TheWrap Magazine
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‘May December’: How Bergman, Mirror Play and Ace Acting Shaped the Netflix Film’s Unique Look
TheWrap magazine: Cinematographer Christopher Blauvelt enthuses that “the way they expanded on” the script “was something that I didn’t expect”
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Finding the Cringey Core of ‘The Curse’: ‘It Was Treated Like Drama and the Horror Is Inherent in the Material’
TheWrap magazine: Editor Adam Locke-Norton adds, “the pace was a little unusual for TV, it’s more like a European film”
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How Cinematographer Erik Messerschmidt Revved Up Michael Mann’s ‘Ferrari’ Without Green Screen
TheWrap magazine: “All the racing in the movie is real,” says the Oscar-winning lenser
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How ‘The Holdovers’ Added Frame Stains and Real Snow to Create a 1970s Holiday Landscape
TheWrap magazine: “We shot in Boston and the whole schedule was designed around when we would be most likely to have snow,” says cinematographer Eigil Bryld
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Does a Makeup Makeover Increase Your Chances of Oscar Gold?
TheWrap magazine: “Maestro,” “Poor Things,” and “Golda” are among this year’s Makeup and Hairstyling Oscar short-listers
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‘May December’, ‘Past Lives’ and Other Costume Designers Explain How They Weave a ‘Sense of Individuality’ Into Modern Clothes
TheWrap magazine: The costumers behind four great 2023 movies discuss the subtle art of wardrobing characters in the here and now
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‘All of Us Strangers’ Cinematographer Unpacks the Film’s Sensual Intimacies and Mysteries
TheWrap magazine: “The intent was to create this ambiguous feeling of current, future and past all blended into one,” said lenser Jamie D. Ramsay
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How ‘Fargo’ Expanded the Coen-Verse With Help From Westerns and ‘The Nightmare Before Christmas’
TheWrap magazine: “It was all a really enjoyable fusion and loving homage,” said production designer Trevor Smith of the FX series
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Inside the ‘Poor Things’ World of Miniature Steamships, Massive Sets and Sleeves That Look Like Lungs
TheWrap magazine: We talked to the extraordinary creative team behind director Yorgos Lanthimos’ dazzling fantasia
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‘20 Days in Mariupol’ Director Hopes His Film Can Go Where the News Cycle Can’t
TheWrap magazine: “Even the most important events last for a day or two and then disappear in the sea of other events,” Mstyslav Chernov says
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How Da’Vine Joy Randolph Found ‘Many Dimensions of Grief’ in ‘The Holdovers’
TheWrap magazine: “Grief has many facets. That was something I tried to constantly engage and explore,” the actress says
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How ‘Barbie’ Was Made: Greta Gerwig and Artisans Tell All
It made no sense to hire an indie director to make a movie about a doll, but Greta Gerwig and her crew provided $1.5 billion reasons why “Barbie” was a very good idea
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‘Barbie’ Costume Designer Says Weird Barbie’s Look Comes From a Child’s Point-of-View
TheWrap magazine: “I wanted to make it multidimensional so that you could look at it (as a) child,” Jacqueline Durran says
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‘Barbie’ Editor Nick Huoy Describes Cut Scene of Ken Fighting a Bear
TheWrap magazine: “We had so much more that was really funny, but you gotta get through it quicker for the sake of the narrative,” Nick Huoy says
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‘Barbie’ Production Designers Created Kendom by Imagining ‘Your Worst Younger Brother’
TheWrap magazine: “It was quite tricky for us to get into Kendom, initially,” Katie Spencer says
