Each episode of Netflix’s sci-fi anthology is like a standalone movie with its own look, location, director, and crew. Joel Collins is the one person tasked with making sure each episode is kept “painfully real.”
Philip K. Dick meets Trump-era anxieties in the “Mudbound” director’s paranoid exploration of being the only one awake in a time of madness.
The prolific filmmaker broke the rules and invented a new language to tell a story that tests the boundaries of what is a documentary.
Dean Hurley, Lynch’s supervising sound editor & long-time employee, brings IndieWire deep inside the master’s process like never before.
Cinematographer Lyle Vincent talks about how he used ARRI’s Sky Panels to create an unique neo-noir lighting scheme.
Jon and Andy Erwin have their first bonafide hit, thanks to the indie distributor that saw the potential in a very different kind of niche market.
After 14 nominations will the biggest name in cinematography really lose again? It’s a question everyone, except Deakins, is asking.
Oscar nominated cinematographers on the gear they used to create the look of this year’s Best Cinematography contenders.
Here’s five key ways a careful approach to craft and preparation were used to squeeze the most out of every dollar.
Bong Joon-ho’s camera movement is musical and precise, so how did he get in sync with action driven by a lumbering CGI super pig?
How Del Toro and his team created a romantic world shaped by water, color and movies that was the perfect container for an amphibian love story.
Gyllenhaal’s collaboration with Boston Marathon survivor Jeff Bauman in “Stronger” forced him to reconsider his whole approach to making movies.
![‘Drunk History’ voter event: Live reading of Emmy-nominated episode with Evan Rachel Wood, Seth Rogen, Colin Hanks and Jack McBrayer [WATCH]](https://i2.wp.com/www.goldderby.com/wp-content/uploads/2019/08/Drunk-History-logo.jpg?resize=230%2C135&ssl=1&w=300){kind=logo}
