Sentences with phrase «how about making a movie»

How about making a movie version of your novel for online viewing?

Not exact matches

A group of women explain to CNBC how they're addressing the lack of female representation on Wall Street — by making a movie about it.

«Laurene asked me how much time I needed to make a movie, and I told her about a year and a half,» Mr. Guggenheim said.

That movie, for all it's exhilarating presentation of youthful life on the road as you experience those who make music which can speak to large audiences, is nonetheless all about how you ought to get sucked into the rock «n roll way of life (albeit eschewing the drugs and sex part of it) because somehow rock «n roll is supposedly important.

This makes viewing the movie great fun because we, who are so often buffeted about in the world by not knowing how life works, here know what the world doesn't.

I like the metaphor (was reading about how Truffaut changed the ending of Fahrenheit 451 when he made the movie; this reminds me of that ending).

Theoretically, the movie is about her learning to make better choices; the character actually gets to accomplish something by the end, although we no way of understanding how she found the wherewithal to pull that off.

Now my mustache is gray, and it's still necessary to make a movie about how it's a bad idea to clone dinosaurs.

One of the neat things about the Toy Story movies is that they show kids how to flex their imaginations and make up tales about their toys.

While on my recent press trip for the Oz the Great and Powerful premiere, the group of mom bloggers was surprised with a trip to the Disney Animation Studios to learn all about how the movie Wreck - It - Ralph was made.

Allison talked with Scientific American about his prize - winning presentation, the difficulties of communicating highly technical concepts to the public and how $ 200,000 could make his «molecular movies» a reality.

They argue that the craft of popular movie making relies on psychological principles about how much humans can absorb and comprehend.

In this wide - ranging, humorous talk, Seth Shostak takes a look at Star Wars and other science fiction films from the point of view of a skeptical scientist, tells stories about the movies he has been asked to advise, and muses about aliens from space and how we might make contact with them.

But I did tell him how serious I was about making this movie,» Cooper told USA Today.

To read more about the movie, how it was made, and the courage it took to tell her story, visit the official website.

So you may talk about some topics about how to make a living, or how do they enjoy family time, hobbies, movies, celebrities and everything else that make both of you feel ease.

That's how the gifted young Argentine writer - director Matías Piñeiro makes his movies, in a style that seems casual and feels sure - handed — casual and sure - handed being about as good a combination as artistry, in any medium, has to offer.

That alone makes it more thoughtful about how the world works than a lot of mainstream movies, even if those ideas are interspersed with plenty of comic - book posturing.

The most mesmerizing parts of the movie make up a tutorial about how the Muppets are made and moved.

I really don't know enough about how many theatres and everything of 3D to make a realistic estimate, but doesn't the typical $ 200 million movie make around $ 40 - $ 60 from 3D?

If J.K. Rowling were more picky about how the movies were made, she were to give this a C or B.

I am proud to say that The Disaster Artist is a autobiographical masterpiece and this movie will make you appreciate, laugh, and cry about how Tommy Wiseau and Greg Sestero became infamous on creating the best worst movie ever made.

The movie drags on too long but that isn't what's so bad about it, the worst part about this movie is how it totally makes a laughing stock out of optimus prime.

These guys deserve a movie to be made about how they saved the lives of 554 people.

Though likely to be variously praised and pilloried as a pro-choice film, Weitz's film is really a movie about choice in both the specific and the abstract — about the choices we make, for good and for ill, and how we come to feel about them through the prism of time.

How do you make a movie with depth about a man who lacked any?

I remember as a kid talking about how shocked we were that Darth Vader claimed to be Luke's father for years... A very dark movie with a cliffhanger that made you wait in anticipation to see the next Star Wars movie.

Aside from the romantic interlude, this movie is bogged down by the weak villains, neither of whom are convincing or threatening in any manner (and this, like the comments made repeatedly about the virus and the cure, reflects on how the hero is perceived).

A lot in this movie is stupid or makes no sense when you think about it - like the truth about the Bleeder's face and how that asylum doesn't have any emergency generator -, but it has its moments and Palance, Pleasence and Landau seem to be having crazy fun as sick f *** s.

Making a movie about the writing of a book is a thankless task — no matter how you spin it, there is absolutely nothing interesting in watching a writer sit down and put together sentences and paragraphs.

Second and more importantly is how the movie is also very honest about domestic violence, even if the vocabulary did not yet exist when this was made.

Stephen is happy about a movie he finally got around to enjoying; Glen is happy about a movie he says is «not warm» and «not sweet»; Shereen is happy about a soothing television show in its new incarnaation; and I am happy about how I made dinner one night recently.

I was trying to think about how The CW could make a racy - but - weepy soap opera out of either of these movies, and then the answer seemed obvious — you have to combine them.

I asked her how she felt between making this film about a movie star entering Broadway and now actually facing that in reality.

«Our movie is so much about truth and the perception of truth,» Rogers explains, «and how people tell themselves what they need to tell themselves in order to be able to live with themselves» that it made sense to etch that into the film's DNA.

I don't know how to approach what this has to say about the thought process behind scripting this movie, as the film seems to make no presumptions whatsoever.

At one point Joss and I were talking a lot about horror movies and how much we wanted to make one.

During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute format, whether they could have any surprise cameos (Bill Murray made a very memorable one in the film), what will determine whether the pilot is successful enough to go to series, and when they might know if they're picked up.

People are happy to tell you how they make decisions about what movies to see.

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.

I think the production tried though I feel that the movie was done on the cheap side without any innovative thought to the film making or script (Which is how I usually feel about Rodriguez films who I still consider a hack).

What works about this movie is how self - aware it is, and how it states typical scenarios and rules you can follow, and then makes sure to do things in a different way.

The silent version also comes with a great commentary by Timothy Brock, who walks through the main interest points about the making of the movie, and some of how Chaplin made the film, and his later cuts.

How else can you make a funny movie about a commune run by hippies without using recycled jokes from the 1970s?

She also talked about how Season 3 of her A&E drama series Longmire is going, and how fun it would be to get to further explore her Riddick character, if they make another movie.

Regardless of how you feel about his personal antics, there's no denying that Gibson is a talented actor, and his mixture of charm, danger and zaniness (all qualities that made Martin Riggs an action movie icon) are on full display in director Jean - François Richet's darkly comic thriller.

I read an in depth article in Rolling Stone a while back about the making of Facebook and I don't know how it could be an interesting movie.

Siege movies are often about the transition from collective passivity (something happening to the characters) to activity (the characters making decisions about how to defend themselves).

I heard good things about this gambling movie starring Ben Mendelsohn as a born loser (naturally) and Ryan Reynolds as his new friend, who at least looks and acts like a winner, but when I caught up with it, I was surprised by just how well acted and skillfully made it is.

I had actually called him and asked him a couple questions about a script I was writing, and how to go about making a low budget movie, and he politely answered my questions.