How ‘I Lost My Body’ Director Melded Live Actors, 2D Animation and CGI for ‘Handmade’ Look
TheWrap Oscar Magazine: “It brings a new perception of reality of how you explore character,” Jérémy Clapin says
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‘Ford v Ferrari’ Editors Say Those Auto-Racing Scenes Weren’t the Biggest Challenge
TheWrap Oscar magazine: “It had to feel like you were in a 24-hour race, but you weren’t just sitting in a car the whole time,” Michael McCusker says
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How Terrence Malick Got His Rapturous, Mystical Look in ‘A Hidden Life’
TheWrap Oscar magazine: “We would continue to explore until the actors feel that they are not performing anymore,” cinematographer Jörg Widmer says
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Where ‘Hustlers’ Costume Designer Got His Inspiration for Those ‘Regrettable’ ’80s Fashions
TheWrap Oscar magazine: “I researched this movie like it was a period movie,” Mitchell Travers says
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How ‘The Irishman’ Nailed a Vintage Look: 295 Locations, 28 Sets, Countless Details
TheWrap Oscar magazine: “It called for a tremendous level of detail,” production designer Bob Shaw says
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How ‘The Lighthouse’ Delivers Ominous Horror Through Simple Cinematography
TheWrap Magazine: “It’s a classic, ghost story, flashlight-under-the-face moment,” cinematographer Jarin Blaschke says of key scene in Robert Eggers film
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‘How to Train Your Dragon’ Creator Dean DeBlois on How the Franchise’s Animation Matured With Hiccup
TheWrap Oscar magazine: “Every single dragon required its own rig and walk cycle,” DeBlois says
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How ‘Joker’ Designer Mapped Gotham With a Touch of DC Comics and a Lot of Old NYC Squalor (Map)
TheWrap Oscar magazine: “Whenever I could, I wanted to seed some bits of Joker-ness into the world,” production designer Mark Friedberg says
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How ‘Bombshell’ Director Jay Roach Tackled ‘Male-Pattern Bulls–‘ at Fox News and Beyond
TheWrap Oscar magazine: “I hoped by telling this story that it goes to show how much it’s not a partisan issue,” the filmmaker says
