Distribution experts Mick Southworth and Martin McCabe examine the trend of adapting TV shows for the cinema—and why it’s nothing new……
Production accountant John Gaskin relates the skills and experience required to manage the business and creative aspects of film production.…
Creative Screenwriting magazine’s Danny Munso examines whether, in this digital age screenwriters really need the services of an agent.…
Chris Laverty, editor of influential blog Clothes on Film, discusses why an appreciation of costume design can result in a far deeper understanding of film.…
While VFX may beguile the eye in modern filmmaking, it’s practical effects that lend an unmatched texture and realism. The special effects supervisor of Peter Weir’s THE WAY BACK explains why SFX are still alive…
For the past decade, Jill Bogdanowicz has worked as a digital colourist on films as diverse as Jay and Silent Bob Strike Back, The Exorcism of Emily Rose and Hereafter. She takes us behind the…
As the release of A Serbian Film reignites the debate about film classification, long-serving examiner Hammad Khan explains why the BBFC is more concerned with information than censorship, and why it’s adapting for a digital age.…
Watching Darren Aronofsky’s ballet drama Black Swan is a breathtaking experience, thanks as much to its stunning visuals as its performances. Here, costume designer Amy Westcott reveals the role that she played in the film’s…
As the screenwriter of films like THE QUEEN, FROST/NIXON and THE DAMNED UNITED, Peter Morgan knows how to pen a hit. But that’s not to say he’s always confident in his work. Here, he explains why…
