Sentences with phrase «tv edit of the film»

If you click on that, you'll be taken to a set of extended and deleted scenes from the film, which are sourced from an Australian VHS that is rumored to have been a potential TV edit of the film that somehow found its way onto the rental market.

Not exact matches

In my job with Esquire, I'm often called upon to be a cocktails expert (I direct most of the spirits / drinking coverage), a pop - culture expert (I direct a lot of the film / TV / music coverage) and a cars expert (I edit the cars column).

The biggest difference between the live TV taping and regular filming — besides the producer's inability to edit after the fact, of course — is the setting.

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

At various points in his fantastically varied and storied career he wrote position papers on the need of support for a moribund Australian film industry, wrote and directed numerous episodes of such seminal TV shows as Homicide and Division 4 for Crawford Productions, was central in establishing film courses and departments in places such as Canberra and Brisbane (Griffith University), wrote plays and performed poems at Melbourne University and La Mama in the 1960s, directed feature films in the early 1980s (most memorably Ginger Meggs in 1982), made documentaries for the ABC and SBS (The Myth Makers, Images of Australia, The Legend of Fred Paterson, and numerous others), wrote and edited such books as Screenwriting: A Manual and Queensland Images in Film and Television, helmed commercials for a vast array of companies and government bodies, contributed film reviews to ABC radio (and more occasionally TV) across various states (for almost 40 years), wrote for numerous publications including Overland, The Canberra Times, Metro, The Concise Encyclopedia of Documentary Film, The Hobart Mercury, and so much more.

But this narrative clarity is just as attributable to the editing of Jeffrey Ford and Matthew Schmidt, as well as the secret weapon directors Anthony and Joe Russo have always brought to their Marvel films: They understand intuitively how to structure a big blockbuster movie like a season of a TV show.

This Davy Crockett: Two Movie Set will appeal to three groups: A) Davy Crockett fans who are more familiar with or bigger fans of the feature film edits than the TV episodes, B) those who missed out on the Walt Disney Treasures «Davy Crockett» set released in 2001, and C) Davy Crockett fans who embrace all things related to Disney's adventures on the Tennessee woodsman.

Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.

Some directors have remade their earlier films (Hitchcock did British and American versions of «The Man Who Knew Too Much»), and others have thought out loud about changes they'd like to make (Robert Altman wanted to edit a nine - hour version of «Nashville» for TV).

The disc also features six different radio spots, a single TV spot, and a theatrical trailer (2 mins., HD) consisting mainly of the film's money shots edited together, tail to head, with The Car's signature horn blaring on the soundtrack: BEEP!

«The Evolution of Hulk» is a really cool look at the character's history in comics, TV and film, while «The Unique Style of Editing Hulk» shows what went into creating the comic book panel look.

Luckily, Mitt can breathe a sigh of relief, since the low budget film is marked by such dubious dialogue, shoddy special f / x and sloppy editing that it doesn't even measure up, cinematically, to an episode of your typical, cowboy TV show from the Fifties, like The Lone Ranger.

Blu - ray extras include audio commentary by Cox, executive producer (and ex-Monkee) Michael Nesmith, casting director Victoria Thomas and select co-stars; deleted scenes; interviews with various cast and crew members, including Iggy Pop; a conversation between Stanton and producer Peter McCarthy; and the heavily edited TV version of the film.

Various bits of ephemera appear in the secondary picture window as the film plays back — interviews, alternate line readings, clips from the edited - for - TV version of the film and the 1932 Scarface.

After a slick, flashily edited title sequence that incorporates footage of scenes shown later in film (not unlike a TV show), the audience is immediately plunged into the heretofore closely - guarded plot: After a mission goes disastrously awry, Impossible Mission Force agent Ethan Hunt (Cruise), is «disavowed» from his duties by the powers that be and suspected of being a mole trying to sell a top - secret list that matches covert agents» aliases with their true identities (called the «NOC — Non-Official Coverts — List»).

The nicely animated menus lead to the usual trailer and TV spots and making - of featurette (here, one that was produced for MTV), as well as an amusing - in - concept - only PG - rated edit of the film that runs for all of three minutes.

Instances of strong adult language, some mild sexual situations, and one mildly risqué musical performance, «Otto Titsling» (edited out in TV airings), earn the film its PG - 13 rating, though to be fair, it's much tamer than today's typical PG - 13 fare.

Before joining ConnectEd, Dave was the Program Director for Uth TV, where he oversaw a staff of youth media makers and helped to produce Grind & Glory, a feature - length film that was shot and edited by a crew of teenagers.

In the 1980s he turned to television and editing, and was a screenwriter for feature films and television and was the producer of the TV series Beauty and the Beast as well as a story editor for The Twilight Zone.

That film has now been edited and will be airing on the BBC this week — the trailer's after the jump.While it seems more like a premise for a bad reality TV show that a scientific study, it turns out it's precisely that — primatologists outfitted the chimps with cameras as part of their research into how chimpanzees perceive the world and one another, according to the BBC.

Professional Experience Wieder TV Inc. (Watertown, WI) 01/2010 — Present Vice President of Operations • Oversee the establishment and organizational structure of a German television broadcasting company • Lead production and graphic design of TV German lessons ensuring engaging programming • Coordinate all logistical aspects of television production teams throughout the world • Responsible for a multimillion dollar inventory of broadcast equipment and other electronics • Manage event and interview filming, editing, rendering to telecast