How the magic gets made
From the crafts and tech masters
'House of Dynamite' Composer Volker Bertelmann on His Intense Scores as of Late: "Yeah, I…
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‘House of Dynamite’ Composer Volker Bertelmann on His Intense Scores as of Late: “Yeah, I Can’t Sleep”
The German composer is also on this year’s awards circuit with ‘Ballad of a Small Player’ after last year’s run with ‘Conclave.’
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How the ‘Dune: Part Two’ Sound Team Created the Sonics of Sand Worms and a “Planet of Bloodthirsty Lunatics”
Supervising sound editor Richard King, nominated for an Oscar for the film, explains why he didn’t — and couldn’t — inherit a sound library for the sequel.
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A $10M Budget Didn’t Stop ‘The Brutalist’ Production Designer Judy Becker From Leaning Into the Film’s Titular Architectural Style
The Oscar-nominated pro also reveals what set design she couldn’t quite figure out at first.
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‘Nosferatu’ Cinematographer Jarin Blaschke on Shooting the “Romantic” Film to Look as If It Were Basked in Moonlight
The director of photography also talks about about the challenges he faced on the Robert Eggers film.
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‘Wicked’ Production Designer Nathan Crowley on Planting Barley and 9 Million Tulips to Create Oz
The Oscar-nominated production designer was tasked with transporting audiences to the whimsical world using as little VFX as possible.
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How Cynthia Erivo and Ariana Grande Learned to Fly and Sing Live at the Same Time
‘Wicked’ sound mixer Simon Hayes details how the production teams came together to enable the film’s actors to sing live… all while performing the incredible stunts.
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As They Re-created Storms, ‘Twisters’ Crew Faced a Real One
The crazy art of making havoc.
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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.
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‘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.
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‘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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Secrets to the magic behind what’s seen on the big and small screen, straight from the crafts and tech maestros