Sentences with phrase «as a screenwriter first»

As a screenwriter first and foremost (and a director with little to no innate visual sense), I tend to prize narrative and story over most other elements in film.

Not exact matches

The genius of first - time screenwriter Liz Hannah's script is that she makes the story about Graham's evolution as much as it is about the Pentagon Papers.

Fabled is the first feature film from Ari Kirschenbaum, who served as director, screenwriter, and editor.

First - time director / screenwriter Antonio Negret details the frightening trend of kidnapping in Columbia with this tense tale of a young photographer who is abducted and held for ransom as his desperate parents scramble to raise the money that could save their child's life.

But the endless destruction, first without any airbags deploying, and second without any apparent moral or legal consequence, shows that Leder and screenwriter Michael Schiffer really didn't leave the action genre as far behind as one might think.

Pellington and screenwriter Alex Ross Perry make their point within the film's first few minutes and keep making it — establishing that, yes, certain objects obviously do matter to us as harbingers of the narratives we assemble out of the incidents in our lives — as if they're the first artists to broach the subject.

The two also became acquainted with novelist Ruth Prawer Jhabvala around this time; Jhabvala would become irrevocably associated with the two, acting as the screenwriter for all but a handful of their films.The trio's first films were set in India, dramas concerned with questions of cultural interplay, personal identity, and physical and emotional isolation.

As Danny Boyle's go - to screenwriter after they brought his first novel, The Beach to the big screen, they injected a shot of adrenaline to the shambling zombie genre in 2000s with 28 Days Later, and turned in a brilliantly sly theological inquiry in the form of a space adventure Sunshine.

The script apparently originated with the desire of screenwriter Liz Hannah «to tell the story of Katharine Graham, the former Washington Post publisher who became the first - ever female CEO of a Fortune 500 company... As Hannah was writing the first draft, the symmetry between Graham and presidential candidate Hillary Clinton seemed to be the most obvious parallel to the present.

Huston worked as a screenwriter in the 1930s before getting his first chance to direct with The Maltese Falcon (1941).

Screenwriters Michael Hirst (who wrote the first one) and William Nicholson are not exactly loyal to the historical record, even as distorted by the post-Tudor elite, and their cliché - studded dialogue is decidedly pre-Shakespearean.

For the first half hour or so, writer / director David Veloz (one of the screenwriters credited on Natural Born Killers) strains unsuccessfully to impress us with fashionable non-continuity edits and some clipped dialogue that aspires to be taken as sardonic humor.

As charming and gently agreeable as Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueAs charming and gently agreeable as Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueas Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueas to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueas if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigued.

Of course, this still might be somewhat forgivable if De Bont and first - time screenwriter David Self didn't openly acknowledge their inspirations for the film — the wonderfully creepy 1963 movie of the same name, as well as its source, the novel «The Haunting of Hill House.»

Of the world premieres, the major gets for Toronto include Freeheld, Peter Sollett's LGBT drama starring Julianne Moore and Ellen Page; Stonewall, Roland Emmerich's drama about the birth of the gay rights movement; Alan Bennett's The Lady in the Van, which is rumored to feature an awards - worthy performance from Maggie Smith; Jay Roach's film Trumbo, starring Bryan Cranston as the famed Hollywood screenwriter Dalton Trumbo, who was blacklisted in the 1940s; Terence Davies's anticipated follow - up to The Deep Blue Sea, Sunset Song; Charlie Kaufman's first stop - motion film, Anomalisa; and Eye in the Sky, Gavin Hood's thriller about piloted aircraft warfare, starring Aaron Paul and Helen Mirren.

The honor makes the 39 - year - old star the first black screenwriter to ever win the award as he gave one of the best speeches of the night as he admitted he thought writing the film was «impossible.»

In this universe rife with inside jokes and gems disguised as throwaway lines, Guest himself appears as the wondrously detached director of the film, who asserts his authority by not asserting it when dealing with addled actors or wounded first - time screenwriters (Bob Balaban and Michael McKean).

However, as the film builds toward its climax that culminates in moments of violence, Rubin's film, working off of a script by first - time screenwriter Andrew Stern, increasingly overplays its hand, as the scenarios go from relatable to worst - case.

David S. Goyer, the screenwriter for the first two Blade films, takes over as director.

Actress Blake Lively and actor Jason Clarke lead the way from a script by Forster and screenwriter Sean Conway with a story of intrigue, mystery and chilling uncertainty for a woman whose second chance to see for the first time since childhood brings both happiness, as well as striking new questions about her relationship.

Though most of the cast returns, as well as the screenwriters of the first film, Rhett Reese and Paul Wernick, with Ryan Reynolds also snagging a writing credit, Deadpool 2 recruited David Leitch (one half of John Wick's directorial team) to replace Tim Miller, and the change works.

But while he riffs, mugs, jokes and impersonates as a workaholic developer - dad who needs penguins to teach him that family comes first, the trio of screenwriters show a lot of alliterative love to Ophelia Lovibond («No Strings Attached»), who plays Popper's punctilious pal Friday, Pippi.

Screenwriter John Romano served time as writer - producer on Hills Street Blues, L.A. Law and Monk, while director Brad Furman turned to crime in his first feature, The Take.

In the first place, they both could be read as nostalgia - drenched mix - tapes full of pop songs that probably spoke deeply to the respective screenwriters (Sylvia and Diablo Cody) when they were fresh.

A flashy but hollow first directing gig for veteran screenwriter Dan Gilroy («The Bourne Legacy»), this Oct. 31 Open Road release is a star vehicle that will test audience enthusiasm for Gyllenhaal's big, mannered star turn — a feast of capital - A acting that's sometimes amusing to watch but not believable for so much as a second.

A: When I first met the screenwriter Steve Kloves the fact that he was American did indeed make me wary, as I felt that he could very well be careless and insensitive with my creative baby.

Although Affleck's lamentations of unrealized ambitions are symptomatic of a first - time filmmaker, because he's been around the block as an actor (and is, lest we forget, an Oscar - winning screenwriter), he can, unlike most newbies, talk the talk without coming across as pretentious.

After a decade of hustling, first in development at Charlize Theron's female - centric production company, and then as an aspiring screenwriter, she was beginning to think, «Maybe this isn't what I'm supposed to do.»

As written by its trio of writers (with Jessica Goldberg joined by first time screenwriters Katie Nehara and Justin Shilton), its dramatic possibilities are severely downplayed, instead attempting to reflect meaning off intertextual echoes borrowed from Chekov's The Cherry Orchard (the play being staged within the film).

The writing by first - time screenwriter Guggenheim is adequate, as is the direction by Gavin O'Conner (Tumbleweeds)-- neither are stellar, but they get the job done in workmanlike fashion.

Garland's science - fiction chamber piece — his first film as director, and fifth as screenwriter, after 28 Days Later, Sunshine, Never Let Me Go and Dredd — starts from the premise that no one knows us better than our internet browsers, then turns that queasy intimacy inside out.

Subsequent Career: Providing something of a template for screenwriters who want to make the jump, Steven Zaillian has continued as a high - profile screenwriter long after his directorial debut, only occasionally dipping his toe back in directorial waters, and never with the same straightforward success of his first time out.

The first disc includes the theatrical release of the film, along with an interesting feature commentary track by director Marshall and screenwriter Bill Condon, as well as the deleted musical number «Class,» and a 27 - minute documentary on bringing the musical to the big screen («From Stage to Screen: The History of Chicago»).

Screenwriter David Seidler wrote a stage treatment «as a way to work out the relationships among the characters for himself», according to his manager Jeff Aghassi in an interview last year with The New York Times, though the screenplay is believed to have come first.

Even the pair's first feature as screenwriters,

Chris McKenna and Erik Sommers, two of the screenwriters behind the first movie, are back as well.

The film, written by first - time screenwriter Pat Rushin, centers on Qohen Leth (Christoph Waltz), a nervous, very bald man who lives in a church, has spent his life waiting for a mysterious phone call, and works as an «esoteric data» cruncher for the Mancorp corporation.

Somewhat surprisingly, though, the screenwriters lined up for their first picture are the guys behind the script for Joe Johnston's upcoming Captain America as well as the first two Narnia movies; yet perhaps less surprisingly for This Life collaborators, Christopher Markus and Stephen McFeely also wrote The Life and Death of Peter Sellers and collaborated with Cameron Crowe on a proposed, yet stalled, remake of the Ernst Lubitsch masterpiece Trouble in Paradise.

Starring The Kids Are All Right's Mia Wasikowska as the titular character and X-Men: First Class» Michael Fassbender as Rochester, the Sin Nombre director and Tamara Drewe screenwriter Moira Buffini remain faithful to the source material whilst crafting a captivating contemporary iteration.

Lagravenese, the screenwriter for such fine films as The Horse Whisperer, Beloved, The Bridges of Madison County, and The Fisher King, takes his first stab at directing with varying results.

Giving a great deal of credit to first - time screenwriter Jamie Linden, he does manage to find that silver lining by not concentrating on the game of football except as a means to heal wounds.

«I can not tell you, as much as I thought the memoir and Solomon's words and work was special, I had no concept until I saw the movie for the first time,» said the film's screenwriter, John Ridley, accepting the prize in that category as he referred to protagonist Solomon Northup.

Written and directed by Dale Launer, who had been the screenwriter for some pretty good comedies, such as My Cousin Vinny, Dirty Rotten Scoundrels, and Ruthless People, this would be his first and last attempt at directing (also his last screenplay).

Unfortunately Batman Begins developed as most Hollywood action movies do: it was budgeted at $ 180 million — Burton's first movie cost $ 40 million — yet the script, by Nolan and Blade screenwriter David S. Goyer, is a hack job.

But judging by this first official trailer it looks as though writer / director Nikolaj Arcel and screenwriters Akiva Goldsman, Jeff Pinkner and Anders Thomas Jensen have pulled it off, even if the film appears to strike a slightly different tone to King's source material.

The Wind and the Lion (1972), the sophomore feature of the film school - trained screenwriter turned director, takes on a romantic tale of rebellion and response, honorable ancient codes and modern military might, and the first stirrings of the United States of America, the modern, maverick young country in a political culture dominated by the history - seeped empires of old Europe, as a world power.

A script by first - time screenwriter Andrew Sodroski from the 2013 Hollywood «black list» of unproduced screenplays, Holland, Michigan is a contemporary dark comedy set in what Morris describes as «this strange city on the Western coast of Michigan.»

This all comes off as more interesting in the synopsizing than in the actual telling; screenwriter Peter Landesman («Parkland») and director Michael Cuesta («L.I.E.,» the «Homeland» pilot) bobble their portrayal of journalism early on — you'll flinch if you know the first thing about newspaper captions or the inverted - pyramid style of reportage — and they (along with Renner) never make Webb a captivating enough character to follow through the ups and downs of this saga.

Screenwriters Stephen McFeely and Christopher Markus who wrote the first film, as well as Thor: The Dark World, are back under the direction of brothers Anthony and Joe Russo.

Screenwriter Leigh Whannell makes the film easily accessible to newcomers so don't worry if you missed the first one as you'll quickly catch up to all the relevant plot points.