How the magic gets made
From the crafts and tech masters
The Secret to Pharrell Williams' 'Piece by Piece' Is a Global Network of Young Content…
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Movies
Crafting the Scene: How Denis Villeneuve Devised the Cruel, Sexy, Black-and-White World of House Harkonnen for ‘Dune: Part Two’
Director Villeneuve, production designer Patrice Vermette, cinematographer Greig Fraser and editor Joe Walker join THR for an in-depth discussion about the creation of that mind-blowing set-piece on the 'Dune' planet of Giedi Prime — involving infrared cameras, septic tanks and a very sadistic Austin Butler.
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Movies
‘The Brutalist’ Cinematographer Lol Crawley on Shooting 3.5 Hour Film on 35 mm: “What You See Is What We Shot”
Crawley details the fast-paced shooting schedule (34 days!) of Brady Corbet’s epic and reveals the scene that really thwarted him.
BY Lexy Perez -
Movies
‘Joker: Folie à Deux’ Composer Invented an Instrument, Called “The String Prison,” for Sequel
Hildur Gudnadóttir, who won the best score Oscar for 2019’s ‘Joker,’ returned for the follow-up film that sought to expand the “vocabulary of the string instruments” from the first film.
BY Lexy Perez
Behind The Screen's Latest News
The Secret to Pharrell Williams’ ‘Piece by Piece’ Is a Global Network of Young Content Creators
From Indonesia to Warsaw, an unlikely group of amateur animators connected for the genre mold-buster.
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Crafting the Scene: How Denis Villeneuve Devised the Cruel, Sexy, Black-and-White World of House Harkonnen for ‘Dune: Part Two’
Director Villeneuve, production designer Patrice Vermette, cinematographer Greig Fraser and editor Joe Walker join THR for an in-depth discussion about the creation of that mind-blowing set-piece on the 'Dune' planet of Giedi Prime — involving infrared cameras, septic tanks and a very sadistic Austin Butler.
- By
‘The Brutalist’ Cinematographer Lol Crawley on Shooting 3.5 Hour Film on 35 mm: “What You See Is What We Shot”
Crawley details the fast-paced shooting schedule (34 days!) of Brady Corbet’s epic and reveals the scene that really thwarted him.
- By
‘Joker: Folie à Deux’ Composer Invented an Instrument, Called “The String Prison,” for Sequel
Hildur Gudnadóttir, who won the best score Oscar for 2019’s ‘Joker,’ returned for the follow-up film that sought to expand the “vocabulary of the string instruments” from the first film.
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The Peculiar VFX Magic of ‘Kingdom of the Planet of the Apes’
'Kingdom of the Planet of the Apes visual effects supervisor Erik Winquist detailsthe technological advances used for the third Apes film to conjure natural destructionon the screen: "A complete inferno."
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‘Maria’ Production Designer on Re-creating the Opera Singer’s Lavish World
4,000 garments adorned the dressing room set, her apartment was styled in earthy colors as well as royal blues and vivid oranges, and Guy Hendrix Dyas hand-painted a headboard to look exactly like the renowned opera singer’s iconic bed.
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Why ‘Nickel Boys’ Made That Wild POV Choice
Editor Nicholas Monsour on seeing the action through characters’ eyes.
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How Do You Make Donald Trump’s Skin Orange? Very Carefully
The makeup and hair artists on ‘The Apprentice’ had an interesting challenge transforming Sebastian Stan into the former and upcoming President of the United States.
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Why So Many Character Dramas This Season Use Special Effects
Inside the worlds of ‘Better Man,' ‘Different Man’ and ‘Unstoppable.’
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Ready, Set, Go: ‘Saturday Night’ Production Designer Jess Gonchor on How He Re-created the Iconic 1975 ‘SNL’ Stage
Jason Reitman’s film chronicles the 90 minutes before the first episode of the sketch comedy series went live almost 50 years ago.
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If You Thought Demi Moore’s Transformation Was Crazy in ‘The Substance,’ Wait Til You Hear How They Did It
Production designer Pierre Olivier-Persin spills all.
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When You Give a Ball a Camera: How ‘Challengers’ VFX Team Created Tennis POV Scene
VFX director Brian Drewes and his team stitched together 23 shots for the viral 24-second scene. "There's no reference for it in the real world," he says.
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‘Civil War’ Sound Editor on Balancing “Oppressive” Battle Noise With Abrupt Silence
Oscar winner Glenn Freemantle talks reteaming with Alex Garland on the A24 film, and explains why the team did not use sound level meters when determining if things were getting too intense.
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How ‘The Creator’ Director Gareth Edwards Used VFX to Make $80M Look Like $200M
Using Industrial Light & Magic in northern California, the most important task for Edwards and his team was to perfect the look of Alphie, who appears in 400 shots.
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‘The Boy and Heron’ Producer on Why Hayao Miyazaki Came Out of Retirement
“What he wanted to do was basically tell his life story,” Toshio Suzuki, president of Japan-based Studio Ghibli, says about the Oscar-nominated animated feature.
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‘Godzilla Minus One’ VFX Oscar Nom Seemed to Be an “Unreachable” Goal
Takashi Yamazaki, who served on the film as writer, director and VFX supervisor, talks to THR about his inspiration for the Kaiju film, as well as how the CG monster was created to interact with water.
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