First Person

How we created Lamb’s creepy human-sheep hybrid child

By George Fenwick

VFX supervisors Peter Hjorth and Fredrik Nord discuss the ovine inspirations behind the year’s most disturbing horror.

Ari Wegner on how she created The Power of the Dog’s visual identity

By Hannah Strong

The cinematographer reveals the trick to shooting digital cows, and why the film is really a monster movie.

‘Young black men are not statistics’ – Rapman on redefining the hood movie

By Thomas Hobbs

The rapper-turned-director discusses the making of his ambitious debut feature, Blue Story.

Louis Leterrier on realising a lifelong dream with The Dark Crystal: Age of Resistance

By Adam Woodward

The director of Netflix’s prequel series reveals how Jim Henson inspired him to become a filmmaker.

Jane Magnusson on exploding the myth of Ingmar Bergman

By Greg Wetherall

The documentary maker discusses her eye-opening new profile of the enigmatic Swedish master.

Mogwai on how to turn a film score into an album

By Paul Weedon

Guitarist Stuart Braithwaite reflects on the band’s latest original score for the sci-fi action movie Kin.

Lauren Greenfield: ‘Authentic culture is being destroyed by capitalism’

By Thomas Curry

The award-winning documentary filmmaker discusses her latest chronicle of capitalist America, Generation Wealth.

Sara Driver: ‘You dream a film before you make it’

By David Jenkins

The New York artist-filmmaker discusses her intimate new profile of Jean-Michel Basquiat.

‘It changed the whole look of American film’ – Remembering Midnight Cowboy

By Hannah Strong

Adam Holender and Michael Childers reflect on the making of this iconic New York movie.

Paul Popplewell: From 24 Hour Party People to Journeyman

By David Jenkins

The stalwart British actor runs us through some of his scene-stealing career moments.

How to shoot a movie in the Congo

By David Jenkins

Director Emmanuel Gras discusses the moral mine field of his gruelling Cannes prize-winner, Makala.

Beyond Infinity: Lee Unkrich on the past, present and future of Pixar

By Hannah Strong

The co-director of Toy Story 2 and 3, Finding Nemo and Coco reflects on his two decades at the animation studio.

Robert Yeoman on shooting Wes Anderson’s Bottle Rocket

By Sophie Monks Kaufman

The cinematographer recalls how the pair hit it off on the director’s 1996 debut feature.

Ai Weiwei on documenting the ‘greatest global crisis since World War Two’

By Stefan Pape

The artist and activist opens up about the profound experience of making his new film Human Flow.

Oneohtrix Point Never discusses his intoxicating Good Time score

By Adam Woodward

Musician Daniel Lopatin on soundtracking the Safdie brothers’ stunning latest.

The Safdie brothers’ guide to shooting New York City

By David Jenkins

The Good Time directors reveal the secret to capturing the essence of their home town on screen.

S Craig Zahler: ‘Shooting graphic violence is like setting up a magic trick’

By Adam Woodward

The director of Bone Tomahawk and Brawl in Cell Block 99 on his distinct approach to genre filmmaking.

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About Little White Lies

Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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