All articles by Mark Salisbury – Page 3
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FeaturesJanusz Kaminski on creating a romanticised look for ‘The Fabelmans’ and making 20 films with Spielberg
Screen talks to the Oscar and Bafta-winning cinematographer.
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Features“The hardest thing I’ve ever done”: Behind the gruelling process of editing ‘Top Gun: Maverick’
Editor Eddie Hamilton talks to Screen.
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FeaturesJames Gray on how ‘Armageddon Time’ was inspired by his family: “Dad was worse in real life”
James Gray returns to his Queens roots with coming-of age drama Armageddon Time. The filmmaker tells Sceen what inspired him to mine his own childhood.
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FeaturesAntoine Fuqua on ‘Emancipation’, the Will Smith slap: “He was treated like he murdered someone”
Antoine Fuqua takes on the most serious subject of his career with big-budget slavery drama Emancipation, starring Will Smith.
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FeaturesHow ‘The Fabelmans’ team brought Steven Spielberg’s childhood to screen
The Fabelmans is Steven Spielberg’s most personal film to date. Screen talks to two key collaborators — screenwriter Tony Kushner and producer Kristie Macosko Krieger.
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Features“I wanted a sense of faded grandeur”: ‘Empire Of Light’ team on creating the film’s look
Sam Mendes drew on his own life experiences to create Empire Of Light — set in the early 1980s on the south coast of England. Screen talks to the filmmaker and key design department heads.
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FeaturesHow Joseph Kosinski convinced Tom Cruise to make a 'Top Gun' sequel
Producer Jerry Bruckheimer and director Joseph Kosinski tell Screen about the film’s epic journey.
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Features“I didn’t sleep for two years”: Austin Butler reveals the fear he felt every day on the set of ‘Elvis’
Austin Butler approached the title role of Baz Luhrmann’s biopic ‘Elvis’ with a mix of thrill and terror. The fast-rising star tells Mark Salisbury about his two sleep-deprived years of intense preparation.
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Features“Then I got the knee sweats”: Cate Blanchett recalls the moment after she said yes to ‘TÁR’
In TÁR, Cate Blanchett plays a brilliant classical conductor whose revered status is enabling her own bad behaviour.
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FeaturesAna de Armas on playing Marilyn Monroe in ‘Blonde’: “The heaviness and sadness of it did stay with me for a bit”
Ana de Armas threw herself into a role that required her to navigate dark and disturbing places.
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FeaturesHow local production ‘Norah’ represents a new wave of Saudi filmmaking
Budgeted at sub-$2m, Norah is a co-production between Riyadh-based Black Sugar Pictures and local service provider Nebras Films.
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FeaturesStars of Tomorrow one-to-one: Rosy McEwen & Eddie Marsan
McEwen and Marsan worked on dystopian feature ‘Vesper’, a Karlovy Vary premiere.
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FeaturesStars of Tomorrow 2022: Adjani Salmon (actor/writer/director)
Read profiles of all of our 2022 Stars.
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Features‘Bait’ director Mark Jenkin on his unconventional folk horror ‘Enys Men’
Jenkin was offered more conventional, bigger-budget projects after Bait, but turned them down in favour of returning to his roots,
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FeaturesVue International’s Tim Richards talks post-pandemic recovery: “We’re in rebuilding mode”
CEO Tim Richards acknowledges that his 228-site circuit is emerging from the pandemic as a “bruised” operation, but sees opportunity ahead.
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FeaturesHow Steven Spielberg’s ‘West Side Story’ reimagined the classic musical for the 21st century
Screen talks to screenwriter Tony Kushner, producer Kristie Macosko Krieger and Rita Moreno about its journey to screen.
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Features'Dune' editor Joe Walker on finding the right length for the film
With Dune, Joe Walker has edited his fourth feature for director Denis Villeneuve — and has been rewarded with Bafta and Oscar nominations.