Click to Skip Ad
Closing in...
Menu

Crew Call

Harry Lloyd and Eddie Redmayne
by

Latest Crew Call News

Encore: ‘The Theory of Everything’ Composer Jóhann Jóhannsson’s Timeless Touch With Stephen Hawking Biopic

Harry Lloyd and Eddie Redmayne

By

Jóhann Jóhannsson, revered for such film scores as The Theory of Everything and Sicario, died in Berlin on Friday. As tributes arrive from friends, colleagues and admirers, Deadline presents this feature on the composer from October 2014. Jóhannsson, still then a newcomer to Hollywood, was nominated for a best original score Oscar on The Theory of Everything as well as the following year for Sicaro.  When first watching James Marsh's biopic The Theory of Everything, which… Read

Nicholas Britell On The Champion Score For ‘Battle Of The Sexes’: “This Isn’t Just A Sports Movie” – Crew Call Podcast

By

In quite a short time, Nicholas Britell has quickly established his voice as a film composer, breaking out with the score to the 2012 South by Southwest and Cannes film festival premiere Gimme the Loot, and landing his first Oscar nomination earlier this year for the emotionally affecting, poetic music heard in Barry Jenkins’ Moonlight. Britell cut his teeth as a virtuoso pianist at an early age, landing in Juilliard’s pre-college division, but since then he’s become… Read

How Production Designer Dennis Gassner Went Back To The Future With ‘Blade Runner 2049’ – Crew Call Podcast

By

Thirty-five years later the Oscar-nominated production design by Lawrence G. Paull, David L. Snyder and Linda DeScenna in 1982’s Blade Runner is still considered marvelous, so how do you top that in the film’s sequel? Oscar-winning cinematic architect Dennis Gassner was entrusted with that responsibility of jumping the Los Angeles skyline in that movie (set in 2019) 30 years forward to Blade Runner 2049. In our latest Crew Call podcast, Gassner describes the “brutality”… Read

How Edgar Wright & Sound Guru Julian Slater Turned Car Heist Pic ‘Baby Driver’ Into An Action Ballet – Crew Call Podcast

By

In our first Crew Call podcast of awards season, we sit down with Baby Driver director Edgar Wright and his supervising Sound Editor/Sound Designer Julian Slater to discuss how they made the director’s passion project the visceral and aural experience of the summer — an original piece of IP that could be seen only in theaters and stood out among a sea of dusty franchises. Audiences recognized that, and fueled Wright’s car heist romance to be the highest-grossing title of… Read

Deadline’s Crew Call Podcast: ‘Better Call Saul’ Composer Dave Porter On Getting Into The Headspace Of Lawyers & Drug Lords

By

Some music scores can completely take over a scene, however Dave Porter has a different approach when it comes to aurally painting characters’ emotions and exchanges, especially in Vince Gilligan’s work: the 16 Emmy-winning Breaking Bad and this year’s third season off its spin-off Better Call Saul. Porter melts synthetic sounds with musical notes, creating a wholly original score that gets to a scene’s vibe and raises its stakes with a nuanced tone. It comes as no… Read

‘Legion’ Cinematographer Dana Gonzales Discusses The Visual Influence Of The Series On ‘Fargo’s Third Season

By

A two-time Emmy nominee, winning last year for his work on Fargo, cinematographer Dana Gonzales shouldn’t be lacking for work anytime soon, if his last few years are any indicator. A close collaborator of Noah Hawley’s, Gonzales jumped from Season 2 of the Emmy-winning Fargo to the set of Legion, and then back to Fargo, producing some of the most fascinating and ambitious visual work seen on television. That visual command is on full display in Legion—complementing the… Read

Production Designer Devorah Herbert’s Designs On ‘Grace And Frankie’ And A New House For Sol And Robert

By

If you ever feel homesick, Netflix’s Golden Globe and Emmy-nominated original series Grace and Frankie may be one of the quickest shortcuts to feeling right at home. Featuring an excellent ensemble of actors with strong chemistry, the series’ portrayal of a warm, lived-in world is supported by the work of production designer Devorah Herbert, who incorporates articles from real life—and her own life—to give the series a certain texture and authenticity. In production on… Read

‘The Handmaid’s Tale’ And ‘Westworld’ Costume Designer Ane Crabtree: Dystopia Is In Fashion

By

The opportunity to design costumes for Hulu’s dystopian drama series The Handmaid’s Tale—based on the 1985 novel by Margaret Atwood, and created by Bruce Miller (The 100)—was a full-circle moment for Ane Crabtree. Having read the novel many years ago, upon it’s initial release, and seen the 1990 film adaption in theaters, Crabtree was tremendously inspired, feeling nonetheless that the events in the novel were too unreal to ever be acted out in real life. 30 years later… Read

‘American Gods’ VFX Gurus On Producing 3,000 Shots In 18 Months

David Stump Kevin Tod Haug

By

If you ask visual effects designer Kevin Tod Haug and visual effects supervisor David Stump—who also works in a related craft, as a visual effects cinematographer—visual effects in TV tend to be serviceable, at best, due to the simple economics and complex logistics of television production. But as the collaborators will tell you, American Gods is far from your average television series. Featuring more than 3,000 VFX shots put together over the course of 18 months, the… Read

New York Times Shares Spike After It Reports Q1 Boost In Digital Subs

New York Times

By

Wall Street’s expectations game worked in favor of the New York Times Co. today: Shares are up 12.6% in afternoon trading after the publisher surprised investors with a Q1 report that exceeded their top- and bottom-line forecasts, helped by a so-called “Trump bump” pickup in digital-only subscriptions. The Times had 1.9 million subscribers for what it calls its “digital-only news product” — as opposed to the “digital crossword product” — which is up 65% versus the period… Read

Detective Noir With A Ditty: How John Hawkes Got “Down With Mary” In ‘Too Late’

By

EXCLUSIVE: Oscar-nominated for his chilly turn in 2010’s Winter’s Bone, John Hawkes will vie for Oscar gold once again in 2017—but this time, in a different category entirely. Contributing the original song “Down With Mary” to Dennis Hauck’s indie drama, Too Late, Hawkes now finds himself competing with 90 other entries in the Best Original Song category. A project of unusual specs—shot exclusively on 35mm, in sprawling, 20-minute takes that take the viewer into the… Read

‘The Man In The High Castle’ Cast: When The Creative Aesthetic Impacts Your Performance – Emmys

By

Open up a drawer on the set of Amazon’s The Man In The High Castle and you open up to 1960s America. But it’s a nation we never knew. Sure, there’s the title to a Rock Hudson-June Allyson movie on the theater marquee, but it’s playing in a Nazi-occupied region of the United States. While an actor’s emotional mechanism largely takes credit for their performance, the cast of Amazon’s hit series talks about how the show’s scenic design, costumes, props and crafts… Read

Next ►
ad