“We Only Had One Puppet”: Animatronics Designer/Creature FX Supervisor Gustav Hoegen on Hatching

After designing animatronics for franchises like Star Wars and Jurassic World, Gustav Hoegen and his team scaled back and happily returned to traditional design and puppetry methods for Hanna Bergholm’s indie creature-feature Hatching–the first feature film Hoegen’s Biomimic Studio worked on from start to finish. 12-year old Tinja (Siiri Solalinna) nurses an egg she brought in from the woods—a welcome distraction from her helicopter mother (Sophia Heikkilä), who obsessively micromanages the family to maintain her perfect social media presence. Then the egg grows at least as large as Tinja and a slimy and straggly bird bursts fist first through the top…  Read more

“I Wanted the Hotdog Universe to Cross Over with the Taxes Universe”: Costume Designer Shirley Kurata on Everything Everywhere All at Once

Beyond the cartoonish mania of the multiverse action-comedy Everything Everywhere All At Once is a story about a mother and daughter, Evelyn (Michelle Yeoh) and Joy (Stephanie Hu). Their family laundromat is on the brink of falling out, though  not for want of trying–both strive to get along, but the air between them remains tense and unpleasant. Under a scrupulous audit by a five-time award-winning IRS agent Deirdre Beaubeirdra (Jamie Lee Curtis), the laundromat may be taken away from the family too, and Evelyn’s sweetheart husband, Waymond (Ke Huy Quan), has secretly prepared divorce papers. Eventually, Joy decides it might…  Read more

“We Joke About it, But I Get Very Anxious When Guys Get Hurt”: Set Medic Eloy Lara on Jackass Forever

By the time of the new Jackass Forever, some of the series’s performers have neared or surpassed age 50. Their bodies remain sturdy, if marked by 20 years of unnatural trials. To extend their infamous game of indecent brinkmanship, the crew has endured a brand-new omnibus of freak obstacles and some reimaginings of past favorites. Beekeepers use a queen bee to attract a hive to Steve-O’s (47) phallus; Danger Ehren (45) sustains countless blows to the groin in an exhaustive series of “Cup tests”; Johnny Knoxville (50) re-contends with a particularly mean bull in a ring; series newcomers (“Poopies,” “Jasper,”…  Read more

“We Weren’t Trying to Go for an Exact Imitation”: Dialect Coach Audrey LeCrone on Judas and the Black Messiah

Deputy chairman of the national Black Panther Party Fred Hampton was a stirring orator, firing hearts and minds out of slumber and into action against US capitalism. So clear and infectious was Hampton’s guidance against the country’s racist and classist economic system that the FBI and Chicago police department assassinated the 21-year-old as he slept. In documentaries like The Murder of Fred Hampton, which don’t circulate enough, Hampton is seen delivering his famous speeches at rallies, casually moving fellow Panthers with his warmth in a mock trial at the headquarters, mingling at the Free Breakfast for School Children Program and…  Read more

“Backwards Continuity is Not a Category, Is It?”: Script Supervisor Steve Gehrke on Tenet

In the world of Christopher Nolan’s Tenet, people from the future have figured out how to reverse the entropy of people and objects, making them “time inverted.” Effect precedes cause for inverted objects and people. Inverted bullets return from bullet holes and swirl back into the barrel of the guns that fired them, a fight between an inverted soldier and a soldier operating on regular time looks like a freak-puppet show, and reverse speech sounds like the dream speak from the Red Room in Twin Peaks. All someone has to do to swap their inversion status is enter a turnstile…  Read more

“You Have to Make Sure Hair Continuity is 100%”: Hair Department Head Brian Badie and Key Hairstylist Andrea “Mona” Bowman On Lovecraft Country

Lovecraft Country was inspired by one of those punch-line horror conceits like “Meeting your partner’s family is scarier than a house under siege” (You’re Next). Or, “Nothing’s scarier than meeting your lover’s liberal, racist, white family”(Get Out). Lovecraft Country is a high production value literalization of the pun that H.P Lovecraft invented no horror scarier than his own racism: the invisible effects of racism manifest the series’ monsters, reflected in the actions of the show’s predatory whites. It’s also no coincidence that racism materializes in such outlandish forms that white people wouldn’t believe in them if the victims told them,…  Read more

“A Cow At 8:00 AM is Different Than A Cow At 2:00 AM”: Animal Trainer Lauren Henry on First Cow

Kelly Reichardt peppers her 19th Century Oregon Territory with warm cakes and endearing fauna. Eve, the “first cow” in the territory, is a symbol of opportunity to everyone but its natives, the hinge of the film’s plot, a romantic proxy to its protagonist, “Cookie,” and one of animal trainer Lauren Henry’s best behaved cows. The secret to contriving “wild” and natural animal behavior in the preposterous habitat of the movie set? Patience. Putting the time in to normalize the set for the animal and any action he or she might have to perform in it. But Henry’s work goes beyond…  Read more

“Send the Actors to Set with Everything They Need For Their Bodies”: Costume Designer Keri Langerman Dresses The Photograph

After her mother passes away, Mae (Issa Rae) finds letters and a photograph left to her in a safety deposit box. The letters recall an unrequited romance between her mother, Christina Eames (Chante Adams), and a man Mae’s never heard of, Isaac Jefferson (Y’lan Noel). What got between them, mostly, was just space. Christina moved to New York to pursue the kind of career you can’t ambling clammy in the heat. Isaac stayed home. This is a timeless romantic dilemma. As The Photograph shows what happened between Christina and Isaac, the same dynamic recurs in the present between her daughter…  Read more

“I Had Hundreds Of Thousands Of Dollars Worth Of Jewelry In My Bag. Someone Could Just Steal Me.”: On-Set Prop Deneice O’Connor Juggles Uncut Gems

Uncut Gems traffics in the upscale loot sold and loaned in the Diamond District. A bejeweled furby necklace and a pendant of Michael Jackson pinned to a cross are fan favorites in a claustrophobic rain of riches. But a rare black opal trumps the pile. Howard (Adam Sandler), a jeweler with debt gnawing at his heels, lifts one off the black market from the Ethiopian Jews who discovered them, and sees it delivered to his show floor inside a vacuum-sealed cooler of fish. As the gambit in some of his biggest bets yet, the opal might just clear his life’s…  Read more

“The Sadder We Made It Look, the Funnier It Became”: Gaffer Daniel April Lights The Death of Dick Long

I first saw The Death Of Dick Long at a press screening at Technicolor Postworks. It is the second feature film from one of Swiss Army Man’s co-directors, Daniel Scheinert, whose kooky debut portends the mercurial sensibilities of Dick Long, a cotton state comedy of errors with a hushed twist. The film’s gaffer, Daniel April, the sought after lightsmith of New York indie film, still hadn’t seen the film, so I invited him to attend A24’s special screening at the Alamo Drafthouse in Downtown Brooklyn, featuring free wine and popcorn, the common bribes. April had just gotten off the set…  Read more