“Blink Twice” Production Designer Roberto Bonelli on Crafting the Sinister Façade of Zoë Kravitz’s Thriller

For her feature directing debut, actor-turned-director Zoë Kravitz (Big Little Lies, The Batman) has chosen a visually luscious, sinister psychological thriller, which she co-wrote with screenwriter E.T. Feigenbaum. Exploring themes ranging from trauma and misogyny to sexual exploitation and greed, Blink Twice also shines a light on the vast chasm between the haves and have-nots. Cocktail cater-waitresses Frida (Naomi Ackie) and roommate Jess (Alia Shawkat) are struggling to make ends meet when they are lured by the seemingly endearing and handsome tech mogul,

“Deadpool & Wolverine” Second Unit Director & Stunt Coordinator George Cottle on Capturing Those Cameos

In the last installment of our conversation with Deadpool & Wolverine’s second unit director and stunt coordinator George Cottle, we covered the hysterical dance/action opening sequence and what it took to shoot the bone-crunching brawl inside a real Honda Odyssey minivan. Smashing box office records on every level­—the first R-rated movie to open domestically over $200 million, the sixth biggest domestic opening of all time—the film joined the billion-dollar club just 23 days after opening in theaters,

“Deadpool & Wolverine” Stunt Coordinator & Second Unit Director George Cottle on the Comically Ultra-Violent Style

“Suck it Fox, I’m going to Disney World!” So declares our favorite fourth-wall-breaking antihero, Deadpool (Ryan Reynolds), in Shawn Levy’s hilariously meta threequel, Deadpool & Wolverine, which is back in the #1 spot domestically for the fourth weekend. With Deadpool’s signature brand of acerbic sarcasm and self-deprecating humor, the raunchy action comedy often references the aftermath of the 2019 Disney-Fox mega-merger, which led to the titular duo landing under the Disney banner.

A Symphony of Success: Emmy Nominees Talk VFX, Composing, and Editing

We had the pleasure of hosting two panels this year—check out our first panel here— ahead of the 2024 Emmy Awards, which will be held live on ABC on Sunday, September 15, from 8-11 ET. For our second panel, our Emmy nominees came from a wide-ranging group of shows—Lessons in Chemistry‘s ace director Millicent Shelton, nominated for directing episode 6, “Poirot,” Shōgun‘

The Rewards of the Craft: Emmy Nominees on the Joys & Challenges of Television

We had the pleasure of hosting two panels this year—check out our second panel here— ahead of the 2024 Emmy Awards, which will be held live on ABC on Sunday, September 15, from 8-11 ET. Like last year, we sat down with some nominees from some great, disparate, challenging shows. In our first panel, Planet Earth III composers Jacob Shea and Sara Barone (nominated for episode 6,

“Emily in Paris” Star Ashley Park on ‘brat summer’, Her Singing Chops, and Season 4’s Stakes

As the first five episodes of season four of the hit series Emily in Paris dropped on Netflix on August 15, fans were eager to delve back into the world of Emily (Lily Collins) and Mindy (Ashley Park) as they navigate messy relationships, major career changes, and general adulthood woes, in Paris. 

At the conclusion of season three, Mindy was dating her former high school crush (and real-life boyfriend) Nicolas (Paul Forman) and also found out she had been accepted to the Eurovision competition with her former boyfriend,

“The Bear” Emmy-Nominated Sound Team on Capturing the Chaos of the Kitchen

The first thing you might notice in Season 2 of Christopher Storer’s hit drama The Bear is how well you can hear chef-owner Carmen (Jeremy Allen White) and his team of kitchen underdogs as they set to work reopening their Chicago restaurant. Restaurant kitchens, especially those still under construction, as the Bear’s is for most of the season, are not quiet places. But no matter how prevalent the sledgehammers and steel cookware may be on screen,

“It Ends With Us” Production Designer Russell Barnes on Crafting Visual Contrasts of Love & Control

Director Justin Baldoni’s film adaptation of Colleen Hoover’s hit novel, It Ends With Us, in which Baldoni also stars as vicious neurosurgeon Ryle, is a surprise hit of the summer. The movie is a romance suffused with darkness, following Lily (Blake Lively as an adult, Isabela Ferrer as an adolescent) as she grows up and falls into a violent relationship that mirrors her parents (Amy Morton and Kevin McKidd).

As an adolescent in Maine looking to escape,

“Deadpool & Wolverine” Costume Designer Graham Churchyard on Bringing Back Logan’s Yellow Suit

Deadpool & Wolverine is more than a comic book movie—it’s like 20 comic book movies slashed and smashed into one, pulling characters from the past, present, and future of Marvel and 20th Century Fox’s film history. Audiences witnessed these characters all coming together again in the void, some even making history in the process.

The void is a post-apocalyptic wasteland where Deadpool (Ryan Reynolds) and Wolverine (Hugh Jackman) cross paths with familiar faces and new superheroes with stark new powers.

“Manhunt”: A Visual Journey Through Time with Graphic Designer Gina Alessi

Manhunt graphic designer Gina Alessi had a significant assignment when she was brought on board Apple TV+’s stellar limited series about the hunt for John Wilkes Booth (Anthony Boyle) in the aftermath of Abraham Lincoln’s (Hamish Linklater) assassination—among other historical recreations, Alessi was tasked with making sure Abraham Lincoln’s deathbed at the Petersen House next to the Ford Theater, down to the pattern on the blanket, was period perfect. It was not an insignificant challenge,

“Deadpool & Wolverine” Screenwriters Rhett Reese & Paul Wernick on Resurrecting Logan

Moviegoers apparently love an underdog, at least when it takes the form of Ryan Reynolds’ Avengers wannabe Wade “Deadpool” Wilson. Deadpool & Wolverine, the biggest R-rated movie of all time, with more than a billion at the global box office, co-stars Hugh Jackman and comes fully loaded with a slew of superheroes newly arrived in the Marvel Cinematic Universe now that Disney owns the studio that once controlled the rights to X-Men and other comic book characters.

“Deadpool & Wolverine” Co-Writer Zeb Wells on Scripting Marvel’s Raunchiest, Wildest Film Ever

Even if Deadpool & Wolverine hadn’t become the year’s top-grossing movie, self-described comics nerd-turned-screenwriter Zeb Wells would have been thrilled just for the opportunity to furnish Ryan Reynolds’ Deadpool character with snarky wise-cracks. Joining Reynolds, director Shawn Levy, Rhett Reese and Paul Wernick, Wells, who previously penned “Venom: Dark Origin” and “The Amazing Spider-Man” comic books, says, “I was a huge fan of the first two Deadpool movies,

All the World’s a Stage: The Team Behind “Sing Sing” on Crafting a Powerful Human Drama

Sing Sing screenwriters Greg Kwedar and Clint Bentley are unusual, even in the world of indies. They immerse themselves in the world of the story they want to tell for years, in this case a drama program in a maximum-security prison. They surround professional performers like Colman Domingo in the case of Sing Sing, with real-life inhabitants of that world, with a seamless naturalism that straddles documentary and narrative filmmaking.

Twin Forces: “The Acolyte” Director Hanelle M. Culpepper on Crafting Amandla Stenberg’s Dual Roles

When she helmed the first episode of Star Trek: Picard in 2020, director Hanelle M. Culpepper made history as the first woman to launch a Star Trek series. She went on to win the NAACP Image Award for Outstanding Directing in a Drama Series for that project. This, along with her work on shows like Westworld, The Last Days of Ptolemy Grey, Kung Fu,

“Fly Me to the Moon” Screenwriter Rose Gilroy Reimagines the Apollo 11 Moon Landing

As we just celebrated the 55th anniversary of the Apollo 11 lunar landing on July 16, director Greg Berlanti’s latest offering is a stylish, charming Space Race rom-com that salutes the 400,000 people who worked on the program. Starring Channing Tatum and Scarlett Johansson (who pulls double duty as producer), Fly Me to the Moon (in theaters now) is based on a story by producer Keenan Flynn and writer Bill Kirstein and crafted by screenwriter Rose Gilroy.

“Twisters” Sound Editors on Creating the Ferocious Voice of Six Distinct Tornadoes

Catastrophic weather struck a chord with moviegoers over the weekend when Twisters blew apart box office expectations and raked in a whopping $81 million for its debut. The action spectacle, directed by Lee Isaac Chung (Minari) and filmed in Oklahoma, stars Daisy Edgar-Jones, Glen Powell, and Anthony Ramos as storm chasers determined to study tornadoes by driving right to the edge of wind-torn disaster.

Twisters co-stars six different tornadoes conjured by Industrial Light &

“Twisters” Editor Terilyn A. Shropshire on Whipping Up a Winning Cut

For editor Terilyn A. Shropshire, Twisters was a homecoming. Director Lee Isaac Chung shot the satisfying popcorn picture on 35mm, and Shropshire, who cut her teeth on 8mm, 16mm, and 35mm, was thrilled to see flash frames again on Twisters. Most of the excitement came in color timing and seeing the end results, but still, the texture alone of the footage shot by cinematographer Dan Mindel, was a thrill to cut.

“House of the Dragon” Showrunner Ryan Condal on the the Women Vying for Power in Westeros

For those who haven’t watched House of the Dragon since its debut in 2022, the show is based on George R.R. Martin’s book Fire and Blood. The story chronicles the early days of the Targaryen dynasty in the time of Aegon the Conqueror, a forefather to the much-beloved Game of Thrones heroine Daenerys. The new series has developed its own enthusiastic fandom, one that was thrilled to see the premiere of new weekly episodes as of June 16th of this year. 

“Sing Sing” Cinematographer Pat Scola on Capturing a Raw, Moving Portrait of Humanity

“It was really about getting out of your own way and allowing these men’s story to come to the forefront,” cinematographer Pat Scola tells The Credits about the emotionally stirring film Sing Sing from director Greg Kwedar, which shines a delicate light on the arts rehabilitation program at Sing Sing Correctional Facility. “Greg was the one who led from the front on this, and we were there to help tell the story without putting our hands all over it,” Scola says.

How “Those About to Die” VFX Supervisor Peter Travers Built Rome in 100 Days

Roland Emmerich knows how to destroy worlds. The multi-hyphenate is behind some of the biggest disaster movies in film history, including Independence Day, The Day After Tomorrow, 2012, and Moonfall. But instead of depicting a cataclysm for his latest effort, he’s building an empire for the Peacock series Those About to Die (streaming on July 18), which takes place during Rome’s Flavian dynasty just as the Coliseum is receiving its finishing touches.