Wrap Magazine (Awards)
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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
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How They Did It: Denis Villeneuve and the Making of ‘Dune’
It took an army to put Denis Villeneuve’s epic Dune on screen; here are stories from the director and some of his soldiers
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Making ‘Dune’ – Here’s How Denis Villeneuve and His Team Pulled Off Sci-Fi Epic (Video)
TheWrap magazine: It took an army to put Denis Villeneuve’s epic “Dune” on screen; here are stories from the director and some of his soldiers
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Why ‘Dune’ Production Designers Built a ‘Visual Bible’ Before Day One of Shooting
TheWrap magazine: “You show that to every department, and they get where we’re going,” Patrice Vermette says
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Why ‘Dune’s’ Biggest Visual Effects Challenge Wasn’t the Worms But the Sand
TheWrap magazine: “We scoured the internet to find a great disturbance in the sand, and we just couldn’t find it,” VFX supervisor Paul Lambert says
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‘Dune’ Composer Hans Zimmer Reveals the Note That ‘Tore the Enamel Off My Teeth’
TheWrap magazine: Oscar winner wanted his singer to “unleash that inner female strength” for a key scene
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‘Dune’ Costume Designers Were Inspired by Everything From Balenciaga to Tarot Cards to Insects
TheWrap magazine: “It was clear that Denis wanted this psychological, multilayered political drama,” Jacqueline West and Bob Morgan say
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Why ‘Dune’ Editor Traveled to Budapest But Wouldn’t Go on the Set
TheWrap magazine: “It’s really hard to cut things out after you’ve seen how much work goes into it,” editor Joe Walker says
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The Sound of ‘Dune’: The Giant Worm Was Hard, But the Magical Voice Was Harder
TheWrap magazine: “We never fully nailed what we wanted to do until the last week of final mixes,” sound editor Mark Mangini says
