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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‘Trial of the Chicago 7’ Editor Walks Us Through Film’s Complex Riot Flashback (Video)
Oscar nominee Alan Baumgarten explains to TheWrap five of the challenges he faced while cutting one six-minute sequence in Aaron’s Sorkin’s courtroom drama
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Why Would China Censor Oscars Over a Short Doc Nominee? ‘They Are Obviously Afraid,’ Director Says
Anders Hammer, director of the Oscar-nominated documentary short “Do Not Split,” talks to TheWrap about the Chinese government’s harsh reaction to his film on the 2019 Hong Kong protests
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‘Nomadland’ Cinematographer Pays Tribute to the First Steadicam Movie (Exclusive Video)
Oscar front runners Joshua James Richards and Chloé Zhao also discuss their approach to lighting and framing the Frances McDormand film
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Oscar Nominated ‘Sound of Metal’ Sonic Designer Breaks Down the Film’s Profound Final Scene
Sound designer Nicholas Becker heads to the Oscars with history on his side: No movie with the word “sound” in its title has ever lost the category of Best Sound
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Oscar-Nominated Costume Designer Alexandra Byrne on Jumping From ‘Emma’ to DC’s ‘The Flash’
Oscar-winner Alexandra Byrne, nominated for a sixth time this year for the pastel-colored Jane Austen adaptation, talks to TheWrap about bouncing between period films and superhero flicks
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Oscar Nom Surprise: ‘Another Round’ Director Heard His Name, and the Rest Is a Blur
Thomas Vinterberg, the first Danish filmmaker nominated for Best Director, talks to TheWrap about his intoxicating nod for the Mads Mikkelsen film
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How ‘Nomadland’ Cinematographer Shot Frances McDormand’s Final Scene as Homage to John Wayne
Joshua James Richards talks to TheWrap about Chloé Zhao’s Oscar frontrunner and its spiritual connection to John Ford’s 1956 classic ‘The Searchers’
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How ‘Pinocchio’ Makeup Artists Turned an Actor Into a Tuna Fish – Yes, a Tuna Fish
Director Matteo Garrone’s Italian-language adaptation also transformed a real boy into a wooden puppet
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Why ‘Mank’ Costume Designer’s Phone Was a Secret Weapon on Set (Exclusive Video)
Trish Summerville, an Oscar nomination favorite for her elaborate 1930s wardrobes in David Fincher’s film, describes the challenges of creating clothes in a black and white world
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‘Ma Rainey’s Black Bottom’ Hair and Makeup: How Viola Davis Was Inspired by Bette Davis’s Classic ‘Baby Jane’
TheWrap awards magazine: Makeup designer Sergio Lopez-Rivera and hair artist Mia Neal discuss their work with the Oscar-winner on creating a glamorous and discomforting heroine
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How ‘Nomadland’ Cinematographer Survived a Scorpion Bite and ‘The Crud’ to Shoot Oscar Favorite
TheWrap awards magazine: Joshua James Richards talks about the pain and ecstasy of filming Chloé Zhao’s remarkable feature about a woman living a nomadic life in the American West
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How ‘News of the World’ Used One Movie Ranch to Create Three Different Texas Towns
TheWrap awards magazine: Production designer David Crank (“Knives Out”) talks about recreating the Wild West with Tom Hanks and a magnifying glass
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How ‘Judas and the Black Messiah’ Cinematographer Captured the Ending’s ‘Sheer Horror’
Sean Bobbitt tells TheWrap about shooting Fred Hampton’s murder: “You don’t want people to look away; you want them to feel the whole emotion”
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‘Emma’ Costume Designer on the Politics of Starch and Male Nudity in the Jane Austen Era
2020 Oscar contender Alexandra Byrne talks to TheWrap about the elaborate process of dressing Josh O’Connor and Johnny Flynn in the costume comedy
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How ‘Welcome to Chechnya’ Became the First Doc Ever Shortlisted for the Visual Effects Oscar
Visual effects supervisor Ryan Laney talks about using “human shields” to protect 23 LGBT subjects via VFX: “On a normal effects project, the goal is to fool the audience. That wasn’t ours.”
