“A House of Dynamite”: How Production Designer Jeremy Hindle Built a Nuclear Crisis in Real Time – Part 2

Filmed primarily in New Jersey with the help of $30 million in production incentives, Oscar-winner Kathryn Bigelow’s A House of Dynamite is a sobering look at how the response to a nuclear attack on U.S. soil might unfold. It’s not an easy watch, but it’s relentlessly compelling and superbly crafted, hallmarks of Bigelow’s distinguished career. 

The cortisol-triggering film follows major players in the government during the 20 minutes before an inbound nuclear missile hits a major American city.

How “The Beast in Me” Cinematographer Lyle Vincent Brought ’70s Noir to Netflix’s Claire Danes Thriller

The Beast in Me opens on a tableau of sorrow. Claire Danes, who plays author Aggie Wiggs, is driving her son Cooper (Leonard Gerome) when the unthinkable happens: a car accident takes his life. In the aftermath, her partner Shelly (Natalie Morales) rushes towards her, calling out for him. Drowning in pain, Aggie’s bloodied face can only twist a piercing scream underscored by a cacophonous mix of music and effects. The bleak moment abruptly cuts to a close-up of her against a warm,

Bringing Guillermo del Toro’s Creature Into the Light With “Frankenstein” Cinematographer Dan Laustsen

Dan Laustsen likes to make even the most fantastical frame pop with an authentic, organic humanity. The cinematographer extraordinaire and filmmaker Guillermo del Toro wants tangibility, regardless of whether his stories are as slippery and bittersweet as The Shape of Water or as beguiling and deceptive as Nightmare Alley. In the case of Frankenstein, organic is a more-than-fitting approach for the story of men and the monsters within,

Inside “A House of Dynamite”: Production Designer Jeremy Hindle on Building Kathryn Bigelow’s Nuclear Thriller

An unrelenting, blistering thriller that grips you from the first frame and never lets go, Oscar-winning Kathryn Bigelow’s latest film , A House of Dynamite, is the final installment in a trilogy that began with 2008’s The Hurt Locker and continued with 2012’s Zero Dark Thirty. Continuing her trademark journalist approach to filmmaking and fascination with the military industrial complex, A House of Dynamite follows high-ranking officials in the U.S.

Jennifer Lawrence and Robert Pattinson on ‘Die My Love’: Motherhood, Madness, and That Wild Ending

All sorts of spoilers below!

When you look at Robert Pattinson and Jennifer Lawrence’s careers, in many ways, they have had similar paths in Hollywood. They both rose to worldwide fame early in their careers as the leading stars of major franchises (Twilight and The Hunger Games, respectively), and have since spent their 30s taking on more indie roles. 

How “Frankenstein” Costume Designer Kate Hawley on Dressing Men, Monsters, & Their Mothers

In a film in which a character will never know death, color and life are everywhere. Guillermo del Toro’s adaptation of Mary Shelley’s Frankenstein is a visual feast, yes, but as the director often puts it, it’s all nutritional. A luminous, dreamy red dress from del Toro and costume designer Kate Hawley means more than a pretty image.

The story begins with the mother, Claire Frankenstein (Mia Goth, one of her two roles in the film),

42 Prosthetics, 10-Hour Nights: How Prosthetics Master Mike Hill Turned Jacob Elordi Into the Creature for Guillermo Del Toro’s “Frankenstein”

If ever a man were destined to design a new Frankenstein, it would surely be Mike Hill. The British-born prosthetics and makeup artist behind Guillermo del Toro’s new Frankenstein movie (in theaters now, streaming on Netflix starting November 7) remembers finding his calling at the age of five. “I’d walk to the river in the pouring rain with a little pail and a spade and I’d dig up the clay from deep in the riverbank,

Johnny Cannizzaro on Mastering Steven Van Zandt’s Signature Style in “Springsteen: Deliver Me From Nowhere”

Steven Van Zandt of the E Street Band is a singular figure in the world of rock and roll. Nobody else is like him and does what he does, whether jamming with Bruce Springsteen, acting on the screen (his most iconic role was, of course, playing Silvio Dante in The Sopranos), or his solo work. There’s only one Steven Van Zandt, but in Scott Cooper’s Springsteen: Deliver Me From Nowhere,

Inside Camtec: The Boutique Camera House Behind Films From Damien Chazelle, Denis Villeneuve, Bradley Cooper & More

“We support everything from large-scale blockbusters to high-end commercials to intimate indie films. The scale may change, but our approach doesn’t: we give each production the same level of care, attention, and collaboration,” says Kavon Elhami, the CEO of Camtec, an equipment rental company located in Burbank, California.

For nearly four decades, the boutique shop has been servicing (and collaborating) on countless projects, including Denis Villeneuve’s Arrival,

Diego Luna: On Going From “Andor” to Argentina in “Kiss of the Spider Woman”

At one point during our discussion about his new film, Diego Luna likens the character he plays to a Matryoshka doll, the Russian wooden figures that nest within each other.

The reference is apropos for the film itself. Kiss of the Spider Woman began life as a 1976 novel by Manuel Puig, and as Luna points out, the haunting story of two vastly different men who form an unlikely bond when imprisoned together has spawned various iterations.

Editing in Secrecy: How Amir Etminan Cut Jafar Panahi’s Palme d’Or Winner “It Was Just an Accident”

“When Mr. Panahi called and invited me to meet him, I didn’t ask any questions because I knew the secrecy and the sensitivity of his projects,” picture editor Amir Etminan tells The Credits through an interpreter. “So I accepted the invitation and went to have a conversation in person.” What followed was a discussion of Iranian writer-director Jafar Panahi’s It Was Just an Accident, an unflinching portrait of trauma,

“Blue Moon” Screenwriter Robert Kaplow on Capturing the Genius and Tragedy of Lorenz Hart in Richard Linklater’s Latest

People still sing, dance, and swoon to “My Funny Valentine,” “Where or Where,” and “Blue Moon.” But mention that those songs were written by Lorenz Hart, and you may get a puzzled “Who?” Luckily for screenwriter Robert Kaplow, whose film Blue Moon stars Ethan Hawke as Hart, at least one crucial person not only knew Lorenz Hart but loved his work.

“Richard Linklater made a film of my novel ‘Me and Orson Welles’,

“Queens of the Dead” Producer Natalie Metzger on Tina Romero’s Zesty Zombie Film, Tom Cruise’s Help, and Creating a Dream Set

Natalie Metzger is the proud producer of one of the most critically acclaimed horror films of the year, Queens of the Dead (in select theaters now), from a filmmaker with a very specific (and very special) vision—Tina Romero. Romero, the daughter of the iconic George A. Romero, the man whose 1968 classic Night of the Living Dead established the modern zombie archetype and has inspired filmmakers and creators for generations,

No Snow, No Cell Service, No Problem: “The Last Frontier” Location Manager Michèle St-Arnaud on Making Apple TV’s Wilderness Thriller

For location manager Michèle St-Arnaud, Apple TV’s espionage thriller The Last Frontier is her swan song. The Montreal native is bringing to a close a remarkable four-decade career defined by her collaborations with top-tier directors, including John Crowley, Paul McGuigan, Roland Emmerich, David Fincher, and Denis Villeneuve. “In French, we say le chant du cynge,” she says with a smile. “I’m still in the business in other ways,

Director Yorgos Lanthimos and Writer Will Tracy on the Blurred Morality of “Bugonia”

The title of Yorgos Lanthimos’s newest psychological thriller, Bugonia, refers to an ancient Greek belief that bees are born from the corpses of cows. In the film, protagonist Teddy (Jesse Plemons) keeps bees, but it’s a minor hobby compared to his main passion, which, as it develops on-screen, is as curious, revolting, and belief-beggaring as bugonia’s original ancient meaning. Teddy is absolutely certain that Earth is under the control of an alien race called the Andromedans,

“Roofman” DP Andrij Parekh on Shooting Super 35, Filming in North Carolina, and Channing Tatum’s Surprising Vulnerability

Director Derek Cianfrance and cinematographer Andrij Parekh forged a tight bond in 2009 while making Ryan Gosling and Michelle Williams’ acclaimed indie drama Blue Valentine. In the intervening years, Parekh, armed with an MFA in cinematography from NYU’s Tisch School of the Arts, won an Emmy for directing Succession and helmed another HBO hit, their Game of Thrones spinoff House of the Dragon, while Cianfrance helmed dark fare including The Place Beyond the Pines,

How Cinematographer Robbie Ryan Used VistaVision To Capture the Claustrophobic Terror of “Bugonia”

A good deal of Yorgos Lanthimos‘ new psychological thriller, Bugonia, is set in a cellar. Teddy (Jesse Plemons), alone in the world except for his cousin, Don (Aidan Delbis), and their belief that Earth is under the thumb of an alien race called the Andromedans, kidnaps Michelle (Emma Stone), whom he believes to be the aliens’ local representative and an architect of a plan to destroy Earth via colony collapse disorder.

How “KPop Demon Hunters” Songwriter EJAE Turned Rejection Into Her Golden Success

KPop Demon Hunters is a juggernaut. Since its release on Netflix, not only has it become the streamer’s most-watched film of all time, but the animated feature is the first to have four songs simultaneously on the Top 10 of the Billboard Hot 100. In addition, the song “Golden” is now the longest-running number 1 by a girl group in the 21st century. 

Directed by Maggie Kang and Chris Applehans, the story is about K-pop girl group Huntr/x,

“A House of Dynamite” Scribe Noah Oppenheim on His Real-Time Nuclear Thriller’s Emotional Stakes & Shocking Ending

Spoilers below.

News veteran turned Hollywood scribe Noah Oppenheim (Jackie, Zero Day) has penned a new edge-of-your-seat thriller in A House of Dynamite, a cautionary tale about nuclear weapons and those in charge of them. Helmed by Oscar-winner Kathryn Bigelow (The Hurt Locker, Zero Dark Thirty),

Production Designer Tamara Deverell on Building the Gothic Grandeur of Guillermo del Toro’s “Frankenstein”

Guillermo del Toro became obsessed with Frankenstein at the age of seven, after seeing the 1931 Boris Karloff movie, and walked out of the theater with a new calling. “Gothic horror became my church,” Del Toro said in a statement, “and [Boris Karloff] became my messiah.”

Ever since that childhood epiphany, del Toro has dreamed of reanimating Mary Shelley’s famous monster for modern audiences. Now comes his Frankenstein (in theaters now,