News & Features

Association changes a big part of its show structure for the first time in decades

"If you look at graphic novels, images are graphically presented in colors and composition but also through collages on each page where you might go from an extreme close-up of a face to a wide landscape."

"What started out as a simple editing exercise—could we tell the entire story of the mission using only archival materials—turned into a cooperative effort by an international team of experts to create the definitive work on Apollo 11 for the screen"

"Every scene is like a 'micro film.'"

Following Alex Honnold as climbs the face of El Capitan in Yosemite National Park ... without a rope.

Director Bing Liu "wanted to explore the connected themes of skateboarding and violence in the home through a character-driven approach."

"At the end of the day, these were just young, passionate kids who had a lot of energy and some really big ideas, but played around with some dangerous stuff in the quest for fame, or infamy or whatever you want to call it. And ultimately, it got out of their control."

"The film closes the distance between people by inviting close looking, and in turn close feeling, and allows the audience the feeling of witnessing something—linking wonder and awe to the encounter with the protagonist."

"Through our many years of collaboration we have developed a very precise method of work," says Yorgos Lanthimos's editor Yorgos Mavropsaridis. "The process is about finding the balance, tone and stylistic preferences."

"There were points where in working stuff out, it got like trying to do a Rubik's Cube in your head."

"[There is] this brightness in the sky you cannot avoid, and that felt very metaphorical to my main character's crisis."

"Filming is a sort of postproduction," director Jean-Luc Godard says.

"This is a film that explores the distance between the victim and her voice, the fragility of human emotions that both provoke and hinder positive change, and the unbelievable resilience of a woman willing to sacrifice herself to play the media game that is modern advocacy."

The film, director Marilyn Ness says, addresses "the most challenging questions facing police, citizens and the leaders tasked with protecting them."

"Instead of going with the magical, we went with the realism in our cinematic language."

"Thanks to Cuarón’s own remarkable 65mm cinematography, it feels as if the filmmaker is writing his memoirs with moving images."

"'Hold the World' is an extraordinary next step in how we can communicate and educate people about experiences they wouldn't usually have access to in the real world."

"We wanted to tell a story set in Berlin, 1977, and we wanted to make a film from that era as if we were there."