Wrap Magazine
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Inside the Wacky World of Yorgos Lanthimos’ ‘Poor Things’ With His Irish Producers
TheWrap magazine: “Ignorance was bliss,” Andrew Lowe says of his and Ed Guiney’s leap into their largest production ever
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How Cord Jefferson and Celine Song Grabbed Oscar Success With Their First Movies
TheWrap magazine: A conversation with the directors who got Best Picture nominations with their film debuts, “American Fiction” and “Past Lives”
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How ‘They Shot the Piano Player’ Made the Journey From ‘Stupid Idea’ to Oscar Contender
TheWrap magazine: “This was very complicated — making it real in three languages, working with documentary material but keeping the strategies of fiction storytelling,” says director Fernando Trueba
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Martin Scorsese on Why He Never Fit in Hollywood: ‘I Was Always an Outsider’
TheWrap magazine: “I wanted to belong, but I never belonged,” the “Killers of the Flower Moon” director says of the studio system
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Cillian Murphy on the Brain-Drain of Playing Oppenheimer: ‘Being That Brilliant Is a Burden’
TheWrap magazine: “Hyper-intelligent people see the world in different dimensions than we do,” says the Golden Globe-winning actor
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Emma Stone’s ‘Poor Things’ Journey: Why a Stripped-Down Approach Was Key to the Strangest Role She’s Played
TheWrap magazine: “She doesn’t shy away from any life experiences, whether it’s food, or politics, or philosophy, or sex, or dancing, or travel or science,” Stone says
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Why the Success of ‘The Boy and the Heron’ May Lead to Another Miyazaki Movie
TheWrap magazine: “If this film becomes a major hit, then he may make another film,” says producer Toshio Suzuki
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With ‘Oppenheimer,’ ‘Maestro’ and ‘Killers of the Flower Moon,’ This Is the Year of Female Editors
TheWrap magazine: It’d be only the third time in Oscar history for three female editing nominees
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‘Ferrari,’ ‘Society of the Snow’ and ‘The Killer’ Deliver the Sound of Trouble
TheWrap magazine: The sound teams on those three movies had to conjure up car wrecks, a plane crash and some assassinations
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Meet the Teenage Actors Who Make Italian Oscar Entry ‘Io Capitano’ So Powerful
TheWrap magazine: “It was a big pleasure and pride to represent what immigrants go through,” says Moustapha Fall, who joins Seydou Sarr in Matteo Garrone’s brutal drama
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The Sound of ‘Barbie’: Authentic, Artificial and Sparkly
TheWrap magazine: “Greta (Gerwig) would say things to us like, ‘Put a little sparkle on it,’ and at first I didn’t get what she was saying,” says re-recording mixer Kevin O’Connell
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Greta Gerwig Says Her Goal With ‘Barbie’ Was to ‘Write the Greatest Script Nobody Ever Makes’
TheWrap magazine: “It felt like the exact kind of idea I like, which is just on the edge of ‘how is this even possible?’” says Gerwig
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How to Shoot All That Pink and Other Lessons in ‘Barbie’ Cinematography
TheWrap magazine: “The first day on the set, I discovered that it was really a problem,” says cinematographer Rodrigo Prieto
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How One ‘Barbie’ Dance Song Turned Into a Giant Job for Mark Ronson and Andrew Wyatt
TheWrap magazine: “Everything influenced everything else,” Mark Ronson says of the film’s mixture of songs, score and dance numbers
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How an Existential Crisis Led to Singaporean Oscar Entry ‘The Breaking Ice’
TheWrap magazine: “When you’re stuck, you look to find a new direction,” says director Anthony Chen of the movie that came out of his pandemic melancholia
