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'F1' Composer Hans Zimmer on Scoring His Third Racing Movie: "It Was a Movie About a…
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‘F1’ Composer Hans Zimmer on Scoring His Third Racing Movie: “It Was a Movie About a Team, Made by a Team”
Zimmer opens up about complementing the sound of Formula 1 engines with his electronic, futuristic score.
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Behind the Making of the Site of a Sect in ‘The Testament of Ann Lee’
Production designer Sam Bader explains how he re-created 18th century Shaker architecture in the middle of Budapest for the Mona Fastvold film.
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Turning Dwayne Johnson into ‘The Smashing Machine’ Required a New Brow Bone, a Prosthetic Eyelid and a Whole Lot of Tattoo Removal
Prosthetic makeup designer Kazu Hiro details his process, right down to learning the actors’ sweat patterns and using seven different kinds of adhesive.
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Why ‘Frankenstein’ Prosthetic Designer Mike Hill Didn’t Want the Creature to “Look Like a Monster”
The artist recounts the 10-hour-a-day process of transforming Jacob Elordi into the Creature.
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‘Wicked’ Costume Designer on Abandoning Glinda’s Signature Pink Wardrobe for Her New Bubble Dress and Wedding Gown
Paul Tazewell also talks Jonathan Bailey’s scarecrow transformation in ‘Wicked: For Good.’
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‘House of Dynamite’ Composer Volker Bertelmann on His Intense Scores as of Late: “Yeah, I Can’t Sleep”
The German composer is also on this year’s awards circuit with ‘Ballad of a Small Player’ after last year’s run with ‘Conclave.’
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How the ‘Dune: Part Two’ Sound Team Created the Sonics of Sand Worms and a “Planet of Bloodthirsty Lunatics”
Supervising sound editor Richard King, nominated for an Oscar for the film, explains why he didn’t — and couldn’t — inherit a sound library for the sequel.
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A $10M Budget Didn’t Stop ‘The Brutalist’ Production Designer Judy Becker From Leaning Into the Film’s Titular Architectural Style
The Oscar-nominated pro also reveals what set design she couldn’t quite figure out at first.
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‘Nosferatu’ Cinematographer Jarin Blaschke on Shooting the “Romantic” Film to Look as If It Were Basked in Moonlight
The director of photography also talks about about the challenges he faced on the Robert Eggers film.
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‘Wicked’ Production Designer Nathan Crowley on Planting Barley and 9 Million Tulips to Create Oz
The Oscar-nominated production designer was tasked with transporting audiences to the whimsical world using as little VFX as possible.
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How Cynthia Erivo and Ariana Grande Learned to Fly and Sing Live at the Same Time
‘Wicked’ sound mixer Simon Hayes details how the production teams came together to enable the film’s actors to sing live… all while performing the incredible stunts.
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The Secret to Pharrell Williams’ ‘Piece by Piece’ Is a Global Network of Young Content Creators
From Indonesia to Warsaw, an unlikely group of amateur animators connected for the genre mold-buster.
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Crafting the Scene: How Denis Villeneuve Devised the Cruel, Sexy, Black-and-White World of House Harkonnen for ‘Dune: Part Two’
Director Villeneuve, production designer Patrice Vermette, cinematographer Greig Fraser and editor Joe Walker join THR for an in-depth discussion about the creation of that mind-blowing set-piece on the 'Dune' planet of Giedi Prime — involving infrared cameras, septic tanks and a very sadistic Austin Butler.
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‘The Brutalist’ Cinematographer Lol Crawley on Shooting 3.5 Hour Film on 35 mm: “What You See Is What We Shot”
Crawley details the fast-paced shooting schedule (34 days!) of Brady Corbet’s epic and reveals the scene that really thwarted him.
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‘Joker: Folie à Deux’ Composer Invented an Instrument, Called “The String Prison,” for Sequel
Hildur Gudnadóttir, who won the best score Oscar for 2019’s ‘Joker,’ returned for the follow-up film that sought to expand the “vocabulary of the string instruments” from the first film.
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