The US Academy of Motion Picture Arts and Sciences has revealed submission deadlines in a number of categories – including foreign language film - for this year’s Oscars.
The film body has advised producers they have until July 15 to submit their films to represent Canada in the upcoming foreign language Oscar race.
Producers Dede Gardner and Jeremy Kleiner and director Adam McKay of The Big Short tell Elbert Wyche how they made an entertaining, informative film about the build-up to the calamitous global banking meltdown.
As Alex Garland’s Ex Machina vies for five Baftas and two Oscars, the film-makers look back on its production and debate the pros and cons of an international release strategy that saw the sci-fi film become a sleeper hit in the US. Mark Salisbury reports.
Bryan Cranston, the Oscar and Bafta-nominated star of Trumbo, talks to Jeremy Kay about digging deep to find the truth behind one of Hollywood’s screenwriting greats.
With just two weeks to go until the Baftas on February 14, we are into the final stretch of awards season.
London costume house Angels has made and supplied outfits to hundreds of films, from Lawrence Of Arabia to Maggie Smith’s muddy boots in The Lady In The Van. As Bafta is poised to honour the company, Sarah Cooper meets the family of Angels.
UK costume designer Sandy Powell has four Bafta and Oscar nominations this year for her work on Cinderella and Carol. She talks to Tiffany Pritchard.
Alternative music pioneer Ryuichi Sakamoto and his regular collaborator, the leading electronic musician known as Alva Noto, talk to Tiffany Pritchard about their Bafta-nominated work on The Revenant.
Having worked with Ridley Scott, Guy Ritchie and now Danny Boyle on Steve Jobs, Daniel Pemberton is rapidly becoming one of the industry’s most sought-after composers.
In a year of stunning visual-effects work, Ex Machina’s bewitching robot stands out as a peerless use of VFX. Mark Salisbury speaks to the team that created her.
Inspired by Turner and Delacroix, cinematographer Anthony Dod Mantle tells Mark Salisbury how intensity was key for In The Heart Of The Sea.
Interviews with Michael Moore, Alex Gibney, Laurie Anderson and more…
While Netflix and Amazon among others are revitalising the documentary sector in the US, it’s a different story in Europe, where factual film-makers are fighting for funds.
In-depth looks at Carol, Mad Max: Fury Road, Room and Spotlight
In her own words, Carol producer Elizabeth Karlsen reveals the 14-year-long journey to bring the adaptation of Patricia Highsmith’s novel to the screen.
Bestseller or not, Room’s sensitive subject matter was always going to be a cinematic challenge. Jeremy Kay speaks to writer Emma Donoghue, director Lenny Abrahamson and producer Ed Guiney about translating its emotional and physical space to the screen
From avoiding lawsuits to casting a prestige acting ensemble, the team behind best picture hopeful Spotlight reveal how they pulled off the high-wire act.
Mad Max: Fury Road has garnered critical acclaim and global box office of $375m and counting. But it was an arduous journey, as director George Miller, producer Doug Mitchell and production designer Colin Gibson tell Tom Grater.
Will Quentin Tarantino’s The Hateful Eight be the film to shake up this year’s awards season? Jeremy Kay looks at which movies have achieved glory so far.
Reports on the making of Inside Out, Shaun The Sheep Movie, The Good Dinosaur, Anomalisa, The Peanuts Movie and Minions
Charlie Chaplin, Peter Sellers and Mr Bean were the inspirations behind animation success story Minions. John Hazelton explores the rise of the be-goggled ones.
A lack of diversity was glaringly apparent in this year’s Oscar nominations, writes Matt Mueller.
Celebrating six BAFTA nominations and three Oscar nominations, Wildgaze Films duo Finola Dwyer and Amanda Posey look back at Brooklyn’s journey and ahead to their future slate and ambitions
After the Golden Globes, Bafta and Oscar nominations, The Revenant has become this awards season’s front-runner. Jeremy Kay talks to producer Mary Parent about bringing the most challenging project of her career to fruition
Johann Johannsson’s score for Sicario rumbles and intimidates “like a beast lurching in slow motion”, he tells Tiffany Pritchard, who meets five of the composers in contention this awards season
More commonly known as Junkie XL, the Dutch composer turned to religious themes and heavy metal to score Mad Max: Fury Road
The politically engaged composer discusses why he was drawn to Suffragette and The Danish Girl
The self-taught composer of Carol and Anomalisa used very different methods to score - and conduct - both films
Charlotte Rampling and Tom Courtenay speak to Elbert Wyche about portraying a married couple shocked from their quietude by a ghost from the past, in Andrew Haigh’s 45 Years
Cinematographer Emmanuel Lubezki talks to Mark Salisbury about the gruelling shoot in ice and snow that ensured The Revenant became a wholly immersive viewing experience
Director Paddy Breathnach and producer Robert Walpole recall the 17-year process behind their Oscar foreign-language contender Viva.
Cosima Spender talks about making Palio under the watchful eye of Siena’s authorities.
Matthew Heineman reveals why he simply picked up a camera and headed into the dangerous world of Mexico’s drug wars.
Producers Walter Parkes and Laurie Macdonald reveal why they changed tack to make Davis Guggenheim’s He Named Me Malala as a documentary rather than narrative feature.
Alex Gibney describes the intimidation tactics deployed against his Scientology exposé.
The team behind timely historical drama Suffragette speak about bringing the story to the screen and playing a part in global cultural change.
Laurie Anderson talks the inspirations for her intimate documentary Heart Of A Dog.
Michael Moore reveals how his electrifying Where To Invade Next was made under the radar.
Interviews with Steven Spielberg, Ridley Scott, Danny Boyle, Aaron Sorkin, Cary Joji Fukunaga, Alejandro Gonzalez Inarritu and Phyllis Nagy.
Steven Spielberg reveals how his latest feature, Bridge Of Spies, has been more than 50 years in the making, why he continues to shoot on film and whether he would ever re-cast Indiana Jones. Michael Rosser reports
With The Martian, Ridley Scott has landed the biggest global hit of his career. The director tells Jeremy Kay about his initial reservations, working with Matt Damon and why he keeps so busy
Danny Boyle and Aaron Sorkin, the director and writer of Steve Jobs, tell Mark Salisbury why it is crucial for film-makers to tell the stories of the tech titans shaping our world