Art & Crafts from The Ankler

The Tattooist of Auschwitz, based on a book by Heather Morris, follows the true story of Lali and Gita Sokolov, who fell in love as prisoners at the notorious concentration camp. The action moves between the chilling world of Auschwitz and Melbourne, Australia circa 2006, when Morris meets Lali (Harvey Keitel) and learns his history. “It’s an inspiring story of love and survival in the darkest place on earth,” says Claire Mundell, who produced the Peacock limited series. Mundell, interviewed by

Shogun always meant a lot to Michael Cliett, who has fond memories of watching the 1980 miniseries with his dad as a kid in Japan. So the Emmy-nominated visual effects supervisor leapt at the opportunity to work on FX’s lavish adaptation of the James Clavell novel. Cliett speaks with host Rob Legato, the Oscar-winning VFX legend behind Titanic, about creating an authentic representation of Japan in the year 1600. “Everything had to be grounded in reality,” Cliett says, including the show’s brutal

Guy Ritchie’s stylish crime series The Gentlemen brings together British entitled aristocrats to Thai underworld killers in a power struggle over drugs, land and money. To build the world where these characters collide, Ritchie turned to production designer Martyn John and costume designer Loulou Bontemps. The duo spoke with Jeannine Oppewall, the Oscar-nominated production designer behind Seabiscuit and L.A. Confidential, about the “amazing creative rhythm” and occasional aesthetic skirmishes with

“Jon's very opinionated and combative, but not in a bad way,” says Gotham Chopra, who likens the Bon Jovi frontman to an elite athlete. “Really smart, strongly opinionated — but at the end of the day, respects talent and allows people to do their job.” And Chopra’s job, as EP and director of Hulu’s Thank You, Good Night: The Bon Jovi Story, was to pack the iconic glam-rock band’s four decades of monster hits and personal challenges into one docuseries. Moderated by award-winning editor Michael

”It was a celebration of us being back together,” says first-time Oscars showrunner and Executive Producer Raj Kapoor. He’s talking about the instant classic showstopper “I’m Just Ken” that electrified audiences during the 96th Academy Awards, but as he notes, he’s also talking about the joy of returning to the movies. During this intimate conversation also with choreographer Mandy Moore and led by the inimitable Debbie Allen (who choreographed the Oscars a record 10 times), Kapoor and Moore share

On a December weekend, costume designer Holly Waddington (earlier credits include War Horse) missed a slew of holiday parties after getting called to meet Yorgos Lanthimos about Poor Things. She spent days in a mad dash, preparing imagery based on the script and eponymous novel. What she ended up pitching involved “strange Japanese dolls with these clothes [in which] the proportion of the cloth is far too big for the scale of the doll.” The surreality of the aesthetic that made it onscreen is

While Oppenheimer production designer Ruth De Jong and director Christopher Nolan were location scouting in New Mexico, site of the world’s first nuclear test, they heard that Russia had invaded Ukraine. “It was at the beginning when everyone was like, well, is this going to be World War III?” recalls De Jong, who “felt a responsibility” given the gravity of the film’s subject matter and Russia’s real-time threats to use nuclear weapons. That commitment to portraying the physical reality of