Wrap Magazine
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How ‘The Midnight Sky’ Visual Effects Team Pulled Together That Bloody Space Scene
TheWrap awards magazine: “I wouldn’t have trusted me to deliver the sequence we did,” visual effects supervisor Matt Kasmir says of the complicated scene
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How ‘My Favorite War’ Put a Country’s Collective Trauma Into Animated Documentary
TheWrap magazine: “Only in the last 10 years did I start to realize how wrong my beliefs were as a child, and I wanted to put my life into perspective,” says Latvian-born director Ilze Burkovska Jacobsen
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Why Glen Keane Brought a Touch of Pink Floyd to Chinese Folk Tale ‘Over the Moon’
TheWrap magazine: The veteran Disney animator who won an Oscar with Kobe Bryant for “Dear Basketball” makes his feature directing debut with the Netflix animated film
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‘Onward’ Director ‘Heartened’ That His Film Became a Refuge for Families During Lockdown
TheWrap awards magazine: Dan Scanlon’s Pixar film went from the No. 1 film at the box office to one of the first family films released during the pandemic
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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 Pixar Navigated Religion and Race in ‘Soul’
TheWrap awards magazine: “We said, ‘Let’s try to steer clear of anything that would upset people — either that, or we should try to offend everybody,’” says director Pete Docter
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Why Delroy Lindo’s Soliloquy in ‘Da 5 Bloods’ Differs From His Shakespeare Roles
TheWrap awards magazine: “People have referenced that Paul is losing his mind…I’m not thinking that at all. I’m speaking my truth,” actor says
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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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If You’re Confused or Unsettled by ‘The Father,’ You Can Thank the Production Designer
TheWrap awards magazine: The look of Anthony Hopkins’ apartment is a big reason why Florian Zeller’s film about dementia keeps its audience off-balance
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How Chadwick Boseman Brought ‘Grace and Grit’ to His Final Film Roles
TheWrap awards magazine: Spike Lee, Colman Domingo, Delroy Lindo and others pay tribute to the charismatic actor who is picking up posthumous nominations and awards
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‘One Night in Miami’ Writer Kemp Powers on the ‘Painful’ Process of Reworking His Play for the Screen
TheWrap magazine: Powers said cutting a pivotal scene out was akin to “killing your babies”
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Why ‘Soul’ Writer Kemp Powers Was ‘The Right Person at the Right Time’ to Create Pixar’s 1st Black Lead
TheWrap magazine: “I didn’t want him to seem like a stereotypical character that was just painted black,” says Powers of jazz musician Joe Gardner
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How a Meeting With Fred Hampton Jr Made ‘Judas & The Black Messiah’ Stars ‘Give Everything’
TheWrap magazine: Before filming started, Daniel Kaluuya and Dominique Fishback met with the son of the Black Panther leader
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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.”
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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.
