Writer/Director/Star Numa Perrier on Her Autobiographical Sex Work Film Jezebel

Though filmmaker Numa Perrier only spent four years of her life in Las Vegas, those formative years being surrounded by adult vocations served as the backbone for her autobiographical ’90s-set film, Jezebel (now available on Netflix). Not only did Perrier write, direct, and produce, but she also stars as her older sister (executive producer Livia Perrier), who used to work as a phone sex operator and with whom Perrier shared cramped living quarters.

The Gentlemen’s Costume Designer Breaks Down the Felonious Finery

Early in his career, British director Guy Ritchie specialized in making good movies about bad guys. Lock, Stock and Two Smoking Barrels, Snatch and RocknRolla told stories about pugnacious criminals plying their trades in and around London’s working-class demimonde. His latest romp The Gentlemen (now in theaters) marks a return to form with its cast of alpha males Matthew McConaughey, Hugh Grant, Colin Farrell and Charlie Hunnam augmented by the presence of elegant Downton Abbey star Michelle Dockery.

Production Designer Arwel Jones on Designing a New Dracula

Consistent with Bram Stoker’s 1897 novel, Netflix’s new three-episode Dracula series begins with a hapless English solicitor, Jonathan Harker (John Heffernan), ignoring the Transylvanian locals’ misgivings to make his way on a snowy evening to Count Dracula’s forbidding castle. In the original novel, Harker is initially impressed with his host’s social graces before realizing he’s a prisoner, but 2020’s Dracula (Claes Bang) is ratty haired and grim, intent on getting the social skills he’ll need for England from his guest.

How Oscar-Nominated Songwriter Joshuah Brian Campbell Helped Harriet Find its Voice

One of the more inspirational moments of Harriet, the stirring 2019 feature about Harriet Tubman, the legendary 19th-century slave turned abolitionist, happens when Cynthia Erivo sings Stand Up, an uplifting anthem to human dignity and the struggle to be free.

Erivo has deservedly received an Oscar nomination for her performance as Harriet Tubman. But she also landed a second nomination for Best Original Song as the co-writer of Stand Up.

How The Irishman’s Oscar-Nominated Production Designer Crafted Scorsese’s Mob Epic

Central to Martin Scorsese’s The Irishman is retired hitman Frank Sheeran’s (Robert De Niro) fifty-year oral history of his time with the mob, culminating in his murder of Teamster boss Jimmy Hoffa (Al Pacino). The three-and-a-half-hour epic spans from 1949 to 2000, with most of the 295 different sets and locations made up to look like Philadelphia and environs between the 1950s and the 1970s. Designing the look of the film was a huge undertaking for the art department—“you’re reading the script and you’re thinking,

Legendary Animator & Oscar-Nominee Glen Keane on his Kobe Bryant Collaboration Dear Basketball

In light of the tragic news of the death of NBA legend Kobe Bryant, his daughter Gianna Bryant, 13 (the second oldest of Bryant’s four daughters with his wife, Vanessa), and seven other people in a helicopter crash in California, we are re-posting this interview with animator Glen Keane, who worked with Kobe on their film Dear Basketball, which ultimately earned them an Oscar for Best Animated Short Film.

In this second of a two-part interview with veteran Disney animator Glen Keane,

Legendary Animator & Oscar-Nominee Glen Keane on Teaming up With Kobe Bryant, his Disney Past & More—Part I

In light of the tragic news of the death of NBA legend Kobe Bryant, his daughter Gianna Bryant, 13 (the second oldest of Bryant’s four daughters with his wife, Vanessa), and seven other people in a helicopter crash in California, we are re-posting this interview with animator Glen Keane, who worked with Kobe on their film Dear Basketball, which ultimately earned them an Oscar for Best Animated Short Film.

Glen Keane is not just a living legend.

How 1917’s Oscar-Nominated Prosthetics Designer Designed the Grisly, Gripping Drama

World War I epic 1917 conveys the carnage of combat with uncommon grit. Informed by writer-director Sam Mendes‘ heartfelt story and his gifted design team, the film, nominated for 10 Academy Awards including best picture, immerses viewers in a “No Man’s Land” littered with dead animals, rotting corpses and dying soldiers. Prosthetics designer Tristan Versluis, Oscar-nominated with makeup designer Naomi Domme, did most of the heavy lifting when it came to blood,

1917’s Oscar-Nominated VFX Supervisor on Creating Relentless Immersion

“I think what’s really kind of interesting is all the movies this year are using visual effects for widely different reasons,” notes 1917’s Oscar and VES-nominated visual effects supervisor, Guillaume Rocheron. And in an Academy FX slate that ranges from Avengers: Endgame to The Irishman, he has a point.

For the Visual Effects Society’s awards, the final two feature film categories are divided into two: One where visual effects predominate in photoreal features—hence Endgame is up against the Rise of Skywalker,

The Irishman’s Oscar-Nominated Editor Thelma Schoonmaker on her 53-year Collaboration with Martin Scorsese

Three-time Oscar winner Thelma Schoonmaker‘s association with Martin Scorsese even pre-dates his storied collaboration with Robert DeNiro. She edited his Who’s That Knocking At My Door in 1967, picked up the first of eight Oscar nominations for editing Woodstock, went on hiatus for a few years, then returned to the Scorsese fold in 1980 to edit his famously brutal Raging Bull. Since then, Schoonmaker’s cut every Scorsese movie,

Honey Boy Cinematographer Natasha Braier on Earning an ASC Spotlight Nomination

“It is, of course, an honor to be selected for this by the ASC (American Society of Cinematographers), but it’s also a responsibility.” That particular responsibility belongs to Natasha Braier, ASC, ADF, the cinematographer for Shia LaBeouf’s stark memory-play Honey Boy.

Upon learning she’d been nominated for one of ASC’s Spotlight Awards this year, she called it “a huge honor to be recognized by my colleagues with (this) nomination.

Casting Faces New and Old for Hundreds of Roles in The Irishman

Casting director Ellen Lewis has worked with Martin Scorsese since New York Stories, which came out in 1989, but there was no by-the-book process to adhere to in order to pull together the all-star ensemble leading The Irishman and the film’s hundreds of supporting roles. “Every world is different, so where you’re going to look and the way you’re going to think,” said Lewis, changes with each script. In this case,

Director Destin Daniel Cretton on Adapting Bryan’s Stevenson’s Just Mercy

Destin Daniel Cretton remembers the exact moment back in 2015 when he first came to learn of Bryan Stevenson, the founder of the Equal Justice Initiative. The day didn’t seem out of the ordinary for the filmmaker. But looking back, it turned out to be a career-defining moment for Cretton.

“I was sitting in a coffee shop in LA called the Bourgeois Pig when I opened up a book called Just Mercy by Bryan Stevenson,” says Cretton.

Virgin River Editor Nicole Ratcliffe on Cutting to Where it Counts

Editor Nicole Ratcliffe has an unusual story to tell—she began editing right out of film school. Why this is unusual is it usually takes some time before you’re properly cutting scenes in the editing room, but for Ratcliffe, who grew up in Vancouver and works there, she began editing more or less immediately. Not only that, she worked on so many visual effects-heavy projects that she became a visual effects editor.

“I went to Vancouver film school,

Dolemite Is My Name’s Oscar-Shortlisted Makeup & Hairstyling Team on Capturing an Era

“There was a lot of collaboration among us,” says Vera Steimberg, who was the co-department makeup head on the collaboration between Eddie Murphy and Netflix on Dolemite Is My Name. The film itself recounts the historical collaboration of self-produced blaxploitation movie icon Rudy Ray Moore, who produced the original Dolemite, then “four-walled” it—exhibiting it himself—until it was eventually picked up by a distributor for expansion into both more movie screens, eventual video,

Oscar Watch: The Lion King’s VFX Supervisor’s Groundbreaking New Techniques

Earlier this year, Disney’s live-action remake of The Lion King landed as both a critical and box office hit. Pride Rock looked stunning. The animals appeared real. No creatures were harmed in the making of the film, and Beyoncé herself played Nala, protagonist Simba’s level-headed love interest and future queen. Alongside a star-studded cast, The Lion King also broke new ground in visual effects,

In Fact-Based Just Mercy, Editor Nat Sanders Cuts to the Truth

Before editor Nat Sanders earned an Oscar nomination for cutting Barry Jenkins’ Moonlight, he forged a tight bond with filmmaker Destin Cretton. Their latest collaboration, Just Mercy (opening wide Friday, Jan. 10), casts Michael B. Jordan as real-life lawyer Bryan Stevenson who goes to bat for Death Row inmate Walter McMillian (Jamie Foxx) by proving he’s been framed by Alabama law enforcement authorities.

Sanders broke into feature films when he edited Florida State University classmate Barry Jenkins’

Servant Costume Designer Caroline Duncan on Dressing M. Night Shyamalan’s Thriller

M. Night Shyamalan and Tony Basgallop’s Servant is one of Apple TV+‘s weirdest, wildest new shows. As always with a Shyamalan production, there are creepy twists aplenty on offer here, but there’s more to Servant than narrative surprises—there’s bracing oddness to it, amplified by terrific performances from a great cast and technical mastery from Shyamalan and Basgallop’s talented crew.

Servant is set in Philadelphia (Shyamalan’s preferred location,

Director Kate Woods on Faith and Belief in her Netflix Drama Messiah

Early on in the new Netflix drama Messiah, CIA agent Eva (Michelle Monaghan), paradigmatically dogged in her duties, informs a failed prospective job candidate, “the truth may look gray, but I assure you, it is not.” It’s easy to guess that Eva’s next assignment will have her rethinking the office hiring policy. After she becomes aware of a long-locked, proselytizing enigma first spotted preaching mid-sandstorm to a band of followers in Damascus,

How Editor Lee Smith & Sound Editor Oliver Tarney Crafted the Immersive Story of 1917

If you caught last night’s Golden Globes, you saw Sam Mendes‘ World War I epic 1917 take home both Best Film (Drama) and Best Director for Mendes himself. 1917 bested some very steep competition, including Martin Scorsese’s mob epic The Irishman, Todd Phillips Joker, and Noah Baumbach’s Marriage Story. Mendes’ film is practically flawless.

Now imagine you’re a picture editing working on a project where the story is utterly personal to the director,