Baby Driver’s Oscar-Nominated Supervising Sound Editor Dissects the Movie’s Unique Syncopated Style
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, while publishing new interviews throughout the week. Baby Driver sound editor Julian Slater is nominated alongside his collaborators Tim Cavagin and Mary H. Ellis. They’re up against Ron Bartlett, Doug Hemphill & Mac Ruth (Blade Runner 2049), Mark Weingarten, Greg Landaker & Gary A Rizzo (Dunkirk), Christian Cooke, Brad Zoern & Glen Gauthier (The Shape of Water),
I, Tonya‘s Oscar-Nominated Editor Tatiana S. Riegel on What Makes a Scene Work and Why
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, while publishing new interviews throughout the week. I, Tonya Editor Tatiana S. Riegel is nominated alongside Paul Machliss & Jonathan Amos (Baby Driver), Lee Smith (Dunkirk), Sidney Wolinsky (The Shape of Water) and Jon Gregory (Three Billboards Outside of Ebbing, Missouri).
One could make a case that the most competitive category in the upcoming Oscars isn’t for best picture or best director,
How The Last Jedi & Dunkirk‘s Colorist Subtly Manipulated Your Feelings
The son of farmers from near Turin, Italy, colorist Walter Volpatto went from studying electrical engineering at a local university to working at Italy’s national public broadcasting company, RAI. It was here he honed his chops with electronic compositing, lighting and photography. When computers became both ubiquitous and advantageous for his line of work, Volpatto jumped into the digital world with his usual passion and committment. Now, he is one of the premiere colorists working in the film industry,
How The Shape of Water‘s VFX Producer Turned a Monster Into a Romantic Lead
In the final part of this two-part interview, visual effects coordinator and frequent Guillermo del Toro collaborator Luke Groves reveals how he worked with the filmmaker to craft some of The Shape of Water’s most awe-inspiring sequences and reveals how he and the visual effects team at Mr. X walked the line between CG magic and practical effects to create movie magic that looks impressively real.
I want to talk about the opening sequence because I know it was shot wet-to-dry which is absolutely incredible.
The Shape of Water‘s VFX Producer on Creating the Year’s Most Unique Leading Man
For all its ambitious underwater sequences and that stunning central creature, it’s oddly easy to forget the technical majesty at work in Guillermo del Toro’s meticulous, Oscar-nominated The Shape of Water. Not for its lack of quality, in fact, quite the opposite. The work, which makes every inch of del Toro’s beguiling fantasy possible, is so seamless as to give the impression that even the film’s most outlandish design elements are through some mysterious magic,
Love & Other Illusions: How Blade Runner 2049‘s Oscar-Nominated Sound Designer Played With our Heart Strings
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Sound editor Theo Green is nominated alongside his Blade Runner 2049 collaborator Mark Mangini. The Sound Editing category includes Julian Slater (Baby Driver), Richard King & Alex Gibson (Dunkirk), Nathan Robitaille & Nelson Ferreira (The Shape of Water),
How Blade Runner 2049’s Oscar-Nominated Sound Designer Pulled no Punches
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Sound editor Theo Green is nominated alongside his Blade Runner 2049 collaborator Mark Mangini. The Sound Editing category includes Julian Slater (Baby Driver), Richard King & Alex Gibson (Dunkirk), Nathan Robitaille & Nelson Ferreira (The Shape of Water),
Replicant vs. Replicant: How Blade Runner 2049’s Oscar-Nominated Sound Designer Pulled no Punches
K. vs. Sapper
It’s a mismatch. One replicant is 6’0” and slender. The other is a goliath, standing at 6’3” and weighing 290lbs. They’re all alone in a creaky cabin on a distant, desolate protein farm, and they know they are about to have at it. The slender replicant, Officer K (Ryan Gosling), is there to “retire” Sapper (Dave Bautista, most well known as the lovable brute Drax in the Guardians of the Galaxy franchise),
How the I, Tonya Composer Helped Recast an Infamous Villain as a Tragic Character
When the news hit in 1994 that Olympic ice skater Nancy Kerrigan had been struck in the knee just before a performance, viewers were gripped. As the sensational story unfolded and the assailant became tied to rival Tonya Harding, America thought it would never forget the event. Nearly 25 years later, it turns out that the details have grown fuzzy – some even remembering Tonya swinging the baton herself. Three-time Oscar nominated I, Tonya returned to the scene of the crime and uncovered fresh perspectives on the infamous event.
Baby Driver‘s Oscar-Nominated Editor Paul Machliss on Marrying Music to Mayhem
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, while publishing new interviews throughout the week. Paul Machliss is nominated in the Film Editing category, alongside his co-editor Jonathan Amos. They join fellow nominees Lee Smith (Dunkirk), Tatiana S. Riegel (I, Tonya), Sidney Wolinsky (The Shape of Water) and Jon Gregory (Three Billboards Outside of Ebbing, Missouri).
Of all the masterly edited films of 2017,
Marrowbone Director Sergio G. Sanchez on Finding the Light in the Darkness
After writing the scripts for two international successes, The Orphanage (2007) and The Impossible (2012), both directed by fellow Spanish filmmaker Juan Antonio Bayona, Sergio G. Sanchez knew he was ready to direct one of his scripts. Marrowbone marks his fitting directing debut; it will be familiar to fans of the gothic The Orphanage, yet it stretches the filmmaker by ambitiously working on the level of both ghost story and family drama.
Chatting With Call Me By Your Name‘s Legendary Screenwriter James Ivory
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing brand new interviews with nominees. James Ivory is nominated for Writing (Adapted Screenplay), alongside The Disaster Artist’s Scott Neustadter & Michael H. Weber; Logan’s Scott Frank, James Mangold and Michael Green; Molly’s Game Aaron Sorkin; and Mudbound’s Virgil Williams and Dee Rees.
How Jackie Chan, Ancient Sparta and Zulu Spear-Fighting Inspired Black Panther‘s Stunt Coordinator
Given his pedigree as the guy who helped stage fights for two of the century’s most audacious action epics John Wick and The Bourne Ultimatum, stunt choreographer Jonathan Eusebio arrived on the Black Panther set in Atlanta, Georgia well qualified for the gig. Still, he faced a considerable challenge. In the space of just six weeks, Eusebui had to unite the actresses portraying Wakanda’s all-female Dora Milaje militia into a precision-tooled fighting machine.
Oscar-Nominee Aaron Sorkin on his Directorial Debut Molly’s Game
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Writer/director Aaron Sorkin is nominated for Writing (Adapted Screenplay) alongside James Ivory (Call Me By Your Name), Scott Neustadter & Michael Weber (The Disaster Artist), Scott Frank & James Mangold and Michael Green (Logan), and Virgil Williams and Dee Rees (Mudbound).
The Incredible History Lesson That Informed WACO‘s Costume Design
Karyn Wagner has a gift for time travel. Her costume designs have populated the slave era south of Underground, death row during the Great Depression of The Green Mile, and a lush WWII romance in The Notebook. Her latest visit in history lands in 1990s Texas where a charismatic cult leader was building a large following in WACO. The six-part miniseries on the newly branded Paramount Network concludes tonight,
How Pickup Trucks Helped Make Star Wars: The Last Jedi Most Visually Stunning Battle
One of the most stunning visuals in Star Wars: The Last Jedi—and in any Star Wars film we’ve seen—was the final battle between the First Order and the cornered and depleted Resistance on the remote, barren planet of Crait. One of the most arresting things about this small, uninhabited rock in the Outer Rim Territories is what lies beneath the layer of white salt covering the planet—a vast landscape of red soil. Leia Organa (Carrie Fisher) has made Crait a Resistance outpost due to it being such an unassuming,
Oscar-Nominated Cinematographer Dan Laustsen on The Shape of Water‘s Fluid Fable
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Cinematographer Dan Laustsen is nominated alongside Roger Deakins (Blade Runner 2049), Bruno Delbonnel (Darkest Hour), Hoyte van Hoytema (Dunkirk) and Rachel Morrison (Mudbound). The full list of the Oscar nominees can be found here.
Danish cinematographer Dan Laustsen worked alongside Guillermo del Toro on and off for two decades,
Oscar-Nominee Martin McDonagh on his Dark, Brilliant Three Billboards Outside Ebbing, Missouri
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Writer/director Martin McDonagh is nominated in the Best Picture and Writing (Original Sreenplay) category. The full list of the nominees can be found here.
How the Oscar-Nominated War for the Planet of the Apes VFX Supervisor Reversed Human Evolution
The Planet of the Apes reboot has been a massive success, and its impact on the film industry is hard to overstate. It began with Rupert Wyatt’s 2011’s Rise of the Planet of the Apes and carried on with Matt Reeves Dawn of the Planet of the Apes in 2014 and his riveting coda, War for the Planet of the Apes, in 2017. The central character,
Phantom Thread’s Oscar-Nominated Costume Designer on Styling Daniel Day-Lewis’s Last Performance
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, as well as publishing new interviews with those vying for Oscar gold this Sunday. Costume designer Mark Bridges is nominated alongside Jacqueline Durran (Beauty and the Beast and Darkest Hour), Luis Sequeira (The Shape of Water), and Consolata Boyle (Victoria & Adbul).
On Christmas, Daniel Day-Lewis took his final on-screen bow,
