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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Why Aubrey Plaza Entered Thriller Territory With Her New Film ‘Emily the Criminal’ (Video)
Sundance 2022: “It was a no-brainer for me when I read it,” Plaza says
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Why ‘King Richard’ Cinematographer Studied Other Sports Movies to Make Williams Sisters Drama
Oscar-winner Robert Elswit (“There Will Be Blood”) also explains the approach to staging the film’s domestic scenes with Will Smith and Aunjanue Ellis
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How Filmmakers of ‘The Janes’ Documentary Confront Today’s Abortion Debate Through a 1960s Lens (Video)
Sundance 2022: “These were ordinary women turned outlaws,” co-director Tia Lessin says. “What better story is there than that?”
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Why Kodi Smit-McPhee Describes Acting in ‘The Power of the Dog’ as ‘Entering Another World Through a Portal’
TheWrap magazine: The 25-year-old Australian actor explains how he portrayed the “sweet and unsettling” vibe of an enigmatic teenager in 1920s Montana
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‘Nightmare Alley’ Cinematography: See Why Toni Collette Says ‘Every Frame Blows My Mind’ (Exclusive Video)
Director of photography Dan Laustsen and Guillermo del Toro also chime in about conjuring the film noir’s moody, rich aesthetic
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Why Jesse Eisenberg Lucked Out With Julianne Moore on His Directing Debut ‘When You Finish Saving the World’ (Video)
Sundance 2022: “The first take she did of every scene was the best,” the Oscar-nominated actor says
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Why Lin-Manuel Miranda Said He Was the ‘Only Person’ Who Could Make ‘tick, tick… BOOM!'(Exclusive Video)
The ‘Hamilton’ creator discusses how his early love of films led him to make his directorial debut with the musical starring Andrew Garfield
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‘The Tragedy of Macbeth’: How The Sets Were Designed as One Big Optical Illusion
Production designer Stefan Dechant talks about blending day and night in the new Joel Coen film – and how “lime green cartoon moss” intruded on one scene
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Why ‘CODA’ Kept a Flub by Star Emilia Jones in the Finished Film | Wrap Video
In TheWrap’s newest “How I Did It” video, the SAG Ensemble nominee talks about how she made the most of her nerves while singing “Both Sides Now”
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Spike Lee to Receive Directors Guild Lifetime Achievement Award
The iconic director of “Do the Right Thing,” “Malcolm X,” and “BlacKkKlansman” will receive the honor on March 12
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‘Eternals’: How the Visual Effects Team Created the Deviant Kro
TheWrap magazine: The extraterrestrial villain Kro “needed to be subtle and sympathetic,” explains Weta Digital VFX maestro Matt Aitken
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‘Spencer’ Costume Designer Raves About Kristen Stewart: ‘Do People Not Realize She’s One of the Great Actresses?’
TheWrap magazine: “Kristen is not recognized enough for what daring choices she makes,” says two-time Oscar winner Jacqueline Durran
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Oscar Contenders in Black and White, From ‘Belfast’ to ‘The Tragedy of Macbeth’
The filmmakers behind four acclaimed films — “Belfast,” “C’mon, C’mon,” “Passing” and “The Tragedy of Macbeth” — discuss the magic of shooting in the old-fashioned format
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‘Passing’: How Classic Hitchcock Thrillers Influenced the Dreamy Black-and-White Look
TheWrap magazine: “What could be better than black-and-white when it comes to the core of light and darkness?” cinematographer Eduard Grau says
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Why ‘Belfast’ Cinematographer Added Splashes of Color to the Movie’s Black-and-White World
TheWrap magazine: For his eighth collaboration with Kenneth Branagh, Haris Zambarloukos talks about black-and-white is a “more lucid way of capturing emotion”
