Mark Salisbury
Features“We’ve elbowed our way into the industry”: charting the rise of cinephile social platform Letterboxd
How can the film industry take advantage?
FeaturesHow Jesse Eisenberg “saved the day” by helping to fund ‘Sasquatch Sunset’
US filmmakers David Zellner and Nathan Zellner have been hooked on the Bigfoot myth since childhood, culminating in Berlinale Special title Sasquatch Sunset.
Features‘Oppenheimer’ cinematographer breaks down four key scenes: "Limitations become advantages"
Hoyte van Hoytema shot Oppenheimer in black-and-white and colour, telling a story that spans cramped interiors and expansive spectacle. The cinematographer talks to Mark Salisbury about filming four key scenes in Christopher Nolan’s blockbuster epic.
FeaturesMartin Scorsese breaks down four key scenes from ’Killers Of The Flower Moon’: “A couple of people with me got frightened”
Martin Scorsese’s Killers Of The Flower Moon tells a story of love, avarice, manipulation, stupidity and murder. The writer/director talks to Screen about the conception of four pivotal scenes from the Oscar- and Bafta-nominated American epic.
FeaturesUK special effects guru Neil Corbould on staging key scenes from ‘Mission: Impossible - Dead Reckoning’ and ‘Napoleon’
Double Oscar-winning special effects supervisor Neil Corbould is Bafta-nominated this year for both Mission: Impossible — Dead Reckoning and Napoleon. He tells Mark Salisbury about how his team staged two key scenes in each film
FeaturesCarey Mulligan: Bradley Cooper asked me to go “all in” for ‘Maestro’ role
Carey Mulligan says she had never allowed herself to let go fully as an actor before playing Felicia Bernstein in Maestro. She tells Screen why this role was different.
FeaturesWhy Emma Stone’s ‘Poor Things’ role required a physical and emotional transformation
In Poor Things, Emma Stone delivers her most vivid performance yet, spiralling from oversized toddler to empowered woman. She tells Screen about the immersion that took her on a riotous ride.
FeaturesPaul Mescal on romancing Andrew Scott in ‘All Of Us Strangers’: “It felt fizzy when we were acting”
Mescal also discusses his upcoming roles in ‘Gladiator 2’ and Oliver Hermanus’s ‘The History Of Sound’.
FeaturesLudwig Göransson discusses his acclaimed ‘Oppenheimer’ score: “You want to feel what he feels”
Ludwig Göransson’s high-impact score for Oppenheimer helped turbocharge the biographical drama into a $952m blockbuster hit. Screen talks to the Oscar winner about his journey into sound.
FeaturesLeonardo DiCaprio on his “unredeemable” ‘Killers Of The Flower Moon’ character, collaborating with Lily Gladstone
DiCaprio discusses re-tooling the script for ‘Killers’, plus his future projects.
FeaturesHow a “huge professional failure” led debut director Cord Jefferson to ‘American Fiction’
American Fiction won the Toronto people’s choice award.
FeaturesDavid Fincher and Andrew Kevin Walker on creating hitman thriller ‘The Killer’
The Killer sees David Fincher deliver a lean, efficient and darkly funny hitman tale.
FeaturesPaul King talks casting Timothée Chalamet in ‘Wonka’: “He’s slightly unknowable, like he’s stepped in from another world”
Following two hit Paddington films, Paul King cooks up an origin tale for Roald Dahl’s genius chocolatier Willy Wonka.
Features“Independent financing is the best and worst way to make a film,” says ‘Ferrari’s’ Michael Mann
Director and car enthusiast Michael Mann talks to Screen about the long road to bringing Ferrari to the screen and why, in his 80th year, he has no plans to slow down.
FeaturesHow Bradley Cooper harnessed his conductor obsession to make 'Maestro'
Maestro director and star Bradley Cooper talks about why his biopic of iconic composer/conductor Leonard Bernstein connects to a lifelong personal obsession.
Features“It’s a producers dream”: inside Neom’s nine-production deal with Saudi's Telfaz11
Screen reports on Neom’s partnership with leading Saudi production company Telfaz11 to produce up to nine film and TV projects over the next three years
FeaturesUS producer Eric Hedayat talks making $150m historical epic ‘Desert Warrior’ at Neom
Eric Hedayat — the US executive producer of the $150m ’Desert Warrior’ — talks to Screen about shooting the first tentpole feature on location at Neom’s desert facility Bajdah
FeaturesThe wild ride behind ‘Nimona’: switching studios and staying true to its LGBTQ+ roots
Mark Salisbury talks to directors Nick Bruno and Troy Quane and source author ND Stevenson.
FeaturesWayne Borg outlines Neom’s 2024 plans for its two productions hubs: “We’ve got a substantive pipeline”
Screen talks to Borg about how the futuristic region of Neom in Saudi Arabia is establishing itself as a go-to destination for international production.
FeaturesJonathan Glazer on ‘The Zone Of Interest’: "I wanted to remove the artifice of filmmaking"
The film took Glazer almost nine years to make, and is only his fourth feature in 23 years.