Wrap Magazine
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‘Room’ Star Brie Larson: ‘I Can’t Get Away From My Face’
The Golden Globe, SAG and BAFTA winner tells TheWrap about how she has learned to accept all that awards-season attention
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How Adam McKay Became a Serious Oscar Contender After $7 Billion in Comedies
What’s the person who made “Anchorman” and “Talladega Nights” doing in the Oscar race for “The Big Short”? Fitting right in
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How a Little Company Called GKIDS Keeps Crashing the Oscar Animation Category
By picking up small international films, GKIDS has landed eight nominations in the last seven years, including two this year
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From ‘Ex Machina’ to ‘Spy,’ Underrated Movies on Our Oscars Wishlist
TheWrap’s film critic offers some achievements he’d like to call to the (red) carpet
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‘Hateful Eight’ Star Samuel L. Jackson Says He’s the Base in Quentin Tarantino’s Bouillabaisse
Jackson finds resonance in the way Tarantino’s post-Civil War Western deals with race
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Quentin Tarantino Lets Loose on Race, Violence and ‘The Hateful Eight’
“I’m on record as having written about this before the s–t hit the fan in the last year and a half on these issues,” director tells TheWrap
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From ‘Inside Out’ to ‘Minions’ to ‘Anomalisa’ — Oscar’s Animated Films Square Off
OscarWrap: The directors of some of the year’s best animated films explain the techniques and ideas behind their work
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The Design Secret of ‘Crimson Peak’: The House Is the Real Monster
OscarWrap: “We designed the house for visual melodrama,” says Guillermo del Toro of his Gothic romance
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How ‘Danish Girl’ Makeup Artist Eased Eddie Redmayne’s Transition From Man to Woman
OscarWrap: Jan Sewell says she got the character’s color palette from paintings of the real Lili Elbe
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‘Carol’ Designer Sandy Powell Says She Designs Characters, Not Costumes
OscarWrap: “In an ideal world, it’s a collaboration” with the actor, says Oscar-winning designer
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‘Sicario’ Cinematographer Roger Deakins Hunts for One Perfect Angle
OscarWrap: “I don’t like action movies,” says the greatest living cinematographer never to win an Oscar
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Why ‘Ex Machina’ Visual Effects Artists’ Motto Was ‘More Bang for the Buck’
OscarWrap: Andrew Whitehurst’s crew had to create a believable cyborg on a fraction of the usual VFX budget
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How ‘Creed’ Director Ryan Coogler Brought ‘Rocky’ Back to Life
OscarWrap: With “Creed,” Ryan Coogler puts a different face on the “Rocky” franchise — and brings Sylvester Stallone back into Oscar race
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How Writers of ‘Brooklyn,’ ‘Suffragette’ and ‘The Danish Girl’ Made Period Movies Feel Fresh
Nick Hornby, Lucinda Coxon and Abi Morgan talk to TheWrap about the hazards of adapting historical material
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How Jay Roach Channeled Trumbo: ‘He’d Be Like Aaron Sorkin, So It Has to Be Funny’
Jay Roach tells TheWrap he had to channel a little Dalton Trumbo for his new film, even if it meant fixing a mistake in a Stanley Kubrick classic
