and Robert Downey Jr. (yes, they had their time on the hit series). CHEVY CHASE (1975-1976) One of the original cast members in 1975, Chevy Chase may not be as much of a household name nowadays due to his inability to get roles because of how famously impossible he is to work with. Still, at one point in time, the name Chevy Chase was synonymous with star power. He left the show very early in the second season, so this is admittedly a bit of a cheat, but he immediately cashed in on his star power, good looks, and natural slapstick delivery. He is known for his work in 80s film classics, including the National Lampoon’s Vacation movies, Spies Like Us , Fletch , Three Amigos! , and my personal favourite, Caddyshack . His most modern claim to fame is his starring role in the first four seasons of Community . His heyday may be long gone, but Chevy Chase is still, and likely always will be, one for the ages. BILL MURRAY (1977-1980) Bill Murray feels like he's been around forever. Even before leaving SNL , he made a name for himself on the big screen in Meatballs with frequent collaborator Ivan Reitman. However, once he left the show in Season Six, he was an instant box-office draw. He used his deadpan sensibilities to massive effect in even the smallest of roles, as seen in Little Shop of Horrors , but his lead performances in Scrooged, Groundhog Day, and Ghostbusters are the stuff of legends. He has even proven that he has a knack for the dramatic (while maintaining his comedic charm) as a regular cast member in Wes Anderson’s films, starring as Polonius in Michael Almereyda’s Hamlet , and perhaps most notably, earning an Oscar nomination for his turn in Sofia Coppola's Lost in Translation . Frankly, the fact that he didn't win is not something I'm thrilled about. EDDIE MURPHY (1980-1984) In SNL ’s sixth season, there was a huge disruption as series creator Lorne Michaels had left and the entire cast was replaced. This is historically known as a dark period for the series, and it's not too much of an exaggeration to say that Eddie Murphy single-handedly saved the show. After leaving in Season Nine, Murphy became an instant movie star. In fact, my parents had their first date at one of his movies, and I always forget which one because his string of hits feels endless: Beverly Hills Cop, 48 Hours, The Nutty Professor, Harlem Nights, Trading Places, Coming to America, Bowfinger, Dreamgirls (which earned him an Oscar nomination), Dr. Dolittle, Dolemite is My Name , and even voice work in Mulan and Shrek . Suffice it to say, despite not every one of his projects being amazing (or even good for that matter), Murphy is one of the single most influential comedic voices in history. JULIA LOUIS-DREYFUS (1982-1985) Remember when I said there are some famous people that you might not know were on SNL ? Yep, Julia Louis-Dreyfus was a cast member for three seasons. While her stint was short, I think it's telling that her career is so storied that her time on the famed television institution is somewhat forgotten. Most notably, Louis-Dreyfus played Elaine Benes on the hit sitcom Seinfeld , for which she won an Emmy, as well as Selina Meyer in the HBO comedy Veep , for which she won six Emmys (meaning she only lost once as the series had seven seasons). If that wasn't enough, she also starred in The New Adventures of Old Christine (a show that earned her ANOTHER Emmy), a seemingly recurring role in the Marvel Cinematic Universe, and both supporting and leading roles in films such as Enough Said , National Lampoon's Christmas Vacation , and A Bug's Life . There is no real sign that this woman is going to stop any time soon either. MIKE MYERS (1989-1995) You gotta love an actor who can disappear into a role, especially in a funny way. Mike Myers was a cast member from Season 14 through Season 20, during which he adapted one of the show's most popular recurring sketches, Wayne's World , into two highly successful films. Once leaving the show, he turned his knack for wild comedic character work into the spoof comedy, Austin Powers: International Man of Mystery , arguably one of the most notable comedies in history, and its two even more financially successful sequels. As if Austin Powers wasn't enough, he replaced the late, great Chris Farley to become the titular voice of the Shrek franchise. Lastly, quick side note, his Netflix miniseries, The Pentaverate , which I acknowledge isn't very good, still has all the fun Myers antics that I thoroughly enjoy. He is, to put it in broad terms, shagadelic, baby! ADAM SANDLER (1990-1995) My girlfriend and I recently had a debate on which SNL alum had become the most popular — not necessarily the most acclaimed, but the biggest star. We both landed on Adam Sandler. The elephant in the room is that yes, he has had some absolute misfires. Jack & Jill, Little Nicky , and That's My Boy are just a few examples of critical disasters that also bombed at the box office. However, Sandler has become such a trusted audience favourite that even some of his most critically derided offerings, such as Click and Grown Ups , have succeeded. That aside, after being abruptly fired from SNL during Season 20, he starred in Billy Madison , then Happy Gilmore a few years later. These two films are synonymous with his monster career, not to mention other comedic hits like The Wedding Singer, 50 First Dates , and Big Daddy . Sandler doesn't shy away from the dramatic side of things either, with highly acclaimed performances in Punch-Drunk Love, Funny People, The Meyerowitz Stories , and of course, Uncut Gems , the film that might have jump-started a Sandler resurgence. WILL FERRELL (1995-2002) It's time to talk about my absolute favourite SNL alum and one of my favourite actors ever: Will Ferrell, whose SNL career is surely amongst the best the show has ever seen. Once he left, though, it was time to take the movie world by storm, making a huge splash right away with a critically acclaimed supporting performance in Old School . While he is widely known for leading roles in films such as Elf and Blades of Glory , he's probably best known for his collaborations with former partner Adam McKay. The two co-wrote the Ferrell-starring vehicles Anchorman: The Legend of Ron Burgundy, Step Brothers , Talladega Nights: The Ballad of Ricky Bobby, and even a one-man Broadway show called You’re Welcome, America . His work in the 2000s, when he was a prominent member of what's known as The Frat Pack, has personally influenced my sense of humour and made me love movies. So, for that alone, he earns a spot on this list. TINA FEY (1997-2006) While she may never reach movie-star status, there is no denying the success of Tina Fey. Starting as a staff writer in 1997 before being elevated to head writer in 1999, she appeared in her first sketch in 2000. Clearly, her time on SNL left an impression as she immediately created the sitcom 30 Roc k upon her departure, satirizing her experiences on the show, ultimately winning an Emmy for her performance and two additional Emmys for writing. As if that wasn't enough, she also wrote and co-starred in the hit comedy film Mean Girls (as well as the Broadway musical adaptation), she co-created Unbreakable Kimmy Schmidt , and starred in the hit films Baby Mama, Megamind , and Sisters . Like most on this list, she received the Mark Twain Prize for American Humor in 2010, but at 40 years old, she was (and still is) the youngest recipient of the award. You can't say it's unearned. ANDY SAMBERG (2005-2012) Andy Samberg was two years into his seven-year run on SNL when he starred in his first movie, Hot Ro d, a wildly under-appreciated comedy gem. Since leaving the show in Season 37, Samberg has taken starring roles in the films Popstar: Never Stop Never Stopping and Palm Springs , as well as contributed voice work in Chip 'n Dale: Rescue Rangers , as well as the Hotel Transylvania and Cloudy with a Chance of Meatballs franchises. Perhaps most notably, he was the Golden Globe-winning lead actor of the terrific Golden Globe-winning hit sitcom Brooklyn Nine-Nine . However, for me, he'll always be known for his work with Akiva Schaffer and Jorma Taccone in The Lonely Island, a musical group whose comedic sensibilities have helped shape this generation's absurdist sense of humour, for better and for worse. BILL HADER (2005-2013) Bill Hader left SNL after Season 38, and even before his departure, his rising star was already cemented with small but effective roles in Knocked Up, Pineapple Express, Tropic Thunder, Forgetting Sarah Marshall , and Superbad . Once he officially left, he expanded his horizons to a wider variety of roles. A lot of animated films took advantage of his phenomenal vocal range, as seen in Inside Out, The Angry Birds franchise, and the Cloudy with a Chance of Meatballs series. He didn't shy away from dramatic work either, as seen through his acclaimed performances in The Skeleton Twins and It: Chapter Two . All his talent, however, culminated in the universally acclaimed HBO comedy-drama Barry , which he created, wrote, starred in, and often directed. That series won him two Emmys for his brilliant performance, not to mention a Peabody Award for the series’ overall excellence. Now that Barry is done, Hader has claimed he wants to direct horror movies, and I cannot wait.

EXPATS Starring: Nicole Kidman, Sarayu Blue, Ji-young Yoo, Brian Tee, Tiana Gowen, Bodhi del Rosario, Ruby Ruiz, Amelyn Pardenilla, and Jack Huston Creator: Lulu Wang ADRIANO I've been waiting since 2019 for Lulu Wang's follow-up to her excellent feature debut, The Farewell , and I am delighted to say that her new Prime series Expats does not disappoint. Although it’s certainly slight in its approach to modern-day womanhood, Wang allows the performances and writing to breathe every step of the way. It's a nuanced show in all the right ways, and it leaves the viewers with a dark sense of realism in nearly every frame. Episode Five alone makes its slow-burn nature a worthwhile experience.

A THOUSAND BLOWS: SEASON ONE Starring: Malachi Kirby, Stephen Graham, Erin Doherty, Francis Lovehall, Ziggy Heath, Jason Tobin, Darci Shaw, James Nelson-Joyce, Nadia Albina, Jemma Carlton, Caoilfhionn Dunne, Morgan Hilaire, Tom Davis, Ella Lily Hyland, Robert Glenister, and Susan Lynch Creator: Steven Knight QUENTIN If you’re experiencing severe withdrawals from Peaky Blinders , ask your doctor about A Thousand Blows (at least until the Blinders movie, The Immortal Man , hits Netflix). With both series coming from Steven Knight, Blows could be the 1883 to Peaky Blinders ’ Yellowstone due to the shared production values, period-specific details, and above average performances (although, Blinders is stronger on the acting front). However, while it touches on still relevant themes of class, gender, and racial dynamics, the story is a poorly paced slog built around thinly written characters and boxing sequences that are bruising but not exciting. If you need a Blinders fix, it’ll do…but meh.

Previous February 18, 2026 Next A BITESIZE CHAT WITH NIRVANNA THE BAND Matt Johnson and Jay McCarrol talk about bringing Nirvanna the Band to the big screen, the editing process, and making a truly Canadian film. BB: So, this film is filled with tons of [Toronto] Easter Eggs. How do you go about creating a film that is so unabashedly Canadian, yet something that worldwide audiences are going to be able to embrace? MJ: We have good role models in that sense. In other Commonwealth countries like Australia and England, the BBC and ABC have a lot of super hyper-local content, whether it's The Office or Chris Lilley's Summer Heights High , where there are references to such bizarre local culture that you'd think it's completely unintelligible to outsiders. But these are some of my and Jay's favorite things ever made. So, I don't think that we thought about it as something that was going to repel audiences. We saw it as a feature. If we can do something in Canada in the same way that these other guys made shows about their particular cultures, then we'd be in good company. JM: Just working backwards too. Like, we don't put on any costume really, or we don't really venture out to try to manifest a set that we thought and we wrote. We're just using literally what's in front of us. So, we're able to do it because we really are what you see. This is where we live and this is what we know. It's all we know. BB: Let’s talk about the editing. You've really made the unbelievable so believable. What were the biggest challenges you faced in the editing phase of the film? And maybe tell us a bit about some of the struggles because it looked like a lot of work went into it. MJ: The real struggle is actually not what you'd think. And this is what's so fun about making movies in this format. The struggle with editing is when the editors get a better idea for what our scene should have been than we had. And, so, we'll shoot something... a great example would be, I'll use a very obvious one, okay? When we tried to sneak through security at the CN Tower and we on the production team were expecting to get stopped. We thought that they were going to say, “hey, you can't bring parachutes in here. You can't bring wire cutters in here” and stop us. So, when they let us through all of a sudden, we are, like, okay, so now what do we do? We send that footage back to the editors and we're, like, well, do we use this? Like, what can we do? And they confront us with the idea that they love this footage, so let's see where it goes. Now, you have to go and actually shoot what you said you were going to shoot. That is, I think, a big example, but every day we were hearing alternate versions of what we had shot from the editors as they said, “don't do that, do this instead.” That said, it means that we're really working for them. Like, we're trying to shoot as much content as we can, do as much crazy shit as we can, so that they have enough clay, so to speak, to really mold something interesting. But we trust them completely. Curt [Lobb] and Bobby [Upchurch] are more or less in charge of the movie. JM: It's very fun to be presented by them. We get to perform for each other. So, Matt and I, there's no script. We know kind of where we want to go, but we improvise a lot of stuff, and they play with those ingredients and concoct something and show it back to us. But, often, they're not just doing that to make it funny. They're trying to find some better writing, as well. And often, what happens is that we go back to shoot again because the editors have discovered a way to punch up the writing, make something make more sense, to help a storyline. So, we're constantly going back and forth between the people on the field and the people in editing. We're making it all together. BB: There’s a scene where you head back to your apartment in 2008 and you inadvertently interact with your younger selves. How did you plan out that scene? Because that footage you have in that scene, it's almost as if you filmed it back then perfectly to fit with what we get in this film. JM: Well, when we made the webseries, we were really figuring out things as we went. We didn't know how to shoot with a lot of intention. We would just improvise, and our camera guys would just shoot us trying a lot of different things. We eventually made a webseries and cut it all down, but we saved all the little mini-tapes in a drawer because we're, like, maybe one day this will come in handy. Years later, we found ourselves sort of still figuring out what we wanted to do with this movie, and we realized that enough time had gone by that we could string together this crazy idea of a time travel plot using the old footage. So, the real heroes of that sequence are our editors that went through all that footage and all the stuff that didn't get into the web series, which is so many hours of things, and found little pertinent moments that they could develop a little narrative to. Then we came in and were, basically, just being directed by them as to how to fit in how we were interacting with ourselves. Through a series of tricks, it all came together. BB: You guys really centered friendship as the emotional core of your story. Was there a moment you guys shared with each other while making this movie that really stands out to you? MJ: It's interesting because making movies is so difficult that it would be... believe it or not, the things that bonded Jay and I the most were when things were going wrong, but it wasn't our fault. JM: We had a common enemy and it wasn't each other. MJ: Yeah, it would be like when Matt Greyson, the producer, made a huge mistake or Ben Shane forgot our clothes. Then Jay and I could just sit in this boiling hot RV on Queen Street in rush hour traffic and laugh and be like, well, at least it wasn't our fault that this got screwed up. JM: We’d just laugh. It was a joyous time because we realized, okay, we are off the hook. But we are going to suffer. MJ: Filmmaking is, literally—it may seem like a joke—but it's constant suffering. It's like the joy comes when you're thinking of the idea and how good it will be and you're dreaming, “oh, wouldn't it be funny?” Like, we'll jump off the CN Tower, oh, it'll be hilarious. Then you actually have to do it and it's not fun at all. It's like your stomach is in a knot. You're worried you're going to get in so much trouble. It is literally not a good time. JM: I'm very bad with heights too. It's awful. No interest in getting up there. MJ: And you can apply that to almost every single section of the movie where it seemed like a good idea, then you actually have to do it and it's just pain. It's pain, but the friendship survives. The idea that in some ways, thematically, it's important that these characters go through such adversity only to realize that the most important thing to them is their connection to one another. Because I think that's how great friendships are formed. Like, at war or in school, in places where you have to do something extremely difficult. For some reason, you can't get rid of those people because you went through something hard. BB: Since the show has wrapped and, you know, there have been so many different movies and TV shows that have had big impacts and big moments, has anything come out in that time that you guys think, we could absolutely riff on this in the Nirvanna the Band universe? MJ: This is such a smart question. It's like asking Weird Al what songs have come out that he wishes he could do a version of. It's weird, I would say that the obvious answer would be like a kind of Barbenheimer, like Oppenheimer -style parody. But you never really know what's going to work and what's not going to work. I think that if we were ever going to do a more modern movie and do a straight one-to-one ripoff of it, the best would be Whiplash , because we have this kind of dynamic between us already and there's a musical element to it. I could see us doing an entire Whiplash episode of the show. But it's funny because we've never been asked that before, so I imagine that we could probably come up with a hundred. JM: It's usually what moves us and if we have a lot of gas in the tank to talk about it. If we end up… if we're just on our own as friends and with our whole crew, if we're talking a lot about something and we have a lot of ideas, that just means that there's something there that we can explore. MJ: I'll say the shows that we thought about making but never did... They're a little bit dated now, but we tried doing a Westworld episode of the show. And we also had another idea for a time-travel episode where we go back way, way, way far and it was kind of going to be like a Game of Thrones -style episode. Go to, like, not prehistoric, but a medieval time. BB: Well, hopefully there’s more to come, and I can’t wait for audiences to get to check this thing out. MJ: Thank you, Nick. JM: Thanks, Nick. Make sure to check out Nirvanna the Band the Show the Movie now in theatres. Interview conducted on February 4th, 2026 by Nick van Dinther.

DEVIL IN DISGUISE: JOHN WAYNE GACY Starring: Michael Chernus, Gabriel Luna, James Badge Dale, Michael Angarano, Chris Sullivan, Marin Ireland, Augustus Prew, Brandon McEwan, Cricket Brown, and Thom Nyhuus Creator: Patrick Macmanus QUENTIN In the current glut of miniseries about famous serial killers, Devil in Disguise separates itself by bringing a fresh approach to the table. Instead of the typically exploitive path of sensationalizing John Wayne Gacy’s (a terrific Michael Chernus) gruesomeness and depravity on screen, Devil quietly explores the monster’s psychopathy without caricature. It’s a powerfully grounded endeavor, especially because — in a rarity — it truly honors the victims, giving life to those who were taken too soon and the people they left behind. For once, genre fans are reminded that their entertainment is derived from actual tragedy and not faceless MacGuffins. Ryan Murphy’s Monster should take notes. NICK Considering victim neglect (and homophobia) played a large part in the number of murders John Wayne Gacy (Michael Chernus) committed, it's nice to see Patrick McManus' main focus of Devil in Disguise is the victims. It's also the thing that sets this above other true crime dramas. Gacy isn't sensationalized here (as is often the case), but it makes him no less compelling or frightening. This should be the new blueprint for telling these kinds of stories. Had the authorities handled this case with as much care as McManus, some of those boys would still be alive today.

Previous Next July 9, 2025 WRITTEN BY: ADRIANO On a purely technical basis, an IMAX camera can truly enhance the way a movie is filmed, utilizing formats and sound systems that aren't available on a regular screen. In less technical terms, nothing compares to seeing a movie on that large IMAX display. Some of my favourite film memories were filmed in IMAX, and I try my best to see any movie I can on one of their screens. I’m so dedicated that I even saw Madame Web in an IMAX theater. In recent years, I've noticed an uptick in acknowledgement for the format beyond just being a bigger screen, and many high-profile filmmakers embracing IMAX film to show its true capabilities. Notable recent examples include Jordan Peele's Nope and Denis Villeneuve's Dune films. But what's telling is just how much attention non-action/sci-fi films have gotten for their use of the projection, namely Christopher Nolan's biographical drama Oppenheimer, Brady Corbet’s historical epic The Brutalist , and just a few months ago, Ryan Coogler’s period horror Sinners . These aren't films you'd typically associate with IMAX as the larger format is often taken up by blockbuster genre spectacle, and yet a good chunk of those films’ revenue came from IMAX. Since the resurgence of the format’s benefits and use, a solid amount of older films have been restored for IMAX and re-released. These re-releases are by no means a new phenomenon, but this year alone, we've gotten restorations of Parasite , Seven , and Princess Mononoke . If this trend is to continue, I want to pitch some films, or groups of films, I'd love to see on an IMAX screen. I will specify that I'm only pitching films that have never had a release on IMAX, so as much as I'd love a chance to see La La Land , 2001: A Space Odyssey , or Uncut Gems on that glorious screen, I won’t be discussing those. Instead, here are the films I hope to screen once Ontario’s Cinesphere, one of the largest IMAX screens on Earth, finishes the (necessary) renovations they’ve been undergoing since 2022. Its reopening can't come soon enough! THE DOLLARS TRILOGY The IMAX format shouldn’t only belong to car chases and alien invasions. With all its spectacle and atmosphere, it’s just an inherently good idea to give the western genre its time in IMAX theaters. It can bring extra life to a vast horizon or give extra weight to the drama, and while a western is no stranger to shootouts or train robberies, it doesn't mean a simple standoff can't feel as pulse-pounding as any action sequence. I explored a few options to best give the genre a shot at the large screens, but in the end, I cheated a little and decided on the Dollars Trilogy ( A Fistful of Dollars, For a Few Dollars More , and The Good, the Bad, and the Ugly ). This western/action trilogy is a great candidate to show audiences the sprawling world of spaghetti westerns on the best screens on Earth. The Sergio Leone directed trilogy is a landmark in the genre, with A Fistful of Dollars popularizing spaghetti westerns in North America. So, a three-film marathon or one movie a week release in IMAX would be perfect. The western spectacle has its trademark chases and shootouts, but it’s the iconic final duels that would make any audience's jaw drop. Imagine experiencing the beautiful landscapes on those massive screens, Ennio Morricone's masterful score on those pulse-shaking speakers, and the mere gruff of Clint Eastwood's 'The Man with No Name' staring down our souls, ready to make his mark. You can release it in the original Italian too. In either language, I'd be there for all three. THE ORIGINAL STAR WARS TRILOGY With everything that has been re-released and reformatted for IMAX, I was genuinely surprised to find that the original Star Wars trilogy has never had such a release. I mean, just from a financial standpoint, that's easy money, no? Regular Star Wars re-releases tend to do good business; just look at the $55 million Revenge of the Sith just racked up. Imagine how profitable a large-format re-release of one of history's most influential trilogies would be. My personal love for Star Wars is admittedly running dry, but I'd still take the first opportunity I could to watch A New Hope alone in IMAX. The original three films are arguably the most iconic big-scale genre films ever, with so much of the science-fiction we see nowadays coming directly from them, so it's only right we get to experience this franchise's roots on the best screen possible. Plain and simple, it would be very cool. BACK TO THE FUTURE Given that it's about to reach its 40-year anniversary, I wouldn't be too shocked if this is something that is already in development, just not yet announced, especially with the recent screening at the TCM Classic Film Festival. Back to the Future is one of the most iconic films ever made, with endlessly quotable scenes, and some of the most recognizable props, memorabilia, and wardrobe in the cinematic zeitgeist. It would be an event to behold to watch this pillar of movie history in IMAX. Now, despite the fact that it's a science-fiction film, Back to the Future isn't necessarily known for its large scope. Not that the DeLorean sequence and the clock tower scene wouldn't be amazing on a giant enhanced screen, but this re-release would work mostly because of the light, but adventurous comedic tone that director Robert Zemeckis perfected, and being enveloped in that wonder while travelling back to the 1950s would just feel different in the immersive IMAX format. The rest of the trilogy would also make for excellent IMAX viewings, but I wanted to single out the original because its popularity and filmmaking makes the smaller scale feel bigger than it actually is, and in IMAX, that would be quite engrossing. WALL-E Now, let's bring in a little love for animated films. Animation has no limits, so these films can show things that aren't a theoretical possibility in live-action, and there’s no better way to showcase that endless potential than in IMAX. I considered many options, but if we're talking about pure visual and emotional splendour, I can't help but think that Wall-E in IMAX would be the most extraordinary. One of Pixar's many masterpieces, Wall-E flourishes with physical world-building, and for the first 30 minutes or so, you're watching a lone robot silently roaming a stunningly animated desolate Earth. Those visuals combined with Thomas Newman's score would be enough to buy an IMAX ticket, but then you get the added bonus of Buster Keaton-esque humour and a beautiful love story. I can honestly say the first half alone would be a sight to behold in IMAX. But then we go to space. The moments outside of Earth give us some of the most gorgeous sequences in animation history, and at the risk of sounding cliché, some of those scenes are absolutely transportive. We have a technical marvel to gawk at, AND there's an engaging story to go along with it. Honestly, this might be the best candidate I've talked about so far. Heartwarming and stunning, pulse-pounding and sweet, Wall-E is the kind of movie IMAX was made for. MULTIPLE NETFLIX RELEASES I've been very lucky to see many of the movies I'm about to talk about in theatres. But to my knowledge, Netflix has never embraced IMAX despite the incredible filmmakers that I'm sure would love to show their films in the format. To be clear, there is a lot of garbage that I don't need to ever make its way to an IMAX screen (apologies to all you The Gray Man fans). There are, however, some acclaimed, large-scale, stunning, and even Oscar nominated films that I’d trip over myself in a millisecond to experience in IMAX. The list is sprawling. You have the chaotic genre-frenzy of Noah Baumbach's White Noise , the emotional weight and raw portrayal of decade spanning organized crime in Martin Scorsese's The Irishman , and the adventurous wonder of Bong Joon-ho's Okja . How about the jaw-dropping cinematography of Alfonso Cuaron's Roma , the escalating calculated mayhem of Rian Johnson's Glass Onion: A Knives Out Mystery , and the whimsical stop-motion world of Guillermo del Toro’s Pinocchio ? Or the badass western thrills of Jeymes Samuels' The Harder They Fall , and the more subdued, yet grander scope of Jane Campion's The Power of the Dog . Some aren't a fan of The Power of the Dog , but I would still love to see the way that film's grit and take on the American West are portrayed on IMAX. Netflix has a long way to go when it comes to showing films in theatres, but if they did an IMAX series similar to what A24 has been doing, that would be a great start.

THE WALKING DEAD: DARYL DIXON: SEASON ONE Starring: Norman Reedus, Clémence Poésy, Louis Puech Scigliuzzi, Anne Charrier, Adam Nagaitis, Laïka Blanc-Francard, and Romain Levi Creator: David Zabel NICK If AMC wants to continue doing The Walking Dead spin-offs, they need to find ways to stand alone. Daryl Dixon does that. It looks different, it sounds different (half of the series is in French, and the English features a realistic amount of swearing for a zombie apocalypse), and it finally expands on the idea of the variant walkers introduced in World Beyond . I was skeptical of Norman Reedus’ Daryl Dixon as a series lead, but this endeavor actually provides some of the best work Reedus has done as the character in quite some time. Bring on The Book of Carol.

WANDAVISION Starring: Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Randall Park, Josh Stamberg & Kat Dennings Creator: Jac Schaeffer QUENTIN Although slow to start, WandaVision is an ambitiously weird exploration of grief and trauma done in the distinctive style of the MCU. The sitcom setup, referencing everything from Bewitched to Modern Family , is perfect for Disney+'s first Marvel series, as it eases viewers into the drop-off from film budget to TV budget. That's not to say it feels cheap or that it features subpar writing or acting; those things are superb, but the effects aren't always up to film standards. That minor quibble aside, WandaVision is full of emotion, action, mystery, and several surprises - a bold start to Phase 4.

NINE BODIES IN A MEXICAN MORGUE Starring: Eric McCormack, David Ajala, Lydia Wilson, Jan Le, Adam Long, Siobhán McSweeney, Peter Gadiot, Ólafur Darri Ólafsson, Ángel López-Silva, and Sebastián Capitán Viveros Creator: Anthony Horowitz QUENTIN Agatha Christie’s And Then There Were None is one of my favorite books, so anytime there is a movie or series that is even remotely similar, I’m in from the jump. Nine Bodies in a Mexican Morgue , while not perfect, captures enough of the classic story’s tension, mystery, and intrigue to keep viewers on the hook as they unravel what is happening. Plus, at only six episodes, people die quickly, resulting in a narrative that never feels like it’s spinning its wheels. It’s a little slight, especially given the lack of star power and a jungle set that looks stage-y, but I was pleasantly surprised.

Previous August 1, 2024 Next A BITESIZE CHAT WITH ZACH KORNFELD Director Zach Kornfeld (The Try Guys) joins Nick to talk about the importance of telling this story and his future beyond The Try Guys. Make sure to check out Ouch! and all the other great offerings from Fantasia International Film Festival. Interview conducted on July 24th, 2024 by Nick van Dinther.