Wrap Magazine (Awards)
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‘Encanto’: How ‘Dos Oruguitas’ Was Brought to Life
TheWrap magazine: The filmmakers behind the Disney hit say the touching number was originally part of the prologue
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How ‘Foundation’s VFX Supervisors Battled COVID-Induced Labor Shortages to Conjure New Worlds
TheWrap Magazine: Visual effects supervisors Chris MacLean and Michael Enriquez underline a unique challenge the Apple TV+ series faced
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‘The Morning Show’ Design Problem: Go Around the World Without Leaving L.A.
TheWrap magazine: Production designer Nelson Coates had to stage scenes set in China, New York, New Orleans and Italy, all in Southern California
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How a Bathroom Break Was a Key to the Design of ‘The Green Knight’
TheWrap magazine: Designer Jade Healy says she’s thankful for what the film’s D.P. found when he took a leak in the woods
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The Hardest Costume Design Challenge on ‘Cyrano’ Had Nothing to Do With the Lead Character
TheWrap magazine: “They are the aliens of the 1700s,” says costume designer Massimo Cantini Parrini of the characters that caused him “a great deal of suffering”
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‘Cruella’ Costume Designer Jenny Beavan on Crafting That Iconic Dress
Outfitting one of the greatest villains ever is no easy feat
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The Big Design Challenge for ‘Licorice Pizza’: Find 1970s L.A. in the 2020s
TheWrap magazine: “We were looking for pockets where people hadn’t demolished their ranch houses to build white modern monstrosities,” production designer Florencia Martin says
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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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How ‘The French Dispatch’ Designer Created Wes Anderson’s New World
TheWrap magazine: “My first reaction was sort of a slight panic,” production designer Adam Stockhausen says of the sheer number of designs he needed to create
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Why ‘Being the Ricardos’ Cinematographer Jeff Cronenweth Modernized ‘I Love Lucy’ in Recreations
TheWrap magazine: The DP explains why they tries to avoid carbon copies of classic “I Love Lucy” segments in the film
