Sentences with phrase «actual making of the film»

I personally would have liked to hear more about the differences between the novel and the film, and gone into more detail about the actual making of the film, but oh well.

Part 2 (23 minutes) explores the actual making of the film, as it gives insight into how the location was found and enhanced and the creative ways in which the film was shot.

Director Michael Caton - Jones delivers a droning, monotone Audio Commentary in which he talks in - depth about the actual making of the film and about the casting as well.

Sure, there's a bonus feature titled «The Making of Charlie Wilson's War,» but it's more about the real - life Charlie Wilson than the actual making of the film.

Not exact matches

Though Chaplin later said that, had he known the actual horrors of the German concentration camps, he could not have made the film, the truth and hope of the film were no less important or authentic.

Here's the actual scoop, if you're not yet in the know: We are making a film of Much Ado About Nothing at our house over the next couple of weeks.

The film doesn't take a clear stance in regards of the actual utility of an institution like this, we see how the patients there mock around and make fun of the fact that they are being institutionalized there, and at the same time they hate the way that their parents brought them there, as well as the harsh instructions that they must go through every morning and every day.

An actual robot on the screen immediately made the movie feel full of life, as opposed to the tinny, hollow result of the latest and greatest software demonstrations most films employ.

Polley's meta approach to directing this doc, whereby the making of the film is as crucial a part of the story as the actual stories it's documenting, was quite inventive.

The cast is made up of an actual family, including his father Tim Jandreau and his sister Lilly Jandreau, which is perhaps why their performances feel so authentic and why this film seems like an intimate, verité - style documentary at times.

And now they've turned Legos — those plastic blocks, with no story or personality — into another energetic and wildly clever animated film, one that makes its story the actual experience of playing with these toys.

To me, this review and the last few comments seem like a complete misreading of the film - based, as one earlier commentator stated, on Haneke's earlier work and his particular way of making movies, rather than the actual movie at hand and its context.

As much as I love the various film retellings of Robin Hood over the years, I'll probably skip this one; Crowe is ridiculously miscast (might have been a good sheriff per the original plan though), and while I'm glad the movie isn't all swordplay and archery, it sounds seriously short of what made Robin Hood an actual legend — you know, derring - do and outsmarting the local (corrupt) government.

Of the countless films they made during their (amorphous) multi-decade run, undergoing nearly as many lineup changes as the Fall and Yes put together, no single Three Stooges short or feature is an actual, legitimate masterpiece of the cinema — that is to say, none has been recognized as sucOf the countless films they made during their (amorphous) multi-decade run, undergoing nearly as many lineup changes as the Fall and Yes put together, no single Three Stooges short or feature is an actual, legitimate masterpiece of the cinema — that is to say, none has been recognized as sucof the cinema — that is to say, none has been recognized as such.

The words «based on a true story» can strike dread in the heart of the frequent moviegoer, since so often a film is made no more interesting by the fact that it's about actual events.

But it's made pretty clear the film is personal with the use of his real - life son and shooting the film in his actual home.

The movie nails Moore for taking a headline from a pro-Gore letter to the editor in a Florida newspaper («Gore Won Florida Recount»), enlarging it, changing the date, and using it as a graphic element in a brief montage, making it appear as though it were an actual news article — «all for one second of footage in the film,» according to Jason Clarke, who thus singlehandedly deflates the significance of his own finding.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

«I didn't know Frances very well before making the film, but the picture of her I had of a good actress and a particularly strong one behind the scenes and in interviews was as much a presence as her actual voice.»

The actual models are sound and are clearly well made but it just looks as though the act of putting them on film has been rushed.

The actual plotting of the film, the climax, the reveal, and the bitter platitudes of enraged performances make this film great.

Glastonbury (15) Running time: 135 min *** Julian Temple's loving documentary may at first appear to be aimed at the sort of music fan who prefers Glasto streamed live to their TV.But this collection of archive and commissioned footage from 36 years of England's greatest music festival is likely to appeal more to diehard fans than non-festival-goers, since it revels in precisely the eccentricities that makes the armchair people dive for cover.Most of this film is a structureless, rambling celebration of Glastonbury's boozy, hedonistic, liberated, political and frequently bonkers character rather than of the actual music: great if you were at the party, presumably less great if you weren't.

The young Texan's movie star aura makes for a weirdly magnetic, polished version of the original's unpredictable insanity, and his unhinged performance might constitute the closest thing this film has to actual merits worth recommending.

Of those, A Scanner Darkly does get some actual commentary from critic and New York Film Festival honcho Kent Jones, where he posits it as considerably underrated, but the group's otherwise just put out there as something of a dark stage in the man's career, where he had a string of films failing to be embraced by audiences, critics or both, but with little extrapolation as to why those films were made, or what Linklater thinks of theOf those, A Scanner Darkly does get some actual commentary from critic and New York Film Festival honcho Kent Jones, where he posits it as considerably underrated, but the group's otherwise just put out there as something of a dark stage in the man's career, where he had a string of films failing to be embraced by audiences, critics or both, but with little extrapolation as to why those films were made, or what Linklater thinks of theof a dark stage in the man's career, where he had a string of films failing to be embraced by audiences, critics or both, but with little extrapolation as to why those films were made, or what Linklater thinks of theof films failing to be embraced by audiences, critics or both, but with little extrapolation as to why those films were made, or what Linklater thinks of theof them.

Throughout the film Kaufman experiments with varying degrees of fiction (Cage also plays Charlie's made - up twin brother, Donald) and nonfiction (actual events from «The Orchid Thief» are acted - out by Meryl Streep, Chris Cooper and other supporting actors).

There were rumors that Trank was hoping to make PG - 13, summer - friendly body horror, and there are vestigial traces of that conception; it would have been better for the film to have gone all the way, for at least then the bleakness of tone would have felt like it had some actual purpose.

While I could still do without the bodily function stunts, the rest of the film is so funny it will make you hurt from laughter almost as much as the cast hurts from the actual stupidity.

In a film full of so many incredibly bad elements, the fact that they were able to cast an African - American willing to make a mockery of the legitimate pleas of actual victims of racist police brutality is beyond comprehension, especially a comedian held in such high regard.

Cox seemed to be constantly cutting corners in Human Touch, and at one stage I think he used an outtake in the actual film, which made no sense whatsoever, and detracted from the effectiveness of the scene.

Working with Sundance Institute on casting also provided some insight to what casting for the actual feature will be like, and made it more clear exactly what types of personality traits each actor should have to really make each of the film's characters complete.

Ego's relationship with Star - Lord forms one of the emotional cruxes of the film while his goal, assimilating the rest of the universe into himself, makes up most of the actual narrative.

In fact Peeta, who is still something of a liability during the actual games (he does temporarily die, after all), thanks to some sensitive writing, gets to deliver some decent dialogue that suggests his independent thought processes, and makes it clear that Katniss, to her credit and that of the film, has a choice to make not between Hottie 1 and Hottie 2, but between two different young men who are defined by different things in the wider world, and not just their relationship to her.

The Thin Red Line was shot for a hundred days in Australia, twenty - four days in the Solomon Islands and three days in the US, and the actual battlegrounds of Guadalcanal were inspected and recorded, but both malaria concerns and logistics issues made it impossible to shoot the entire film on site.

Not twelve years of paperwork and bureaucracy and getting the rights to the story but twelve years of actual film - making.

Often the intelligence, or lack thereof, in script and on screen reaches a level zero as the scenario, characters actions and the actual monster of the film make no sense.

Niccol, who up to this point has earned a good reputation for exploring themes of reality vs. fantasy, takes a story wholly rooted in real - world politics based on actual people and events and makes his least believable film to date.

How does the use of actual archival footage with the actors portraying real political leaders help to make this film appear more «real?»

A big part of the problem is that director Baltasar Kormakur vastly overcomplicates the film's simplistic setup by making the actual heist so unnecessarily complex that not even Danny Ocean and his crew could pull it off.

Offering up an amusing look at the creative process and the day - to - day production of the movie, much of the script was based on actual recordings that were made during the filming of «The Room» as well as the memoir by Wiseau's co-star and friend Greg Sistero (Dave Franco).

Alvarez» ability to communicate the claustrophobia and desperation of the surroundings is equally impressive (helped along by the actual containment of the set) without making the film feel un-cinematic.

The voice work by Zach Braff as Finley and King as China Girl are also quite good, and their detailed animation and the actual attempt at a modest backstory makes these characters two of the most interesting in the film.

The actual Jack and Jill is far more sinister, nothing less than a feature - length actualization of the «piano man» scene from the same film, in which Sandler's George Simmons character, in a stream of smiling - aggressive invectives, makes it clear just how deeply and thoroughly he holds his audience in contempt.

Hawke has described the film as being «like timelapse photography of a human being,» and comparisons could be made to actual timelapse photographic projects of children growing up, such as Frans Hofmeester's Portrait of Lotte.

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..»

Ironically, the 54 - year old Lodbell succeeds in making the teenage slang sting, the bitchiness the sisters lob at each other amongst the funniest and most cutting parts of a film that includes a lot of actual cutting.

This lack of interest in its own action centrepiece would seem to indicate the film is more preoccupied with the actual family dynamic and the comedy which makes up the backbone of the screenplay.

Funny, introspective, and bracingly clear about her vision as a filmmaker and actor, our talk covered the unusual shooting schedule that allowed the film to show New York City going through actual changes of season, the logistics of getting the crew to Paris, and why keeping secrets from the cast made for a film where each actor could, and was encouraged to, create a universe for his or her character.

By the time «One Day,» a decades - spanning nonromance, gets around to making one of its main characters seem like an actual human, the film's just about over.

Movie - tie - in games like Over the Hedge usually lean heavily on the source material for substance, which makes the use of homegrown CG story sequences, rather than short clips from the actual film, a bit of a head - scratcher.

That it stuck to its guns as an offbeat arthouse fantasy message film without becoming cartoonishly absurd was the thing I most admired about it even though, at the same time, that was what made it so tiresome and disingenuous and left me feeling this was more about Hollywood's bogus take on reality than an actual depiction of real - life.