Filmmaker Toolkit Podcast

It’s not just the actors who are playing it straight in "The Naked Gun"; the look, design, music, and stunts are '90s action film-worthy.

Writer/director Scott Z. Burns spent six months working with AI on a "Contagion" sequel, and walked away from the experience with one big warning.

With Omnes Collective, these Emerson grads found a way to make slower cinema on the cheap and grow an audience for films like “Christmas Eve in Miller’s Point.”

Director and co-writer Jennifer Kaytin Robinson talks about finding a new look for the North Carolina fishing hamlet — by shooting in Australia.

Katy Perry’s ‘Firework’ is perfect, but it took Aster trying hundreds of songs after not getting the rights to a Jay-Z track.

Co-writer and director Jennifer Kaytin Robinson tells IndieWire about the pressure to find a cast that could live up to the iconic original.

The filmmaker behind this summer's highly anticipated requel tells IndieWire about using the 1975 classic as a model and balancing serious ideas with popcorn entertainment.

Lynch’s creative process was every bit as unique as his films.

Director Gareth Edwards takes IndieWire inside the special effects boat rig.

Lynch hated what happened to “Twin Peaks: The Return” when it was mixed for broadcast TV. So he created a theatrical mix, knowing one day they’d show it in theaters.  

With a new 4K restoration in theaters and a sequel on the way, the director tells IndieWire about his influential mockumentary and why all of his movies — from "Misery" and "When Harry Met Sally..." to "Stand by Me" — are personal.

Most VFX blockbusters take 2.5 years to make, but Edwards tells IndieWire he had just 15 months.