Artlist’s ‘The Arc’ Tests If AI Can Make a Sci-Fi Series for $38,000
There’s a thing that always happens — you should take a drink, except no, you shouldn’t — when…
‘Pan’s Labyrinth’ restoration team on converting to 3D and Atmos
‘Pan’s Labyrinth’ restoration team on converting to 3D and Atmos
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Nat Geo’s ‘Lion’ Cinematography Interview with Sophie Darlington
We live in a world where pretty much anything can be rendered photorealistically, from animals to aliens to…
‘Leviticus’ Is an Australian Gothic — Costume Design Interview
‘Leviticus’ Is an Australian Gothic — Costume Design Interview
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Making ‘The Invite’ Apartment — Production Design Interview
Unless you’re mired in the billionaire sociopathy of a “Succession,” all living spaces say something about the people…
Inside the Silver Slipper Strip Club
When “Euphoria” creator Sam Levinson introduced the new season at its Hollywood premiere, he acknowledged the influence of…
How ‘The Bride!’ Uses IMAX Like No Other Film
When Maggie Gyllenhaal started prep on “The Lost Daughter,” one of the first things she and cinematographer Hélène…
Baz Luhrmann Toolkit: ‘EPiC: Elvis Presley in Concert’
Baz Luhrmann Toolkit: ‘EPiC: Elvis Presley in Concert’
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This Week, Very Important BTS
Happy 2026, y’all! This is also going to be a shorter newsletter, since we’re kind of in the…
James Cameron and His Team on ‘Avatar: Fire and Ash’ Methodology
When it comes to filmmaking collaborations, one doesn’t typically think of the composer working closely with the production…
‘Predator: Badlands’ Weta Interview: Performance Capture and Animation
Wētā has done a lot of different motion capture and creature performances since the days of Andy Serkis…
‘Hedda’ Shot at Flintham Hall — Production Design Interview
You have to pick up a lot of skills and expertise as a production designer, given the wild…