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[ad_1] Fargeat: The thing that is quite philosophically funny is that once we finished shooting the apartment, we destroyed the set and we built this theater...
[ad_1] The film opens with generous portraits of many of the characters we’ll later follow in the mountains, as they lead relatively calm and fulfilling lives....
[ad_1] Jonathan Glazer reveals how he used AI, thermal photography, ambitious visual effects, and more to create a Holocaust film unlike any other. [ad_2] David Canfield...
[ad_1] Writer-director Andrew Haigh and his DP take Vanity Fair inside the making of their acclaimed film’s most striking scenes—from the sexiest to the saddest to,...
[ad_1] Yeoman: It’s very difficult to try to blend comedy and grief in the same scene. Jason was able to portray both things within the scene....
[ad_1] This shot marks the first moment we see Gracie and Elizabeth in a mirror together, as they gather for a day of graduation-dress shopping for...
[ad_1] Green: This was one of the few frames we didn’t storyboard. We didn’t know that the glass break would be that big enough of a...
[ad_1] In the fourth season, Midge takes a job as comic emcee at the Wolford, a burlesque club in Manhattan. In the season finale, for which...
[ad_1] The Emmy winner is joined by D.P. Nicola Daley to dive deep into standout shots from the visually striking show, a showcase of Moss’s transition...
[ad_1] The availability of the Dresden Philharmonic, the group which stands in for Lydia’s fictional orchestra, was tight—so tight, in fact, that production had to begin...
[ad_1] If there’s one international feature that has the potential to break through with multiple Oscar nominations this year, it’s looking more and more likely that...
[ad_1] Peele: Hoyte, I want you to be able to describe as much of the technique here as you want to. There was a brief period where...
[ad_1] In a film that happens almost exclusively from Paul’s point of view, Johnny’s home life is viewed only briefly, and when he stays in Paul’s...
[ad_1] Daniel Kwan and Daniel Scheinert, collectively known as the Daniels, first met cinematographer Larkin Seiple when they worked on a music video for Foster the People’s 2012 song “Houdini.”...