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.
These prison movies are captivating. Get it?
Some of the best movies are actually movies about life on the outside, where the prison represents the mental traps imposed on us by society, or our own fears.
Other prison movies are about very real prisons, built for the deserving and innocent alike.
An early entry in the subgenre of women behind bars prison movies, John Cromwell’s Caged is about a married 19-year-old (Eleanor Parker) who is locked up after a botched bank robbery in which her husband is killed.
Hope Emerson plays sadistic prison maven, Evelyn Harper, in a story that reveals that prison may be the most corrupting influence of all.
The film was nominated for three Oscars.
Is it a prison movie? Or a war movie? We would say it’s both — David Lean’s The Bridge on the River Kwai is a movie that never does what you expect.
Set in a Japanese prison camp in Thailand, the film portrays a battle of wills between captured British P.O.W. Colonel Nicholson (Alec Guiness) and his captor, Colonel Saito (Sessue Hayakawa). Saito demands that Nicholson and his troops build a railroad bridge over the River Kwai, which leads to questions of ethics and honor, and how to maintain your humanity while in captivity.
It was the most successful movie at the box office in 1957, and deservedly won seven Oscars, including for Best Picture. It’s one of those 1950s movies that is both a classic and a joy to watch.
One of the greatest prison movies, this Clint Eastwood film was the star’s fifth and final collaboration with Dirty Harry director Don Siegel. In fascinating detail, it imagines the circumstances of a real-life escape from the supposedly escape-proof Alcatraz Island in 1962.
Eastwood plays the real-life prisoner Frank Morris, whose whereabouts have been unknown since that chilly night in the early ’60s. He’ll turn 98 this year, if he’s still around.
The FBI’s investigation into the escape remains open.
You knew this was coming, so we’re putting it in this gallery nice and early.
One of the most beloved films of recent decades, and pulled from the same Stephen King story collection, Different Seasons, that also spawned Stand by Me and Apt Pupil, The Shawshank Redemption is a story of refusing to surrender your soul.
Tim Robbins stars as Andy Dufresne, a banker sentenced to consecutive life sentences in the killings of his wife and her lover. He befriends Ellis “Red” Redding (Morgan Freeman) — and hatches a plot to dig his way out, while hiding the hole in his cell wall behind a poster of Rita Hayworth.
It’s one of the best prison movies and one of the best movies, period — IMDb ranks it No. 1 on its list of the Top 250 Movies of all.
Paul Newman is transfixing as the title character, a man of few words (and hardboiled egg gourmand) who refuses to bend to the cruelty of his Florida prison camp.
Strother Martin, as the captain of the camp, earned a place on the American Film Institute’s 100 Years… 100 Movie Quotes for this monologue that begins, “What we’ve got here is failure to communicate.”
Guns N Roses fans will also recognize it from the opening of the band’s “Civil War.”
The third film in a series of hit independent prison movies written and directed by Jamaa Fanaka, Penitentiary III is extremely worth watching for the Midnight Thud fight alone.
Oh, you don’t know about the Midnight Thud? Thud is the toughest fighter in the prison, a powerful little person (played by Raymond Kessler, aka the WWE’s Haiti Kid) who delivers one of the most captivating fight scenes ever committed to film when he faces off with our protagonist, Too Sweet (Leon Isaac Kennedy).
Also, this is the first of two films on this list to feature the great Danny Trejo. He plays See Veer.
Trejo is one of the murderer’s row of stars who turns up in Con Air, a prison-on-a-plane movie in which Cameron Poe (played by Nicolas Cage, looking incredibly cool) takes on a whole plane full of felons when its Cyrus “The Virus” Grissom masterminds a hijacking.
This is one of those movies that — if you haven’t watched it in a while — will have constantly saying, “He’s in this, too?”
The cast includes John Cusack, Steve Buscemi, Ving Rhames, Dave Chappelle, and many, many more.
Some people argue that this doesn’t belong on a list of prison movies because the characters are on a plane. But as anyone who’s ever flown a middle seat in basic economy can attest, planes can be prisons.
Steve McQueen leads an all-star cast playing POWs who heroically escape from a Nazi prison camp in this classic, heavily fictionalized story of British POWs’ escape from Stalag Luft III during World War II.
Among the concessions to commercialism: sprinkling three Americans into the action. Thanks goodness McQueen’s Captain Virgil Hilts was there, or else who could have pulled off that spectacular motorcycle sequence (above)?
And now, a prison movie from the other Steve McQueen — the masterful British director whose film 12 Years a Slave won the Best Picture Oscar in 2014.
His directorial debut, however, was Hunger, in which his frequent collaborator, Michael Fassbender, plays Bobby Sands, a real-life member of the Provisional Irish Republican Army who led an IRA hunger strike and took part in a no-wash protest behind bars.
Hunger is a brutal, hypnotic film that skillfully captures the day-to-day dehumanization of the prisoners.
Another grim prison saga that was also the directorial debut of a great filmmaker, Clemency stars Alfre Woodard as a prison ward trying to unemotionally do her job — which includes overseeing the death of a young inmate, Anthony Woods (Aldis Hodge) who maintains his innocence.
Many death-penalty films lecture their audiences (who may have already opposed the death penalty), but Clemency writer-director Chinonye Chukwu does not: She just lays out the facts of the situation, with as much restraint as Woodard’s warden — until emotions eventually make their inevitable break.
This is a wise, patient film that sidesteps preaching and Hollywood hokum in favor of a very chilling, very human story.
On the lighter side, The Longest Yard is a sports movie crossed with a prison movie… and a comedy. The film stars Burt Reynolds as a hard-driving, hard-hitting now-incarcerated former NFL quarterback who is tasked by a nasty warden with assembling a team of prisoners to play against the guards.
How do you think that works out?
Edward Norton stars as a savage white supremacist, Derek Vinyard, who realizes in prison that all of his beliefs are misguided.
‘In one deeply allegorical scene, he learns that a Black fellow inmate, Lamont (Guy Torry) received a harsher sentence (six years) for stealing a TV than he received for killing two Black men (three years).
In another crucial scene, he learns that the prisons Aryan Brotherhood is just using white supremacy as a facade to manipulate hopeless, uneducated people and wrest power for its leaders.
A very different look at prison life, released in the same year as The Longest Yard. We aren’t going to claim this low-budget Roger Corman production, also known as Renegade Girls, is a great film. But it is the debut of a very great filmmaker: writer-director Jonathan Demme would go on to make Silence of the Lambs, one of the best films of all time, and to repay Corman for his confidence by casting him in the role of FBI Director Hayden Burke.
Silence of the Lambs was also shot but Demme’s go-to cinematographer, Tak Fujimoto, who also shot Caged Heat.
Caged Heat is a cheap exploitation flick, sure, but it contains some Demme hallmarks: strong female protagonists, a strong sense of empathy for the characters, and social consciousness.
A 1975 New York Times story on the rise of “trashy” midnight movies concluded that it “does not set new standards of cheapness, violence or grossness, as most midnight movies seem determined to do. It is a film about women in prison that offers little more than some zippy music, a lot of bosom shots and a perverted prison doctor.”
High praise from the paper of record.
You may also like this list of the 15 Movie Con Artists We Fall for Every Time. Some of them end up in prison.
You might also like this list of Gen X Movie Stars Gone Too Soon.
Main image: Caged Heat. New World Pictures.
From Jay Roach, the director/producer of comedy hits like Austin Powers, Borat, and Meet the Parents, comes the trailer for his new film, The Roses. The film will be released in UK and Irish cinemas from the first of September.
Life seems easy for picture-perfect couple Ivy (Olivia Colman) and Theo (Benedict Cumberbatch): successful careers, a loving marriage, great kids. But beneath the façade of their supposed ideal life, a storm is brewing – as Theo’s career nosedives. At the same time, Ivy’s own ambitions take off, a tinderbox of fierce competition and hidden resentment ignites. The Roses is a reimagining of the 1989 classic film The War of the Roses, based on the novel by Warren Adler.
The film stars Olivia Colman alongside Benedict Cumberbatch. The film also stars Andy Samberg, Allison Janney, Belinda Bromilow, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, Zoë Chao, and Kate McKinnon. The screenplay comes from Tony McNamara, most recently known for his work on Poor Things and The Favourite.
https://www.youtube.com/watch?v=dKxhLv3EGlo
Editor-in-Chief at Moviescramble. A Fan of all things cinematic with a love of Film Noir, Sci-Fi and Julia Roberts in Notting Hill. He hopes to grow up some day.
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.
There’s something magical about casino movies that keeps us glued to the screen. Maybe it’s the way the roulette wheel spins with our hearts racing, or how a poker player’s blank face hides a world of strategy. These films transport us to a world where fortunes change with a single card flip, where ordinary people become high-rolling risk-takers, and where the line between smart play and dangerous obsession blurs beautifully. Online casino movies aren’t just about gambling – they’re about human nature, everyone’s dreams of easy money, and the thrilling dance between luck and skill. Here’s why we can’t look away from these cinematic gems, along with three recent films that mastered the art of the gamble
You will experience the excitement of gambling without losing our shirts. You can cheer when someone puts everything on a poker bet or hold our breath as dice roll across a table, secure in the fact that our money is still in our pockets. It’s a rush – like riding a rollercoaster from the safety of our own chair.
From Monte Carlo’s glittering chandeliers to Vegas’ lights, casino films ignite dream realms we are irresistibly attracted to. Designer tuxedos, champagne coupes clicking together, high- stakes suspense make us imagine members of an elite club in which we all stylishly roll dice.
Aside from the cards and chips, casino movies are all about dramatic narratives of greed, addiction, and redemption. When a bettor puts everything on one hand, we aren’t looking at a bet – we are looking at what people do when they are desperate or determined.
Aaron Sorkin’s directorial debut tells the true story of Molly Bloom, who ran Hollywood’s most exclusive underground poker games. Jessica Chastain delivers a career-best performance as the Olympic skier turned poker entrepreneur. The film stands out for:
Adam Sandler shocked critics with his portrayal of Howard Ratner, a jewelry dealer and gambling addict spiraling out of control. The Safdie brothers direct this stress-inducing masterpiece featuring:
Paul Schrader’s haunting film follows William Tell (Oscar Isaac), a former military interrogator who channels his trauma into poker. Unlike typical casino movies, this focuses on:
Casino movies work because they tap into our deepest fantasies and fears about risk-taking. They let us imagine what we’d do with a lucky streak or how we’d handle devastating losses when dealing with real online casino all from the safety of our seats. These three modern classics show how the genre continues to evolve, offering everything from pulse-pounding tension to deep character studies. So next time you want to feel the rush of the casino without leaving home, these films are your perfect bet.
Fashion and film have always shared an intimate relationship, each influencing and elevating the other in a dance that spans more than a century of cinema. Beyond mere costume, film wardrobes communicate character, advance narratives, and often predict or even create fashion trends that extend far beyond the screen. The most iconic movie wardrobes don’t just dress characters—they tell stories, reflect cultural moments, and offer enduring lessons about style that transcend their original context. From the perfectly tailored simplicity of classic Hollywood to the boundary-pushing visions of contemporary cinema, film fashion provides a masterclass in the elements that constitute truly timeless style. This exploration delves into what these iconic screen wardrobes can teach us about fashion that endures, influences, and continues to captivate our imagination decades after the final credits roll.
Audrey Hepburn’s Givenchy little black dress in “Breakfast at Tiffany’s” (1961) revolutionized fashion both on and off-screen, establishing the LBD as the ultimate symbol of elegance and sophistication. The iconic Givenchy creation, with its minimalist cut and perfect proportions, demonstrated how simplicity could make the most powerful fashion statement. This watershed moment cemented the collaboration between high fashion designers and Hollywood, showing how cinema could launch global fashion trends overnight.
The little black dress continued its cinematic journey through decades of film, each iteration reflecting its era while maintaining its timeless appeal. In the 1990s, Elizabeth Hurley’s Versace safety-pin dress at the “Four Weddings and a Funeral” premiere created a media sensation, while Renée Zellweger’s understated black dress in “Bridget Jones’s Diary” spoke to everyday elegance. These evolutions demonstrated the LBD’s remarkable versatility, adapting to different narratives while maintaining its status as a wardrobe essential.
Contemporary cinema continues to reinvent the little black dress, proving its enduring relevance. From Natalie Portman’s Rodarte design in “Black Swan” to Margot Robbie’s range of sophisticated black ensembles in “Focus,” filmmakers consistently return to this wardrobe staple to convey confidence, mystery, and timeless appeal. Fashion experts note that the LBD in film teaches us an essential lesson about personal style: investment in well-crafted classics with perfect fit will always outshine passing trends.
When Sean Connery first appeared as James Bond in “Dr. No” (1962), his impeccably tailored suits by Anthony Sinclair instantly redefined masculine elegance for generations to come. The “Conduit Cut” suit, with its subtle shoulder padding, slightly tapered waist, and clean lines, created a silhouette that communicated power, confidence, and sophistication without ostentation. This marked a pivotal moment in men’s fashion, moving away from the boxier cuts of previous decades and establishing a template for refined menswear that continues to influence designers today.
Beyond the suit itself, Bond’s attention to detail in accessories and complementary pieces elevated the complete ensemble to an art form. Each Bond actor brought unique elements to the character’s style—from Roger Moore’s safari jackets to Daniel Craig’s Tom Ford suits—yet all maintained the essential quality of precise tailoring and understated luxury. The franchise created an enduring template for professional men’s dressing that transcended film, influencing everything from wedding attire to corporate wardrobes.
The Bond effect extends beyond formal wear, establishing guidelines for how men approach casual elegance as well. According to fashion historian Bronwyn Cosgrave, Bond’s influence on men’s style represents “the most successful brand partnership in cinema history,” with 007’s wardrobe choices directly driving sales in everything from Sunspel polo shirts to Omega watches. The lesson from Bond’s six decades of style influence remains clear: investment in quality over quantity, perfect fit above all else, and confidence as the most important accessory a man can wear.
Period films have repeatedly triggered fashion revivals, with costume designers’ meticulous research inspiring modern designers to reinterpret historical aesthetics for contemporary consumers. “The Great Gatsby” adaptations—particularly Baz Luhrmann’s 2013 version with costumes by Catherine Martin—sparked global fascination with Art Deco style, leading to increased consumer demand for drop-waist dresses, headbands, and geometric jewelry. This phenomenon demonstrates cinema’s unique power to not just reflect fashion history but actively revive it, making century-old designs feel suddenly relevant and desirable.
The cyclical relationship between period films and fashion houses often creates mutually beneficial collaborations that elevate both industries. When “Marie Antoinette” (2006) showcased costume designer Milena Canonero’s pastel-colored reinterpretation of 18th-century French court fashion, it directly influenced runway collections from designers like John Galliano and Alexander McQueen. Similarly, the Netflix series “Bridgerton” sparked what fashion analysts called “Regencycore,” with searches for empire-waist dresses, elbow-length gloves, and pearl accessories increasing by over 120% in the weeks following its release.
The most successful period productions teach viewers about the relationship between clothing and social context, revealing how fashion reflects broader cultural movements. Historical consultant Dr. Amanda Hallay notes that productions like “Mad Men” succeeded because they depicted “not just the clothing of the era, but how people moved in it, how they cared for it, and what it communicated about social status.” This depth of understanding allows contemporary audiences to appreciate how historical fashion elements can be meaningfully incorporated into modern wardrobes rather than simply copied as costume.
Masterful costume design serves as visual character development, conveying personality traits and story arcs before a character speaks a single line. In “The Devil Wears Prada” (2006), costume designer Patricia Field meticulously charted Andy Sachs’ transformation from fashion outsider to industry insider through a calculated progression of increasingly sophisticated ensembles, effectively telling the character’s story through clothing alone. This technique, which costume designers call “character arcing through wardrobe,” represents one of cinema’s most powerful yet subtle storytelling tools.
The most memorable character wardrobes often feature signature pieces that become inseparable from the character’s identity while teaching viewers about the psychological dimension of personal style. The distinctive red leather jacket in “Rebel Without a Cause” became a symbol of youthful rebellion, while Elle Woods’ strategic use of pink in “Legally Blonde” subverted expectations about femininity and intelligence. These costume choices reveal how clothing can function as both armor and statement, helping characters navigate their fictional worlds while providing audiences with visual cues about internal transformation.
When costume design reaches its highest potential, it reveals deep insights about human psychology and social dynamics. According to Emmy-winning costume designer Janie Bryant, “Clothing reveals what characters want to show the world versus what they’re hiding—that gap is where the most interesting storytelling happens.” This tension between public presentation and private reality explains why certain film wardrobes resonate so deeply with audiences, teaching us about authenticity, aspiration, and the complex relationship between our clothing choices and our true selves.
Science fiction cinema has demonstrated remarkable foresight in predicting fashion innovations, with filmmakers and costume designers envisioning technological and aesthetic developments decades before they reached mainstream markets. “Back to the Future Part II” (1989) famously predicted self-lacing shoes, which Nike later developed as the adaptive HyperAdapt 1.0 in 2016, while “Star Trek’s” communicator devices presaged modern flip phones and smartwatches. This predictive quality extends beyond technology to aesthetic movements, with films like “Blade Runner” (1982) establishing visual frameworks for cyberpunk fashion that continue to influence designers today.
The relationship between sci-fi costumes and actual fashion innovations often follows a recursive pattern, with each influencing the other across decades. Costume designer Michael Kaplan’s work on “Blade Runner” drew inspiration from 1940s noir but has subsequently influenced collections from Alexander McQueen, Raf Simons, and Rick Owens, creating a continuous dialogue between cinematic imagination and wearable reality. Similarly, “The Matrix” (1999) popularized long black coats, angular sunglasses, and technological-looking fabrics, elements that shifted from seeming futuristic to becoming ubiquitous in contemporary streetwear.
Beyond aesthetics, science fiction wardrobes often anticipate functional innovations in textile technology and wearable design. The MIT Media Lab has credited films like “Her” (2013) with inspiring research into adaptive textiles and minimalist wearable technology, while designer Iris van Herpen cites sci-fi cinema as a primary influence on her pioneering work in 3D-printed couture. This symbiotic relationship between cinematic imagination and fashion innovation teaches us to view movie wardrobes not merely as fantasy but as conceptual prototypes for how we might dress in years to come.
Certain character wardrobes have transcended their original films to become cultural touchstones, instantly recognizable even to those who haven’t seen the movies. Dorothy’s ruby slippers from “The Wizard of Oz” have been valued at over $2 million at auction and are among the most treasured artifacts in American film history, while Holly Golightly’s black dress is consistently ranked among the top three most influential film costumes of all time. These iconic looks achieve their status through a perfect alignment of design, character, performance, and cultural moment—a combination that cannot be manufactured but emerges organically from cinematic magic.
The most enduring character costumes often tap into universal symbolic language while adding distinctive new elements that become immediately associated with the character. Indiana Jones’ ensemble combines archetypal adventure-wear elements with Harrison Ford’s specifically weathered leather jacket and distinctive fedora, creating a look so definitive that the Smithsonian Institution displays it as a significant cultural artifact. Similarly, Marilyn Monroe’s white halter dress from “The Seven Year Itch” transformed a relatively simple design into perhaps the most famous dress in cinema history through its perfect alignment with Monroe’s persona and the unforgettable subway grate scene.
When character costumes achieve iconic status, they often influence fashion in ways that extend far beyond simple imitation or merchandising. Research by the Fashion Institute of Design and Merchandising found that film-inspired fashion generates approximately $44 billion annually in global revenue, with classic character looks frequently revived by designers seeking to tap into cinematic nostalgia. The enduring appeal of these iconic wardrobes teaches us about the power of visual storytelling and how truly exceptional design can transcend its original context to become part of our shared cultural vocabulary.
Urban cinema has played a crucial role in elevating streetwear from subcultural style to global fashion phenomenon, with films documenting and disseminating authentic street fashion to international audiences. Spike Lee’s “Do the Right Thing” (1989) showcased authentic Brooklyn street style, including Air Jordan sneakers that subsequently saw sales increase by an estimated 40%, demonstrating cinema’s direct impact on fashion consumer behavior. This symbiotic relationship between urban filmmaking and street fashion establishes an authentic visual record of evolving cultural movements while simultaneously amplifying their influence.
The representation of streetwear in film often captures pivotal moments in cultural history, preserving ephemeral style innovations that might otherwise be lost to time. The oversized silhouettes and bold color blocking in films like “Juice” (1992) and “Boyz n the Hood” (1991) documented the height of 90s hip-hop fashion while films like “Wild Style” (1983) captured the earliest expressions of what would become global street style. Fashion historians increasingly recognize these films as valuable primary sources for understanding the evolution of urban aesthetics and their relationship to music, art, and political movements.
Contemporary fashion’s obsession with streetwear can be directly traced to its cinematic representation, which elevated everyday clothing to iconic status. According to market analysis from McKinsey & Company, the global streetwear market reached approximately $185 billion in 2019, with over 70% of surveyed luxury consumers citing film and music as primary influences on their purchasing decisions. The lessons from urban cinema’s relationship with streetwear remain relevant: authenticity is paramount, style innovation often emerges from necessity, and the most influential fashion frequently comes from communities rather than corporations.
Master costume designers employ sophisticated color theory to establish character relationships, signal emotional states, and create visual cohesion within film narratives. Wes Anderson’s collaboration with costume designer Milena Canonero on “The Grand Budapest Hotel” (2014) exemplifies deliberate color strategy, with the film’s distinctive pink and purple palette establishing both time period and emotional tone while creating one of cinema’s most instantly recognizable visual signatures. This approach demonstrates how wardrobe colors function not merely as aesthetic choices but as sophisticated storytelling tools.
Strategic color progression in character wardrobes frequently signals important narrative and emotional developments that may not be explicitly addressed in dialogue. In “The Godfather” (1972), costume designer Anna Hill Johnstone systematically darkened Michael Corleone’s wardrobe as he descended into corruption, moving from light-colored collegiate clothing to increasingly dark suits, visualizing his moral transformation. Similarly, “La La Land” (2016) used a progression of jewel tones to track the protagonists’ emotional journey, with costume designer Mary Zophres carefully coordinating wardrobe colors with production design to create a cohesive visual language.
The most sophisticated use of color in film wardrobes often draws on psychological and cultural color associations while establishing new visual metaphors specific to the film’s world. Research published in the Journal of Consumer Psychology confirms that viewers subconsciously process color cues in character wardrobes, with warm colors generally signaling approachability and cool colors suggesting emotional distance—knowledge that costume designers consistently leverage to guide audience sympathies. This deliberate approach to color demonstrates how the most effective film wardrobes operate on multiple levels, creating immediate visual appeal while subtly influencing how viewers interpret character and story.
The collaboration between film studios and high fashion designers has evolved from occasional partnership to essential strategy, with both industries recognizing the mutual benefits of creative cross-pollination. The partnership between Hubert de Givenchy and Audrey Hepburn across seven films, including “Sabrina” and “Funny Face,” established the blueprint for designer-actor collaborations, while Tom Ford’s comprehensive wardrobe for “A Single Man” (2009) represented the first time a fashion designer had complete control over a film’s costume design. These collaborations have progressively blurred the boundaries between runway and screen, creating unprecedented opportunities for creative innovation and brand exposure.
When executed thoughtfully, designer collaborations enhance film authenticity while providing fashion houses with unparalleled cultural positioning. Giorgio Armani’s provision of over 160 costumes for “American Gigolo” (1980) helped establish the designer’s signature aesthetic in American markets while creating one of cinema’s most influential male wardrobes—a partnership that, according to fashion historian Valerie Steele, “redefined the relationship between film and fashion.” Similarly, Jean Paul Gaultier’s boundary-pushing designs for “The Fifth Element” (1997) simultaneously showcased the designer’s avant-garde vision and created some of science fiction’s most memorable costume moments.
Modern designer-film collaborations have expanded beyond costume provision to encompass interactive marketing campaigns and consumer products, creating new business models for both industries. When Miuccia Prada created over 40 custom designs for “The Great Gatsby,” the partnership included museum exhibitions, retail collections, and digital content that generated an estimated $38 million in publicity value for both the film and fashion house. This evolution teaches an important lesson about successful creative partnerships: when designers and filmmakers collaborate with mutual respect for each other’s crafts, both art forms are elevated rather than compromised.
The film industry’s growing commitment to sustainability has transformed costume departments, with designers pioneering eco-conscious approaches to creating memorable screen wardrobes. Productions like “Black Panther: Wakanda Forever” implemented comprehensive sustainability protocols in their costume departments, with designer Ruth Carter incorporating recycled materials and traditional African textiles produced through sustainable methods. This shift represents not merely a response to environmental concerns but an opportunity for innovative design thinking that often results in more distinctive and meaningful costume choices.
Leading costume designers increasingly view sustainability as a creative advantage rather than a limitation, developing new techniques that often yield unexpected aesthetic benefits. Costume designer Jacqueline Durran’s work on “Little Women” (2019) involved extensive garment overdyeing using natural pigments, fabric aging techniques requiring minimal chemical intervention, and repurposing of vintage materials—approaches that contributed to the film’s Oscar win for Best Costume Design. These techniques demonstrate how environmental consciousness can enhance rather than restrict creative expression in film fashion.
As sustainability becomes essential rather than optional, the relationship between film wardrobes and consumer fashion continues to evolve in mutually influential ways. According to a 2023 report from the Sustainable Production Alliance, productions implementing green protocols in costume departments have documented average cost savings of 12-18% while simultaneously reducing carbon footprint—economic and environmental benefits that have accelerated industry-wide adoption. The lesson from this evolution is clear: as both film and fashion industries navigate necessary sustainability transitions, the most successful approaches view environmental responsibility
Directors Bethany Rooney and Mary Lou Belli first teamed up 15 years ago to share their experiences in the moviemaking guide Directors Tell the Story: Master the Craft of Television and Film Directing. And while many things have stayed the same since then, plenty has changed — from streaming standards to the rise of intimacy coordinators to changes in the number of opportunities.
This month, they release the third edition of the book, which is packed with practical gems and updated advice on how to make it as a working director. The directors, whose credits include Elsbeth, Tracker, Criminal Minds: Evolution, The Ms. Pat Show, Chicago Med, and many more, shared some thoughts with MovieMaker about the book and their prolific careers.
We talked with them about starting out, letting the best idea win, and making room for new talent.
MovieMaker: One section of the book details how directors got their first jobs. Can you tell us about your first directing jobs?
Bethany Rooney: I started in the business as secretary to Bruce Paltrow and Mark Tinker on The White Shadow, then became the associate producer of St. Elsewhere, and then Bruce gave me my shot four years in. He believed in giving people their opportunity to direct — and I am forever grateful to him!
Mary Lou Belli: I was an acting coach on the series Charles in Charge and shadowed the director, Phil Ramuno, who was generous enough to let me into both of his shot listing sessions on the aforementioned show and the editing room on another. The EP, Al Burton, gave opportunities to three other desiring women on that same series.
MovieMaker: We have a regular feature called Things I’ve Learned as a MovieMaker. What would be one crucial thing you’ve learned making movies or television over the years?
Bethany Rooney: I believe it’s a three-part process before you even shoot. First you imagine your story. Then you prep it: block and shot list or storyboard it. Then you communicate it. You tell your production designer, your first assistant director, your director of photography, your whole crew, “This is how I see it, this is what I’d like to achieve.” You get them on board with your concepts, hopefully, they’re wildly enthusiastic, just as you are. Then you get to do the really fun part: shoot it. Now you’re getting the actors on board. Now you’re making a movie!
Mary Lou Belli: This is a people business. Your reputation depends on the impression you make and that is critical. It is important to be prepared so you are perceived as an artist who takes the craft seriously. Then it is vital to treat everyone with respect, knowing that they are your collaborators. And finally always give credit when someone has made a contribution.
MovieMaker: What is one problem you’ve solved on a project that you made you particularly proud?
Bethany Rooney: I keep having to learn this same lesson over and over. When I get behind in my schedule for the day, I need to take a look at what is left to shoot and figure out a way to accomplish it more quickly while still telling the story and maintaining the show’s style. The crazy thing is, those scenes are always my favorites! I think it’s because in that pressurized moment, my creativity becomes the driving force. I see the scenes differently, and allow myself to abandon standard coverage.
Mary Lou Belli: During Covid, I had an actor sent home because she had tested positive. The part this actor was playing was pivotal to the scene. She would die by the end of it. I had already shot the master but had yet to finish coverage that would include her close up while she was pummeled with bullets.
I had a suggestion from a camera operator who said that with a handheld camera, he could become the POV of that character watching her love interest, who was also dodging fire. That other character gave a magnificent performance — the camera operator “collapsed to the floor” while watching it.
This scene was based on a true life event of the death of Breonna Taylor.… It turned out to be so much better because this alternate way to tell the story humanized her death through the eyes of the man who loved her. I give credit to the camera operator for suggesting this, and I learned that the best idea wins.
MovieMaker: What recent trends do you see in film or television? Are they here to stay?
Bethany Rooney: Streamers have a different paradigm: They get all the scripts written before they begin shooting. This means that they can cross-board the shooting schedules, which further means that directors are hired usually for a block of two episodes. So now there are four directors for eight episodes. And four other directors are without those jobs. It’s part of the contraction of the industry – and I hope that trend doesn’t stay.
Mary Lou Belli: I see shorter orders and a general contraction in the industry. Where I was used to a TV season offering more opportunities for up-and-coming talented directors, there are just way less chances now. I hope this trend changes, I fear it might not. But it becomes more important for those lucky enough to be working to know that there will be less work, and if we want to ensure that up and coming talent gets a shot, we all have to be satisfied with less work.
MovieMaker: What makes the latest edition of your book special?
Bethany Rooney: Besides the fact that there’s a new chapter on Augmented Reality and Visual Effects, there’s a lot of updates on other areas of television production that have evolved in the past few years, especially as it was affected by the pandemic. Apps for directors, casting, intimacy coordinators, post-production, Zoom… We walk the reader through these new methods.
Mary Lou Belli: All our new and updated info is presented with the spirit in which the 1st and 2nd edition were written: with an eye toward giving inside information through practical application. We don’t hold back about the knowledge we have acquired while we’ve been in the trenches or in some cases prepping to get in the trenches.
For example, a director must study the show they are about to direct or would like to direct. By that keen observation, one figures out the style, tone and look of the show. We take the reader through that process and many more by sharing how we do it or things we have observed.
MovieMaker: Why should every director have your book?
Bethany Rooney: We have learned a lot by directing hundreds of episodes. We’ve also learned a lot by teaching the craft. It’s all practical, detailed, and road-tested. Both of us truly love directing television, and it shows on every page.
Mary Lou Belli: It’s a handbook. It is reference tool. And hopefully it is path toward a dream.
MovieMaker: What are you working on now?
Bethany Rooney: An episode of Criminal Minds – season 19 (!) on Paramount Plus.
Mary Lou Bell: I am wrapping the fifth season of The Ms. Pat Show where I direct as well as executive produce. I am returning in the fall to direct on another season of Elsbeth.
Directors Tell the Story: Master the Craft of Television and Film Directing is available on pre-sale now. Get 20% off with code 25ESA1
When it includes Search Engine Optimization (search engine marketing), the right tools can be a sport-changer. Whether you’re an entrepreneur, a virtual marketer, or a content author, search engine optimization systems simplify the complicated method of optimizing your website and content material to rank higher on search engines like Google and Yahoo. With such plenty of options available on the market, beginning from free to top class, locating the perfect device that balances value and capability is crucial. Here’s a complete evaluation of some famous SEO tools that will help you determine which one gives a nice fee on your needs.
Before diving into the assessment, it’s essential to define what “rate” means inside the context of search engine advertising gear. It’s no longer pretty a great deal the price tag—price is derived from:
Features: Does the tool cowl all your search engine optimization needs, which incorporates key-phrase research, one-manner hyperlink evaluation, content fabric optimization, and technical audits?
Ease of Use: Is the interface novice-pleasant or relevant for professionals?
Reliability of Data: Are the insights correct and updated?
Scalability: Can the device grow along with your organisation as your needs expand?
Support and Community: Does the device provide incredible customer service and belongings for troubleshooting?
Now, permit’s dive into the evaluation of famous SEO tools through awesome rare elements.
Features: Google Search Console is a want to-have for monitoring your website’s usual overall performance on search engines like google and yahoo. It facilitates you becoming aware of indexing issues, music key-phrase rankings, and apprehend how Google crawls your website.
Ease of Use: Beginner-exceptional with straightforward dashboards.
Reliability of Data: Unmatched, as it comes straight away from Google.
Limitations: Lacks advanced features like competitor evaluation or huge key-word studies.
Best For: Small businesses and those just starting with seo.
Verdict: Excellent fee for people who need a loose device to address the basics of search engine optimization.
Features: Ahrefs is a powerhouse for inbound link analysis, key-word research, content fabric exploration, and competitor tracking. It moreover offers rank tracking and region auditing equipment.
Ease of Use: Intuitive interface, however it can have a mastering curve for beginners.
Reliability of Data: Ahrefs’ vast link database and keyword metrics are specially relied on.
Scalability: Ideal for organizations of all sizes, from startups to big groups.
Best For: Professionals needing in-intensity insights and advanced analytics.
Verdict: While the pricing can also additionally appear steep, Ahrefs gives awesome prices for statistics-driven marketers who require whole capabilities.
Features: SEMrush offers an all-in-one suite for seo, content cloth advertising, PPC, and social media management. It excels in keyword research, oneway link assessment, and aggressive evaluation.
Ease of Use: User-satisfactory, with hundreds of tutorials and resources.
Reliability of Data: Solid and frequently updated.
Scalability: Scalable for character marketers to massive corporations with multi-patron talents.
Best For: Agencies and organizations with numerous advertising goals.
Verdict: While slightly more luxurious than Ahrefs, SEMrush’s versatility and in addition gear for PPC and social media offer more price.
Features: Ubersuggest makes a speciality of key-phrase studies, back-link records, and location audits. The paid plans offer advanced capabilities and less barriers.
Ease of Use: Beginner-excellent with a smooth interface.
Reliability of Data: Good for primary seo, however plenty less enormous than pinnacle charge gadget like Ahrefs.
Scalability: Limited for massive institutions or advanced specialists.
Best For: Solopreneurs and small agencies on a rate range.
Verdict: Offers great price for beginners or those looking for a fee-effective opportunity.
Features: Moz Pro offers keyword monitoring, net web site audits, and one-way hyperlink analysis. Its domain authority (DA) metric is a popular search engine advertising benchmark.
Ease of Use: Simple interface appropriate for beginners.
Reliability of Data: Trusted and nicely-seemed inside the search engine optimization community.
Scalability: Ideal for small to medium-sized companies.
Best For: Marketers that specialize in key-phrase and inbound link strategies.
Verdict: A properly-rounded tool for companies seeking out reliable metrics and capabilities at a competitive price.
Features: This tool makes a speciality of technical SEO, crawling websites for troubles like damaged hyperlinks, replica content material fabric, and missing metadata.
Ease of Use: Requires some technical knowledge however is extremely effective.
Reliability of Data: Highly correct for technical audits.
Scalability: Perfect for agencies and technical search engine marketing professionals.
Best For: Advanced users targeted on website auditing.
Verdict: Exceptional price for technical seo experts, specifically at its rate issue.
The satisfactory charge is predicated upon on your unique dreams:
For Beginners or Small Businesses: Google Search Console and Ubersuggest offer extraordinary charge at little to no cost.
For Advanced Users: Ahrefs and SEMrush offer whole capabilities virtually really worth the investment.
For Technical search engine optimization: Screaming Frog is unbeatable for web page audits.
For Balanced Features: Moz Pro strikes a superb stability between functionality and affordability.
Choosing the right search engine optimization device isn’t pretty much free—it’s about aligning capabilities with your dreams. Whether you cross at no cost system or spend money on a top class answer, make certain it empowers you to achieve your search engine optimization desires efficiently. Boost your net web page’s visibility and standard overall performance effects with the last On-page SEO tool—Seosets.com!
