Who says this summer is light on blockbuster fare, despite the strikes holding productions and release dates up?
Big movies coming to theaters in the next hot few months include favorite IP getting a 2024 burnish, from “Kingdom of the Planet of the Apes” to “Alien: Romulus” and “Twisters”. Oh, and a little movie called “Furiosa: A Mad Max Saga” (May 24), which George Miller will first bring to the Cannes Film Festival before opening it in theaters later that month. Plus, poised to be a Netflix hit this summer is Richard Linklater’s “Hit Man” (May 24 in theaters), playing for a couple of weeks in select cities before the crime comedy starring Glen Powell hits the streaming platform.
But those bigger-ticket titles aside, summer 2024 is a time for indies to shine, from Annie Baker’s long-awaited festival hit “Janet Planet” (June 14) to India Donaldson’s wonderful Sundance premiere “Good One” (August...
Big movies coming to theaters in the next hot few months include favorite IP getting a 2024 burnish, from “Kingdom of the Planet of the Apes” to “Alien: Romulus” and “Twisters”. Oh, and a little movie called “Furiosa: A Mad Max Saga” (May 24), which George Miller will first bring to the Cannes Film Festival before opening it in theaters later that month. Plus, poised to be a Netflix hit this summer is Richard Linklater’s “Hit Man” (May 24 in theaters), playing for a couple of weeks in select cities before the crime comedy starring Glen Powell hits the streaming platform.
But those bigger-ticket titles aside, summer 2024 is a time for indies to shine, from Annie Baker’s long-awaited festival hit “Janet Planet” (June 14) to India Donaldson’s wonderful Sundance premiere “Good One” (August...
- 4/23/2024
- by Ryan Lattanzio, David Ehrlich and Kate Erbland
- Indiewire
Four months into 2024, and it’s already shaping up to be an exceptionally strong year for cinematography, with several standout films that represent the art form at its apex. Perhaps what’s most welcome about these films is their variety, not only in terms of genre and tone but also budget and position in the marketplace. From the studio system, we have Greig Fraser’s extraordinary work on “Dune: Part Two,” which doubles down on the ambition and tactile detail of Fraser’s work on its predecessor (for which he justly received an Academy Award) to create one of the most flat-out beautiful epics since the glory days of David Lean. From the world of low-budget, independent filmmaking, we have “I Saw the TV Glow,” where cinematographer Eric Yue designs a meticulous and expressive visual corollary for his protagonist’s inner state.
Somewhere in between “Dune” and “I Saw the TV Glow...
Somewhere in between “Dune” and “I Saw the TV Glow...
- 4/20/2024
- by Jim Hemphill and Chris O'Falt
- Indiewire
The 2024 Make-Up Artists and Hair Stylists Guild Awards have officially unveiled their nominees.
The ceremony, taking place February 18, marks the annual awards show for the IATSE Local 706 union, honoring achievements in make-up and hair styling artistry across motion pictures, television, commercials, music videos, and live theater in 23 nomination categories. Julie Socash, IATSE Local 706 president, announced the 2024 nominees, which include “Guardians of the Galaxy Vol. 3,” “Saltburn,” “Barbie,” “Maestro,” “Poor Things,” and “Nyad.”
Notably shut out was “Priscilla,” Sofia Coppola’s film that IndieWire’s Bill Desowitz predicted would be a frontrunner for the 2024 Oscars.
On the TV side, “The Idol,” “Ahsoka,” “The Last of Us,” “The Crown,” and “Star Trek: Picard” are among the nominees. A tie in the Best Special Make-Up Effects TV category makes for six nominees as opposed to the typical five.
As previously announced, Oscar and Emmy-winning make-up artist Michael Westmore will receive the esteemed Vanguard Award during the ceremony.
The ceremony, taking place February 18, marks the annual awards show for the IATSE Local 706 union, honoring achievements in make-up and hair styling artistry across motion pictures, television, commercials, music videos, and live theater in 23 nomination categories. Julie Socash, IATSE Local 706 president, announced the 2024 nominees, which include “Guardians of the Galaxy Vol. 3,” “Saltburn,” “Barbie,” “Maestro,” “Poor Things,” and “Nyad.”
Notably shut out was “Priscilla,” Sofia Coppola’s film that IndieWire’s Bill Desowitz predicted would be a frontrunner for the 2024 Oscars.
On the TV side, “The Idol,” “Ahsoka,” “The Last of Us,” “The Crown,” and “Star Trek: Picard” are among the nominees. A tie in the Best Special Make-Up Effects TV category makes for six nominees as opposed to the typical five.
As previously announced, Oscar and Emmy-winning make-up artist Michael Westmore will receive the esteemed Vanguard Award during the ceremony.
- 1/2/2024
- by Samantha Bergeson
- Indiewire
There’s no question: 2023 is one of the best years for cinema so far this century, with an astonishing range of formally inventive, philosophically rich, and deliriously entertaining films. The year has been filled with great examples of nearly every type of movie, from mainstream theatrical releases and international festival entries to auteur-driven historical pieces and star-driven character studies, with innovative pictures by filmmakers from a broad array of backgrounds.
The art of cinematography has been particularly robust, and choosing the very best work in a year so rich is a difficult task. There are dozens of films not on this list that easily would have made it in a lesser year, and the ones that did make the cut will, we believe, stand the test of time. In terms of subject matter and tone the films couldn’t be more different; the candy-colored satirical extravaganza that is “Barbie” is...
The art of cinematography has been particularly robust, and choosing the very best work in a year so rich is a difficult task. There are dozens of films not on this list that easily would have made it in a lesser year, and the ones that did make the cut will, we believe, stand the test of time. In terms of subject matter and tone the films couldn’t be more different; the candy-colored satirical extravaganza that is “Barbie” is...
- 12/18/2023
- by Jim Hemphill
- Indiewire
Our favorite scores of 2023 are wide-ranging. They include everything from intimate love stories to inventive looks into the past to the biggest and loudest blockbusters. We have animated juggernauts and weirder, wilder genre swings alongside the films that probably will get more awards attention for their scores — along with all their other categories. Some scores have gone viral on TikTok, and some have yet to have the chance; although if anything deserves its own TikTok trend, it is Robbie Robertson’s last, greatest work on “Killers of the Flower Moon.”
Whether as big as the universe or as small-scale as a lapsed relationship, whether orchestral, electronic, or a mix of both, this year’s best film scores go after a variety of different moods and presences inside their films. Constant hums and whirs animate films like “Poor Things” while the musical howl of “The Zone of Interest” only appears a...
Whether as big as the universe or as small-scale as a lapsed relationship, whether orchestral, electronic, or a mix of both, this year’s best film scores go after a variety of different moods and presences inside their films. Constant hums and whirs animate films like “Poor Things” while the musical howl of “The Zone of Interest” only appears a...
- 12/16/2023
- by Sarah Shachat, Jim Hemphill and Proma Khosla
- 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
“Chicken for Linda!” (GKids), the French/Italian 2D comedy from the husband-and-wife animation team of Sébastien Laudenbach and Chiara Malta, won the Grand Jury Prize at the sixth annual Animation Is Film Festival. “Robot Dreams” (Neon), the bittersweet Spanish/French hand-drawn dramedy from Pablo Berger, earned the Special Jury Prize.
For the Shorts section, Tal Kantor’s “Letter to a Pig,” a mixed media short about a Holocaust survivor who writes a thank-you letter to a pig that saved his life, won the Grand Prize, and the Special Jury Prize went to “Wild Summon” (from Saul Freed and Karni Arieli), which follows the dramatic life cycle of the wild salmon in human form.
The Aif win for “Chicken for Linda!” comes on the heels of taking the Annecy Cristal top prize. The film combines an imaginative hand-drawn style (color-coded characters with watercolor backgrounds) with a wacky premise concerning a frustrated...
For the Shorts section, Tal Kantor’s “Letter to a Pig,” a mixed media short about a Holocaust survivor who writes a thank-you letter to a pig that saved his life, won the Grand Prize, and the Special Jury Prize went to “Wild Summon” (from Saul Freed and Karni Arieli), which follows the dramatic life cycle of the wild salmon in human form.
The Aif win for “Chicken for Linda!” comes on the heels of taking the Annecy Cristal top prize. The film combines an imaginative hand-drawn style (color-coded characters with watercolor backgrounds) with a wacky premise concerning a frustrated...
- 10/25/2023
- by Bill Desowitz
- Indiewire
ESPN’s “Toy Story”-themed alternative live stream of Sunday’s Jaguars-Falcons game was incredibly ambitious, and it showed early on in the form of technical issues.
The stream was available on both Disney+ and ESPN+. That is, if you could get in. I was able to log in on my second or third try after fully restarting my TV; a colleague gave up after five minutes of continuous trying. Those who joined halfway (or more) through the first quarter probably had the best viewer experience.
Ball-tracking was the first noticeable challenge and the most consistent issue throughout the game. At times, the football would just appear on random spots of the carpet (field) or slide around the playing surface on its own. Sometimes The Claw, playing the role of umpire in Andy’s room, never even spotted the ball at the line of scrimmage.
Catches were occasionally presented as drops,...
The stream was available on both Disney+ and ESPN+. That is, if you could get in. I was able to log in on my second or third try after fully restarting my TV; a colleague gave up after five minutes of continuous trying. Those who joined halfway (or more) through the first quarter probably had the best viewer experience.
Ball-tracking was the first noticeable challenge and the most consistent issue throughout the game. At times, the football would just appear on random spots of the carpet (field) or slide around the playing surface on its own. Sometimes The Claw, playing the role of umpire in Andy’s room, never even spotted the ball at the line of scrimmage.
Catches were occasionally presented as drops,...
- 10/3/2023
- by Tony Maglio
- Indiewire
The trailer marking the sixth edition of the Animation Is Film Festival in Hollywood (October 18-22) dropped Monday morning, highlighting the opening night premiere of Hayao Miyazaki’s acclaimed “The Boy and the Heron” (Studio Ghibli/GKids) at the Tcl Chinese Theater IMAX. This marks an IMAX first for the festival, produced by GKids in partnership with the Annecy International Animation Festival.
Aardman/Netflix’s “Chicken Run: Dawn of the Nugget,” the long-awaited sequel to the most successful stop-motion feature in history, will close Aif, followed by a Q&a with director Sam Fell and executive producer Peter Lord.
Aif programming from the previous two years boasted nine of the eventual animated feature Oscar nominees. This season they’ve scheduled several Oscar contenders: “The Boy and the Heron,” “Dawn of the Nugget,” DreamWorks’ “Trolls Band Together” (special screening), and Neon’s Annecy award-winning “Robot Dreams” (in feature competition). Plus, early...
Aardman/Netflix’s “Chicken Run: Dawn of the Nugget,” the long-awaited sequel to the most successful stop-motion feature in history, will close Aif, followed by a Q&a with director Sam Fell and executive producer Peter Lord.
Aif programming from the previous two years boasted nine of the eventual animated feature Oscar nominees. This season they’ve scheduled several Oscar contenders: “The Boy and the Heron,” “Dawn of the Nugget,” DreamWorks’ “Trolls Band Together” (special screening), and Neon’s Annecy award-winning “Robot Dreams” (in feature competition). Plus, early...
- 10/2/2023
- by Bill Desowitz
- Indiewire
Editor’s note: Throughout the Oscar season, IndieWire will update this page with in-depth Oscar predictions from Editor-at-Large Anne Thompson, Crafts & Animation Editor Bill Desowitz, and Awards Editor Marcus Jones. A link to each category will lead to lists of the ever-changing contenders, plus reporting on what films have captivated voters, rules changes made by the Academy of Motion Picture Arts and Sciences, interviews with potential nominees, and more.
The State of the Race
With the 96th annual Academy Awards approaching, conversation has sparked about what 2023 films will resonate with voters in a post-”Everything Everywhere All at Once” world.
The first half of the year has already shown that moviegoers now have a very high bar for any kind of franchise films, while original concepts like “Past Lives” have done even better than expected. The “Barbie”/”Oppenheimer” dichotomy coming midway into the year has driven the conversation around what...
The State of the Race
With the 96th annual Academy Awards approaching, conversation has sparked about what 2023 films will resonate with voters in a post-”Everything Everywhere All at Once” world.
The first half of the year has already shown that moviegoers now have a very high bar for any kind of franchise films, while original concepts like “Past Lives” have done even better than expected. The “Barbie”/”Oppenheimer” dichotomy coming midway into the year has driven the conversation around what...
- 7/7/2023
- by Marcus Jones
- Indiewire
When you ask someone about their favorite Pixar film, the answer usually says less about the movie than it does about the person. The legendary animation studio has remained at the top of its game for years because of how its films use their big high-concept ideas to explore fundamental truths. A comedy about talking toys becomes a story about friendship and growing up; a kid’s movie about fish becomes an emotional tale of fatherhood; a film about a rat that likes to cook becomes a sneakily profound story about the nature of art and inspiration. The movies become very personal to each viewer, especially for those who’ve grown up with Pixar’s work and have seen its releases serve as milestones in their lives.
That said, even the biggest Pixar fan alive could probably admit that the studio has been going through a (more than) slight rough...
That said, even the biggest Pixar fan alive could probably admit that the studio has been going through a (more than) slight rough...
- 6/21/2023
- by Wilson Chapman
- Indiewire
With the 2023 Oscars now firmly in the rearview mirror, Academy of Motion Picture Arts and Sciences has announced the creation of a new Production and Technology Branch. Meant to represent those working in key technical and production positions in all phases of filmmaking, from pre- to post-production, the branch already comprises around 400 individuals who were previously classified as Members-at-Large.
Job titles that fall under the Production and Technology Branch include chief technology officers, senior department heads in technology and creative services, and preservation and restoration specialists, as well as credited production roles, including stunt coordinators, script supervisors, choreographers, music supervisors, colorists, line producers, and associate producers.
“The purpose of the new branch is to have different people with various backgrounds to be a part of the Academy, not just the classic arts but the science heavy and tech inclusive group that have distinguished themselves in their separate fields,” one Academy Member told IndieWire.
Job titles that fall under the Production and Technology Branch include chief technology officers, senior department heads in technology and creative services, and preservation and restoration specialists, as well as credited production roles, including stunt coordinators, script supervisors, choreographers, music supervisors, colorists, line producers, and associate producers.
“The purpose of the new branch is to have different people with various backgrounds to be a part of the Academy, not just the classic arts but the science heavy and tech inclusive group that have distinguished themselves in their separate fields,” one Academy Member told IndieWire.
- 3/31/2023
- by Marcus Jones
- Indiewire
It’s all elemental when Disney’s Pixar releases another classic feature.
“Elemental” is an upcoming animated ensemble comedy where characters are made out of the earth’s elements like air, fire, water, and dirt. A woman made of fire (Leah Lewis) and a man made of water (Mamoudou Athie) find out that their differences aren’t so different after all, despite not being able to touch.
Disney and Pixar’s latest is an original feature film set in Element City, where fire-, water-, land- and air-residents live together. The story introduces Ember (Lewis), a tough, quick-witted and fiery young woman, whose friendship with a fun, sappy, go-with-the-flow guy named Wade (Athie) challenges her beliefs about the world they live in.
The voice cast also includes Ronnie del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O’Hara, Mason Wertheimer, and Joe Pera.
Peter Sohn directs from a script by John Hoberg, Kat Likkel,...
“Elemental” is an upcoming animated ensemble comedy where characters are made out of the earth’s elements like air, fire, water, and dirt. A woman made of fire (Leah Lewis) and a man made of water (Mamoudou Athie) find out that their differences aren’t so different after all, despite not being able to touch.
Disney and Pixar’s latest is an original feature film set in Element City, where fire-, water-, land- and air-residents live together. The story introduces Ember (Lewis), a tough, quick-witted and fiery young woman, whose friendship with a fun, sappy, go-with-the-flow guy named Wade (Athie) challenges her beliefs about the world they live in.
The voice cast also includes Ronnie del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O’Hara, Mason Wertheimer, and Joe Pera.
Peter Sohn directs from a script by John Hoberg, Kat Likkel,...
- 3/28/2023
- by Samantha Bergeson
- Indiewire
“Avatar: The Way of Water” won Best Visual Effects at the Oscars this Sunday, and the team that brought Pandora to vivid life in James Cameron’s blockbuster took the stage to celebrate. But for one team member, the evening took a turn shortly afterwards, as senior visual effects supervisor Eric Saindon was rushed to the hospital for surgery immediately after his win.
According to a rep from Weta FX, the visual effects production company behind “The Way of Water,” Saindon experienced intense pain throughout the day of the Oscars and checked into a Beverly Hills hospital around noon. After testing negative for appendicitis and kidney stones, Saindon decided to still attend the awards ceremony, and received painkillers from his doctors.
After powering through to winning the Visual Effects award, Saindon experienced more pain, and left his press room interview at the ceremony to return to the hospital. Doctors determined...
According to a rep from Weta FX, the visual effects production company behind “The Way of Water,” Saindon experienced intense pain throughout the day of the Oscars and checked into a Beverly Hills hospital around noon. After testing negative for appendicitis and kidney stones, Saindon decided to still attend the awards ceremony, and received painkillers from his doctors.
After powering through to winning the Visual Effects award, Saindon experienced more pain, and left his press room interview at the ceremony to return to the hospital. Doctors determined...
- 3/13/2023
- by Wilson Chapman
- Indiewire
Critics won’t weigh-in on James Cameron’s highly anticipated “Avatar” sequel for few more weeks. But if Guillermo del Toro is to be believed, then the boundary-pushing water adventure will surely dazzle audiences and the box office come December 16.
“A staggering achievement,” del Toro tweeted on Thursday. “[‘Avatar: The Way of Water’ is chockfull] of majestic Vistas and emotions at an epic, epic scale. A master at the peak of his powers…”
That’s big praise for the director behind “Titanic,” “Aliens,” and “The Terminator,” made even more meaningful by del Toro’s own cinematic chops. The Mexican filmmaker’s most recent project — a stop-motion “Pinocchio” for Netflix — is a frontrunner for Best Animated Feature at the 95th Academy Awards. Cameron and “Avatar 2” are similarly positioned in the Oscar race for Best Visual Effects.
Del Toro’s rave review came with a retweet of producer Jon Landau celebrating...
“A staggering achievement,” del Toro tweeted on Thursday. “[‘Avatar: The Way of Water’ is chockfull] of majestic Vistas and emotions at an epic, epic scale. A master at the peak of his powers…”
That’s big praise for the director behind “Titanic,” “Aliens,” and “The Terminator,” made even more meaningful by del Toro’s own cinematic chops. The Mexican filmmaker’s most recent project — a stop-motion “Pinocchio” for Netflix — is a frontrunner for Best Animated Feature at the 95th Academy Awards. Cameron and “Avatar 2” are similarly positioned in the Oscar race for Best Visual Effects.
Del Toro’s rave review came with a retweet of producer Jon Landau celebrating...
- 11/25/2022
- by Alison Foreman
- Indiewire
Ron Howard’s “Thirteen Lives” recounts the 2018 Tham Luang cave rescue operation, where 12 children and their coach were trapped in Thailand’s Tham Luang Nang Non cave for 18 days. While working on the score for the film, Benjamin Wallfisch wanted to give the cave where the boys were trapped its own unique sound and character to bring it to life for the audience.
“It was about embracing the place and tuning in with the spirituality of the culture,” Wallfisch told IndieWire Crafts and Animation Editor Bill Desowitz at the Consider This FYC Brunch. “The way in was actually finding a voice for the cave itself. There was a song from the Chiang Rai region itself and our musicologist did a ton of research for us into finding songs from the region. That was the starting point, finding something that really told the story of the place.
Wallfisch was joined by...
“It was about embracing the place and tuning in with the spirituality of the culture,” Wallfisch told IndieWire Crafts and Animation Editor Bill Desowitz at the Consider This FYC Brunch. “The way in was actually finding a voice for the cave itself. There was a song from the Chiang Rai region itself and our musicologist did a ton of research for us into finding songs from the region. That was the starting point, finding something that really told the story of the place.
Wallfisch was joined by...
- 11/23/2022
- by Wilson Chapman
- Indiewire
For the score of “Glass Onion,” Rian Johnson’s hotly anticipated follow-up to his 2019 whodunnit “Knives Out,” composer Nathan Johnson took inspiration from “Death on the Nile” — not this year’s Kenneth Branagh remake, but the original 1978 version with a score from “The Godfather” composer Nino Rota.
“I love Nino Rota so much, and me and Rian grew up loving all his work,” Johnson told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “Rian really wanted to lean into the fun, and lean into that romantic lyricism which I am such a fan of and Rota was so amazing at. So obviously there’s the suspense and the character moments, but right up front for the main titles, we kind of wanted to say, ‘We’re going to Europe, come along with us on this grand adventure.'”
At the brunch, Desowitz spoke with...
“I love Nino Rota so much, and me and Rian grew up loving all his work,” Johnson told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “Rian really wanted to lean into the fun, and lean into that romantic lyricism which I am such a fan of and Rota was so amazing at. So obviously there’s the suspense and the character moments, but right up front for the main titles, we kind of wanted to say, ‘We’re going to Europe, come along with us on this grand adventure.'”
At the brunch, Desowitz spoke with...
- 11/23/2022
- by Bill Desowitz and Wilson Chapman
- Indiewire
In Lila Neugebauer’s film “Causeway,” Jennifer Lawrence and Brian Tyree-Henry play two people adrift in their lives who develop a relationship. The score, which relies heavily on slowed cello music, helps to capture the emotional lives of these people dealing with their trauma. At IndieWire’s Consider This FYC Brunch in Los Angeles, the film’s composer Alex Somers described the cellos as the key to unlocking the sound of the film.
“We started recording layer after layer of cellos and building masses of cellos,” Somers told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “And then I slowed it all down, and that’s when Lila felt the lightbulb go on, and she was like, ‘This is the sound.’ So it was just exploring and experimenting with cool musicians and friends of mine.”
At the brunch, Somers talked about the other important...
“We started recording layer after layer of cellos and building masses of cellos,” Somers told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “And then I slowed it all down, and that’s when Lila felt the lightbulb go on, and she was like, ‘This is the sound.’ So it was just exploring and experimenting with cool musicians and friends of mine.”
At the brunch, Somers talked about the other important...
- 11/23/2022
- by Bill Desowitz and Wilson Chapman
- Indiewire
In Alejandro González Iñárritu’s newest film, “Bardo, False Chronicle of a Handful of Truths,” a documentarian (played by Daniel Giménez Cacho) travels to his home country of Mexico for a party in his honor and struggles with an existential crisis. For sound designer and supervisor Martin Hernandez, creating the soundscape of the film meant using audio to capture the slippery nature of memory.
“More than a mental journey, I think this is a state of mind, which is a quite different thing,” Hernandez told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “A state of mind is something that lingers in your memory. It’s something that is in you a long time ago, and it transforms you. Alejandro has this idea that we are not exactly the ones in the picture of you when you were a kid. We’re different people now.
“More than a mental journey, I think this is a state of mind, which is a quite different thing,” Hernandez told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “A state of mind is something that lingers in your memory. It’s something that is in you a long time ago, and it transforms you. Alejandro has this idea that we are not exactly the ones in the picture of you when you were a kid. We’re different people now.
- 11/22/2022
- by Bill Desowitz and Wilson Chapman
- Indiewire
Editor’s Note: Throughout Oscars season IndieWire will update this page with in-depth Oscar predictions from Editor-at-Large Anne Thompson, Executive Editor Eric Kohn, Crafts & Animation Editor Bill Desowitz, and Awards Editor Marcus Jones. A link to each category will lead to lists of the ever-changing contenders, plus reporting on what films have captivated voters, rules changes made by the Academy of Motion Picture Arts and Sciences, interviews with potential nominees, and more.
The State of the Race
The 95th annual Academy Awards are already top of mind as not only the Academy of Motion Picture Arts and Sciences goes through major changes under the new CEO Bill Kramer and President Janet Yang, but the film industry itself is at a turning point in 2022.
We have already seen big swings like “Top Gun: Maverick,” “Elvis,” and “Everything Everywhere All at Once” enter the awards conversation, and fall festival premieres like “The Fabelmans,...
The State of the Race
The 95th annual Academy Awards are already top of mind as not only the Academy of Motion Picture Arts and Sciences goes through major changes under the new CEO Bill Kramer and President Janet Yang, but the film industry itself is at a turning point in 2022.
We have already seen big swings like “Top Gun: Maverick,” “Elvis,” and “Everything Everywhere All at Once” enter the awards conversation, and fall festival premieres like “The Fabelmans,...
- 8/18/2022
- by Marcus Jones
- Indiewire
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
IndieWire is pleased to announce we’re launching a Special Projects vertical that will expand our offering of premium editorial and video franchises, including Craft Considerations and Influencers. Over the coming months, the team will also be expanding upon franchises like Toolkit, Sketch to Screen (a new animation franchise) and more as we bolster our offerings around Oscars and Emmys as well as year-round executions.
Jason Gonzalez has been promoted to VP, Special Projects & Partnerships to oversee the sales and marketing of Special Projects. Chris O’Falt has been promoted to Executive Editor, Crafts & Special Projects, to oversee editorial execution of Special Projects content. He also retains his responsibility for overseeing day-to-day Craft editorial coverage.
“IndieWire had its most successful sales year ever in 2021. A huge part of this was Jason’s excellent work in building these editorial franchise opportunities for our entertainment partners,” says IndieWire Publisher James Israel. “It’s...
Jason Gonzalez has been promoted to VP, Special Projects & Partnerships to oversee the sales and marketing of Special Projects. Chris O’Falt has been promoted to Executive Editor, Crafts & Special Projects, to oversee editorial execution of Special Projects content. He also retains his responsibility for overseeing day-to-day Craft editorial coverage.
“IndieWire had its most successful sales year ever in 2021. A huge part of this was Jason’s excellent work in building these editorial franchise opportunities for our entertainment partners,” says IndieWire Publisher James Israel. “It’s...
- 2/10/2022
- by IndieWire Staff
- Indiewire
Tis the Oscar season of expensive movie wigs. Kristen Stewart’s Princess Diana wigs in “Spencer” added $12,000 to the budget, and now “House of Gucci” hairstylist Frederic Aspiras has revealed that Lady Gaga wore $10,000 custom wigs as Patrizia Reggiani in Ridley Scott’s latest movie. Not only that, but Gaga had over 55 different hairstyles depicted in the film. Ten were custom wigs.
“For my job, it was about being able to use hair as a tool for the actress to really delve into the mind of this person, who she was portraying,” Aspiras recently told The Hollywood Reporter. “So I had to be as authentic as possible by using exact techniques of a 1970s hairdresser — wet set rolls, backcombing, French lacing, spiral perms. I wanted the texture. I wanted the vibe. I wanted the way it moved. Exactly the way it felt. Because it needed to transport you to that time.
“For my job, it was about being able to use hair as a tool for the actress to really delve into the mind of this person, who she was portraying,” Aspiras recently told The Hollywood Reporter. “So I had to be as authentic as possible by using exact techniques of a 1970s hairdresser — wet set rolls, backcombing, French lacing, spiral perms. I wanted the texture. I wanted the vibe. I wanted the way it moved. Exactly the way it felt. Because it needed to transport you to that time.
- 12/2/2021
- by Zack Sharf
- Indiewire
Christopher Nolan: ‘Dune’ Has One of the Greatest Blends of Practical and VFX Effects I’ve Ever Seen
“Dune” made a strong showing at the U.S. box office this weekend, opening at the higher end of projections with $40 million. Of all the moviegoers who became fans of Denis Villeneuve’s latest science-fiction offering, fellow filmmaker Christopher Nolan might be the most high profile. The “Tenet” and “Dunkirk” Oscar nominee chatted with Villeneuve for a recent episode of “The Director’s Cut” podcast and had nothing but raves to share over “Dune.”
“It’s one of the most seamless marriages of live action photography and computer generated visual effects that I’ve seen,” Nolan said. “It’s very, very compelling at every turn.”
Nolan continued, “Your entire team did an absolute incredible job. I think this film is going to introduce a whole new generation of fans to ‘Dune’ who have never read the book or encourage fans to go read the book. I think it’s an incredible piece of work.
“It’s one of the most seamless marriages of live action photography and computer generated visual effects that I’ve seen,” Nolan said. “It’s very, very compelling at every turn.”
Nolan continued, “Your entire team did an absolute incredible job. I think this film is going to introduce a whole new generation of fans to ‘Dune’ who have never read the book or encourage fans to go read the book. I think it’s an incredible piece of work.
- 10/25/2021
- by Zack Sharf
- Indiewire
IndieWire received the Los Angeles Press Club’s Southern California Journalism Award for best news website exclusive to the internet at a gala ceremony held October 16.
In their comments, judges said “IndieWire.com is creative, well-curated, and popping with photos and subtle splashes of color.”
IndieWire also received the prize for Obituary/In Appreciation — Film/TV Personalities, which went to Managing Editor Christian Blauvelt for his remembrance of Sean Connery, who died in October 2020. The judges, in their comments, called the obituary a “well-researched, enticing story of mythical leading man Sean Connery’s life with his flaws and triumphs.”
Finally, Chris O’ Falt, Leonardo Adrian Garcia, Kristen Lopez, Steve Greene, and Bill Desowitz shared the third-place prize for Multimedia Package for their IndieWire Influencers TV series.
The 63rd annual Southern California Journalism Awards were held at the Crystal Ballroom at the Millennium Biltmore Hotel, where guests were required to provide proof of Covid vaccination.
In their comments, judges said “IndieWire.com is creative, well-curated, and popping with photos and subtle splashes of color.”
IndieWire also received the prize for Obituary/In Appreciation — Film/TV Personalities, which went to Managing Editor Christian Blauvelt for his remembrance of Sean Connery, who died in October 2020. The judges, in their comments, called the obituary a “well-researched, enticing story of mythical leading man Sean Connery’s life with his flaws and triumphs.”
Finally, Chris O’ Falt, Leonardo Adrian Garcia, Kristen Lopez, Steve Greene, and Bill Desowitz shared the third-place prize for Multimedia Package for their IndieWire Influencers TV series.
The 63rd annual Southern California Journalism Awards were held at the Crystal Ballroom at the Millennium Biltmore Hotel, where guests were required to provide proof of Covid vaccination.
- 10/17/2021
- by IndieWire Staff
- Indiewire
[Editor’s note: The following post contains light spoilers for the ending of “No Time to Die.”]
Let’s not mince words: the Daniel Craig era of James Bond is over. The star of five Bond films of varying success and tone, Craig has long made it plain that “No Time to Die” was going to be his last outing as the super-suave 007. As the Cary Fukunaga-directed feature finally (finally!) makes it way into theaters around the globe, any lingering questions about the possibility of Craig returning to the role, well, let’s just say they can finally be put to bed.
And that’s just fine, because the revered MI6 agent has always been the product of massive reinvention. Played by a variety of actors over the course of nearly six decades, “James Bond” has never been beholden to just one performer or even one idea of a performer. As Craig exits, the possibilities for what’s next for Bond, James Bond are endless as ever.
Let’s not mince words: the Daniel Craig era of James Bond is over. The star of five Bond films of varying success and tone, Craig has long made it plain that “No Time to Die” was going to be his last outing as the super-suave 007. As the Cary Fukunaga-directed feature finally (finally!) makes it way into theaters around the globe, any lingering questions about the possibility of Craig returning to the role, well, let’s just say they can finally be put to bed.
And that’s just fine, because the revered MI6 agent has always been the product of massive reinvention. Played by a variety of actors over the course of nearly six decades, “James Bond” has never been beholden to just one performer or even one idea of a performer. As Craig exits, the possibilities for what’s next for Bond, James Bond are endless as ever.
- 10/10/2021
- by Kate Erbland
- Indiewire
Laika has announced it will release four films with new Blu-ray and DVD editions: “Coraline” and “The Boxtrolls” on Aug. 31, followed by “ParaNorman” and “Kubo and the Two Strings” on Sept. 14.
The Laika editions feature new commemorative essays by journalists Peter Debruge (Variety), Ramin Zahed (Animation Magazine[/link]), Bill Desowitz (Indiewire) and Charles Solomon (author and former Los Angeles Times critic).
“Coraline,” based on the novella of the same name by Neil Gaiman, follows a young girl who walks through a secret door in her new home and discovers an alternate version of her life — along with alternate parents, who try to keep her forever.
The voice cast includes Dakota Fanning, Teri Hatcher, Jennifer Saunders, Dawn French, Keith David, John Hodgman, Robert Bailey Jr. and Ian McShane.
“The Boxtrolls” follows the Boxtrolls, perceived to be foul monsters who crawl out of the sewers at night and steal what the townspeople most...
The Laika editions feature new commemorative essays by journalists Peter Debruge (Variety), Ramin Zahed (Animation Magazine[/link]), Bill Desowitz (Indiewire) and Charles Solomon (author and former Los Angeles Times critic).
“Coraline,” based on the novella of the same name by Neil Gaiman, follows a young girl who walks through a secret door in her new home and discovers an alternate version of her life — along with alternate parents, who try to keep her forever.
The voice cast includes Dakota Fanning, Teri Hatcher, Jennifer Saunders, Dawn French, Keith David, John Hodgman, Robert Bailey Jr. and Ian McShane.
“The Boxtrolls” follows the Boxtrolls, perceived to be foul monsters who crawl out of the sewers at night and steal what the townspeople most...
- 8/20/2021
- by Jennifer Yuma
- Variety Film + TV
The annual Southern California Journalism Awards have recognized IndieWire’s overall website, plus film features, television criticism, and multimedia, with six nominations. Each year, the Los Angeles Press Club presents its annual awards to “support, promote, and defend quality journalism in Southern California.” Nominations include news feature, obituary, television criticism, and multimedia. IndieWire is also nominated in the “website, news organization exclusive to the internet” category, which recognizes the entire staff.
Deputy editor TV and TV critic Ben Travers was nominated in the Criticism of TV category, with his reviews of “Ted Lasso,” “City So Real,” and “Ratched” earning particular attention. Also on the TV side, deputy editor Film and TV Craft Chris O’Falt, creative producer Leonardo Adrian Garcia, TV editor Kristen Lopez, associate editor TV Steve Greene, and craft and animation editor Bill Desowitz were nominated for best Multimedia Package for their work on “IndieWire Influencers: TV.”
Executive editor...
Deputy editor TV and TV critic Ben Travers was nominated in the Criticism of TV category, with his reviews of “Ted Lasso,” “City So Real,” and “Ratched” earning particular attention. Also on the TV side, deputy editor Film and TV Craft Chris O’Falt, creative producer Leonardo Adrian Garcia, TV editor Kristen Lopez, associate editor TV Steve Greene, and craft and animation editor Bill Desowitz were nominated for best Multimedia Package for their work on “IndieWire Influencers: TV.”
Executive editor...
- 8/11/2021
- by Kate Erbland
- Indiewire
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