Kari Skogland — Emmy-nominated director of Hulu’s The Handmaid’s Tale

By Iain Blair

From day one, the stark images of pure white bonnets and blood-red cloaks in The Handmaid’s Tale have come to symbolize one thing — the oppression of women. The Hulu hit series has also come to symbolize that rare moment in pop culture where difficult subject matter and massive artistic ambition cross over into impressive ratings. Continue reading

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Creator Justin Simien talks Netflix’s Dear White People

By Iain Blair

The TV graveyard is bursting at the seams with failed adaptations of hit movies. But there are rare exceptions, such as Netflix’s acclaimed hit comedy Dear White People, which creator Justin Simien adapted from his 2014 indie movie of the same name. The film premiered at the Sundance Film Festival, Continue reading


Prolific writer/director Paul Schrader on his latest, First Reformed

By Iain Blair

With his latest film in theaters now, a look back at director and screenwriter Paul Schrader’s movie credits shows just what a force he has been over the years in Hollywood — and especially in the ambitious, serious and hugely influential cinema of the ‘70s and ‘80s.

He wrote Martin Scorsese’s Taxi Driver, Continue reading


The Duffer Brothers: Showrunners on Netflix’s Stranger Things

By Iain Blair

Kids in jeopardy! The Demogorgon! The Hawkins Lab! The Upside Down! Thrills and chills! Since they first pitched their idea for Stranger Things, a love letter to 1980’s genre films set in 1983 Indiana, twin brothers Matt and Ross Duffer have quickly established themselves as masters of suspense in the science-fiction and horror genres. Continue reading


Optical Art DI colorist Ronney Afortu on In the Fade

Chicago-born, Germany-raised Ronney Afortu has been enjoying a storied career at Hamburg-based studio Optical Art. This veteran senior DI colorist has an impressive resume, having worked on the Oscar-nominated film Mongol, with Oscar-winning director Bille August on Night Train to Lisbon, as well as the recent Golden Globe-winning movie In the Fade (Aus dem Nichts), Continue reading


Director Kay Cannon on her raunchy comedy Blockers

By Iain Blair

At a time when women are increasingly breaking down barriers in Hollywood, writer/director Kay Cannon is helping lead the charge. The director of Universal’s new film, Blockers, got her start at such comedic training grounds as The Second City, The iO West Theater and The ComedySportz Theatre. Continue reading


Film Stars Don’t Die in Liverpool director Paul McGuigan

By Iain Blair

BAFTA- and Emmy-nominated director and producer Paul McGuigan has made quite a name for himself in film and TV thanks to his gift for handling gritty crime procedurals and atmospheric dramas.

This Scot started out as a still photographer before working his way into the documentary world, helming non-fiction assignments for Channel 4 and the BBC. Continue reading


Ren Klyce: Mixing the score for Star Wars: The Last Jedi

By Jennifer Walden

There are space battles and epic music, foreign planets with unique and lively biomes, blasters, lightsabers, a universe at war and a force that connects it all. Over the course of eight “Episodes” and through numerous spin-off series and games, fans of Star Wars have become well acquainted with its characteristic sound. Continue reading

Oscar-winner Jordan Peele on directing Get Out

By Iain Blair

Get Out, the feature film debut of comedian-turned-director Jordan Peele, is chock full of shocks and surprises. This multi-layered horror film also shocked a lot of people in the industry when it went on to gross over a quarter of a billion dollars — on a $4.5 million budget — making it one of the most profitable films in Hollywood history. Continue reading

Oscar Watch: The Shape (and sound) of Water

Post production sound mixers Christian Cooke and Brad Zoern, who are nominated (with production mixer Glen Gauthier) for their work on Fox’s The Shape of Water, have sat side-by-side at mixing consoles for nearly a decade. The frequent collaborators, who handle mixing duties at Deluxe Toronto, faced an unusual assignment given that the film’s two lead characters never utter a single word of actual dialogue. Continue reading