This year’s nominees for the 66th Southern California Journalism Awards were released today by the Los Angeles Press Club and IndieWire received a site-record nine nominations. Coming on the heels of our wins last year for Criticism of TV and Entertainment Reporting and following our 2022 win for Best Website, Traditional News Organization, the entire IndieWire staff has been nominated for Best Website, News Organization Exclusive to the Internet. IndieWire writers also earned nominations for individual accolades in eight categories.
“The nominated work illustrates the scope, insight, and unparalleled quality of our team,” said Dana Harris-Bridson, Senior VP and Editor-in-Chief at IndieWire. “We are thrilled and sincerely appreciate the Los Angeles Press Club for the Southern California Journalism Award nods.”
After winning the award for Best Criticism of TV last year, IndieWire’s Deputy TV Editor and TV Critic Ben Travers is a finalist in the category again for a number of his reviews,...
“The nominated work illustrates the scope, insight, and unparalleled quality of our team,” said Dana Harris-Bridson, Senior VP and Editor-in-Chief at IndieWire. “We are thrilled and sincerely appreciate the Los Angeles Press Club for the Southern California Journalism Award nods.”
After winning the award for Best Criticism of TV last year, IndieWire’s Deputy TV Editor and TV Critic Ben Travers is a finalist in the category again for a number of his reviews,...
- 5/9/2024
- by Harrison Richlin
- Indiewire
[Editor’s note: This interview contains spoilers for the final episode of Hulu’s “We Were the Lucky Ones.”]
It’s always darkest before the dawn, and that was certainly the case for “We Were the Lucky Ones,” the Hulu miniseries based on the true story of the Kurc family, Jews from Poland who managed to all survive WWII.
The final episode (the show concluded May 2) begins with Halina Kurc (Joey King) imprisoned in Germany. Successfully hiding in plain sight for years, she is eventually captured, and regularly beaten up in jail. All hope seems lost.
“[They were] some of the most intense scenes in the whole show [for] my character,” King told IndieWire. “It’s tough, it’s violent. It’s tough to watch, but it’s also really important. And I think where we landed with it was very helpful in showcasing how brutal it was without being gratuitous. [Showrunner Erica Lipez,] she never wanted to be gratuitous [about] violence towards women. I really love that point of view.
It’s always darkest before the dawn, and that was certainly the case for “We Were the Lucky Ones,” the Hulu miniseries based on the true story of the Kurc family, Jews from Poland who managed to all survive WWII.
The final episode (the show concluded May 2) begins with Halina Kurc (Joey King) imprisoned in Germany. Successfully hiding in plain sight for years, she is eventually captured, and regularly beaten up in jail. All hope seems lost.
“[They were] some of the most intense scenes in the whole show [for] my character,” King told IndieWire. “It’s tough, it’s violent. It’s tough to watch, but it’s also really important. And I think where we landed with it was very helpful in showcasing how brutal it was without being gratuitous. [Showrunner Erica Lipez,] she never wanted to be gratuitous [about] violence towards women. I really love that point of view.
- 5/3/2024
- by Erin Strecker
- Indiewire
Nicole Kidman is the rare actress in the 21st century who, like the stars of Hollywood’s golden years, doesn’t disappear into roles so much as elevate films by her mere presence.
She’s certainly swung big at mainstream blockbusters (think: the “Aquaman” films) that might feel out of her step with her character-driven work elsewhere (like most of the films on the list that follows). But that’s because the Australian icon is unafraid of any role, whether stripping down her post-Oscar, A-lister veneer to film Lars von Trier’s Brechtian “Dogville” in Sweden, slipping into a bathtub with the 10-year-old possible reincarnation of her dead husband in Jonathan Glazer’s “Birth,” or, yes, donning a fake nose to play a suicidal Virginia Woolf for her Oscar-winning turn in “The Hours.”
On April 27 in Los Angeles, Nicole Kidman will receive the 49th AFI Life Achievement Award, joining the ranks of Jane Fonda,...
She’s certainly swung big at mainstream blockbusters (think: the “Aquaman” films) that might feel out of her step with her character-driven work elsewhere (like most of the films on the list that follows). But that’s because the Australian icon is unafraid of any role, whether stripping down her post-Oscar, A-lister veneer to film Lars von Trier’s Brechtian “Dogville” in Sweden, slipping into a bathtub with the 10-year-old possible reincarnation of her dead husband in Jonathan Glazer’s “Birth,” or, yes, donning a fake nose to play a suicidal Virginia Woolf for her Oscar-winning turn in “The Hours.”
On April 27 in Los Angeles, Nicole Kidman will receive the 49th AFI Life Achievement Award, joining the ranks of Jane Fonda,...
- 4/26/2024
- by Ryan Lattanzio
- Indiewire
In 2018, the film world unknowingly received a major swan song: the last Coen Brothers movie. That November, Joel and Ethan Coen’s Western anthology film “The Ballad of Buster Scruggs” released on Netflix, marking the 18th feature from the Minnesota-born filmmakers.
In the years that followed, the two did something they never did across the first three decades of their career: go solo. Elder brother Joel was the first to branch out with 2021’s “The Tragedy of Macbeth,” an expressionist, gorgeous staging of William Shakespeare’s iconic play with Denzel Washington and Coen’s own wife Frances McDormand in the lead roles. Ethan followed shortly with the “Drive-Away Dolls,” a raucous comedy co-written with his wife Tricia Cooke (an underrated constant in the duo’s career is their wife-guy natures) and styled as a lesbian-slanted version of classic Coen Brothers comedies like “The Big Lebowski” and “Raising Arizona,” with Margaret Qualley...
In the years that followed, the two did something they never did across the first three decades of their career: go solo. Elder brother Joel was the first to branch out with 2021’s “The Tragedy of Macbeth,” an expressionist, gorgeous staging of William Shakespeare’s iconic play with Denzel Washington and Coen’s own wife Frances McDormand in the lead roles. Ethan followed shortly with the “Drive-Away Dolls,” a raucous comedy co-written with his wife Tricia Cooke (an underrated constant in the duo’s career is their wife-guy natures) and styled as a lesbian-slanted version of classic Coen Brothers comedies like “The Big Lebowski” and “Raising Arizona,” with Margaret Qualley...
- 2/23/2024
- by Wilson Chapman
- Indiewire
[Editor’s Note: The following article contains light spoilers for “True Detective” Season 4.]
The “corpsicle,” as it’s been dubbed since “Night Country” author Issa López first wrote the scene, is a shocking sight to behold. Twisted naked bodies, frozen in ice, have been carved from their original resting place and plopped at the center of a hockey rink to thaw. How did they die? Why are they naked? Who — or what — did this to them? As the ice melts, secrets spill out and the dead’s last moments gain gruesome clarity. Frostbite blackens their extremities. Teeth marks cover their skin. One is bleeding from the ears. Another is missing the fingers he’d used to claw out his own eyes.
Despite its vividly unique rendering, the corpsicle is still strangely familiar. Here are these dead naked men, ornately displayed by natural elements, unable to shield themselves from the discerning eyes of the detectives investigating their demise. You can’t help but stare,...
The “corpsicle,” as it’s been dubbed since “Night Country” author Issa López first wrote the scene, is a shocking sight to behold. Twisted naked bodies, frozen in ice, have been carved from their original resting place and plopped at the center of a hockey rink to thaw. How did they die? Why are they naked? Who — or what — did this to them? As the ice melts, secrets spill out and the dead’s last moments gain gruesome clarity. Frostbite blackens their extremities. Teeth marks cover their skin. One is bleeding from the ears. Another is missing the fingers he’d used to claw out his own eyes.
Despite its vividly unique rendering, the corpsicle is still strangely familiar. Here are these dead naked men, ornately displayed by natural elements, unable to shield themselves from the discerning eyes of the detectives investigating their demise. You can’t help but stare,...
- 2/14/2024
- by Ben Travers
- Indiewire
The Alexa 35 is booming! As IndieWire released its camera survey, it seems that the new Super 35 flagship from Arri is among the most popular cameras chosen by Sundance 2024’s filmmakers. The Arri 35 causes the notable Super 35 format to go back to the game. Furthermore, the Arri Alexa Mini is the most popular camera five years in a row. Watch the segmentation.
Sundance 2024’s Narratives: Camera Manufacturers’ chart
As you can see in the chart, Super 35 is the dominant format. As we thought that large sensors would pull down the notable Super 35, it’s not as simple as that, since the Arri 35 kicks the Super 35 to the popularity line again. Additionally, this is the first time that we have seen a solid presence of the Arri 35 in our charts. Head to head with the old (and mighty) Alexa Mini, the Arri 35 is climbing strong and may become the most preferred camera among storytellers.
Sundance 2024’s Narratives: Camera Manufacturers’ chart
As you can see in the chart, Super 35 is the dominant format. As we thought that large sensors would pull down the notable Super 35, it’s not as simple as that, since the Arri 35 kicks the Super 35 to the popularity line again. Additionally, this is the first time that we have seen a solid presence of the Arri 35 in our charts. Head to head with the old (and mighty) Alexa Mini, the Arri 35 is climbing strong and may become the most preferred camera among storytellers.
- 1/29/2024
- by Yossy Mendelovich
- YMCinema
January is a transitional time for film, with focus shifting to the Oscars just as new offerings in theaters enter an annual dreaded slump. It’s also, paradoxically, one of the best months for new movies — if you’re lucky enough to head to Park City, Utah for Sundance Film Festival.
The single biggest film festival in the country, with almost 50,000 attendees each year, Sundance Film Festival was founded back in 1978 as the Utah/US Film Festival, before rebranding in 1984 to its current name. Operated by the Sundance Institute, the annual fest hosts hundreds of films each year, showcasing the brightest in independent filmmaking, along with a variety of foreign, documentary, and midnight films. Over the years the festival has hosted some of the most beloved indie films ever, and helped launch the careers of major filmmakers like the Coen Brothers, Quentin Tarantino, Damien Chazelle, Ava DuVernay, and many, many more.
The single biggest film festival in the country, with almost 50,000 attendees each year, Sundance Film Festival was founded back in 1978 as the Utah/US Film Festival, before rebranding in 1984 to its current name. Operated by the Sundance Institute, the annual fest hosts hundreds of films each year, showcasing the brightest in independent filmmaking, along with a variety of foreign, documentary, and midnight films. Over the years the festival has hosted some of the most beloved indie films ever, and helped launch the careers of major filmmakers like the Coen Brothers, Quentin Tarantino, Damien Chazelle, Ava DuVernay, and many, many more.
- 1/23/2024
- by Wilson Chapman
- Indiewire
It’s hard to believe, but the concept of the teenager is younger than film as a medium. According to historians, American culture first began thinking of the period of 13 to 19 as a specific bridge between childhood and adulthood in the 1940s, in part due to marketing executives looking to define people in that age range as a new demographic. And shortly afterwards, that demographic became ubiquitous on TV and films.
The first teen films began popping up in earnest during the 1950s, with landmark titles like “The Wild One,” “Blackboard Jungle,” and the enduringly iconic “Rebel Without a Cause.” Each film featured a bonafide screen legend — Marlon Brando in “The Wild One,” Sidney Poitier in “Blackboard Jungle,” and James Dean in his most iconic role in “Rebel Without a Cause” — and established films that took the emotional turmoil of teen life seriously as a vibrant subgenre. Since then, teens...
The first teen films began popping up in earnest during the 1950s, with landmark titles like “The Wild One,” “Blackboard Jungle,” and the enduringly iconic “Rebel Without a Cause.” Each film featured a bonafide screen legend — Marlon Brando in “The Wild One,” Sidney Poitier in “Blackboard Jungle,” and James Dean in his most iconic role in “Rebel Without a Cause” — and established films that took the emotional turmoil of teen life seriously as a vibrant subgenre. Since then, teens...
- 1/17/2024
- by Wilson Chapman and Kate Erbland
- Indiewire
Films are stunning artifacts of humanity’s singular ability to dream and wonder in unison. But if the moviemaking miracles produced by Hollywood’s studio system are predestined — recycled IP inevitabilities that cost as much money as there are stars in the sky — indies are something greater.
Indie filmmaking is notoriously hard to define; combine the constantly shifting number known as “low budget” and another shifty goalpost, “independent,” and we’re partly there. Here’s another definition: It feels as if it’s willed into existence, both in the final story on screen and in the behind-the-scenes journey that explains how an auteur’s story got there. It was created because it had to be, rendered by talented and undaunted auteurs, through powerful visions and innovative commitment to craft. And finally, it’s introduced to equally ambitious audiences.
It’s in our name: IndieWire was founded in 1996 as an outlet...
Indie filmmaking is notoriously hard to define; combine the constantly shifting number known as “low budget” and another shifty goalpost, “independent,” and we’re partly there. Here’s another definition: It feels as if it’s willed into existence, both in the final story on screen and in the behind-the-scenes journey that explains how an auteur’s story got there. It was created because it had to be, rendered by talented and undaunted auteurs, through powerful visions and innovative commitment to craft. And finally, it’s introduced to equally ambitious audiences.
It’s in our name: IndieWire was founded in 1996 as an outlet...
- 1/3/2024
- by Alison Foreman and Kate Erbland
- Indiewire
2023 may not have been an excellent year for movies, but in spite of everything stacked against it (read: greedy conglomerates run amok), it turned out to be an excellent year of movies. While the fallout of the recent work stoppages will be felt for time to come, some of 2023’s losses will prove to be 2024’s gains, as much-anticipated but strike-delayed films like “Dune: Part Two,” “Drive-Away Dolls,” and Luca Guadagnino’s horny tennis drama “Challengers” have all secured fresh release dates in the first half of the new year.
Those titles will be joined by some of the most promising Hollywood blockbusters in recent memory, must-see work from some of the world’s greatest auteurs, and huge swings from essential artists ranging from new voices like Jane Schoenbrun (“I Saw the TV Glow”) and Duke Johnson (“The Actor”) to venerated masters like Francis Ford Coppola (“Megalopolis”) and Mike Leigh...
Those titles will be joined by some of the most promising Hollywood blockbusters in recent memory, must-see work from some of the world’s greatest auteurs, and huge swings from essential artists ranging from new voices like Jane Schoenbrun (“I Saw the TV Glow”) and Duke Johnson (“The Actor”) to venerated masters like Francis Ford Coppola (“Megalopolis”) and Mike Leigh...
- 12/29/2023
- by IndieWire Staff
- Indiewire
There’s no question: 2023 is one of the best years for cinema so far this century, with an astonishing range of formally inventive, philosophically rich, and deliriously entertaining films. The year has been filled with great examples of nearly every type of movie, from mainstream theatrical releases and international festival entries to auteur-driven historical pieces and star-driven character studies, with innovative pictures by filmmakers from a broad array of backgrounds.
The art of cinematography has been particularly robust, and choosing the very best work in a year so rich is a difficult task. There are dozens of films not on this list that easily would have made it in a lesser year, and the ones that did make the cut will, we believe, stand the test of time. In terms of subject matter and tone the films couldn’t be more different; the candy-colored satirical extravaganza that is “Barbie” is...
The art of cinematography has been particularly robust, and choosing the very best work in a year so rich is a difficult task. There are dozens of films not on this list that easily would have made it in a lesser year, and the ones that did make the cut will, we believe, stand the test of time. In terms of subject matter and tone the films couldn’t be more different; the candy-colored satirical extravaganza that is “Barbie” is...
- 12/18/2023
- by Jim Hemphill
- Indiewire
Art rises to a challenge, and 2023 saw plenty of documentaries do exactly that. Amid a swarm of vanity projects and puff pieces, brand extensions and overstretched stories, the best documentaries of the year stood out for their scrutiny and decisiveness; their unique perspectives and razor-sharp editing. Rather than be dragged down by industry forces, be it the lingering effects of streaming or resurgent demand for star vehicles masked as docs, these 20 nonfiction works rose above — and, as audience members, we thank them for it.
There were some heavy hitters working in 2023. Matthew Heineman, Maite Alberdi, Steve James, and Errol Morris all delivered impressive new pieces. Breakthroughs came screaming to the forefront as well, many aided by festival or critical support (or both). Films like “Kokomo City,” “Beyond Utopia,” and “A Still Small Voice” managed to crack the zeitgeist and pique cinephiles’ interest. While over in television, genre hybrids like “Paul T. Goldman...
There were some heavy hitters working in 2023. Matthew Heineman, Maite Alberdi, Steve James, and Errol Morris all delivered impressive new pieces. Breakthroughs came screaming to the forefront as well, many aided by festival or critical support (or both). Films like “Kokomo City,” “Beyond Utopia,” and “A Still Small Voice” managed to crack the zeitgeist and pique cinephiles’ interest. While over in television, genre hybrids like “Paul T. Goldman...
- 12/12/2023
- by Ben Travers and Anne Thompson
- Indiewire
The great Joni Mitchell once wrote, “You don’t know what you’ve got ‘til it’s gone,” which certainly applied to acting in 2023. Of course, actors didn’t disappear this year. They were just far less visible for a while. The SAG strike — lasting from mid-July to early November — was an eye-opening necessity, protecting the guild from the studios’ ghastly attempts to implement artificial intelligence and correcting issues like lost wages and residuals that stemmed from the “great” streaming disruption.
But if you would’ve told me a year ago I’d be lamenting the loss of all those red carpets, publicity junkets, and various press appearances actors bravely embark upon for their art, I would’ve laughed in your face — and then I would have apologized for laughing in your face, and explained, slowly and assuredly, that “No, I would never miss the scourge of half-formed quotes and...
But if you would’ve told me a year ago I’d be lamenting the loss of all those red carpets, publicity junkets, and various press appearances actors bravely embark upon for their art, I would’ve laughed in your face — and then I would have apologized for laughing in your face, and explained, slowly and assuredly, that “No, I would never miss the scourge of half-formed quotes and...
- 12/5/2023
- by Ben Travers and David Ehrlich
- Indiewire
An enterprising surveyor of genre and tone, Ridley Scott has earned the admiration of audiences and critics alike with a seemingly unending interest in exploring the outermost limits of his art form. The British director broke onto the scene in 1977 with “The Duellists,” a French period drama starring Harvey Keitel and Keith Carradine set during the Napoleonic Wars. He returns to the early 19th century with Joaquin Phoenix as its namesake historical figure with the epic “Napoleon,” in theaters November 22.
“I first became aware of Ridley Scott with his film ‘The Duellists,'” Francis Ford Coppola recently said of Scott’s debut in an Instagram post. “I was impressed, and realizing he was my contemporary began following his work, which was prodigious to say the least. One after the other, different styles, themes — all ambitious and never stopping, absolutely great films like ‘Blade Runner,’ ‘Thelma & Louise,’ ‘Alien,’ and ‘Black Hawk Down....
“I first became aware of Ridley Scott with his film ‘The Duellists,'” Francis Ford Coppola recently said of Scott’s debut in an Instagram post. “I was impressed, and realizing he was my contemporary began following his work, which was prodigious to say the least. One after the other, different styles, themes — all ambitious and never stopping, absolutely great films like ‘Blade Runner,’ ‘Thelma & Louise,’ ‘Alien,’ and ‘Black Hawk Down....
- 11/23/2023
- by Alison Foreman
- Indiewire
The Los Angeles Press Club unveiled the nominations for the 16th annual National Arts & Entertainment Journalism Awards, and IndieWire earned nine nominations. After 1,600 entries were evaluated by the committee, IndieWire’s entire staff was honored with a nomination for Best Entertainment Website, and eight staffers received additional nominations for their individual works.
IndieWire’s TV Critic and Deputy Editor Ben Travers was nominated in the TV Critic category for his entire body of work over the past year.
IndieWire’s Executive Managing Editor Christian Blauvelt earned a nomination in the Soft News, Arts category, for his analysis piece “Will Disney Win Against DeSantis? The Florida Lawsuit Explained.”
IndieWire’s Executive Editor, Business Tony Maglio received a nomination for Humor Writing for his essay “I Took My Daughters, 3 and 6, to See ‘The Little Mermaid.’ Here’s Who Slept and Who Danced in the Aisles.”
IndieWire’s Senior Reporter Brian Welk was also nominated in the Business,...
IndieWire’s TV Critic and Deputy Editor Ben Travers was nominated in the TV Critic category for his entire body of work over the past year.
IndieWire’s Executive Managing Editor Christian Blauvelt earned a nomination in the Soft News, Arts category, for his analysis piece “Will Disney Win Against DeSantis? The Florida Lawsuit Explained.”
IndieWire’s Executive Editor, Business Tony Maglio received a nomination for Humor Writing for his essay “I Took My Daughters, 3 and 6, to See ‘The Little Mermaid.’ Here’s Who Slept and Who Danced in the Aisles.”
IndieWire’s Senior Reporter Brian Welk was also nominated in the Business,...
- 11/2/2023
- by Christian Zilko
- Indiewire
Since the turn of the century, one thing remains a highly-debated topic: What is the best order in which to watch Star Wars? Prequels, sequels, originals, standalones — the answer grows more complicated as the years go by, and anyone loyal to their specific method won’t hear otherwise.
The question all but falls apart when it comes to Star Wars TV shows, whether they’re integrated into film viewing or watched separately. Does one start chronologically, with “Droids” and “Ewoks” (best viewed in their original paired “adventure hour” format)? Should “Clone Wars” come before “The Mandalorian,” or “Rebels”? What’s the deal with “Visions” and “Tales of the Jedi,” and is the Boba Fett show actually good? (No.)
IndieWire’s keen Star Wars experts put their heads together, and while we didn’t come up with a viewing order, we did rank every single Star Wars TV show — from “Droids...
The question all but falls apart when it comes to Star Wars TV shows, whether they’re integrated into film viewing or watched separately. Does one start chronologically, with “Droids” and “Ewoks” (best viewed in their original paired “adventure hour” format)? Should “Clone Wars” come before “The Mandalorian,” or “Rebels”? What’s the deal with “Visions” and “Tales of the Jedi,” and is the Boba Fett show actually good? (No.)
IndieWire’s keen Star Wars experts put their heads together, and while we didn’t come up with a viewing order, we did rank every single Star Wars TV show — from “Droids...
- 9/27/2023
- by Proma Khosla
- Indiewire
With the possible exception of food purchased in jam band parking lots, nothing pairs better with weed than a good film. It’s a substance that can make bad movies seem good and good movies seem downright incredible. Anyone who has attended a midnight screening of a cult classic knows that the thick haze of marijuana smoke is all part of the experience. And smoking a joint from the comfort of your own home while watching your favorite movie for the umpteenth time remains one of the most elite forms of relaxation known to man.
Certain films have a brilliance to them that can’t be truly understood until you watch them while indulging in your favorite strain of cannabis. Slightly dulling your focus in exchange for heightening your senses (including humor) is often a hell of a bargain. If a film doesn’t require excessive focus on a meticulous plot,...
Certain films have a brilliance to them that can’t be truly understood until you watch them while indulging in your favorite strain of cannabis. Slightly dulling your focus in exchange for heightening your senses (including humor) is often a hell of a bargain. If a film doesn’t require excessive focus on a meticulous plot,...
- 9/12/2023
- by Wilson Chapman, Alison Foreman and Christian Zilko
- Indiewire
The good news for HBO’s critically acclaimed “The White Lotus” is that it grabbed 11 Emmy craft nominations, second only to HBO’s “The Last of Us,” which led with 12. The bad news for “The White Lotus,” which took home five craft wins last season, is that it switched from Best Anthology to Best Drama for Season 2’s transition from Hawaii to Sicily. Now it goes head to head with contemporary rivals “Succession” (HBO), “The Last of Us,” and “Wednesday” (Netflix).
To its credit, Mike White’s exotic resort hotel black comedy successfully pivoted from money to sex in Season 2 with pretty much a new ensemble cast. While its Emmy wins the first time out were primarily in the anthology category, it additionally won for de Veer’s main title theme music.
Jeremy Strong in “Succession”Courtesy of HBO
This season “White Lotus” scored noms for casting, contemporary costumes (“That...
To its credit, Mike White’s exotic resort hotel black comedy successfully pivoted from money to sex in Season 2 with pretty much a new ensemble cast. While its Emmy wins the first time out were primarily in the anthology category, it additionally won for de Veer’s main title theme music.
Jeremy Strong in “Succession”Courtesy of HBO
This season “White Lotus” scored noms for casting, contemporary costumes (“That...
- 8/20/2023
- by Bill Desowitz
- Indiewire
The size and scope of producing a single season of “Deadliest Catch” is hard to fully fathom. There are seven different producing-camera teams on seven different boats, rolling cameras around the clock, producing 25,000 hours of footage over the course of a fishing season.
To ensure visual and narrative cohesion and quality, series editor Rob Butler and cinematographer David Reichert — both 2023 Emmy nominees — must stay across an enormous team and complicated workflow. It’s a task complicated by their limited ability to shape what is being shot as the stories unfold. This is because it takes weeks to get the footage off the boats (they often have to wait until the fishermen come ashore to offload their catch) and FedEx hard drives to Los Angeles, where a team of seven assistant editors load and log hundreds of hours of footage every week.
“It takes weeks and weeks before it gets in...
To ensure visual and narrative cohesion and quality, series editor Rob Butler and cinematographer David Reichert — both 2023 Emmy nominees — must stay across an enormous team and complicated workflow. It’s a task complicated by their limited ability to shape what is being shot as the stories unfold. This is because it takes weeks to get the footage off the boats (they often have to wait until the fishermen come ashore to offload their catch) and FedEx hard drives to Los Angeles, where a team of seven assistant editors load and log hundreds of hours of footage every week.
“It takes weeks and weeks before it gets in...
- 8/18/2023
- by Chris O'Falt
- Indiewire
The annual Los Angeles Press Club Awards honored multiple IndieWire staffers Sunday night.
Among the honorees, IndieWire Deputy TV Editor and chief TV critic Ben Travers was recognized as TV Critic of the Year at the ceremony, which took place June 25 at the Millennium Biltmore Hotel in downtown Los Angeles.
The official comment for Travers’ honor reads, “The reporter’s writing style includes his personal tele-visual hang-ups, much to the benefit of the reviews!”
Travers’ reviews for the series finale of “Atlanta,” the Season 1 “Yellowjackets” finale, and “Tuca & Bertie” were among the selected pieces recognized by the LA Press Club.
Also taking first place in the Audio Journalism category for Best Entertainment Reporting were Sarah Shachat, Chris O’Falt, and Zach Valenti with podcast episode “Filmmaker Toolkit: Station Eleven Deep Dive Podcast.” Said the LA Press Club: “This ‘deep dive’ skillfully uses multiple interviews and clips to learn the backstory of a single TV episode.
Among the honorees, IndieWire Deputy TV Editor and chief TV critic Ben Travers was recognized as TV Critic of the Year at the ceremony, which took place June 25 at the Millennium Biltmore Hotel in downtown Los Angeles.
The official comment for Travers’ honor reads, “The reporter’s writing style includes his personal tele-visual hang-ups, much to the benefit of the reviews!”
Travers’ reviews for the series finale of “Atlanta,” the Season 1 “Yellowjackets” finale, and “Tuca & Bertie” were among the selected pieces recognized by the LA Press Club.
Also taking first place in the Audio Journalism category for Best Entertainment Reporting were Sarah Shachat, Chris O’Falt, and Zach Valenti with podcast episode “Filmmaker Toolkit: Station Eleven Deep Dive Podcast.” Said the LA Press Club: “This ‘deep dive’ skillfully uses multiple interviews and clips to learn the backstory of a single TV episode.
- 6/26/2023
- by Samantha Bergeson
- Indiewire
“Deep Dive” is an in-depth podcast and video essay series featuring interviews with the stars and creative team behind an exceptional piece of filmmaking. For this edition, the IndieWire Crafts and Special Projects team partnered with Disney+ to take a closer look at the “Andor” Season 1 finale, Episode 12 (“Rix Road”), with costume designer Michael Wilkinson, production designer Luke Hull, composer Nicholas Britell, editor Yan Miles, executive producer Sanne Wohlenberg, and executive producer/actor Diego Luna.
Related Stories ‘Hijack’ Ends Not with a Whimper but with a Bang — Here’s How They Created That Tense Landing ‘Oppenheimer’ Isn’t the Only Christopher Nolan Film Playing in 70mm This Summer
It’s one of the most stirring and beautifully crafted season finales in recent memory. With the death of Maarva Andor (Fiona Shaw), her son, Cassian Andor (Diego Luna) — followed by the Isb and rebellion forces hunting him — returns to the planet Ferrix,...
Related Stories ‘Hijack’ Ends Not with a Whimper but with a Bang — Here’s How They Created That Tense Landing ‘Oppenheimer’ Isn’t the Only Christopher Nolan Film Playing in 70mm This Summer
It’s one of the most stirring and beautifully crafted season finales in recent memory. With the death of Maarva Andor (Fiona Shaw), her son, Cassian Andor (Diego Luna) — followed by the Isb and rebellion forces hunting him — returns to the planet Ferrix,...
- 6/14/2023
- by Chris O'Falt and Sarah Shachat
- Indiewire
Great casting is one of the things best defined by what it is not. There’s an alchemy to the assembling of a cast — particularly a larger ensemble — that can only be achieved with luck and a sharp eye. And while the 2022-2023 TV season saw plenty of larger-than-life performances and jaw-dropping transformations, these four first-year series managed, in wildly different ways, the same balancing act of star turns and sharply delineated supporting roles. Here are four series worthy of Emmy Award consideration for their feats of casting.
“Andor”Lucasfilm Ltd. “Andor” (Disney+)
Tony Gilroy’s gritty sci-fi/spy thriller is the adult, character-driven “Star Wars” many of us have been waiting for. But Cassian’s origin story would not have been as brilliant without the talented ensemble cast built around Diego Luna by casting directors Nina Gold and Martin Ware: Stellen Skarsgård as the eccentric antiques dealer organizing...
“Andor”Lucasfilm Ltd. “Andor” (Disney+)
Tony Gilroy’s gritty sci-fi/spy thriller is the adult, character-driven “Star Wars” many of us have been waiting for. But Cassian’s origin story would not have been as brilliant without the talented ensemble cast built around Diego Luna by casting directors Nina Gold and Martin Ware: Stellen Skarsgård as the eccentric antiques dealer organizing...
- 5/24/2023
- by Mark Peikert, Sarah Shachat, Jim Hemphill and Bill Desowitz
- Indiewire
“The Marvelous Mrs. Maisel” is twirling offstage and “The Crown” finally got to The Revenge Dress, so it has not exactly been a low-key television season when it comes to costuming. (Not to mention the genius Easter eggs hidden in Tanya’s costumes on “The White Lotus.”) But no one is surprised when shows with fabulous costumes continue to exhibit their skill at crafting fabulous costumes that serve as eye candy and character development. Here are five series that premiered during the 2022-2023 season that deserve attention from the 2023 Emmys for their costumes.
“1923” (Paramount+) “1923”Emerson Miller/Paramount+
The latest addition to Taylor Sheridan’s “Yellowstone” universe is a fascinating study of a society in transition from the rural world of “1883” to the more technologically oriented America that will see the Dutton family arriving at their home in helicopters on “Yellowstone.” Costume designer Janie Bryant straddles both worlds impeccably, with clothes...
“1923” (Paramount+) “1923”Emerson Miller/Paramount+
The latest addition to Taylor Sheridan’s “Yellowstone” universe is a fascinating study of a society in transition from the rural world of “1883” to the more technologically oriented America that will see the Dutton family arriving at their home in helicopters on “Yellowstone.” Costume designer Janie Bryant straddles both worlds impeccably, with clothes...
- 5/22/2023
- by Mark Peikert, Bill Desowitz, Sarah Shachat and Jim Hemphill
- Indiewire
The Los Angeles Press Club released the nominees for its 60th annual award Southern California Journalism Awards on Friday, and IndieWire earned six nominations. Following its 2022 win for Best Website, Traditional News Organization, IndieWire’s entire staff was once again honored with a nomination for Website, News Organization Exclusive to the Internet. IndieWire writers also earned nominations for individual accolades in five categories.
“I’m so proud of our team,” said Dana Harris-Bridson, senior VP and editor in chief at IndieWire. “The nominations demonstrate the range, depth, and quality of the thoughtful work we produce across film and TV every day and we’re grateful for the honor.”
IndieWire’s Deputy TV Editor and TV Critic Ben Travers — who won in the Entertainment Commentary category last year — picked up a Criticism of TV nomination for his pieces “‘Atlanta’ Ends as Whatever Dream You Want It to Be,” “‘Yellowjackets Caps Off...
“I’m so proud of our team,” said Dana Harris-Bridson, senior VP and editor in chief at IndieWire. “The nominations demonstrate the range, depth, and quality of the thoughtful work we produce across film and TV every day and we’re grateful for the honor.”
IndieWire’s Deputy TV Editor and TV Critic Ben Travers — who won in the Entertainment Commentary category last year — picked up a Criticism of TV nomination for his pieces “‘Atlanta’ Ends as Whatever Dream You Want It to Be,” “‘Yellowjackets Caps Off...
- 5/12/2023
- by Christian Zilko
- Indiewire
Literature’s all-time jilted spinster, Miss Havisham, has been played by Martita Hunt, Anne Bancroft, Gillian Anderson and Helena Bonham Carter while also inspiring other memorable screen personalities, most notably “Sunset Boulevard’s” Norma Desmond (Gloria Swanson). In “Peaky Blinders” showrunner Steven Knight’s adaptation of “Great Expectations,” Olivia Colman dons the tattered veil of the iconic character to whom unwitting orphan Philip “Pip” Pirrip (Fionn Whitehead) turns as he pursues social repute in Victorian England.
Though Knight’s amendments to Charles Dickens’ source material have gotten a mixed response, the show continues to draw praise for its production value. Costume designer Verity Hawkes, whose credits include “Snatch,” “Inkheart” and “Black Mirror,” recently gave an interview to IndieWire’s Sarah Shachat in which she detailed her approach to the unenviable task of distinguishing Knight’s rendition of the character from more than a dozen others.
See ‘Great Expectations’ creator Steven...
Though Knight’s amendments to Charles Dickens’ source material have gotten a mixed response, the show continues to draw praise for its production value. Costume designer Verity Hawkes, whose credits include “Snatch,” “Inkheart” and “Black Mirror,” recently gave an interview to IndieWire’s Sarah Shachat in which she detailed her approach to the unenviable task of distinguishing Knight’s rendition of the character from more than a dozen others.
See ‘Great Expectations’ creator Steven...
- 4/19/2023
- by Ronald Meyer
- Gold Derby
When Lance Reddick unexpectedly died at the age of 60 on Friday morning, the world lost one of its most consistently excellent film and television stars. The fact that his passing came just days before he was set to return to the big screen in the highly anticipated “John Wick: Chapter 4” only added to the sense of tragedy. But while his acting career was cut short, Reddick left behind an incredible body of work that is always worth revisiting.
To many TV fans, Reddick will always be remembered Cedric Daniels from “The Wire.” In a career-defining performance, Reddick portrayed one of the few voices of principled morality on a show that relished every opportunity to reveal how corruptible everyone in Baltimore seemed to be. As a police officer rising through the ranks despite his steadfast refusal to advance his career through shady dealmaking, he served as a control group that...
To many TV fans, Reddick will always be remembered Cedric Daniels from “The Wire.” In a career-defining performance, Reddick portrayed one of the few voices of principled morality on a show that relished every opportunity to reveal how corruptible everyone in Baltimore seemed to be. As a police officer rising through the ranks despite his steadfast refusal to advance his career through shady dealmaking, he served as a control group that...
- 3/18/2023
- by Christian Zilko
- Indiewire
“It is amazing to be here,” said Pedro Pascal in his first “Saturday Night Live” performance: a triumphant Season 48 episode for the sketch show, cross-promoting the actor/host’s hugely successful parts on Disney’s “The Mandalorian” and HBO’s “The Last of Us.”
“I was born in Chile and nine months later my parents fled Pinochet with me and my sister to the US,” Pascal continued in his opening monologue. “They were so brave, and without them I wouldn’t be here in this wonderful country. And I certainly wouldn’t be standing here with you all tonight.”
The 48-year-old actor began performing on screen in the late ’90s, appearing in “Buffy the Vampire Slayer” and “NYPD Blue” among other popular TV series of the time. Pascal made his feature film debut in Julia Solomonoff’s “Hermanas” in 2005, and would later appear in “The Adjustment Bureau,” “Sweet Little Lies,...
“I was born in Chile and nine months later my parents fled Pinochet with me and my sister to the US,” Pascal continued in his opening monologue. “They were so brave, and without them I wouldn’t be here in this wonderful country. And I certainly wouldn’t be standing here with you all tonight.”
The 48-year-old actor began performing on screen in the late ’90s, appearing in “Buffy the Vampire Slayer” and “NYPD Blue” among other popular TV series of the time. Pascal made his feature film debut in Julia Solomonoff’s “Hermanas” in 2005, and would later appear in “The Adjustment Bureau,” “Sweet Little Lies,...
- 3/18/2023
- by Alison Foreman
- Indiewire
Curated by the IndieWire editorial team, Craft Considerations is a video platform for filmmakers to discuss how they applied their craft to a recent work we believe is worthy of awards consideration. For this edition, we look at how “Nope” actress Keke Palmer collaborated with writer-director Jordan Peele to bring the funny, tenacious Emerald to life in the sci-fi horror blockbuster.
Keke Palmer was still learning just exactly who her “Nope” character Emerald was when she shot her memorable entrance, a rollicking run-through of how her family company has serviced Hollywood since the industry’s earliest days.
“It was so funny, because that was not in the original script. That was something that I ended up seeing five days before we started shooting,” the star told IndieWire. “I was just like, ‘When the hell did you put this in here?’”
Writer-director Jordan Peele trusted Palmer was up for the challenge as he had written Emerald,...
Keke Palmer was still learning just exactly who her “Nope” character Emerald was when she shot her memorable entrance, a rollicking run-through of how her family company has serviced Hollywood since the industry’s earliest days.
“It was so funny, because that was not in the original script. That was something that I ended up seeing five days before we started shooting,” the star told IndieWire. “I was just like, ‘When the hell did you put this in here?’”
Writer-director Jordan Peele trusted Palmer was up for the challenge as he had written Emerald,...
- 1/9/2023
- by Marcus Jones
- Indiewire
As noted in our Best TV Shows list, there was just a lot of television in 2022. It’s so, so easy for great work to get lost in the relentless churn of new streaming content, even as reality programming bends us ever closer to the “30 Rock” universe. It’s even easier for great musical work to get lost on television, where scores are able to have an ambition and originality the rest of a legacy IP production might lack, or to embrace experimental elements viewers may not even notice while they’re watching a conventional-looking scene. We double-checked that film legends John Williams and Howard Shore came to TV to score themes this year, because it feels like a million years ago already now.
Speaking of legacies, Ramin Djawadi and Siddhartha Khosla pushed the boundaries of some of the most iconic recent scores on television even as “The House...
Speaking of legacies, Ramin Djawadi and Siddhartha Khosla pushed the boundaries of some of the most iconic recent scores on television even as “The House...
- 12/17/2022
- by Sarah Shachat and Steve Greene
- Indiewire
When looking through a given year’s best movies and shows, it’s helpful for a writer to find connections among the prominent picks. Perhaps this was a year where studio fare stood tall, or indie darlings broke big. Maybe 2022 saw an uptick in stories about burgeoning fascism or very good donkeys. Heck, even taking note of broader trends — like the potential resurgence of theatrical motion pictures or the possible end of streaming content boom — can give a list a sense of purpose or clarity.
But when it comes to our picks for the best LGBTQ movies and shows in 2022, what’s refreshing to notice is the lack of commonalities. Comedies like “Bros” and “Fire Island” were given major release platforms courtesy of Universal and Searchlight, respectively. Dramatic fare like “Benediction” and “The Inspection” rode festival buzz and critical praise to leave their mark. This year’s top awards contenders are queer,...
But when it comes to our picks for the best LGBTQ movies and shows in 2022, what’s refreshing to notice is the lack of commonalities. Comedies like “Bros” and “Fire Island” were given major release platforms courtesy of Universal and Searchlight, respectively. Dramatic fare like “Benediction” and “The Inspection” rode festival buzz and critical praise to leave their mark. This year’s top awards contenders are queer,...
- 12/15/2022
- by Ben Travers and Jude Dry
- Indiewire
When thinking about the best documentaries, it’s hard not to have lofty thoughts. These projects span film and TV and invite you to not just think about a specific corner of the world in a new way but see it through someone else’s eyes. Whether fascinating stranger-than-fiction stories or radicalizing tools for empathy, the best documentaries also reinvent non-fiction storytelling, reminding us of its place as a rarefied art form.
A lot of these stories are self-reflections from the greater world of entertainment. We digest what informs, but it’s also really easy to take lengthy deep dives into why the culture responds to what it does (and who are the people at the center of that). But there are many cases where documentaries invite you to elevate your consciousness and consider an area of life that you never thought could sustain more than a passing fascination, much...
A lot of these stories are self-reflections from the greater world of entertainment. We digest what informs, but it’s also really easy to take lengthy deep dives into why the culture responds to what it does (and who are the people at the center of that). But there are many cases where documentaries invite you to elevate your consciousness and consider an area of life that you never thought could sustain more than a passing fascination, much...
- 12/13/2022
- by Steve Greene and Jude Dry
- Indiewire
“Deep Dive” is a in-depth podcast and video essay series with the stars and creative team behind an exceptional piece of filmmaking. For this winter edition, the IndieWire Crafts team partnered with Prime Video to take a closer look at the first season of “The Lord of the Rings: The Rings of Power” with showrunners J.D. Payne and Patrick McKay, stars Morfydd Clark, Sophia Nomvete, and Charlie Vickers, and eight key members of the creative team behind the series.
“The Lord of the Rings: The Rings of Power” truly embraces both halves of its “based on ‘The Lord of the Rings’ and appendices by J.R.R. Tolkien” credit. Lots of people know “The Lord of the Rings”: “The Fellowship of the Ring,” “The Two Towers,” and “The Return of the King” have sold millions of copies and were later adapted by Peter Jackson into a box-office-conquering, Oscar-hoarding series of feature films.
“The Lord of the Rings: The Rings of Power” truly embraces both halves of its “based on ‘The Lord of the Rings’ and appendices by J.R.R. Tolkien” credit. Lots of people know “The Lord of the Rings”: “The Fellowship of the Ring,” “The Two Towers,” and “The Return of the King” have sold millions of copies and were later adapted by Peter Jackson into a box-office-conquering, Oscar-hoarding series of feature films.
- 12/8/2022
- by Sarah Shachat
- Indiewire
One of the most satisfying aspects of any year in entertainment is looking back on what we’ve learned — specifically, looking back on who we’ve learned about. Spread across every arbitrary set of 365 days are fresh faces, distinct personalities, and remarkable talents to recognize; skilled actors whose recent emergence all but guarantees we’ll get to see more of them in the future. How exciting! What luck — for them, and for us!
But such discoveries can, at times, be far too restricted. Whether the performance was given in a film or TV show that didn’t reach the audience it deserved, or the eye of the culture was attuned to something or someone else, and overlooked an important discovery right under its nose, that’s where we come in. IndieWire has gathered a list of 14 breakout performances from 2022, spanning film and television. Some you’ve certainly heard of already.
But such discoveries can, at times, be far too restricted. Whether the performance was given in a film or TV show that didn’t reach the audience it deserved, or the eye of the culture was attuned to something or someone else, and overlooked an important discovery right under its nose, that’s where we come in. IndieWire has gathered a list of 14 breakout performances from 2022, spanning film and television. Some you’ve certainly heard of already.
- 12/5/2022
- by Ben Travers and Kristen Lopez
- Indiewire
Even with one of cinema’s all-time great villains as its walking, wheezing symbol, the Empire’s atrocities have never been emphasized to the extent felt in “Andor.” From the unprovoked hostilities Cassian (Diego Luna) responds to in the premiere (reminiscent of behavior by certain bullies in blue) to Episode 10’s run-for-your-life prison break — sparked by the discovery that the Empire isn’t just lying about releasing its inmates, but killing everyone who might realize they’re serving a never-ending sentence — the way showrunner Tony Gilroy meticulously constructs the Rebel forces’ motivation is acutely intense. By the time Cassian exclaims, “I’d rather die trying to take them down than die giving them what they want,” there’s no questioning how his fellow escapees will respond. You’re already on board, and so are they.
Such passion epitomizes the power of television: Detailed development over hours of storytelling (and weeks...
Such passion epitomizes the power of television: Detailed development over hours of storytelling (and weeks...
- 11/15/2022
- by Ben Travers
- Indiewire
When the ’90s began, every major theatrical release was shot on celluloid, films were edited on flatbeds rather than computer screens, animation was still a hand-drawn art, and analog sound was the norm for both mixing and exhibition. By the end of the decade all of this would change thanks to some of the biggest technological revolutions since the conversion to sound over 60 years earlier. The 1990s transformed the ways that we make, watch, and listen to movies like no decade before or since, and its innovations continue to reverberate today. Here are nine films without which film history and the cinematic landscape today would be very, very different.
This article contains contributions from Bill Desowitz, Jim Hemphill, Chris O’Falt, and Sarah Shachat.
This article was published as part of IndieWire’s ’90s Week spectacular. Visit our ’90s Week page for more.
This article contains contributions from Bill Desowitz, Jim Hemphill, Chris O’Falt, and Sarah Shachat.
This article was published as part of IndieWire’s ’90s Week spectacular. Visit our ’90s Week page for more.
- 8/18/2022
- by Bill Desowitz, Jim Hemphill, Sarah Shachat and Chris O'Falt
- Indiewire
“Deep Dive” is a in-depth podcast and video essay series with the stars and creative team behind an exceptional piece of filmmaking. For this spring edition, the IndieWire Crafts team partnered with HBO Max to take a closer look at the limited series ”Station Eleven” with creator Patrick Somerville, star Mackenzie Davis, and nine key members of the creative team behind the series finale “Unbroken Circle.”
Endings are hard for any television show, but at times the odds of “Station Eleven” pulling off a satisfying conclusion seemed about as low as, well, surviving a global pandemic that wipes out 99 percent of the world’s population. There is an episodic nature to the series: Instead of stringing out one single story over 10 hours, creator Patrick Somerville and team explore the lives of a far-flung ensemble impacted by a deadly flu virus. “Station Eleven” skips freely through time, from the first hours...
Endings are hard for any television show, but at times the odds of “Station Eleven” pulling off a satisfying conclusion seemed about as low as, well, surviving a global pandemic that wipes out 99 percent of the world’s population. There is an episodic nature to the series: Instead of stringing out one single story over 10 hours, creator Patrick Somerville and team explore the lives of a far-flung ensemble impacted by a deadly flu virus. “Station Eleven” skips freely through time, from the first hours...
- 6/16/2022
- by Sarah Shachat
- Indiewire
Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work we believe is worthy of awards consideration. In partnership with Amazon Prime Video, for this edition we look at how “As We See It” casting director Cami Patton found untapped talent pools of neurodiverse actors to breathe life into the show’s main cast.
A cast-contingent series — a TV pilot that will only be ordered to series if the lead casting is approved — requires that the show’s casting director not only find the right people to fill roles, but find people who inspire a sense that the show, as a whole, is going to work. On “As We See It”, Jason Katims’ observational comedy about a group of young adults on the autism spectrum living together, this meant casting neurodiverse actors who could inspire that series-wide confidence. Casting director Cami Patton...
A cast-contingent series — a TV pilot that will only be ordered to series if the lead casting is approved — requires that the show’s casting director not only find the right people to fill roles, but find people who inspire a sense that the show, as a whole, is going to work. On “As We See It”, Jason Katims’ observational comedy about a group of young adults on the autism spectrum living together, this meant casting neurodiverse actors who could inspire that series-wide confidence. Casting director Cami Patton...
- 5/16/2022
- by Sarah Shachat
- Indiewire
IndieWire is pleased to announce we’re launching a Special Projects vertical that will expand our offering of premium editorial and video franchises, including Craft Considerations and Influencers. Over the coming months, the team will also be expanding upon franchises like Toolkit, Sketch to Screen (a new animation franchise) and more as we bolster our offerings around Oscars and Emmys as well as year-round executions.
Jason Gonzalez has been promoted to VP, Special Projects & Partnerships to oversee the sales and marketing of Special Projects. Chris O’Falt has been promoted to Executive Editor, Crafts & Special Projects, to oversee editorial execution of Special Projects content. He also retains his responsibility for overseeing day-to-day Craft editorial coverage.
“IndieWire had its most successful sales year ever in 2021. A huge part of this was Jason’s excellent work in building these editorial franchise opportunities for our entertainment partners,” says IndieWire Publisher James Israel. “It’s...
Jason Gonzalez has been promoted to VP, Special Projects & Partnerships to oversee the sales and marketing of Special Projects. Chris O’Falt has been promoted to Executive Editor, Crafts & Special Projects, to oversee editorial execution of Special Projects content. He also retains his responsibility for overseeing day-to-day Craft editorial coverage.
“IndieWire had its most successful sales year ever in 2021. A huge part of this was Jason’s excellent work in building these editorial franchise opportunities for our entertainment partners,” says IndieWire Publisher James Israel. “It’s...
- 2/10/2022
- by IndieWire Staff
- Indiewire
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