Dozens of people visited the controversial display in Moscow on Wednesday evening, with more queueing outside to get in
Dozens of people visited the controversial display in Moscow on Wednesday evening, with more queueing outside to get in
A Lonely Man by Chris Power review – breakdown in BerlinPower is celebrated for his short stories, and his debut novel, about creative theft and Russian intrigue, is full of fine writing ‘Patrick is alone in Berlin, believing himself pursued by lethal factions of the Russian state because he knows too much.’ Photograph: Omer Messinger/EPA
10 of Britain’s best arts festivals for summer 2021Festivals are back to brighten up our lives, with events from Edinburgh to Brighton lining up live music, art trails, theatre and family fun, alongside virtual shows Edinburgh’s skyline at dusk. The city hopes to welcome back live events as part of its range of 2021 festivals. Photograph: George Clerk/Getty Images
Brain fog: how trauma, uncertainty and isolation have affected our minds and memory. After a year of lockdown, many of us are finding it hard to think clearly, or remember what happened when. Neuroscientists and behavioural experts explain why
Readers on the bookshops they miss most: ‘I can’t wait to take my lockdown baby!’Bookshops hold a special place in the hearts of readers. With retail now open across the UK, we asked you to tell us about the bookshops you are longing to browse Booksellers of The Portobello Bookshop in Edinburgh, holding books to be hand-delivered, pictured in 2020. Photograph: Jack Clark
Tech workers at the New York Times announced Tuesday that they have formed a union and are now requesting recognition by the paper. According to the Times, the new union, known as the Times Tech Guild, will represent at least 650 employees who work in software engineering, web and software design, data analysis and product management. The Times Tech Guild will be represented by the NewsGuild of New York, which also represents the Times’ unionized newsroom employees, but will be part of a distinct bargaining bloc. “We are a group of New York Times employees who build, maintain, analyze and support products and technical systems that are key to the company’s success,” the union said in a statement announcing its existence. “We believe that the Times will become stronger by improving its workplace culture.” Also Read: Trump Rails Against NY Times for Report on His Campaign Fundraising Tactics “To better express and defend our rights, we are organizing with the NewsGuild of New York,” the statement continued. “As of now, we face a number of challenges, including sudden or unexplained terminations, opaque promotion processes, unpaid overtime, and underinvestment in diverse representation. Without a union, we lack the data or bargaining rights we need to address these issues. Through collective bargaining, we will be able to build The Times’ world class digital products and platforms in a workplace that is more equitable, healthy and just. We ask that management recognize the NewsGuild of New York as our bargaining representative and begin negotiating in good faith.” We’re excited to announce that the tech workers of @nytimes have formed a union with @nyguild. Say hello to #NYTimesGuildTech! https://t.co/OiQMxZePL6 pic.twitter.com/KVjpuQUdcm — New York Times Tech Guild (@NYTGuildTech) April 13, 2021 In a statement, New York Times management said: “At The New York Times, we have a long history of positive and productive relationships with unions, and we respect the right of all employees to decide whether or not joining a union is right for them. We will take time to review this request and discuss it soon with representatives of the NewsGuild.” Read original story New York Times Tech Employees Unionize At TheWrap
How will the movie end? There are seven possibilities. This article, Golden Village to screen interactive film ‘Late Shift’ next week, originally appeared on Coconuts, Asia's leading alternative media company.
The singer will be working with Venus Wong and the cast of "Forensic Heroes"
The actress is not changing her mind about having "Walang Hanggang Paalam" being her last series
Tuesday’s “The Late Show” kicked off with a short video inspired by a recent team up between New York Mayor Bill de Blasio and multihyphenate superstar Lin Manuel-Miranda. And guess what, you definitely won’t be surprised by where it goes. The duo officiated the opening of a new COVID vaccination center in Times Square, which is a symbolic part of the effort to get Broadway back to full strength. Naturally, the “Late Show” clip used that as a jumping off point for a “Hamilton” parody… and we bet $5 million dollars you already know which song from the smash hit Broadway musical they picked. Don’t worry, you don’t owe us anything. We’ll just confirm that yes, obviously, the vaccine-inspired song was a parody of “My Shot.” You know, because the vaccine is delivered via a shot. And also, you don’t want to miss your shot because if you do, you won’t develop COVID antibodies. Also Read: ArcLight Hollywood Lost Supremacy Even Before the Pandemic Shut It Down for Good Watch the clip below, and we’ll post the lyrics underneath it. On #LSSC tonight: @Lin_Manuel can’t wait for Broadway to get vaccinated so shows can come back. pic.twitter.com/PX0O3Uv4Vw — A Late Show (@colbertlateshow) April 14, 2021 Lyrics: I am now goin’ to get my shot I am now goin’ to get my shot Hey yo I’m so sick of COVID/can theaters please reopen I am now goin’ to get my shot I’ma get a slot on Broadway in Mahattan And stand in line and wait behind Spongebob and Phantom And if Aladdin tries to cut me then I’ll give him a magic carpet ride to his Doom He’s gonna be in the room where I’m slappin’ I’m an actor of the stage But take no intermissions If they’re running low on shots/then I’m willing to audition Yes I’ve got a monologue I’m well prepared I ran it by some of the Elmos/working in Times Square I’ll cry when I get the Pfizer My eyes will turn to geysers Tears might be synthesized I’m a professional empathizer I’ve learned the only Tony anyone needs Is the one named Fauci out to beat the disease That’s called the C-O-V-I-D-Nineteen Once they’ve jabbed me I’ll yell scene They are now administering my shot They are now administering my shot And they loved how I act/I got a callback So in 28 days I’ll get another shot Read original story Colbert Reimagines the Exact ‘Hamilton’ Song You’re Already Humming as a Vaccine Anthem (Video) At TheWrap
The network will be the sixth studio to acquire the rights after the success of "The World of the Married"
More coffee connoisseurs in Singapore can soon get their drinks in a flash. This article, Flash Coffee plans to open more than 100 stores in Singapore, originally appeared on Coconuts, Asia's leading alternative media company.
Much telekinetic destruction ensues.
In an appearance on Sean Hannity’s Fox News show on Tuesday, Texas Senator Ted Cruz, best known for taking a vacation in Mexico while his constituents suffered through a devastating winter storm, deployed some of same talking points other Republicans have used when discussing the killing of Daunte Wright. In this case, he emphasized the official line from police that it was an accident, while baselessly smearing Democrats as pro-violence and assigning all blame for violence to “the left.” Cruz — who notably lied about his trip to Cancun in February, including a clumsy attempt to blame his own daughters — was asked by Hannity to comment on the ongoing protests in the Minneapolis suburb of Brooklyn Center, where Wright was killed by a police officer during a traffic stop on Sunday. The protests are currently in their third night and have unfortunately been marked by violent clashes between police and protesters, and also sporadic vandalism and looting. Also Read: Trevor Noah Slams Police for Daunte Wright's Death: 'Cops Think Everything Is a Gun - Except Their Own Gun' (Video) Here’s what Cruz, who also publicly whined about the people who leaked texts proving he wasn’t truthful about his reason for traveling to Mexico, told Hannity: “Well obviously what’s unfolding in Minnesota is horrific, and the violence that we’re seeing has the potential to spill out and get out of control. It began with what now appears to be a tragic accident, and an accident where a man’s life was taken by mistake. Unfortunately in the course of interactions with law enforcement, sometimes there are accidents that occur. But this is a situation where the racial, uh, powder keg, that we see, the left willing to light the fire of and incite violence, incite murders that we saw all across the country, murders of police officers, fires and burning of stores is, is wrong. And it’s horrific. The shooting needs to be fully investigated, it needs to be gotten to the bottom of why that happened. But, the answer is not engaging in violent riots and there are a whole lot of Democratic politicians who celebrate and encourage this kind of lawlessness and resort to violence and it has become a central part of the Democratic Party.” So, a couple of things about that. First, while the widespread protests against police violence did see instances of looting and vandalism in 2020, the only murders of police officers, as well as the burning down of a police precinct in Minneapolis, weren’t committed by protesters. In fact, these incidents of violence and murder were committed by right wing terrorists federal law enforcement agencies say were attempting to incite a civil war. Also Read: Minnesota Twins, Timberwolves and Wild Postpone Games After Police Killing As for the accusation that Democrats support “lawlessness” and “violence,” the majority of Democrats, including President Joe Biden, have denounced violence and called for calm. However, Ted Cruz for his part was a notable supporter of efforts to overturn the 2020 election that culminated in the violent, deadly Capitol riot Jan. 6 in which supporters of Donald Trump were incited by Trump himself to storm the Capitol building in order to locate and potentially murder members of congress, as well as then-Vice President Mike Pence. And even after the riot ended, Cruz still attempted to overturn the election results during the congressional certification process. However, the next day he did call the rioters terrorists and say that Trump’s rhetoric was “irresponsible.” Anyway, watch Ted Cruz, if you want to, above. Read original story Ted Cruz on the Killing of Daunte Wright: ‘There Are Accidents That Occur’ (Video) At TheWrap
The 2021 Blue Book collection’s extraordinary jewels are showcased on a colourful journey through nature – earth, land, sea, sky.
If you find Domoto familiar, you may have seen him as Kindaichi in the Japanese live-action mystery drama The Kindaichi Case Files.
Lee Aaker, who starred in the ABC series “The Adventures of Rin Tin Tin,” died this month near Mesa, Arizona of a stroke, according to a Facebook post from fellow former child actor Paul Petersen. He was 77. Born in Inglewood, California, in 1943, Aaker was first found by director Fred Zinnemann and cast for his short film “Benjy,” which was commissioned as a fundraiser video by Los Angeles Orthopedic Hospital and featured Aaker as a boy with scoliosis who is offered the chance to undergo a medical procedure that could cure him, but must first get permission from his parents whom have rejected him because of his condition. Despite being based on dramatized scenes, it qualified for the Best Documentary Short category at the Oscars and won in 1951. Also Read: Richard Rush, Oscar-Nominated Writer-Director of 'The Stunt Man,' Dies at 91 Later that year, Zinnemann brought Aaker back for an uncredited appearance in his most iconic film, the classic Western “High Noon,” opposite Gary Cooper. Though it won four Oscars, the film controversially lost Best Picture at the 1953 Academy Awards to Cecil B. DeMille’s “The Greatest Show on Earth,” which ironically Aaker also appeared in another uncredited role. Overall, “High Noon” and “The Greatest Show on Earth” were two of nine films released in 1952 that Aaker appeared in…all before he turned 10. After appearing with John Wayne in the 1953 Western “Hondo” and alongside Barbara Stanwyck in the John Sturges noir film “Jeopardy,” Aaker earned his greatest claim to fame with “The Adventures of Rin Tin Tin,” which ran from 1954 to 1959 on ABC. The “boy and his dog” series featured Aaker as Corporal Rusty, a boy living during the days of the Old West who is taken in by a U.S. Cavalry outpost after he is orphaned by an Apache raid. Alongside his German Shepherd, Rin Tin Tin, Rusty would accompany the cavalry on their adventures. Also Read: Gerren Taylor, Star of BET's 'Baldwin Hills,' Dies at 30 After the show’s end, the then-teenage Aaker got a handful of cameo roles on TV series like “The Donna Reed Show,” where he met Paul Petersen, who was a cast member, as well as “The Lucy Show,” Lucille Ball’s follow-up to “I Love Lucy” after her divorce from Desi Arnaz. But by the time he came of age, the offers had dried up. His final acting credit was an uncredited role in the 1963 film adaptation of “Bye Bye Birdie.” He enlisted in the Air Force shortly after leaving Hollywood and later became a carpenter. In the Facebook post announcing Aaker’s passing, Petersen said Aaker died “alone and unclaimed…listed as an ‘indigent decedent.'” He said that he is working on claiming military burial benefits entitled to Aaker as a veteran. “God knows when a sparrow falls,” he wrote. For the record: A previous version of this story listed an incorrect star of “High Noon.” Read original story Lee Aaker, Child Star of ‘The Adventures of Rin Tin Tin’, Dies at 77 At TheWrap
(Warning: This post contains spoilers for Tuesday’s midseason premiere of “Prodigal Son.”) The second half of Season 2 of “Prodigal Son” debuted Tuesday on Fox with an episode that focused mainly on Malcom Bright’s (Tom Payne) attempts to throw “Mind Sleuth” Simon Hoxley (Alan Cumming) off his trail in Hoxley’s investigation into the murder of Nicholas Endicott (Dermot Mulroney). And while Bright and his sister, Ainsley (Halston Sage), are very much responsible for Endicott’s death and the coverup of said murder, by the end of the hour, Bright was able to convince Hoxley that one of Endicott’s lackeys was behind it all. But as that was all going on, Bright’s father, Martin Whitly a.k.a. The Surgeon (Michael Sheen), was playing his own game of cat-and-mouse that ended even more pleasantly. The serial killer shared a kiss with Dr. Vivian Capshaw (played by guest star Catherine Zeta-Jones), Claremont Psychiatric’s resident M.D., when she came to his cell late at night to collect the suture scissors he had stolen from her infirmary. So why would any person in their right mind lock lips with a notorious murderer who has a part-time gig scrubbing bedpans for them while serving a life sentence in a psychiatric prison? Zeta-Jones says the answer to that question, while not immediately apparent in that intimate moment, speaks to Capshaw’s backstory and the “issues she has and why she’s there” that are “interwoven into what will be the end of this season of ‘Prodigal Son.'” Also Read: 'Prodigal Son' Returns: Watch Alan Cumming's 'Mind Sleuth' Go Toe to Toe With Malcolm Bright (Exclusive Video) “Obviously I’m not going to delve too much into my character arc, as much as it’s displeasing me as an actor, because I don’t want to give anything away,” Zeta-Jones told TheWrap. “But I will say to all those questions that you just asked, is that one has to ask one’s self — and actually, Martin Whitly does [in Tuesday’s episode], it’s written in the script — ‘What is a woman like you doing in a place like this?’ And it’s not a pickup line, it’s a real, genuine question.” She continued: “Because you think, this is not a huge career move here. What is she doing? She’s a doctor, good aspirations, she’s a professional, she is in control. She’s a little too much in control. So one thinks, what is going on inside? And this character, what drew me to the character is that she’s this still water that runs deep deep deep.” Zeta-Jones joined the Fox drama mid-way into Season 2, into what she calls “basically a two-hander play” between her and Sheen “inside the confines of a dark space, like a black box [theater], which is the psychiatric facility.” Also Read: 'Prodigal Son': Halston Sage on Ainsley's Trap, What Alan Cumming's Arrival Means for the Whitlys “For me, as an actor, it was just zero to 60 to 100 in three seconds. Plotting out the character, I had to come in at a certain level,” the Oscar winner said. “So the first two episodes I had not many scenes, and it was a wonderful exercise for me as an actor of not having 90 minutes to explain a character to my audience, which is a luxury that you have if you do a movie. It’s a luxury if you’re in every scene of 13 episodes of a Season 1 or 13 episodes of a Season 2. But when you come into an existing show and you have a very very definite idea of the character but very little screen time to do it in, it was an excellent exercise for me.” One of the defining characteristics we learn about Dr. Capshaw almost immediately on “Prodigal Son” is her love of butterscotch — and her unwillingness to share her large supply of the candy with Whitly when he starts working for her. We asked Zeta-Jones what is up with this candy quirk, something she was also inquisitive about at first. Also Read: 'Prodigal Son' Showrunners on Bright and Dani's Future: 'How Do You Keep Those Two Apart?' “When I read the script I was like, ‘What’s with the butterscotch? Where is the storyline going with the butterscotch? What am I going to do, choke him with a butterscotch?’ But what it did for me was that, for Martin Whitly and my character, basically it’s the scent of a woman,” Zeta-Jones explained. “For Martin Whitly to come into my infirmary and not used to being with a woman, having been incarcerated, and have a woman in his presence, and a doctor no less, and the scent of a woman goes by him and all he can smell is butterscotch. It’s an interesting thing to play with. This guy is actually craving my butterscotch.” “Prodigal Son” airs Tuesdays at 9/8c on Fox. Read original story ‘Prodigal Son': Catherine Zeta-Jones on What That Intimate Moment With Martin Reveals About Dr Capshaw At TheWrap
“Ma Rainey’s Black Bottom,” “Mulan” and “Promising Young Woman” have been named the best-dressed films of 2020 at the Costume Designers Guild Awards, which were presented in a virtual ceremony on Tuesday evening. Ann Roth won for “Ma Rainey” in the Excellence in Period Film category, the CDGA category that most closely corresponds to the Oscar for Best Costume Design. Bina Daigeler won for “Mulan” and Nancy Steiner for “Promising Young Woman” in the Excellence in Sci-Fi/Fantasy Film and Excellence in Contemporary Film categories, respectively. Over the last 20 years, one of the CDGA winners has gone on to win the Oscar for Best Costume Design 10 times, though the two shows have agreed just once in the last four years. The Oscar winner comes most often from the CDGA’s period category, which has produced seven winners, followed by the sci-fi/fantasy category, with three. “Ma Rainey” and “Mulan” are both nominated for costume-design Oscars, along with “Emma,” “Mank” and “Pinocchio,” all of which were also CDGA nominees. Also Read: Why 'Mank' Costume Designer's Phone Was a Secret Weapon on Set (Exclusive Video) In the television categories, “Westworld” won the award for sci-fi/fantasy TV, “The Queen’s Gambit” won for period TV and “Schitt’s Creek” won for contemporary TV. “Hamilton” won the award for variety television. The short-form award went to Damien Chazelle’s iPhone short “The Stunt Double.” Actress Lana Condor hosted the brisk 45-minute ceremony, which streamed live on Twitter and on the Costume Designers Guild website. Presenters included Rose Byrne, Andra Day, Carey Mulligan and Emerald Fennell, Amanda Seyfried, Regina King and Leslie Odom Jr. Shonda Rhimes and Betsy Beers were given the Distinguished Collaborator Award. The winners: Excellence in Sci-Fi / Fantasy Film: “Mulan” – Bina DaigelerExcellence in Contemporary Film: “Promising Young Woman” – Nancy SteinerExcellence in Period Film: “Ma Rainey’s Black Bottom” – Ann Roth Excellence in Sci-Fi / Fantasy Television: “Westworld”: “Parce Domine” – Shay CunliffeExcellence in Contemporary Television: “Schitt’s Creek”: “Happy Ending” – Debra HansonExcellence in Period Television: “The Queen’s Gambit”: “End Game” – Gabriele BinderExcellence in Variety, Reality-Competition, Live Television: “Hamilton” – Paul Tazewell Excellence in Short Form Design: Apple: Shot on iPhone by Damien Chazelle – Vertical Cinema “The Stunt Double” short film – April Napier Read original story ‘Ma Rainey,’ ‘Mulan,’ ‘Promising Young Woman’ Win Costume Designers Guild Awards At TheWrap
Call it a Battle of the Think Tanks, or maybe Stat Wars: USC’s Annenberg Inclusion Center took to social media Tuesday to disparage a new report from San Diego State University’s Center for the Study of Women in Television and Film, documenting a 28% drop in female film protagonists in top-grossing films in 2020. In series of critical tweets, the Annenberg Inclusion Center, founded by Stacy Smith, questioned the data, as well as calling out news outlets for publishing what Annenberg calls “flawed” results of the San Diego State study: The 100th film of 2020 made less than $1 million. Most years, the 100th film made roughly $22 million. @SDSU study is not relevant to trends over time. Do better journalists @variety @deadline @thewrap. Interrogate the study. Report flaws. #basicstats — Annenberg Inclusion Initiative (@Inclusionists) April 13, 2021 Other Tuesday tweets from Annenberg kept up the attack on SDSU, as well as needling the press, arguing that any results based on movies released in 2020 are bound to be skewed due to the pandemic and journalists should know better than to report the information. “Just because a study appears in the press doesn’t mean it is valid,” one Annenberg tweet...Read original story USC Researchers Attack San Diego State’s ‘Flawed’ Study of Women Screen Protagonists At TheWrap
Though he’s been active in the industry for nearly two decades, cinematographer Erik Messerschmidt made his feature film debut last year with David Fincher’s silvery period drama “Mank.” Messerschmidt credits include television work in projects as diverse as “Everybody Hates Chris,” Ridley Scott’s “Raised by Wolves,” and Fincher’s “Mindhunter.” Fincher, in fact, had hired Messerschmidt three years earlier to lens his sequel to “World War Z,” but after that project was cancelled in early 2019, the director called the cinematographer with a different proposal. “David called me and said, ‘I’ve got this black and white movie I’m thinking about. Do you want to do it?” Messerschmidt recalled to TheWrap. “He’s kind of coy like that. So I didn’t really know anything about what the film was. But I said, ‘Sure.’ The film, of course, was Fincher’s biopic of “Citizen Kane” screenwriter Herman Mankiewicz (played by Gary Oldman), and this year it led the pack in terms of total Oscar nominations with 10, including one for the 40-year-old Messerschmidt. The cinematography category is ripe with fresh talent this year. Messerschmidt, Dariusz Wolski (“News of the World”), Joshua James Richards (“Nomadland”) and Sean Bobbitt (“Judas and the Black Messiah”) are all first-time nominees. Only Phedon Papamichael (“The Trial of the Chicago 7”) has ever been nominated before. For context, at the previous Oscars, two nominees (Robert Richardson and eventual winner Roger Deakins) had a total of 25 nominations between them. Also Read: The Design of 'Mank': How Costumes and Sets Energized David Fincher's Homage to Old Hollywood Messerschmidt is currently working in Georgia on the upcoming Korean War drama “Devotion.” We caught up with him to talk about his work on “Mank” after a long week of night shoots. “If my answers are incoherent,” he said with a laugh, “just ask me to clarify.” With “Mank,” what was your first instinct in terms of your research? Did you watch movies of the same time period as “Citizen Kane”? Feeling like a classic cinematographer, I had initially compiled striking black and white images that I loved. I grabbed a lot of noir stuff, Philip Marlowe detective story stuff, the touchstones of black and white cinema, with very high contrast photography. The things that us cinematographers are attracted to when we hear the words “black and white.” I was letting myself get romanced by the idea of it. But that was foolish, because I hadn’t read the script. And after you read the script?Then I realized that was the wrong approach. I was missing the context. “Mank” isn’t meant to fetishize the contrast. So I reworked and re-compiled the images and sent them to David (Fincher). And that’s how we began our conversations. Also Read: Why 'Mank' Sound Designer Booked an Empty Movie Theater to Make the Film 'Sound Old' (Exclusive Video) So “Citizen Kane” itself wasn’t a huge reference point for you? Not in an overt way. Actually, a film like (1940’s) “The Grapes of Wrath,” which (“Citizen Kane” cinematographer) Gregg Toland also shot, turned out to be a much bigger visual reference for us. In “Grapes of Wrath,” there’s quite a bit of realism in the photography. It’s not as stylized as “Kane.” Our movie has moments of stylized lighting but it’s generally based in reality, at least from where we started each shot. But where was the line drawn by you and Fincher, regarding how far you would go stylistically? That right there is the elemental discussion between a director and a cinematographer. Where is the line? It involves being critical of your own taste and carefully gauging where you are. At times I was very concerned. I just wanted the film to be totally cohesive in its look. Do you think it was the black and white that was making you worried? Well, I had remembered an interview with (cinematographer) Vilmos Zsigmond. He was talking about “McCabe & Mrs. Miller,” where he and (director) Robert Altman had decided to “flash” the film negative so that it would have a misty, muddy look. And about halfway through the movie, Zsigmond said, he had all this anxiety that they’d made the wrong choice. But in the end, it’s one of the things that make that movie so memorable. Do you think risks are important to make something memorable? I’ve always noticed that when I’m the most confident about my work, that’s when it’s turned out the worst. So yeah. There are stories about Gordon Willis, who shot the “Godfather” films and many others, of getting in trouble for his dim lighting scheme.Oh, Gordon Willis is a hero of mine. Shooting darker has become more in vogue lately, especially on television, where we can get away with more. But you look at Willis’s work, it was never dark for dark’s sake. Look at “Klute,” which has all these beautiful moments of contrast. Look at “All the Presidents’ Men,” with those fluorescent-lit overheads. Harris Savides (the late cinematographer of Fincher’s “Zodiac”) was another huge influence for me. He was also famous for soft, top-lit, low contrast look in a lot of his movies. I have this tongue-in-cheek joke whenever we’re talking about low lighting. We don’t say anything’s dark, we say it’s rich. Especially when producers or studio people are around: “No, no, no, it’s not dark, we promise! It’s rich!” Did you and Fincher want the cinematography in “Mank” to be a big tool for telling the story? Absolutely. But David and I are very cautious of the use of the camera. For example, David wanted the sequences in San Simeon to feel musty. It’s challenging to light a big space with a lot of people and get it to feel dark and musty. It’s all soft light coming right from above. But David also thinks of the camera as a window for the audience to see into the world being created. So we used a lot of deep focus, so as an audience member you get to decide what you want to look at. Also Read: 'Mank' Costume Designer Trish Summerville Draped a Sheet Between Banana Trees to Screen the Film Can you explain what the term “deep focus” means? A lot of people have heard of it but don’t know how it’s defined.The layman explanation is that the foreground, middle ground, and background are all in crisp focus. Photographers like Ansel Adams and his Group f/64 were advocating for this in their large format work. We achieve it by closing the iris on the camera lens, which is similar to how the human eye sees the world. Gregg Toland and Orson Welles liked the philosophical idea of it for “Citizen Kane.” The technique is in practice quite a bit in “Mank,” right? Yes. David and I felt that black and white looks better in deep focus. In color photography, particularly in modern cinema, it’s common to get very sharp focus in the foreground, while the background is out of focus. It’s a way to separate the characters from the background. But when you do that in black and white, the background looks muddy and gray. We liked at the Louis B. Mayer birthday party, for example, to make the whole large room in focus. It’s very sharp. How do you think making “Mank” has changed you as a craftsman?Oh, this was a major life experience for me. After “Mank,” I definitely started to be more aggressive and gestured with my lighting than I had been in the past. And what’s interesting is that if I think back to the experience of making “Mank,” my memories are all in black and white. I don’t have any memories that are in color. I don’t remember what the sets looked like in color or what the costumes looked like. Couldn’t tell you. But I kind of like that. I feel like the finished film is a big part of my experience. Read original story ‘Mank’ Cinematographer: ‘My Memories of Making the Film Are All in Black and White’ At TheWrap