Beyond Christopher Nolan: ‘First Man’ Redefines In-Camera VFX

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‘Venom’: Going to VFX Extremes to Animate Tom Hardy’s Unexpected Superhero

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John Carpenter’s ‘Halloween’ Score Includes the Distorted Sound of Rubbing His Pant Leg

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‘First Man’: Shooting the Moon in IMAX to Heighten Neil Armstrong’s Death-Defying Journey

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‘A Star Is Born’: Shooting Bradley Cooper and Lady Gaga Singing and Falling in Love

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‘The Hate U Give’: Visualizing How Amandla Stenberg’s Starr Is Trapped Between Two Worlds

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‘Colette’: How Costumes Defined Keira Knightley as Both a Gender Rebel and a Fashion Icon

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‘The Old Man & the Gun’: Editing Robert Redford’s Last Role as Charming Bank Robber Forrest Tucker

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How Daniel Craig Engineered A Smart ‘Bond 25’ Finale with Director Cary Fukunaga

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‘Ralph Breaks the Internet’ Preview: From Online Trolling to Disney Princesses

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Animation Is Film Festival Touts Indie Oscar Contenders

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‘The Sisters Brothers’: How Alexandre Desplat’s First Western Score Subverts the Genre

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Why Oscar Frontrunners ‘Roma,’ ‘First Man,’ ‘A Star is Born,’ and ‘The Favourite’ Will Be Craft Favorites, Too

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Emmys: How ‘Game of Thrones’ Won the Creative Arts Smackdown Against ‘Westworld’

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‘Next Gen’: Netflix’s $30-Million Animated Pickup Taps the Sentient Robot Zeitgeist

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‘Game of Thrones’ and ‘Westworld’ Composer Ramin Djawadi Shows His Versatility

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‘Stranger Things’: How VFX Made Season 2 ‘A Beautiful Hell’ By Introducing New, Scarier Monsters

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‘Bond 25’ Star Daniel Craig Should Take Over from Exiting Danny Boyle

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Brazil’s Animated ‘Tito and the Birds’ Fights Fear Through Different Artistic Techniques

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‘Westworld’: How the VFX Got Trippy in Season 2

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‘The Crown’ Season 2 Added Color and the Swinging 60s to the Royal Realm

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