We Need to Talk About Oscar

Twin brothers Kevin and Matthew McManus have been making films together since they were kids, and Redux Redux is their third feature as a writing and directing duo. We open the conversation talking about what it means to put a film like this into the world and how you go about pitching a multiverse revenge thriller to festivals in the first place.
From there, Kevin and Matt walk us through where the idea originally came from, what finally unlocked the story for them, and how they think about the multiverse and time travel as storytelling tools without letting the concept swallow the human drama underneath it. At the center of that drama is their sister Michaela, who plays Irene, a grieving mother who acquires technology that allows her to jump between parallel universes and kill her daughter’s murderer again and again. The brothers talk about what it means to build a film around a sibling and what that specific trust makes possible.
We also dig into one of the film’s most interesting technical and narrative challenges: making the recurring kills feel distinct rather than repetitive. When your premise is built on a loop, every iteration has to earn its place, and Kevin and Matt get into how they thought about that problem from the writing stage all the way through production.
(Photo: Courtesy of Stella Marcus)

Five features into their collaboration, cinematographer Patrick Jones and director Amanda Kramer have developed a creative shorthand that makes projects like 'By Design' come together with surprising speed. Patrick opens up about his first reaction to the concept and the foundation that makes their collaboration so instinctive and enduring.
'By Design' presented a fascinating cinematographic challenge at its core: the similarities and differences in framing, lighting, and handling human beings versus inanimate objects in front of the camera. Patrick shares how the film demanded a fresh perspective on what it means to observe and capture a subject, blurring the line between the animate and the still.
We explore choreography as a visual language, from dance to general movement, and how Patrick approaches the camera's relationship to bodies in motion. He also expands on the distinct experience of shooting Amanda Kramer's music videos compared to her feature films, and what each format demands from him as a cinematographer. We close our conversation with Patrick looking ahead, sharing where he sees both their creative partnership and his own craft evolving from here.
(Photo credit: Terra Gutmann-Gonzalez)

Growing up across multiple continents gave cinematographer Ashley Barron ACS a unique visual perspective that shapes her work today. In discussing 'How to Get to Heaven from Belfast,' Ashley reflects on how her childhood experiences of constant movement and cultural adaptation inform her approach to crafting images and telling stories through the camera.
Our conversation explores Ashley's experience joining a tight-knit group of filmmakers who previously collaborated on the highly successful 'Derry Girls.' She shares insights into fitting into an established creative team and how that dynamic influenced the production process and collaborative spirit on set.
Ashley delves into her lighting choices and their crucial role in balancing the film's comedy, drama, and mystery elements. She discusses developing distinct visual languages for the three main characters, using light, color, and composition to differentiate their perspectives while maintaining a cohesive aesthetic.
(Photo: Courtesy of Netflix)

We sit down with cinematographer James Whitaker discuss 'Good Luck, Have Fun, Don't Die,' Gore Verbinski's sci-fi thriller. James opens up about the challenge of shooting science fiction on a relatively low budget, revealing how constraints pushed the team toward inventive visual solutions that serve the story's themes.
Our conversation delves into how James and Gore merged their respective references to create the film's distinctive look. He discusses the collaborative process of finding a shared visual language that honors both their influences while creating something unique. James also tackles the technical and creative challenge of shooting the film's crucial expositional monologue in an engaging, visually interesting manner, turning what could be static into something dynamic.
We examine how practical and digital effects work together in a film about humanity's fight against AI. James reflects on the irony and intention behind blending these approaches, discussing how the marriage of old-school techniques and modern technology mirrors the film's central conflict. His insights into resourceful filmmaking and thematic visual storytelling offer a compelling look at creating ambitious sci-fi within indie constraints.
(Photo credit: Graham Bartholomew, SMPSP)

Director Corin Hardy joins us to discuss ‘Whistle,’ now in theaters, exploring how he connected to the script and the differences between working with someone else’s screenplay versus directing his own material. Corin reveals how each approach shapes his creative process and the unique challenges and freedoms that come with interpreting another writer's vision.
Our conversation delves into assembling the group of young talented actors for the film, including Dafne Keen, Sophie Nélisse, and Percy Hynes White. Corin discusses the casting process and what he looked for in performers who could carry the film's emotional weight while navigating its horror elements, creating authentic chemistry among the ensemble.
We explore the death whistle as a symbol of bringing something new and fresh to the horror genre. Corin reflects on how this ancient Aztec artifact becomes both a narrative device and a metaphor for his approach to the film, honoring horror traditions while pushing the genre into unexpected territory.
(Photo credit: Michael Gibson)