Tag Archives: The Last of Us

Visual Effects: VES Award Nominees Announced

The Visual Effects Society (VES) has announced the nominees for its 22nd Annual VES Awards, which recognize visual effects artistry and innovation in features, animation, television, commercials and video games. The awards also recognize the VFX supervisors, VFX producers and hands-on artists who bring this work to life. Awards will be presented on February 21 at The Beverly Hilton Hotel in Los Angeles.

The Creator leads the feature film field with seven nominations, and the animated Spider-Man: Across the Spider-Verse has seven nominations as well. Leading in the episodic category with nominations is The Last of Us, which has six.

Nominees in 25 categories were selected by VES members at 39 in-person and virtual nomination events conducted worldwide over a 36-hour continuous process. The VES Awards nominations protocol included a review of each award submission, including before-and-afters, by a minimum of three different judging panels. Participating VES members on the panels represented 25 countries.

The nominees for the 22ndAnnual VES Awards in 25 categories are as follows:

OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL FEATURE

Dungeons & Dragons: Honor Among Thieves

Ben Snow

Diana Giorgiutti

Khalid Almeerani

Scott Benza

Sam Conway

 

Guardians of the Galaxy Vol. 3

Stephane Ceretti

Susan Pickett

Alexis Wajsbrot

Guy Williams

Dan Sudick

 

Indiana Jones and the Dial of Destiny

Andrew Whitehurst

Kathy Siegel

Robert Weaver

Julian Hutchens

Alistair Williams

 

Oppenheimer

Andrew Jackson

Mike Chambers, VES

Giacomo Mineo

Dave Drzewiecki

Scot Fisher

 

The Creator

Jay Cooper

Julian Levi

Ian Comley

Charmaine Chan

Neil Corbould, VES

 

OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL FEATURE

 

John Wick: Chapter 4

Janelle Croshaw Ralla

Reina Sparks

Jonathan Rothbart

Javier Roca

Gerd Nefzer

 

Killers of the Flower Moon

Pablo Helman

Brian Barlettani

Sam Bassett

Brandon Keys McLaughlin

 

Napoleon

Charley Henley

Sarah Tulloch

Luc-Ewen Martin-Fenouillet

Simone Coco

Neil Corbould, VES

 

Nyad

Jake Braver

Fiona Campbell Westgate

Christopher White

Mohsen Mousavi

 

Society of the Snow

Félix Bergés

Micaela Gagliano

Laura Pedro

Ezequiel Larrú

Pau Costa

 

OUTSTANDING VISUAL EFFECTS IN AN ANIMATED FEATURE

 

Chicken Run: Dawn of the Nugget

Jon Biggins

Jim Lewis

Charles Copping

Matthew Perry

 

Elemental

Peter Sohn

Denise Ream

Sanjay Bakshi

Stephen Marshall

 

Nimona

Archie Donato

Yancy Lindquist

Theodore Ty

Anthony Kemp

 

Spider-Man: Across the Spider-Verse

Alan Hawkins

Christian Hejnal

Michael Lasker

Matt Hausman

 

Teenage Mutant Ninja Turtles: Mutant Mayhem

Matthieu Rouxel

Marie Balland

Jacques Daigle

Vincent Leroy

 

OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL EPISODE

 

Ahsoka; Season 1; Dreams and Madness

Richard Bluff

Jakris Smittant

Paul Kavanagh

Enrico Damm

Scott Fisher

 

Loki; Season 2; Glorious Purpose

Christopher Townsend

Allison Paul

Matthew Twyford

Christopher Smallfield

John William Van Der Pool

 

Monarch: Legacy of Monsters

Sean Konrad

Jessica Smith

Jed Glassford

Khalid Almeerani

Paul Benjamin

 

The Last of Us; Season 1; Infected

Alex Wang

Sean Nowlan

Stephen James

Simon Jung

Joel Whist

 

The Mandalorian; Season 3; The Return

Grady Cofer

Abbigail Keller

Victor Schutz IV

Cameron Neilson

Scott Fisher

 

OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL EPISODE

 

A Murder at The End of the World; Season 1; Crypt

Aaron Raff

Tavis Larkham

Douglas Stichbury

Mat Ellin

 

Citadel; Season 1; Secrets in Night Need Early Rains

Wesley Froud

Scott Shapiro

Aladino Debert

Greg Teegarden

 

Ted Lasso: Season 3; Mom City

Gretchen Bangs

Bill Parker

Lenny Wilson

 

The Crown; Season 6; Dis-Moi Oui

Ben Turner

Reece Ewing

Oliver Bersey

Joe Cork

 

Winning Time: The Rise of the Lakers Dynasty; Season 2; BEAT LA

Raymond McIntyre Jr.

Victor DiMichina

Javier Menéndez Platas

Damien Stantina

 

OUTSTANDING VISUAL EFFECTS IN A REAL-TIME PROJECT

 

Alan Wake 2

Janne Pulkkinen

Johannes Richter

Daniel Kończyk

Damian Olechowski

 

Cyberpunk 2077: Phantom Liberty

Jakub Knapik

Paweł Mielniczuk

Maciej Włodarkiewicz

Kacper Niepokólczycki

 

Immortals of Aveum

Joseph Hall

Kevin Boyle

Dave Bogan

Julia Lichtblau

 

Marvel’s Spider-Man 2

Jacinda Chew

Jeannette Lee

Bryanna Lindsey

Alan Weider

 

Mortal Kombat 1

Christopher Chapman

Scott Quinn

James DeSousa

Jeff Palmer

Matt Gilmore

 

OUTSTANDING VISUAL EFFECTS IN A COMMERCIAL

 

Accenture; Changing Tree

Simon French

Vic Lovejoy

David Filipe

Matteo La Motta

 

Apple; Air Pods Pro; Quiet The Noise

Iain Murray

Oscar Wendt

Dean Robinson

Sergio Morales Paz

 

Coca-Cola; Masterpiece

Ryan Knowles

Antonia Vlasto

Gregory McKneally

Dan Yargici

 

Jean Paul Gaultier; Divine Perfume

Stéphane Pivron

Cécile Hubin

Guillaume Dadaglio

Mathias Barday

 

Virgin Media; Goat Glider

Ben Cronin

George Reid

Sam Driscoll

Christian Baker

 

OUTSTANDING VISUAL EFFECTS IN A SPECIAL VENUE PROJECT

 

Hypersphere 360; SeaWorld Abu Dhabi

Daren Ulmer

Cedar Connor

Lindsey Sprague

Ryan Kravetz

 

Postcard From Earth

Aruna Inversin

Eric Wilson

Corey Turner

Bill George

 

Rembrandt Immersive Artwork

Andrew McNamara

Sebastian Read

Andrew Kinnear

Sam Matthews

 

The Marvels: Goose the Flerken Cat

Tim Kafka

Mari Suarez

Toya Drechsler

Sebastian Niño Florez

 

Zootopia: Hot Pursuit

Blaine Kennison

Jeanne Angel

Darin Hollings

Aaron Arendt

 

OUTSTANDING ANIMATED CHARACTER IN A PHOTOREAL FEATURE

Aquaman and the Lost Kingdom; Topo the Octopus

Thomas Ward

Andrew Butler

Felix Slinger-Thompson

Jacob Burstein

 

Godzilla Minus One; Godzilla

Kosuke Taguchi

Takashi Yamazaki

 

Guardians of the Galaxy Vol. 3; Rocket

Nathan McConnel

Andrea De Martis

Antony Magdalinidis

Rachel Williams

 

Wonka; Oompa Loompa

Dale Newton

Kunal Ayer

Valentina Ercolani

Gabor Foner

 

OUTSTANDING ANIMATED CHARACTER IN AN ANIMATED FEATURE

 

Elemental; Ember

Gwendelyn Enderoglu

Jared Fong

Jonathan Hoffman

Patrick Witting

 

Elemental; Wade

Max Gilbert

Jacob Kuenzel

Dave Strick

Benjamin Su

 

Spider-Man: Across the Spider-Verse; Spot

Christopher Mangnall

Craig Feifarek

Humberto Rosa

Nideep Varghese

 

Teenage Mutant Ninja Turtles: Mutant Mayhem; Superfly

Gregory Coelho

Anne-Claire Leroux

Simon Cuisinier

Olivier Pierre

 

OUTSTANDING ANIMATED CHARACTER IN AN EPISODE, COMMERCIAL, GAME CINEMATIC OR REAL-TIME PROJECT

 

Diablo IV; Inarius and Lilith Cinematic; Lilith

Matt Onheiber

Jason Huang

Maia Neubig

 

Shadow and Bone; Season 2; No Funerals; Nichevo’ya the Shadow Monster

José María del Fresno

Matthieu Poirey

Carlos Puigdollers

Guillermo Ramos

 

The Last of Us; Endure & Survive; Bloater

Gino Acevedo

Max Telfer

Pascal Raimbault

Fabio Leporelli

 

The Nevers; It’s a Good Day; Robot Dog

Christian Leitner

Bernd Nalbach

Sebastian Plank

Martin Wellstein

 

Virgin Media; Goat Glider; The Goat

Sam Driscoll

Kanishk Chouhan

Suvi Jokiniemi

Chloe Dawe

 

OUTSTANDING CREATED ENVIRONMENT IN A PHOTOREAL FEATURE

 

Guardians of the Galaxy Vol. 3; Knowhere

Omar Alejandro Lavrador Ibanez

Fabien Julvecourt

Klaudio Ladavac

Benjamin Patterson

 

Indiana Jones and the Dial of Destiny; Underwater Wreck Environment

Johan Gabrielsson

Adrian Tsang

Stefan Andersson

Martin Eneroth

 

John Wick: Chapter 4; Place de L’Étoile

Manuel Gaudreau

Fabrice Vienne

Vignesh Ravi

Laurent Makowski

 

The Creator; Floating Village

John Seru

Guy Williams

Vincent Techer

Timothée Maron

 

OUTSTANDING CREATED ENVIRONMENT IN AN ANIMATED FEATURE

 

Chicken Run: Dawn of the Nugget; Chicken Island

Charles Copping

Matthew Perry

Jim Lewis

Jon Biggins

 

Elemental; Element City

Chris Bernardi

Brandon Montell

David Shavers

Ting Zhang

 

Spider-Man: Across the Spider-Verse; Mumbattan City

Taehyun Park

YJ Lee

Pepe Orozco

Kelly Han

 

Teenage Mutant Ninja Turtles: Mutant Mayhem; Midtown Manhattan

Olivier Mitonneau

Eddy Frechou

Guillaume Chevet

Arnaud Philippe-Giraux

 

OUTSTANDING CREATED ENVIRONMENT IN AN EPISODE, COMMERCIAL, GAME CINEMATIC OR REAL-TIME PROJECT

 

Loki; Season 2: 1983; World’s Fair White City

Christian Waite

Ben Aickin

Francesco Ferraresi

Pieter Warmington

 

Star Trek: Strange New Worlds; The Broken Circle

Nathaniel Larouche

Owen Deveney

Mujia Liao

Alex Morin

 

The Last Of Us; Look for the Light; Salt Lake City

Pascal Raimbault

Nick Cattell

Jasper Hayward

Kristine -Joeann Jasper

 

The Last of Us: Post-Outbreak Boston

Melaina Mace

Adrien Lambert

Juan Carlos Barquet

Christopher Anciaume

 

OUTSTANDING VIRTUAL CINEMATOGRAPHY IN A CG PROJECT

 

Guardians of the Galaxy Vol. 3

Joanna Davison

Cheyana Wilkinson

Michael Cozens

Jason Desjarlais

 

Migration

Guylo Homsy

Damien Bapst

Antoine Collet

David Dangin

 

Spider-Man: Across the Spider-Verse

Rich Turner

Randolph Lizarda

Daniela Campos Little

Thomas Campos

 

The Creator

Roel Coucke

Christopher Potter

Amanda Johnstone-Batt

Jeremy Bloch

 

OUTSTANDING MODEL IN A PHOTOREAL OR ANIMATED PROJECT

 

Guardians of the Galaxy Vol. 3; The Arête

Kenneth Johansson

Jason Galeon

Tim Civil

Artur Vil

 

Peter Pan & Wendy; Jolly Roger

Patrick Comtois

Thomas Gallardo

Harrison Stark

David Thibodeau

 

Spider-Man: Across the Spider-Verse; Spider HQ

Dongick David Sheen

Mark JeongWoong Lee

Mikaela Bantog

René Völker

 

The Creator; Nomad

Oliver Kane

Mat Monro

Florence Green

Serban Ungureanu

 

OUTSTANDING EFFECTS SIMULATIONS IN A PHOTOREAL FEATURE

 

Napoleon

Koen Hofmeester

Gianmichele Mariani

Clair Bellens

Hernan Llano Duque

 

Nyad; Stormy Waters

Korbinian Meier

Sindy Saalfeld

David Michielsen

Andreas Vrhovsek

 

The Creator

Ludovic Ramisandraina

Raul Essig

Mathieu Chardonnet

Lewis Taylor

 

The Nun 2

Laurent Creusot

Sebastien Podsiadlo

Michael Moercant

Benjamin Saurine

 

OUTSTANDING EFFECTS SIMULATIONS IN AN ANIMATED FEATURE

 

Elemental

Kristopher Campbell

Greg Gladstone

Jon Reisch

Kylie Wijsmuller

 

Spider-Man: Across the Spider-Verse

Pav Grochola

Filippo Maccari

Naoki Kato

Nicola Finizio

Teenage Mutant Ninja Turtles: Mutant Mayhem

Louis Marsaud

Paul-Etienne Bourde

Serge Martin

Marine Pommereul

 

The Super Mario Bros. Movie

Simon Pate

Christophe Vazquez

Milo Riccarand

 

OUTSTANDING EFFECTS SIMULATIONS IN AN EPISODE, COMMERCIAL, GAME CINEMATIC OR REAL-TIME PROJECT

 

Citadel; Secrets in Night Need Early Rains; Ocean Water

James Reid

Mathew Rotman

Filipp Elizarov

Nardeep Chander

 

Invasion; Season 2; A Voice from the Other Side

Zybrand Jacobs

Alex Marlow

Tim Jenkinson

Tobias Grønbeck Andersen

 

Loki; Season 2; Science/Fiction; Spaghettification

Rafael Camacho

Jonathan Lyddon-Towl

Julien Legay

Benedikt Roettger

 

The Mandalorian; Season 3; Lake Monster Attack Water
Travis Harkleroad

Florian Wietzel

Rick Hankins

Aron Bonar

 

Willow; Children of the Wyrm; Crone Duststorm and Magical Effects

Michael Cashmore

Robert Zeltsch

Jiyong Shin

Audun Ase

 

OUTSTANDING COMPOSITING & LIGHTING IN A FEATURE

 

Guardians of the Galaxy Vol. 3

Indah Maretha

Beck Veitch

Nathan Abbot

Steve McGillen

 

John Wick: Chapter 4; Apartment Massacre Videogame Style

Javier Roca

Julien Forest

Thomas Bourdis

Dominik Kirouac

 

Spider-Man: Across the Spider-Verse

Bret St.Clair

Kieron Cheuk-Chi Lo

Kelly Christophers

Rowan Young

 

The Creator; Bar

Phil Prates

Min Kim

Nisarg Suthar

Toshiko Miura

 

The Creator; Spaceships

Ben O-Brien

Juan Espigares Enriquez

Wesley Roberts

Hayes Brien

 

OUTSTANDING COMPOSITING & LIGHTING IN AN EPISODE

 

The Last of Us; Endure and Survive; Infected Horde Battle

Matthew Lumb

Ben Roberts

Ben Campbell

Quentin Hema

 

The Last of Us; Infected; Boston

Casey Gorton

Francesco Dell’Anna

Vaclav Kubant

Natalia Valbuena

 

The Mandalorian; Season 3; The Return

Sam Wirch

Tory Mercer

Donny Rausch

Erich Ippen

 

Willow; Children of the Wyrm

Jeremy Sawyer

Steve Hardy

Martin Tardif

Miguel Macaya Ten

 

OUTSTANDING COMPOSITING & LIGHTING IN A COMMERCIAL

 

Accenture; Changing Tree

David Filipe

Matteo La Motta

Jordan Dunstall

Taran Spear

 

Coca-Cola; Masterpiece

Ryan Knowles

Greg Mckneally

Taran Spear

Jordan Dunstall

 

Smirnoff; Cocktail

Vittorio Barabani

Peter Hodsman

Giacomo Verri

Marc Greyvenstein

 

Starfield

Jimmy Bullard

Ajit Menon

Ruairi Twohig

Karim Moussa

 

OUTSTANDING SPECIAL (PRACTICAL) EFFECTS IN A PHOTOREAL PROJECT

I’m a Virgo

John McLeod

Scott Kirvan

Alec Gillis

Carl Miller

 

Mission: Impossible – Dead Reckoning Part One

Neil Corbould, VES

Ray Ferguson

Keith Dawson

Chris Motjuoadi

 

Oppenheimer

Scott Fisher

James Rollins

Mario Vanillo

 

Society of the Snow

Pau Costa

Carlos Laguna

Guillermo F. Aldunate

Eloy Cervera

 

EMERGING TECHNOLOGY AWARD

 

Blue Beetle; Machine Learning Cloth

JohnMark Gibbons

Allen Ruilova

Momme Carl

David Minor

 

Elemental; Volumetric Neural Style Transfer

Vinicius C. Azevedo

Byungsoo Kim

Raphael Ortiz

Paul Kanyuk

 

The Flash; Volumetric Capture

Stephan Trojansky

Thomas Ganshorn

Oliver Pilarski

Lukas Lepicovsky

 

Wish; Dynamic Screen Space Textures for Coherent Stylization

Brent Burley

Daniel Teece

Brian J. Green

 

OUTSTANDING VISUAL EFFECTS IN A STUDENT PROJECT

 

Au 8ème Jour

Flavie Carin

Agathe Sénéchal

Alicia Massez

Elise Debruyne

 

L’Animal Sauce Ail

Aurélien Duchez

Ysaline Debut

Diane Mazella

Camille Rostan

 

Loup y es-tu ?

Célina Lebon

Louise Laurent

Emma Fessart

Annouck François

Silhouette

Alexis Lafuente

Antoni Nicolaï

Chloé Stricher

Elliot Dreuille

Emmy-Nominated Editors on HBO’s The Last of Us

By Iain Blair

The Last of Us, HBO’s series based on the videogame of the same name, is full of violence and zombies created by a parasitic fungus. And, like the game, it’s an intimate character study that tells the story of Joel (Pedro Pascal), a smuggler, who has to protect and escort Ellie (Bella Ramsey), a teenage girl with a rare immunity to the plague, across a US ravaged by the zombie apocalypse.

Timothy Good, ACE

The nine-part series was created by Naughty Dog’s Neil Druckmann, who also created and wrote the 2013 game, and co-showrunner Craig Mazin, the writer behind HBO’s Chernobyl.  The series racked up 24 Emmy nominations, including ones for editors Timothy Good, ACE, and Emily Mendez.

I spoke with Good and Mendez about the editing challenges, collaborating with the showrunners and the post workflow.

Tell us about working with Neil Druckmann and Craig Mazin as well as how you approached the edit.
Timothy Good: Here’s the fun thing about them: They’re incredibly generous with artistic interpretation, so they told us nothing. They didn’t give me a sense of how it should be cut. They just said, “Do what you do, and we’ll see how it works.”

I’d never played the game, but Emily had, so our strategy going in was that I’d be able to interpret it for an audience who didn’t know the game, and she’d be able to understand it for people who did. Of course, Neil and Craig know the game intimately, so they’d be able to adjust it. The only thing we got in preparation for editing was the screenplay, which was a very dense, rich document with a ton of description. It was an excellent road map to what they were looking for, and we just took off from there.

Emily Mendez

How did you guys divide the episodes?
Good: I cut the pilot and Episodes 3 and 4, and then Emily and I cut four more together. Craig’s initial approach was, “Do what you do, and then I’ll see if you connect with what I’m doing.” And evidently, I connected perfectly with that because he said to me, “I want you to do as many of them as you possibly can.” I told him I’d try, but it would probably be impossible because it’s so much work.

In addition to the three episodes I’d already been given, he wanted me to cut Episode 7, which we shot out of sequence for weather reasons, but I just didn’t have enough time. That’s when I suggested bringing on Emily, and I told him I’d take over if it didn’t go well – knowing full well that she’d succeed. And she did, at which point Craig said, “Now you guys get to operate as a team,” which was awesome, as there was no way to get through four more mini-features in such a short time.

Emily, you used to be Tim’s assistant, and here you are as Tim’s co-editor on four episodes. How does that work? Give us a sense of how you guys collaborate.
Emily Mendez: We’d co-edited before on a couple of episodes in Season 3 of The Resident. When I came on this show, I was his assistant, and he threw me a few scenes to edit on Episode 3, called “Long, Long Time.” It was the first episode we worked on, and once Craig saw them and liked them, Tim told him I’d cut them, so Craig was aware I could cut. During that time, I was also working closely with Craig on temp sound design, so I was building that relationship and a kind of shorthand with him. He loves sound, as do I, and we’re both very passionate about it, so we bonded very closely over it.

Live-action video game adaptations are tricky. How did you avoid the pitfalls of making it look too much like a game while keeping it compelling for viewers?
Mendez: From the beginning, Neil and Craig took a really grounded approach. They were honoring the game but still creating a show we could enjoy and connect with. The scripts were so beautiful, and I always felt we were in a place where it’s grounded and real.

In the edit, Tim and I always took that approach, of staying grounded and connected to our characters — always story-based and character-based.

Good: The other thing is that, as Craig has said, a video game is a very active and participatory medium, while a TV series is very passive. So he had to adjust everything the game was into a passive format, so you never felt like you were a participant, but always an observer. That’s how he’d translated the game story into the screenplays with Neil. That allowed us to read them like film as opposed to a participatory medium, and always through the lens of character.

Tell us about the workflow. What editing gear and storage setup did you use?  
Good: We shot the vast majority of the film in Calgary on ARRI Alexa Minis, capturing a 2.8K extraction from 3.2K ProRes. VFX turnovers were EXR. RPL supplied our Avids, and we used their nifty cloud-based system. I believe we started out with a 32TB Unity and added more storage by the end.

Where was all the editing and post done?
Good: Mostly in small post offices in Burbank. I was in Calgary for the first three months, starting with Episode 3, and they sent me back. The picture edit of those seven episodes took one year to do. The rest of it was the sound mixing, VFX and so on.

What was the hardest scene to cut and why? 
Good: That’s a really good question. I’d say the trickiest scene was the big battle sequence in Episode 5, mainly because we had so much material. It was filmed over three weeks at night, and it was the big action set piece of the entire season. The director was Jeremy Webb, and he had four cameras running at all times, so the footage was massive. And my process is that I need to see it all. So I watch everything and catalog it all and start creating little selects of every single piece that I think will work in telling the story. Then I put it all together in a massive sequence.

Then Jeremy saw it and made his adjustments. Then Craig saw it and said, “It’s great except for one thing: The story’s being hidden. We need to find the story of the actual battle. How can we make it about Joel and Ellie’s character connection?”

I then had to spend days going through all the footage to create a skeleton of how these two interact within the context of the battle and figure out a way to show how Joel only shoots while protecting Ellie. He never shoots otherwise. Ellie’s always on the move and unpredictable, causing Joel to have to react all the time and panic at the thought of losing her.

There are a lot of VFX. Did you use temp VFX?
Mendez: Yes, depending on what we were working on. We had a VFX team in the office with us and they’d help us with temps as needed. For the battle scenes, a lot was practical but we had VFX for “the bloater.”

Good: Alex Wang was the VFX supervisor, and we had a ton of vendors — including Weta and DNeg — working on over 3,000 shots. What was great was that production design did most of the work for the actors so they could feel like they were in this world. Then VFX took over above the frame; the bluescreens would only start 12 feet above the frame and eyeline.

What about sound? Did you use sound temps?
Mendez: Yes, and figuring out the sound design was a long process. For instance, on the pilot we had some very complicated scenes, including the plane crash. In the earlier version we had a sort of chaotic soundscape with lots of layers — people screaming, alarms going off and so on. Craig watched it and suggested scaling it back, so on my second pass we had a gunshot in the distance, a transformer blowing, and so on. The sounds were more deliberately placed, which allowed more silence. So then we went with more restraint, which made it more tense, and that became our template.

Congratulations on your Emmy nominations. Where does this rate in terms of creative challenges and satisfaction for you?
Good: It’s the best thing I’ve ever done, the most wonderful collaboration I’ve ever had and the most difficult challenge ever.

Mendez: I agree completely, and it’s given me so much opportunity to grow. I’ve loved everything about it.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.