Wrap Magazine
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How to Shoot All That Pink and Other Lessons in ‘Barbie’ Cinematography
TheWrap magazine: “The first day on the set, I discovered that it was really a problem,” says cinematographer Rodrigo Prieto
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How One ‘Barbie’ Dance Song Turned Into a Giant Job for Mark Ronson and Andrew Wyatt
TheWrap magazine: “Everything influenced everything else,” Mark Ronson says of the film’s mixture of songs, score and dance numbers
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How an Existential Crisis Led to Singaporean Oscar Entry ‘The Breaking Ice’
TheWrap magazine: “When you’re stuck, you look to find a new direction,” says director Anthony Chen of the movie that came out of his pandemic melancholia
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Sterling K. Brown Says ‘American Fiction’ Flexes How He’s ‘Much Sillier Than People Give Me Credit For’
TheWrap magazine: Brown, who won Emmys for “This Is Us” and “The People v. O.J. Simpson,” says “I guess I fool them into thinking that I am a serious actor
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How Estonian Documentary ‘Smoke Sauna Sisterhood’ Helped a Broken Woman Heal
TheWrap magazine: “I could wash my shame off and accept my vulnerability, my imperfections,” says first-time director Anna Hints
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Kôji Yakusho Describes His Journey From Japanese Star to Janitor for ‘Perfect Days’
TheWrap magazine: “After the shoot, the Tokyo Toilet Project told me, ‘Hey, you can start working at our company tomorrow,’” says Yakusho
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How a Storage Unit Transformed the Documentary ‘Joan Baez I Am a Noise’
TheWrap magazine: “I had no idea what was in there,” Baez says of giving her directors the key to a unit that contained tapes of her therapy sessions
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How Eve Hewson Proved She’s Funny by Playing Irish Women
TheWrap magazine: With “Flora and Son” and “Bad Sisters,” the actress “feels seen for the first time”
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Why ‘Past Lives’ Star Greta Lee Didn’t Want Anybody to See the Movie
TheWrap magazine: “It was totally thrilling, but also terrifying once it was complete,” says Lee of the Celine Song movie she made with Teo Yoo and John Magaro
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Song or Score? ‘The Holdovers’ Music Blurs the Line
TheWrap magazine: “It’s what we jokingly call scource — half score, half source music,” says composer Mark Orton
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Why Jon Batiste Followed His Huge ‘American Symphony’ With a Gentle Love Song
TheWrap magazine: The composer and performer says the ballad “It Never Went Away” “felt spiritually connected to everything that happened” as his wife battled leukemia
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How ‘American Fiction’ Grew Out of Cord Jefferson’s Own Experiences of Being Piegonholed as a Black Writer
TheWrap magazine: “The subtext of all those conversations is an inability to see Black life as being as complex and dynamic and broad and deep as anybody else’s life,” Jefferson says
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How Maori Singer Stan Walker Reclaimed His Identity With a Song From Ava DuVernay’s ‘Origin’
TheWrap magazine: “Even though I’m 33 years old, I feel born again in a whole new way,” says the New Zealand singer
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Diane Warren Is Back in the Oscar Song Race, But You Probably Could Have Guessed That
TheWrap magazine: “He wants a friend,” says Warren of the Honorary Oscar she received last year after 14 nominations without a win
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How ‘Oppenheimer’ Ignited an Explosion of 70mm
TheWrap magazine: Film-school administrators and a student weigh in whether the celluloid celebration is here to stay or merely a passing fad
