Wrap Magazine (Awards)
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Inside Brian Wilson’s Autobiographical Song for the Doc ‘Long Promised Road’
TheWrap magazine: Co-writer James explains how he based the lyrics to “Right Where I Belong” on old interviews Wilson had given
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How Costa Rican Drama ‘Clara Sola’ Became Like ‘Carrie Meets Cinderella in Latin America’
TheWrap magazine: “Both films have a very juicy release or explosion,” director Nathalie Álvarez Mesén says
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With ‘Lingui, the Sacred Bonds,’ Chad’s Top Director Hopes to Change How His Country Views Abortion
TheWrap magazine: “I’m used to making films about men, but I knew I had to become a spokesman for these women,” Mahamat-Saleh Haroun says
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How International Breakout Star Renate Reinsve Learned to ‘Surrender to the Chaos’
TheWrap magazine: The Norwegian star of the Oscar favorite “The Worst Person in the World” says “it’s impossible to wrap my head around” the attention she’s received for the film
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‘Titane’ Director Julia Ducournau Shares Nightmares That Inspired Film: ‘I Was Giving Birth to Engine Pieces’
TheWrap magazine: The Palme d’Or winner says that reality was the most important factor for her, “even though that’s not a word often linked to my film”
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How the Pope Francis Doc ‘Francesco’ Helped the Director Recover From Trauma
TheWrap magazine: “I wanted to find the positive side of humanity,” director Evgeny Afineevsky says of the film he made after documenting war and the refugee crisis
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Asghar Farhadi on How COVID Left a Mark on His Oscar Contender ‘A Hero’
TheWrap magazine: The Iranian director was able to erase physical signs of the pandemic, but the delays gave him months more in the rehearsal time he loves
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Why the Refugee Doc ‘Flee’ Could Only Be Made With Animation
TheWrap Magazine: “Having animation really gave him the space to open up,” Jonas Poher Rasmussen says of convincing an Afghan refugee to share his story
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Why Mexican Oscar Entry ‘Prayers for the Stolen’ Avoided Scenes of Graphic Drug Violence
TheWrap magazine: “In Mexico, we’re very much contaminated by (violent) images we see constantly,” director Tatiana Huezo says
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You Can Tell It’s Oscar Season Because Diane Warren Has a New Song in the Race
TheWrap magazine: “I wanted to write a song about hope,” 12-time nominee says of “Somehow You Do” from “Four Good Days”
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How Dan Stevens Simulated ‘the Strangeness of Humanity’ to Play a German Robot in ‘I’m Your Man’
TheWrap magazine: “He knows everything except the intricacies of human nature,” Stevens says of the android he plays in the German-language comedy
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Why Todd Haynes Never Wanted to Leave the Editing Room Making ‘The Velvet Underground’
TheWrap magazine: “I love cutting, and it was all I ever wanted to do for the rest of my life, basically,” the director says of his documentary about the groundbreaking band
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Paolo Sorrentino’s Big Challenge With ‘The Hand of God’: Stop Trying to Be Fellini
TheWrap magazine: “It was clear from the beginning that this movie needed a different style – very simple,” the Italian director says of his highly personal story
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What ‘Ascension’ Director Learned Filming Inside Chinese Factories Making Sex Dolls and Trump MAGA Merch
TheWrap magazine: “At one of the more disturbing locations, the workers appeared the most relaxed,” documentary filmmaker Jessica Kingdon says
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Inside Edgar Wright’s Journey From Sparks Rock Doc to Scary ’60s Pop in ‘Last Night in Soho’
TheWrap magazine: “As I got to know the Maels, I felt aggrieved on their behalf that nobody had made” a films about them, the director says of the brothers behind Sparks
