Joe McGovern is an awards reporter at TheWrap, writing about actors, directors, craftspeople and trends in the annual Oscar race. He also moderates conversations with filmmakers for TheWrap’s Screening Series. Before joining TheWrap in 2020, he was a correspondent at Entertainment Weekly. He is based in Brooklyn, New York.
Experience:
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How the Tiger King of Mexico Helped Make the New Canadian Film ‘Drunken Birds’ (Video)
TheWrap Screening Series: Director Ivan Grbovic and cinematographer Sara Mishara discuss the making of ‘Drunken Birds’ drama
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How ‘Dune’ Costume Designers Kept Timothée Chalamet Cool in His Sci-Fi Stillsuit | Wrap Video
TheWrap’s “How I Did It” video series kicks off with wardrobe maestros Jacqueline West and Bob Morgan, who drew inspiration from Frank Herbert and the Jordan desert
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How ‘Mass’ Film Editor Broke Up an Argument Between 2 Characters
Yang-Hua Hu (2018’s “The Public”) talks to TheWrap about his precise, thoughtful work on the four-characters-in-one-room drama
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One Man Strives to Climb All the Highest Mountains in Trailer for Documentary ’14 Peaks’ (Exclusive Video)
Netflix film about Nepalese mountaineer is executive produced by ‘Free Solo’ directors Jimmy Chin and Elizabeth Chai Vasarhelyi
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‘Foundation’: A Look Into the Epic Future Worlds of Apple TV+’s New Sci-Fi Series (Exclusive Video)
Get a welcome primer on the show’s plot, while soaking up the stunning visuals of the show starring Jared Harris and Lee Pace
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Inside Cinematographer Kramer Morgenthau’s Approach to Period Dramas ‘Respect’ and ‘The Many Saints of Newark’
The veteran lenser talks to TheWrap about his “story oriented” work on both films and his humble beginnings on a naughty HBO series
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‘Dune’ Star Stellan Skarsgard Wanted More Nude Scenes as Epic Villain Baron Harkonnen
Makeup artist Donald Mowat tells TheWrap about the challenges of dropping the Swedish actor, plus his 20-pound body suit, into an oily bathtub
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How ‘The Guilty’ Sound Team Retrofitted a High-Tech Zoom Call to Make the Jake Gyllenhaal Thriller
The claustrophobic thriller from Antoine Fuqua (“The Equalizer”) was made during a coronavirus wave in 2020, causing the audio team to think outside the (speaker) box
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How John Boyega Tackled Racism Playing a Metro Police Officer in ‘Small Axe’ and Marching For Black Lives Matter
TheWrap awards magazine: “It was a very organic, emotional moment for me,” the “Red, White and Blue” actor said about protesting
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Louise Fletcher Explains Why She Accepted Her Oscar in Sign Language 45 Years Ago
The 86-year-old actress talks about her emotional acceptance speech after winning for “One Flew Over the Cuckoo’s Nest”
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‘Collective’ Director Explains Why Romanian Officials ‘Were Not Happy’ About Oscar Attention
TheWrap awards magazine: Alexander Nanau discusses his searing film about a nightclub fire, nominated for both Best Documentary and Best International Feature Film
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Will Thomas Vinterberg’s ‘Another Round’ Be Latest Foreign-Language Film to Win Best Director Oscar?
TheWrap awards magazine: The first Danish filmmaker ever nominated in the category talks about the “hubbub” he’s caused in “the humble kingdom of Denmark”
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‘Mank’ in Color: How Vibrant Shades Were Key for Designing Black and White Film (Exclusive Video)
Oscar-nominated production designer Donald Graham Burt explains why he built colorful sets for David Fincher’s monochromatic period piece
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‘Sound of Metal’ Editor on Why He Cut a ‘Beautiful, Candy to the Eye’ Scene
Oscar nominee and BAFTA winner Mikkel E.G. Nielsen talks to TheWrap about what was lost (and gained) from the film’s original 3:45 version
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‘Mank’ Cinematographer: ‘My Memories of Making the Film Are All in Black and White’
Erik Messerschmidt, Oscar nominated for his debut feature film as a cinematographer, talks to TheWrap about working with David Fincher on the 1940s-era period piece
