Oscar-Nominated “Hamnet” Production Designer Fiona Crombie on Re-Inventing Shakespeare’s Home & the Globe Theater
For "Hamnet," Oscar-nominated production designer Fiona Crombie (The Favourite, Cruella) built Tudor-era sets at Elstree Studios, shipping 20 tons of oak beams from dismantled French barns to create Shakespeare's Henley House, his London attic, and the Globe Theatre.
“The Pitt” Cinematographer Johanna Coelho on Season 2’s Immersive 15-Hour ER Shift
"The Pitt" doesn't feel like typical TV — and that's exactly the point. Cinematographer Johanna Coelho was brought on as the sole DP to maintain visual consistency across what feels like a continuous 15-hour hospital shift.
Oscar-Nominated Sound Team for “Sirāt” on Editing the Sounds of the Desert, Raves, and War
The Oscar-nominated sound team from "Sirāt"—supervising sound editor Laia Casanovas, re-recording mixer Yasmina Praderas, and production sound mixer Amanda Villavieja—created an immersive soundscape balancing realistic desert atmospheres with emotional intensity.
“Zootopia 2” Writer/Director Duo Jared Bush & Byron Howard on Assembling 697 Artisans for Their Historic Hit
"Animation really is a team sport, it's a community," says "Zootopia 2" co-writer and director Byron Howard. Howard and his partner on assembling 697 artisans across Los Angeles and Vancouver to create the top-grossing animated film in history
“Star Trek: Starfleet Academy” DP Philip Lanyon on Balancing Franchise Legacy With a Youthful Visual Approach
Cinematographer Philip Lanyon, a veteran of "Star Trek: Discovery," "Picard," and "Strange New Worlds," brought a fresh visual approach to "Star Trek: Starfleet Academy," the Paramount+ series marking the franchise's 60th anniversary.
Writer/Director Kleber Mendonça Filho & Best Actor Nominee Wagner Moura on Their Oscar-Nominated Thriller “The Secret Agent”
The Secret Agent could make history: if it wins Best International Feature, Brazil would become the first country in 37 years to win back-to-back. Oscar nominees writer/director Kleber Mendonça Filho & star Wagner Moura on using cinema, urban legends, and stop-motion to explore democracy's fragility.
Oscar-Nominated “Hamnet” Co-Screenwriter Maggie O’Farrell on Adapting Her Novel with Chloé Zhao
Maggie O'Farrell on adapting her novel Hamnet with Chloé Zhao: "The first job was to reduce the 350-page book down to a 90-odd page screenplay. There's a lot of just distilling and distilling, but I learned a lot about cinematic language from Chloé." The result? 8 Oscar nominations.
“Ghosts” Hair and Makeup Heads on Keeping the Beloved Show’s Spirits Looking Timeless
From a Viking explorer to a Jazz Age lounge singer, a Lenape storyteller to a 19th-century aristocrat, the ghosts of CBS's "Ghosts" span a millennium of history—and it's up to makeup department head Gillian Chandler and hair department head Jean Scarabin to bring them to life (or, rather, afterlife).
“Sinners” Oscar-Nominated Sound Mixer Chris Welcker on Rigging Michael B. Jordan’s Twin Conversations
How do you record Michael B. Jordan talking to Michael B. Jordan? "Sinners'" Oscar-nominated sound mixer Chris Welcker on capturing twin conversations, capturing Miles Caton's magical juke joint performance, and filming in Louisiana.
“Shrinking” Star & Producer Jason Segel on Season 3’s Love Letter to Los Angeles
When wildfires swept through Pasadena and Altadena in January 2025, "Shrinking" lost sets, and cast and crew lost homes. But Jason Segel, the show's executive producer, co-creator, and star, was determined to keep production in the community that had welcomed the show for years.
From “Dune” to “The Last of Us”: How Formosa Group Elevates Storytelling through Sound
How does Formosa Group power the sound behind "Anora," "Dune," "John Wick," and "The Last of Us"? COO Matt Dubin on nurturing talent, adapting post-COVID, and why California's film tax incentive matters. "Sound is a storytelling tool, not a final step."
“28 Years Later: The Bone Temple”: How VFX Bloodied the Jimmys and Brought Samson to Life
VFX supervisor Dean Koonjul on creating invisible effects for Nia DaCosta's "28 YearsLater: The Bone Temple "from burning barns with real fire to evolving Samson's look across four makeup stages.
How “The Rip” Writer/Director Joe Carnahan Turned a Real Heist Into his Gripping Ben Affleck/Matt Damon Caper
“They’ve got to care about the people they’re watching. They have to have a rooting interest in the people on screen," says "The Rip" writer/director Joe Carnahan.
How Weta FX Brought the Villainous Ash People to Life in James Cameron’s “Avatar: Fire and Ash”
Weta FX brought James Cameron's terrifying Ash People to life in #AvatarFireAndAsh—from Varang's war paint to the Nightwraith creature design. VFX supervisors Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett break it down.
Shaker Style: Małgorzata Karpiuk on Designing Amanda Seyfried’s Dance-Ready Wardrobe for “The Testament of Ann Lee” in 6 Weeks
Małgorzata Karpiuk, costume designer for "The Testament of Ann Lee," explains how she designed dance-ready period costumes for Amanda Seyfried and a cast of hundreds—all while navigating rainstorms, multiple countries, and a tight budget.
“The Testament of Ann Lee” Composer Daniel Blumberg on Collaborating with Amanda Seyfried for a Transcendent Score
Composer Daniel Blumberg recorded live with Amanda Seyfried for The Testament of Ann Lee, adapting Shaker hymns and collaborating with choreographer Celia Rowlson-Hall to define moments of worship. "We really wanted it to be in the room, like raw, so you could hear the live quality of the voice."
“Stranger Things” Hair Designer Sarah Hindsgaul on Wigs, Grit, and Grounding Season 5’s Fantasy
"We went right into the action. The vanity has gone out of these people, even Steve." Sarah Hindsgaul, hair designer since Season 1, on how "Stranger Things" Season 5's grittier tone shaped Nancy, Steve, and the rest of Hawkins' final battle.
Pilou Asbæk on Playing a Morally Compromised Cop in Prime Video’s “Snake Killer”
Pilou Asbæk on playing a deeply compromised cop in Snake Killer: "He isn't meant to be a role model—he's meant to be a reflection of how people justify their actions when systems start to fail." We go inside Prime Video's first Danish scripted original series.
Editor Kirk Baxter on Syncing Three POVs Down to the Second in “A House of Dynamite” — Part 2
How do you edit the same 20-minute countdown three times without it feeling repetitive? Oscar winner Kirk Baxter breaks down the sound, pacing, and POV choices that made "A House of Dynamite" unbearably tense.
“A House of Dynamite” Editor Kirk Baxter on Sculpting Kathryn Bigelow’s Cinéma Vérité Nuclear Thriller
Editor Kirk Baxter on maintaining tension in Kathryn Bigelow's "A House of Dynamite" without exhausting the audience: "The actors slow down when the reality dawns on them, air gets sucked out of the room."
