Lisa Kudrow and Michael Patrick King on the Long-Awaited Comeback of “The Comeback”
Lisa Kudrow and Michael Patrick King discuss reviving "The Comeback" for a third season—and using AI to satirize Hollywood’s latest identity crisis.
How Editor Jake Roberts Cut the Thrilling Iron Maiden Sequence in “28 Years Later: The Bone Temple”
Editor Jake Roberts dives into shaping the unforgettable Iron Maiden–scored sequence at the heart of Nia DaCosta’s visceral sequel "28 Years Later: The Bone Temple."
From Bauhaus to Frankenstein: Production Designer Karen Murphy’s Radical World-Building in “The Bride!”
Oscar-nominated production designer Karen Murphy blends 1930s modernism, punk aesthetics, and monster-movie mythology to build the world of Maggie Gyllenhaal’s "The Bride!"
Inside the Creative Engine of “The Pitt”: How Four Writers Built on a Breakout Hit
Writers Cynthia Adarkwa, Valerie Chu, Danny Hogan, and Kirsten “Cookie” Pierre‑Geyfman take us inside "The Pitt’s" writers’ room—and the challenge of building season 2 in real time.
“Project Hail Mary” Sound Designers Erik Aadahl and Ethan Van der Ryn on Creating Rocky’s Alien Language
Sound designers Erik Aadahl and Ethan Van der Ryn discuss how they created Rocky’s fully realized alien language for "Project Hail Mary"—using music, nature, and months of experimentation.
From Page to Orbit: Screenwriter Drew Goddard on Adapting “Project Hail Mary” for the Big Screen
When Drew Goddard first read Andy Weir’s "Project Hail Mary," there was a moment—two‑thirds of the way in—that made the hair stand up on the back of his neck. That was when he knew he had to protect what made the story different, bringing its humor, heart, and emotional reversals to the screen without sanding off the edges that made it special.
Creator Steven Knight and Director Tom Harper on Saying Goodbye to Tommy Shelby in “Peaky Blinders: The Immortal Man”
With "Peaky Blinders: The Immortal Man," creator Steven Knight and director Tom Harper bring Tommy Shelby’s haunted journey to a deeply emotional close, drawing on wartime history, Western mythmaking, and personal memory.
“The Bride!” Prosthetics Wizards Jason Collins and Scott Stoddard on Turning Christian Bale into Frankenstein
To transform Christian Bale into a newly imagined Frankenstein’s monster for "The Bride!", writer-director Maggie Gyllenhaal turned to Emmy-winning special effects artists Jason Collins and Scott Stoddard, who explain how restraint, realism, and human trauma shaped one of the year’s most striking cinematic creatures.
How Composer Hildur Guðnadóttir Brought Tension, Electricity, and Love to Maggie Gyllenhaal’s “The Bride!”
Composer Hildur Guðnadóttir discusses blending punk energy and romantic orchestration to create the electric, tension-filled score for Maggie Gyllenhaal’s "The Bride!"
A Historic Vision: Oscar Winner Autumn Durald Arkapaw on Capturing the Soul of “Sinners”
History, captured in images. After becoming the first woman to win Best Cinematography, watch Autumn Durald Arkapaw talk about bringing "Sinners" to life—where epic scale meets intimate emotion.
Historic Frames: Oscar Winner Autumn Durald Arkapaw on Bringing “Sinners” to Epic IMAX‑Sized Life
After making history last night as the first woman to win Best Cinematography, we’re revisiting our conversation with Autumn Durald Arkapaw. Her work on "Sinners"—shot across massive formats and intimate moments alike—reveals how scale, texture, and lyricism came together to create one of the year’s most visually unforgettable films.
From Stone to Shadow: Oscar Nominee Tamara Deverell on Crafting Guillermo del Toro’s “Frankenstein”
In our interview, Oscar‑nominated production designer Tamara Deverell breaks down how she and Guillermo del Toro shaped "Frankenstein"’s towering sets, shadowed interiors, and intimate spaces—using architecture, texture, and scale to reflect both the monster’s isolation and the fragile humanity at the story’s core.
Building the World, Brick by Brick: Oscar Nominee Florencia Martin on “One Battle After Another”
On Oscar Day, we’re revisiting our conversation with Academy Award–nominated production designer Florencia Martin, whose meticulous work on Paul Thomas Anderson’s One Battle After Another helped build one of the year’s most ambitious cinematic worlds—layer by layer, from the ground up.
Paul Thomas Anderson’s action thriller One Battle After Another is loosely inspired by a section of Thomas Pynchon’s 1990 novel “Vineland,” but this three-hour epic is rooted in the present,
Stitching Humanity Into Horror: Oscar Nominee Kate Hawley on Costuming “Frankenstein”
In our interview, Oscar‑nominated costume designer Kate Hawley breaks down how clothing became a storytelling language in "Frankenstein"—from shaping character psychology to honoring motherhood, grief, and humanity within a tale often defined by horror.
Casting “Hamnet”: Oscar Nominee Nina Gold on Finding the Heart of Chloé Zhao’s Grief‑Struck Masterpiece
Chloé Zhao’s Hamnet brings Maggie O’Farrell’s award‑winning novel to the screen with a cast assembled through intuition, legwork, and what casting director Nina Gold calls “a little bit of magic.” Gold — now among the Oscars’ first-ever nominees for achievement in casting — opens up about finding Jessie Buckley’s searing Agnes, discovering the young pair who could hold the emotional weight of the film as the twins, and why the Globe Theatre’s background artists needed to feel as emotionally alive as the stars onstage.
Oscar‑Nominated Songwriter EJAE on Turning Rejection Into “Golden” Success in “KPop Demon Hunters”
In our conversation, EJAE reflects on the long road to “Golden,” including years of near‑misses, creative setbacks, and moments when walking away from songwriting felt inevitable. Her story is a powerful reminder that success in the film industry is often built not on overnight wins, but on resilience—and on finding the right project at exactly the right moment.
Inside “The Secret Agent”: Kleber Mendonça Filho & Wagner Moura on Power, Paranoia, and an Oscar‑Nominated Thriller
"The Secret Agent" could make history: if it wins Best International Feature, Brazil would become the first country in 37 years to win back-to-back. Oscar nominees writer/director Kleber Mendonça Filho & star Wagner Moura on using cinema, urban legends, and stop-motion to explore democracy's fragility.
How Oscar Nominee Adolpho Veloso Turned the Pacific Northwest Into the Soul of “Train Dreams”
Oscar nominee Adolpho Veloso shot "Train Dreams" entirely on location across Washington State — no artificial light, no wide-screen spectacle, just natural beauty captured at the right moment. The Brazilian-born cinematographer talks about channeling Dorothea Lange, choosing a Depression-era aspect ratio, and why getting out of nature's way is sometimes the most powerful creative choice you can make.
Four Acting Nominations. One Casting Director. How Cassandra Kulukundis Unlocked PTA’s “One Battle After Another”
The Oscars’ first new category in 25 years — achievement in casting — finally shines a long‑overdue spotlight on the artists who shape films from the inside out. Among the inaugural nominees is Cassandra Kulukundis, Paul Thomas Anderson’s longtime casting collaborator, whose work on "One Battle After Another" helped deliver two breakout performances (Teyana Taylor and Chase Infinit) and one of the year’s most electrifying ensembles. For Kulukundis, who has cast every PTA film since Magnolia, finding the right actors isn’t just a job — it’s world‑building. “There’s a right role for everyone,” she says. “I just have to figure out what that is.”
“Scarpetta” Creator & Showrunner Liz Sarnoff on Crafting Her Razor‑Sharp, Nicole Kidman–Led Serial‑Killer Thriller
For decades, Patricia Cornwell’s Dr. Kay Scarpetta has stood as one of crime fiction’s most enduring creations, a brilliant medical examiner navigating darkness with precision, tenacity, and heart. Now, showrunner Liz Sarnoff joins forces with executive producer and star Nicole Kidman to bring the iconic character to life in "Scarpetta," Prime Video’s ambitious new adaptation that spans two eras of the forensic sleuth’s career.
