Before showing “2001: A Space Odyssey” at #AFIFest, Phil Lord and Christopher Miller share how a lighter, hair and “Harold and Maude” led to the duo that directed “Project Hail Mary”

Phil Lord and Christopher Miller say it was important to talk to Rocky on the “Project Hail Mary” set like he was a member of the cast. “Ryan Gosling, I think, is the only person on the planet who could’ve done this accomplishment of acting.” #AFIFest

Quentin Tarantino tells #AFIFest about how the late Burt Reynolds gave his final performance at the “Once Upon a Time in Hollywood” table read. “The casting that to me is most meaningful ended up not being in the movie.”

#JakeJohnson explains why he wanted to join the voice cast of #Wildwood, praising LAIKA Studios for being “uniquely them” and pushing animation to center stage, much like his experience with "Spider-Man: Into the Spider-Verse."

The stars of “Wildwood” are on the carpet for the opening night of #AFIFest

Could “You Can See Everything” become the first documentary to earn a Best Picture nomination? TheWrap’s @CaseyMLoving and @StevePond discuss how the film’s blend of documentary and performance could give it an Oscar edge, drawing comparisons to “Hoop Dreams,” which famously fell short.

#NathanFielder and #LanceOppenheim’s #YouCanSeeEverything is emerging as one of the most unconventional Oscar contenders of the year. But where does the A24 film fit in the awards race? TheWrap’s Awards team @CaseyMLoving and Executive Editor @stevepond discuss the film’s strong box office debut, its blend of documentary and fiction, and whether it could make history with a Best Picture nomination. Watch the discussion ⬇️ youtube.com/watch?v=3lkZ4Jx6…

#TaylorSwift chats with Elle and Dakota Fanning at the #AcademyMuseumGala

#TaylorSwift stuns at the #AcademyMuseumGala

TheWrap's William Bibbiani hails Nathan Fielder and Lance Oppenheim's "You Can See Everything" as "impossibly involving" as it explores the life of Theranos founder Elizabeth Holmes, and the concept of documentaries themselves. "Fielder and Oppenheim highlight never-before-seen fine print in the contract between documentarians and their audience, and underline the double-speak so we’ll never read it the same way again." Read the full review: thewrap.com/creative-content… Photo: A24