TheWrap Magazine
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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
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Inside the Complexity of Editing ‘Avatar: The Way of Water’
TheWrap magazine: “Every sequence is at the highest level of difficulty,” says editor Stephen Rivkin
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Every ‘Avatar: The Way of Water’ Costume Was Made in Real Life Before Being Scanned Into a Computer
TheWrap Magazine: Costume Designer Deborah L. Scott explains why it was crucial to create every piece of clothing and jewelry in physical form
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‘Avatar: The Way of Water’ VFX Team Reveals the Secret to One of the Film’s Most Eye-Popping Shots
TheWrap Magazine: The “Avatar” sequel’s VFX team explains how live-action photography was used in a shot of Jake Sully gripping a leather strap
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How ‘Avatar: The Way of Water’ Composer Simon Franglen Honored the Late James Horner
TheWrap magazine: “There’s no reason that a reef tribe would have the same sound (as a jungle tribe),” the composer says
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‘Avatar: The Way of Water’ Sound Mixer Created Live Sound Design for the Actors During Mo-Cap Filming
TheWrap magazine: “A lot of what we did, nobody had done before,” Julian Howarth says
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Composer Carter Burwell Explains Why He Toned Down the ‘Irishness’ for His ‘Banshees of Inisherin’ Score
TheWrap magazine: Burwell received an Oscar nomination for his previous collaboration with director Martin McDonagh (“Three Billboards Outside Ebbing, Missouri”)
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‘Retrograde’ Director Describes the ‘Sheer Scope of Desperation’ as Afghanistan Fell to the Taliban
TheWrap magazine: “I had to keep wiping my tears off my camera lens,” says Oscar-nominated filmmaker Matthew Heineman (“Cartel Land,” “A Private War”)
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‘War Sailor’ Director on How Conversation With His Daughter Inspired the World War II Film
TheWrap magazine: Gunnar Vikene’s drama about one man’s unrelenting experience at sea is the most expensive film ever made by Norway
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How ‘Three Minutes – A Lengthening’ Turns 1 Family’s Vacation Movies Into a Startling Look at the Holocaust
TheWrap magazine: “As soon as I saw these images, I realized that these are almost certainly the only moving images of this community,” says Glenn Kurtz of his grandparents’ 1938 film
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‘The Blue Caftan’ Faces Morocco’s Ultimate Taboo in Portraying a Queer, Closeted Craftsman
TheWrap magazine: Director Maryam Touzani says that shooting a film that talks about homosexuality was “a big, big risk”
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‘All That Breathes’ Director Shaunak Sen on Breaking Nature Doc Clichés While Filming Hospitalized Birds
TheWrap magazine: “Birds popping up in every nook and cranny is so inherently cinematic,” the Delhi-based filmmaker says
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How ‘All Quiet on the Western Front’ Composer Created Those ‘Disturbing’ Sounds of War
TheWrap magazine: Volker Bertelmann says he used drums and harmoniums to make military sounds like shooting bullets
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‘Hallelujah’ Directors Explain How They Turned Leonard Cohen’s Song Into a Whole Movie
TheWrap magazine: Dayna Goldfine said they wanted to answer one question: “What is it about Leonard Cohen that made him the only person in the universe that could written a song like Hallelujah’?”
