Sentences with phrase «about make the film work»

But he and Nolte just about make the film work in the end, despite its marked structural similarities to Wild and in a way that is only likely to appeal to core Bryson fans.

Not exact matches

Most stunt doubles make $ 889 a day, or about $ 50,000 a film, if they work every day of a three - month shoot.

«If notable actors working across 25 top films in 2013 had made this change to their contracts, the proportion of balanced films (about half - female) would have jumped from 16 percent to 41 percent,» she says.

In a series of broadcasts by Britain's Channel 4, Nix was filmed making controversial statements about his firm's work on elections, including how Cambridge Analytica played a major role in Trump's presidential victory, including «all the data, all the analytics, all the targeting.»

They love one another, they both work, and they make a lovely family, so the film is obviously about love and work and family.

When introducing his latest documentary at the Tribeca Film Festival Saturday night, director Alex Gibney joked that he was leaning towards keeping the name of his «mostly finished but not quite done» work the «Untitled Eliot Spitzer Film» because he'd never before made a film where he was «so uncertain about where [he] was going... and what the conclusions would be,» given the «divisive» nature of his subject.

The idea of commissioning working cell biologists to make a film about their own research was a bold break this year for Celldance, explained PIC Chair Simon Atkinson.

I am crazy enough to decide after many years of work for the same company that life is about making dreams come true - which led me to becoming a film school student at the age of 30; — RRB - This is what I am actually loo..

About Blog A filmmaker who makes, distributes, promotes movies with or without assistance from the film industry, a filmmaker who makes work using means available to them if need be, a filmmaker who can not be stopped from making movies.

Kate Winslet has made the shock confession that she never actually fancied her Titanic co-star Leonardo DiCaprio, as the film approaches its 20th anniversary Kate Winslet talks about relationship with Leonardo DiCaprio - and shares her views on working Hollywood mums

People complain about Marvel's servicing of its connected universe, but the Justice League set - up in this film makes Iron Man 2 look like a strongly structured work of a single vision.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

Countless films have shown crowded newsrooms in the past, but Spielberg makes sure that this one is extra busy and loud — that the clicking and clacking and shouting on the soundtrack, the reporters and editors working away or striding about, conjure not just a particular time and place, but a whole world that's been lost.

No one is expecting an in - depth look into what it takes to actually make a marriage work out of a Farrelly brothers film (or any relationship comedy about marriage, really).

It's about as Canadian as Canadian stereotypes get, but this film makes it work so well.

Not much happens in The Midwife, but its depth and texture make this a moving film about families, time passing and shared history — and the handful of scenes in the maternity unit where Claire works, five or six little miracles of birth, somehow add to its sense of a life as mysterious and precious.

Racism was highlighted in the film in connection with the priorities of police work, and Ms Johanson's point about the treatment it got on release is well made.

And it has such a darkness about it, such a fog of dread & bad choices, with music to support the mood and a good directorial eye to catch all the tiny details that make the film work so well.

I wasn't sure if I'd enjoy a film about suicide, and, though the film does have its somber moments, it's filled with good sequences, evidence of real talent, and hits a tone that makes it all work.

The two of them are obviously good friends who enjoy reminiscing about working together, and they tell some great stories from the making of the film.

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.

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.

Nothing about this film works: the camerawork is amateurish, the acting is stilted, the characters underdeveloped, the editing looks like it was done by a blind monkey, and as for the plot — the plot makes no damn sense.

«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.

Though it's clearly the product of smart guys who care about the films they lampoon, there's obviously a difference between making a movie that can stand proudly alongside George Romero's body of work and making one that could keep good company with Michael Bay's.

His work also refuses to be pigeonholed; for example, defying his reputation as a period film director, 1957's The Eleventh Hour is an ensemble - cast, social realist melodrama about a rescue at a caved - in mine that equals anything made by Hollywood during the same era.

But who better for a movie about reanimating the dead than someone who has already made a strange, loving and entrancing film about a man who works transforming raw flesh?

There is a sense that if Jacobs tried to create his own characters and make a separate movie about male strippers, this film could very well have worked.

With Lionsgate Films» «W.» on the horizon, we are reminded of the last film Oliver Stone made about an American President: «Nixon,» a critically praised and Oscar nominated work that was the exact opposite of what most thought it would be.

Okay, so to be fair... he invented the genre, changed the way horror films are made, blah blah blah — I'm not going to reiterate what's already been said a thousand times about Romero's body of work.

Mr. O'Connell, who made such strong impressions this year in the tough British films Starred Up and» 71, is certainly a fine subject for Roger Deakins's lovely camera work, but that's about all he's allowed to be.

Tully is a walking film script, and the best thing that can be said about the film is that a group of very talented actors works very hard to make its contrivances pass as plausible.

To the present writer, Arkadin is clearly the better film, but The Stranger is nonetheless, at the very least, a fascinating curio, and if it's a minor film (if...), then it's the sort of minor film that only a really major talent could make, and an excellent example of what the Cahiers du Cinéma critics meant about the failures of the great being better films than the best work of lesser talents.

When artists make films about artists, they too often portray them as misunderstood geniuses, whose personal torment and torturous indulgences are the price we may for their great works.

AVC: One of the interesting things about horror as a genre is that it's possible to work on a micro-budget and still make an effective film.

Gilbert, who has died aged 97, may have been best known for his three 007 films, but it's the films he made about working class life that are his great achievement

City of God and The Constant Gardener director Fernando Meirelles talks to Jason Solomons about his new film Blindness, working with cinematographer César Charlone and his dream of making a hopeful, funny film

They weren't catching the wave of excitement Selma's mere presence brought to audiences — not because history was about to be made with the first black female director in the Oscar race, but because Selma was such a very good film, such a moving film, such a sensual, breathtaking, wholly original work that no one really knew what to do with it.

Director Claude Barras talks about the amazing work that screenwriter Céline Sciamma (director of Girlhood) did on the film, his approach to adapting the original book, and the responsibility of making a children's movie.

Martin McDonagh) Martin McDonagh and Colin Farrell made In Bruges, and while promoting that film McDonagh talked about a script with this name; now the two have worked together once more to make it a reality.

Brandon and I later both met with and talked with director Derek Cianfrance about the 12 years of work he put into making this film, his real life inspirations for the screenplay, and so much more.

The 3 - D film may have its faults, but I couldn't have asked for a better opening - night guest, a man who has made films all over the world and remains as passionate as ever about his work at the age of 71.

As an astounding Shakespearean director and actor, he is also proven to make bigger budget films work for him and tell interesting narratives for characters we didn't think we'd care about i.e. Thor and his live - action remake of Cinderella for Disney.

There is lovely footage of inquisitive Nouvelle Vague godhead Franoçois Truffaut firing probing questions at an Alfred Hitchcock who is clearly loving the attention, but what Jones has done is made a film in which he has roped in a host of other famous directors (David Fincher, Arnaud Desplechin, Wes Anderson, James Gray, etc.) to talk about Hitchcock and how his work affected their own work.

First up, the director dropped some super-interesting information about the making of the film and how he plans on working toward the 1968 original.

There are also hours of bonus material to enjoy, including a pair of new interviews with actor Martin Sheen and writer John Milius that are loaded with anecdotes about their experiences working on the film, as well as a casting featurexte on the supporting actors that made up the PBR Street Gang.

He talks about why the movie took years to make, his decision to only screen on 35 mm, working with John Hawkes, and everything else you need to know about one of the most unique film releases of the year.

Stevens answered questions about working with acting legends Al Pacino, Christopher Walken, and Alan Arkin, and how he came to make this film.

Laura Poitras — «Citizenfour» Easily the most talked - about non-fiction film of the year, a front - runner for the Documentary Oscar (and even, some suggest, a dark horse for a Best Picture nomination), «Citizenfour» looks to make director Laura Poitras, if she wasn't already, one of the best known documentarians working today.

James Mangold for caring about all the right things in his work and blessing us with Logan and Copland, Refn for Drive alone, Stallone for giving us Rocky and THE «Just keep going» monologue that everyone in the arts needs when they have that inevitable bad day, Joe Carnahan for being able to blend heart stopping action with character drama and Phil Joanou for making my favorite film of all time with State of Grace (1990)(I'd love a Cinephilia and Beyond piece on it someday...)