Movies are a collaborative artform, where an effects-heavy film like Avengers: Endgame will have 12 minutes of end credits while thousands of names scroll by, and even a relatively lean crew like Parasite still involves over 100 people. So while the individual actors and directors who take home an Academy Award certainly deserve their share of the credit, it’s worth remembering the small army it took to get them on stage at the Oscars.
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In fact, many filmmakers not only depend on a top-level crew, but they frequently rely on the same small team of trusted collaborators on movie after movie to make their vision a reality. Here are some of the lesser-known names whose behind-the-scenes work helped create this year’s slate of Oscar nominees.
Martin Scorsese, Thelma Schoonmaker, and Ellen Lewis
Martin Scorsese famously tends to draw from a small pool of his favorite actors, like Robert De Niro. But while The Irishman marks the ninth time De Niro has acted in a major Scorsese movie, it’s also the first feature film Scorsese made with De Niro since Casino in 1995. As it turns out, the two people Scorsese truly relies on the most for his films are Ellen Lewis, who has been his casting director since his segment in 1989’s New York Stories, and Thelma Schoonmaker, a three-time Oscar winner who has been Scorsese’s film editor all the way back to Raging Bull. “My artistic development came through him,” Schoonmaker recently told The Guardian. “We don’t fight and it has been a wonderful collaboration.”
Quentin Tarantino and Robert Richardson
Robert Richardson is another frequent Scorsese collaborator, having served as the director of photography on a half dozen of the director’s films, including Oscar-winning work on The Aviator and Hugo. More recently, Richardson has been shooting for writer/director Quentin Tarantino on the Kill Bill movies, Inglourious Basterds, Django Unchained, The Hateful Eight, and now Once Upon a Time…In Hollywood. In a recent interview with Collider, Richardson noted that while he and Tarantino have built a comfortable working relationship over the years, Tarantino’s closest collaborator in his career had been Sally Menke. Menke had edited all of Tarantino’s films from Reservoir Dogs up through Inglourious Basterds, but she died tragically while hiking near Los Angeles in 2010.
Bong Joon-Ho and Song Kang-ho
Writer/director Bong Joon-ho hasn’t always relied on the same team to make his movies. To shoot Best Picture nominee Parasite, however, he reunited many of the same crewmembers from his most recent prior film, Okja. That team includes Academy Award-nominated editor Jinmo Yang, sound supervisor Tae-young Choi, production designer Ha-jun Lee, costume designer Se-yeon Choi, and set decorator Won-woo Cho. He also cast actor Song Kang-ho as the father of a struggling family who cons their way into jobs in a wealthy household. Song has appeared in most of Bong’s movies, back to 2003’s Memories of Murder, but Parasite was the first time Song had to sign a strict non-disclosure agreement just to look at the script. “We never sue each other [in Korea],” Bong joked at a recent panel appearance. “It never happens.”
James Mangold, Michael McCusker, Phedon Papamichael, Donald Sylvester, and Andrew Buckland
Best Picture nominee Ford v Ferrari was produced and directed by James Mangold, who has been building a steady team of collaborators over the past two decades. Michael McCusker, nominated this year as a film editor, has been Mangold’s go-to partner in the editing suite since his 2005 Johnny Cash biopic Walk the Line (which earned McCusker his first Oscar nomination). Another standby on Mangold’s filmmaking team is cinematographer Phedon Papamichael, who shot Ford v Ferrari, Logan, Knight and Day, 3:10 to Yuma, and Identity. Ford v Ferrari is also the sixth time Mangold has worked with sound editor Donald Sylvester, who also picked up an Oscar nod for the film, and the fourth time Mangold hired Andrew Buckland, who shares the editing nomination with McCusker. At a recent screening of the film, Mangold said his longtime team communicates with a kind of shorthand on set. “[Papamichael] is always looking for the same things that Mike [McCusker] is talking about,” Mangold said. “We’re all in agreement as to why we’re there.”
J.J. Abrams, Roger Guyett, Patrick Tubach, Dominic Tuohy, and Neal Scanlan
The visual effects team on Star Wars: The Rise of Skywalker collaborated to bring to life J.J. Abrams vision of Star Wars that melds practical effects with modern computer imagery — even going through the trouble of creating a new animatronic puppet for Maz Kanata after she had been entirely CGI in The Force Awakens. “When you have a director that’s actually putting the carrot out there for you or your extra expectations, it can be terrifying to try and meet that expectation,” Dominic Tuohy, who is also nominated this year for his work on 1917,told comicbook.com. “But to have somebody who is an amazing visionary and leader, you rise to the challenge.” Roger Guyett earned his sixth Academy Award nomination this year for his visual effects work on The Rise of Skywalker, and this was his sixth movie working with director J.J. Abrams. Guyett and Tuohy share their nomination with Industrial Light and Magic visual effects supervisor Patrick Tubach, along with creature effects creator Neal Scanlan.
Incredible music. In the key of easy.
GarageBand is a fully equipped music creation studio right inside your Mac — with a complete sound library that includes instruments, presets for guitar and voice, and an incredible selection of session drummers and percussionists. With Touch Bar features for MacBook Pro and an intuitive, modern design, it’s easy to learn, play, record, create, and share your hits worldwide. Now you’re ready to make music like a pro.
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The Touch Bar takes center stage. The Touch Bar on MacBook Pro puts a range of instruments at your fingertips. Use Performance view to turn the Touch Bar into drum pads or a one-octave keyboard for playing and recording.
Plug it in. Tear it up. Plug in your guitar and choose from a van-load of amps, cabinets, and stompboxes.
Design your dream bass rig. Customize your bass tone just the way you want it. Mix and match vintage or modern amps and speaker cabinets. You can even choose and position different microphones to create your signature sound.
Drumroll please. GarageBand features Drummer, a virtual session drummer that takes your direction and plays along with your song. Choose from 28 drummers and three percussionists in six genres.
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Jam with drummers of every style.
Drummer, the virtual session player created using the industry’s top session drummers and recording engineers, features 28 beat‑making drummers and three percussionists. From EDM, Dubstep, and Hip Hop to Latin, Metal, and Blues, whatever beat your song needs, there’s an incredible selection of musicians to play it.
Each drummer has a signature kit that lets you produce a variety of groove and fill combinations. Use the intuitive controls to enable and disable individual sounds while you create a beat with kick, snare, cymbals, and all the cowbell you want. If you need a little inspiration, Drummer Loops gives you a diverse collection of prerecorded acoustic and electronic loops that can be easily customized and added to your song.
Powerful synths with shape‑shifting controls.
Get creative with 100 EDM- and Hip Hop–inspired synth sounds. Every synth features the Transform Pad Smart Control, so you can morph and tweak sounds to your liking.
Learn to play
Welcome to the school of rock. And blues. And classical.
Get started with a great collection of built‑in lessons for piano and guitar. Or learn some Multi‑Platinum hits from the actual artists who recorded them. You can even get instant feedback on your playing to help hone your skills.
Take your skills to the next level. From any level. Choose from 40 different genre‑based lessons, including classical, blues, rock, and pop. Video demos and animated instruments keep things fun and easy to follow.
Teachers with advanced degrees in hit‑making. Learn your favorite songs on guitar or piano with a little help from the original recording artists themselves. Who better to show you how it’s done?
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Tons of helpful recording and editing features make GarageBand as powerful as it is easy to use. Edit your performances right down to the note and decibel. Fix rhythm issues with a click. Finesse your sound with audio effect plug‑ins. And finish your track like a pro, with effects such as compression and visual EQ.
Go from start to finish. And then some. Create and mix up to 255 audio tracks. Easily name and reorder your song sections to find the best structure. Then polish it off with all the essentials, including reverb, visual EQ, volume levels, and stereo panning.
Take your best take. Record as many takes as you like. You can even loop a section and play several passes in a row. GarageBand saves them all in a multi‑take region, so it’s easy to pick the winners.
Your timing is perfect. Even when it isn’t. Played a few notes out of time? Simply use Flex Time to drag them into place. You can also select one track as your Groove Track and make the others fall in line for a super‑tight rhythm.
Polish your performance. Capture your changes in real time by adjusting any of your software instruments’ Smart Controls while recording a performance. You can also fine‑tune your music later in the Piano Roll Editor.
Touch Bar. A whole track at your fingertips. The Touch Bar on MacBook Pro lets you quickly move around a project by dragging your finger across a visual overview of the track.
Wherever you are, iCloud makes it easy to work on a GarageBand song. You can add tracks to your GarageBand for Mac song using your iPhone or iPad when you’re on the road. Or when inspiration strikes, you can start sketching a new song idea on your iOS device, then import it to your Mac to take it even further.