Sentences with phrase «about filmmaking from»

The Westworld star has worked with A-list directors such as Darren Aronofsky, Woody Allen, Robert Redford and George Clooney, so it's safe to assume she gained vital knowledge about filmmaking from them and is well prepared to step behind the camera herself.

The proclamation that there's nothing you can't learn about filmmaking from George Stevens» film should make you want to watch it again.

Not exact matches

About Blog Filmmaking techniques, camera reviews, and industry tips from my real world experiences as an independent filmmaker in Los Angeles.

About Blog Founded in 1962, Film Comment magazine features reviews and analysis of mainstream, art - house, and avant - garde filmmaking from around the world.

The result is a treat: while Crowe has plenty of insightful recollections about the filmmaking process and talks effusively, taking the opportunity to plug any gaps left by the three stars, who are all recovering from Cruise's birthday party the previous night and have an enormous amount of fun watching their slightly younger selves on the screen (visible in the video commentary as a small window at the bottom of the screen).

Then envision midnight - movie touches mixed into the filmmaking: flash cuts of predators and prey enhancing otherwise typical scenes of plans being hatched; monologues about brain capacity and the true meaning of time coupled with psychedelic visions and wormholes and explanatory objects materializing from thin air.

Insightful all the way through, «Side By Side» is a great documentary, filled with tons of well - known celebrities as they talk about their thoughts on the conversion from digital filmmaking and the future of the industry.

Borrowing several filmmaking techniques from the latter, Awful Nice is an off - kilter comedy about two brothers who get so caught up competing with each other that they completely tune out everything else around them.

Gerald's Game, a Stephen King adaptation for Netflix starring Carla Gugino, is good Coming Soon Daniel Dae Kim's stunt training for the Hellboy reboot / Film Hocus Pocus moves forward as a TV movie remake - none of the original actors or filmmaking team are involved David Poland on Blade Runner 2049 with no spoilers «It is Aliens to Alien»... whoa, that's high praise Billboard composer Danny Elfman interviewed about Superman's iconic theme (redeployed for Justice League) and his long collaboration with Gus Van Sant Playbill Judy Garland's final concert, restored / remastered from 1969 will be released for the first time i09 on why you should be watching the Exorcist TV series, back for Season 2 / Film Amazon still has a lot of work to do to catch up with Netflix and Hulu but they're diving into the sci - fi genre big time

Since at least 1912, when nickelodeon patrons got a glimpse at the filmmaking process in the one - reeler A Vitagraph Romance, Hollywood has reveled in stories about itself, which range from the sweetly nostalgic (Singin» in the Rain) to the bitterly satiric (The Player).

They're both satirical comedies about filmmaking of a sort, but from opposite corners of the industry.

Though the data tells us that women are interested in genres favored by Hollywood, female filmmakers encounter significant obstacles as they attempt to move from independent to more commercial filmmaking, and face deep - rooted presumptions from the film industry about their creative qualifications, sensibilities, tendencies, and ambitions.

A few good notes from director Mira Nair about her filmmaking intentions and from the actors on their roles help keep this from becoming too glossy.

It also highlights the effort that Linklater has made in support of Independent filmmaking and how he was influential in helping create the Austin Film Society whereby old film prints could be saved and showed, as well as raising money from filmmakers to help make more films.Overall, it does little but scratch the surface and a bit more in - depth analysis to his films would have been welcome but to paraphrase Billy Bob Thornton on the outtakes at the end; «Rick Linklater doesn't need anyone to make a documentary about him.

Alongside directors, nations and material cultures, there are also specific themes — sometimes less materialist and more tuned in to the utopian possibilities of the imagination — that can be drawn out from the ever - swirling mass of experiments in filmmaking and creative writing about film.

And ever since, the best comedies about filmmaking have been created by those who, like the Tramp, cheerfully stick their tongues out at the camera while knowing in their hearts they can never tear themselves away from it.

Through his personal account of programming and researching Japanese cinema for more than two - and - a-half decades, Nornes raises important questions about the reception of Japanese films in Western film festivals, and the role of Japan as a site where filmmakers from other Asian countries can learn more about Western filmmaking.

Forgive me if I get verklempt about Hayao Miyazaki's retirement from filmmaking before I even start reviewing his self - declared final film, The Wind Rises.

Above: a 1983 interview with Michael Mann about filmmaking and The Keep, from The Electric Theatre Show: «Mann talked about the power of dreams, and moving The Keep story out of the horror genre of the novel and into a dream reality.

His sophomore feature Boogie Nights (1997), about the adult film industry in the late 1970s (partially inspired by the life of porno star John Holmes) is a surprisingly vibrant, funny, and at times quite warm story of a dysfunctional filmmaking family, with Burt Reynolds as a quiet but firm director Dad and Julianne Moore as the porn star surrogate mother to the company's teen stars Rollergirl (Heather Graham) and Dirk Diggler (Mark Wahlberg), the «natural» from the suburbs who is quickly recruited.

On learning about filmmaking Lloyd said: «When I came to Hollywood, I didn't know the front end of the camera from the back.

Highlighted by five production featurettes covering just about every aspect of the filmmaking process (pre-production, casting, special effects, visual effects and stunts), the HD release also includes a video profile of director Timur Bekmambetov, eight «motion comic» excerpts from the graphic novel, and a 10 - minute featurette on the upcoming «Wanted» video game.

At the recent press day, Tarantino and his actors talked about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period film affords a filmmaker the opportunity to comment on the present in ways a present day film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.

Aside from the quality of the filmmaking (Cabral is an acclaimed photojournalist), what sets this film apart is the level of access that the directors got to Saeed and to his target (who also talks frankly to them about the Kafka-esque situation he finds himself in).

Amazon is already doing business with all three entities — it's about to unveil «Wonderstruck» (Killer) and «The Only Living Boy in New York» (Bona Fide) at Cannes — and the news is yet another sign that the company will continue to finance high - quality independent filmmaking from some of the most revered American directors out there.

At the Glasgow Film Festival, I talked to McArdle about making the leap from music video directing to narrative feature filmmaking, creating the aesthetic of dreams vs. reality, the influence of horror cinema on her film, and depicting female friendship on screen.

From this pattern, Polley's film seems to forward an argument about autobiography and documentary filmmaking: that these are plural, collaborative genres most effectively and truthfully made through a chorus of many and diverse voices, a «medley» as her other sister, Susy, describes it, each given freedom as well as equal weight.

There is so much to love about this movie, from the two leads playing off each other perfectly, to the exquisite filmmaking including fantastic dialogue with long - takes, to how deeply layered the screenplay is touching upon popularity, alcoholism, parenting, relationships and plenty more.

Curtis, who retired from filmmaking after About Time, returned to directing to make it.

Perhaps obviously, each group had different ideas about what constitutes excellence in filmmaking, and only two films, Sicario and Bridge Of Spies, were nominated for awards from all three...

Hollywood loves making movies about making movies, and even though Lone Scherfig «s World War II romantic dramedy Their Finest actually hails from across the pond, it's still looking for that sweet spot of nostalgia for classic filmmaking crossed with the hardships of war.

Another dispatch from the Mexican drug war, this time about noncombatants caught in the crossfire, it pales in comparison to Gerardo Naranjo's Miss Bala in filmmaking terms but I suppose that it packs a crude punch (body count: 3 + 2 dogs).

I don't know, this has been like a three - year process and I'm just approaching the tail end of it... I've learned a lot from making this film, both about myself and about filmmaking.

Cameron's beef seems to be less with superhero films in general though and more about Hollywood's obsession with sequels, remakes and branding — which is strange coming from a filmmaker who is prepping a new series of «Terminator» movies (the sixth, seventh and eighth in that franchise), four new «Avatar» movies (sequels to a film many consider more a showreel for today's effects than a truly enjoyable bit of filmmaking), and a TV series based on his»90s film «True Lies».

Director Lone Scherfig discusses the making of her World War II film about filmmaking, Their Finest and what she's learned from the actors she's...

Whether fictional or based in reality, it's rare for a year to pass without some kind of film about filmmaking, from classics like «Sunset Boulevard» and «Mulholland Drive» to, uh, not - classics like «Hitchcock.»

This documentary focuses on the explosion of Australian cinema that occurred from the 1960s through to the 1980s, bringing about some of the best underground filmmaking that the country had to offer.

Hardly the mere home invasion thriller it's been marketed as, this is an angry film for an angry time, a heavy, at times lumbering, allegorical work about woman and man, nature and God, painstakingly made from a script the writer - director claims he dashed off in five days; its unrefined, somewhat all - purpose symbolism is evidence of an almost demonic process, and its confusions, self - lacerations, and silliness would be less welcome if Aronofsky hadn't in the process mounted the most technically impressive filmmaking of his career.

The film adaptation of the iconic books about the lovable bear from the jungles of Peru had depth, heart and a fresh filmmaking style from writer / director Paul King.

Recently I was fortunate enough to sit down with the talented cast and their charming director for an appropriately frank conversation about everything from independent filmmaking to first - times.

Audience member Chris Rock's question about Lee making the film outside the studio system prompted a lengthy, expletive - filled rant from a filmmaker clearly stymied by his hiatus from mainstream filmmaking (his last narrative feature, Miracle at St. Anna, came out in 2008).

Here, McClain writes about her filmmaking process, why she's making this documentary and what she's learning from doing so.

The directing duo of Jonathan Dayton and Valerie Faris made about as strong a feature filmmaking debut as they could have in 2006 with Little Miss Sunshine, which won widespread acclaim and two Oscars from four nominations.

, in which the usual filmmaking suspects (in addition to novelist Gregory, whom I was eager to hear from) talk about moving from non-fiction to novel to screenplay.

Those words from Al Jolson forever changed filmmaking in 1927, ushering in «talkies» and bringing about the beginning of the end of the silent film era.

«Safety Not Guaranteed» is an amalgamation of everything that's great about independent filmmaking — from its hugely original script to its wonderful cast of characters — but the one thing that it does better than anything else is create a cinematic experience that's rich in both comedy and emotion.

Here, McClain writes about her own filmmaking process, why she's making this documentary series and what she's learning from doing so.

In a creative free - fall, he received a scholarship to the University of Tokyo, wrote a PhD dissertation about the love affair between cinema and architecture, earned an MFA in Directing from UCLA, taught college - level filmmaking in Dubai, got his first novel published, and is adapting it into a film.

In honor of The Descendants» November 16th release, Greer sat down to talk about the entire filmmaking process from the honor of being cast in an Alexander Payne film to switching gears and getting dramatic as well as her hopes to continue working within the genre in the future.

About Blog Filmmaking techniques, camera reviews, and industry tips from my real world experiences as an independent filmmaker in Los Angeles.