“The truth was being held in a bottle too tight, for too long,” says I Am the Night director and EP Patty Jenkins about the enigmatic story of teenager Fauna Hodel, whose search for her real mother in 1960s Los Angeles plunged her into the city’s underbelly. Fauna Hodel was a white girl raised by her adoptive black…

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…

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 J…

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…

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…

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…

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…

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…

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…

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…

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…

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…