“The Day of the Jackal” Cinematographer Christopher Ross Lenses Fatal Game of Spy vs Assassin
Eddie Redmayne stars as an unrivaled, anonymous assassin in The Day of the Jackal, a new Peacock series inspired by Frederick Forsyth’s 1971 novel. Reimagined in a contemporary setting, the Jackal is an English hitman pursued across Europe by Bianca (Lashana Lynch), a British intelligence officer determined to apprehend her target before he gets to his next hit.
Written by Top Boy’s Ronan Bennett and lensed for the first three of ten episodes by cinematographer Christopher Ross,
“The Penguin” Hair Department Head Brian Badie on Styling Gotham’s Gruesome Twosome
Spoiler warning…
The Penguin capped its remarkable eight-part run this past Sunday night and accomplished a rare feat—it’s a series set in a comic book world, boasting characters well known to the genre’s most read-in fans, that delivered a profoundly satisfying drama for a person unfamiliar with DC Comics or unenthused by Gotham’s most iconic resident, Bruce Wayne. The Penguin doesn’t even whisper Batman’s name nor allude to his presence until the very last shot in the series (a bat-signal,
“Deadpool & Wolverine” Sound Designers on the Splatter-and-Slash Acoustics of a Honda Odyssey Brawl
In our last conversation about Shawn Levy’s Deadpool & Wolverine, sound designers Craig Henighan and Ryan Cole discussed the hilarious opening sequence where Ryan Reynolds’ Deadpool uses Wolverine’s adamantium claws and bones to take down some Time Variance Authority goons, all set to NSYNC’s “Bye Bye Bye,” and some sound tricks to make the adamantium hits stand out. Today, they break down the savage Honda Odyssey brawl and the stunning cameo extravaganza.
“Deadpool & Wolverine” Sound Designers on Turning Frozen Tea Towels Into Broken Bones
Three months after debuting in theaters this summer, Deadpool & Wolverine’s winning streak still wasn’t over. It eventually surpassed Barbie’s domestic gross in its 13th weekend, with director Shawn Levy’s R-rated box office juggernaut ranking as the 12th highest-grossing movie of all time, with a domestic haul of over $636M.
It has been a hectic year for Oscar-nominated and Emmy-winning sound designer Craig Henighan, who not only worked on 2024’s second biggest film but also delivered Apple TV+’s two-hander dark comedy,
“Forrest Gump” DP Don Burgess Re-Teams with Tom Hanks, Robin Wright, and Director Bob Zemeckis on “Here”
Cinematographer Don Burgess earned an Oscar nomination and helped make an American classic when she shot Forrest Gump in 1994. He’s since re-teamed with star Tom Hanks and director Bob Zemeckis on The Polar Express, Cast Away, and Disney’s live-action remake of Pinocchio. Now, he’s the man behind the camera in Here (in theaters) which pairs Hanks and his Gump co-star Robin Wright in a story that mainly unfolds across ten decades within one New Jersey living room.
How The “Blitz” Sound Team Shook Steve McQueen’s Harrowing World War II Film
While researching Small Axe, a riveting series about the political awakening of London’s West Indian community, director Steven McQueen found a photograph of a young Black boy standing on a train platform holding a large suitcase. The stark image had the director questioning who the child was and what his story was during the London Blitz, a period in World War II when the city was bombed by Germany over eight long months.
“Venom: The Last Dance” Stunt Coordinator James Churchman on Tom Hardy, Wild Horses and Flying Kids
When he was nine years old, James M. Churchman bought his first motorcycle and started riding the backroads of his native Florida. A few years later, he became a professional stuntman, and by the late nineties, he’d invented a computerized flying system that is still in use today. In the 2000s, Churchman emerged as a go-to stunt coordinator for the Marvel Cinematic Universe, winning the 2014 Taurus World Stunt Award for staging Iron Man 3‘s 14-man free-fall spectacle.
“Here” Production Designer Ashley Lamont on Building an Entire Life in a Single Room for Tom Hanks & Robin Wright
Robert Zemeckis’ new film Here is based on an unusual concept: the entire movie takes place in one location, and the camera never moves. The living room at the center of the film is set in an early 20th-century house in New England, although as the story revisits different eras, the set also transforms into a forest and a colonial-era drive, both of which represent the same site before the house’s construction in 1907.
“The Wild Robot” Composer Kris Bowers on Accessing a Robot’s Humanity Through Music
Emmy and Oscar-winning composer Kris Bowers has become one of the go-to composers in Hollywood. Known for his work on films and TV shows like King Richard, The Color Purple, The Last Repair Shop, and Bridgerton, he has created well-known scores for a wide diversity of genres. For writer/director Chris Sanders‘ The Wild Robot, Bowers has added feature animation to his list of credits.
“Blitz” Costume Designer Jacqueline Durran Threads Through a Traumatic History in Steve McQueen’s WWII Epic
Costume designer Jacqueline Durran first dressed Saoirse Ronan in director Joe Wright’s sweeping English drama Atonement in 2007. She did so again for Wright’s action thriller Hanna and Greta Gerwig’s heartwarming period adaptation of Little Women, winning an Oscar for Gerwig’s adaptation of Louisa May Aclott’s beloved book. Durran collabs with the dazzling Irish performer for a fourth time in Steve McQueen’s wartime epic Blitz which follows Ronan as a widowed mother (Rita) trying to protect her only son George (magnificently played by eleven-year-old Elliott Heffernan) from the looming atrocities by sending him on a train far away.
“Smile 2” Horror Auteur Parker Finn on Crafting a Sequel About a Haunted Pop Star in New York
Writer/director Parker Finn has been enjoying a whirlwind victory lap in the days since his Smile 2 opened number one at the box office to become the year’s top-grossing horror film. “It’s been very surreal and exciting,” Finn told The Credits, speaking from his Los Angeles home. In fact, the past four years have unspooled for Finn with the kind of momentum young filmmakers dream about, thanks to his mastery of nightmarish scenarios.
“Conclave” Confidential: Production Designer Suzie Davies on Recreating One of the World’s Most Secretive Events
“Hell arrives tomorrow when we bring in the cardinals,” quips the fair-minded Cardinal Lawrence (Ralph Fiennes), the dean of the College of Cardinals, on the eve of the gathering to elect the new Pope. After the unexpected death of the current pontiff, it is Lawrence’s duty to oversee the titular Conclave, when over 100 cardinals from around the world gather to witness the cutthroat battle of succession steeped in tradition and secrecy.
“The Penguin” Costume Designer Helen Huang on Gotham’s Gritty Glamour
Costume designer Helen Huang bridges reality and comic book storytelling in The Penguin, finding a brilliant balance that gives the series weight and a churlish glamour befitting a story set in Gotham’s criminal underworld. The hit series led by showrunner Lauren LeFranc is familiar—Gotham is our most explored comic version of New York City—yet heightened and deliciously detailed, blending a tactical mob story with the haunting metropolis in a period of rapid decay following the Riddler’s bombing and flooding of the city at the end of The Batman—The Penguin is set in that tragedy’s aftermath.
“Smile 2” Prosthetic Makeup Designer Jeremy Selenfriend on the Sequel’s Gruesome, Grinning Details
Editor’s Note: The story contains spoilers to the movie Smile 2.
Prosthetic makeup designer Jeremy Selenfriend is no stranger when it comes to creating blood-curdling horror. He grew up watching Freddy Kruger films and turned an interest of the spooky into a career of conjuring some of the most terrifying dread imaginable. “It’s a weird thing to say, but when I was eight years old, I was in love with the Nightmare on Elm Street films,” he tells The Credits.
“Smile 2” DP Charlie Sarroff on Lighting a Curse-Afflicted Pop Star in the Big City
Life as a pop star isn’t as great as it looks, if the smiles surrounding global sensation Skye Riley (Naomi Scott) are any indicator. Smile 2, director Parker Finn’s sequel to 2022’s surprise hit Smile, demonstrates the horror of having a public psychological breakdown triggered by the triple threat of hidden trauma, the immense pressures of fame, and a deadly curse.
After an addiction-induced meltdown and a car accident that killed her boyfriend,
Cardinal Sins: “Conclave” Star Isabella Rossellini and Director Edward Berger on Their Thrilling New Film
Hot off Audience Award wins at both the Mill Valley and Middleburg Film Festivals, the film Conclave enjoyed phenomenal word of mouth on its way into theaters on October 25. Based on Robert Harris’ bestselling 2016 thriller, Conclave goes behind the sequestered doors of the Vatican to show the inner workings of selecting a new pope.
The story follows Cardinal Lawrence (Ralph Fiennes), who must run the conclave after his beloved friend,
“Agatha All Along” Songwriters Kristen Anderson-Lopez and Robert Lopez on Agatha Finding Her Voice
Agatha All Along wisely brings songwriters Kristen Anderson-Lopez and Robert Lopez back to the Marvel Cinematic Universe. This is only fitting, considering the two helped musically introduce Agatha to great acclaim in WandaVision. With the latest Disney+ series from creator Jac Schaeffer, the acclaimed music duo explores music history as they deliver time-spanning variations of the powerful “Ballad of the Witches Road.”
The music is integral not only to the plot but also to the characters in Agatha All Along.
From Mumbai to Batam: The Unexpected Journey of Dev Patel’s “Monkey Man”
Actor-turned-director Dev Patel, best known for his breakthrough role in Slumdog Millionaire, received a well-earned standing ovation for his directorial feature debut, Monkey Man, at the SXSW Film & TV Festival in Austin Texas this past March. His thrilling, kinetic debut went on to win the Headliners Audience Award.
The fight-filled action epic produced by Get Out and Us director Jordan Peele was inspired by the story of the half-monkey,
Lights, Camera, Recreation: “Saturday Night” Production Designer Jess Gonchor on Bringing “SNL”‘s Studio to Life
Production designer Jess Gonchor felt right at home on director Jason Reitman’s film Saturday Night, a pulsing recreation of the moments leading up to the first-ever broadcast of Saturday Night Live, which aired on October 11, 1975. Similar to Reitman, who fulfilled a dream of being a guest writer on SNL for a week on Season 35, Gonchor also worked in sketch comedy, so he knew “the inner workings of what this is and what it needed to be.” What that meant for the two-time Oscar-nominated production designer was that everything had to be interconnected.
“The Wild Robot” Head of Story Heidi Jo Gilbert on Motherhood’s Many Meanings
No one is more delighted that The Wild Robot has surpassed all expectations at the box office and with critics than director Chris Sanders. Receiving almost perfect reviews upon its world premiere at the Toronto International Film Festival, the film is headed towards record-breaking box office numbers for DreamWorks. Buzz has begun for The Wild Robot as a strong contender at this year’s Oscars. Only days ago, DreamWorks gave the green light for a sequel,
