Sentences with phrase «as a screenwriter with»

Gia isn't hagiography, I'll give it that, but it is reductive to a fault; once known as a screenwriter with a literary bent, having risen to the challenge of distilling novels by no less than John Updike and Tom Wolfe, Cristofer turned into a sensationalist when he started directing, and virtually anything that's not an exploitation staple is relegated to the margins in Gia — not to mention in Cristofer's sophomore efforts Body Shots and Original Sin.

As a screenwriter with limited experience, his specialty is the crime - thriller genre: Adams collaborated on Heist (2015), starring Robert De Niro, and on Extraction (2015), starring Bruce Willis.

The original The Girl With The Dragon Tattoo director Niels Arden Oplev makes his American debut, and Joel Wyman has certainly proven himself as a screenwriter with the 2001?

Frank clinched his reputation as a screenwriter with his witty adaptations of the Elmore Leonard novels «Get Shorty» (1995) and «Out of Sight» (1999).

Not exact matches

Anthony Bourdain, moonlighting as a screenwriter for the HBO series Treme, worked Pappy into a scene; Vince Gilligan, the creator of Breaking Bad, did the same with a bottle of WhistlePig, a rye whiskey bottled in Vermont (rye is like bourbon, except that its primary grain is rye, not corn).

Goldman's got a history of coming up with good ideas, as the screenwriter for both All the President's Men and Butch Cassidy and the Sundance Kid, but the idea for Princess Bride 2 just won't come.

A former St. Albert's classmate introduces Eddie to a screenwriter and website operator who asks Eddie whether he owns any pornographic home videos of his old girlfriend Martha Martin, who since her breakup with Eddie has skyrocketed to fame as the star of the cheesy NBC medical drama Dr. Drake.

Today Levine is a novelist and screenwriter in Los Angeles, with a life - sized cardboard cutout of Paterno gazing over his shoulder as he types.

Imagine that, and you'll know how I felt after reading Ron Fimrite's story on The Natural (A Star with Real Clout, May 7), in which you portray Roger Towne as the sole screenwriter.

As an author, screenwriter film director and producer he's created Jurassic Park and ER along with many other projects.

«The things he was able to open up for me were far more exotic and exciting than anything I could've come up with as a screenwriter,» Nolan told New Scientist.

The universe is full of possibilities, but it looks as though — at least for now — sci - fi screenwriters will have to come up with a more plausible storyline.

Screenwriter, director, producer, actress — and as of this year, second woman ever to win Best Director at Cannes — Sofia Coppola is a force to be reckoned with.

We're meant to care about her job, but everything is so vague that the screenwriter might as well replace the dialogue with each character mumbling «Real estate.

The best compliment I can give Stone as a screenwriter and director of Snowden is that he took a thoroughly challenging scenario with few cut - and - dry answers and made an accessible movie experience that effectively conveys moral outrage and dismay.

It's instantly clear that Howard, along with returning screenwriter David Koepp, has learned nothing from the relative failure of both The Da Vinci Code and Angels & Demons, as Inferno, for the most part, chugs along at a lackadaisical pace that's compounded by an overlong running time and surfeit of underwhelming subplots.

First - time director / screenwriter Antonio Negret details the frightening trend of kidnapping in Columbia with this tense tale of a young photographer who is abducted and held for ransom as his desperate parents scramble to raise the money that could save their child's life.

The storyline - which follows alcoholic superhero John Hancock (Smith) as he reluctantly allows a struggling public - relations expert (Jason Bateman's Ray) to mold him into a traditionally heroic figure - has essentially been crafted to act as an origin story for the central character, yet screenwriters Vincent Ngo and Vince Gilligan brilliantly ensure that Hancock rarely apes the conventions and tropes that one has come to expect with such a tale (ie one doesn't entirely realize that they're watching an origin story until everything's been said and done).

The film - which follows a trio of friends (Bradley Cooper's Phil, Ed Helms» Stu, and Zach Galifianakis» Alan) as they attempt to piece together just what transpired during a pal's drunken bachelor party (where it inevitably becomes clear that said pal has mysteriously vanished)- strikes all of the wrong notes virtually from the get - go, as screenwriters Jon Lucas and Scott Moore offer up a series of broadly - portrayed caricatures that could only exist within just such a low - rent comedy (with Galifianakis» aggressively off - the - wall turn as Alan undoubtedly the most apt example of this).

After taking some time off from directing and scriptwriting to appear in such films as Out of Sight (1998), Brooks resumed his director - screenwriter - actor hyphenate with The Muse (1999), starring opposite Andie MacDowell and Sharon Stone as a struggling Hollywood scriptwriter in search of divine inspiration; Looking for Comedy in the Muslim World followed in 2005.

After spending much of his primary and secondary school education in an alternative arts school, he studied film at New York University.Louiso began his career with minor roles in such films as Stella (1989) and Billy Bathgate (1991), the latter of which provided him with an introduction to Tom Stoppard, who was the film's screenwriter.

Original director Wes Craven and original screenwriter Kevin Williamson come back for more, and do so with the willingness of an entirely new cast and the old one, an unprecedented feat seeing as how the last film was made eleven years prior.

The two also became acquainted with novelist Ruth Prawer Jhabvala around this time; Jhabvala would become irrevocably associated with the two, acting as the screenwriter for all but a handful of their films.The trio's first films were set in India, dramas concerned with questions of cultural interplay, personal identity, and physical and emotional isolation.

As Danny Boyle's go - to screenwriter after they brought his first novel, The Beach to the big screen, they injected a shot of adrenaline to the shambling zombie genre in 2000s with 28 Days Later, and turned in a brilliantly sly theological inquiry in the form of a space adventure Sunshine.

Having assembled a talented cast, and nabbing international star Mads Mikkelsen as his lead, Arcel, whose biggest credit is screenwriter of the original 2009 version of The Girl with the Dragon Tattoo, casts his name as a notable up and comer with this latest, an impeccable piece in its own right.

The script apparently originated with the desire of screenwriter Liz Hannah «to tell the story of Katharine Graham, the former Washington Post publisher who became the first - ever female CEO of a Fortune 500 company... As Hannah was writing the first draft, the symmetry between Graham and presidential candidate Hillary Clinton seemed to be the most obvious parallel to the present.

Inspired by a popular video game that was released in 1986, screenwriters Ryan Engle, Carlton Cuse, Ryan J. Condal and Adam Sztykiel assemble a scenario that enables Dwayne Johnson to be heroic as he endeavors to save his best friend George, with the help of Dr. Kate Caldwell (Naomie Harris), who formerly worked at the evil company run by Claire Wyden (Malin Akerman), and Harvey Russell (Jeffrey Dean Morgan), a mercenary who begins working for the evil company and then is tempted to the side of the good guys.

Huston worked as a screenwriter in the 1930s before getting his first chance to direct with The Maltese Falcon (1941).

That voice, as thin and willowy as the man himself, seems almost incongruous for a man of such charisma and presence — even more so when it becomes clear that Spielberg, along with screenwriter Tony Kushner, has put together a portrait of Lincoln that is as averse to pulling punches as are his battle sequences.

Screenwriters William Nicholson and Michael Hirst care little about re-creating political history as it was, but relish shooting for the Barbie doll moments in the royal court and the occasional cloak - and - dagger thriller moment (the soon to be beheaded scheming Catholic Mary Stuart, Queen of the Scots (Samantha Morton), passing notes from her prison cell to approve the assassination attempt on cousin Elizabeth), and in keeping all the scenes with the athletic looking Raleigh intentionally playful and sexually inviting.

For the first half hour or so, writer / director David Veloz (one of the screenwriters credited on Natural Born Killers) strains unsuccessfully to impress us with fashionable non-continuity edits and some clipped dialogue that aspires to be taken as sardonic humor.

There's little doubt that Creation opens with a fair amount of promise, as screenwriter John Collee initially focuses on Darwin's ongoing anguish over his scientific endeavors - with the vehemence of his colleagues (ie one tells him that he has effectively «killed god») causing a considerable amount of friction within his home life.

As charming and gently agreeable as Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueAs charming and gently agreeable as Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueas Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueas to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigueas if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigued.

It's that conventionality that others find fault with, as Variety claims «the vitality seems to have been largely drained from this rote retelling,» while The Guardian blames Newell as well as screenwriter David Nicholls, noting, «It takes a special type of talent to turn Great Expectations into a film quite this flat.»

It's clear right from the get - go that director Alan Poul and screenwriter Kate Angelo aren't looking to reinvent the wheel here, as the movie initially comes off as an almost prototypical example of a modern romantic comedy - with the less - than - innovative atmosphere cemented by the proliferation of wisecracking characters and the protagonists» initial encounter (which essentially defines the term «meet - cute»).

Mr. Crowe, who started out as a teen - age journalist writing about rock music, has arrived as a screenwriter and director with a distinctively touching, quirky style.

Bay and screenwriter Ehren Kruger must have noticed that amphetamine - fueled mugging tested well in Revenge of the Fallen, so the third film is graced with the brilliantly hyperactive Ken Jeong — perhaps the one actor in Bay's 17 - year directing career who perfectly embodies his outsized, everything - plus - half - again - as - much style — and John Malkovich.

The screenwriter / playwrights have processed the characters» last words in ways that imbue them with as much humanity as possible.

Wild Things» journey from Point A to Point B is so convoluted and messy, it's almost as if some sad screenwriter drew a beginning and ending out of a hat and resolved to connect them with a million other plot points from that same hat in between.

A charmless, nonsensical thriller that doubles as a hack screenwriter's wet dream, filled to the brim with faux - insights that wouldn't impress even the most inattentive college freshmen.

Director Jon Amiel and screenwriter John Collee have gone out of their way not to antagonise either side of the science / religion debate, instead offering a distinctive take on evolutionary theory as refracted through Darwin's relations with his pious wife (a sour - faced Jennifer Connelly, offering an occasionally hilarious, literal approximation of the Queen's English) and increasingly curious brood.

Born in 1937 in West Cliff - on - Sea, England, screenwriter - turned - director Dick Clement cut his teeth on the small screen in his mid - to late twenties, as a BBC television writer and director, including such now - classic programs as the sitcom The Likely Lads (1964), the Dudley Moore and Peter Cook series Not Only... But Also (1965), and the brief Steptoe and Son successor Mr. Aitch (1967), starring Harry H. Corbett.Clement segued into big - screen comedy in 1966, co-scripting (with Ian La Frenais) the Michael Winner - directed picture The Jokers.

As a screenwriter first and foremost (and a director with little to no innate visual sense), I tend to prize narrative and story over most other elements in film.

At other times, however, Mendes and screenwriters John Logan, Neal Purvis, Robert Wade and Jez Butterworth seem to feel the need to include more classic Bond aspects, such as hulking henchman Hinx (Dave Bautista, «Guardians of the Galaxy»), an elaborate base for Oberhauser complete with private army, and an over-reliance on gadgetry.

Though set in Chekhov's time, Mayer's approach, along with screenwriter Stephen Karam, renders this story of love and longing feels startlingly contemporary, particularly Elizabeth Moss» turn as Masha, who drowns here sorrows over unrequited love in both alcohol and a loveless marriage to a man who adores her.

The Meyerowitzes all speak with the wit and observational detail that one might expect from the screenwriter of such whip - smart comedies as Mistress America and Kicking and Screaming.

In a collaboration with frequent screenwriter Jonathan Raymond (the scribe behind her preceeding pair of features), the feature charts the progress of three couples — played by Blue Valentine's Michelle Williams and The Fourth Kind's Will Patton, Miss Pettigrew Lives For A Day's Shirley Henderson and Motherhood's Neal Huff, and Me And Orson Welles» Zoe Kazan and Knight And Day's Paul Dano — and their collective children as they follow the path set by their uncertain titular guide (Barney's Version's Bruce Greenwood).

In this universe rife with inside jokes and gems disguised as throwaway lines, Guest himself appears as the wondrously detached director of the film, who asserts his authority by not asserting it when dealing with addled actors or wounded first - time screenwriters (Bob Balaban and Michael McKean).

From his inspired collaborations with the prolific writer Charlie kaufman in Being John Malkovich and Adaptation, to his adapted screenplay of Maurice Sendak's Where The Wild Things Are, Jonze continues to prove himself as not only an important film - maker of his time but also a wonderful screenwriter, and his latest feature Her starring Joaquin Phoenix might just be his magnum opus.

With it previously having looked as if they'd completed their work on the Bond series after five movies, screenwriters Neal Purvis and Robert Wade are apparently back on board to take a pass at John Logan's screenplay.