Part of the magic behind the success of Ryan Coogler‘s Sinners is how invested the director made general audiences in film formats. A 10-minute video of Coogler explaining the differences in various celluloid media wracked up almost 1 million views on YouTube alone, and when the movie finally came out, audiences were treated to a film that made it clear why the attention to detail mattered.
Sinners was lovingly captured on 65 millimeter film by Coogler and cinematographer Autumn Durald Arkapaw (Black Panther: Wakanda Forever), and at its center is a stunning sequence featuring actor Miles Caton performing the original song “I Lied to You” and transporting the audience through time, a sequence Coogler called “The Surreal Montage.”
Akanda Forever, which ended up being a very long project for us, so I spent about a year with that filmmaking family and I was able to figure out what kind of filmmaker he is. When this project came up, I had known nothing about it besides the fact that he wanted to shoot on film. I knew that it would take place in the South, but nothing else. So you could imagine how, when I was sent the script, it blew my mind.
Was the idea of shooting on large formats in place by the time you joined?
The original concept was to shoot on 16 [mm], and that came from Ryan. Then, it went to 35 [mm]. Then we had a discussion about large format, and he opened his mind to that. This was in prep before going out to New Orleans, so we did some testing in Los Angeles so that he could see these formats projected, and we could all look at them as a team.By the time we got on the ground in New Orleans, we knew we wanted to shoot in 65 [mm], so in our prep, going to those locations and stuff like that, your eye is already looking at the landscape in a wide and tall format.
What went into planning the “I Lied to You” sequence?
When I saw it on the page, it read just like we shot it. It reads just as beautifully. Those kinds of scenes, you want to do justice to what’s on the page. So for me, it starts off as a very technical conversation. He showed us some storyboards. The next step is logistically, trying to execute the sequence like a one-take shot. Is the device a Steadicam? Is it a crane? How does it move in space? What is going to give it the most poetic lyrical feeling to match the music? As for the sequence, you’re matching to that whole track. We decided to put on the Steadicam, and that’s what’s going around the room inside the lumber mill. You have to down-spool the mag because it’s too heavy to put on a Steadicam for a two-and-a-half-minute shot.So it’s a 76-second mag, which is half, and then obviously reload and go again. Lighting has to be something that is taken into consideration, because you want to be able to move throughout the space, 360, so it’s a lot of work to execute something like that. You also want to make sure that you’re doing justice to the soul. You don’t want to feel the operation of the department. You don’t want to feel the technical aspects.
How many days were you shooting just that sequence?
That was shot over two days.The interior space is a set that [production designer] Hannah [[[[Beachler]built on a stage. Then the second shoot day, which was later in the schedule, was shot as a night exterior. We did that off of a 50-foot crane,pulling back on 100 feet of track,and that was at our lumber mill juke joint location,which was an abandoned golf course near a river where Hannah built a three-wall set.
How many shots were stitched together for the scene?
There’s three shots in the lumber mill that are on the Steadicam, and then it tips up into a
Jedidiah’s church exterior
Art Director: Jon Cappel; Asst. Art Director: Otto Dinkelacker
Warner Bros.
Jedidiah vs. sammie, keyframe illustration by Tessa Wessels
Warner Bros.
Jedidiah’s church, interior
Art Director: Jon Cappel; Asst. Art director: Otto Dinkelacker
Warner Bros.
artemis Program Update: January 13, 2026
Table of Contents
The Artemis program, NASA’s effort to return humans to the Moon, continues to progress, though with notable delays and budgetary pressures. As of January 13, 2026, Artemis II remains scheduled for a September 2026 launch, while Artemis III is currently targeting September 2027, a shift from earlier projections. These adjustments reflect challenges in developing key components, especially spacesuits and the lunar lander.
the Artemis Program: Overview
The Artemis program is a U.S. government-led international human spaceflight program with the goal of landing the first woman and person of color on the Moon, establishing a enduring presence there, and ultimately preparing for crewed missions to Mars. The program builds upon the Apollo program, leveraging new technologies and international partnerships.
Detail
The program is divided into phases, beginning with uncrewed test flights (Artemis I), followed by crewed flybys (Artemis II), and culminating in crewed lunar landings (Artemis III and beyond). Long-term goals include establishing a lunar base camp and a lunar orbiting station called Gateway.
Example or Evidence
Artemis I, an uncrewed test flight of the Space Launch System (SLS) rocket and Orion spacecraft, successfully completed its mission in December 2022, orbiting the Moon and returning safely to Earth. NASA’s Artemis I mission report details the successful completion of all primary objectives.
Artemis II: The First Crewed Mission
Artemis II is currently scheduled to launch in September 2026, carrying a crew of four astronauts – reid Wiseman, Victor glover, christina Koch, and Jeremy Hansen - on a lunar flyby mission.
Detail
This mission will test the Orion spacecraft’s life support systems and validate the capabilities needed for future lunar landings. The crew will not land on the Moon, but will travel around it and return to Earth. The mission duration is expected to be approximately 10 days.
Example or Evidence
On December 11, 2023, NASA announced the Artemis II crew. NASA’s press release provides details on the crew members and their roles in the mission. As of January 13, 2026, the crew is continuing intensive training for the mission.
Artemis III: returning to the Lunar Surface
Artemis III is now targeting a launch in September 2027,aiming to land astronauts near the lunar south pole. This represents a delay from the original 2025 target date.
Detail
The primary reason for the delay is the advancement of the Human Landing System (HLS), contracted to SpaceX. Challenges with the Starship HLS, particularly its lunar landing capabilities and refueling requirements, have contributed to the revised schedule. Additionally, development of the next-generation spacesuits, crucial for lunar surface operations, has faced delays. Axiom space is the primary contractor for the spacesuits.
Example or Evidence
In January 2024, NASA announced the revised launch date for Artemis III. NASA’s declaration cited the need for more time to ensure mission success. The estimated cost of artemis III is currently projected to exceed $4.1 billion. A Government Accountability Office report from November 2024 details the escalating costs and schedule challenges facing the Artemis program.
Gateway: The Lunar Orbiting Station
The Gateway is a planned small space station in lunar orbit intended to serve as a staging point for lunar landings and future deep space exploration.
Detail
International partners, including the European Space Agency (ESA), the Japan Aerospace Exploration Agency (JAXA), and the Canadian Space Agency (CSA), are contributing to the development of Gateway modules. The first two modules, the Power and Propulsion element (PPE
