Golovko tracked down a craftsman in France who hand-beats 2,000-year-old Celtic carnyx horns into shape — and talked him into recording 200 samples for the film.
With days to go, we look at the odds of Netflix coming away with a grand prize.
David Schwartz seriously knows how to make a show feel light on its feet. The composer is behind Arrested Development, The Good Place, Northern Exposure, and most recently, the Michael Schur-created Netflix series, A Man...
The mind behind the surreal new animated comedy discusses the art of relentless gags, finding humor in the misery of the legal system, and why he proudly ensured absolutely zero AI was used in making the show.
In 2019, Netflix scored its first Best Picture nomination at the Academy Awards with Alfonso Cuarón’s Roma. Since then, the streaming service has yet to win the top prize. However, it is not due to...
The cinematographer breaks down her rule-breaking color palette, noir-tinged visuals, and how explosive set pieces and Irish landscapes shaped the show’s uniquely vibrant, cinematic comedy.
Editor Nigel Williams breaks down blending suspense and comedy, real explosions, hidden Easter eggs, and the intricate editing behind Lisa McGee’s twist-filled mystery series.
Some of Netflix’s most entertaining and technically impressive films, from razor-sharp thrillers to genre-bending crowd-pleasers, prove awards glory does not always find the titles that deserve it most.
Ante Cheng reveals how lenses, light, and dual perspectives shaped the haunting murder mystery and its jaw-dropping final twist.
Kelli Jones reveals how sneakers, streetwear, and subtle color storytelling shaped the grounded, hyper-real look of Netflix’s The Rip, from Ben Affleck’s Jordans to punk-leaning detectives.
Juanmi Azpiroz shoots The Rip with an old-fashioned punch. The cinematographer was always looking back to the past on the Joe Carnahan film, which is arguably more noir than action-thriller. Shadows loom large over the...
Screenwriter Yulin Kuang discusses her Harry Potter fanfic roots, directing Beach Read, and why she fought to keep People We Meet on Vacation "horny and sexy" in an era of sexless films.
Nobody Wants This is a sunny Los Angeles romance. The Erin Foster-created series is often light on its feet, which is no easy feat to pull off. While the comedy can go broad, that lightness...
Carnahan talks to What's on Netflix about collaborating with Academy Award winners Matt Damon and Ben Affleck and the intense, claustrophobic set pieces that define the film.
People We Meet on Vacation is sweet comfort for any fans of romantic comedies. Based on the Emily Henry novel, Brett Haley’s film has got the awkward meet-cute, a dance sequence, and globe-trotting lovers...
Composers Sean Callery and Sara Barone break down how restraint, brittle textures, and subconscious unease shaped the psychological duel at the heart of Netflix’s The Beast in Me.
The Daredevil and Umbrella Academy director breaks down shooting The Abandons, from brutal Alberta locations to grounding a Western in real danger and character.
Showrunner Tasha Huo reflects on giving Lara Croft more joy, deeper cultural context, and emotional freedom in the final season of Netflix’s Tomb Raider: The Legend of Lara Croft.
Costume designer Kirston Leigh Mann breaks down Charles Nieuwendyk’s evolution from crisp academic to suave spy, and why Ted Danson might be the easiest man on television to dress.
The director behind The Princess Switch breaks down real winter shoots, improv-fueled romance, and the small visual choices that helped turn My Secret Santa into a cozy Netflix crowd-pleaser.