It’s not always clear what prompts the call that eventually leads to a film assignment. For Jacqueline West, costume designer of The New World, she... »

In Munich, editor Michael Kahn sets a deliberate pace that ticks with the precision of a Swiss movement. Cinematographer Janusz Kaminski’s imagery,... »

Production designer Jack Fisk has more than a nodding appreciation for Terrence Malick’s working methods, having been a part of all his films going... »

Narnia exists in the misty haze of memory that’s evocatively captured in stark images by veteran cinematographer Donald McAlpine, ASC. He conveys... »

The Producers recalls the Technicolor MGM musicals of Hollywood’s heyday. It’s big, brash and unrealistic with unsubtle sets and lighting... »

In Brokeback Mountain there’s a rhythmic pace to the editing of the late Geraldine Peroni and Dylan Tichenor that keeps the story absorbing and in... »

By Leonard Klady In Walk the Line, the cadences of Michael McCuskers’ editing are energized by a catalog that’s mournful, insistent and... »

In A History of Violence, the contrast between dark and light provides a potent visual approach to the material. Production designer Carol Spier... »

In The Brothers Grimm, production designer Guy Hendrix Dyas’ scrupulously detailed village has a ferocious authenticity that visually grounds the... »

In War of the Worlds cinematographer Janusz Kaminski takes naturally to getting into the trenches with an in-your-face first-hand approach to the... »