Interviews
Production Designer Bob Shaw on Creating the Look of ‘The Irishman’
Bob Shaw has been working on film, television, and in theater for nearly 30 years as an art director and...
John Travolta Doesn’t Care What Critics Think of ‘The Fanatic’
Awards Daily's Megan McLachlan speaks with two-time Academy Award nominee John Travolta about why The Fanatic was a personal project for...
Phedon Papamichael on Driving the ‘Ford v Ferrari’ Visual Style
Oscar-nominated cinematographer Phedon Papamichael (Nebraska) cut his lensing teeth outside of the studio system on low-budget indie films, the kind...
Recreating the 1966 Le Mans Race Track for ‘Ford v Ferrari’
Production designer François Audouy was not a car person before he started working on James Mangold's Ford v Ferrari. Audouy, however, considers...
Capturing the Electric Atmosphere of ‘Moulin Rouge’ with a Grammy-nominated Cast Album
Composer Rendra Zawawi Discusses Working on the Political Documentary ‘M For Malaysia’
Five Questions With… ‘1917’ Screenwriter Krysty Wilson-Cairns
Writer Krysty Wilson-Cairns and director Sam Mendes initially bonded over a handful of projects that ultimately never made it to...
Tristan Versluis Renders Brutal Reality of War Via Prosthetics in ‘1917’
Director Sam Mendes' brilliant World War I masterpiece 1917 features some of the best crafts work of any film released this...
‘Star Wars’ Screenwriter Chris Terrio on Ending the 42-year ‘Skywalker’ Saga
Screenwriter Chris Terrio won an Academy Award for writing Argo, the 2013 Oscar winner for Best Picture directed by Ben Affleck....
George MacKay Leaps to Stardom in ‘1917’
In a vital scene near the end of Sam Mendes’ remarkable, immersive cinematic masterwork, '1917,' Lance Corporal Schofield, fully embodied...
Mark Tildesley on Recreating the Sistine Chapel For Netflix’s ‘The Two Popes’
When you watch The Two Popes in a theater or, starting today, on Netflix (which you absolutely should), you may think stars Jonathan...
Co-composers Sonya Belousova and Giona Ostinelli Create the Bewitching Score For Netflix’s ‘The Witcher’
‘Beautiful Day’ Director Marielle Heller On Filming Tom Hanks When He Didn’t Know It, the Exclusion of Female Directors
Awards Daily's Megan McLachlan talks to Beautiful Day director Marielle Heller about convincing Tom Hanks to be Mister Rogers and...
‘Parasite’ Editor Jinmo Yang on Cutting the Global Phenomenon
Director Destin Daniel Cretton Talks Honoring Lawyer Bryan Stevenson’s Work in ‘Just Mercy’
Awards Daily's Megan McLachlan speaks with director Destin Daniel Cretton (Short Term 12, The Glass Castle) about his latest film...
‘Cunningham’ Renders Classic Dances, Art Through 3D Cinema
Merce Cunningham, the famed dancer and choreographer, did not like to refer to himself as a "modern dancer" or "avant...
Alfre Woodard On the Power and Message of ‘Clemency’
Alfre Woodard has had an amazing career in film, TV and on stage. She’s been nominated for 18 Emmy Awards...
Production Designer Corey Kaplan Opens Up About ‘Truth Be Told,’ ‘The X-Files,’ More
Corey Kaplan's work as a set decorator and production designer spans 30 years and over 50-plus credits (and two Primetime Emmy...
Bobby Krlic’s Score is the Unseen Terror of Ari Aster’s ‘Midsommar’
The composer talks about creating the music for the hellish landscape of this year's prolific horror film.Throughout Ari Aster's incredible...
‘The Rise of Skywalker’ Editor Maryann Brandon Talks Production Challenges, Carrie Fisher’s Death, and ‘The Last Jedi’
Academy Award nominee editor Maryann Brandon talks to Megan McLachlan about The Rise of Skywalker's production challenges and what it...