Craft | Technology, Sound and Set Design
Interview
“MaXXXine,” “Pearl,” and “X” cinematographer Eliot Rockett breaks down the trilogy's cinematic inspirations and how he translated them into films that look like they were created in different eras.
Sounding Off
Mark Mangini tells IndieWire about the immersive design of "32 Sounds," currently streaming on The Criterion Channel.
Buttoned Up
Costume designer Amy Higdon tells IndieWire about how she and her team of indigenous women used low-key costumes to tell a sharply revealing story.
Sounding Off
The "Day One" sound team tells IndieWire how they crafted the tense soundscape of the prequel, from alien calls to a flooded subway.
Off the Rack
No actual shahtoosh shirts were harmed in the making of this Netflix rom-com.
Western Garb
Costume designer Lisa Lovass tells IndieWire about the demands of costuming an epic period Western trilogy.
Interview
Director Christy Hall tells IndieWire how she utilized LED technology to create a constant sense of exterior movement in her dynamic two-hander.
Stunt coordinator Freddie Poole tells IndieWire about working with Austin Butler, Tom Hardy, and the biker gangs of Jeff Nichols' drama.
Stranger Things
Production designer Anthony Gasparro turned New Orleans into a nameless city with an eccentric vibe for Yorgos Lanthimos' twisted new movie.
Nantucket Film Festival
Documentarians Dawn Porter and Jeff Zimbalist tell IndieWire some of the things they've found useful for visual storytelling, regardless of whether it's fiction or nonfiction.
I Know I Have Good Taste
And no, the music at the end of the video is not from a third "Short 'n' Sweet" song.
Cutting Remarks
Editor Yorgos Mavropsaridis tells IndieWire about cutting the anthology as alternate realities, as well as a deleted scene about Emma Stone eating her own liver in "R.M.F. Is Flying."
