This year’s nominees for the 66th Southern California Journalism Awards were released today by the Los Angeles Press Club and IndieWire received a site-record nine nominations. Coming on the heels of our wins last year for Criticism of TV and Entertainment Reporting and following our 2022 win for Best Website, Traditional News Organization, the entire IndieWire staff has been nominated for Best Website, News Organization Exclusive to the Internet. IndieWire writers also earned nominations for individual accolades in eight categories.
“The nominated work illustrates the scope, insight, and unparalleled quality of our team,” said Dana Harris-Bridson, Senior VP and Editor-in-Chief at IndieWire. “We are thrilled and sincerely appreciate the Los Angeles Press Club for the Southern California Journalism Award nods.”
After winning the award for Best Criticism of TV last year, IndieWire’s Deputy TV Editor and TV Critic Ben Travers is a finalist in the category again for a number of his reviews,...
“The nominated work illustrates the scope, insight, and unparalleled quality of our team,” said Dana Harris-Bridson, Senior VP and Editor-in-Chief at IndieWire. “We are thrilled and sincerely appreciate the Los Angeles Press Club for the Southern California Journalism Award nods.”
After winning the award for Best Criticism of TV last year, IndieWire’s Deputy TV Editor and TV Critic Ben Travers is a finalist in the category again for a number of his reviews,...
- 5/9/2024
- by Harrison Richlin
- Indiewire
IndieWire launched our “Pass the Remote” FYC TV screening series, produced in partnership with Disney, with a dynamic casting directors panel April 25 and two Disney Storytellers panels April 29.
Next up? An “Abbott Elementary” panel on May 20 celebrating the third season of the Emmy-winning hit. Like all events in the “Pass the Remote” screening series, it will take place at the Vidiots Foundation in Los Angeles’s Eagle Rock neighborhood.
Learn more and register for an invite here.
The creator, executive producer, and, as Janine Teagues, star of the show, Quinta Brunson, will be in attendance on the panel, as will executive producers Patrick Schumacher, Justin Halperin, Randall Einhorn, and Brian Rubenstein. Brunson became only the second Black actress in history to win the Best Actress in a Comedy Series Emmy, which she did earlier this year at the strike-delayed ceremony in January. She’s also won the Peabody Award and...
Next up? An “Abbott Elementary” panel on May 20 celebrating the third season of the Emmy-winning hit. Like all events in the “Pass the Remote” screening series, it will take place at the Vidiots Foundation in Los Angeles’s Eagle Rock neighborhood.
Learn more and register for an invite here.
The creator, executive producer, and, as Janine Teagues, star of the show, Quinta Brunson, will be in attendance on the panel, as will executive producers Patrick Schumacher, Justin Halperin, Randall Einhorn, and Brian Rubenstein. Brunson became only the second Black actress in history to win the Best Actress in a Comedy Series Emmy, which she did earlier this year at the strike-delayed ceremony in January. She’s also won the Peabody Award and...
- 4/30/2024
- by Christian Blauvelt
- Indiewire
Nicole Kidman is the rare actress in the 21st century who, like the stars of Hollywood’s golden years, doesn’t disappear into roles so much as elevate films by her mere presence.
She’s certainly swung big at mainstream blockbusters (think: the “Aquaman” films) that might feel out of her step with her character-driven work elsewhere (like most of the films on the list that follows). But that’s because the Australian icon is unafraid of any role, whether stripping down her post-Oscar, A-lister veneer to film Lars von Trier’s Brechtian “Dogville” in Sweden, slipping into a bathtub with the 10-year-old possible reincarnation of her dead husband in Jonathan Glazer’s “Birth,” or, yes, donning a fake nose to play a suicidal Virginia Woolf for her Oscar-winning turn in “The Hours.”
On April 27 in Los Angeles, Nicole Kidman will receive the 49th AFI Life Achievement Award, joining the ranks of Jane Fonda,...
She’s certainly swung big at mainstream blockbusters (think: the “Aquaman” films) that might feel out of her step with her character-driven work elsewhere (like most of the films on the list that follows). But that’s because the Australian icon is unafraid of any role, whether stripping down her post-Oscar, A-lister veneer to film Lars von Trier’s Brechtian “Dogville” in Sweden, slipping into a bathtub with the 10-year-old possible reincarnation of her dead husband in Jonathan Glazer’s “Birth,” or, yes, donning a fake nose to play a suicidal Virginia Woolf for her Oscar-winning turn in “The Hours.”
On April 27 in Los Angeles, Nicole Kidman will receive the 49th AFI Life Achievement Award, joining the ranks of Jane Fonda,...
- 4/26/2024
- by Ryan Lattanzio
- Indiewire
“Oppenheimer” wins Best Picture at the Oscars, ending an Academy Awards season that gave many hope that blockbusters for adults were actually back.
The Christopher Nolan epic about the creation of the atomic bomb took seven Oscars March 10 at the Dolby Theatre, the most of any film in contention. It also ended its theatrical run with $957 million worldwide, making it the highest-grossing Best Picture winner since “The Lord of the Rings: The Return of the King,” and its $1.1 billion, claimed the top prize exactly 20 years ago.
“Oppenheimer” won Best Supporting Actor for Robert Downey, Jr., Best Film Editing, Best Cinematography, Best Original Score, Best Actor for Cillian Murphy, Best Director for Nolan, and Best Picture.
“Oppenheimer” represents the biggest success Nolan has ever had at the Academy Awards. Its 13 nominations outclasses the three films of his that previously tied for the most noms in his filmography: “The Dark Knight,” “Inception,...
The Christopher Nolan epic about the creation of the atomic bomb took seven Oscars March 10 at the Dolby Theatre, the most of any film in contention. It also ended its theatrical run with $957 million worldwide, making it the highest-grossing Best Picture winner since “The Lord of the Rings: The Return of the King,” and its $1.1 billion, claimed the top prize exactly 20 years ago.
“Oppenheimer” won Best Supporting Actor for Robert Downey, Jr., Best Film Editing, Best Cinematography, Best Original Score, Best Actor for Cillian Murphy, Best Director for Nolan, and Best Picture.
“Oppenheimer” represents the biggest success Nolan has ever had at the Academy Awards. Its 13 nominations outclasses the three films of his that previously tied for the most noms in his filmography: “The Dark Knight,” “Inception,...
- 3/11/2024
- by Christian Blauvelt
- Indiewire
“Godzilla Minus One” already made history at the Oscars on January 23 when it became the first film in the Godzilla franchise’s 70 years to be nominated for Best Visual Effects. Now, director Takashi Yamazaki can claim the title of Japan’s first ever winner of the Best Visual Effects Oscar. Even more, this is the first Godzilla film to win an Oscar, period.
Yet even more history was by the Toho Studios production on March 10 at the 96th Academy Awards: director Yamazaki is also the winner of this particular Visual Effects prize, as he also served as the film’s visual effects supervisor. A director winning the Best Visual Effects Academy Award has only happened once more before, with Stanley Kubrick taking the honor in 1969 for “2001: A Space Odyssey” as VFX supervisor on that Best Picture nominee as well. (That’s also the only Oscar Kubrick won in his nearly 50-year-long career.
Yet even more history was by the Toho Studios production on March 10 at the 96th Academy Awards: director Yamazaki is also the winner of this particular Visual Effects prize, as he also served as the film’s visual effects supervisor. A director winning the Best Visual Effects Academy Award has only happened once more before, with Stanley Kubrick taking the honor in 1969 for “2001: A Space Odyssey” as VFX supervisor on that Best Picture nominee as well. (That’s also the only Oscar Kubrick won in his nearly 50-year-long career.
- 3/11/2024
- by Ryan Lattanzio
- Indiewire
In 2018, the film world unknowingly received a major swan song: the last Coen Brothers movie. That November, Joel and Ethan Coen’s Western anthology film “The Ballad of Buster Scruggs” released on Netflix, marking the 18th feature from the Minnesota-born filmmakers.
In the years that followed, the two did something they never did across the first three decades of their career: go solo. Elder brother Joel was the first to branch out with 2021’s “The Tragedy of Macbeth,” an expressionist, gorgeous staging of William Shakespeare’s iconic play with Denzel Washington and Coen’s own wife Frances McDormand in the lead roles. Ethan followed shortly with the “Drive-Away Dolls,” a raucous comedy co-written with his wife Tricia Cooke (an underrated constant in the duo’s career is their wife-guy natures) and styled as a lesbian-slanted version of classic Coen Brothers comedies like “The Big Lebowski” and “Raising Arizona,” with Margaret Qualley...
In the years that followed, the two did something they never did across the first three decades of their career: go solo. Elder brother Joel was the first to branch out with 2021’s “The Tragedy of Macbeth,” an expressionist, gorgeous staging of William Shakespeare’s iconic play with Denzel Washington and Coen’s own wife Frances McDormand in the lead roles. Ethan followed shortly with the “Drive-Away Dolls,” a raucous comedy co-written with his wife Tricia Cooke (an underrated constant in the duo’s career is their wife-guy natures) and styled as a lesbian-slanted version of classic Coen Brothers comedies like “The Big Lebowski” and “Raising Arizona,” with Margaret Qualley...
- 2/23/2024
- by Wilson Chapman
- Indiewire
Is there a single director working today with a better track record than Martin Scorsese? Ever since breaking through with his gritty, scrappy crime drama “Mean Streets,” the Italian-American’s name has been synonymous with quality, and he’s kept that train going for several years. Some films were more acclaimed than others, but from the ’70s all the way to the 2020s, Scorsese has remained a consistent top-tier filmmaker, pumping out at least one or two stone-cold classics per decade.
What’s even more impressive is how adaptable and varied the man has proven himself to be. A refrain popular among internet contrarians is that Scorsese is just a dude who makes gangster movies, but one look at the films he’s made over the years shows that only scratches the surface of his capabilities and tastes. While his mafia films like “Goodfellas” and “The Irishman” are obvious greats,...
What’s even more impressive is how adaptable and varied the man has proven himself to be. A refrain popular among internet contrarians is that Scorsese is just a dude who makes gangster movies, but one look at the films he’s made over the years shows that only scratches the surface of his capabilities and tastes. While his mafia films like “Goodfellas” and “The Irishman” are obvious greats,...
- 1/26/2024
- by Wilson Chapman and Alison Foreman
- Indiewire
Cinematographer Rodrigo Prieto and costume designer Jacqueline West take audiences to 1920s Oklahoma in Martin Scorsese’s “Killers of the Flower Moon.” This is three-time Oscar nominee Prieto’s fourth collaboration with Scorsese after “The Wolf of Wall Street,” “Silence,” and “The Irishman,” and the Eric Roth-written drama about the Osage nation standing up to systematic murder by white settlers marks Jacqueline West’s first pairing with Scorsese.
IndieWire celebrated the craft behind the Apple Original Films awards contender with a panel on Friday, January 12, moderated by Jim Hemphill, IndieWire’s Crafts and Special Projects Features Writer, and led by Prieto and West. The event took place at NeueHouse Hollywood and brought the crafts community together for an evening honoring Scorsese’s film; both Prieto and West have been nominated for awards by their respective guilds. Watch the video below.
“One of the first things that I remember we...
IndieWire celebrated the craft behind the Apple Original Films awards contender with a panel on Friday, January 12, moderated by Jim Hemphill, IndieWire’s Crafts and Special Projects Features Writer, and led by Prieto and West. The event took place at NeueHouse Hollywood and brought the crafts community together for an evening honoring Scorsese’s film; both Prieto and West have been nominated for awards by their respective guilds. Watch the video below.
“One of the first things that I remember we...
- 1/13/2024
- by Ryan Lattanzio
- Indiewire
Ryan O’Neal, the boyish leading man who kicked off an extraordinary 1970s run in Hollywood with his Oscar-nominated turn as the Harvard preppie Oliver in the legendary romantic tearjerker Love Story, has died. He was 82.
O’Neal died Friday, his son Patrick O’Neal, a sportscaster with Bally Sports West in Los Angeles, reported on Instagram. He had been diagnosed with chronic leukemia in 2001 and with prostate cancer in 2012.
“As a human being, my father was as generous as they come,” Patrick wrote. “And the funniest person in any room. And the most handsome clearly, but also the most charming. Lethal combo. He loved to make people laugh. It’s pretty much his goal. Didn’t matter the situation, if there was a joke to be found, he nailed it. He really wanted us laughing. And we did all laugh. Every time. We had fun. Fun in the sun.”
On the...
O’Neal died Friday, his son Patrick O’Neal, a sportscaster with Bally Sports West in Los Angeles, reported on Instagram. He had been diagnosed with chronic leukemia in 2001 and with prostate cancer in 2012.
“As a human being, my father was as generous as they come,” Patrick wrote. “And the funniest person in any room. And the most handsome clearly, but also the most charming. Lethal combo. He loved to make people laugh. It’s pretty much his goal. Didn’t matter the situation, if there was a joke to be found, he nailed it. He really wanted us laughing. And we did all laugh. Every time. We had fun. Fun in the sun.”
On the...
- 12/8/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
With five Academy Award nominations and a win for “The Revenant,” Leonardo DiCaprio has established himself as a Hollywood icon — vaulting from his first starring role in the sci-fi horror “Critters III” to challenging parts with major auteurs, including Quentin Tarantino, Martin Scorsese, Christopher Nolan, and Alejandro G. Iñárritu, while championing humanitarian issues through his prolific environmental activism.
In “Once Upon a Time… in Hollywood,” DiCaprio played a washed-up movie star at the end of his tether, which is perhaps the biggest stretch of the actor’s filmography considering his esteemed pedigree and enviable body of work. With nearly $7 billion dollars of global box office to his name and a list of roles that prove his selective instincts each time out, DiCaprio is one of the few movie stars working today who always delivers something worth seeing.
That even includes Adam McKay’s 2021 end-times satire for Netflix “Don’t Look Up,...
In “Once Upon a Time… in Hollywood,” DiCaprio played a washed-up movie star at the end of his tether, which is perhaps the biggest stretch of the actor’s filmography considering his esteemed pedigree and enviable body of work. With nearly $7 billion dollars of global box office to his name and a list of roles that prove his selective instincts each time out, DiCaprio is one of the few movie stars working today who always delivers something worth seeing.
That even includes Adam McKay’s 2021 end-times satire for Netflix “Don’t Look Up,...
- 12/5/2023
- by Ryan Lattanzio and Alison Foreman
- Indiewire
The Los Angeles Press Club held the 16th annual National Arts and Entertainment Journalism Awards on Sunday night, honoring the best reporting, criticism, and analysis from across the digital, print, and broadcast media industries. IndieWire received nine nominations and ultimately won seven awards.
Executive Managing Editor Christian Blauvelt won first place in the Soft News, Arts category, for his analysis piece “Will Disney Win Against DeSantis? The Florida Lawsuit Explained.”
IndieWire’s entire staff was honored with third place in the Entertainment Website category. TV Critic and Deputy Editor Ben Travers was also awarded third place in the TV Critic category for his overarching body of work at the site. Additionally, four other individual stories were honored with second or third place finishes.
“I’m really proud of the IndieWire team,” said Dana Harris-Bridson, senior VP and Editor-In-Chief at IndieWire. “We’re a small but mighty crew and I’m...
Executive Managing Editor Christian Blauvelt won first place in the Soft News, Arts category, for his analysis piece “Will Disney Win Against DeSantis? The Florida Lawsuit Explained.”
IndieWire’s entire staff was honored with third place in the Entertainment Website category. TV Critic and Deputy Editor Ben Travers was also awarded third place in the TV Critic category for his overarching body of work at the site. Additionally, four other individual stories were honored with second or third place finishes.
“I’m really proud of the IndieWire team,” said Dana Harris-Bridson, senior VP and Editor-In-Chief at IndieWire. “We’re a small but mighty crew and I’m...
- 12/4/2023
- by Christian Zilko
- Indiewire
An enterprising surveyor of genre and tone, Ridley Scott has earned the admiration of audiences and critics alike with a seemingly unending interest in exploring the outermost limits of his art form. The British director broke onto the scene in 1977 with “The Duellists,” a French period drama starring Harvey Keitel and Keith Carradine set during the Napoleonic Wars. He returns to the early 19th century with Joaquin Phoenix as its namesake historical figure with the epic “Napoleon,” in theaters November 22.
“I first became aware of Ridley Scott with his film ‘The Duellists,'” Francis Ford Coppola recently said of Scott’s debut in an Instagram post. “I was impressed, and realizing he was my contemporary began following his work, which was prodigious to say the least. One after the other, different styles, themes — all ambitious and never stopping, absolutely great films like ‘Blade Runner,’ ‘Thelma & Louise,’ ‘Alien,’ and ‘Black Hawk Down....
“I first became aware of Ridley Scott with his film ‘The Duellists,'” Francis Ford Coppola recently said of Scott’s debut in an Instagram post. “I was impressed, and realizing he was my contemporary began following his work, which was prodigious to say the least. One after the other, different styles, themes — all ambitious and never stopping, absolutely great films like ‘Blade Runner,’ ‘Thelma & Louise,’ ‘Alien,’ and ‘Black Hawk Down....
- 11/23/2023
- by Alison Foreman
- Indiewire
Every year, we here at IndieWire take on the daunting and potentially insane task of plowing through seemingly endless lists of potential Sundance entrants to pick out the films that not only could make their way onto the annual festival’s slate, but the ones we’d most like to actually land in Park City in January. As ever, there’s no shortage of possibilities for the upcoming festival, including a wide variety of films shot under various Covid protocols, a slew of holdovers from the before times, and some long-gestating films we’ve been expecting and hoping to see for entire years.
And while we don’t yet know how the twin strikes will have impacted the overall lineup — as this article is published, the SAG-AFTRA strike has been over for barely 12 hours — and who will be on hand to attend this year to tout their work, we do know that,...
And while we don’t yet know how the twin strikes will have impacted the overall lineup — as this article is published, the SAG-AFTRA strike has been over for barely 12 hours — and who will be on hand to attend this year to tout their work, we do know that,...
- 11/9/2023
- by Kate Erbland, David Ehrlich, Ryan Lattanzio and Anne Thompson
- Indiewire
Costume design is rarely as analyzed as cinematography or sound in its effect on film storytelling but is often just as impactful; how characters present themselves and everything they’re trying to say or not say is often bound up in their clothing choices. Those choices are often the first thing we reach for in thinking about our favorite films. The sheer number of Cowboy Kens and Spider-Gwens out for Halloween this year (and also one very tiny Los Alamos employee who stopped by this writer’s trick-or-treating with their parents) is a testament to some of the great costume design work on display in 2023. So, the IndieWire Craft team decided to look back at the winners of the Best Costume Design Oscar since 2000 and see what we could learn about how costume design has evolved over the century so far.
The Academy certainly has a type. The Best...
The Academy certainly has a type. The Best...
- 11/4/2023
- by Sarah Shachat
- Indiewire
The Los Angeles Press Club unveiled the nominations for the 16th annual National Arts & Entertainment Journalism Awards, and IndieWire earned nine nominations. After 1,600 entries were evaluated by the committee, IndieWire’s entire staff was honored with a nomination for Best Entertainment Website, and eight staffers received additional nominations for their individual works.
IndieWire’s TV Critic and Deputy Editor Ben Travers was nominated in the TV Critic category for his entire body of work over the past year.
IndieWire’s Executive Managing Editor Christian Blauvelt earned a nomination in the Soft News, Arts category, for his analysis piece “Will Disney Win Against DeSantis? The Florida Lawsuit Explained.”
IndieWire’s Executive Editor, Business Tony Maglio received a nomination for Humor Writing for his essay “I Took My Daughters, 3 and 6, to See ‘The Little Mermaid.’ Here’s Who Slept and Who Danced in the Aisles.”
IndieWire’s Senior Reporter Brian Welk was also nominated in the Business,...
IndieWire’s TV Critic and Deputy Editor Ben Travers was nominated in the TV Critic category for his entire body of work over the past year.
IndieWire’s Executive Managing Editor Christian Blauvelt earned a nomination in the Soft News, Arts category, for his analysis piece “Will Disney Win Against DeSantis? The Florida Lawsuit Explained.”
IndieWire’s Executive Editor, Business Tony Maglio received a nomination for Humor Writing for his essay “I Took My Daughters, 3 and 6, to See ‘The Little Mermaid.’ Here’s Who Slept and Who Danced in the Aisles.”
IndieWire’s Senior Reporter Brian Welk was also nominated in the Business,...
- 11/2/2023
- by Christian Zilko
- Indiewire
On Friday nights, IndieWire After Dark takes a feature-length beat to honor fringe cinema in the streaming age.
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: It’s the Sagrada Familia of Shitty Horror Movies
“Oh, this is your Sagrada Familia,” IndieWire’s Christian Zilko said to me as the credits of “Event Horizon” rolled, tears from laughter still streaming down my face. “You’re like one of those architecture nerds who think it’s more beautiful because it’s unfinished.”
Much like the semi-sentient spaceship in Paul W. S. Anderson’s magnificently misguided horror flick from 1997, Zilko knows me so well that I’m occasionally startled by his insights into my cinematic soul. That...
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: It’s the Sagrada Familia of Shitty Horror Movies
“Oh, this is your Sagrada Familia,” IndieWire’s Christian Zilko said to me as the credits of “Event Horizon” rolled, tears from laughter still streaming down my face. “You’re like one of those architecture nerds who think it’s more beautiful because it’s unfinished.”
Much like the semi-sentient spaceship in Paul W. S. Anderson’s magnificently misguided horror flick from 1997, Zilko knows me so well that I’m occasionally startled by his insights into my cinematic soul. That...
- 10/14/2023
- by Alison Foreman and Christian Zilko
- Indiewire
James Cameron wasn’t as confident staring into “The Abyss” in 1989.
The Oscar winner explained during a Beyond Fest panel moderated by IndieWire’s Jim Hemphill that the underwater sci-fi action film was the “first really big, kind of mega-budget movie” in his career. Ed Harris and Mary Elizabeth Mastrantonio starred as divorced petroleum engineers who are hired to assist a Navy Seal (Michael Biehn) in recovering a nuclear submarine. The 20th Century Fox film had a budget of $43 million and grossed $90 at the worldwide box office before winning the Academy Award for Best Visual Effects.
“Well, this was my first really big, kind of mega-budget movie,” Cameron said onstage. “It wasn’t kind of a slam dunk in the way ‘Aliens’ was. Like, we just knew ‘Aliens’ worked. This one, we didn’t know exactly how it was going to work.”
Cameron’s unease led to his first test...
The Oscar winner explained during a Beyond Fest panel moderated by IndieWire’s Jim Hemphill that the underwater sci-fi action film was the “first really big, kind of mega-budget movie” in his career. Ed Harris and Mary Elizabeth Mastrantonio starred as divorced petroleum engineers who are hired to assist a Navy Seal (Michael Biehn) in recovering a nuclear submarine. The 20th Century Fox film had a budget of $43 million and grossed $90 at the worldwide box office before winning the Academy Award for Best Visual Effects.
“Well, this was my first really big, kind of mega-budget movie,” Cameron said onstage. “It wasn’t kind of a slam dunk in the way ‘Aliens’ was. Like, we just knew ‘Aliens’ worked. This one, we didn’t know exactly how it was going to work.”
Cameron’s unease led to his first test...
- 9/28/2023
- by Samantha Bergeson and Jim Hemphill
- Indiewire
Director James Cameron made a surprise appearance in Los Angeles genre festival ‘Beyond Fest’ for a Q&a about his film ‘The Abyss’ after a screening of the film’s seldom-seen two-hour and 51-minute Special Edition. Unbeknown to the attendees (but later confirmed by festival programmers), the Dcp presentation turned out to be the 4K transfer Cameron announced last year, physical and streaming versions of which he said were “out of his hands” but all work has long been completed, reports ‘Variety’.
“All of the mastering is done and I think it drops pretty soon — a couple of months or something like that,” Cameron said in response to an audience question.
“There’s a lot of added material that they’re sticking in there, and it will be available on streaming simultaneously. But I didn’t just want to look at the old HD transfer. I wanted to do it right,...
“All of the mastering is done and I think it drops pretty soon — a couple of months or something like that,” Cameron said in response to an audience question.
“There’s a lot of added material that they’re sticking in there, and it will be available on streaming simultaneously. But I didn’t just want to look at the old HD transfer. I wanted to do it right,...
- 9/28/2023
- by Agency News Desk
- GlamSham
Director James Cameron made a surprise appearance in Los Angeles genre festival ‘Beyond Fest’ for a Q&a about his film ‘The Abyss’ after a screening of the film’s seldom-seen two-hour and 51-minute Special Edition. Unbeknown to the attendees (but later confirmed by festival programmers), the Dcp presentation turned out to be the 4K transfer Cameron announced last year, physical and streaming versions of which he said were “out of his hands” but all work has long been completed, reports ‘Variety’.
“All of the mastering is done and I think it drops pretty soon — a couple of months or something like that,” Cameron said in response to an audience question.
“There’s a lot of added material that they’re sticking in there, and it will be available on streaming simultaneously. But I didn’t just want to look at the old HD transfer. I wanted to do it right,...
“All of the mastering is done and I think it drops pretty soon — a couple of months or something like that,” Cameron said in response to an audience question.
“There’s a lot of added material that they’re sticking in there, and it will be available on streaming simultaneously. But I didn’t just want to look at the old HD transfer. I wanted to do it right,...
- 9/28/2023
- by Agency News Desk
James Cameron appeared Wednesday at Los Angeles genre festival Beyond Fest for a q&a about “The Abyss” after a screening of the film’s seldom-seen two hour and 51 minute Special Edition. During his conversation with moderator Jim Hemphill, Cameron confirmed completion of the 4K restoration he announced last year, physical and streaming versions of which he said were “out of his hands” but all work has long been concluded. “All of the mastering is done and I think it drops pretty soon — a couple of months or something like that,” Cameron said in response to an audience question. “There’s a lot of added material that they’re sticking in there, and it will be available on streaming simultaneously. But I didn’t just want to look at the old HD transfer. I wanted to do it right.”
Back in 1989, the film marked one of the filmmaker’s few...
Back in 1989, the film marked one of the filmmaker’s few...
- 9/28/2023
- by Todd Gilchrist
- Variety Film + TV
For decades, viewers have been split on writer/director Meir Zarchi’s 1978 film I Spit on Your Grave (watch it Here). Some write it off as reprehensible trash. Some – including legendary drive-in movie critic Joe Bob Briggs – think it’s a worthwhile revenge thriller. The film has developed a cult following, and now the folks at Printed in Blood, a publisher of art books, have announced that they’ll be celebrating the 45th anniversary of I Spit on Your Grave by releasing a collector’s edition I Spit on Your Grave Scriptbook!
Also known as Day of the Woman, I Spit on Your Grave stars Camille Keaton as a young woman who is brutally attacked and left for dead by a group of men. She then sets out to exact revenge on her attackers. Zarchi has said he was inspired to make the movie after helping a woman who had...
Also known as Day of the Woman, I Spit on Your Grave stars Camille Keaton as a young woman who is brutally attacked and left for dead by a group of men. She then sets out to exact revenge on her attackers. Zarchi has said he was inspired to make the movie after helping a woman who had...
- 8/25/2023
- by Cody Hamman
- JoBlo.com
Whether or not you agree with Quentin Tarantino’s unsparing assertion that “’80s cinema is, along with the ’50s, the worst era in Hollywood history,” there’s a curiously undeniable truth to his follow-up statement: “Matched only by now! Matched only by the current era.” Revisiting the defining movies of the ’80s from our current perspective at the height of Barbenheimer summer, two things become abundantly clear.
The first is that modern Hollywood would probably need a Barbenheimer every month in order to equal the creative output of a studio system that used to be capable of releasing “Blade Runner” and “The Thing” on the same night as if it were just another Friday. The second is that, in a wide variety of different ways both negative and not, the ’80s provide a perfect match for the movies of our current moment — if not the current moment itself.
Perhaps that...
The first is that modern Hollywood would probably need a Barbenheimer every month in order to equal the creative output of a studio system that used to be capable of releasing “Blade Runner” and “The Thing” on the same night as if it were just another Friday. The second is that, in a wide variety of different ways both negative and not, the ’80s provide a perfect match for the movies of our current moment — if not the current moment itself.
Perhaps that...
- 8/14/2023
- by IndieWire Staff
- Indiewire
Everyone is hiding something in twisty Max thriller “Full Circle” — right down to the view outside the Manhattan apartment of parents Sam (Claire Danes) and Derek (Timothy Olyphant).
“Full Circle” is the first production to tout Rosco’s Rdx Lab System for interactive digital backgrounds on an LED wall inside the show’s crucial apartment set build. This is where Sam and Derek reside near Washington Square Park, their secrets unraveling after the botched kidnapping of their son, Jared (Ethan Stoddard).
After first using LED wall tech on “Kimi,” director-cinematographer Steven Soderbergh returned to it for this crime thriller limited series loosely inspired by Akira Kurosawa’s “High and Low.” But this was a new software system and a different situation from the more elaborate 3D Volume demands of “Kimi.”
Rdx, with software by FuseFX, allowed Soderbergh and gaffer Derek Gross to use an iPad app to project and alter...
“Full Circle” is the first production to tout Rosco’s Rdx Lab System for interactive digital backgrounds on an LED wall inside the show’s crucial apartment set build. This is where Sam and Derek reside near Washington Square Park, their secrets unraveling after the botched kidnapping of their son, Jared (Ethan Stoddard).
After first using LED wall tech on “Kimi,” director-cinematographer Steven Soderbergh returned to it for this crime thriller limited series loosely inspired by Akira Kurosawa’s “High and Low.” But this was a new software system and a different situation from the more elaborate 3D Volume demands of “Kimi.”
Rdx, with software by FuseFX, allowed Soderbergh and gaffer Derek Gross to use an iPad app to project and alter...
- 7/25/2023
- by Bill Desowitz
- Indiewire
The 2022-2023 season was a very good time to be a Netflix subscriber. Returning favorites like “Stranger Things” shattered viewership records for the streaming giant, while new projects like “Wednesday” and “Beef” proved that audiences are ready to embrace the company’s next big hit.
At IndieWire’s Consider This Event in Los Angeles on Saturday, post-production artists from some of Netflix’s biggest shows got together to discuss the craftsmanship that goes into making our favorite television. The panel, moderated by IndieWire’s Jim Hemphill, featured “Stranger Things” re-recording mixer/supervising sound editor Craig Henighan, “Beef” editor Laura Zempel and composer Bobby Krlic, and “Wednesday” composer Danny Elfman, co-composer Chris Bacon, and music supervisor Jen Malone.
In the penultimate season of “Stranger Things,” the Duffer Brothers’ sci-fi blockbuster went darker than ever. Feature length episodes saw the residents of Hawkins plumb the depths of their trauma to face off against Vecna,...
At IndieWire’s Consider This Event in Los Angeles on Saturday, post-production artists from some of Netflix’s biggest shows got together to discuss the craftsmanship that goes into making our favorite television. The panel, moderated by IndieWire’s Jim Hemphill, featured “Stranger Things” re-recording mixer/supervising sound editor Craig Henighan, “Beef” editor Laura Zempel and composer Bobby Krlic, and “Wednesday” composer Danny Elfman, co-composer Chris Bacon, and music supervisor Jen Malone.
In the penultimate season of “Stranger Things,” the Duffer Brothers’ sci-fi blockbuster went darker than ever. Feature length episodes saw the residents of Hawkins plumb the depths of their trauma to face off against Vecna,...
- 6/3/2023
- by Christian Blauvelt and Christian Zilko
- Indiewire
Great casting is one of the things best defined by what it is not. There’s an alchemy to the assembling of a cast — particularly a larger ensemble — that can only be achieved with luck and a sharp eye. And while the 2022-2023 TV season saw plenty of larger-than-life performances and jaw-dropping transformations, these four first-year series managed, in wildly different ways, the same balancing act of star turns and sharply delineated supporting roles. Here are four series worthy of Emmy Award consideration for their feats of casting.
“Andor”Lucasfilm Ltd. “Andor” (Disney+)
Tony Gilroy’s gritty sci-fi/spy thriller is the adult, character-driven “Star Wars” many of us have been waiting for. But Cassian’s origin story would not have been as brilliant without the talented ensemble cast built around Diego Luna by casting directors Nina Gold and Martin Ware: Stellen Skarsgård as the eccentric antiques dealer organizing...
“Andor”Lucasfilm Ltd. “Andor” (Disney+)
Tony Gilroy’s gritty sci-fi/spy thriller is the adult, character-driven “Star Wars” many of us have been waiting for. But Cassian’s origin story would not have been as brilliant without the talented ensemble cast built around Diego Luna by casting directors Nina Gold and Martin Ware: Stellen Skarsgård as the eccentric antiques dealer organizing...
- 5/24/2023
- by Mark Peikert, Sarah Shachat, Jim Hemphill and Bill Desowitz
- Indiewire
“The Marvelous Mrs. Maisel” is twirling offstage and “The Crown” finally got to The Revenge Dress, so it has not exactly been a low-key television season when it comes to costuming. (Not to mention the genius Easter eggs hidden in Tanya’s costumes on “The White Lotus.”) But no one is surprised when shows with fabulous costumes continue to exhibit their skill at crafting fabulous costumes that serve as eye candy and character development. Here are five series that premiered during the 2022-2023 season that deserve attention from the 2023 Emmys for their costumes.
“1923” (Paramount+) “1923”Emerson Miller/Paramount+
The latest addition to Taylor Sheridan’s “Yellowstone” universe is a fascinating study of a society in transition from the rural world of “1883” to the more technologically oriented America that will see the Dutton family arriving at their home in helicopters on “Yellowstone.” Costume designer Janie Bryant straddles both worlds impeccably, with clothes...
“1923” (Paramount+) “1923”Emerson Miller/Paramount+
The latest addition to Taylor Sheridan’s “Yellowstone” universe is a fascinating study of a society in transition from the rural world of “1883” to the more technologically oriented America that will see the Dutton family arriving at their home in helicopters on “Yellowstone.” Costume designer Janie Bryant straddles both worlds impeccably, with clothes...
- 5/22/2023
- by Mark Peikert, Bill Desowitz, Sarah Shachat and Jim Hemphill
- Indiewire
Roger Deakins wasn’t onboard with how “The Assassination of Jesse James by the Coward Robert Ford” train sequence was turning out.
The Oscar-winning cinematographer reflected on the iconic scene from the 2007 film starring Brad Pitt and Casey Affleck, namely calling out how “frustrated” he was over the “dinky” train used for historical purposes on set. The sequence in question involves Jesse James (Pitt) staging an elaborate robbery of a train during the first act of the Andrew Dominik film.
“I’ve got to say, Andrew and I got kind of frustrated because we couldn’t really find a train line that we liked and we couldn’t find a period train to the scale that Andrew wanted,” Deakins said during a panel discussion at the 92nd Street Y. “We ended up shooting in Edmonton [in Alberta, Canada] on a museum line and luckily it goes through this little wooded area, but the train was really dinky.
The Oscar-winning cinematographer reflected on the iconic scene from the 2007 film starring Brad Pitt and Casey Affleck, namely calling out how “frustrated” he was over the “dinky” train used for historical purposes on set. The sequence in question involves Jesse James (Pitt) staging an elaborate robbery of a train during the first act of the Andrew Dominik film.
“I’ve got to say, Andrew and I got kind of frustrated because we couldn’t really find a train line that we liked and we couldn’t find a period train to the scale that Andrew wanted,” Deakins said during a panel discussion at the 92nd Street Y. “We ended up shooting in Edmonton [in Alberta, Canada] on a museum line and luckily it goes through this little wooded area, but the train was really dinky.
- 5/18/2023
- by Samantha Bergeson
- Indiewire
“Pellington’s boldest and most audacious film to date, an unclassifiable dance movie that plays like a cross between Wim Wenders’ Pina and Saw…Pellington moves beyond the limitations of narrative to get at something primal and raw—but also ultimately transcendent and life affirming—that perfectly conveys the transformative effects of grief and loss.”
– Jim Hemphill, Filmmaker Magazine
“Pellington’s continuing rumination on the progress of grief: now a wildfire, now a slow, creeping cancer, always a constant companion…the answers to The Severing are written in flesh and bone.”
– Walter Chaw, Film Freak Central
Kino Lorber presents Mark Pellington’s The Severing, a cathartic dance movement piece created in collaboration with the brilliant choreographer Nina McNeely (Gaspar Noe’s Climax) and rising Dutch cinematographer Evelin Rei.
Screening 31st March in NYC at Alamo Drafthouse Lower Manhattan
**Mark Pellington in attendance for Q&a **
Screening 6th April in LA...
– Jim Hemphill, Filmmaker Magazine
“Pellington’s continuing rumination on the progress of grief: now a wildfire, now a slow, creeping cancer, always a constant companion…the answers to The Severing are written in flesh and bone.”
– Walter Chaw, Film Freak Central
Kino Lorber presents Mark Pellington’s The Severing, a cathartic dance movement piece created in collaboration with the brilliant choreographer Nina McNeely (Gaspar Noe’s Climax) and rising Dutch cinematographer Evelin Rei.
Screening 31st March in NYC at Alamo Drafthouse Lower Manhattan
**Mark Pellington in attendance for Q&a **
Screening 6th April in LA...
- 3/27/2023
- by Peter 'Witchfinder' Hopkins
- Horror Asylum
When people talk about the magic of cinema, they’re usually not referring to monologues. More often than not, it’s the awe-inspiring visuals and imaginary worlds brought to life that give the phrase “movie magic” the ring of truth. None of that would be possible without visual effects, an ever-evolving field that pushes filmmakers like James Cameron and Peter Jackson further and further in their quest to create that special spark.
The films that won the Oscar for Best Visual Effects this century represent the most innovative visual storytelling of the last two decades. Using motion capture technology, computer-generated imagery, miniatures, and giant puppets, these films create fantasy worlds and creatures beyond our wildest imaginations.
Here are the winners of the Oscar for Best Visual Effects of the 21st century, ranked by their visual storytelling. Note: Weta Digital changed its name to Wētā FX in 2022. IndieWire retained the original...
The films that won the Oscar for Best Visual Effects this century represent the most innovative visual storytelling of the last two decades. Using motion capture technology, computer-generated imagery, miniatures, and giant puppets, these films create fantasy worlds and creatures beyond our wildest imaginations.
Here are the winners of the Oscar for Best Visual Effects of the 21st century, ranked by their visual storytelling. Note: Weta Digital changed its name to Wētā FX in 2022. IndieWire retained the original...
- 3/17/2023
- by Chris O'Falt, Bill Desowitz, Sarah Shachat and Jim Hemphill
- Indiewire
Many were pleased to learn of Greig Fraser’s (“The Batman”) inclusion among the American Society of Cinematographers’ five nominees for the 37th annual ASC Awards. The reigning Oscar and ASC champ for “Dune” is the fourth Dp nominated by the guild for lensing Gotham City. Stephen Goldblatt (1995’s “Batman Forever), Wally Pfister (2005’s “Batman Begins” and 2008’s “The Dark Knight”) and Lawrence Sher (2019’s “Joker”) also received bids for their work on the most awarded comic book franchise in history. Perhaps what has always distinguished the DC property for voters are the undertones of classic noir that this iteration in particular emphasizes.
See over 200 interviews with 2023 awards contenders
From the apparent seams and stitch work on the title character’s mask to director Matt Reeves’ haunting vision of urban decay, this is a rough, grimy take on the Caped Crusader, whose pulp origins Fraser evokes through rusty hues of...
See over 200 interviews with 2023 awards contenders
From the apparent seams and stitch work on the title character’s mask to director Matt Reeves’ haunting vision of urban decay, this is a rough, grimy take on the Caped Crusader, whose pulp origins Fraser evokes through rusty hues of...
- 1/18/2023
- by Ronald Meyer
- Gold Derby
Of all our craft Best of 2022 lists, film scores was the one where there was the widest list of nominees and least amount of consensus about a top 10. There was just such a wide variety of great work done that delineating what was best wasn’t always clear.
What was clear from our picks, however, was that a number of the best composers working today — from Michael Giacchino to Michael Abels — were on their game in 2022; it was also apparent that this was a year of innovative uses of film music that played a subtle and almost sound design-like role. And by no surprise, so much of that best work came from director-composer collaborations that started early and stretched over many months, sometimes over year, and evolved to find the best way for the music sit in the film.
Chris O’Falt, Steve Greene, David Ehrlich, and Erik Adams also contributed to this article.
What was clear from our picks, however, was that a number of the best composers working today — from Michael Giacchino to Michael Abels — were on their game in 2022; it was also apparent that this was a year of innovative uses of film music that played a subtle and almost sound design-like role. And by no surprise, so much of that best work came from director-composer collaborations that started early and stretched over many months, sometimes over year, and evolved to find the best way for the music sit in the film.
Chris O’Falt, Steve Greene, David Ehrlich, and Erik Adams also contributed to this article.
- 12/20/2022
- by Sarah Shachat, Jim Hemphill and Bill Desowitz
- Indiewire
IndieWire’s Consider This FYC Brunch returned on Friday, celebrating six of the films you’ll be hearing about during the 2022-2023 awards season. Above and below the line talent from “Thirteen Lives,” “Black Panther: Wakanda Forever,” “Louis Armstrong’s Black & Blues,” “Causeway,” “Glass Onion: A Knives Out Mystery,” and “Bardo, False Chronicle of a Handful of Truths” all participated in panels moderated by IndieWire editors to discuss what went into the dazzling images audiences see on the screen.
“Elevating artisans and craftspeople is, if you don’t mind me saying so, one of the things that IndieWire does best,” IndieWire editor-in-chief Dana Harris-Brisdon said in her opening remarks.
Throughout the day, these artists opened up about the labor intensive process of making great cinema. In their quest to achieve that special creative edge that separates them from the competition, every detail counts. Panelists from all six films emphasized that...
“Elevating artisans and craftspeople is, if you don’t mind me saying so, one of the things that IndieWire does best,” IndieWire editor-in-chief Dana Harris-Brisdon said in her opening remarks.
Throughout the day, these artists opened up about the labor intensive process of making great cinema. In their quest to achieve that special creative edge that separates them from the competition, every detail counts. Panelists from all six films emphasized that...
- 11/19/2022
- by Christian Zilko
- Indiewire
The Tham Luang cave rescue, which saw 12 members of a Thai youth soccer team and its 25-year-old coach rescued from a flooded cave after being trapped for 18 days, was destined to become a Hollywood film. The combination of dangerous weather, human ingenuity, and international cooperation was the kind of story that most screenwriters can only dream of coming up with themselves.
Much like the rescue that inspired it, “Thirteen Lives” is a complex work of technical mastery. At IndieWire’s Consider This Brunch, director Ron Howard, editor James D. Wilcox, supervising sound editors Oliver Tarney and Rachael Tate, and composer Benjamin Wallfisch participated in a panel moderated by IndieWire’s Jim Hemphill. They broke down the work that went into the complex shoot, explaining that getting the details of Thai culture right was as important as all the technical specificity of recreating the rescue. Most notably, much of the film is in the Thai language.
Much like the rescue that inspired it, “Thirteen Lives” is a complex work of technical mastery. At IndieWire’s Consider This Brunch, director Ron Howard, editor James D. Wilcox, supervising sound editors Oliver Tarney and Rachael Tate, and composer Benjamin Wallfisch participated in a panel moderated by IndieWire’s Jim Hemphill. They broke down the work that went into the complex shoot, explaining that getting the details of Thai culture right was as important as all the technical specificity of recreating the rescue. Most notably, much of the film is in the Thai language.
- 11/18/2022
- by Christian Zilko and Christian Blauvelt
- Indiewire
One of my most anticipated films of the year, Babylon, is getting shredded across social media. Damien Chazelle‘s latest feature doesn’t hit theaters until December 23, but early reactions to the film are pouring in. They’re mixed more vigorously than a Bourbon Old Fashioned prepared by Fritz at Reese’s 1890 in Long Island, New York, and we’re here to collect some of the most extreme comments.
According to the official synopsis for Babylon, the film is “an original epic set in 1920s Los Angeles led by Brad Pitt, Margot Robbie, and Diego Calva, with an ensemble cast including Jovan Adepo, Li Jun Li, and Jean Smart. A tale of outsized ambition and outrageous excess, Babylon traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.”
Babylon stars Margot Robbie, Brad Pitt, Diego Calva, Tobey Maguire, and more, delighting...
According to the official synopsis for Babylon, the film is “an original epic set in 1920s Los Angeles led by Brad Pitt, Margot Robbie, and Diego Calva, with an ensemble cast including Jovan Adepo, Li Jun Li, and Jean Smart. A tale of outsized ambition and outrageous excess, Babylon traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.”
Babylon stars Margot Robbie, Brad Pitt, Diego Calva, Tobey Maguire, and more, delighting...
- 11/15/2022
- by Steve Seigh
- JoBlo.com
So much of our collective love of horror is grounded in the visual: A splash of gore, an inventive creature design, an image so startling and unexpected it lingers long after the lights come back up. It’s only right for a genre that takes our greatest fears and gives them shape (perhaps even The Shape). But there’s a frightening power in the unseen as well, and many of horror’s crowning achievements have demonstrated that nothing sweetens a scare or ratchets the tension of a chilling set piece quite like a good instrumental score.
Horror has long been at the forefront of innovations in makeup, visual effects, sound design, and cinematography, and its impact on film and television music is no different. One of the earliest electronic instruments, the theremin, gave otherworldly texture to “The Spiral Staircase” and “The Thing From Another World” before its synthesizer and sequencer...
Horror has long been at the forefront of innovations in makeup, visual effects, sound design, and cinematography, and its impact on film and television music is no different. One of the earliest electronic instruments, the theremin, gave otherworldly texture to “The Spiral Staircase” and “The Thing From Another World” before its synthesizer and sequencer...
- 10/19/2022
- by Erik Adams
- Indiewire
Rushes: Bruno Dumont's "The Empire," John Carpenter Interviewed, Hito Steyerl x Film Comment Podcast
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSHaunted Hotel.The British Film Institute has begun unveiling the program for the London Film Festival, which runs from October 5-16. So far, they have announced the official competition, featuring films from Alice Diop, Mark Jenkin, and Hlynur Pálmason, and the VR- and Ar-oriented "Extended Realities" strand, including a new work from Guy Maddin, Haunted Hotel.Production has begun on Bruno Dumont's The Empire. Cineuropa reports that the science-fiction film depicts the "epic parallel life of knights from interplanetary kingdoms"; the cast includes Lyna Khoudri (César-winner for Papicha) and the gendarmerie duo from Li'l Quinquin, Bernard Pruvost and Philippe Jore.The international film critics association Fipresci have chosen the winner of their 2022 Grand Prix for Film of the Year: Ryûsuke Hamaguchi's Drive My Car.Recommended VIEWINGAndrew Mau and Alan Mak's seminal...
- 8/30/2022
- MUBI
When the ’90s began, every major theatrical release was shot on celluloid, films were edited on flatbeds rather than computer screens, animation was still a hand-drawn art, and analog sound was the norm for both mixing and exhibition. By the end of the decade all of this would change thanks to some of the biggest technological revolutions since the conversion to sound over 60 years earlier. The 1990s transformed the ways that we make, watch, and listen to movies like no decade before or since, and its innovations continue to reverberate today. Here are nine films without which film history and the cinematic landscape today would be very, very different.
This article contains contributions from Bill Desowitz, Jim Hemphill, Chris O’Falt, and Sarah Shachat.
This article was published as part of IndieWire’s ’90s Week spectacular. Visit our ’90s Week page for more.
This article contains contributions from Bill Desowitz, Jim Hemphill, Chris O’Falt, and Sarah Shachat.
This article was published as part of IndieWire’s ’90s Week spectacular. Visit our ’90s Week page for more.
- 8/18/2022
- by Bill Desowitz, Jim Hemphill, Sarah Shachat and Chris O'Falt
- Indiewire
Welcome to IndieWire ’90s Week, an unfettered celebration of the decade that every millennial will always think of as “10 years ago.”
This completely random celebration of the last years of the 20th century — a critical tribute to the spirit of a time that no reboot or legacy sequel could ever quite manage to capture — kicks off with our ranked mega-list of the decade’s 100 greatest films, and follows that up with interviews with the people who made them, essays about how the impact these modern classics had on the world at large, close listens of the scores and needle-drops that still reverberate in our ears, and more.
Below, you’ll find a comprehensive schedule of the ’90s Week goodness to come, which will update with links to our stories as they go live over the course of the week. Cowabunga, dudes!
Monday
10 a.m. Et: The 100 Best Movies of the...
This completely random celebration of the last years of the 20th century — a critical tribute to the spirit of a time that no reboot or legacy sequel could ever quite manage to capture — kicks off with our ranked mega-list of the decade’s 100 greatest films, and follows that up with interviews with the people who made them, essays about how the impact these modern classics had on the world at large, close listens of the scores and needle-drops that still reverberate in our ears, and more.
Below, you’ll find a comprehensive schedule of the ’90s Week goodness to come, which will update with links to our stories as they go live over the course of the week. Cowabunga, dudes!
Monday
10 a.m. Et: The 100 Best Movies of the...
- 8/15/2022
- by David Ehrlich
- Indiewire
HBO’s gritty teen drama, “Euphoria,” had an immediate impact with Season 1, becoming a cultural phenomenon as the streamer’s second most-watched show after “Game of Thrones.” It pulverized viewers with Gen Z trauma about sex, drugs, violence, and social media. As IndieWire’s Jim Hemphill observed, the “conceptual and technical fearlessness” of showrunner Sam Levinson and and his craft teams tapped the “passion, angst, rage” of its teenagers (led by Emmy winner Zendaya as drug addict and unreliable narrator Rue).
Yet “Euphoria” has underperformed at the Creative Arts Emmys, collecting only two wins out of five nominations for Season 1 in 2020. These were for contemporary (non-prosthetic) makeup and original song (“All For Us” by Labrinth). Then, in 2021, “Euphoria” was snubbed for its two special episodes after being nominated for its kinetic and colorful cinematography, and once more for contemporary costumes and makeup.
Will the fact that “Euphoria” didn’t win...
Yet “Euphoria” has underperformed at the Creative Arts Emmys, collecting only two wins out of five nominations for Season 1 in 2020. These were for contemporary (non-prosthetic) makeup and original song (“All For Us” by Labrinth). Then, in 2021, “Euphoria” was snubbed for its two special episodes after being nominated for its kinetic and colorful cinematography, and once more for contemporary costumes and makeup.
Will the fact that “Euphoria” didn’t win...
- 6/1/2022
- by Bill Desowitz
- Indiewire
When the cast and showrunners of “Yellowjackets” took the stage at IndieWire’s Consider This FYC Brunch, everyone in the room wanted to learn the secret sauce behind the Showtime blockbuster. But the team made sure to emphasize that there was no single thing that set the show apart. Instead, the show succeeds because of how it delicately balances multiple aspects of the series that seemingly contradict each other. (Full videos of all five panels will be published next week.)
“Tonally, I think we were all wondering if the filaments would come to the magnet,” said executive producer and co-showrunner Jonathan Lisco while speaking on a panel moderated by IndieWire editor-in-chief Dana Harris-Bridson. “Because there’s a lot of different tonalities in here, which we thread together into this single impact on our audience.”
The “Yellowjackets” team wasn’t alone in juggling that problem. A common topic at the brunch...
“Tonally, I think we were all wondering if the filaments would come to the magnet,” said executive producer and co-showrunner Jonathan Lisco while speaking on a panel moderated by IndieWire editor-in-chief Dana Harris-Bridson. “Because there’s a lot of different tonalities in here, which we thread together into this single impact on our audience.”
The “Yellowjackets” team wasn’t alone in juggling that problem. A common topic at the brunch...
- 5/13/2022
- by Christian Zilko
- Indiewire
“The actual point of the show is that you can never actually know anything.”
That’s Maggie Cohn, co-showrunner, EP, and writer on “The Staircase” about the new HBO Max original series, created and directed by Antonio Campos. But one thing the creative team on the series did know for certain was early-2000s fashion and makeup — to the consternation of star Sophie Turner in one case.
The story of Michael and Kathleen Peterson (played by Colin Firth and Toni Collette on the new series) was originally told by French documentarian Jean-Xavier de Lestrade across 13 episodes, the first of which — in a mark of how much distribution for true crime has changed — aired in an abbreviated form on ABC’s “Primetime Thursday” in 2004.
At the IndieWire Consider This Brunch May 12, Cohn, along with makeup artist Elle Favorule and costume designer Jennifer Starzyk, told IndieWire’s Jim Hemphill about how recreating...
That’s Maggie Cohn, co-showrunner, EP, and writer on “The Staircase” about the new HBO Max original series, created and directed by Antonio Campos. But one thing the creative team on the series did know for certain was early-2000s fashion and makeup — to the consternation of star Sophie Turner in one case.
The story of Michael and Kathleen Peterson (played by Colin Firth and Toni Collette on the new series) was originally told by French documentarian Jean-Xavier de Lestrade across 13 episodes, the first of which — in a mark of how much distribution for true crime has changed — aired in an abbreviated form on ABC’s “Primetime Thursday” in 2004.
At the IndieWire Consider This Brunch May 12, Cohn, along with makeup artist Elle Favorule and costume designer Jennifer Starzyk, told IndieWire’s Jim Hemphill about how recreating...
- 5/12/2022
- by Christian Blauvelt
- Indiewire
Remote production went to a whole new level during the pandemic, and “Outer Range” could serve as television’s Exhibit A. Several members of the show’s crafts team sat down with IndieWire’s Jim Hemphill to discuss the making of the visually complex series. The panel consisted of director Lawrence Trilling, production designer Tommaso Ortino, VFX supervisor Jason Piccioni, editor and producer Travis Baker, and composers Danny Bensi and Saunder Jurriaans.
The thing is, some of them hadn’t met until today.
“Some of us are just meeting each other today or at the premiere,” Trilling said. “We missed the collegial warmth you can have while making a show.”
The television Western is currently having quite the renaissance thanks to “Yellowstone” and its massively popular prequel “1883,” but “Outer Range” has little more than setting in common with its fellow Westerns. In fact, it’s pretty safe to say...
The thing is, some of them hadn’t met until today.
“Some of us are just meeting each other today or at the premiere,” Trilling said. “We missed the collegial warmth you can have while making a show.”
The television Western is currently having quite the renaissance thanks to “Yellowstone” and its massively popular prequel “1883,” but “Outer Range” has little more than setting in common with its fellow Westerns. In fact, it’s pretty safe to say...
- 5/12/2022
- by Christian Zilko and Christian Blauvelt
- Indiewire
IndieWire announces a return to in-person awards season festivities with a Consider This Brunch in Los Angeles on Thursday, May 12.
The event will feature panels on Showtime’s hit coming-of-age horror series “Yellowjackets,” Apple TV+’s multigenerational family drama “Pachinko,” Amazon Prime Video’s science-fiction neo-Western “Outer Range,” HBO Max’s true-crime-inspired mystery “The Staircase,” as well as a panel from Hulu to be announced soon. The brunch will take place from 10:30 a.m. to 3:30 p.m. Pt in Hollywood.
Created by Ashley Lyle and Bart Nickerson, “Yellowjackets” premiered last November to instant acclaim for its strong performances and addictive storytelling. The series centers on an all-girls high school soccer team who become stranded in the wilderness after a plane crash in 1996. Meanwhile, their present-day selves must reckon with their dark past.
Panelists for “Yellowjackets” include Co-Creator and Showrunner, Ashley Lyle, Co-Creator and Showrunner Bart Nickerson, Executive Producer and Showrunner Jonathan Lisco,...
The event will feature panels on Showtime’s hit coming-of-age horror series “Yellowjackets,” Apple TV+’s multigenerational family drama “Pachinko,” Amazon Prime Video’s science-fiction neo-Western “Outer Range,” HBO Max’s true-crime-inspired mystery “The Staircase,” as well as a panel from Hulu to be announced soon. The brunch will take place from 10:30 a.m. to 3:30 p.m. Pt in Hollywood.
Created by Ashley Lyle and Bart Nickerson, “Yellowjackets” premiered last November to instant acclaim for its strong performances and addictive storytelling. The series centers on an all-girls high school soccer team who become stranded in the wilderness after a plane crash in 1996. Meanwhile, their present-day selves must reckon with their dark past.
Panelists for “Yellowjackets” include Co-Creator and Showrunner, Ashley Lyle, Co-Creator and Showrunner Bart Nickerson, Executive Producer and Showrunner Jonathan Lisco,...
- 4/29/2022
- by IndieWire Staff
- Indiewire
IndieWire is pleased to announce three hires joining our Special Projects team, which produces premium editorial and video franchises and bolsters daily editorial coverage of film and television craft.
Kuwilileni Hauwanga joins IndieWire as Director of Video Production and will oversee IndieWire’s video production and support evolving video needs across sales, marketing, and editorial. Formerly with Insider and BuzzFeed, Hauwanga is based in Los Angeles and reports to Publisher James Israel.
Erik Adams, formerly of The A.V. Club, has joined the team as Deputy Editor, Craft & Special Projects. Adams will oversee daily coverage of craft and animation along with long-lead franchise profiles of top creators and filmmakers in the film and TV worlds. Adams is based in Chicago and reports to Executive Editor, Craft & Special Projects Chris O’Falt.
Katie Hay, formerly of NY Magazine/Vulture, has joined the team as Senior Manager, Marketing to create custom partnership solutions...
Kuwilileni Hauwanga joins IndieWire as Director of Video Production and will oversee IndieWire’s video production and support evolving video needs across sales, marketing, and editorial. Formerly with Insider and BuzzFeed, Hauwanga is based in Los Angeles and reports to Publisher James Israel.
Erik Adams, formerly of The A.V. Club, has joined the team as Deputy Editor, Craft & Special Projects. Adams will oversee daily coverage of craft and animation along with long-lead franchise profiles of top creators and filmmakers in the film and TV worlds. Adams is based in Chicago and reports to Executive Editor, Craft & Special Projects Chris O’Falt.
Katie Hay, formerly of NY Magazine/Vulture, has joined the team as Senior Manager, Marketing to create custom partnership solutions...
- 4/5/2022
- by IndieWire Staff
- Indiewire
When German director Douglas Sirk fled the Nazis in 1937 and planted his flag in Hollywood, he quickly became a reliable studio craftsman equally adept at war films, musicals (Slightly French), comedies and Westerns. Nevertheless, today his reputation rests almost entirely on the melodramas made in the last five years of his career: movies like Magnificent Obsession, All That Heaven Allows, and The Tarnished Angels, whose heightened emotions justify Sirk’s most delirious flights of visual fancy. A brilliant smuggler, Sirk had it […]
The post Written on the Wind, The Devil Strikes at Night, and Dexter: New Blood: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Written on the Wind, The Devil Strikes at Night, and Dexter: New Blood: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 3/18/2022
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
When German director Douglas Sirk fled the Nazis in 1937 and planted his flag in Hollywood, he quickly became a reliable studio craftsman equally adept at war films, musicals (Slightly French), comedies and Westerns. Nevertheless, today his reputation rests almost entirely on the melodramas made in the last five years of his career: movies like Magnificent Obsession, All That Heaven Allows, and The Tarnished Angels, whose heightened emotions justify Sirk’s most delirious flights of visual fancy. A brilliant smuggler, Sirk had it […]
The post Written on the Wind, The Devil Strikes at Night, and Dexter: New Blood: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Written on the Wind, The Devil Strikes at Night, and Dexter: New Blood: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 3/18/2022
- by Jim Hemphill
- Filmmaker Magazine - Blog
My first recommendations this week are two Blu-rays that are worth picking up not just because they’re terrific movies, but because they come with superb audio commentaries packed with useful information. They’re both comedies, though the first, Sean Baker’s Red Rocket, leaves a bit of a rough aftertaste thanks to the sly way in which Simon Rex’s revelatory performance sneaks up on the viewer. His recent Independent Spirit Award win was well-deserved, as I can’t think of many actors who could have so skillfully walked the line between playfulness and predation; as fading porn star Mikey, Rex beautifully projects an […]
The post Red Rocket, The Bad News Bears in Basic Training and Claude Chabrol: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Red Rocket, The Bad News Bears in Basic Training and Claude Chabrol: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 3/11/2022
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
My first recommendations this week are two Blu-rays that are worth picking up not just because they’re terrific movies, but because they come with superb audio commentaries packed with useful information. They’re both comedies, though the first, Sean Baker’s Red Rocket, leaves a bit of a rough aftertaste thanks to the sly way in which Simon Rex’s revelatory performance sneaks up on the viewer. His recent Independent Spirit Award win was well-deserved, as I can’t think of many actors who could have so skillfully walked the line between playfulness and predation; as fading porn star Mikey, Rex beautifully projects an […]
The post Red Rocket, The Bad News Bears in Basic Training and Claude Chabrol: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Red Rocket, The Bad News Bears in Basic Training and Claude Chabrol: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 3/11/2022
- by Jim Hemphill
- Filmmaker Magazine - Blog
In the 1940s, actress Ida Lupino was one of Warner Bros.’ most reliable contract players, a performer who exuded a tough intelligence in terse genre movies like High Sierra and They Drive by Night. As independent-minded as her characters, Lupino irritated the front office with her refusal to accept sub-par roles and was eventually fired, a development that might not have been great for her bank account but which instigated her most fertile period as an artist. Instead of waiting for the phone to ring, Lupino formed an independent production company and began directing her own pictures, some of which […]
The post Outrage, Morvern Callar, Man on the Moon: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Outrage, Morvern Callar, Man on the Moon: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 2/18/2022
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
In the 1940s, actress Ida Lupino was one of Warner Bros.’ most reliable contract players, a performer who exuded a tough intelligence in terse genre movies like High Sierra and They Drive by Night. As independent-minded as her characters, Lupino irritated the front office with her refusal to accept sub-par roles and was eventually fired, a development that might not have been great for her bank account but which instigated her most fertile period as an artist. Instead of waiting for the phone to ring, Lupino formed an independent production company and began directing her own pictures, some of which […]
The post Outrage, Morvern Callar, Man on the Moon: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Outrage, Morvern Callar, Man on the Moon: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 2/18/2022
- by Jim Hemphill
- Filmmaker Magazine - Blog
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.