Sentences with phrase «how come the film»

He remarked that whenever he sees heart - rending scenes of famine victims he wonders, «How come the film crew didn't just give the kid a sandwich?

Not exact matches

Sure enough, with Leo's permission, McConlogue invited me and a film crew to come to a coding class this past Monday, which marked the halfway point of the eight - week period McConlogue allotted himself to teach Leo how to program.

How do these films come together?

Given the painstaking frame - by - frame choreography of a film like this, it seems Anderson failed to entirely consider how this might come off to an even remotely skeptical viewership.»

Walk me through how this film came to you.

GALLOWAY: How did American Sniper come to you because this is the film that Steven Spielberg was going to direct at one point.

Today's question comes from ochaos on reddit, who asks how things are going with regards to the recent changes in Sprint's financial eligibility date checker: Comment from discussion We're filming another...

It seems that every time Marvel (owned by Disney) comes out with a new Avengers movie (released two weeks ago), or Fantastic Four (later 2015 release), or X-Men (2016 release), or Captain America (2016), film, we hear all about how it's breaking some box office record.

The Exodus movie film premiers in mid-December, and with my new book What Every Christian Needs to know about Passover coming out shortly and describing how Jews and Christians can bring the Exodus story to life today, I have lucky timing.

We recently sat down with the band and the film's director to talk about what it was like making the film, how it came about and what the real message of Hillsong United is.

«But these films are asking the same questions that religions ask: Where did we come from, how did we get here, where are we going and who are we?»

Although there's plenty of room for differing opinions in the Christian faith, this film is one more piece of evidence that wherever you land, believers can no longer sit on the sidelines when it comes to issues of race, civil rights and how we interpret our past.

The plot is loosely held together by quite a bit of setting up and falling down, devoting much of its runtime to making you want to care about what the Pentagon Papers are, how the newspaper operates, and what's clearly at stake, before finally getting to the point where everything finally comes together, which is when the film is at its sharpest.

I'd like to pull them aside and say, how many films did you grade in coming to your evaluation?

The biggest crisis of his film career came when he was cast as a cab driver; he was behind the wheel before the director discovered Abe didn't know how to drive.

Advocacy Few understand just how deeply the compassion that comes with being a donor matters more than the film and TV star and her mother, Nancy Heigl.

Those quibbles aside, though, I'd recommend the film to any parents or teachers who'd like to get a productive conversation going with children regarding where our food comes from and how our food's origins affect our bodies and our world.

One of the producers, Saratoga County historian Lauren Roberts, discusses how the film came to be.

But whilst the question of how to coordinate behavioural change is important, I did come out of the film feeling that we are not really going to get anywhere quickly enough if those who are moved by the issue do not themselves take sizeable steps, as individuals.

The Golem: How He Came Into The World was part of a German film trilogy with echoes of Frankenstein.

The two - hour film contrasts images of wide open pastures with ones of supermarket aisles and food expos cramped with processed «foodlike substances» — the ultra-sugary, carbo - loaded, how - did - they - even - make - that products that have come to define our diets.

And then instead of coming out and going to a back bend because I've already done like 50 back bends, because they were filming it and it has to look perfect and that's how it works.

This whole experience from visiting Morocco again and filming DVF's Journey of A Dress in Morocco feels very special to me since my best friend Jennia filmed it for me (edited by my Wesley Mason) and to think how far I've come.

Instead of watching old films or picking up a new book, consider this dating advice to improve your relationship and love: Bond with your partner by snuggling up by the fire, cherishing old memories, celebrating how far you've come, and talking about where you'd like to be in the future.

About Blog Lights film school is an online learning environment where film makers come together to learn how to make great films and documentaries.

The DVD also includes the 30 - minute «The Hidden Side of «Persepolis,»» which delves into how the comic book originally came about and how Satrapi set out to adapt it to film, and the 8.5 - minute «Behind the Scenes of «Persepolis,»» which gets up close and personal with the voice talent and animators.

Director James Cameron's 1986 blockbuster follow - up to Ridley Scott's Oscar winning science - fiction / horror flick that became one of the biggest grossing films of 1979 asks a good question to a successful hit... How do you make a successful sequel to a film in which much of the suspense comes from learning about the mysterious monster?

The premise itself is really quite simple, but it really comes down to how well - acted this film truly is.

Quote honestly, this is a film that has gotten much better with age in my opinion, due to the fact that you can see how far we've come as a society since these events and how differently the drug scene has altered through the years.

it's impossible not to notice how much of the imagery we associate with «Arabian nights» — genies, bottles, magic carpets, evil sultans — comes directly from this film

They also know how to play certain scenes for laughs, making the film come alive.

His films are a study of the human spirit, what it actually takes to break it and how we come out on the other side.

But I don't mention my expectations to give criticism along those lines; consider them more notes on how this is a Tarantino film, but unlike what I've come to expect from the master filmmaker.

Sure it's still quite funny, but the laughs no longer come from the main characters, the trend began in the second film and now the Shrek series is entirely about how funny you can make the extras.

From there she tells how she came to be the producer for many of his films, what it was like working on Seven, which she notes was distributed by Roger Corman, Andy's penchant for casting playmates, what it was like working with William Smith and quite a bit more.

The film might feel aimless in spots, but as more layers of the narrative are peeled off, you understand just exactly how things came to be and how Wyeth, John and Dee might want revenge for what was done to their parents.

As such, her follow - up comes with high expectations, and audiences expecting something as edgy or provocative as her last film will be surprised at just how conventional an effort LANDLINE proves to be.

When Kill Bill: Volume 1 came out, some critics made the point that it would be difficult to judge how well the film worked until Volume 2 was out in the open.

Abel Gance's 1927 film Napoléon — which dramatises the little corporal's ascent — is a reminder of just how many of the techniques of epic cinema come from the silent days.

The issue comes from how aware (or not) the film is of its subject's shortcomings — the base and superstructure of this film's tones just don't mesh, and they together pull it apart amid clouds of Gauloise smoke and unresolved contradictions.

While such a device works for the book, the film version never goes into any detail to explain the conflict between the two different tribes of Afghans and how that sparked much of the upheaval in the decades to come.

One has to question just how formulaic this epic Roman drama is, because the formula was still fresh by the time this film came along, establishing certain tropes that would be shamelessly slammed into by future epics of this type time and again, and yet, outside of what would go on to become conventions, this film does most of what you'd expect, with a predictable narrative, storytelling style, dialogue, and, for that matter, portrayal of Ancient Rome.

The film's success comes from how Kernell's skills as a director match the ambitions of her script.

The film makes use of some kick - ass cinematography (colorful imagery of the summer, and a picture that reflects childhood innocence), while the story sheds light on poverty, and the bad things that come along with it, and how it affects childhood, and for me, that is what pop culture nowadays would describe as «woke», because not a lot of films these days shed light on those important issues.

There is indeed a certain immersion value even within the film's style, subtle though it may be, and when it comes to substance, no matter how thinly or formulaically it goes handled, it carries a potential that is reflected in the film carrying wit and dramatic elements as a portrait on man's interactions with his environment and his peers, anchored by memorable characters who are themselves anchored by memorable performances.

Original director Wes Craven and original screenwriter Kevin Williamson come back for more, and do so with the willingness of an entirely new cast and the old one, an unprecedented feat seeing as how the last film was made eleven years prior.

In her first encounter in the film with Bradlee, Graham approaches the editor as if she's his employee, not the other way around, and it's inspiring to watch her discover the power that comes with her role, and learn how to wield it in opposition to all of the controlling masculine forces that seek to exert their influence on her decisions.

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.

The rest of the film revolves around Brady slowly coming to terms with his new life, and fighting with his father over how involved he can still be in the rodeo world.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.