Oscars
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How Finnish Oscar Entry ‘Compartment No. 6’ Rewrote the Ending After a Surprise Snowstorm
TheWrap magazine: “Our catering tent flew away to the sea. It was a crazy moment,” director Juho Kuosmanen says
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Why Tilda Swinton Headed to the Colombian Jungle to Make Her Weirdest Movie Ever
TheWrap magazine: “It was a place where we could build a dreamscape,” says Swinton of “Memoria,” her collaboration with Thai visionary Apichatpong Weerasethakul
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How Rufus Wainwright Wrote a Sexy Song About Nuns – That’s Now an Oscar Contender
TheWrap magazine: “It’s a seductive call to go out and be a part of humanity,” the singer-songwriter says of “Secret Sister” from the documentary “Rebel Hearts”
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How Ariana Grande, Kid Cudi and Team Wrote a Love Song for the End of the World in ‘Don’t Look Up’
TheWrap magazine: “It’s a time capsule kind of song,” lyricist Taura Stinson says of the lush doomsday ballad “Just Look Up” from Adam McKay’s film
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Director of Oscar Entry ‘Hive’ Explains Why Kosovo Has Become a Hotbed for Strong Female Filmmakers
TheWrap magazine: “It’s a case of being inspired by one another,” says Blerta Basholli, the third woman in four years to represent the country at the Oscars
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Lin-Manuel Miranda Details His ‘Hectic’ 2021: 4 Movies and a Bunch of Oscar Song Contenders
TheWrap magazine: “I can withstand a certain amount of hectic, but it all kinda got crushed into one year,” the prolific actor, director and songwriter says
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How Billie Eilish Overcame ‘Performance Anxiety’ to Write a James Bond Song
TheWrap magazine: “The pressure we put on ourselves was pretty crazy,” says Eilish of writing the Grammy-winning song for “No Time to Die” with her brother Finneas
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Inside Brian Wilson’s Autobiographical Song for the Doc ‘Long Promised Road’
TheWrap magazine: Co-writer James explains how he based the lyrics to “Right Where I Belong” on old interviews Wilson had given
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How Costa Rican Drama ‘Clara Sola’ Became Like ‘Carrie Meets Cinderella in Latin America’
TheWrap magazine: “Both films have a very juicy release or explosion,” director Nathalie Álvarez Mesén says
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With ‘Lingui, the Sacred Bonds,’ Chad’s Top Director Hopes to Change How His Country Views Abortion
TheWrap magazine: “I’m used to making films about men, but I knew I had to become a spokesman for these women,” Mahamat-Saleh Haroun says
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How International Breakout Star Renate Reinsve Learned to ‘Surrender to the Chaos’
TheWrap magazine: The Norwegian star of the Oscar favorite “The Worst Person in the World” says “it’s impossible to wrap my head around” the attention she’s received for the film
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How the Pope Francis Doc ‘Francesco’ Helped the Director Recover From Trauma
TheWrap magazine: “I wanted to find the positive side of humanity,” director Evgeny Afineevsky says of the film he made after documenting war and the refugee crisis
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Asghar Farhadi on How COVID Left a Mark on His Oscar Contender ‘A Hero’
TheWrap magazine: The Iranian director was able to erase physical signs of the pandemic, but the delays gave him months more in the rehearsal time he loves
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Why Mexican Oscar Entry ‘Prayers for the Stolen’ Avoided Scenes of Graphic Drug Violence
TheWrap magazine: “In Mexico, we’re very much contaminated by (violent) images we see constantly,” director Tatiana Huezo says
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You Can Tell It’s Oscar Season Because Diane Warren Has a New Song in the Race
TheWrap magazine: “I wanted to write a song about hope,” 12-time nominee says of “Somehow You Do” from “Four Good Days”
