Frontman Grian Chatten talks about the pressure of the first two years as a signed band, his early love of bands like Pixies and Kings of Leon, how the band recorded their sophomore effort A Hero’s Death and how it feels to have not played them to a live crowd yet. Articulate and honest, Grian details how he writes songs once they comes to him, and the damage an American tour did to the band.
Ben Schwartz -Actor/Comedian (Parks & Recreation, Middleditch & Schwartz, Sonic the Hedgehog, Space Force)
Ben Schwartz’s credits are huge and diverse, and on this first of two Reel Feedback new season episodes, he talks about his career as actor, writer and voice artist as well as the workings of improv comedy and how he turned a one paragraph appearance as Jean Ralphio into a returning, beloved character.
Armando Iannucci and Chris Morris are two of the biggest names in biting, scathing, bring-your-brain-to-this comedy, and Billy is the main responsible for editing a huge chunk of their output including The Thick of It, I’m Alan Partridge, Veep, Four Lions, Brass Eye and The Day Shall Come. AND, he’s the main who stitched together the stupendous Stan and Ollie and the blood-chilling Ghost Stories. He talks about how he got there from a career start as an in-debt dispatch rider and a chance meeting in a pub.
How do you become a costume illustrator? How do you film Tom Cruise on the side of a plane? How do you create the Vader corridor sequence? How do you make Olivia Coleman look like a badger? How do you create an alien called Paul? How do you co-manage the creature/ droid department on the Star Wars trilogy? Why would you replace George Clooney’s eyes for your own in a blockbuster movie? What does a sock full of vegetables have to do with a xenomorph alien? You guessed it, all answers lie within this episode.
BAFTA-Winning Film Producer Stephen Woolley talks at his production company Number 9 Films to host Kevin Dawson about his hands-on Arthouse and World cinema education before managing the infamous Scala cinema himself. He details distributing The Evil Dead and how Sam Raimi slept at his house, as well as tales of producing classics such as Company of Wolves, Mona Lisa, Absolute Beginners, The Crying Game and Interview With the Vampire. And, how he pitched a film to Sean Connery in a lift.
Helicopter pilot Will explains how he went from farmer to a pilot in the movies. He shares his incredible in-the-air account of the London Olympic stunt when James Bond and the Queen parachuted from a helicopter, about being in the helicopter than destroys Bond’s house in Skyfall, how he thought the placement of a rock by Ridley Scott would end up with a jeep exploding under him, the challenges he faced when trying to line up his helicopter with the aeroplane Tom Cruise was clinging to the outside of and the logistics of landing by a famous landmark in Fast & Furious spin off Hobbs & Shaw.
Starting as a background artist on Disney cartoons, Jason now heads the art department at Industrial Light and Magic. He talks to host Kevin Dawson about how he designed Two-Face‘s look for Dark Knight, watched Spielberg in action on the set of War Horse and worked on Harry Potter, Jurassic World: Fallen Kingdom and the new Star Wars movies. Also, how he became Daniel Radcliffe‘s almost naked CG double.
How does someone intent on being a producer actually become one? And what is the role of a producer or does it cover many facets of the recording process? Hugh details how he works with artists such as Rae Morris, Jamie N Commons, Crystal Fighters, Michael Kiwanuka and Will Joseph Cook to get the best version of a song out into the world. From arranging the song to sending them home when the performance isn‘t there, Hugh reveals how he runs his studio as a freelance music producer.
Star Wars: Episode IX, Rogue One, Solo, Blade Runner 2049, Avengers: Age of Ultron, Edge of Tomorrow, World War Z, Concept Artist Jon’s list of credits is mighty impressive, and he talks to host Kevin Dawson about his work on these and more. Hear the stories of how he was involved heavily in creating the zombie pile up the wall in World War Z, the exo-suit for Tom Cruise, how he nearly ruined Han Solo meeting Lando with a cup and how he and director Gareth Edwards sat and created THAT corridor scene in Rogue One.
Oscar-nominated for his audio mix work on Superman, Aliens and Passage to India, Graham’s list of credits stretches across 6 decades. He talks to host Kevin Dawson about clashing with Kubrick, chatting with Walt Disney, and working closely with Ridley Scott on Blade Runner, James Cameron on Aliens and much more in this latest episode.
While the usual format of host Kevin Dawson and a guest takes a small break, this minisode features clips from some of the previous episodes over the last few months. Art Directors, Make Up Designers, Producers, Sound Engineers, Costume Designers and more talk about their work with Ridley Scott, Edgar Wright, David Bowie, Ricky Gervais, Foo Fighters, Benedict Cumberbatch and more on projects like Ant Man, Star Wars, Batman, Extras, The Dark Knight and The Walking Dead. Reel Features returns with new guests in September.
Paddington 1 and 2, Johnny English Strikes Again, Alpha Papa, Mighty Boosh and Peep Show are just some of the amazing credits Editor Mark has lent his talents to. Host Kevin met with him at Working Title in London where they chatted about his credits, his process, just how you edit a film with an animated bear, the many stories of Director John Landis and more.
As one of Edgar Wright‘s closest and longest-running wing men, Marcus has been responsible for the overall artistic look on every one of his productions. From the design of the Winchester‘s interior in Shaun of the Dead and location scouting for Hot Fuzz, to the Canada and U.S shoots for Scott Pilgrim and Baby Driver, he details his perspective of these fan favourites. He also talks about his input on Ant Man with Edgar, and his other films with Joe Cornish and Dexter Fletcher.
The Specials’ Ghost Town producer John Collins talks about how the job came his way, and the process he used to get the bleak, classic sound of the number hit. He also talks about John Peel’s role in John becoming the band’s producer, how the rise of social violence at the time affected sales, and how the changes in the industry stopped him from producing more hits for others artists.