Magazine
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‘The Staircase’ Exec Producers Respond to Criticism: ‘Nothing But a Deep Respect’ for Original Docuseries
TheWrap Emmy Magazine: Antonio Campos and Maggie Cohn discuss negative comments from the original docuseries’ director about HBO Max adaptation
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‘Yellowstone’s’ Kelly Reilly: ‘Beth Is the Most Challenging Role I’ve Ever Had to Play’
TheWrap Emmy Magazine: As the Western series surges, scene-stealer Reilly says she approaches her character like a Lady Macbeth on the range
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Ariana DeBose Calls ‘West Side Story’ an ‘Incredibly Healing Project’ as an Afro-Latina
TheWrap Magazine: “When I was growing up, I was one of the only people who looked like me,” the Oscar nominee says
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How ‘Maid’ Star Margaret Qualley Dove Into Motherhood Alongside Her Real-Life Mom
TheWrap magazine: The star of Netflix’s hit series was nervous about playing a mother convincingly. It helped that Andie MacDowell was her costar
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In ‘King Richard,’ Aunjanue Ellis Makes a Case for the Williams Sisters’ Heroic Mother
TheWrap magazine: For Ellis, playing Oracene Price meant being an “advocate” for a woman whose role in her daughters’ careers has been under-appreciated
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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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Missy Schwartz | Photographs by Matt Sayles -
‘Passing’ Star Tessa Thompson Covers TheWrap Magazine (Exclusive Photo Gallery)
The actress glams up for exclusive portraits for TheWrap
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Photographed by Matt Sayles for TheWrap -
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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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
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How They Did It: Denis Villeneuve and the Making of ‘Dune’
It took an army to put Denis Villeneuve’s epic Dune on screen; here are stories from the director and some of his soldiers