“The Black Phone” Co-Writer/Director Scott Derrickson & Co-Writer C. Robert Cargill Wring Our Nerves
The always versatile Ethan Hawke first teamed with writer-director Scott Derrickson and co-writer C. Robert Cargill on their 2012 horror film Sinister, in which he played a good guy protecting his family. In Derrickson and Cargill’s new horror movie The Black Phone (opening Friday), Hawke plays a very bad man. Wearing a mask and preying on children, Hawke portrays “The Grabber,” who’s partially based on serial killer John Wayne Gacy,
“Moon Knight” Cinematographer Gregory Middleton on Creating Marvel’s Head Trip
Moon Knight cinematographer Gregory Middleton came to the Marvel Cinematic Universe with considerable world-building experience. He helmed six episodes of HBO’s colossal fantasy series Game of Thrones, as well as three episodes of Damon Lindelof’s fantastic adaptation of Watchmen (also for HBO), so it would be unfair to say he was daunted to take on Marvel’s vaunted, ever-expanding cinematic universe.
Yet Middleton had his work cut out for him with Moon Knight,
“Father of the Bride” Director Gaz Alazraki on Re-Tooling the Story as Cuban-American Comedy
Spencer Tracy charmed moviegoers as the original Father of the Bride in 1950. Then Steve Martin reprised the wedding-overwhelmed dad in Nancy Meyer’s 1991 romantic comedy of the same name. Now, Andy García headlines a new reboot playing an old-fashioned Cuban-American patriarch hilariously bewildered by complications that arise when his very modern daughter announces she’s getting married.
Father of the Bride (opening Friday in theaters and on HBO Max),
How the “Stranger Things” Sound Team Creeps You Out
When Millie Bobby Brown’s Eleven experiences a flashback a couple of hours into Stranger Things‘ fourth season, sound effects tell the mutant teenager’s nightmarish origins story in a nutshell: thunder, whooshing, whistles, choral voices, more thunder, pistol shots, birds screeching, rumbling, slithering sounds, squishes and thumps flood her head with 50 seconds worth of precision-orchestrated mayhem. In Matt and Ross Duffer’s supernatural thriller, sound effects, melded with Kyle Dixon and Michael Stein‘s throbbing synthesizer music,
“Maid” & “Under the Banner of Heaven” Production Designer Renee Read on Building Trust
Production designer Renee Read is responsible for the look of two of TV’s most successful adaptations over the past two years. For Maid, Read was tasked with helping showrunner Molly Metzler Smith and the rest of the crew adapt author Stephanie Land’s 2019 best-selling memoir “Maid: Hard Work, Low Pay, and a Mother’s Will to Survive.” The series is centered on Alex (Margaret Qualley), a young woman relying on the Byzantine social services complex to get her and her daughter on their feet.
“Succession” Composer Nicholas Britell Goes Behind Season 3’s Score
Rarely has awful behavior been accompanied by such beautiful music, but the fictitious scoundrels of Succession have now spent three seasons buoyed by brooding scores from pianist-composer Nicholas Britell. A three-time Oscar nominee, Britell honed his skills at Juilliard and Harvard before becoming the go-to composer for directors Adam McKay (Don’t Look Up), Barry Jenkins (Moonlight, If Beale Street Could Talk), and Steve McQueen (12 Years a Slave).
Vietnam Filmmakers in Focus: In Conversation With Dr. Ngo Phuong Lan
The Vietnam Film Development Association (VFDA) was established in July 2019 as a national film commission, and its top priority was fostering international collaborations.
With that in mind, we talk to VFDA chairperson Dr. Ngo Phuong Lan, the former director of Vietnam’s Cinema Department and former head of the organizing committee of the Hanoi International Film Festival (HANIFF). She is also a film critic and an author and co-author of seven books, including “
“Barry” Cinematographer Carl Herse on Lighting Season 3’s Dark Path
Barry cinematographer Carl Herse has his fingerprints all of season three in what is turning out to be a reckoning for the titular hitman (played by co-creator/writer/director Bill Hader). Herse joined the Barry team and lensed five of season three’s 8 episodes (1, 2, 6, 7, and 8) in what has turned out to be the darkest stretch of Barry’s decidedly pitch black journey thus far.
Citing influences as wide-ranging as Akira Kurosawa’s Throne of Blood,
Breaking Down the Astonishing Technology Behind Ava DuVernay’s “One Perfect Shot”
The cathedral wedding in John M. Chu’s Crazy Rich Asians. Diana Prince boldly crossing a World War I battlefield in Patty Jenkins’ Wonder Woman. Lisa stuck on a zip-line suspended above a raucous crowd in downtown New Orleans, in Malcolm D. Lee’s Girls’ Trip. Cathartic, lovely, or almost distressingly hilarious, these scenes are indelible. What did their directors do to make them tick?
In One Perfect Shot,
“Succession” Director Mark Mylod on Season 3 & TV’s Most Irresistibly Twisted Family
Succession director Mark Mylod knows his way around family drama. Mylod’s been with the series since the first season, directing the second episode (the pilot was helmed by co-creator Adam McKay), and is now the most tenured Succession director of them all, with 12 episodes to his credit. He’s also something of an expert when it comes to palace intrigue, considering he’s a Game of Thrones alum, yet he admits that Succession‘s highly-anticipated and ultimately critically acclaimed third season presented some unique challenges.
“Jurassic World: Dominion” Co-Writer Emily Carmichael on Crafting the Most Dino-Packed Epic of Them All
Five billion dollars into the dinosaur cinematic universe launched 19 years ago by Steven Spielberg, Laura Dern, Sam Neill, and Jeff Goldblum, the Jurassic franchise comes to an end — at least for now — with the Friday [June 10] release of Jurassic World: Dominion. Sixth in the series of popcorn spectacles famed for VFX recreations of prehistoric “apex predators,” Dominion sees legacy characters from the original trilogy joining forces with Jurassic World stars Bryce Dallas Howard and Chris Pratt on a quest to save the world from ecological catastrophe.
“Ozark” Director Amanda Marsalis on Ruth, Wendy, and Bittersweet Goodbyes
When Ozark came to its bloody, sin-soaked end this year, you might have found yourself, Marty Byrd (Jason Bateman) style, sitting there quietly for a moment to do some accounting. The Byrd family had, against all odds, survived the chaos they’d been plunged into four seasons back when Marty’s business partner in Chicago made the mistake of cheating the wrong client. That put Marty in a life-or-death situation that would carry on for over a year—make matters right by laundering money for a powerful Mexican cartel,
“Stranger Things” Cinematographer Caleb Heymann on Season 4’s Monstrous Mayhem
*Spoilers below for the first seven episodes of season 4!
The first seven episodes — the last two are expected in July — of Stranger Things Season 4 go big. Hopper (David Harbour) is alive but in a Soviet prison. The kids are split up, with Eleven (Millie Bobby Brown) and Will (Noah Schnapp) living the opposite of a teenage dream out in California. The rest of the gang are still in Hawkins,
“Stranger Things” Casting Director Carmen Cuba on Finding Season 4’s New Faces
*There are spoilers for season 4 below, so proceed with caution if you’re not caught up!
With every new season of Stranger Things comes a new crop of teens to replace those ill-fated in prior seasons to the predations of the Upside Down that lurks under Hawkins. In addition, in Season 4, the show’s beloved original members are scattered across the globe, leaving room for new cast members to take on feature roles in Hawkins’ latest rescue.
“Severance” Production Designer Jeremy Hindle’s Dystopian Office Space
“Large room, four desks.” That’s the only description production designer Jeremy Hindle had to work with when he came up with this TV season’s most spookily immaculate office, as seen in Apple TV + series Severance. The high-concept sci-fi thriller, partially directed and executive produced by Ben Stiller from a script by first-timer Dan Ericson, centers on the tyrannical Lumon Industries corporation whose employees (played by Adam Scott, John Turturro, Britt Lower,
Bill Hader on Bringing Up “Barry”
For eight seasons, Bill Hader gained a legion of fans with the hilarious characters he brought to life on Saturday Night Live. Since then, his popularity has only grown with his Emmy-winning portrayal of the manic hitman/aspiring actor in the HBO series Barry. But to hear Hader tell it, performing wasn’t his initial goal. For as long as he can remember, he wanted to direct.
“Since I was fairly young…I would say 10 or 11 was when I first started to notice the ‘directed-by’ name,” Hader says during a recent Zoom interview.
Going to Flight School With “Top Gun: Maverick” Stars Glen Powell & Greg Tarzan Davis
Based on everything from the reviews to the overwhelmingly positive chatter online to the 5-minute standing ovation at Cannes, Top Gun: Maverick seems destined to become Tom Cruise’s biggest weekend opening in his career, which is saying something. For the sequel to the beloved 1986 film, Cruise, the film’s executive producer and star, waited until he had a great story and the right people in front of and behind the camera,
Going Down the Rabbit Hole With “Russian Doll” Editor Todd Downing
One of the best descriptions we’ve heard of Russian Doll, the consistently surprising, genuinely hilarious series from co-creator and star Natasha Lyonne, Leslye Headland, and Amy Poehler comes from the show’s most tenured editor, Todd Downing. Describing a moment in season two, episode six, “Schrödinger’s Ruth,” in which nearly every character who has been in the series shows up on a Subway platform in a crucial moment, Downing said he had a realization.
From “Moana” to “Lupin”: How the Tool “VoiceQ” Does Dubbing Right
It’s all about “lip flap” when it comes to quality voice dubbing for movies and TV. Voice actors make their living by synchronizing dialogue to the micro-movements that happen when on-screen characters open and close their mouths, AKA lip flap. Imprecise voice work results in cheesy-sounding foreign language adaptations. But voice dubbing, done right, has helped propel series like the Korean language Squid Game, Spanish-language Money Heist, and French-language Lupin to hit status in the United States.
“1883” Costume Designer Janie Bryant on Elsa’s Epic Journey
The farther west her family’s pioneer caravan travels, the heavier a burden customs become, narrates Elsa (Isabel May), the heroine of 1883 on Paramount+. Observant and headstrong, she is the missing link from the series Yellowstone, a presence felt but not seen. Over the course of this ten-episode prequel, we follow her family’s journey leading to their stewardship of Montana’s biggest ranch and to Elsa’s ignominious fate.
The Dutton’s arduous move from Tennessee begins thanks to Elsa’s father,
