Wrap Magazine
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How a Storage Unit Transformed the Documentary ‘Joan Baez I Am a Noise’
TheWrap magazine: “I had no idea what was in there,” Baez says of giving her directors the key to a unit that contained tapes of her therapy sessions
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How Eve Hewson Proved She’s Funny by Playing Irish Women
TheWrap magazine: With “Flora and Son” and “Bad Sisters,” the actress “feels seen for the first time”
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Why ‘Past Lives’ Star Greta Lee Didn’t Want Anybody to See the Movie
TheWrap magazine: “It was totally thrilling, but also terrifying once it was complete,” says Lee of the Celine Song movie she made with Teo Yoo and John Magaro
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Song or Score? ‘The Holdovers’ Music Blurs the Line
TheWrap magazine: “It’s what we jokingly call scource — half score, half source music,” says composer Mark Orton
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Why Jon Batiste Followed His Huge ‘American Symphony’ With a Gentle Love Song
TheWrap magazine: The composer and performer says the ballad “It Never Went Away” “felt spiritually connected to everything that happened” as his wife battled leukemia
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How ‘American Fiction’ Grew Out of Cord Jefferson’s Own Experiences of Being Piegonholed as a Black Writer
TheWrap magazine: “The subtext of all those conversations is an inability to see Black life as being as complex and dynamic and broad and deep as anybody else’s life,” Jefferson says
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How Maori Singer Stan Walker Reclaimed His Identity With a Song From Ava DuVernay’s ‘Origin’
TheWrap magazine: “Even though I’m 33 years old, I feel born again in a whole new way,” says the New Zealand singer
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Diane Warren Is Back in the Oscar Song Race, But You Probably Could Have Guessed That
TheWrap magazine: “He wants a friend,” says Warren of the Honorary Oscar she received last year after 14 nominations without a win
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How ‘Oppenheimer’ Ignited an Explosion of 70mm
TheWrap magazine: Film-school administrators and a student weigh in whether the celluloid celebration is here to stay or merely a passing fad
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How Some Film Schools Are Getting More ‘Woke’ – and Why Professors Find It ‘Kind of Wonderful’
TheWrap magazine: Administrators from top film schools weigh in on how to teach films with problematic legacies like “Gone With the Wind”
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TheWrap’s Top 50 Film Schools for 2023
TheWrap magazine: Whether you thrive on NYC energy, SoCal sunshine or pretty much anything in between, there is a film school for you
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How Iconic Indie Producer Christine Vachon ‘Brought the Industry Into the Classroom’
TheWrap magazine: A conversation with the producer of “Carol” and “Past Lives” on film schools, first-time directors and the state of cinema and education
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Why ‘Daisy Jones & the Six’ Included Songs by Industry Legends Like Barry Manilow and Patti Smith
TheWrap magazine: “We wanted to show that there were so many different genres of music in the ’70s,” music supervisor Frankie Pine says
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Norman Lear: Emmy Voters Are Still Paying Attention to the 101-Year-Old Master
TheWrap magazine: “Norman Lear: 100 Years of Music & Laughter” was designed as “the celebration of a life well lived,” executive producer Brent Miller says
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‘Succession’ Composer Nicholas Britell Says Scoring Logan Roy’s Death ‘Was Unlike Anything I’ve Done’
TheWrap magazine: The three-time Emmy nominee (also of Disney+’s “Andor”) tells TheWrap about avoiding the shadow of John Williams and more
