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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How ‘Minari’ Cast Endured a ‘Not Hollywood’ Shoot With a Shared Airbnb and Broken AC
TheWrap magazine: In addition to the heat there were bugs. Lots and lots of bugs.
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Why ‘Mank’ Sound Designer Booked an Empty Movie Theater to Make the Film ‘Sound Old’ (Exclusive Video)
In a video featurette, sound supervisor Ren Klyce explains how David Fincher insisted on a hissing, crackling audiotrack for his 1940s era film
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‘Judas and the Black Messiah’ Cinematographer on Why He Shot Black Panther and FBI Scenes in Different Colors
Sean Bobbitt (’12 Years a Slave’) also tells TheWrap he lobbied to shoot the historical drama starring Daniel Kaluuya and LaKeith Stanfield in black and white
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How ‘Minari’ Star Yeri Han Came to Sing the Lullaby-Like Closing Tune (Video)
TheWrap Awards magazine: Composer Emile Mosseri praises the actress’ “beautiful, poetic vocal performance”
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Director of French Oscar Entry ‘Two of Us’ on Finding an Ending ‘Between Tragic and Happy’
TheWrap magazine: Filippo Meneghetti, whose film has been nominated for a Golden Globe Award, talks about the making of his tender gay romance
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‘Ma Rainey’s Black Bottom’ Cinematographer on Chadwick Boseman: ‘I Cried as We Were Filming His Performance’
Tobias Schliessler, veteran cinematographer of “Dreamgirls” and “Beauty and the Beast,” tells TheWrap about working with the late actor
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‘Nomadland’: How Frances McDormand Got Amazon to Agree to Shooting in a Real Warehouse
“It fell right into our color palette,” cinematographer Joshua James Richards says
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‘Minari’: Listen to 2 Tracks From the Korean American Family Drama’s Score (Exclusive)
Composer Emile Mosseri talks to TheWrap about creating music for the new “universal, poignant, intimate film about family”
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‘Mank’ Costume Designer Trish Summerville Draped a Sheet Between Banana Trees to Screen the Film
“We got popcorn and champagne,” the Oscar-nomination favorite Summerville tells TheWrap
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‘The Prince of Tides’ Cinematographer Debunks ‘Vaseline-Coated’ Smear of Barbra Streisand
It was “cynical and unfair,” says Stephen Goldblatt, who earned an Oscar nomination for his work on 1991 film
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‘One Night in Miami’ Costume Designer Explains How She Dressed 4 Iconic American Figures
“If the actor is wearing something that has meaning, the performance flows with even more authenticity,” says veteran costumer Francine Jamison-Tanchuck
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The Design of ‘Mank’: How Costumes and Sets Energized David Fincher’s Homage to Old Hollywood
TheWrap magazine: Costume designer Trish Summerville and production designer Donald Graham Burt take us behind the scenes
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‘Emma.’ Costume Designer Explains How She Spun Clothes With the ‘Power of Sugared Macarons’
Oscar winner Alexandra Byrne, an industry veteran of historical dramas and superhero film, deployed bold colors in the Jane Austen adaptation
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‘Collective’ Director on Documentary’s Curious Link to Orson Welles’ 1949 Classic ‘The Third Man’
“It was natural to follow the script that life was writing for us,” Alexander Nanau says of how his acclaimed Oscar hopeful took shape
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‘Wild Mountain Thyme’ Cinematographer On Reunion With ‘Joe Versus the Volcano’ Director: ‘We Got on Great’
Cameraman Stephen Goldblatt reunited after three decades with director John Patrick Shanley for a mystical romance set in Ireland
