Sarah Shachat
Craft Editor
Sarah Shachat is a writer from New Orleans, now living in New York City. She is the Craft Editor at IndieWire, where she looks at the artistic choices behind building great television series and films. She also helps produce and host the Filmmaker Toolkit podcast, along with other special projects focused on filmmaking.
Latest by Sarah Shachat
Visual Effects Awards
"The Penguin," "House of the Dragon," and "The Lord of the Rings: The Rings of Power" are among the outstanding visual effects nominees for episodic series.
Guild Awards
"Shōgun," "Bridgerton," and "What We Do in the Shadows" were also recognized with nominations for television production design.
"A Complete Unknown" No Longer
The Cinema Audio Society also nominates "Masters of the Air," "Hacks," and "The Bear" for excellence in sound mixing.
The Golden Reel
"Shōgun," "Ripley," and "Arcane" all get TV awards nominations for sound and music editing.
Players Terminated
Stunt coordinators Park Young-Sick and Chung Seong-Ho tell IndieWire how they organized the raw survival action of "Squid Game."
Control Room(s)
Production designer Chae Kyoung-Sun tells IndieWire about crafting new games and more sinister spaces for Season 2 of the Netflix series.
High Notes
Composer John Powell, executive music producer Stephen Oremus, and editor Myron Kerstein tell IndieWire about taking Stephen Schwartz's music and Ozifying it for Jon M. Chu's musical version.
Popular Makeup
Hair and makeup designer Frances Hannon tells IndieWire about giving the witches of Oz a glow-up and painting a horse blue in Jon Chu's adaptation of the Broadway musical.
"I'm Still Here," "Kneecap," and "Saturday Night" rank among the best cast films of the year according to Hollywood's top casting directors.
The IndieWire craft team celebrates the cinematography of series that premiered this year, including "Ripley" and "Somebody Somewhere."
Reporting Live
Production designer Julian R. Wagner tells IndieWire about creating a working control room and studio that made the film's events feel real.
The best cinematography of 2024 movies includes massive studio films like "Dune: Part 2" and singular indies like "I Saw the TV Glow."
