TheWrap Magazine
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How ‘The Bear’ Cinematographer Pulled Off That Impressive 18-Minute Take With No Cuts
TheWrap magazine: “I have always pushed directors to let a scene go as long as you can,” DP Andrew Wehde says
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Why ‘Living’ Star Bill Nighy Is a Cinematographer’s Dream: He ‘Commands Space’
TheWrap magazine: “He’s got a gravity to him that becomes very evident when you’re around him,” says DP Jamie D. Ramsay
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How the Designers of ‘Elvis’ and ‘Blonde’ Brought 2 Icons Back to Life on Screen
TheWrap magazine: Here’s how you duplicate (or tweak) some of the most familiar looks of the last century
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Cinematographer Roger Deakins Fears That Moviegoing Has ‘Changed Beyond Repair’
TheWrap magazine: “I don’t think producers and studio people are willing to take the risk on a film that expands the cinematic language,” says the legendary DP of “Empire of Light”
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How ‘Mrs. Harris Goes to Paris’ Costume Designer Created New Gowns ‘In the Spirit of Christian Dior’
TheWrap magazine: Three-time Oscar winner Jenny Beavan (“Cruella,” “Mad Max: Fury Road”) explains how she added her own touch to classic designs
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Why ‘Top Gun: Maverick’ Cinematographer Claudio Miranda Got His Pilot License to Work on the Tom Cruise Blockbuster
TheWrap magazine: “When I first heard about the job, I said, ‘OK, let me get into the plane and let’s start figuring this out,’” the Oscar winner says
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How Costume Designer Mitchell Travers Transformed Jessica Chastain and Michael Shannon Into ‘George & Tammy’
TheWrap magazine: “I would argue that the country world is now a bit more conservative than it was,” Travers says, of famous duo George Jones and Tammy Wynette
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How ‘A Friend of the Family’ Re-Created a Famous ’70s Idaho Kidnapping in Atlanta
TheWrap magazine: Production designer John D. Kretschmer talks about crafting the era-specific settings for Peacock’s “gut punch” miniseries
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How ‘The Fabelmans’ Pieced Together Steven Spielberg’s Childhood With Editors Michael Kahn and Sarah Broshar
TheWrap magazine: The longtime Spielberg collaborators recall the filmmaker telling them to cut one scene “really poorly” for novice authenticity
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How ‘Tár’ Cinematographer Florian Hoffmeister Gave the Camera an ‘Observational Attitude’
TheWrap magazine: Florian Hoffmeister filmed Cate Blanchett from carefully chosen angles that create the spooky illusion that she is being watched at all times
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How the ‘Black Panther: Wakanda Forever’ Cinematographer Made a World of Water
TheWrap magazine: Autumn Durald Arkapaw says director Ryan Coogler “wanted to make this deep-space kind of movie, underwater”
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From ‘The Whale’ to ‘Babylon,’ How Production Designers Created Power and Emotion Using Single Locations
Four renowned production designers talk about the challenge of building memorable sets, including a movie theater, hotel room and castle party
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‘Everything Everywhere All at Once’: How Costume Designer Shirley Kurata Outfitted the Multiverse
TheWrap Magazine: The designer drew from Michelle Yeoh’s filmography, Japanese fashion, sci-fi films and more to dress the breakout indie hit
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The Cinematography of ‘Avatar: The Way of Water’ — New Tech Meets Old Tricks
TheWrap magazine: “You could be on a set in the 1940s and see the same thing,” says cinematographer Russell Carpenter of some battle-tested techniques
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The Challenge of Creating the Look of ‘Avatar: The Way of Water’: ‘It’s Designing an Entire Universe’
TheWrap magazine: “The tactical and logistical details were unbelievably difficult to figure out,” says production designer Dylan Cole
