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We Need to Talk About Oscar

Áron Czapek

We Need to Talk About Oscar brings you inside the creative process with the artists behind modern film and television. Anchored by the awards conversation but passionate about indie cinema, each episode bridges technical filmmaking with rich, personal storytelling.

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English

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Yesterday · 21 min
Betsey Brown works where life and craft share one roof in ‘Gorilla Gorilla’
Betsey Brown plays a filmmaker attempting a follow up after a polarizing first film in ‘Gorilla Gorilla,’ and the conversation opens on where she places herself creatively these days, with dozens of acting roles behind her and a directing voice shaped through ‘Actors.’ Betsey considers which form of storytelling feels most like home right now. For Betsey, performing is a physical act more than a verbal one, and the conversation looks at the moment it shifts from a place to hide into an outlet for release. Her projects come together among loved ones, so a story about relationships and work tangling into disaster hits close to home, and it raises what professionalism can mean once the usual industry lines vanish. Playing a character differs from directing one, and Betsey compares how she shows up for each. From there the talk turns to her second feature as a director, where she lays out her frame of mind going in, the commitments she holds firm on, and a preview of what’s on the horizon.
Tuesday · 28 min
Dylan Stephen Levers and Consuelo Althouse log on to a long road in ‘Pop Pop’
‘Pop Pop’ world premieres at PÖFF in Tallinn after over half a decade of work, and Dylan Stephen Levers recalls how complete the script was at the outset and how the country’s shifting mood, culminating at the Capitol on January 6th, forced it to bend. Cinematographer Consuelo Althouse describes how she entered the picture, and both admit what it cost to keep an unfinished feature alive as their lives, careers, and tastes kept changing around it. Best friends Dustin and Dibz share an apartment and an internet series, fresh out of college and unsure where they fit in a messy adult world of male fragility and identity crisis. With cameras rolling near real protests, the filmmakers found themselves inside history while making fiction, and they wonder what a documentary cut of that material would look like. The film’s sharp take on online culture, from toxic masculinity to cancel culture, came with a question of how to keep compassion in view without dulling the satire. Its look riffs on retro computer interfaces, built as a retrofuturistic digital world soaked in memes and social media references, and they recall whether that concept was fixed on the page, how it influenced the framing of scenes, and how it eased or complicated the edit. They also talk about what a neutral camera even means when fiction and documentary share the same frame, and what lines they would not cross on set through all those lean years.
November 6 · 21 min
Kelly O’Sullivan and Alex Thompson give grief a home in ‘Mouse’
Kelly O’Sullivan and Alex Thompson spent years trying to get ‘Mouse,’ shot in Kelly’s Arkansas hometown, made, and a detour through ‘Ghostlight’ showed them how small a footprint they could work with and still keep full control. The film grows from a death Kelly lived through as a teenager, wrapped around an invented friendship between Minnie and the grieving mother, and she speaks to keeping that blend honest to her memory while Alex finds where his own instincts belong in staging it. Sophie Okonedo’s arrival as a British pianist adrift in central Arkansas gave Helen a loneliness that only deepens once Callie is gone, and Katherine Mallen Kupferer, known for her big, booming energy in ‘Ghostlight,’ is asked here for the opposite, a girl who keeps her feelings sealed away. The directors recall spotting that hidden range in her and helping her trust stillness, and Kelly’s background as an actor tunes her to talents performers haven’t yet discovered in themselves. Minnie’s pull from her mother Barbara’s cluttered animal rescue toward the hushed elegance of Helen’s house takes its shape from Linda Lee’s design, which makes it feel like a hunger for calm instead of ingratitude. Paul Thomas Anderson’s ‘Phantom Thread’ and Terrence Malick’s ‘The Thin Red Line’ guided the look, and they explain why teenage heartbreak earned that grand, serious treatment. Two cinematographers, Nate Hurtsellers and Luke Dyra, worked side by side as A and B camera, and the pair break down how they kept the footage cohesive. They also look ahead to ‘The Steel Harp,’ where they direct from inside the action with Kelly back on screen as the lead, and how that changes the way they communicate when she can’t slip away to the monitor. (Photo: Courtesy of IFC Films)
November 3 · 22 min
Dan Sallitt makes room for the unsaid in ‘What Can’t Be Mentioned’
Dan Sallitt returns to Jackie, the young woman at the center of ‘The Unspeakable Act,’ more than a decade later, and he tells how his view of sequels shifted once he made one. He recounts when the urge to revisit that film first arrived and what it meant that it began as one chapter of a planned trilogy. Many people at the New York Film Festival premiere had never seen the original, and he says what that showed him about how well the new film stands alone. He also addresses how keeping its subject buried, where the first film spoke about it openly, changed the way he built tension in the dialogue. Between the two films, Dan directed Tallie Medel in ‘Fourteen,’ and he outlines what that experience added to their rapport when they came back to Jackie. An intimacy coordinator brought an unfamiliar authority onto a set he usually keeps tightly in hand, notable for a filmmaker who stopped shooting nude scenes years ago to avoid friction, and he describes how he adjusted. Jackie is now training for a career in counseling while carrying unresolved feelings of her own, and he points to where that setup gave him the most charged material. Writing about film is a solitary habit while directing is a team effort, and Dan admits his early notes to actors were so cerebral that they sometimes hurt performances. He remembers when that sank in and describes the plainer, more playable terms he uses now. The conversation ends back at the project’s origins, with his decision that the trilogy’s third part will never be made, and the feelings that stay with him about leaving Jackie’s story suspended after part two.
October 27 · 28 min
Alex Mechanik writes a love letter to the awkward chase for relevance in ‘This Is the One They’ll Remember Me By’
Alex Mechanik worked side by side with wife Samy Burch on short films before the two broke through with ‘May December,’ and his debut feature ‘This Is the One They’ll Remember Me By’ finds him directing alone, with Samy credited for the story. He recounts how they divided the early groundwork and why this was the project to steer himself. The role of Robin Beck was imagined for his friend O-Lan Jones, a character actress long overdue for a showcase, and he describes when she learned about it and how it changed the character. Instead of a locked script, Alex wrote a skeletal outline that left the cast room to riff, a looseness inspired by his love of improvised television comedy, and he says just how bare that outline was on day one. Keith Carradine, Ray Wise, Aidy Bryant, and Charles Melton all play themselves, and he marks the boundary between poking fun at their public images and keeping them inside Robin’s reality. Cinematographer Lance Bangs lends the convention scenes the immediacy of nonfiction, and Alex explains how far that raw feel went before the film eased toward conventional storytelling, along with how grainy tape footage from Robin’s earlier career was shaped into her own recollections. Umberto Smerilli’s sweeping orchestral music plays against that imagery, and Alex answers whether it mirrors the grandeur Robin imagines for her own life or gently teases the awkwardness around her. He also explains why the story follows someone who has already tasted fame instead of a newcomer fighting to be noticed. The closing tribute to Paul Bartel and Jackie Burch carries personal weight for a film so preoccupied with being remembered and loving the work. (Photo credit: Lance Bangs)
October 23 · 20 min
Alex Huston Fischer and Eleanor Wilson shape the unlikely into something human in ‘Wicker’
Alex Huston Fischer and Eleanor Wilson adapt Ursula Wills-Jones’ fable ‘The Wicker Husband,’ a story that already lived as prose and as a London stage production, into the feature ‘Wicker,’ and they name what about it demanded the screen. As writing and directing partners, they compare how their dynamic shifts between the drafting table and a busy set, and how stepping up from their debut ‘Save Yourselves!’ to a larger crew changed the way they work together. Ambition runs through both of their films, and with ‘Wicker’ it presses against the limits of what a single shooting day can hold. They describe where vision and logistics collide and which creative element they protect first when time runs short. Alexander Skarsgård plays the title figure inside a practical suit built by Weta Workshop, a costume that restricted his movement, and they explain how it altered their notes, blocking, and framing of his gaze while his performance stayed rooted in feeling. Cinematographer Lol Crawley, a past guest on the show, shot ‘Wicker’ in the window between ‘The Brutalist’ and Damien Chazelle’s next picture, and the directors share what they believe drew him to their world, along with how his precise single camera instincts shaped their coverage of each scene. Looking across their work, from an original debut to an adaptation, they also speak to the pull of odd premises anchored in real human bonds, and the spark that tells them a story deserves their time. (Photos: Courtesy of Black Bear)
October 16 · 16 min
Isabella Ivos finds a fable in a dentist’s chair in ‘None the Wiser’
Writer-director Isabella Ivos built ‘None the Wiser’ out of a painful toothache, and she lays out how ideas born from everyday moments like that one survive the journey from notes to script to finished film. Placing the short beside her earlier ‘Robotica,’ where a woman surrenders her humanity to survive, Isabella turns to why the dread of leaving a piece of yourself behind keeps drawing her in, here through a young woman at the edge of adulthood who is about to lose her sense of play. The story drops from a sterile dentist’s chair into a sedated dream, and Isabella explains how that cold, clinical start shapes the look of everything that follows. With cinematographer Barton Cortright, a previous guest on the show, she built a visual language that avoids the usual dream sequence tricks and keeps the anesthesia state tied to the body. Isabelle Grill and Zoe Ziegler face each other as two versions of one person, and she tells us what made their meeting feel like real inner dialogue instead of theater. At under seven minutes, the film plays closer to a tale than a conventional short, and Isabella talks about how that framing let her bend pacing in the edit in ways a waking world story would resist. Its polished, high concept imagery points toward a first feature, so we close with the forthcoming challenges of upholding a controlled aesthetic once far more voices crowd the set, and the very first job she expects to hand off to someone else. (Photo credit: Marcus Maddox)
October 13 · 19 min
Sky Hopinka gathers his community and lets them be seen in ‘Powwow People’
For ‘Powwow People,’ filmmaker Sky Hopinka and his collaborators built the very gathering they filmed, a powwow held over three days at Seattle’s Daybreak Star Indian Cultural Center. Sky recalls the first obstacle that made the project feel less like a shoot and more like hosting a community event. Coordinator Gina Bluebird-Stacona anchors the weekend, and he describes how watching her work up close shifted his understanding of what it takes to create a space where people feel safe. Drumming and dancing hum constantly beneath the film, yet its attention settles on the generations sharing time along the edges. Sky and cinematographer Shaandiin Tome describe the discipline that kept the lens there instead of chasing the spectacle at the center. The central figures appear as voices over the footage rather than through sit down interviews, and Sky pinpoints when that approach took hold. With emcee Ruben Littlehead and Arena Director Quanah Matheson already steering the day, he also explains how control of the room’s rhythm got shared. Jamie John, a nonbinary dancer taking part in the traditionally female Jingle Dance, brings tradition and change into the same frame, and Sky details how the two worked together so that their presence felt like pure celebration. The film then settles into a half hour unbroken take of a Northern Traditional dance special, and Sky pinpoints the moment he knew everything else could fall away. He also lays out the missteps he sees well meaning documentary crews make when entering Indigenous gatherings, missteps this film was built to avoid.
October 6 · 19 min
We Need to Talk About Emmy #32: Jesse McKeown on holding onto a way of life in 'Below'
Creator Jesse McKeown built 'Below' around a premise easy to sum up in a sentence, a sea creature terrorizing a small town, and explains how he kept that pitch from overshadowing the family drama and economic unraveling he actually wanted to tell. Having spent years visiting Newfoundland and growing attached to it long before cameras rolled, he talks through the strange task of shooting the place he loves in a way meant to feel threatening and dread soaked on screen. Jesse walks us through how he and his crew worked to avoid the flattened, gray-blue look often applied to coastal or remote settings, aiming instead for something textured and alive. He set the story during a Come Home Year, a real Newfoundland tradition that pulls former residents back into town, giving him a built-in way to stage friction between people who stuck around through hard times and those returning from elsewhere. Jesse also reflects on premiering the opening episodes at TIFF on a massive cinema screen, even though the show was conceived for television, and how designing for home viewing shaped his choices around both open water sequences and tighter interior scenes. At its core, he frames the show's real threat as change itself, a community watching its industry and way of life slip away, and considers how his own years navigating a constantly shifting television business fed into how he wrote these characters reacting to losing theirs. (Photo: Courtesy of Netflix)
September 29 · 22 min
Thomas Leisten Schneider on what family hands down in 'Love - Love'
Writer-director Thomas Leisten Schneider makes his feature debut with 'Love - Love,' moving from the quick turnaround of commercials and shorts like 'Point and Shoot' into a much longer, more demanding shoot. He reflects on the unexpected challenges of holding onto a singular vision over that extended timeline, and on growing up between France and the US, a background that shaped his outsider's fascination with the road trip as a distinctly American form, and with the bleak, otherworldly quiet of the Salton Sea as a setting. Much of the conversation centers on directing Haley Joel Osment as Andy, a character living with schizophrenia, and how Thomas balanced guiding that performance with trusting what Osment discovered on his own, including a moment on set that reshaped his sense of the character entirely. He also discusses casting Beck Bennett as Jeff, a brother pulled suddenly into caregiving while still searching for his own footing, and how he used the absurdity of the entertainment industry to offset the story's heavier emotional terrain. Thomas connects his theater background to the rehearsal process he built for both actors, aiming for something true beneath the film's shifts between humor and pain. He also unpacks the title's tennis roots and how they tie into Bruce's past as a disgraced professional, before reflecting on how far he's come since his first day on set and what that journey revealed about his voice as a filmmaker.
September 22 · 22 min
Paula González-Nasser pauses the city one home at a time in 'The Scout'
Writer-director Paula González-Nasser spent years location scouting before making 'The Scout,' her feature debut following Sofia, played by Mimi Davila, through a single frantic workday. Paula reflects on whether scouting for a film about scouting changed her process at all, and whether her professional instincts made her hyper aware of every space she chose for Sofia to enter, or whether she had to consciously set those instincts aside. The city around Sofia moves fast, but time slows the moment she steps inside a stranger's home, and Paula walks through the pacing and blocking choices behind that shift, protecting a sense of quiet within scenes that otherwise sit inside a hectic day. She also unpacks the irony of making such a measured film under the same high pressure conditions indie sets usually produce, and what it took to keep her crew from falling into the very chaos the film observes. Paula gets into the toll of constantly watching and drawing from strangers without fully showing up as herself, and whether that same transactional dynamic extends into independent filmmaking more broadly, including any observational habits she's had to unlearn to stay present as a director. Turning to how younger creatives have responded to a film this honest about the industry's exhaustion, she weighs whether that honesty makes the path ahead feel more daunting or more navigable for them.
September 18 · 25 min
Liz Sargent on family, care, and imagining better in 'Take Me Home'
Writer-director Liz Sargent built 'Take Me Home' out of the life she and her sister Anna have lived, expanding her Sundance short into a feature. Liz opens up about what it means for her work to sit so squarely inside her own family, and whether any line can realistically exist between directing a project and living it, between being someone's director and being their sister once the camera rolls. The short still stands on its own, and Liz looks back on it now with the feature finished, considering how her feelings toward that earlier piece have changed and whether the longer process gave her new appreciation for choices she made the first time around. She also gets into how a feature schedule, so much longer and heavier than a short, reshaped her working rhythm with Anna, and what pulled her toward telling this as fiction rather than documentary. Anna acts opposite a seasoned ensemble here, and Liz describes how she built a set where her sister felt secure and genuinely creatively empowered among them, along with the accessibility practices her crew adopted to make that possible for everyone. She closes on the film's ending and the hopeful world it imagines, and whether offering audiences that vision makes the current state of care systems land even harder for her.
September 8 · 30 min
Greg Vrotsos turns the camera on himself in 'Situations'
Writer-director-star Greg Vrotsos shot 'Situations' entirely within Silver Lake, and considers how uncommon it's become for a film to present Los Angeles as itself rather than a stand-in for somewhere else. He also unpacks the space between what he anticipated directing would feel like and what actually filled his days on set, plus whether the experience reshaped opinions he'd carried for years as an actor working under other directors. Several scenes place Greg's character, Nick, in conversation with himself, and he identifies who or what served as his counterpart in those beats. He addresses his instinct to withhold emotional explanation and let the audience fill in what a character feels, and describes how his eye as a photographer informed the visual distance he and cinematographer Trevor Wineman maintained between the lens and the people on screen. Greg also reflects on what playing a man trying to climb out of a creative and romantic slump revealed about his own habits as a performer, including instincts he found he could finally drop. We wrap by considering whether completing a film rooted in frustration over the scarcity of stories about adults in their thirties and forties actually eased that frustration, or simply underlined how rare those human scale stories remain. (Photo: Courtesy of Liam Brown)
September 4 · 18 min
Joe Swanberg on scaling up and looking back in 'The Sun Never Sets'
Joe Swanberg sets his first feature in nearly a decade against the vast landscapes of Anchorage, Alaska, a marked departure from the cramped apartments and coffee shops that have long defined relationship dramas. Joe reflects on what it meant to trade those intimate confines for bush planes and sprawling terrain, and how directing on that scale changed his day to day approach behind the camera. Known for building loose, outline-driven scripts that let dialogue emerge in the room, Joe considers whether a larger crew and the added complexity of shooting in Anchorage forced him to tighten his structure, or whether his cast still found room to reshape scenes on the fly. He also touches on returning to 35mm for this production, and what that format brought to a story centered on people navigating their messy thirties from a more reflective, slightly older vantage point than his earlier work, without slipping into easy nostalgia. This marks Joe's fourth collaboration with Jake Johnson, and he weighs in on how their long partnership keeps evolving, particularly given how closely this story draws from his own life. Joe also opens up about directing Dakota Fanning and Cory Michael Smith, who had no prior films of his to measure this experience against, and what that dynamic looked like without any shared history to lean on. (Photo credit: Mitchell Hansen)
September 1 · 17 min
Orlando von Einsiedel on destiny and documentary form in 'The Cycle of Love'
Orlando von Einsiedel, the Academy Award winning director behind 'The White Helmets' and 'Virunga,' turns to romance with 'The Cycle of Love,' recreating PK Mahanandia's 6,000 mile bicycle journey from Delhi to Sweden. A dedicated London cyclist himself, Orlando reveals whether he pedaled alongside actor Chirag Lobo during production, and considers which strict verité habits he had to let go of once staging unscripted, actor driven scenes became central to the process. Real strangers encountered along the route add another layer of unpredictability, and Orlando explains how he steered those spontaneous exchanges whenever they risked pulling too far from the emotional heart of PK's original trip. With little archival footage surviving from the actual 1977 journey, he leaned instead on a collection of handwritten letters and keepsakes, pointing to the single object that resisted translation to screen more than any other. He also weighs whether spending years immersed in a story anchored by a childhood prophecy altered his own outlook on fate versus coincidence. Having built a career largely around documenting conflict, Orlando discusses the different creative muscles needed to render pure joy on screen without tipping into sentimentality. We close on the film's handling of caste based discrimination, describing his work with Dalit advocacy groups and one piece of guidance from that partnership that changed either a moment on set or a choice made later in the edit.
August 25 · 28 min
Jess Zeidman and Leo Gallagher find rhythm in fragments in 'Human Theories'
Director Jess Zeidman previously wrote 'Tahara' for Olivia Peace to direct, and this time stepped behind the camera herself, working alongside cinematographer Leo Gallagher, who moved up from gaffer on that earlier project to DP here. Jess unpacks what shifted in her instincts now that every creative choice landed on her desk, while Leo identifies which lessons from his prior work translated most directly to this larger undertaking. Built from more than 40 interconnected vignettes and a cast of over 20 named characters, the film demanded a different kind of groundwork than anything shorter form requires. Jess and Leo describe negotiating how self-contained each segment should feel against the urge to thread them together, and how they mapped out a shoot this sprawling in setting and tone without boxing themselves in too rigidly. Filmed over roughly a year across real New York locations with a lean crew and actors dressed in their own wardrobes, the visual approach, including mounting the camera on a Lazy Susan, had to carry a lot of narrative weight, whether each vignette earns its own distinct look or the throughline comes from one unified way of observing all these different lives. Jess and Leo close by reflecting on how laughter, both from crew during production and later from audiences, became a kind of compass throughout the process, guiding what ultimately made the cut and confirming when a scene had found its truth.
August 21 · 24 min
Shatara Michelle Ford and Ludovica Isidori craft a gentler collision for 'Dreams in Nightmares'
Writer-director Shatara Michelle Ford and cinematographer Ludovica Isidori reunite for their second feature together following 'Test Pattern,' this time following three queer Black femmes searching for a missing friend across the American Midwest. They reflect on how the shorthand built during their first collaboration carried over or had to be rebuilt entirely once the scale and ambition of this story demanded something new from their partnership. Our conversation turns to the film's opening moments, where a charged, layered score and archival footage give way abruptly to still, quiet images of nature. Shatara and Ludovica walk through the reasoning behind that jarring juxtaposition and what it establishes for the tone that follows. Shatara breaks down why providing broader context is essential for an audience to truly grasp their work, while Ludovica shares how much of that foundational world-building she needs to absorb before picking up the camera. The episode concludes with an intimate look at their reshaping of the road movie, a genre long associated with solitary men and open highways, into something rooted in closeness and romantic warmth instead.
August 14 · 19 min
Andrew Patterson on scaling up without selling out in 'The Rivals of Amziah King'
Writer-director Andrew Patterson follows his lean, celebrated debut 'The Vast of Night' with a sophomore feature running well past two hours, a substantial jump from his first film's tight runtime. Andrew unpacks how that shift rippled through every stage of making 'The Rivals of Amziah King,' from page to production to post, and what it actually took to earn the budget and creative latitude this story needed rather than staying confined to the scrappy reputation his first film built for him. Shooting around live hives introduced real risks to both cast and crew, something Andrew and his team had to navigate carefully while still finding room for the camera and actors to move. Sound has become something of a signature across his work, from the crackling transmissions of his debut to the hum of bees layered against bluegrass here, and Andrew considers whether that audio identity forms on the page or emerges once he's standing in the location itself. He opens up about bringing Matthew McConaughey back to a leading role after several years away, and how freely he let himself picture a specific performer while still drafting the script. Andrew reflects on pairing McConaughey with newcomer Angelina LookingGlass, and the care it took to get a veteran actor and a first-timer operating on equal footing. We close by considering his recurring pull toward tightly bound, often overlooked American communities, and whether spotlighting these fading corners of the country carries any deliberate instinct toward preserving them.
August 11 · 27 min
Adam Meeks and Stefan Weinberger on second chances in 'Union County'
Writer-director Adam Meeks and cinematographer Stefan Weinberger expanded their 2020 short into 'Union County,' a feature starring Will Poulter and Noah Centineo as brothers Cody and Jack Parsons navigating a court-mandated recovery program in rural Ohio. Adam lays out his intention to counter standard opioid epidemic narratives by centering grace and community support instead, and what kept the film from tipping into romanticizing recovery or leaning on tragedy tropes. Stefan reflects on how his sense of camera placement in such personal, intricate scenes shifted between the short and the feature as the years passed, and what patience the longer format allowed that the short couldn't. Car rides often serve as transitional filler elsewhere, but here they become an essential place for Cody, the brotherhood he shares with Jack, and Adam and Stefan explain what drew them to the backseat as a primary staging ground for that dynamic. They also walk through the logistics of shooting across numerous practical locations throughout Ohio, on an independent production working with a mix of built and existing sets. The conversation closes on a broader note, as Adam and Stefan consider their own and the film's relationship to happy endings, in the context of a story built on the fragile, ongoing work of recovery.
August 7 · 20 min
Stanley Kwan on the ghosts that outlive us in 'Center Stage'
Director Stanley Kwan's 1991 film 'Center Stage' returns in a 4K restoration marking its 35th anniversary, revisiting how experimental the biopic was for its time, arriving in Hong Kong as a commercial gamble rather than the awards bait the genre has since become. He recalls whether anyone pushed back against something this unconventional, and considers what it means to watch his younger self on screen, physically present within the film's meta structure, interviewing his own actors. Director Kwan walks through the delicate task of supervising the restoration's color correction, guarding the deliberate grain of the 16mm and archival footage from digital tools eager to treat texture as damage. The film's opening asks a young Maggie Cheung whether she wants to be remembered fifty years later, a question that lands differently now that she has become exactly that kind of enduring figure. He traces how Cheung's own relationship to fame in that room shaped his direction of her through the historical scenes, and names the qualities in cinematographer Poon Hang Sang, better known for action films, that earned him trust on something this intimate. Late in the film, the camera crew appears on screen beside Ruan Lingyu's body, breaking the illusion at the story's most tragic point. Director Kwan explains why that rupture felt necessary rather than distancing, and looks back across 50 years of Ruan's absence, and thirty-five since he made the film, to weigh how his own sense of her legacy has shifted with age. (Photo: Courtesy of Stanley Kwan)

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