Wrap Magazine
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Editor Thelma Schoonmaker Is Surprised by How Long ‘The Irishman’ Is Too
TheWrap Oscar magazine: “When we screened it for the first time, people had no problem with the length, and we were astounded,” Martin Scorsese’s longtime editor says
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How ‘Joker’ Composer Hildur Guðnadóttir Used ‘Macho Chords’ to Get Inside the Character’s Head
TheWrap Oscar magazine: “He’s almost like the only character in the story,” the Icelandic composer says
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Quentin Tarantino on What Happened to Leonardo DiCaprio’s Character After ‘Once Upon a Time … in Hollywood’
TheWrap Oscar magazine: “He starts becoming in demand again,” director says of Rick Dalton after the events in the film’s finale
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Jennifer Lopez, Quentin Tarantino and More Portraits From Palm Springs Film Festival (Photos)
TheWrap Oscar magazine: Adam Driver, Cynthia Erivo and more also posed for TheWrap at the desert festival
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How ‘1917’ Composer Thomas Newman Avoided Adding ‘Gloom on Gloom’ to WWI Film Score
TheWrap Oscar magazine: “Any time I tried to write music that commented on what was happening, it didn’t make the movie as exciting,” the 14-time Oscar-nominated composer says
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How ‘1917’ Editor Lee Smith Cut a ‘One-Shot’ Feature Film
TheWrap Oscar magazine: “I kept thinking to myself, ‘I have no idea how this is going to work,’” Smith says
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Go Into the Trenches With ‘1917’ Production Designer Dennis Gassner
TheWrap Oscar magazine: “The studio said, ‘Impossible — how are you going to do this?’” Gassner said of the enormously complicated design and shoot
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How ‘1917’ Cinematographer Roger Deakins Pulled Off Sam Mendes’ One-Shot WWI Film
TheWrap Oscar magazine: “It’s a single shot, but does that force us to just follow them down a trench all the time?” Deakins says
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‘1917’: How Sam Mendes & Co. Re-Created World War I in a Single Take
TheWrap Oscar Magazine: “If I think that this scene would be better edited, then I’ve written it wrong and staged it wrong,’” director says
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The Safdie Brothers Detail the 10-Year Journey to Make the Adam Sandler Drama ‘Uncut Gems’
TheWrap Oscar magazine: “What’s great is that it’s a happy ending, but then all of a sudden it’s not,” producer Scott Rudin told the filmmakers
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How Florence Pugh Defies Typecasting, From WWE Star Paige to Amy in ‘Little Women’
TheWrap Oscar magazine: “I’ve got a rule: All the films that I’ve done, I’ve been scared of,” the British actress says of her wildly different roles
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‘Clemency’ Star Aldis Hodge Really Did Bang His Head in Key Death Row Prison Scene
TheWrap Oscar magazine: “I misjudged my distance, but it was worth it,” the actor says
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‘Toy Story 4’ Director Says the Key to the Hit Film Wasn’t Woody or Buzz
TheWrap Oscar magazine: “The code name for this movie internally was ‘Peep,’” Josh Cooley says
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How ‘Frozen II’ Filmmakers Handled ‘That Pressure’ to Follow a Blockbuster: ‘We Made a Pact’
TheWrap Oscar magazine: “The first movie ended with ‘happy ever after,’ but life doesn’t work that way,” producer Peter Del Vecho says
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How ‘I Lost My Body’ Director Melded Live Actors, 2D Animation and CGI for ‘Handmade’ Look
TheWrap Oscar Magazine: “It brings a new perception of reality of how you explore character,” Jérémy Clapin says
