In the second of four episodes recorded live on November 12 at the American Society of Cinematographers Clubhouse in Los Angeles, Rob Legato, ASC, speaks with four of the talents behind Wicked, Universal Pictures’ epic musical adventure. Cinematographer Alice Brooks, ASC, editor Myron Kerstein, VFX supervisor Pablo Helman and supervising sound editor John Marquis discuss how they collaborated with director Jon Chu to create an eye-popping spectacle that also conveys the intense bond between...

In the first of four episodes recorded live on November 12 at the American Society of Cinematographers Clubhouse in Los Angeles, Michael Goi, ASC, leads a conversation with three of the creators behind The Wild Robot, the $300 million global blockbuster from DreamWorks Animation and Universal Pictures. Composer Kris Bowers, visual effects supervisor Jeff Budsberg, and supervising sound editor Leff Lefferts reveal how they conveyed the evolution of Roz — the film's titular robot — as she is...

In the last of four special episodes recorded live on August 1 at the American Society of Cinematographers Clubhouse in Los Angeles, Joel D. Catalan, CAS — a sound re-recording mixer who was Emmy-nominated for the NatGeo series Cosmos: A SpaceTime Odyssey — sits down with two of 2024’s Emmy contenders in the category of outstanding sound editing for a comedy or drama series (one hour): Brian J. Armstrong, MPSE, is nominated for FX’s period drama Shogun, and Tim Kimmel, MPSE, got nods for two...

In the third of four special episodes recorded live on August 1 at the American Society of Cinematographers Clubhouse in Los Angeles, Mona May — the costume designer behind iconic films including Clueless and The Wedding Singer — sits down with two of this year’s Emmy contenders in the category of outstanding period costumes for a limited or anthology series or movie: Lou Eyrich is nominated for her work on FX’s Feud: Capote vs. the Swans, and Safowa Bright Bitzelberger got the nod for...

In the second of four special episodes recorded live on August 1 at the American Society of Cinematographers Clubhouse in Los Angeles, Jeannine Oppewall — a four-time Oscar nominee for art direction on films including L.A. Confidential and The Good Shepherd — sits down with two of this year’s Emmy contenders in production design: Glenda Rovello is nominated for her work on Frasier, from Paramount+ and CBS Studios, and Gianna Costa got the nod for the MTV reality series RuPaul’s Drag Race....

In the first of four special episodes recorded live on August 1 at the American Society of Cinematographers Clubhouse in Los Angeles, Nicole Hirsch Whitaker (Netflix’s One Piece) sits down with three of this year’s Emmy-nominated directors of photography. Dana Gonzales got the nod for FX’s Fargo; Richard Rutkowski for Apple TV+’s Sugar; and Gary Baum for Frasier from Paramount+ and CBS Studios. These three veterans share their career paths, creative inspirations, aesthetic hacks and the bond...

”It was a celebration of us being back together,” says first-time Oscars showrunner and Executive Producer Raj Kapoor. He’s talking about the instant classic showstopper “I’m Just Ken” that electrified audiences during the 96th Academy Awards, but as he notes, he’s also talking about the joy of returning to the movies. During this intimate conversation also with choreographer Mandy Moore and led by the inimitable Debbie Allen (who choreographed the Oscars a record 10 times), Kapoor and Moore...

On a December weekend, costume designer Holly Waddington (earlier credits include War Horse) missed a slew of holiday parties after getting called to meet Yorgos Lanthimos about Poor Things. She spent days in a mad dash, preparing imagery based on the script and eponymous novel. What she ended up pitching involved “strange Japanese dolls with these clothes [in which] the proportion of the cloth is far too big for the scale of the doll.” The surreality of the aesthetic that made it onscreen is...

While Oppenheimer production designer Ruth De Jong and director Christopher Nolan were location scouting in New Mexico, site of the world’s first nuclear test, they heard that Russia had invaded Ukraine. “It was at the beginning when everyone was like, well, is this going to be World War III?” recalls De Jong, who “felt a responsibility” given the gravity of the film’s subject matter and Russia’s real-time threats to use nuclear weapons. That commitment to portraying the physical reality of...