IMPACT: Cragg earned his second Emmy nomination for his work on “The People v. O.J. Simpson: American Crime Story,” one of 22 noms for the FX anthology. His first was for “Homeland,” and he has also shot episodes of “Breaking Bad” and “Elementary.” For “O.J.,” Cragg’s multiple, searching cameras blended smoothly with the editing, building tension within a low contrast, naturalistic yet period feel that avoided duplicating shots the whole world had seen on television. “Fifteen years ago, when I was a student, Laszlo Kovacs advised me to never shoot television,” says Cragg. “But the paradigm has shifted. I’m getting better scripts in television and work with better actors and directors.”
UPCOMING: Cragg is directing an episode of “American Horror Story” for exec producer Ryan Murphy, his director on four episodes of “O.J.”
Courtesy of Nelson Cragg
IMPACT: Dillon has shot an episode of “Game of Thrones” in each of the past three seasons, and his other work includes episodes of “Penny Dreadful” and “Vikings.” A painterly glow suffuses his interiors on “Throne,” often motivated by torches and candlelight. The HBO show takes an unusual approach in which a supportive team of cinematographers creates imagery that must blend into a single world. “I’d prefer to shoot film, but the immediacy of digital technology allows us to do far more subtle work much more quickly,” he says. “On-set grading means that you can really push it to the limit without making a mistake. Meanwhile, the expectations get higher, and the production values are raised, and it really pushes you.”
UPCOMING: Dillon is booked on “Game of Thrones” through December.
Courtesy of PJ Dillon
IMPACT: An Emmy winner for “Sherlock,” Kidd continues to shoot one of the three 90-minute episodes that make up each season. Between those, he’s done “Outlander,” and more recently, “Travelers,” a time-travel series that was picked up by Netflix. Kidd shot on the Red Weapon camera in order to meet the Netflix requirement for 4K image capture. “Delivering the best-quality pictures is a sales point for Netflix,” Kidd says. “It’s a bit wild-west right now, but in some cases, we are shooting high-dynamic-range 4K, and I think people are going to be blown away when they see it. HDR opens a whole new world of realism. You’re seeing so much more of the picture.”
UPCOMING: Kidd is shooting the sci-fi series “Altered Carbon” using the large-format, high-resolution Arri Alexa 65 camera.
IMPACT: Perhaps the most influential cinematographer working today, Lubezki took his intensely personal handheld operating style (showcased on “Gravity” and “Birdman”) to the Rocky Mountains for Alejandro Iñárritu’s “The Revenant,” becoming the first DP to win three consecutive Oscars. “This film came at the right time for me, because I had been learning about how to control natural light without much equipment, and without imposing myself,” says Lubezki. Cinematographers have historically worked to control and smooth over differences in the weather, but here, he says, “The changing elements were an important part of the story. ‘The Revenant’ required every single atom of my knowledge and energy, in a very precarious environment.”
UPCOMING: Lubezki shot the forthcoming “Weightless” for director Terrence Malick, his collaborator on “Tree of Life” and “To the Wonder.”
IMPACT: A two-time Oscar winner for “Avatar” and “Lincoln,” Carter recently completed “Star Wars: The Force Awakens” and “The BFG.” He is happy to inspire the next generation of production designers with old-school methods while also showing he can embrace new ways of telling story. “It’s about being of your time in a way that’s reflective of the moment in your art,” says the veteran Steven Spielberg collaborator, who partnered with younger designers on “BFG” and “Star Wars.” He says he feels like Obi-Wan Kenobi, passing on knowledge and experience. “I get to be that, without all the fighting.”
UPCOMING: “Ready, Player One” with Spielberg and more “Star Wars” with “Rogue One.”
Courtesy of Rick Carter
IMPACT: Supervising art director Diner worked successively on “Fifty Shades of Gray” and “The Revenant.” On the latter he was challenged by a harsh environment and an exacting director (Alejandro Iñárritu) who only wanted to shoot in specific light. His biggest obstacles, he says, were the “pedestrian challenge of access and manipulating the physical environment.” His department built approximately 400 feet of actual forest that had to be moved manually to fit scene constraints. “If they didn’t feel natural, there was a price to be paid,” he says.
UPCOMING: Supervising art director on “The Predator” with helmer Shane Black and art director on “The Maze Runner: The Death Cure” with helmer Wes Ball, who himself has multiple art department credits.
Courtesy of Michael Diner
IMPACT: Gibson has fond memories of “Mad Max: Fury Road,” for which he won his first Oscar, but possibly a little PTSD after spending so long seeing it to completion. “I think it was like the most skittish horse I ever rode,” he says. “To mix metaphors, it was a roller-coaster ride that lasted almost a decade.” The on-off nature of production required regular revisiting of work done before and put aside, and doing the vast majority of it in the Namibian desert. “It was a marvelous crayon to have,” he says.
UPCOMING: “24 Hours to Live” with Ethan Hawke and the coming-of age period film “Flammable Children,” starring Guy Pearce.
Courtesy of Warner Bros.
IMPACT: The wildly kinetic “movable feast” that became “Grease Live” on Fox was born out of an aborted stage project that got Korins thinking about how to give scenery more depth, motion, and “cathartic revelation of space.” He spent two years researching “Broadway 4D” only to have it collapse, but redirected that knowledge to “Grease.” “It was about smushing them together to create a whole new art form,” says Korins, who also developed and executed scenic designs for Broadway’s “Hamilton.” “I feel like we showed the magic of what theater really does.”
UPCOMING: Preparing “Hamilton” for the road and more theater with “War Paint.”
Brett S. Deutsch
IMPACT: Lamont had a unique challenge moving up from supervising art director on “Star Wars: Episode VII – The Force Awakens” to co-production designer, working alongside Doug Chiang, also a co-production designer, on “Rogue One: A Star Wars Story.” They had to reproduce sets originally used on 1977’s “Star Wars: Episode IV — A New Hope” for the “Rogue One” installment and update them for today’s audiences. “We enjoy the pressure,” says the “Harry Potter” franchise alum, adding that he approves of old-school effects technology. “Our edict has been to keep as much in-camera as possible.”
UPCOMING: Lamont is handling production design on the untitled Han Solo film, set for release in the spring of 2018. “With massive challenges ahead, I’m looking forward to getting totally immersed,” he says.
Courtesy of Neil Lamont
IMPACT: Three-time Oscar nominee Max earned NASA’s attention when he worked on Ridley Scott’s “Prometheus” — “they embraced the design of one of the control consoles we used on the film because they thought it was so cool,” he says — so returning to space for Scott’s “The Martian” and working with the space agency’s approval on designs was a particular challenge and a thrill. “They’re watching us for inspiration,” he says. “Hopefully we’ll see some of what we came up with [in the real world] in coming years.”
UPCOMING: Design on Barry Levinson and Barbra Streisand’s remake of “Gypsy.”
Courtesy of Arthur Max
IMPACT: What’s Riley been up to lately? “My life has centered around ‘Game of Thrones,’” she says, having joined the show in its fourth season and gone on to win two Emmys. She’s helped create some of the show’s most vibrant new sets (Mereen, Braavos), working with teams across three countries. “We are proud of the production values that we have been able to bring,” she says. “’Game of Thrones’ has helped to raise the bar.’”
UPCOMING: More of the same. “All I am thinking about at the moment is being able to finish the series,” she says.
Macall B Polay
IMPACT: Often associated with period drama (Oscar No.1 came from 1986’s “A Room With a View”), Beavan created dystopian battle costumes to win Oscar No. 2 for “Mad Max: Fury Road.” She followed this up with Gore Verbinski’s upcoming supernatural thriller “A Cure for Wellness” and also stepped in to help costume designer Anushia Nieradzik with Amma Asante’s “A United Kingdom.” “One cannot do a period costume film on too little money,” she says.
UPCOMING: Disney’s “The Nutcracker and the Four Realms”
IMPACT: Though she’s frequently seen working alongside Alexander Payne (“Nebraska,” “Sideways”), Chuck takes pride in her range, jumping from such big effects films as “San Andreas,” to prestige projects including the Oscar-winning “Spotlight,” to crowd-pleaser “The Boss” with Melissa McCarthy. “I loved being able to pick up $15 earrings in the mall and then use them in the film,” she says. “I loved creating this terrible person who steps on everyone. She reminded me of a certain politician.”
UPCOMING: Costume design on Payne’s next project, “Downsizing,” set to shoot in Norway.
Courtesy of Wendy Chuck
Sammy Sheldon Differ
IMPACT: Between the futuristic skin design of Alex Garland’s “Ex Machina” and the complicated suit wizardry of “Ant-Man,” Differ is half-technician, half-designer. Unique fabric similar to pantyhose made the “Ex Machina” robot come to life, while 3-D printers fabricated some of the approximately 600 pieces of the “Ant” armor. “There’s chemistry involved in costumes, and it’s that element of meddling with things with chemicals that I’m interested in,” she says.
UPCOMING: “Assassin’s Creed,” out at Christmas (“probably my most artistic film to date”) and another Garland film, “Annihilation.”
Courtesy of Sammy Sheldon Differ
Suttirat Anne Larlarb
IMPACT: Long-term collaborators Larlarb and “Jobs” director Danny Boyle sync well — she even earned an Emmy Award for her work with him on the London 2012 Olympic Opening Ceremony. “He equates us with a greater role than what the job description seems like on paper,” she says. For “Jobs,” Larlarb had to adapt to a movie filmed in chronological order, with rehearsal weeks between its three key acts. “On paper it looks utopian, but really it felt like three separate movies,” she says. She followed up “Jobs” with Robert Zemeckis’ “The Walk.”
UPCOMING: “American Gods” for HBO; “I’m getting a crash course in episodic TV.”
Courtesy of Suttirat Anne Larlarb
IMPACT: Designing for a period piece like early 20th Century New York City-based “The Knick” is something of a battle, says the Emmy-winning (“Behind the Candelabra”) Mirojnick, who had free rein from showrunner Steven Soderbergh to create the period as reflected in the story’s tone — dark, urban, and unexpected. “I had the luxury of building from the boot up.” she says. “It really cut through a layer of fussiness associated with period pieces.”
UPCOMING: Season three of “Knick” and Shonda Rhimes’ “Still Star-Crossed.”
Laura Jean Shannon
IMPACT: Shannon’s biggest “Jungle Book” challenge barely got seen: a living plant costume for young Mowgli. “Sadly, it’s a blip,” she says, noting the process was educational: “Just how long is the lifespan of a leaf if you paint it with rubber?” Plus, she had to fit the young boy in a loincloth for much of the film while making sure that “at no time would it look goofy or inappropriate.” Shannon also worked on Evan Goldberg and Seth Rogen’s supernatural “Preacher” series for AMC.
UPCOMING: The pilot for Goldberg and Rogen’s “Future Man.” “I love to bridge the line between being true science-fiction fantasy and darkness,” she says.
Courtesy of Laura Jean Shannon
IMPACT: When you can’t use actual bear grease on your super-realistic fur-and-leather costumes, make your own. That’s what three-time Oscar nominee West did on “The Revenant,” using her black wax. Pleasing director Alejandro G. Iñárritu meant strict historical authenticity — a challenge for the more than 1,500 costumes West had to create, using humanely trapped fur and bearskin obtained via the Canadian Parks Department lottery system. “We weren’t making a documentary, but he cared so much about the mood we created,” she says. “He wanted me to portray that in their clothes.”
UPCOMING: Ben Affleck’s “Live by Night”
IMPACT: Casting director McCarthy, who began in the business in the early 1990s, has been on a tear lately, shifting between casting shows like “The Mindy Project” and “Silicon Valley” to features as wide-ranging as goofy comedy (“Keanu”) and deep drama (“Captain Fantastic”). She also had both the enviable and daunting challenge of finding the new young Han Solo, ultimately going with “Hail Caesar!’s” Alden Ehrenreich, picking him out of 2,500 aspirants who vied for the role.
UPCOMING: “Untitled Han Solo,” “Jumanji,” and “The Accountant.”
IMPACT: Choreo-grapher Robinson danced around all the bases in 2016: Academy Awards, Grammy Awards, Hip Hop Honors, plus performance choreography on “The Voice.” She also produced and choreographed NBC’s “The Wiz Live!” “It’s rare you put so much time into something that’s over in 2½ hours,” she says. “My goal was to bring [the film’s] choreography into the modern day, without being too over-the-top pop.”
UPCOMING: Executive-producing an untitled one-hour series pilot for NBC that follows her own experience getting into hip-hop dance in the 1990s. Of course, she’ll choreograph, too.
Damian Martin, Elka Wardega and Lesley Vanderwalt
IMPACT: “Mad Max: Fury Road” featured post-apocalyptic looks that were immediately iconic and an Oscar win. Makeup artists Vanderwalt, Wardega and Martin had to be creative while working in Namibian desert under harsh conditions for months, dealing with weather events that were not friendly to prosthetics and makeup. But it paid off: “I have already been contacted by other designers asking for our clay and dirt recipes for jobs where they require similar things,” says Vanderwalt. “It is wonderful being able to share knowledge with your peers.”
UPCOMING: Wardega and Martin recently worked on “Gods of Egypt,” along with Vanderwalt, who has just wrapped Ridley Scott’s “Alien: Covenant.”
Debi Young and Brian Badie
IMPACT: Young delights on having put a “pretty twist on evil makeup” for Mary J. Blige’s role in “The Wiz Live!,” but for tougher-minded productions like “Underground” she and hair stylist Badie had to battle a Louisiana summer. “You had to fight stinging and biting insects and not let the actors have some kind of pimple on them they didn’t have at the start of the scene!” she laughs. Badie, took inspiration from actual photos from the time period, but tweaked them to give the hair a modern twist. “It’s important to keep things original,” he says.
UPCOMING: “Underground’s” second season, plus August Wilson’s “Fences.” Badie is also working on the upcoming “Girl Trip.”
Courtesy of Debi Young and Brian Badie
IMPACT: Known for his way with unusual, offbeat comedies like “Hello Ladies,” “Vice Principals,” and “House of Lies,” Bourret’s sense of timing has helped establish the newest wave of classic comedies in the contemporary golden age of television. “I’ve worked really hard at becoming an editor; these skills are not easily won,” Bourret says. “I always ask myself what I would want to see at a particular moment if I were an audience member.”
UPCOMING: TBS series “People of Earth,” which tells the story of a support group for alien abductees.
Courtesy of Justin Bourret
Maryann Brandon and Mary Jo Markey
IMPACT: The duo set a high standard with “Star Wars: The Force Awakens.” By creating a quick-paced action-adventure film for the ages but never forgetting the heart and soul of the drama, these editors kept seasoned fans and “Star Wars” newbies firmly planted in their seats. The two artisans come from different sensibilities. Markey is a self-described “dreamer” and “observer” with a literary background while Brandon sees herself as “the standup comic of editing. I want to show them things in a certain order and not linger too long on anything.”
UPCOMING: Markey is at work on Zhang Yimou’s “The Great Wall”; Brandon is finishing Morten Tyldum’s “Passengers.”
Courtesy of Maryann Brandon and Mary Jo Markey
IMPACT: As an editor known for his intuitive approach to his craft, Corwin’s Oscar nommed work on “The Big Short” — and earlier on “Tree of Life” and “Natural Born Killers” — has established solid storytelling while remaining unafraid of the less-structured moments. “I’m trying to make what I do as rich as I can on as many different levels as possible,” Corwin says. “I’m trying to collaborate on a deep level and in many ways it becomes like a jazz ensemble.”
UPCOMING: Corwin is starting a project that’s still under wraps.
Courtesy of Hank Corwin
IMPACT: Folts will be the first to tell you there’s a secret to editing with skill and speed. “Know how to let go of that which does not matter and focus on telling a great story,” says Folts, based at post house Chainsaw. He has built a reputation for knowing how to shape the simple but compelling stories such as those behind the performances on “America’s Got Talent.” “Without the stories of the contestants, it wouldn’t be the same show; the audience needs to connect with them.”
UPCOMING: Fresh off the Academy Awards and the Golden Globes, Folts continues with “America’s Got Talent.”
Courtesy of Ben Folts
IMPACT: Veteran Fox moves easily between such TV shows as “Law & Order” and “Hostages,” and features like “Straight Outta Compton” to tell powerful stories with an authentic edge. “I’m good at guessing where the emotion and the pacing need to be on a project,” Fox says. “Sometimes I’ll be editing and not have large parts of a scene, but I have a sense of how it needs to play for the audience to feel something.”
UPCOMING: “Granite Mountain,” starring Josh Brolin, is set for release in 2017.
Courtesy of Billy Fox
IMPACT: Before establishing a career as the kind of editor who amps up such dramas as “Game of Thrones” and “Sherlock,” Miles used to rent films on VHS and get “really absorbed in all those movies, Tarantino films, everything.” And today, he says, “every time I start a project I feel like I’m starting all over again from nothing.” That attitude, he adds, is how he keeps his work fresh.
UPCOMING: Netflix series “The Crown” premieres in the fall.
Courtesy of Yan Miles
IMPACT: Nominated for an Emmy for his work on “Game of Thrones,” Porter established himself as an editor capable of building suspense and excruciating drama in episodes such as “Battle of the Bastards” and “Hardhome.” “It takes taste and instinct to know when something is right in a scene,” he says. “And that only comes from years of editing and working through every little section of a story until it’s just where it needs to be.”
UPCOMING: “Travelers,” the Netflix sci-fi series that follows a group of time travelers on a mission.
IMPACT: Sixel took more than 500 hours of high-impact footage on “Mad Max: Fury Road” and helped create a successful action film, winning an Oscar in the process. Also known for her work on “Happy Feet” and “Babe: Pig in the City,” Sixel emphasized the care her team took on this project in an email interview with Variety earlier this year. “To put it simply, we thought long and hard about everything,” she wrote. “We were relentlessly rigorous. Forensic is a word I use to describe the process.”
UPCOMING: Sixel is enjoying a break.
Courtesy of Warner Bros.
IMPACT: When Tronick edits, he keeps the film’s entire audience in mind, making decisions that will result in compelling cinema, as exemplified by his work on hip-hop biopic “Straight Outta Compton.” “One of my proudest moments was when Ice Cube said to me that he looked at the story from another perspective because of my edits,” Tronick says. “That meant a lot to me.”
UPCOMING: Tronick’s work can also be seen in “Ben-Hur,” “Suicide Squad,” and “Warcraft.”
IMPACT: Crowley believes you have to feel what a director wants to accomplish. For “The Get Down,” Baz Luhrmann’s new Netflix series, he imitated the hip-hop world of the late 1970s. “We used poppy colors,” Crowley says of the pop art palette that permeates the series. “We also added some film grain and camera shake to imitate the look of the period and it got us there.”
UPCOMING: Crowley also helps create the period look of “The Americans” and will work on the next season of the series as well as season two of “Quantico.”
Courtesy of John Crowley
Rob Legato, Andy Jones, Dan Lemmon and Adam Valdez
IMPACT: “The Jungle Book,” with its photorealistic animals, is not only an inspired reimagining of the classic tale but also a leap forward for visual-effects artistry. “People are responding to the artistic choices,” says vfx supervisor Legato, who worked with Jones, Lemmon and Valdez on the pic’s visual effects. “We’re using the computer like a camera and striving for small, subtle imperfections to make things more real.” Legato had a system for photographing the animations from multiple angles, which made the animals seem more live and spontaneous.
UPCOMING: Legato is considering several projects.
IMPACT: On “The Martian” Nakamura was given a clear brief for the Red Planet. “[Director] Ridley Scott said he wanted Mars to look like terracotta, with those warm reddish tones, so I had to find a way to do that without making the skin tones of the actors look that way too,” says Nakamura, who also applied his color expertise to another of last year’s Oscar-nominated pics, “The Big Short.”
UPCOMING: “Snowden” and “Now You See Me 2”
IMPACT: Known for both his skill as a colorist and starting his own shingle, Company 3, Sonnenfeld has built a career working with top helmers to deliver just the right look. “For ‘Star Wars: The Force Awakens,’ J.J. Abrams, wanted us to keep it in the same vein as the originals,” he says. “We were giving things an almost photochemical look so it would have the feeling of the first films, as well as integrating the vfx.”
UPCOMING: Sonnenfeld’s company will work on “Beauty and the Beast” and “Wonder Woman,” among other films.
Courtesy of Stefan Sonnenfeld
IMPACT: Tan brought a revolution to the industry when his company, Gradient FX, took on major challenges on multiple scenes of “The Revenant.” “There were tools to intercut fake snow with real snow, make people look skinnier and extend backgrounds,” says Tan, who was hired by Jeffrey Katzenberg early in his career after emigrating from Germany. “I was always both technical and artistic growing up, so visual effects was perfect for me.”
UPCOMING: Tan’s company recently finished work on Netflix series “Stranger Things” and Starz series “Black Sails.”
Courtesy of Olcun Tan
Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett
IMPACT: The group’s work on Alex Garland’s “Ex Machina” set a high-water mark for vfx-heavy films. “No one ever wants you to create something familiar,” says visual-effects supervisor Whitehurst, who was part of the film’s Oscar-winning team, which also included Norris, Ardington, and Bennett. “We had to solve the problem of putting a robot in these shots in a smart way.”
UPCOMING: Whitehurst is at work on “Annihilation,” helmed by Garland, due out in 2017.
IMPACT: As the stunt coordinator and second unit director on the super-violent “Deadpool,” Alonzo choreographed over-the-top mayhem that mixed humor with brutality. The artisan studied animation in college and did a post-collegiate stint as a creative director at an ad agency making commercials before parlaying a passion for martial arts into a stunt career. “I feel that combination allows me to understand story a lot more than a stunt coordinator who comes specifically from stunts,” he says.
UPCOMING: Director Doug Liman’s “The Wall” and “Mena,” plus the sequel “Jack Reacher: Never Go Back,” starring Tom Cruise.
IMPACT: The son and nephew of legendary British stuntmen Andy and Vic Armstrong, respectively, James has ratcheted up the zombie mayhem with car crashes and wire work as the stunt coordinator on AMC series “Fear the Walking Dead.” He also worked on “The Amazing Spider-Man 2.” “I saw my father break his back doing a commercial, and it drove into me the importance of safety and preparation,” says Armstrong, who made his film debut at age 5 in John Boorman’s “Hope and Glory” (1987). “We try to calculate things to the point where risk is minimized.”
UPCOMING: The big-screen reimagining of “CHiPS” and the sequel “Jack Reacher: Never Go Back,” with Tom Cruise.
Courtesy of James Armstrong
IMPACT: For someone who couldn’t walk three years ago, Okoye has assembled an impressive list of credits as a stunt person in 2016, including gigs on TV shows “Arrow” and “The Flash” and features “Deadpool” and “X-Men: Apocalypse.” When she injured her foot doing a jump on the set of ABC series “Once Upon a Time” in 2013, “the whole medical industry told me I was done,” says the Canada-born Okoye. “I refused to accept that as the answer, so I fought for two years, with rehab and surgeries.
UPCOMING: An increased emphasis on acting with a 10-episode arc on Fox’s “Wayward Pines.”
Courtesy of Rochelle Okoye
Chris Duesterdiek, Jon Taylor, Frank Montano and Randy Thom
IMPACT: The quartet came together to shape the savage sonic beauty of “The Revenant” for director Alejandro G. Iñárritu, enduring a process that, while not as brutal as the one experienced by the film’s protagonist, nonetheless taxed their endurance. “The film had run into all kinds of complications along the way, and we were running out of time, so we found ourselves mixing seven days in two separate rooms [on the Universal lot],” remembers Thom, who came south to the Los Angeles area from his home base at Skywalker Sound in Northern California to work on the film. “There was never any clash or argument about what was going to happen. We just put our nose to the grindstone and finished the work.”
UPCOMING: Duesterdiek is on “War for the Planet of the Apes”; Thom is on Robert Zemeckis’ “Allied.”
Christopher Jenkins, Gregg Rudloff and Ben Osmo
IMPACT: The trio won a sound mixing Oscar for work on “Mad Max: Fury Road,” which sonically transitioned from fleets of roaring vehicles racing across the desert to the delicate shifting of sand. Jenkins and Rudloff spent time mixing in Sydney, where director George Miller resides, then returned home to Los Angeles for further tweaking. Osmo was the production sound mixer. “Gregg thought it would just be a few weeks in Sydney like everybody did, and it turned out to be almost a year,” says Jenkins. “But there’s no drudgery in doing a movie like ‘Mad Max.’ It was super-fun.”
UPCOMING: Jenkins is tackling Ron Howard’s doc “The Beatles: Eight Days a Week.”
J. Mark King
IMPACT: King has 35 years of credits as a TV sound mixer that range from “Married … With Children” to “Dancing With the Stars,” and they all informed his work on Fox musical “Grease Live!” He rehearsed for a month and a half before show day, which had him grappling with 53 wireless microphones and a live studio audience. “It was probably 50% deeper focus than on any show I’ve done in my life,” he says. “I had to memorize parts of the script because the pace of the show was so quick, I didn’t have time to turn the pages.”
UPCOMING: “Dancing With the Stars” season 23, the Primetime Emmy Awards, the CMAs, the AMAs and “Hairspray Live!”
Courtesy of J Mark King
Mark Mangini and David White
IMPACT: The chemistry between American Mangini and Aussie White resulted in a sonic alchemy that earned them Oscars for sound editing on “Mad Max: Fury Road.” Their complementary working relationship mirrors the careening dynamics of the film’s soundtrack. For instance, the climactic chase sequence “could’ve been 20 minutes of sonic abuse,” Mangini says, “but there are many dips and valleys,” as when Max falls down and blacks out on the war rig. “We thought the sound should mirror his psychological state, so we literally took every sound in the track to zero — the music, the sound effects, the dialogue — then threw it back in to get a vertigo effect.”
UPCOMING: Mangini’s got “The Accountant,” starring Ben Affleck; White has writer-director Romi Trower’s “What If It Works?”
IMPACT: The Paris-born composer has never done a Western or a spy film, unless you count “Syriana.” But in the past year alone he has covered a lot of ground, from a diverse collection of period pieces (“The Danish Girl,” “Alone in Berlin,” “Florence Foster Jenkins,” “American Pastoral”), to contemporary drama (“The Light Between Oceans,” Netflix’s “Marseille”), to the animated comedy “The Secret Life of Pets.”
UPCOMING: “Rogue One: A Star Wars Story,” where he picks up the baton from franchise mainstay John Williams. “There’s only one John Williams, so you can’t follow his tracks,” Desplat says. “[But] you want bring the best and a little bit of something else that wasn’t there before.”
IMPACT: The German native proved himself to be an adept musical chameleon as he shifted from the supernaturally infused medieval and early-A.D. settings of HBO’s “Game of Thrones” and the video game adaptation “Warcraft” to modern-day New York City in CBS’ “Person of Interest.” “Whether it’s a lush orchestral animation score or an electronic one, I believe that my personal voice always comes through,” says Djawadi, who cites 1960’s”The Magnificent Seven” as a seminal musical influence.
UPCOMING: HBO’s small-screen reboot of the 1973 film “Westworld,” about a cyborg-staffed amusement park where thing go awry, and Zhang Yimou’s feature “The Great Wall,” starring Matt Damon.
Courtesy of Ramin Djwadi
IMPACT: The 87-year-old Italian composer, who defined the Spaghetti Western sound for director Sergio Leone (“A Fistful of Dollars”) in the ’60s and went on to work with everyone from Pedro Almodovar (“Tie Me Up! Tie Me Down!) to Warren Beatty (“Bugsy) to Mike Nichols (“Wolf”), came roaring back to the cinematic forefront with his moody, tension-filled score for Quentin Tarantino’s gothic Western “The Hateful Eight.”
UPCOMING: No films projects pending, but he’s got a European concert tour running through the end of September and more dates booked for 2017
Bernfeld started assisting on films such as “War Horse” and “Tintin”; cut time travel pic “Project Almanac,” directed by Dean Israelite for Paramount and Platinum Dunes; served as additional editor on “Paranormal Activity: The Ghost Dimension”; The CW’s “The 100”; and AMC’s “Into the Badlands.” He also edited fantasy series “The Shannara Chronicles” for Sonar Entertainment and MTV, besides re-teaming with Israelite to cut the upcoming “Power Rangers” reboot for Lionsgate, set for release in March, 2017. “It’s a big movie; the challenge is balancing the spectacle with the emotional arcs of the characters,” he says.
Courtesy of Martin Bernfeld
Currently in production on the upcoming Max Landis/BBC series “Dirk Gently’s Holistic Detective Agency,” Byron calls the five-month Vancouver shoot “a very ambitious surreal action-adventure thriller.” Previous TV credits include IFC’s “Documentary Now!” Features include Todd Strauss-Schulson’s horror-comedy “The Final Girls,” Jay Chandrasekhar’s “The Babymakers,” and Max Landis’ debut “Me Him Her.” A frequent Drake Doremus collaborator, Byron designed “Like Crazy,” “Breathe In,” and drama “Equals,” staring Kristen Stewart. Next: another Doremus film, and more TV, “which is so free creatively now,” Byron says.
Courtesy of Katie Byron
Cabana, who hails from Colombia and Venezuela, has lensed more than 20 indies, including “Bullet” and “The Pact II,” and just shot 2nd unit on season two of Netflix’s “Narcos” in Colombia. “There was bad weather, traffic, lots of action, four different directors, so it was a huge challenge,” she says. She next shoots female-driven drama “The Basket Weaver” (“writer-director Peres Owino wants it to be a 99% female show”), psychological thriller “6 Rose Circle,” and female-based action film “The Red Amazon.”
Courtesy of Netflix
Corra was assistant editor on such indies as Gavin Wiesen’s “The Art of Getting By” and Whit Stillman’s “Damsels in Distress” before editing Stillman’s Amazon TV pilot “The Cosmopolitans” and his Jane Austen adaptation “Love & Friendship.” “We edited it in Paris, where Whit lives,” Corra says. “I was totally immersed in his world both in and out of the edit room.” Corra also cut Chloë Sevigny’s directorial debut “Kitty,” which premiered at Cannes.
Courtesy of Sophie Corra
Disenhof got his first break shooting Michel Gondry’s 2012 feature “The We and the I.” Recently he shot the pilot for Fox’s “The Exorcist,” directed by Rupert Wyatt, and is in Chicago shooting the first season’s 10 shows. “Coming from indies I’ve always worked fast, but TV is really fast, so my indie experience has helped.”
Courtesy of Alex Disenhof
Duncan worked in the costume department on such films as “Little Children” and designed TV series “Rescue Me” and “Royal Pains.” J.C. Chandor’s Oscar-nommed “Margin Call” “really changed the scope of my career,” she says. Duncan is working on upcoming USA series “Falling Water” and starting her third season on Showtime’s “The Affair.” “TV is now so exciting and diverse,” she says.
Courtesy of Caroline Duncan
Gotham-based Dynan, comes from documentaries and fashion photography. He studied under anthropologist-filmmaker Ákos Östör, moved to India, then the U.K., and worked with Burberry. He has shot spots for Dior, Calvin Klein, DKNY, Honda, and Alexander Wang, and provided photography for Sundance prize-winning doc “The Wolfpack.” In 2015 he lensed Paul Schrader’s crime-thriller “Dog Eat Dog.” “I usually begin with naturalism, but I’m always excited when a film allows me to exaggerate and create an amplified realism, either with bold color or interesting camera movement,” he says.
Rick Van Weelden
Emter assisted on films such as “I’m Still Here” and “Something Borrowed” for John Axelrad, and co-edited with Axelrad Sony Classics’ Miles Davis biopic “Miles Ahead,” directed by Don Cheadle. She also cut Lorene Scafaria’s dramedy “The Meddler,” which stars Rose Byrne and Susan Sarandon and premiered at Toronto, and is now cutting Lake Bell’s sophomore feature “What’s the Point,” which she describes as “an unromantic rom-com about three married couples. Balancing all their story arcs is the big challenge.”
Courtesy of Kayla Emter
Feil grew up in the film business, following in his 1st AD father’s footsteps and starting as a P.A. in commercials at 16. By 25 he’d ventured into features and television. Recent projects include “The Comedians” and “Transparent.” In 2015 he worked on upcoming comedy “Army of One” starring Nic Cage, shooting in Morocco, and is working on the upcoming Netflix comedy series “Girlboss.” “I love being an AD,” he says.
Courtesy of Adam Feil
Weylin Rose and Ethan Fortney
Fortney and Rose’s company, Shifted Cinema, has worked on projects for MGM, BMW, Toyota, Red Bull, and Microsoft Xbox, and just shot for 30 days in Fiji for Fox’s new unscripted survivalist eight-episode series “Kicking & Screaming.” This was the duo’s third Fox reality series. “We did a bunch of crazy drone shots in the jungle,” says Fortney. “It’s very dense and very challenging to fly through and then up and over the canopy.” The team used two drones and fought extreme heat and humidity.
Courtesy of Weylin Rose and Ethan Fortney
Mexico-born Garcia cut his teeth on shorts before lensing Mark Jackson’s 2012 drama “Without.” This year he shot “Neon Bull” for Gabriel Mascaro in Brazil and “Cemetery of Splendor” in Thailand for Apichatpong Weerasethakul. Garcia is now with Carlos Reygadas on his new film. He is next attached to Paul Dano’s directorial debut, “Wild Life.”
Courtesy of Diego Garcia
With a producing mother, Gordon-Crozier grew up in London “on sets, taking it all in,” she says. She later moved to New York to attend Parsons School of Design, then relocated to L.A. Her recent projects include Destin Daniel Cretton’s upcoming “The Glass Castle,” starring Brie Larson, Naomi Watts, and Woody Harrelson; “Drunk Parents,” starring Salma Hayek, Alec Baldwin, and Joe Manganiello; plus the upcoming “Low Riders,” starring Eva Longoria.
Mirren Gordon Crozier
Since his first job as a PA at trailer house The Ant Farm, Grube has set himself up as an indie go-to “trailer guy” whose credits include “The Shallows,” “There Will Be Blood,” and “Star Trek.” He cut the most watched trailers of 2014 (“Fifty Shades of Grey”) and 2015 (“Star Wars: The Force Awakens”), and edited Dan Trachtenberg’s “10 Cloverfield Lane.” “It sounds insane now as it was the first feature for both of us.”
Having doubled for Chris Evans, Justin Timberlake, and Joel Edgerton, the award-winning stuntman-turned-action-director was stunt and fight coordinator on Marvel’s “Captain America: Civil War.” He recently finished directing 2nd Unit on David Leitch’s upcoming Cold War spy thriller “The Coldest City,” starring Charlize Theron. Next up: designing the action for Marvel and the Russo Brothers on “Avengers: Infinity War Part 1 & 2.” “I want to direct my own films that seamlessly blend heart-stopping action with powerful, entertaining stories.”
Horan has shot a wide range of indies, including last year’s L.A. Outfest Audience Award winner “4th Man Out,” upcoming rom-com “The Relationship,” and promos for Netflix original series “Lemony Snicket’s A Series of Unfortunate Events,” “Bad Santa 2” and “The Leftovers.” He recently shot upcoming quirky comedy “Pottersville,” starring Michael Shannon and Christina Hendricks. Next: father-son drama “American Exit.” “I want to do more and bigger features,” he says.
Lloyd began in commercials and music videos and got his big break when Oliver Stone hired him to shoot 2nd unit on “Savages.” “After that, my movie career took off,” he says. Credits include Sundance hit “Robot & Frank,” Amazon’s “Alpha House” (earning him an ASC nomination), “Fargo” (an Emmy nom), and Marvel’s Netflix series “Daredevil.” He recently wrapped “The Seagull” and a nine-month shoot for the “Power Rangers” reboot out next spring. “I like to do it all: movies, TV, commercials,” Lloyd says.
Courtesy of Matt Lloyd
Londoner Morshead originally moved to L.A. because “it’s the best place for doing movies.” Her credits include dramedy “Avenues”; IFC Midnight’s “One and Two,” a 2015 Berlin Film Festival Crystal Bear nom; and commercials for Google, Facebook, Microsoft, and Samsung. She just wrapped director Brett Haley’s “The Hero,” starring Sam Elliott. “It was my first western. I love doing new genres,” she says.
Offord worked in Northern California before relocating to Los Angeles in 2009. Since then has collaborated with directors Jacob Rosenberg, Bryce Dallas Howard and Eva Longoria, among others. He is the re-recording mixer for Fox drama “Empire” and ABC’s sitcom “The Goldbergs.” “One of the biggest challenges mixing a show like ‘Empire,’” he says, “is creating appropriate environments that complement the music. Finding a delicate balance between the two helps enhance the story and set the emotional scene for the characters.”
Courtesy of Nick Offord
The self-taught Padilla learned his craft sitting in on film mixes after day shifts as a runner at Todd-AO. Eventually hired as a sound editor there, he won 16 MPSE Awards for his assistant work on “Game of Thrones,” “Mad Men,” and other shows. Last December he was hired as dialogue editor on the second season of Netflix’ “Narcos.” “It was all shot in Colombia and the big challenge was getting high-quality sound and dealing with the mix of English and street Spanglish,” he says. Next goal? “Supervise features.”
Courtesy of David Padilla
Schwartz learned the cutting craft as an assistant editor to Oscar-winning features editors Paul Hirsch (“Star Wars”) and Joe Hutshing (“JFK”). Big break? “When I did the first season of ‘Modern Family,’ my first TV job.” The show earned him two Emmy noms and an ACE Eddie win. His credits include Showtime’s “House of Lies,” “The Big C”; HBO’s “Getting On,” “Ballers”; as well as movies “Let’s Be Cops” and “Mike and Dave Need Wedding Dates.”
Courtesy of Jonathan Schwartz
Seiple began by shooting music videos and commercials, teamed with Hiro Murai, David Wilson, and directing duo the Daniels (Daniel Kwan and Daniel Scheinert). He shot Grammy-nominated, 2014 Camerimage-award-winning music video, DJ Snake & Lil Jon’s “Turn Down for What,” and Flying Lotus’ MTV winner “Never Catch Me ft. Kendrick Lamar.” Features include Jon Watts’ debut “Cop Car” and the Daniels’ “Swiss Army Man,” starring Paul Dano and Daniel Radcliffe. Up next: “Bleed for This.” “I just shot a feature directed by Macon Blair, wrapped a bonkers commercial for Nike with Daniels,” he says. “I’m looking for projects that are visually challenging.”
Courtesy of Larkin Seiple
Shawver, Ryan Coogler’s go-to editor, cut the helmer’s short film “Fig,” then his debut feature, Sundance winner “Fruitvale Station.” He also edited “Warren” for Alex Beh, “Tell” for J.M.R. Luna, and reunited with Coogler on “Creed.” Now, Shawver is cutting the “Dirty Dancing” remake for Lionsgate TV and ABC. “I’ll be on ‘Black Panther’ with Ryan next year,” he says. The film stars Michael B. Jordan and Lupita Nyong’o. “Fight scenes and dance sequences present similar challenges — balancing spectacle with a personal story. Every move must tell the story or it doesn’t belong in the cut, regardless of how sexy a shot is.”
Courtesy of Mike Shawver
The New York-based Colombian got her start styling music videos such as Danny Brown’s “Grown Up” and Bob Dylan’s “Like a Rolling Stone,” then expanded into films and commercials. This year sees several high-profile projects. First up: “Bleed for This,” directed by Ben Younger and starring Miles Teller. “It’s my first movie and first period piece,” she says. Another project: “Nerve,” directed by Henry Joost and Ariel Schulman (“Catfish”) and starring Emma Roberts and Dave Franco, for Lionsgate. Next: “Finding Steve McQueen.”
Courtesy of Melissa Vargas
White began in architecture, then switched careers. She worked as a PA in the construction shop on “Morning Glory,” next on “Mildred Pierce,” “Moonrise Kingdom,” “Tower Heist” and “Girls” in the art department. She designed “King Cobra” and just wrapped season two of “Mr. Robot,” of which she says, “The story and characters are so dense and complex, it felt like making 10 movies at once.” The biggest challenge? “Ensuring each set and location had enough attention to detail and resources on a TV schedule.”
Courtesy of Anastasia White
Wu studied at AFI, started shooting shorts and lensed his first feature, “Sleight” — which he calls “a coming-of-age, drug, superhero origin story.” It premiered at Sundance. Wu was as selected as a cinematography fellow for Film Independent’s Project Involve diversity program and shot six shorts in 2015. He also lensed his second film, the upcoming “Maximum Ride,” and is shooting dark thriller “Good Match.” “I love storytelling, and evoking emotions through images.”
Courtesy of Ed Wu
Yun rose through the ranks as an art director on Mike Birbiglia’s comedies “Sleepwalk With Me” and “Fresh Air 2: 2 Fresh 2 Furious.” She designed Paul Schrader’s “Dog Eat Dog,” with Nicolas Cage and Willem Dafoe, which premiered at this year’s Cannes Film Festival, and is designing Eliza Hittman’s drama “Beach Rats” for Animal Kingdom. Yun also designed spots for Dos Equis, Comcast, and Android. “I want to keep doing both movies and commercials, and would love to get into TV as well,” Yun says.
Courtesy Grace Yun
Chow, assistant costume designer on NBC’s “The Blacklist,” has amassed credits in TV (CBS pilot “Kevin Can Wait,” Dakota Pictures’ upcoming series “Traci From Nightcap,” the third season of Hulu’s “DeadBeat,” Netflix’s “Marco Polo”), features (“Back in the Day,” “Blame It on the Hustle”), commercials, and network promos. “Costume design is about transporting people into a different universe — ultimately, it’s character design. I want to translate comic books into real life, dreams into a visual world,” she says.