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The Filmumentaries Podcast – Exploring the Unsung Heroes of Cinema. Go beyond the credits and uncover the untold stories of the filmmakers, artists, and craftspeople who bring your favorite movies...
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The Filmumentaries Podcast – Exploring the Unsung Heroes of Cinema. Go beyond the credits and uncover the untold stories of the filmmakers, artists, and craftspeople who bring your favorite movies to life.
Hosted by filmmaker, author, and film historian Jamie Benning, The Filmumentaries Podcast offers in-depth conversations with the behind-the-scenes legends of Hollywood and beyond. Each episode features exclusive interviews with art directors, production designers, VFX artists and supervisors, editors, sound designers, animators, and other key creatives who shaped iconic films like Star Wars, Indiana Jones, Blade Runner, Ghostbusters, and more.
Whether you're a die-hard cinephile, an aspiring filmmaker, or simply curious about the hidden artistry of moviemaking, this podcast is your all-access pass to film history.
What You’ll Discover:
Visit Filmumentaries.com for more exclusive content and behind-the-scenes insights!
mostra menos
Hosted by filmmaker, author, and film historian Jamie Benning, The Filmumentaries Podcast offers in-depth conversations with the behind-the-scenes legends of Hollywood and beyond. Each episode features exclusive interviews with art directors, production designers, VFX artists and supervisors, editors, sound designers, animators, and other key creatives who shaped iconic films like Star Wars, Indiana Jones, Blade Runner, Ghostbusters, and more.
Whether you're a die-hard cinephile, an aspiring filmmaker, or simply curious about the hidden artistry of moviemaking, this podcast is your all-access pass to film history.
What You’ll Discover:
- Rare insights into filmmaking from the people who were there
- Deep dives into classic and modern movie-making techniques
- Stories of innovation from Industrial Light & Magic, Lucasfilm, and beyond
- Exclusive discussions on practical effects, CGI, set design, and film scoring
- A celebration of cinema’s hidden heroes
Visit Filmumentaries.com for more exclusive content and behind-the-scenes insights!
Episodios & Posts
Episodios
Posts
Transcrito
8 MAY. 2025 · Episode 126 - Inside the BFI National Archives - Film on Film Festival - Special Episode
For this early release of the podcast, I’m taking you behind the scenes at the BFI National Archive in Berkhamsted. The reason for the early drop? Tickets for the BFI’s excellent Film on Film Festival go on sale to the public tomorrow, 9th May 2025, and I wanted to give you a bit of insight into what makes this event so special. The Film on Film Festival runs from the 12th to the 15th of June and is dedicated entirely to screenings on physical film – from 35mm to 16mm, and even nitrate. It’s a rare opportunity to experience films as they were originally shown, in all their analogue glory. While at the archive, I spoke with several of the experts who help make the festival possible and who work daily to preserve the history of cinema. You’ll hear from:
- James Bell – Senior Curator of Fiction and Programme Director, Film on Film Festival
- Chris Stenner – Film Laboratory Lead
- Sonia Genaitay – Curatorial Archivist
- Martin Coffill – Projectionist and QC
- David Jones – Film Scanning Lead
A huge thanks to Kieron Webb and Sarah Bemand for organising the day. It was a real privilege to explore the archive, meet the people who keep the machines running and the prints in circulation, and to share it all with you here. If you're attending the festival on the 12th, please do let me know and be sure to say "hi".
https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=foff25&BOparam::WScontent::loadArticle::context_id=
https://linktr.ee/filmumentaries
Transcrito
22 ABR. 2025 · Episode 125 – Walter Murch: Suddenly Something Clicked (And 5 Years of Filmumentaries!) In this special 125th episode of The Filmumentaries Podcast, I’m joined once again by the legendary Walter Murch — editor, sound designer, director, author, and true philosopher of cinema. This also happens to mark five years since I launched the podcast, so it felt only fitting to celebrate with someone whose insights have shaped not only cinema itself but how we understand it.
Walter and I discuss his new book, Suddenly Something Clicked, which is due for release on 8th May 2025 via Faber & Faber (thank you to them for kindly sending me a preview copy). The book is a rich mix of theory, practice, and history — true to Walter’s description of it as a “twisted rope” of ideas. We cover everything from the evolution of editing, cinema as a biological and neurological phenomenon, the mysteries of sound design, and even the mechanics of live television editing.
Walter reflects on the analog vs digital shift, why sound should be metaphorical as well as realistic, and how editing mirrors the way our own bodies process time and perception. We also get into Return to Oz, AI in filmmaking, and his thoughts on films like Adolescence and 1917 that attempt to eliminate the cut entirely.
As ever, it’s a joy to speak with Walter — and I hope you enjoy this episode as much as I did recording it.
https://linktr.ee/filmumentaries
https://www.faber.co.uk/product/9780571328857-suddenly-something-clicked/?srsltid=AfmBOopCb2LfCZ3G1qY8Aho-0fPTWPeAyqhecVEpuzPn6ZlJnWcHECSX
https://www.bfi.org.uk/news/bfi-film-film-festival-line-up-star-wars-twin-peaks
Transcrito
22 ABR. 2025 · Hi all,
Here's Rachel's second and final report from Star Wars Celebration Japan.
We hope you enjoy it!
Transcrito
19 ABR. 2025 · As promised, here's report of the goings on in Tokyo at Star Wars Celebration, day one and two from Rachel Pearson.
More tomorrow.
Transcrito
19 ABR. 2025 · In my previous episode I spoke with ADR specialist and dialoge editor Vickie Sampson. In that conversation she mentioned briefly about the time the Return of the Jedi audio recordings were stolen from her car. "That's a story for a whole other podcast", she remarked. So I contacted Vickie to ask her if she could record the story. She kindly obliged, and so here it is as a short Bonus episode for you folks!
Transcrito
8 ABR. 2025 · Episode 124
Like many visual effects artists of a certain vintage, Jeff Okun didn’t plan on a career in VFX. In fact, by his own account, he didn't even plan to work in film at all. "I’m a completely accidental human being," he told me with a chuckle. His ambitions began on a very different stage — as a stand-up comic — until a sharply atheistic routine delivered at home earned him a lifetime ban from performing in front of his parents. Instead, Okun’s creative outlet took the form of magic tricks, homemade stunts, and Super 8 visual gags. “I would blow up model ships and fake fights in rush hour traffic,” he said, “and I’d be in the bushes filming with ketchup for blood.” All of this childhood chicanery ultimately gave way to a fascination with the trickery of movies — the kind of illusions you could only pull off with careful camera work, sleight-of-hand editing, and an appetite for mischief. Learning the Craft the Hard Way Okun's first job in film was with the legendary graphic designer and filmmaker Saul Bass. The experience was, in Okun's words, “awful,” but also profoundly formative. As Bass’s gopher-turned-editor, Okun was thrown into the deep end. “I hated him,” he laughed. “But he taught me everything: editing, sound, post-production supervision, how to shoot, how to frame. It was a masterclass.” Working for Bass meant operating in a visually precise, effects-heavy style — layering camera moves, creating in-camera effects, and often relying on labor-intensive optical printing processes. When optical houses turned down Bass’s business — too exacting, too expensive — Okun stepped in with cost-saving workarounds and pricing schemes that actually worked. “We doubled the budget, added a contingency, and somehow still landed exactly on target.”
“By the end of it, I ended up loving the man,” Okun said. “Not because he gave me a break, but because he was so specific and difficult to please that when you did please him, it meant something. He learned how to prep lineup sheets, how to composite with interpositives, and how to break down 140-layer optical shots into manageable components. “I was just the fix-it guy. I didn't know what I was doing half the time. I still don't.” VFX by Way of Accident It wasn’t long before optical houses and producers began calling on Okun when their films were in trouble. One fix led to another. His reputation grew as someone who could step into a crisis and calmly solve it — usually with a combination of ingenuity, humour, and brute-force trial and error. “I think Saul trained me to see puzzles. That’s what it comes down to — seeing what’s broken and putting it together in a way that works. Most of the time, it wasn’t about having the right answer. It was about trying 50 wrong ones.” This kind of lateral thinking came into its own on films like Stargate (1994), where Okun — working with Jeff Kleiser and Diana Walczak’s fledgling CG company — had to convince director Roland Emmerich that computer graphics were even worth attempting. “Roland didn’t believe in CG. So we built the shot, made the CG glider deliberately less detailed to match the miniature footage. Showed it to him. He said, ‘Exactly — that’s what I’m talking about. Miniatures are the way to go.’ And we said, ‘Nope. All CG.’ That’s when he finally came around.” (Fun fact, VFX supervisor Jeff Okun was paid homage by Brent Spiner in Independence Day in the role of Dr. Brackish Okun. There’s uh, a slight resemblance.) - Credit to Nofilmschool.com
Penguins, Moose, and the Invisible Effect Okun is quick to point out he wasn’t a Star Wars kid. In fact, he avoided the original film for weeks on principle — he doesn’t do queues. But he did get a behind-the-scenes tour of ILM’s original Van Nuys facility courtesy of Bass and George Lucas. There, he saw motion control rigs, Richard Edlund on his knees filming the crawl, Phil Tippett animating the chess game, and pyro tests in the parking lot. It was, he admits, a little magical — though it didn’t change the fact that his creative allegiance remained with illusion, not spectacle. “My favourite effects are the invisible ones. I started out as a magician. The goal is to make people believe there’s no trick. That’s where the real artistry is.” Still, that didn’t stop him from sneaking penguins and moose into the background of multiple films. He once gave a horse antlers in a Cameron Crowe movie. In Blood Diamond, he added a huge penguin family to a wide evacuation shot — no one noticed. “It’s like the gorilla basketball video. You just don’t see what you’re not looking for.” The Shark That Ate Sam Perhaps his most famous — or infamous — contribution to pop culture came on Deep Blue Sea. Samuel L. Jackson had just delivered a particularly rough eight-page monologue, and Okun, unimpressed with the script, asked Jackson what he wanted to do. “He just said, ‘Kill me.’ So I said, ‘If you make it to the front of the moon pool, I’ll kill you.’” The surprise shark attack that interrupts Jackson mid-speech is now legendary. It wasn’t in the script. “Renny Harlin didn’t know until the day,” Okun said. “Sam did take after take but always got to the kill spot early. We cut the rest. I shot the elements. It was a massacre. We even had baby sharks pull him apart for fun.” The Changing Landscape Much of our conversation revolved around the changing realities of visual effects — the rise of AI, the complications of LED walls, and the shifting expectations from directors and studios. “People think VFX is just hitting the ‘do it right’ button and then the ‘do it fast’ button,” he said. “There’s so little appreciation for how hard this stuff is, and we’ve done ourselves no favours by making it all invisible.” He sees today’s VFX artists as increasingly anonymous — a shift he’s spent much of his career trying to reverse, both through his own visibility and via his tenure at the Visual Effects Society. “We don’t sell our artistry. We sell our software. You know the names of the DPs, but no one can name last year’s VFX Oscar winners. That’s not sustainable.” The Invisible War Stories At the end of our chat, Okun expressed a desire to tell more of the “true” stories of VFX — the screw-ups, the late-night fixes, the shots that weren’t supposed to work. He wants more people to know that the chaos behind the curtain is often where the real creative breakthroughs happen. “It’s always fun. That’s the only reason I still do it. And when it’s collaborative, when it’s people bouncing ideas off each other, it’s magical. That’s when everyone forgets the pain and just remembers the movie.”
https://linktr.ee/filmumentaries
Transcrito
25 MAR. 2025 · Episode 123: Vickie Sampson – Dialogue, Detail, and the Art of Sound In this episode of The Filmumentaries Podcast, I speak with sound editor, dialogue and ADR supervisor, and filmmaker Vickie Sampson. Vickie’s career began in the early 1970s, and she’s since built up a mighty list of credits including Romancing the Stone, The River, Tank Girl, The Fifth Element, Ordinary People, and Return of the Jedi. She’s also the daughter of the trailblazing Kay Rose – the first woman to win an Oscar for sound editing. We discuss:
- Growing up surrounded by film and sound
- Her hands-on experiences on shows like The Big Valley and The Rifleman
- The vital but often misunderstood role of dialogue and ADR editing
- What makes a great production sound handover (and how so many indies get it wrong!)
- ‘Temp love’ and the challenges of directors getting attached to scratch tracks
- Working with actors like Keanu Reeves, Meryl Streep and Sigourney Weaver
- Her time in London supervising ADR for Return of the Jedi – including a story about the reels being stolen from her car
- Why clean dialogue is the bedrock of a good film
- Her continued work as a director and teacher
This one’s packed with stories, insights, and practical advice for anyone working in – or just obsessed with – film sound. 🎧 Listen now wherever you get your podcasts. 🔗 Mentioned in this episode:
- https://skywalkingthroughneverland.com/ – More on Vickie’s Jedi reels story
- https://playbill.com/article/how-sound-mixer-simon-hayes-captured-the-wicked-movies-live-singing
- “A Letter from Your Sound Department” (available upon request or via Vickie’s site)
Support the podcast:
Grab some merch: https://filmumentaries.creator-spring.com/
Or support on Patreon for just $1 a month: https://patreon.com/jamiebenning
Follow me on social media:
@filmumentaries on Threads, Instagram and Facebook
https://linktr.ee/filmumentaries
Transcrito
11 MAR. 2025 · In this conversation, I speak with Howard Berry about his film project 'Her Name Was Moviola', which explores the art of film editing through the lens of a a traditional editing setup. Howard shares the origins of the project, his connections with notable filmmakers like Walter Murch and Mike Leigh, who are both involved in the projet. And the challenges he faced in acquiring the necessary equipment for the film.
The chat highlights the technical aspects of film editing and the collaborative nature of filmmaking. We look at the intricacies of documentary filmmaking, particularly focusing on the editing process and the relationship between directors and editors. Howard shares insights into his experience editing a film about editing, the challenges faced during production, and the importance of preserving cinematic stories. We also touch on the film's reception at various festivals and the future distribution plans.
- The project began as an oral history of Elstree Studios.
- Howard's connections in the film industry were crucial to the project's development.
- Walter Murch's involvement was pivotal in shaping the film's direction.
- The film aims to document the process of editing, not just the final product.
- Acquiring vintage equipment like the movieola was a significant challenge.
- Howard's persistence in networking led to valuable collaborations.
- Mike Leigh's willingness to share footage was a turning point for the project.
- The technical aspects of editing are often overlooked but are essential to the craft.
- The film serves as a tribute to the art of film editing.
- Howard's journey reflects the importance of community and support in filmmaking. Howard emphasizes the importance of preserving historical stories in film.
- The documentary was always intended to focus on the technical and psychological aspects of editing.
- Walter Murch's preference for a nuts-and-bolts approach shaped the film's direction.
- The relationship between a director and editor can be tense yet collaborative.
- Critiques from directors can enhance the editing process and lead to better outcomes.
- Editing a film about editing presents unique challenges and pressures.
- Trust between filmmakers is crucial for a successful project.
- The film has received positive feedback from audiences and critics alike.
- Festival screenings have provided valuable exposure and audience engagement.
- Future distribution plans aim to reach a wider audience through streaming services.
https://linktr.ee/filmumentaries
https://moviolathemovie.com/
https://theelstreeproject.org/
Transcrito
25 FEB. 2025 · In this conversation, Jim shares his journey into the film industry, detailing how a little film called Star Wars inspired him to pursue a career in filmmaking. He discusses his early experiences in the industry, the evolution of trailer editing, and the critical role of marketing in film success. Jim reflects on his time at Castle Rock Entertainment, the challenges of marketing films like The Shawshank Redemption, and the importance of intuition in making marketing decisions. In this conversation, the speakers delve into the intricacies of film marketing, exploring the challenges faced in promoting films like 'Shawshank Redemption' and the impact of initial reception on a film's legacy. We discuss the evolution of film reception over time, about iconic directors like Stanley Kubrick and franchises like Harry Potter. Highlighting the importance of creativity in marketing and the unique experiences that come with working on significant film projects.
https://amzn.to/3D92jgN
https://www.youtube.com/watch?v=NmzuHjWmXOc
https://linktr.ee/filmumentaries
Transcrito
11 FEB. 2025 · In this conversation, Maryan discusses her journey into the film industry, detailing her entry point after film school, her experiences at Industrial Light & Magic (ILM), and the challenges she faced as a woman in a male-dominated field. She shares insights into the creative environment at ILM, the collaborative spirit among teams, and the innovative techniques used in films like Return of the Jedi. Maryan reflects on her post-ILM career, the changing dynamics in the industry, and the importance of perseverance and creativity in filmmaking. In this conversation, Maryan reflects on her experiences in the film industry, particularly focusing on the creative processes behind visual effects, the impact of influential figures like George Lucas, and the transition from effects work to live action and music videos.
We discuss the challenges of working in different effects houses, the importance of collaboration, and the evolution of technology in filmmaking. The conversation also touches on personal career transitions, the balance between work and family life, and the shift towards education in the arts.
https://linktr.ee/filmumentaries
The Filmumentaries Podcast – Exploring the Unsung Heroes of Cinema. Go beyond the credits and uncover the untold stories of the filmmakers, artists, and craftspeople who bring your favorite movies...
mostra más
The Filmumentaries Podcast – Exploring the Unsung Heroes of Cinema. Go beyond the credits and uncover the untold stories of the filmmakers, artists, and craftspeople who bring your favorite movies to life.
Hosted by filmmaker, author, and film historian Jamie Benning, The Filmumentaries Podcast offers in-depth conversations with the behind-the-scenes legends of Hollywood and beyond. Each episode features exclusive interviews with art directors, production designers, VFX artists and supervisors, editors, sound designers, animators, and other key creatives who shaped iconic films like Star Wars, Indiana Jones, Blade Runner, Ghostbusters, and more.
Whether you're a die-hard cinephile, an aspiring filmmaker, or simply curious about the hidden artistry of moviemaking, this podcast is your all-access pass to film history.
What You’ll Discover:
Visit Filmumentaries.com for more exclusive content and behind-the-scenes insights!
mostra menos
Hosted by filmmaker, author, and film historian Jamie Benning, The Filmumentaries Podcast offers in-depth conversations with the behind-the-scenes legends of Hollywood and beyond. Each episode features exclusive interviews with art directors, production designers, VFX artists and supervisors, editors, sound designers, animators, and other key creatives who shaped iconic films like Star Wars, Indiana Jones, Blade Runner, Ghostbusters, and more.
Whether you're a die-hard cinephile, an aspiring filmmaker, or simply curious about the hidden artistry of moviemaking, this podcast is your all-access pass to film history.
What You’ll Discover:
- Rare insights into filmmaking from the people who were there
- Deep dives into classic and modern movie-making techniques
- Stories of innovation from Industrial Light & Magic, Lucasfilm, and beyond
- Exclusive discussions on practical effects, CGI, set design, and film scoring
- A celebration of cinema’s hidden heroes
Visit Filmumentaries.com for more exclusive content and behind-the-scenes insights!
Información
| Autor | Chris Stachiw |
| Organización | Weirding Way Media |
| Categorías | Cine y Televisión , Entrevistas de cine , Historia del cine |
| Página web | www.spreaker.com |
| info@filmumentaries.com |
Copyright 2025 - Spreaker Inc. an iHeartMedia Company
