It’s that time of year again—when we slow down, look back (overeat), and celebrate our favorite conversations from another surprising, often wonderful, and occasionally wild year in cinema and TV.
We’ve come a long way from a group of boys playing Dungeons & Dragons in a basement, and their chance encounter with a shy girl with massive powers shivering in the rain.
The past few years have marked a period of remarkable momentum for Thai producer Vanridee Pongsittisak.
Four decades ago, Deborah L. Scott was on a plane to the middle of nowhere, Alaska, to design costumes for Carroll Ballard’s Never Cry Wolf (1983). The decision changed her career.
On December 10, Vietnam’s National Assembly adopted an amended IP (intellectual property) law designed to update the legislation for the digital age, and especially to address issues involving the intersection of AI and IP.
Christopher Scott was in theater camp when Wicked first rocked the Broadway world. As an aspiring artist, Scott was swept away by the show. Around 20 years later, the circle was complete when Scott became the choreographer for the Jon M. Chu-helmed film adaptation.
The audible experience of an Avatar film is as ambitious as the groundbreaking visuals. With both familiar and otherworldly cues, composer Simon Franglen develops textured cues and themes that draw audiences into the story.
If ever there was an actor more perfectly aligned with the ethos of James Cameron and the world of Pandora, it’s Oona Chaplin. Chaplin’s first conversation with Cameron revolved around biodynamic and organic farming.
The fifth and final season of Stranger Things may take place over the course of a few November days, but the Duffer Brothers’ ever-ambitious epic took almost a year to shoot.
In order for production designer Nathan Crowley to be able to realize his vision for director Jon M. Chu’s Wicked films, he needed to assemble a crack team of artisans he has relied on for decades.