TheWrap Magazine
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Aunjanue Ellis-Taylor Is ‘Still Processing’ the Profound, Painful Experience of Making ‘Origin’
TheWrap magazine: The actress worked closely with writer-director Ava DuVernay to grapple with difficult material about race and inequality
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Jeffrey Wright Says He’s ‘Grateful’ the Director of ‘American Fiction’ Didn’t Want Anyone Else in the Lead Role: ‘No Plan B’
TheWrap magazine: Despite being sent a list of Hollywood actors for his feature directorial debut, Cord Jefferson said he “just knew” Wright was the only one for the role
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Michael Mann on Why ‘Ferrari’ Star Adam Driver Is the Ultimate Muse
TheWrap magazine: “I knew the first time I met him after about 10 minutes that he’s the guy to go on this journey,” the legendary filmmaker says
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Ava DuVernay on Her New Movie ‘Origin’ and Why Racism Is Just a ‘Band-Aid on a Wound’
TheWrap magazine: “It’s the skin on a skeleton. The skeleton is caste,” DuVernay says, discussing her new drama that digs into the root of inequality
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‘May December’: How Bergman, Mirror Play and Ace Acting Shaped the Netflix Film’s Unique Look
TheWrap magazine: Cinematographer Christopher Blauvelt enthuses that “the way they expanded on” the script “was something that I didn’t expect”
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Finding the Cringey Core of ‘The Curse’: ‘It Was Treated Like Drama and the Horror Is Inherent in the Material’
TheWrap magazine: Editor Adam Locke-Norton adds, “the pace was a little unusual for TV, it’s more like a European film”
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How Cinematographer Erik Messerschmidt Revved Up Michael Mann’s ‘Ferrari’ Without Green Screen
TheWrap magazine: “All the racing in the movie is real,” says the Oscar-winning lenser
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How ‘The Holdovers’ Added Frame Stains and Real Snow to Create a 1970s Holiday Landscape
TheWrap magazine: “We shot in Boston and the whole schedule was designed around when we would be most likely to have snow,” says cinematographer Eigil Bryld
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Does a Makeup Makeover Increase Your Chances of Oscar Gold?
TheWrap magazine: “Maestro,” “Poor Things,” and “Golda” are among this year’s Makeup and Hairstyling Oscar short-listers
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‘May December’, ‘Past Lives’ and Other Costume Designers Explain How They Weave a ‘Sense of Individuality’ Into Modern Clothes
TheWrap magazine: The costumers behind four great 2023 movies discuss the subtle art of wardrobing characters in the here and now
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‘All of Us Strangers’ Cinematographer Unpacks the Film’s Sensual Intimacies and Mysteries
TheWrap magazine: “The intent was to create this ambiguous feeling of current, future and past all blended into one,” said lenser Jamie D. Ramsay
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How ‘Fargo’ Expanded the Coen-Verse With Help From Westerns and ‘The Nightmare Before Christmas’
TheWrap magazine: “It was all a really enjoyable fusion and loving homage,” said production designer Trevor Smith of the FX series
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Inside the ‘Poor Things’ World of Miniature Steamships, Massive Sets and Sleeves That Look Like Lungs
TheWrap magazine: We talked to the extraordinary creative team behind director Yorgos Lanthimos’ dazzling fantasia
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‘20 Days in Mariupol’ Director Hopes His Film Can Go Where the News Cycle Can’t
TheWrap magazine: “Even the most important events last for a day or two and then disappear in the sea of other events,” Mstyslav Chernov says
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How Da’Vine Joy Randolph Found ‘Many Dimensions of Grief’ in ‘The Holdovers’
TheWrap magazine: “Grief has many facets. That was something I tried to constantly engage and explore,” the actress says
