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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“
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Why ‘The Tragedy of Macbeth’ Cinematographer Grew Superstitious While Making the Black-and-White Drama
TheWrap magazine: Five-time Oscar nominee Bruno Delbonnel explains how Shakespeare’s prose justified the film’s black-and-white photography
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‘C’mon, C’mon’ Director on Why the Joaquin Phoenix Film ‘Had to Be in Black-and-White’
TheWrap magazine: Director Mike Mills talks about how cinematographer Robbie Ryan crafted an ”al dente, not overworked, use of black-and-white” for the relationship drama
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Kirsten Dunst on Her SAG Nomination Wake-Up Call: I Was Napping After My Son ‘Threw Up at 4 A.M.’
”It feels wonderful to be included,“ the actress tells TheWrap about her nomination for Jane Campion’s ”The Power of the Dog“
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‘Nightmare Alley': Find Out Why the Design of Cate Blanchett’s Office Gives a Clue to the Film’s Title
TheWrap magazine: Production designer Tamara Deverell explains her motives behind creating the Guillermo del Toro film’s most dazzling set.
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How ‘The Power of the Dog’ Production Designer Embraced ‘Magical Qualities’ While Making the 1920s Drama
TheWrap magazine: Oscar winner Grant Major talks about the ways in which his sets for the Jane Campion film were “a vessel for the psychological things going on’
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‘Belfast': Why Sound Designers Used the Roar and Whistle of a Train to Depict a Violent Mob
Bringing a 1969 Northern Ireland to life required ingenuity for the crew of Kenneth Branagh’s awards favorite
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Why ‘The Power of the Dog’ Cinematographer Resisted a ‘Full Rainbow’ for Film’s Aesthetic (Exclusive Video)
Ari Wegner describes her subtle, sensual work on the awards-favorite Jane Campion film
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Why ‘Titane’ Director Auditioned Both Men and Women for the Film’s Lead Role
”The gender was not relevant as long as I found what I needed,“ Cannes Palme d’Or winner Julia Ducournau tells TheWrap
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Is ‘The Power of the Dog’ a Vampire Movie? Why the Film’s Cinematographer Won’t Rule It Out
”I always called it a monster film,“ Ari Wegner tells TheWrap
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‘The First Wave’ Director Hopes His COVID Doc Inspires Compassion and Catharsis
TheWrap magazine: ”It’s a film about human beings coming together in crisis. And in the face of this awful virus, that was a beautiful thing to witness,“ Matthew Heineman says
