TheWrap Magazine
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How Composer Ludwig Göransson Took Viewers Inside J. Robert Oppenheimer’s Head
TheWrap magazine: “You’re with him — you’re feeling his feelings, you’re seeing through his eyes throughout the whole film,” Göransson says
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Why John Carney Needed to Write ‘Good, Not Great’ Music for ‘Flora and Son’
TheWrap magazine: “It can’t be that she suddenly starts singing like Beyoncé and he starts writing Ed Sheeran songs,” Carney says
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How Jarvis Cocker Channeled His Childhood Cowboy to Write Songs for ‘Asteroid City’
TheWrap magazine: The musician and longtime Anderson collaborator also appears in the 1950s-set film
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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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Roger Ross Williams Had to Prepare ‘Cassandro’ Real-Life Subject for Artistic License: ‘It Wasn’t a Documentary’
TheWrap magazine: “This is a deeply emotional story of the love between a mother and a son, their isolation and loneliness,” the filmmaker says
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How ‘Nyad’ Screenwriter Julia Cox Captured the Marathon Swimmer’s ‘Extreme, Intense, Very Esoteric Dream’
TheWrap Magazine: Cox drew from Diana Nyad’s memoir and conversations with the super athlete to write the biopic starring Annette Bening and Jodie Foster
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How ‘Rustin’ Cowriter Found the Mischievous Humor Within the Stature of a Civil Rights Icon
TheWrap Magazine: “Rustin was into pranks and jokes, and I felt like that played into his brilliance as a strategist,” says screenwriter Julian Breece
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‘May December’ Screenplay Was Influenced By an ‘Eternal and Archetypal’ ’90s Tabloid Scandal
TheWrap Magazine: The Mary Kay Letourneau case was a precursor to the “never-ending true crime parade we have right now,” says screenwriter Samy Burch
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How ‘Jaws’ Inspired the Michael Jordan-Infused ‘Air’
TheWrap magazine: “This kind of unknown employee at Nike, an underdog in his own right, was all very interesting to me,” screenwriter Alex Convery says of his massive industry break
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‘The Color Purple’: How Nova Wav’s New Song Kept the Broadway Beat
TheWrap magazine: The Grammy-winning duo talks about “Keep on Movin,’” one of the new songs in the long-awaited musical Christmas release
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How Billie Eilish and Finneas Tapped Into the Personal to Write Their ‘Barbie’ Ballad
TheWrap magazine: “The thing that we can relate to, that anyone can relate to, is having an identity crisis: not knowing who you are,” Finneas tells TheWrap
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A.V. Rockwell Talks Making ‘A Thousand and One’ and the Misconceptions of First-Time Feature Directors
TheWrap magazine: The award-winning filmmaker prefers to write and direct her projects: “It needs to come from me … but I always keep the door open”
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Dua Lipa Breaks Down ‘Barbie’ Song of the Summer: ‘It Was Kind of a Jigsaw Puzzle’
The singer came onto the project after the melody for “Dance the Night” had already been written
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‘Maestro’ Cowriter Explains How Bradley Cooper Evolved the Existing Script: ‘It Was Pretty Intense’
TheWrap magazine: “I’m used to going deep. But I’m not used to struggling to keep up, as it was with Bradley as we were writing,” explains Oscar-winner Josh Singer
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How ‘Past Lives’ Director Celine Song Earned Her Cast’s Trust
TheWrap Magazine: “Part of being a director is that you’re the burning, bubbling center of gravity for how much everybody’s going to give,” Song said
