IndieWire's Filmmaker Toolkit

The Hulu series' star and co-creator talks about stepping into the showrunner role and directing four episodes for Season 2. Also discussed: Editing during the pandemic, short films vs. formulaic TV structuring, and the letter he shared from "Ramy" parking coordinator Jon Johnson Sr. that went viral throughout the production world.

Gould on how he is approaching the end of “Better Call Saul” and his writers room tackles character on the series that is a prequel to "Breaking Bad.” We also discuss how the visual and aural language of the show has evolved from co-creator Vince Gilligan's original series.

The executive producer and director of episodes 1, 2, and 8 breaks down how she translated the graphic novel's cynical tone and visual style for creator Damon Lindelof.

"The Good Fight" Creators Michelle And Robert King by Chris O'Falt

The reporter who got inside Fox News talks about adapting his definitive book on Roger Ailes into the limited series starring Russell Crowe and how Ailes was a real life Citizen Kane, who mixed the talents of Leni Riefenstahl and Louis B. Mayer.

The "Ex Machina" and "Annihilation" director on his move to TV and his limited series "Devs."

Spike talks about trying to capture the essence of Beastie Boys’ friendship and the unusual (and totally “unprofessional”) creative process he, the band, and editor Jeff Buchanan went through in creating this unique documentary.

Real-time virtual sets are Hollywood’s future. These enormous (75 x 20 feet) curved LED walls serve as a live backdrop that eclipses the need for green screen. But what does that mean for filmmaking? We talked to Fraser about exactly that. The cinematographer has been pioneering “Stagecraft” with ILM for years and with "The Mandalorian" being its first large scale implementation, he saw firsthand both the possibilities and early limitations of this ground-breaking technology. …Fraser also touches on his two new highly anticipated projects: Denis Villeneuve's "Dune" and Matt Reeves' "The Batman."

One of the best reviewed films of 2020 is coming to VOD early (Apr 3), but before its theatrical run got cut short by COVID-19 I sat down with writer/director Eliza Hittman and one of her closest collaborators, her husband and editor Scott Cummings, to talk about the origins and making of this incredible film.

Sciamma talks about how to film desire, memory, and getting out of the conventions of a normal love story. She breaks down the creation of the incredible chanting song and bonfire scene, the laborious process of lighting the interiors, and how filming the ideas behind a movie can be the most rewarding type of cinema.

With the help of translator Sharon Choi, director Bong talks about the careful construction of the Oscar winner “Parasite.” From his days of being a tutor and that feeling of infiltrating a wealthy family's home, to the careful construction of the house set in his film, to the profound influence of Akira Kurosawa’s “High and Low.”

How after over 40 years of working with Martin Scorsese, "The Irishman" offered something the 3-time Academy Award winning editor had never done before.

Wilde explains how Big Lebowski influenced Booksmart, being intimidated about not having gone to film school, advice she got from Clint Eastwood about directing herself (in her upcoming thriller/horror film), and building ultimate high school movie soundtrack.

Lulu Wang on learning not to compromise her voice, how and why she used widescreen long takes, shooting in China, her next sci-fi project, and her real life grandma.

Gerwig goes deep into the process, craft and inspiration behind her remarkable adaptation of Louisa May Alcott's "Little Women."