Annette Bening, Adam Driver, & Writer/Director Scott Z. Burns on Digging Into The Report
For Annette Bening, playing California Senator Dianne Feinstein in The Report is personal.
“I had moved to San Francisco [to attend San Francisco State University] in 1978, the year that Mayor George Moscone and Supervisor Harvey Milk were assassinated and she [as head of the board of supervisors] then became mayor automatically,” says Annette Bening. “So I’ve been familiar with her for a long time. I wanted to do the role well enough so that you accept that it’s her but no more.
Ford v Ferrari Cinematographer Phedon Papamichael on the Need for Real Speed
Cinematographer Phedon Papamichael grew up seeing the value of a great artistic collaboration. His father, also Phedon Papamichael, was an art director and production designer who worked on several landmark films by indie pioneer John Cassavetes including Faces (1968) and A Woman Under the Influence (1974).
The younger Papamichael, who was born in Athens, Greece and studied filmmaking in Germany, is best known for his work with directors Alexander Payne—Papamichael earned an Oscar nomination for Nebraska (2011)—and with James Mangold.
The Report’s Production Designer On Recreating a World of Conspiracy
Find the mental capacity for another deep dive into the darkest corners of U.S. government and policy, but put away the newspaper. We’re winding back the clock to the beginning of the Aughts, when the CIA first implemented its “enhanced interrogation techniques,” or what most regular folks would call torture, at black sites around the world. The average American citizen didn’t learn about what the CIA was up to until after the program was shut down,
How Ford v Ferrari Stunt Coordinator Kept Christian Bale Safe at 140 Miles an Hour
“Christian Bale is hands down the best actor I’ve ever trained,” says stunt coordinator Dan Nagle, and for a guy who’s worked on Baby Driver, The Fate of the Furious and John Wick: Chapter 2, that’s saying a lot. A former racer himself, Nagle prepped Bale to portray Ken Miles, the hot-tempered driver who in 1966 competed in the 24 Hours Le Mans against the previously indomitable Italian racing team masterminded by Enzo Ferrari.
Composer Joseph Trapanese on Scoring a Live-Action Lady and the Tramp for Disney +
Video snippets from Disney’s history, showing the studio’s early animators gathered around a live deer, drawing its actions for Bambi, make for both great contemporary Instagram bait and charming Disney lore. They also demonstrate the extent to which Walt Disney encouraged his animators to learn and experiment. That level of commitment to creative exploration is something that can be heard today in the score to the live-action remake of Lady and the Tramp,
How Ford v Ferrari’s Production Designer Rebuilt the World’s Greatest Race Track Piece-by-Piece
James Mangold‘s Ford v Ferrari revisits one of the greatest car races in history. It began back in 1959 when Carroll Shelby (Matt Damon) wins the most difficult race in the world, the 24 Hours of Le Mans, in France. The problem for Shelby is his crowning achievement is also his last race—doctors tell him a heart condition makes it impossible for him to race again. The ever-resource Shelby decides to become a car designer (he can’t bear to leave the sport he loves) and sets up shop in Venice Beach,
Producer Daniela Taplin Lundberg on Pushing Boundaries With Harriet and Honey Boy
She has produced more than 25 feature films that have moved audiences and in many cases also earned industry accolades. Indeed, Daniela Taplin Lundberg has demonstrated a knack for bringing to the screen soulful stories that deftly explore the human condition — all while keeping budgets in check and quality high.
Armed with filmmaking insights gleaned early on from her parents, producer Jonathan Taplin (Mean Streets) and actress Rosanna DeSoto (Stand and Deliver),
How Last Christmas Production Designer Gary Freeman Got the Rom-Com Look Right
It’s fitting that the season’s first big holiday rom-com, a love letter to a George Michael Christmas song, is as much a testament to London’s enduring charms as it is to holiday-inspired selflessness, love, and cheer. Written by Emma Thompson and directed by Paul Feig, Last Christmas follows shambolic party girl Kate (Emilia Clarke) as she besmirches various charming London corners in permanently smudged eye makeup, dragging around her suitcase (having prevailed too much on exhausted friends,
Avengers: Endgame Executive Producer Trinh Tran on Capping Off a Decade’s Worth of Work
Last spring, Avengers: Endgame wrapped up Marvel’s Infinity War saga. The three-hour epic spanning space to Wakanda and back again impressed the critics, exceeded audience expectations, and raked in $2.78 billion in gross global earnings. The movie’s length was only one unusual development within the world of superhero fare, with Endgame representing the culmination of 11 years’ worth of work, bringing about the deaths of Natasha Romanoff (Scarlett Johansson) and Tony Stark (Robert Downey Jr.),
The Irishman Cinematographer Rodrigo Prieto on Crafting Scorsese’s Masterpiece
Beloved auteur Martin Scorsese’s new film The Irishman has brought Robert De Niro and Joe Pesci together onscreen for the first time in 24 years and added Al Pacino, whom he’d never worked with before, building a cast that sounds truly compelling to lovers of great acting and great film. Based on “I Heard You Paint Houses,” the narrative nonfiction book by homicide detective Charles Brandt, the story centers on Frank Sheeran (De Niro) who,
From Sunset Boulevard to Gemini Man With Paramount Archivist Andrea Kalas
Say you’re in charge of Paramount Pictures archives, and someone on your team unearths some unsigned sheet music from the era of silent films (yes, silent films included sheet music, more on that in a minute), what would you do? If you’re Andrea Kalas, Senior Vice President of Paramount’s Archives, you simply hand it over to your music archivist and ask her to play it.
“My music archivist has a piano in her office because she sometimes has to pick up a piece of sheet music to identify something,”
Writer/Director Rian Johnson on Going From Star Wars to Knives Out
Director Rian Johnson wanted to do something “completely different” from Star Wars with his new movie, Knives Out (released Nov. 27).
“It’s not a heavy movie, it’s not like an incredibly dark movie or anything, it’s kind of going for just giving you a blast of fun,” he told The Credits at the Denver Film Festival screening. “So that was kind of refreshing honestly,
Motherless Brooklyn Costume Designer Amy Roth’s Period Perfect Detail
Edward Norton’s Motherless Brooklyn takes the spirit, and many of the characters, from Jonathan Lethem’s excellent 1999 novel of the same name, but from there goes in an entirely new direction. That direction included setting the film some 45-years earlier, in the mid-1950s New York.
Lethem’s most indelible character, a gumshoe with Tourette’s named Lionel, remains (played by Norton), but the setting, story, and stakes are all different.
Ed Skrein & Luke Kleintank on Playing Legendary Fighter Pilots in Midway
Midway is a stirring tribute to the immeasurable courage of the men we now call part of the Greatest Generation. Premiering on November 8, Veteran’s Day weekend, it is the story of the early days of WWII, from Japan’s surprise attack on Pearl Harbor to America’s first major battle victory in the Pacific, the battle of Midway. The all-star cast includes Woody Harrelson as Admiral Chester Nimitz, Dennis Quaid as Admiral William “Bull”
How Costume Designer Ruth E. Carter Detailed the Look of Dolemite is My Name
If you ever meet Ruth E. Carter you’ll be enamored by her kindness. Her humbleness. The costume designer has seen her name pinned on multiple Spike Lee films like Malcolm X, Summer of Sam and Chi-Raq. She detailed Spielberg’s Amistad and Martin Luther King Jr. in Ava DuVernay’s Selma. In February of this year, she won the Academy Award in costume design for her meticulous efforts in Black Panther,
Composer Alan Silvestri on Going Big in Avengers: Endgame
There’s hardly a movie-goer alive who hasn’t heard at least something of Alan Silvestri’s body of work. The composer started making music in Hollywood in the early 1970s, he’s scored all 17 of Robert Zemicki’s films—including the Back to the Future trilogy—and in 2011, he entered the Marvel Cinematic Universe, with Captain America: The First Avenger. The following year, he scored The Avengers, and strains of that theme music can be heard in his newer work in the back-to-back epics capping off this superhero saga,
Motherless Brooklyn Production Designer Beth Mickle on Bringing Back Old New York
Edward Norton’s Motherless Brooklyn is a hugely ambitious adaptation of the seminal 1999 novel by Jonathan Lethem. While it borrows heavily from Lethem’s huge cast of characters—a gumshoe with Tourette’s named Lionel (played by Norton himself) and the folks he calls friends and foes alike—it charts its own path with a more or less completely original story. The era is no longer the late 90s but rather the 1950s New York.
How Us Costume Designer Kym Barrett Spooked Audiences With Jumpsuits
Happy Halloween! Quick, how many of you are donning red overalls and going as the deadly doppelgangers from Us? Even if writer/director Jordan Peele isn’t really into the idea, there’s no denying the power of this simple garb to instill terror. The monsters in Us are hatched not from labs or lagoons or outer space, but from all-American inequities, so it’s only fitting that they wear all-American denim.
How Joker’s Production Designer Brought New York Back to Its Past
If one thing is certain about Joker, director Todd Phillips’ half-billion-dollars-and-growing grossing dark take on the origin story of Batman’s chief supervillain, it’s that the film means about as many different things to its audience as there are people who’ve seen it. Is the Joker a compelling vigilante or simply a have-not gone mad? Are Arthur Fleck and Batman actually half-brothers? Does Fleck’s never-ending downward spiral speak for incels everywhere? (Absolutely not.) What’s certain is that Arthur is a more than down on his luck middle-aged stand-up comic wannabe working a miserable day job as a clown for hire in a particularly gritty take on Gotham City,
Universal Archivist Jeff Pirtle Knows his Monsters
The world of the Hollywood studio archivist is one in which you must keep one eye towards the future and one eye back to the past. You’re responsible for some of the most coveted assets in the film world, but you are always looking ahead—to upcoming productions and fresh opportunities—for those assets to once again become the stuff of movie magic. Jeff Pirtle, Director, Archives & Collections at NBCUniversal, in both temperament and training, is uniquely suited for this role.
