‘Can You Ever Forgive Me?’: How They Recreated an Analog Pre-Amazon Literary World for Melissa McCarthy’s Forger

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At 3,000 Feet, Shooting ‘Free Solo’ Was More Like ‘Mission Impossible’ Than a Documentary

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

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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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‘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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‘Jane’: Why 50-Year Old 16mm Archival Footage of Goodall and the Chimps Looks So Good

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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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Spike Lee’s ‘BlacKkKlansman’: Designing the Politics of Space

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From ‘Atlanta’ to ‘Twin Peaks,’ Here Are the Cameras and Lenses That Shot The Year’s Best TV Shows

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‘Game of Thrones’: Season 7 Costume and Production Design Defined Dany’s Quest for Power

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Oscar Changes Marginalize the Crafts, Say Members: ‘It’s a Disgrace!’

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‘Twin Peaks: The Return’: David Lynch’s Production Design Is an Extension of His Deeply Personal Paintings

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