Joe McGovern is an awards reporter at TheWrap, writing about actors, directors, craftspeople and trends in the annual Oscar race. He also moderates conversations with filmmakers for TheWrap’s Screening Series. Before joining TheWrap in 2020, he was a correspondent at Entertainment Weekly. He is based in Brooklyn, New York.
Experience:
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Spike Lee to Receive Directors Guild Lifetime Achievement Award
The iconic director of “Do the Right Thing,” “Malcolm X,” and “BlacKkKlansman” will receive the honor on March 12
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‘Eternals’: How the Visual Effects Team Created the Deviant Kro
TheWrap magazine: The extraterrestrial villain Kro “needed to be subtle and sympathetic,” explains Weta Digital VFX maestro Matt Aitken
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‘Spencer’ Costume Designer Raves About Kristen Stewart: ‘Do People Not Realize She’s One of the Great Actresses?’
TheWrap magazine: “Kristen is not recognized enough for what daring choices she makes,” says two-time Oscar winner Jacqueline Durran
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Oscar Contenders in Black and White, From ‘Belfast’ to ‘The Tragedy of Macbeth’
The filmmakers behind four acclaimed films — “Belfast,” “C’mon, C’mon,” “Passing” and “The Tragedy of Macbeth” — discuss the magic of shooting in the old-fashioned format
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‘Passing’: How Classic Hitchcock Thrillers Influenced the Dreamy Black-and-White Look
TheWrap magazine: “What could be better than black-and-white when it comes to the core of light and darkness?” cinematographer Eduard Grau says
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Why ‘Belfast’ Cinematographer Added Splashes of Color to the Movie’s Black-and-White World
TheWrap magazine: For his eighth collaboration with Kenneth Branagh, Haris Zambarloukos talks about black-and-white is a “more lucid way of capturing emotion”
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Why ‘The Tragedy of Macbeth’ Cinematographer Grew Superstitious While Making the Black-and-White Drama
TheWrap magazine: Five-time Oscar nominee Bruno Delbonnel explains how Shakespeare’s prose justified the film’s black-and-white photography
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‘C’mon, C’mon’ Director on Why the Joaquin Phoenix Film ‘Had to Be in Black-and-White’
TheWrap magazine: Director Mike Mills talks about how cinematographer Robbie Ryan crafted an “al dente, not overworked, use of black-and-white” for the relationship drama
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Kirsten Dunst on Her SAG Nomination Wake-Up Call: I Was Napping After My Son ‘Threw Up at 4 A.M.’
“It feels wonderful to be included,” the actress tells TheWrap about her nomination for Jane Campion’s “The Power of the Dog”
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‘Nightmare Alley’: Find Out Why the Design of Cate Blanchett’s Office Gives a Clue to the Film’s Title
TheWrap magazine: Production designer Tamara Deverell explains her motives behind creating the Guillermo del Toro film’s most dazzling set.
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How ‘The Power of the Dog’ Production Designer Embraced ‘Magical Qualities’ While Making the 1920s Drama
TheWrap magazine: Oscar winner Grant Major talks about the ways in which his sets for the Jane Campion film were “a vessel for the psychological things going on’
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‘Belfast’: Why Sound Designers Used the Roar and Whistle of a Train to Depict a Violent Mob
Bringing a 1969 Northern Ireland to life required ingenuity for the crew of Kenneth Branagh’s awards favorite
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Why ‘The Power of the Dog’ Cinematographer Resisted a ‘Full Rainbow’ for Film’s Aesthetic (Exclusive Video)
Ari Wegner describes her subtle, sensual work on the awards-favorite Jane Campion film
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Why ‘Titane’ Director Auditioned Both Men and Women for the Film’s Lead Role
“The gender was not relevant as long as I found what I needed,” Cannes Palme d’Or winner Julia Ducournau tells TheWrap
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Is ‘The Power of the Dog’ a Vampire Movie? Why the Film’s Cinematographer Won’t Rule It Out
“I always called it a monster film,” Ari Wegner tells TheWrap
