The Filmumentaries Podcast

Welcome to Episode 115 of The Filmumentaries Podcast. This time I’m talking to John Bell, a concept artist and art director whose career has spanned some of the most memorable films of the last four decades. From Star Trek IV: The Voyage Home to Jurassic Park and Back to the Future II and III,John’s work has left a significant mark on cinema.  In our conversation, John takes us back to the early days of his career, when he transitioned from designing cars at General Motors to creating video game concepts at Atari, before finally finding his way into the film industry. He shares the story of how a speculative portfolio sent to ILM eventually opened the door to a career that included working alongside legends like Nilo Rodis-Jamero and Ken Ralston.We talk in depth about his work on Back to the Future II, where he imagined a future Hill Valley steeped in a mix of Americana and 1980s aesthetics, and Jurassic Park, where he brought bold, colorful designs to vehicles, props, and even the park’s iconic branding. John also reflects on how collaboration is at the heart of filmmaking, with directors like Steven Spielberg and production designers like Rick Carter encouraging his input while shaping the look and feel of these projects.  We also cover his time working on Antz at DreamWorks, where he stepped into the role of production designer for the first time, and Rango, ILM’s first animated feature.Throughout, John shares his approach to balancing creativity and problem-solving, and the importance of pulling inspiration from both his surroundings and his past experiences.  It’s a wide-ranging discussion that touches on everything from the challenges of designing for science fiction, fantasy, and animation to how the industry has changed over the years. I hope you enjoy it.All the linksJohn Bell Studio

In this episode of the Filmumentaries podcast, I’m bringing you some updates on my work with ILM and sitting down with director Laurent Bouzereau to chat about his new documentary, Music by John Williams. We dive into the emotional punch of Williams’ music, the process behind crafting the documentary, and Williams’ lasting legacy as a composer. Laurent opens up about his experience working closely with Williams and the art of storytelling in documentaries, as well as the challenge of sifting through such a massive collection of iconic work.‘Music by John Williams’ is available on Disney+ and in cinemas for limited release. UK Screenings of the filmSlimer Article at ILM.comAll the links

Episode 113 is up. My conversation with production eesigner, art director, concept designer and VFX artist Kevin Jenkins.We swap stories about our childhood movie experiences and the films that got under our skin—like Jaws, Star Wars, and Close Encounters of the Third Kind. We talk about how these films not only shaped Kevin's tastes but ignited a passion for storytelling and artistry that's stuck with him. Kevin and I get into the risks filmmakers took back then. We touch on the balance between practical effects and digital tech, and why having a passionate, collaborative team is crucial to making something memorable. There's a bit on the commercialization of genres and how fandom sometimes gets too caught up in nostalgia, missing out on new, original stories.We also cover how filmmaking has evolved with technology, especially for artists like Kevin, who transitioned from traditional illustration to digital tools. Kevin shares insights on how tech influences collaboration and creativity on set. He walks me through the role of a concept artist, the problem-solving and idea generation that goes into projects like World War Z and Edge of Tomorrow—highlighting the creative process behind creature designs and visual effects.Kevin opens up about the challenge of finding the right design and the nuances of working within big franchises. He talks about the essential collaboration between art and costume departments to build a cohesive visual world. Finally, Kevin shares his ambition to work on a historical epic.All the links

In this episode, I sat down with Jon Spira to dive deep into the making of his latest documentary, The Life and Deaths of Christopher Lee. If you’re a regular listener, you know Jon’s been on the podcast a couple of times before, and it’s always a treat to hear him talk about his work.This time around, he takes us through the journey of bringing Christopher Lee’s story to life—literally.Jon kicked things off by sharing what drew him to this project in the first place. Inspired by a mix of fascination and intrigue, he became captivated by Lee's enigmatic presence, especially after rewatching a rather unusual "This Is Your Life episode" featuring Lee. Jon’s documentary doesn't just skim over Lee’s storied career, from Hammer Horror to The Lord of the Rings, but it digs into the emotional layers of a man who, despite his towering on-screen persona, was often plagued by self-doubt and a desire to control how the world perceived him.We spent a good amount of time talking about the challenges Jon faced in portraying someone as multifaceted as Christopher Lee. It’s no small feat to condense a career that spanned over six decades into a single film. Jon wanted to avoid the usual biographical pitfalls—just ticking off achievements and movie titles—and instead aimed for something more intimate and emotionally resonant. He wanted viewers to come away with a sense of who Christopher Lee really was, beyond just the roles he played.One of the more fascinating parts of our conversation was Jon’s decision to use a marionette puppet to represent Lee. It was an unconventional choice, but as Jon explained, it made perfect sense for a subject who was so concerned with how his story was told. He originally toyed with the idea of CGI but felt that it lacked the emotional warmth he was looking for. So, he collaborated with Andy Gent, known for his work with Wes Anderson and Tim Burton, to create a beautifully crafted puppet of Lee. And who better to provide the voice than Peter Serafinowicz, whose deep, rich tones helped bring that puppet to life. Jon’s approach allowed Lee to narrate his own story, with other voices occasionally chiming in to add a touch of warmth and gentle contradiction. It’s this kind of creative storytelling that sets Jon’s work apart—finding new ways to tell familiar stories.Jon and I also delved into some of the broader challenges facing filmmakers today. The industry is in a strange place right now, with budgets tightening, streamers changing their strategies, and the rise of new technologies like AI reshaping the landscape. We had a lively discussion about the role of AI in filmmaking. For one specific sequence in the film—recounting a moment when Christopher Lee witnessed the last public execution by guillotine in France—Jon’s team used AI-assisted animation to breathe life into archival photos. It’s a decision that has sparked some controversy, especially from certain corners of the American press, but Jon sees it as just another tool in the creative toolkit. He acknowledges the fears around AI and the impact it might have on jobs, but he also believes that, when used thoughtfully, it can elevate storytelling in new and exciting ways.Throughout our conversation, a recurring theme was empathy—something that Jon clearly values in his approach to documentary storytelling. He talked about how he always aims to create a sense of connection between the audience and his subjects, to show their humanity in all its complexity. For Jon, it’s not just about documenting facts; it’s about exploring how those facts feel, and how they shape the person behind the public image. In The Life and Deaths of Christopher Lee, this approach results in a film that isn’t just a tribute to a cinematic legend but also a portrait of a man grappling with his own insecurities, just like the rest of us.We also touched on the state of cinema today—how trends are shifting, the uncertain future of theatrical releases, and what that means for filmmakers who, like Jon, are passionate about telling unique, challenging stories. It’s clear that Jon sees the current moment as both a challenge and an opportunity—a chance to push boundaries and keep audiences engaged in new ways, even if it means embracing some unconventional methods along the way.All in all, our chat was a rich, multi-layered conversation, touching on everything from the intricacies of puppetry to the big questions about where the film industry is headed. It’s a must-listen for anyone interested in the art of documentary filmmaking, the evolving landscape of cinema, and the enduring allure of a complex, larger-than-life figure like Christopher Lee.