Latest in The Art of Craft

“I think often what can happen with period pieces, as well as Westerns, is they just get kind of fancy—and sometimes, it works for the story. But when you look at pictures from the time period of towns all over the U.S., on the edge of things, things were rough. No one was worrying about having the perfect colored…

“[Bille Holiday] was such an avant-garde [figure], so it was trying to pull things that seemed new. There are so many pictures of her, it's wild. She has so many looks within all these different times, so I just went towards images that drew me in, and stayed on the line of the year that we were working in. There…

"Emerald [Fennell] wanted Cassie to look much more cheerful than she actually was. A character like that, that's kind of depressed, and doesn't have much of a life, and is kind of living in the past, you might think they would just not care about the way they look, or just dress darkly, or not be as perky—pastels, and…

“I think Season 1 really only scratched the surface of what was possible. We keep talking with Jon [Favreau] and [production designer] Andrew Jones about what could be possible with this technology, and it's very exciting. We certainly have not reached our limits, even after shooting Season 2.” — Richard Bluff    To…

"A lot of [Season 3] was about figuring out how to scale up the world and the action, and go more kind of summer blockbuster, without losing any of the heart of the show. We really wanted to push the pool, and push the mall, to really make you feel summer, in a way that obviously wasn't present in the first two…

"To have somebody make a movie about you must be even for Elton, quite weird. It's like you're putting your childhood on sale, all your misdemeanors, your success, and all of that. Given all of that, he was incredible, and a real generous spirit. I showed him the [costume] concepts, and he gave his seal of approval…

"When we went to the Sistine chapel, it is a spectacular piece. And now, it’s been cleaned from the hundreds of years of candle burning. It’s super bright and vivid, and that’s something that I hope you see in the film. We wanted to recreate that spectacular feeling of how it must’ve been to walk in there for the…

With over 40 film credits and two Oscar nominations to her name, costume designer Ruth E. Carter took on superhero scope for the first time with Ryan Coogler's Marvel phenomenon Black Panther. Following T'Challa (Chadwick Boseman)—a superhero and King-to-be in the technologically advanced, African nation of…

In his first collaboration with Wes Anderson on Isle of Dogs, Paul Harrod translated an auteur's live-action style to stop-motion, a medium that allowed for a spectacular visual presentation, but came with a set of limitations that proved problematic. Gathering reference materials and establishing certain visual…

On Suspiria, her first project with Oscar-nominated director Luca Guadagnino, production designer Inbal Weinberg faced challenges that were almost insurmountable, on creative and practical levels. An homage to Dario Argento’s 1977 horror classic, rather than a straight remake, Guadagnino's film demanded boundless…