How Comics and Oscar Isaac Dictated the Cinematography of ‘Moon Knight’

By  Brad Gullickson 

We chat with cinematographers Gregory Middleton and Andrew Droz Palermo about diving into the Marvel Universe and attempting to live up to their numerous artists.

Why They Jammed A Dozen Movies Into ‘Everything Everywhere All At Once’

By  Brad Gullickson 

We chat with cinematographer Larkin Seiple about the numerous influences flooding throughout this multiversal madhouse.

Why They Used Bottles as Lenses for ‘The Last Days of Ptolemy Grey’

By  Brad Gullickson 

We chat with cinematographer Shawn Peters about the new Apple TV+ series and how chasing imperfection always results in authenticity.

Jeff Cronenweth Explains Why ‘Being the Ricardos’ Ditches the 4:3 Ratio

By  Brad Gullickson 

We chat with the cinematographer about capturing emotional truth rather than historical accuracy.

How Göran Lundström Transformed Jared Leto for ‘House of Gucci’

By  Brad Gullickson 

We chat with the prosthetics designer about wrangling Jared Leto’s massive mane, the first step in transforming the actor into Paolo Gucci, and how it differed from his work on ‘The Batman.’

How Sound Mixing Solidifies the Cultural Takeover of ‘Encanto’

By  Brad Gullickson 

We chat with Alvin Wee about the art he supplies as the ‘Encanto’ score mixer and how tiny variations culminate in an obsessive soundtrack.

Warren Ellis Only Needs 30 Seconds of Footage to Score Your Whole Movie

By  Brad Gullickson 

We chat with the composer about his latest project, ‘The Velvet Queen,’ and about how he and Nick Cave jam-session their scores into reality.

How David Newman Protected Leonard Bernstein with ‘West Side Story’

By  Brad Gullickson 

We chat with the composer about his role in the remake and why he was hired to stand guard over Leonard Bernstein’s music.

Cinematographer Dan Laustsen Explains the Murky Noir Aesthetic of ‘Nightmare Alley’

By  Brad Gullickson 

Also: why his partnership with Guillermo del Toro is a match made in film noir hell.