TheWrap Magazine
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Why Kodi Smit-McPhee Describes Acting in ‘The Power of the Dog’ as ‘Entering Another World Through a Portal’
TheWrap magazine: The 25-year-old Australian actor explains how he portrayed the “sweet and unsettling” vibe of an enigmatic teenager in 1920s Montana
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How Oscar Voters Could Make the Best Picture Category Even Weirder This Year
Expanding the category to 10 nominees could increase variety, but only if voters take advantage of the opportunity they’ve been given
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How ‘Passing’ Star Tessa Thompson Explored the Many Layers of Identity
TheWrap Magazine: She’s been in franchises from “Creed” to “Thor,” but Tessa Thompson found herself in new territory with her latest film
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‘Passing’ Star Tessa Thompson Covers TheWrap Magazine (Exclusive Photo Gallery)
The actress glams up for exclusive portraits for TheWrap
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The Big Design Challenge for ‘Licorice Pizza’: Find 1970s L.A. in the 2020s
TheWrap magazine: “We were looking for pockets where people hadn’t demolished their ranch houses to build white modern monstrosities,” production designer Florencia Martin says
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‘Eternals’: How the Visual Effects Team Created the Deviant Kro
TheWrap magazine: The extraterrestrial villain Kro “needed to be subtle and sympathetic,” explains Weta Digital VFX maestro Matt Aitken
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‘Spencer’ Costume Designer Raves About Kristen Stewart: ‘Do People Not Realize She’s One of the Great Actresses?’
TheWrap magazine: “Kristen is not recognized enough for what daring choices she makes,” says two-time Oscar winner Jacqueline Durran
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Oscar Contenders in Black and White, From ‘Belfast’ to ‘The Tragedy of Macbeth’
The filmmakers behind four acclaimed films — “Belfast,” “C’mon, C’mon,” “Passing” and “The Tragedy of Macbeth” — discuss the magic of shooting in the old-fashioned format
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‘Passing’: How Classic Hitchcock Thrillers Influenced the Dreamy Black-and-White Look
TheWrap magazine: “What could be better than black-and-white when it comes to the core of light and darkness?” cinematographer Eduard Grau says
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Why ‘Belfast’ Cinematographer Added Splashes of Color to the Movie’s Black-and-White World
TheWrap magazine: For his eighth collaboration with Kenneth Branagh, Haris Zambarloukos talks about black-and-white is a “more lucid way of capturing emotion”
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Why ‘The Tragedy of Macbeth’ Cinematographer Grew Superstitious While Making the Black-and-White Drama
TheWrap magazine: Five-time Oscar nominee Bruno Delbonnel explains how Shakespeare’s prose justified the film’s black-and-white photography
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‘C’mon, C’mon’ Director on Why the Joaquin Phoenix Film ‘Had to Be in Black-and-White’
TheWrap magazine: Director Mike Mills talks about how cinematographer Robbie Ryan crafted an “al dente, not overworked, use of black-and-white” for the relationship drama
