Sentences with phrase «artist on films like»

Not exact matches

On the one hand, emotional manipulation has always been at the heart of our cultural artefacts; in fact, we have always lauded the best artists, writers, film - makers, composers and the like for their seamless skills in moving us and enlarging our horizons.

MAC Rick Baker Halloween Makeup Collection 2013 Rick Baker created a new exciting MAC cosmetics Holiday makeup collection for Halloween 2013 the legendary Hollywood special effects makeup artist, who's worked on films like Planet of the Apes, Tropic Thunder and...

As The Disaster Artist (both the book and the movie) details, he made all sorts of bizarre, incompetent decisions, like shooting his movie on 35 - millimeter and digital film simultaneously at prohibitive expense, building elaborate and pricey sets for locations he could have filmed on for free, and firing crew members without cause at the drop of a hat.

As I haven't read the Newberry Award - winning Kate DiCamillo novel on which the film is based, hard to know whether to accuse this adaptation of fidelity or whitewash — but at the risk of judging a book by its cover, the artist's rendering of India Opal on the trade paperback hints at the latter by virtue of looking nothing like the Aryan ideal that is Robb.

We were told that we didn't have the budget to do miniatures, he was like, «Listen Michael, go and buy six 3D printers and I've got 10 3D printers in the art department, and we'll just print all the miniatures in the film, and then we'll get the scenic artists who are already on the payroll to paint them for us.»

Elsewhere on the list are more recent films and awards season contenders like «The Artist» from The Weinstein Company and «Tinker, Tailor, Soldier, Spy» from Focus Features.

The thrust of this film, though, is not the traditional circus circuit but rather the Oddities, characters on the outskirts who show their humanity: the Bearded Lady (Keala Settle) and Tom Thumb (Sam Humphrey) in addition to the likes of the Strong Man, Dog Boy and a glorious trapeze artist named Anne Wheeler (Zendaya), who is a love interest for Barnum's partner Phillip, played nicely by Zac Efron in his best screen outing in a long while.

Still, political rivals made hay on social media of the fact that a number of signatories are backers of the left - leaning New Democrats (NDP), including politicians like former Ontario provincial NDP leader Stephen Lewis, artists like film - maker Sarah Polley, and trade union members like Canadian Union of Public Employees president Paul Moist.

Within a very few years, artists like John Carpenter, John Landis, Steven Spielberg, Joe Dante, Rob Bottin, Rick Baker, Sam Raimi, Brian DePalma, Bob Clark, Dan O'Bannon, Sean S. Cunningham, Wes Craven, Tobe Hooper, Stan Winston, Larry Cohen, and on and on and so on, were working in and reinvigorating the horror genre — many under the tutelage of Roger Corman, still others the initial products of formal film school training, almost all the consequence of a particular movie geekism that would lead inevitably to the first rumblings of jokiness and self - referentiality - as - homage that reached its simultaneous pinnacle and nadir with Craven's Scream.

It makes perfect sense that a child raised on films like Paper Moon and surrounded by artists like Roberts and Curry would make a film like Untogether.

Here's an interesting portrait of Howard Berger, a special makeup effects artist who's worked on films like The Chronicles of Narnia and Inglorious Basterds, and the work he does to transform actors into, well, monsters.

Of the six features on this set, all but Playtime make their respective American Blu - ray debuts and two appear on disc for the first time in the U.S.. From his debut feature Jour de Fête (1949) to the birth of both M. Hulot and the distinctive Tati directorial approach in his brilliant and loving Monsieur Hulot's Holiday (1953) through the sublime Playtime (1967) to his post-script feature Parade (1974), this set presents the development of an artist who took comedy seriously and sculpted his films like works of kinetic art driven by eccentric engines of personality.

But those who have seen films like Vincente Minnelli's biopic Lust for Life (1956), Robert Altman's Vincent & Theo (1990)-- specifically about the tortured relationship between the two brothers — and Maurice Pialat's Van Gogh (1991), which focuses on the painter's last days, will find little here that adds to our understanding of this brilliant, suffering artist beyond, perhaps, the revelation that there is even any mystery surrounding his death at all.

The egg snatchers seem like such mischievous and anarchistic daredevils that the film at times recalls «Exit Through the Gift Shop,» the documentary on renegade graffiti artist Banksy.

The same guys who like to high five during girl on girl action in Atomic Blonde, skull smashing in Free Fire or the fact that cult classic film The Room gets a big screen treatment by James Franco in The Disaster Artist.

Now artist Tim Flattery has posted his art for the film, and you can see what Big Daddy might have looked like on the big screen.

The juxtaposition might seem odd on occasion, but like the film in general, it's proof that Pixar refuses to go on autopilot, pushing its artists into new, and sometimes quite rewarding, terrain.»

In it, a Middle Eastern fan of the film (whom research later identifies as Iranian - American artist Tony Shafrazi) discusses what he likes about it and certain scenes in particular as he holds pieces of them up on slates and touches them.

Like «The Disaster Artist,» this film takes us behind the scenes of a real - life catastrophe based on dreams of stardom, hopeless miscalculation about their own abilities, and a distorted, media - fueled idea of reality.

Paintings and prints frequently carry particular meaning within Petzold's films, as examples of the ancient tradition of ekphrasis, probably none more so than in Phoenix's immediate predecessor Barbara (2012) with its conspicuous Rembrandt print, but likewise in much earlier works like Die Beischlafdiebin (The Sex Thief, 1998) with a Gerard Richter on the wall — another artist conspicuously engaged with multiple forms of peculiarly German afterness.4

Seated beside me were not rioters, but a tiny African - American child very much like the sidewalk artist appearing both in the film and on its posters.

I doubled back to his earlier films; I loved both Boogie Nights and Magnolia, but they felt like the work of a different artist entirely, one less sure on his feet and more indebted to his influences than the one who'd produced these singular masterpieces in the past decade.

The director, one of China's most respected visual artists after his stunning work on crossover hit wu xia films like House of Flying Daggers and Hero, is no stranger to over-the-top stylization.

Since then, he has served in a variety of roles, including sets shading supervisor, sets shading technical director, senior shading artist on many of their films like Cars, WALL • E, Toy Story 3, Monsters University, and Inside Out.

may not be David Robert Mitchell's first film, but it feels like one of those audacious debuts that comes from practically out of nowhere to announce a new artist of note on the scene.

From Lalo Schifrin's (Joe Kidd, Dirty Harry) lackluster and repetitive Psycho - like scoring, to the god - awful performance late in the film by the glam rock / new wave artists, Sparks (any ideas on how to get the incessant chorus from «Big Boy» out of my head?)

They have worked on feature films as well as mass market games, crafted innovative visual experiences for games and films for clients like Disney, Logic Artists, Kiloo etc..

One has been as a scene artist and production designer working on TV shows like The Sopranons and Law & Order: SVU, as well as films including The Fisher King, Donnie Brasco and Fatal Attraction.

As the artist filmed each statue, he moved his camera gently up and down, so that in the resulting footage, the statues appear to trot along like cowboys in a western or horses on a carousel.

While the gallery continues to represent the likes of Dalí, Magritte, Miró, Picasso, Mondrian and Matisse, it also showcases the results of its recent acquisition programme, which has focused on photography, performance and film, as well as the work of a broader range of international and female artists.

Come and enjoy the finest of films and visuals from artists and film - makers, from around the globe, exploring what it's like to be on the outside.

The transparencies move like that of a film chronicling the artist and an assistant on a boat powered by a wood - burning steam engine.

When Artspace visited Morris's immaculate Long Island City studio earlier this month, the artist — looking stylishly severe in a uniform - like black ensemble with a red belt that matched her lipstick — was getting ready for Basel while also working on paintings, researching her next film, and preparing for a solo exhibition that opens in October at the Museum Leuven in Belgium.

To make the videos, the artist placed the flowers on a mirror that reflected the bright blue Los Angeles sky above and filmed them from above on a crane using a day - for - night filter — which movie directors use to make scenes shot in the day look like they occur at night — and had a rain machine pump rain between the camera and the flowers.

In what ways do artists appropriate digital technologies, what influence does the use of 3D graphic and animation programs or web services like Google Map and Google Earth for example have on such media as photography, film and sculpture?

«The mesmerizing quality of the repetitive film edits in films like CROSSROADS is a direct influence on artists from Dennis Hopper to Christian Marclay.

«Based in Austin for over a decade, but originally from Ireland and Switzerland, the artists» idea of Texas — like those of most Europeans growing up in the 1970s and 1980s — was dependent on the cinematic imagery of now - classic films for which Texas was either subject or site,» writes the Swiss - born Schmuckli.

Nina Simone on the edge, sex at a trucking stop, land art and a coffin road: the artist's new film Stoneymollan Trail is like stepping inside another person's brain.

It does in the fierce hilarity of a short 1971 film called «Colored Spade» by Betye Saar that flashes racial stereotypes at us like rapid - fire bullets, and in a funky 1973 assemblage called «The Liberation of Aunt Jemima: Cocktail,» by the same artist, which turns a California wine jug with a «mammy» image on one side and a Black Power fist on another, into a homemade bomb.

Many of Prouvost's film and installation works center on the character of her lost «grandfather», a fictional fellow artist who «didn't really like conceptual art — he liked making bottoms».

Using bold, easy to recognize imagery, and vibrant block colours, Pop artists like Andy Warhol (1928 - 87) created an iconography based on photos of popular celebrities like film - stars, advertisements, posters, consumer product packaging, and comic strips - material that helped to narrow the divide between the commercial arts and the fine arts.

One of his flip books and several of his films were included in the gallery's influential 1955 exhibition «Le Mouvement,» which put kinetic art on the map by showcasing the motion - conscious work of artists like Jean Tinguely, Marcel Duchamp, Alexander Calder and Victor Vasarely.

The broad range of vision engages one with its formal and narrative authority — from elegant self - contained cerebral works like On Kawara's «Today» series, in which the artist paints only a date of the year against a background of color, and Roni Horn's wall - sized photographic series composed of 36 progressive clown portraits of perceptual ambiguity, both artists neatly isolating individual permutations of life's sequential narrative, to Peter Fischli and David Weiss» collaborative film, «Der Lauf der Dinge (The Way Things Go),» in which the unconstructed imagery is punctuated by bursts of random narrative that addresses life's impermanence.

Sasha Waters Freyer is a moving image artist trained in photography and film whose work has screened at renowned international film festivals like Rotterdam, Telluride, Tribeca and IMAGES, in museums such as the Pacific Film Archives, the Museum of the Moving Image in New York, the Museum of Contemporary Art in Detroit, on international public and cable television and in microcinemas, basements and country libraries.

An artist continually writing his signature in a spiral for the life of an ink cartridge (Tom Friedman); a square section of drywall polished to a fragile, mirror - like finish (Karin Sander); a film that records an image of the sun from sunrise to sunset (Paul Pfeiffer); a rectangular Plexiglass volume with water inside it (Hans Haacke), are but a few examples of how modest means evolve into objects which are complex ruminations on presence and absence, nature and culture, order and chaos.

Focusing on contemporary issues like natural disasters, the breakdown of the American political system, global tragedies, and the Los Angeles housing crisis, the film stars Stosh, a.k.a. Pig Pen, a close friend of Opie's who has appeared in many of her photographs, as a struggling artist who is obsessed with landmark midcentury modern architecture.

Riffing on our difficulty to nail down complex creatures like artworks and loved ones, Gander recreates a scene from Schnabel's film with a voiceover that describes the ambiguous nature of one artist's homage to another.