What Productions Can Learn From “Taylor Swift: The Eras Tour”
The Taylor Swift Eras film team discusses an evolving theatrical system at NAB Show, and what it takes to make a successful concert film.
“Civil War:” The Camerawork to Capture the Chaos
Alex Garland’s “Civil War” is less interested in assigning blame to the right or left than in asking why we might end up there again.
What Casey Neistat Wants Creators to Know
“Virality fades. Fame fades. Attention fades,” Casey Neistat explains. “All that stuff goes away. But if you make something great, it lasts.”
MrBeast’s Marc Hustvedt IDs His Top Five Trends for the Creator Economy
MrBeast YouTube president Marc Hustvedt shares his insights into “The Top Five Trends in the Creator Economy” at the 2024 NAB Show.
The (Subversive) Storytelling Style for Park Chan-wook’s “The Sympathizer”
HBO’s latest miniseries, “The Sympathizer,” delves into the Vietnam War through a lens rarely seen in U.S. media.
NBCU Chairman Frances Berwick and Her Strategy for Primetime and Platforms
NBCUniversal Entertainment chairman Frances Berwick discusses the current TV landscape at the 2024 NAB Show.
Paramount CTO Phil Wiser: AI for Personalization, Yes — Screenwriting, Not So Much
Paramount Global is trialing AI in a number of different areas including speeding up the way the company analyses thousands of scripts.
Here’s Some Good News: Broadcasters Are Actually Optimistic About AI
News orgs are on their guard against AI-generated deepfake news stories, but they’re also keen to adopt AI tools to save time and money.
“True Detective: Night Country” Producers Prove That Some of the Biggest Shows Can Be Sustainable
Exec producer Mari Jo Winkler-Ioffreda details the sustainable production practices for “True Detective: Night Country” at NAB Show 2024.
It’s Only the Meaning of Life: Wim Wenders and “Perfect Days”
Wim Wenders talks about his Oscar-nominated “Perfect Days,” which began a commission for a documentary about Tokyo’s unique public toilets.
Shadow and Light: Cinematographer Robert Elswit’s New Noir for “Ripley”
Director Steven Zaillian and DP Robert Elswit discuss the meticulous black-and-white visuals for Netflix psychological thriller “Ripley.”
The Spice Splice: “Dune: Part 2” Editor Joe Walker, ACE on Worldbuilding and Workflows
While assembling “Dune: Part 2,” editor Joe Walker, ACE referenced both James Bond movies and animated Road Runner cartoons by Chuck Jones.
How Sun Serves as the Color-Killer in “Dune: Part Two”
Cinematographer Grieg Fraser used infrared cameras to shoot the black-and-white sequence in director Denis Villeneuve’s “Dune: Part Two.”
Weird is Wonderful: The Adventure of Editing “Poor Things”
Editor Yorgos Mavropsaridis, ACE discusses his collaboration with director Yorgos Lanthimos on the multi-Oscar nominated “Poor Things.”
“The Boy and the Heron:” Studio Ghibli Storytelling Goes in a New (Digital) Direction
The film balances the darkness of change and war (always implied, never seen) with a fantastical world of vibrant creatures and characters.