“Death on the Nile” Production Designer Jim Clay Delivers Deadly Decadence

For production designer Jim Clay, details matter. In director Kenneth Branagh’s Death on the Nile, a pseudo-sequel to Murder on the Orient Express which returns sharp-witted investigator Hercule Poirot in another case of whodunit, the murder mystery transports viewers to the 1930s Egypt that entangles love and death in the most devilish ways – and may we say stylish? 

“Ken is meticulous in his planning ‘cause when he gets on set he wants to give time to the actors and the performance,” Clay shares with The Credits,

“Death on the Nile” Costume Designer Paco Delgado on Killer Cruise Wear

Costume designer Paco Delgado grew up on a tiny island off the coast of West Africa, where he cultivated a vivid eye for color, shape, and texture. That aesthetic, developed at Institut del Teatre of Barcelona, has served him well. In 2011 he collaborated with the famously meticulous director Pedro Almodóvar on BAFTA Award-winning The Skin I Live In. Delgado then earned Oscar nominations for Les Miserable and The Danish Girl.

“Marry Me” Director Kat Coiro on Refueling the Rom-Com With J. Lo

February is the month of Galantine’s and Valentine’s Day, and both are the perfect time for the new musical rom-com Marry Me, which stars Jennifer Lopez, Owen Wilson, and Maluma and hits theaters and Peacock on February 11. The story begins as pop superstar Kat Valdez (Lopez) and fiancé, Latin singing sensation Bastian (Maluma), are preparing to marry onstage. The fans and everybody else on the globe are invited, as it will be live-streamed during a concert.

“Who We Are: A Chronicle of Racism in America” Directors & Writer/Producer on Relearning American History

The documentary Who We Are: A Chronicle of Racism in America has won numerous awards at fests across the country, including the Audience Award at the 2021 SXSW Film Festival, and boasts a 98% score on Rotten Tomatoes. The film is based on criminal defense and civil rights lawyer Jeffery Robinson’s work relearning American history and sharing knowledge that includes events and episodes either erased from in history books or never included in the first place.

“The Gilded Age” Cinematographer Manuel Billeter on Lighting Old Money & New

Set in New York in the 1880s, The Gilded Age isn’t so much a follow-up to Downton Abbey as an across-the-pond companion piece from creator Julian Fellowes. In what’s being oft-referred to as a ‘lavish epic’ up and down the internet, this new HBO series follows in the footsteps of Fellowes’ previous series, with a slickly-produced focus on all the ways the rich are not like you and me.

How the “Moonfall” VFX Team Tapped Physics to Destroy the Earth

Don’t look up! The moon is on a collision course with Earth. Filmmaker Roland Emmerich, who brought us Independence Day, The Day After Tomorrow, and 2012, returns with another global disaster movie in Moonfall (premiering February 4) that has a colossal twist. This time it’s up to NASA executive Jo Fowler (Halle Berry), astronaut Brian Harper (Patrick Wilson), and conspiracy theorist K.C.

“Peacemaker” Composer Kevin Kiner About Harnessing The Power of Hair Bands

Even as complicated and thick-headed as is his character may be, with every new episode, John Cena is worming his way into our hearts as Christopher Smith in writer/director James Gunn’s Peacemaker. In its first season on HBO Max, the show picks up where The Suicide Squad left off, expanding on Smith’s character, revealing his tragic backstory, and introducing viewers to a team that includes characters both old and new.

“Station Eleven” Cinematographer Christian Sprenger on Threading Timelines & Revealing Humanity

It was two days after Christmas when I texted cinematographer Christian Sprenger to ask if he’d be interested in talking about Station Eleven, the critically acclaimed limited series created for television by Patrick Somerville (Maniac, The Leftovers) on HBO Max. I had just finished watching the pilot episode “Wheel of Fire,” which he photographed alongside director Hiro Murai, and the visual aesthetics were astoundingly refreshing.

Adapted from the book by Emily St.

Sundance 2022: “Master” Cinematographer Charlotte Hornsby on the Fest’s Breakout Horror Film

Writer and director Mariama Diallo brings atmospheric horror to the world of academia in her directorial debut Master, which just premiered at the Sundance Film Festival. The film stars Regina Hall as professor Gail Bishop, who has recently been made the first Black woman to hold the position of residence hall ‘Master’ at a prestigious fictional university called Ancaster. Both she and a fresh, optimistic Black student Jasmine (Zoe Moore) begin to feel a menacing supernatural presence.

“No Time To Die” Editor Tom Cross on Cutting to the Chase

No Time To Die gave us an appropriately epic sendoff for Daniel Craig’s final mission as James Bond. With ripping action rooted in Bond’s emotional journey, unusual for this franchise until Craig became 007, No Time To Die manages to be a breathless, nearly three-hour-long sprint towards the most bittersweet ending in Bond film history. From the riveting opening scene, a flashback that reveals the connection between Madeline Swann (Léa Seydoux) and the film’s villain,

“Drive My Car” Director Ryûsuke Hamaguchi on His Moving Portrait of Life’s Twists & Turns

One of the most intriguing cinematic journeys of 2021 emanates from Japan and is aptly named Drive My Car.

A mesmerizing sojourn that exactingly unfolds over a three-hour running time, the film follows acclaimed actor and theatre director Yûsuke Kafuku (Hidetoshi Nishijima), beginning with his unorthodox marriage to Oto (Reika Kirishima), before segueing to a stage production he is directing of Anton Chekhov’s Uncle Vanya. The latter brings him together with Misaki Watari (Tôko Miura),

Costume Designer Justine Seymour on Subtle Power on Display in “Women of the Movement”

After his 1955 murder, Emmett Till’s death became a galvanizing event for the burgeoning Civil Rights movement. The mutilated 14-year-old was given an open casket funeral at the behest of his mother, Mamie Till-Mobley, who wished the world to see what Roy Bryant and J.W. Milam had done to her son. Lynched while on holiday to visit family in Money, Mississippi, after being falsely accused of whistling at a white woman, Carolyn Bryant, (Emmett had a stutter,

How the “Scream” Team Created The Best Film in the Franchise Since The Original

How do you create the fifth film in a beloved slasher franchise that’s both a nod to everything that’s come before, a clever meta-commentary on horror films and toxic fandom, and something that’s entirely your own? This was one of the questions we put to Scream directors Tyler Gillett and Matt Bettinelli-Olpin and their producing partner and the third member of their Radio Silence triumvirate, Chad Villella. The trio has once again brought the same passion that imbued their last outing,

“West Side Story” Music Supervisor Matt Sullivan on The Cast, Spielberg, and Capturing Magic

When we interviewed West Side Story‘s music producer David Newman, he made clear not only how massive of an effort was required to pull off Steven Spielberg’s masterpiece musical, but how personal it all felt. “There were hundreds of us involved in it, and I loved it. It just was a completely pure feeling,” Newman told us. “We were all just doing it for the love of it. That is the feeling I get with this movie.

“Ray Donovan: The Movie” Writer/Director David Hollander Gets Inside the Anti-Hero’s Head One Last Time

When Ray Donovan debuted on Showtime in 2013, Liev Schreiber introduced the character as a brooding fixer who uses a baseball bat to make problems go away for shallow celebrities and sleazy Hollywood moguls. But over the course of seven seasons, the one thing Donovan could never fix was his own broken family, headed by the charming but awful con artist father Mickey (Jon Voight).

In February 2020, Showtime dumped the series without warning.

“Cowboy Bebop” Costume Designer Jane Holland on Creating a Jazzy Outlaw Look

How do you approach adapting the looks of a beloved Japanese anime series for a live-action Netflix series? This was the challenge for Cowboy Bebop costume designer Jane Holland, who managed to capture the glorious color of the original anime series about a crew of bounty hunters who will zealously pursue even the most dangerous criminals in the galaxy—if you’ve got the money—and do it all in the boldest of styles. Cowboy Bebop stars John Cho as the perenially sad bounty hunter Spike Spiegel,

“The Tragedy of Macbeth” Production Designer Stefan Dechant on Joel Coen’s Minimalist Masterpiece

Production designer Stefan Dechant has worked on detail-packed cinematic spectacles like Jurassic Park, Avatar, Pacific Rim: Uprising, and Kong: Skull Island. When he signed up for Joel Coen‘s black and white adaptation of The Tragedy of Macbeth, Dechant had to embrace a new aesthetic, stripping all decorative embellishments that might distract from the drama at hand.

“No Time To Die” Costume Designer Suttirat Anne Larlarb on Dressing Bond’s Allies & Adversaries

In part one of our conversation with No Time To Die costume designer Suttirat Anne Larlarb, we focused on the tall order of outfitting Daniel Craig for his fifth and final assignment as James Bond. In part two, we turn our attention to the allies and adversaries that populate Bond’s world, including two new agents, the love of his life, and a scarred sociopath who has designed a weapon that—spoiler alert—forces Bond to make the ultimate sacrifice. 

“No Time To Die” Costume Designer Suttirat Anne Larlarb on Building the Apex Tuxedo

“Before Daniel, the Bond style, which was always very definitive, was being worn by someone who was more of a superhero character,” says No Time To Die costume designer Suttirat Anne Larlarb about the tall order of outfitting Daniel Craig for his fifth and final assignment as James Bond. “We didn’t really get the emotional landscape. We got the look, we got the icon, but we didn’t delve that much deeper. Daniel is a consummate actor and I really felt this responsibly to be able to costume him in a way that would live up to that Bond stratosphere,

How “Nightmare Alley” Hair Designer Cliona Furey & Makeup Designer Jo-Ann MacNeil Made Magic

In Guillermo del Toro’s carnival noir Nightmare Alley, the visionary director eschews the supernatural for a period noir to fantastic effect. The film is set largely at a mid-20th-century second-rate carnival filled with schemers, dreamers, hustlers, weirdos, and femme Fatales, with del Toro acting as our carnival barker (that role in the movie actually belongs to Willem Dafoe), taking us on a tour of the lost souls plying their various trades in this shadowy world.