We’re chatting about some wonderful films with some terrific filmmakers this week on BEHIND THE LENS, starting with director/co-writer ALLAN UNGAR talking about his new film LONDON CALLING. Then in the second half of the show, director/co-writer CHRISTOPHER LEONE and writer/former paramedic PATRICK PIANEZZA are on hand for their new comedy/dramedy, CODE 3.

Directed by Allan Ungar with script by Omer Levin Menekse, Allan Ungar, and Quinn Wolfe, LONDON CALLING stars Josh Duhamel, and along with Josh is the scene-stealing Jeremy Ray Taylor, Aidan Gillen, Arnold Vosloo, Rick Hoffman, and Daniel Lasker, who is a solid standout here.

The story is a simple one. After fleeing the UK from a hit job gone wrong, a down-on-his-luck hitman named Tommy - played by Josh Duhamel - is forced to babysit Julian, the son of his new crime boss Benson, and show him how to become a man. And of course, we have the requisite hit man action elements, complete with gun fights, car chases, and in this case, some juvenile hijinks, and so much more.

But what elevates the simplicity of the story, which is packed with action and adventure, is the heartfelt bonding between Tommy and Julian, and the chemistry between Josh and Jeremy. As they embark on what can be described as a "road trip buddy action comedy", their growing quasi-paternal bond is palpable and makes your heart smile in between the laughs.

Watching them bond drives the story, but then thanks to cinematographer Alexander Chinnici, the story and emotion are punctuated with not only beautiful imagery immersing us in London and Los Angeles, but some outstanding montages that not only fuel the emotion of the story but showcase Chinnici’s impressive skills and the visual grammar he and Allan have designed. Sun flares, slo-mo, saturation of color, bright sun. It is all spectacular.

In this exclusive interview, Allan discusses LONDON CALLING, highlighting the dynamic between Tommy and Julian. Ungar praises cinematographer Chinnici for the film's visual grammar, particularly the use of light and lens in South Africa, and the production team, including production designer Warren Gray, art director Kerry Von Lillienfeld, and set decorator Roberto Bassi, who successfully recreated London and Los Angeles in Cape Town. Delving into the editing process, Allan details working with his editors, emphasizing the importance of selecting shots carefully. He also discusses the challenges of integrating the LARPing element and the impactful score by Trevor Morris, which balances action and comedy.

Then, we’re coming in hot with sirens roaring and lights flashing thanks to director and co-writer Christopher Leone and writer/former paramedic Patrick Pianezza and their new film CODE 3.

Directed by Christopher Leone, CODE 3 is a high-octane action dramedy that follows a world-weary paramedic on his final 24-hour shift as he trains his eager but inexperienced replacement. What begins as a routine night quickly unravels into a chaotic, citywide odyssey, testing their endurance, instincts, and sense of humor as they race from one emergency to the next. Blending heart, irreverent comedy, and edge-of-your-seat action, CODE 3 offers a gritty, behind-the-scenes look at the life of first responders, where every call could mean disaster or redemption.

CODE 3 is unflinchingly fun, entertaining, and eye-opening at the same time. From a very smartly written script that’s very crisp to dialogue that's rapier, the situational experiences are beyond believable. Told through the eyes of Rainn Wilson's character of Randy, working his final shift with his longtime partner Mike, played by Lil Rel Howery, and breaking in his replacement, a young, eager female named Jessica, played to perfection by Aimee Carrero, just draws you in. Supporting players include Rob Riggle as a jerk ER doctor who hates Randy (and vice versa), and Yvette Nicole Brown, who is hilarious as Randy's supervisor, Shanice.

In this exclusive interview, Christopher Leone and Patrick Pianezza highlight the film’s authentic portrayal of paramedic life thanks to Patrick's paramedic experiences. Christopher has nothing but praise for Patrick's script for its blend of comedy and seriousness, focusing on burnout and the true nature of the job. The film's visual grammar, led by cinematographer Mark Williams, captures the claustrophobic yet dynamic environment of an ambulance and the emotionality of the situations, as well as shooting exteriors around LA, including under the LAX flight path. Christopher also goes into detail on developing the visual grammar and shooting with the Sony Venice camera. Plus, he talks about editor Jay Friedkin, who delivers a film that is fast-paced with a calmly efficient urgency. And we talk about Maximilian Eberle's score, which uses medical instruments to create a unique sound!