Sentences with phrase «american studio shooting»

Olcott's «The Lad From Old Ireland» — which played especially well to the growing number of Irish immigrants in the U.S. at the time — is one of the first known examples of an American studio shooting a movie in a foreign location.

Not exact matches

Ailing production company British Lion was bought by EMI midway through shooting, and Hardy was obliged to make cuts (but resisted demands by studio executives that he change the ending); a further 13 minutes were cut for the American release.

Though Altman's films compare with Coppola's as chamber music does with grand opera, their work in the 1970s exemplifies what ultimately became the prevailing style of American film direction in that era: maverick resistance to studio - imposed time and budget constraints, insistence on directorial authorship, reliance on location shooting, use of improvisational acting, an emphasis on ensemble playing rather than star performances, Fordian gatherings — weddings, church services, parties, dinners — as exponents of group character (both Altman and Coppola had Catholic upbringings), and a revisionist approach to the mythic archetypes of the Hollywood genre film.

On display are a whopping 200 pictures created over his celebrated, six - decade career, from fashion studies of his wife, Lisa Fonssagrives, and a wide range of still - lifes to female nudes and portraits of South American Quechua people — mostly shot in his studio.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

The one on the seventh floor presents the phenomenon in formation, notably in Edward Steichen's movie - star close - ups of Marlene Dietrich and Dolores del Rio, and Carl Van Vechten's 1934 studio shots of the African - American performers — all, interestingly, unnamed — from the cast of the Gertrude Stein - Virgil Thomson opera «Four Saints in Three Acts.»

While movie studios would often shoot for weeks to eventually use only a few seconds of footage, American rock quartet OK GO decided to reverse the method for its latest music video.

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