Sentences with phrase «do talk about film»

The first rule of film criticism is: you most definitely DO talk about film.

Not only do they talk about the filming of the movie, but Knightley really gets into the story of the film and she cheers for the characters as the scenes unfold.

I'm about done talking about this film, but was super thrilled to have many thought - provoking conversations about how this film takes the Star Wars franchise in bold new directions.

Not exact matches

EASTWOOD: Well that was an interesting project because Steven had asked me to do Flags of Our Fathers and so I was having a meeting with him and we were talking about that war and that battle and I was going off into Iceland to film the beaches because Iceland has black sand much like Iwo Jima does.

I don't always talk to my pastor about movies I plan on watching, mostly because being a film critic prevents me from having much choice in the first place to a degree.

Because he rarely talks about himself on the air, his listeners probably don't know that he is an inventor (he holds a U.S. patent on a bottle / can opener); an actor (films he or his voice were in: One Flew Over the Cuckoo's Nest, Paper Lion, Aunt Mary and Tiger Town); and a lyricist (I Don't Know Any Better by B.J. Thomas, for one).

«You see Anthony do all the things [IMG head coach Kevin] Wright talked about on film, from the coverage to coming up and filling against the run,» Steve Wiltfong wrote.

We would be remiss if we didn't talk about Toy Story 3 and the toys children love best from this wonderful film.

The government's proposal will not ban violent pornography that doesn't include penetration (and it's important to remember we're only talking about hardcore porn, not normal films, documentaries, or art).

Funnily enough I went recently to the screening of the new film about Julian Assange, the Fifth Estate, and I was talking afterwards to Alan Rusbridger, and I said to him, and he didn't disagree, in fact he agreed, I said, «the Guardian gets the credit for basically exposing the phone hacking scandal, but if we hadn't picked it up, nothing would've happened».

As the film of her other half talking about «compassion» and «decency» did the rounds, actress Amanda Abbington tweeted:

And it does show film clips of prominent scientists, like Richard Dawkins, for example, who happen ed [s] to be atheist, and it quotes them sometimes talking about their atheism and how that atheism happens to accord with the evolutionary science that they understand.

And why do are so many people talking down on the movie and saying a bunch of controversial, non-sensible feedback about the film?

I didn't wait for him to contact me — in fact five minutes after we left each other on the Tube, I texted him with details of the musicals, films and TV shows we'd been talking about that he'd never heard of before.

If you don't know what to talk about, favourite films, recent holidays and your family are all safe subjects.

Talk about your favorite film, play, vacation spot, book, or what you enjoy doing on the weekends.

I do find it hilarious how almost no one really talking about the actual film (they are, but it just do not feel like it).

(LINK: Roger Moore talks with WWZ director Marc Forster about the film's troubled history and what he did to «fix» it.).

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

The film was once talked about as the beginning of a possible trilogy, and the finished product feels desperate to start a franchise instead of doing the thing that would actually make such a series compelling: telling an interesting story with skill.

Naming names and letting people talk, this should be seen, and Kirby Dick (no kidding, that's the director) is a terrific filmmaker (THIS FILM IS NOT YET RATED, if you haven't seen it, please do - right now) and he obviously feels passionately about this.

Back in director Tim Miller's first film, the stakes were low and refreshingly simple — it was enough just to watch Reynolds do his wink - wink - nudge - nudge thing and chop some up some bad guys while talking smack about Hugh Jackman.

Its too bad we didn't get any more Harry D'Amour films or tv series that was talked about at one time.

As a portrait of modern journalism, though, it leaves quite a lot to be desired; this is the kind of film that has characters trade grandiose talking points about the ethics of reporting, but can't be bothered to show its reporter hero — still recovering from the damage factual inaccuracies did to his career — using a recording device during interviews.

That aspect of the film is clearly in a fight with all the «why did you come here» Syd Field motivational padding between its troubling setpieces, and it's a very studio - suit move to assume that the only way to give «meaning» to a film is to have people talk about it.

Reviewer doesn't know what he's talking about in regards the film's source materials.

The movie kicks off with a poorly CGI'd (for Zemeckis) shot of the hero standing in the Statue of Liberty's torch with the Towers looming across the water behind him, talking and talking and talking not to you but at you, often in bizarrely gargoyle - ish close - ups, about the amazing thing he's about to do, or is doing — as if convincing us to buy a ticket to the film we're already sitting there watching.

I knew this new film was in trouble when I heard De Bont talking about being able to do all the things Jackson described in her book that the original film had to skip due to the technical limitations of the era.

If you don't know what I'm talking about, the censorship occurs on only a few frames of film.

I don't come here for discussion about «films,» I'm here to talk about FLICKS AND MOVIES!

It's a film of genuine beauty, one where you come away as eager to talk about the set design and the choreography as you do the fate of the galaxy or what might happen next.

At the film's press day, actor Paul Giamatti, who's also an executive producer on the movie, talked about what drew him to John Dies at the End, his most memorable experience of the shoot, working with such new actors, how he sees the industry now, and that he doesn't think a film like Sideways would even get made today.

«It wasn't until I saw Greta talk about the film and making it and putting it together, and how all of this came from her and she's done something brilliant that people truly love and it's a great piece of work that I thought, «Oh yeah, I do want to do this now and maybe I could actually do it,»» Ronan adds.

You'd think nobody would want to go near her (Blunt talks more about this at the film's press conference) yet one passenger, anonymously described on the cast list as Man in Suit (Darren Goldstein), does attempt to help her.

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

During this 1 - on - 1 phone interview with Collider, actress and filmmaker Heather Graham talked about wanting to make a movie celebrating women and friendship, the biggest challenges in getting this film going, having her voice heard, as a female filmmaker, what she most enjoyed about playing Honey, putting together this cast, funny moments on set, what she enjoyed about the experience of directing, her hope to do it again, juggling three different writing projects, and doing the British TV series Bliss, from David Cross.

The Oscar - nominated director talks about why he didn't rehearse with Reese Witherspoon, how he managed to shoot a film 65 percent outdoors, and his personal connection to Cheryl Strayed's story.

Its director, Tom McGrath, talked to Flickering Myth's Freda Cooper about why he wanted to make the film — and why the «micro manager» doesn't intentionally look like the current occupant of The White House.

Given Terrence Malick's usual work rate, it feels almost perverse to begin talking about his next film while his current one is still in theaters, but that's precisely what his new go - to cinematographer Emmanuel Lubezki does in a fascinating Sight & Sound interview.

Perhaps all the happy talk around the movie's Oscar chances had little to do with the way the Academy actually thinks: The opportunity to salute Birdman, a film about a Hollywood actor's redemption, proved too tempting.

«went on to talk about CBGB and was bitching about how our former film commissioner Jay Self kept showing up to set, telling her she couldn't do this, she couldn't do that and that she was so glad he was no longer film commissioner.

Patton Oswalt has even talked about similar work he's done, (referred to as «punch - ups») on animated films.

And while there are a number of strong sequences sprinkled throughout (eg Cole talks to his mother (Toni Collette's Lynn) about her own deceased parent), The Sixth Sense's funereal atmosphere ultimately lessens the impact of the much - vaunted climactic twist and it is, in the end, clear that the film doesn't entirely work as either a drama or a spooky thriller - with the movie's mild success due mostly to Shyamalan's considerable talent and his ongoing ability to wring top - notch work from folks both in front of and behind the camera (ie this is an exceedingly handsome production, undeniably).

And any time spent thinking about how ridiculous what they're actually talking about is, is still more entertaining than some of the antics the supporting characters get up to, be it John Malkovich trying to kung fu a robot or a former Special Forces soldier complaining stress or all the running he was having to do, or dear God anything having to do with Sam's parents who offer nothing to the film but reminders why they shouldn't be in it.

And I don't like having to say «The Thing 2011» whenever I talk about this film.

He doesn't talk much about locations or film techniques.

I did leave the film frustrated, and certainly had a lot to talk about with others who had seen it.

Talks about how his editor was cutting as they were filming so when they wrapped it was almost done.

The outspoken Robbins consciously avoided politics while talking about the film, as if he didn't want his own views to get in the way of the film's non-partisan story.

We talked about what it was like to walk on the yellow brick road for the first time, her reaction to the finished film, 3D, doing so much press, and does she get to visit Disneyland for free after being in a huge Disney movie.