The Credits is the Motion Picture Association’s online magazine, a hub for interviews and stories from behind the scenes, focusing on how your favorite films and television shows are created.

“My Old Ass” Writer/Director Megan Park on Magic, Mushrooms, and Meeting Yourself

“Under the Bridge” EP/Director Quinn Shephard on Lily Gladstone & Riley Keough’s Twisty Murder Mystery

“Shōgun” Stunt Coordinator Lauro David Chartrand-DelValle on Lady Mariko’s Last Stand

The Samurai Sword and the Flaming Arrow: Inside the Stunts of “Shōgun” – Part One

From Feudal Japan to Tokyo’s Neon Underworld: “Shōgun” & “Tokyo Vice” Director Takeshi Fukunaga Unmasks Japan

“The Last of Us” Concept Illustrator & Designer Pouya Moayedi on Imagining a Deadly Green World

How Warner Bros. Television Turned “Kung Fu” Season Three Green with Transportation Manager Ryan Doucette.

“Scream VI” Costume Designer Avery Plewes Gives Ghostface & Co an NYC Style Upgrade

“Scream VI” Editor Jay Prychidny on Stitching Together an Epic Slasher

“The Whale” Oscar-Nominated Prosthetics Artist Adrien Morot Breaks the Mold

Star Trek: Discovery's Production Designer, Tamara Deverell, takes us back to the future

Kyle Perez on Canadian Filmmakers & Loving the Classics

Industrial Light & Magic Senior Creature Artist Dane Larocque on Constructing Unforgettable Creatures

Star Trek: Discovery's Art Director, Jody Clement, gives you the VIP Tour

Star Trek: Discovery's Set Designer, Emilie Poulin, is charting the Starfleet’s newest adventures

From missing baby teeth to depicting the ravages of disease and time, Canadian makeup designer Natalie Cosco had her work cut out for her on the Vancouver-shot Art of Racing in the Rain.

Good Boys Script Supervisor Patti Henderson on the Joys & Challenges of Comedy.

Veteran production designer, Brent Thomas, describes how he uses the art of visual elements to help tell the heart-felt family story, The Art of Racing in the Rain.

Catherine (aka Catoo) Gelinas speaks with The Credits about her massive role as Key Costumer on Dark Phoenix, and why making movies in Quebec offers a unique and often transformative experience for cast and crew.

Montreal makeup designer, Annick Chartier, talks mutant makeovers for Dark Phoenix

Handmaid's Tale makeup designer, Burton LeBlanc, shares his favourite products for creating the look of ravage & misery

How Chilling Adventures of Sabrina‘s Production Designer, Lisa Soper, Creates the Occult

Pet Sematary‘s Makeup Designer, Annick Chartier, on Creating Death From Life

Costume Designer, Christopher Hargadon, divulges the most delicate details in the Umbrella Academy wardrobe

How a global VFX effort animated the lovable, lunatic aliens in Men in Black: International

Editor, producer, musician, and collaborator, Gordon Rempel wears many hats. But whether it’s a science-fiction show, a short film on dance, a Disney production or making music, he finds the through-line to be simple: “It’s creativity all around.”

Editor Nicole Ratcliffe has an unusual story to tell—she began editing right out of film school. Why this is unusual is it usually takes some time before you’re properly cutting scenes in the editing room, but for Ratcliffe, who grew up in Vancouver and works there, she began editing more or less immediately. Not only that, she worked on so many visual effects-heavy projects that she became a visual effects editor.

Future Man‘s cinematographer, Sylvaine Dufaux, says that working on the series has been an exercise in creative freedom. “The guys behind the project, I thought they were interesting,” she says. “When I met the writers and directors like Ben Karlin, Alex Buono, Kyle Hunter, Ariel Shaffir, and Jonathan Watson, they came to Montreal, and they had an open mind and were curious about what the people from Montreal could give to the show. They trust me. There’s a lot of freedom to try things out, which is always interesting in on anything you work on.”

Costume designer Lorraine Carson has helped steer the look of the romantic comedy franchise To All the Boys: P.S. I Still Love You (based on Jenny Han’s novel series) for the second and third films. As the franchise’s ensemble has grown up, so too has their wardrobe. With the second film currently available on Netflix (with the third film in post-production), we spoke to Carson about realizing character growth through costume, exploring Lara Jean (Lana Condor)’s personal life (she’s now officially dating Peter, played by Noah Centineo, with complications to come thanks to those old love letters she’d written), and how the show honors Laura’s family’s Korean background through traditional garments.

Director Nimisha Mukerji credits the big breaks in her career to working on MPA productions. Placing tremendous value on the relationships she hustled so hard to build, she wants more Canadian directors to have the same opportunities. Mukerji is a part of a growing number of Canadian filmmakers who are not only making a name for themselves in the industry, they’re helping other Canadian directors get a leg up.

Vancouver-born writer/director Zach Lipovsky wants more Canadian directors to benefit from the growing opportunities to live and work in Hollywood North. He’s leading the charge on efforts to shine a spotlight on untapped director talent, and a big part of that is making it easier for L.A. studios to find them.