The participants in Sean Cisterna’s documentary will be the first to tell you they don’t want anything to do with horror movies, but that didn’t stop them from being part of making one.

Burnin' Percebes is a writing/directing duo composed of Fernando Martínez and Juan González. The Fantastic Golem Affairs marks their fourth collaboration together, but at this point the two don’t see it as two people working together.

We’ve all had those days when the world feels like it’s out to get us. When everything that can will and does go horribly wrong. Ironically, bad days can also be a source for creative inspiration. That was the case with writer/director Rani DeMuth’s And Now I Lay Me Down.

Writer, director, and star Matthew Campanella talks about the film’s inspiration, the family affair of filmmaking, and the merits, or lack thereof, of jarred pasta sauce.

When looking for a composer for the series, The Eyes of Wakanda called upon Hesham Nazih, who scored the Moon Knight series, but that wasn’t the beginning of his career.

James Everingham didn’t set out to be a film composer, but at seventeen, he found himself at Abbey Road, recording his first feature score. Since then, he’s spent ten years collaborating with Hans Zimmer, won a ​​Televisual Bulldog Award for BBC's Frozen Planet II, and working in the worlds of film, TV, and video games. Everingham is once again teaming up with Zimmer for the score of the Apple TV+ series Chief of War.

Dara Taylor sat down with Beyond the Cinerama Dome to discuss the dreamlike way she was added to the MCU, tying Riri’s journey to the existing world of Black Panther, and the art of bucket drumming.

Production designer Udo Kramer who sat down with Beyond the Cinerama Dome to discuss joining the series in the second season, blending the old and new worlds together, and his favorite sets from the show. This transcript has been edited for length and clarity.

In the Tribeca-premiering short film, A West Side Story Story, co-writers Aditya Joshi and Ana Luz Zambrana imagine what this classic musical would look like if it was authentically Puerto Rican.

Carlos Rafael Rivera chatted with Beyond the Cinerama Dome to discuss his longtime friendship with Scott Frank, how Ozzy Osborne’s Blizzard of Ozz changed his life, and the ascending and descending melodies of Dept Q that serve as the backbone of the score.

The role of a cinematographer is one of the most misunderstood jobs in the film industry by the casual move fan. What does it mean to be the director of photography? Pedro Castillo virtually stopped by Beyond the Cinerama Dome to demystify the job.

The duo sat down with Beyond the Cinerama Dome to discuss their collaborative process, the role they see their score playing, and their other upcoming project, It’s Dorothy!, that is premiering at Tribeca next month

Dominik Scherrer sat down with Beyond the Cinerama Dome to discuss his roundabout road to becoming a composer, the unexpected difficulties of this score, and the rhythm he relies on to balance the differing emotions of the series.

Sam Hayes sat down with Beyond the Cinerama Dome to discuss the film’s North American premiere, the never-ending need for coming-of-age films, and everything that comes with growing up.

Duncan Thum sat down with Beyond the Cinerama Dome to discuss returning to Chef’s Table, the research that goes into each episode, and his personal connection with one of the chefs.

Mark Orton sat down with Beyond the Cinerama Dome to discuss his musical roots, his use of antique instruments, and the challenges of balancing love and fear.

Co-directors Crystal Moselle and Jon Kasbe sat down with Beyond the Cinerama Dome to discuss the film’s journey to wide release, meeting Sophia, and if there is still a chance for everyone to learn empathy.

Paul Koch sat down with Beyond the Cinerama Dome to discuss his musical roots, frequent collaborations with the McManus brothers, and how his other recent project, Black Heat, bears some unlikely similarities to Redux Redux.

Stephanie Kaznocha sat down with Beyond the Cinerama Dome to discuss her career as an editor, the heart of Confessions, and the novel experience of cutting A Nice Indian Boy to the film’s lush, sweeping score. This transcript has been edited for length and clarity.