Sentences with phrase «because as a filmmaker»

Let's try to, for us first because as a filmmaker we need to see real, it's a thing to be together.

Not exact matches

It is because filmmakers can go to these places and portray life as it really is without running afoul of Islamic rules.

«I'm in a really privileged position as a woman filmmaker, as a black filmmaker because at the current moment there's not a shortage of opportunity to tell the stories and that's not something that I was able to say even two years ago, three years ago,» she says.

I have transformed and grown as a filmmaker and editor because of Glossed and Found.

That's because Howard, as a filmmaker, thinks in cookie - cutter» situations» to begin with.

As our descendants evolve, colonize more of their own brains, and approach the man - machine singularity, filmmakers can continue to add onto Lucy, and then some critic can add on to the end of this review because we'll never evolve beyond movie criticism.

For Luo (Kun Chen) and Ma (Ye Liu), we're absolutely sure that they love the Little Chinese Seamstress (Xun Chou), but as for Balzac, because the filmmaker inadequately shows us their passion for literature, they come off as poseurs who use the books as a tool of seduction.

To start with, there is the accident itself, which was not only caught on film, but which had filmmakers there beforehand, as Pearce and his buddies in the «Frends» crew (so named because there is no I in friends) were gearing up for the Olympics.

You are exactly the same as the studios and filmmakers you attack, because you «re constantly dumbing yourself down in favor of sounding «hip / cool / witty / sarcastic / glib or snide».

This theme — «life matters» — is hard to see not because it's complicated or unfathomable, but because it's easy to assume that a filmmaker as austere as Kubrick would close his crowning achievement with a grander theme, one less quaint.

If there's no depth to the difficulty that Megan has in connecting to others, it's because the filmmakers wish for the audience to understand her antisocial demeanor as a given.

Gerwig's warmth as an artist becomes important, because in «Lady Bird» she is dealing in what is often the most self - centered of forms, the coming - of - age story; particularly, the coming - of - age story based on the filmmaker's own life.

Since then, the zombie movie has been a staple at the cinema and at home, with offerings ranging from the totally»80s classic Night of the Comet to the biggest box office zombie flick yet, World War Z. Because there are only so many ways to serve up brains, and with TV's The Walking Dead doing an excellent job of that on a regular basis, filmmakers are taking unique approaches to zombies and treating them as characters, not just mindless threats.

This isn't meant to come off as to say it's just a Carpenter ripoff, because it has plenty of fun, original stuff in there, but the opening credits definitely know you could trust the tastes of the filmmakers.

Although Affleck's lamentations of unrealized ambitions are symptomatic of a first - time filmmaker, because he's been around the block as an actor (and is, lest we forget, an Oscar - winning screenwriter), he can, unlike most newbies, talk the talk without coming across as pretentious.

The world doesn't stop being the world just because we're suffering, and so rarely has a filmmaker been able to capture this concept in such a genuine, organic way as this.

FF2 Media is important to me because I think it's imperative to remind readers that women are a part of the creative industries, particularly as filmmakers.

It's fitting that filmmakers Stephen Silha and Eric Slade assemble this documentary with as much colourful poetry as they can muster, because the subject matter was a remarkably life - loving man whose impact on the arts...

If the choreographed sex scenes break into the pedestrian plot and dialogue of Body of Evidence like numbers in a musical comedy, that's because they appear to be the only scenes the filmmakers really care about; otherwise the characters and story can go straight to hell, one feels, as they eventually do.

«Director Marc Forster — heavily - criticized on Quantum of Solace because people saw him as an arthouse filmmaker trying in vain to make an action movie — continues his arthouse credentials here.»

The best thing about films like this for composers is that they usually allow them to go wildly over-the-top because the filmmakers want music that's as loud and frenetic as possible.

«Having nine nominations is really fantastic for a film like «Carol,» and to see Todd's work and Todd recognized in this way, which hasn't fully happened until this point, is incredibly gratifying because he is one of the great contemporary American filmmakers, and his films and «Carol» will be here long after we are all gone,» she said, although she added that she would have liked to have seen the contribution of Carter Burwell and Affonso Goncalves recognized as well, for music and editing respectively.

«[Landline] was literally just a concept, but because we felt so strongly about them as filmmakers we went with it,» said producer Gigi Pritzker.

Not because I flat - out dismiss Shyamalan as a filmmaker.

The other thing is, as Bobs said, the reason we change filmmakers is because we don't want to be derivative of the other previous movies.

Noah Baumbach might as well have named his latest feature «The (Harold) Meyerowitz Stories (New and Selected, But Also Mostly About Harold),» because no matter how many stories unspool in the filmmaker's latest tale of familial disaffection (and, occasionally, actual affection), each one spins firmly around Dustin Hoffman's surly patriarch.

If it feels as if you've been hearing about Gangster Squad for ages, that's because the release was put back by several months when the Aurora cinema massacre in July last year prompted the filmmakers to remove a cinema - based shoot - out, which had been glimpsed in the film's original trailer.

Because of the nature of the material, this is Ross» most brutal film to date as a filmmaker.

As you can expect, trying to figure out the filmmakers» intent is beyond futile, because they can not afford to focus on anything for longer than a minute.

As filmmakers, critics and the general public have pointed out time and time again, Ridley Scott's Alien worked so well because we rarely, if ever, saw the entire creature.

That makes Sher a bit of an unknown quantity as a filmmaker, and because the plot sounds like a raunchier version of 1996's «Flirting with Disaster,» it will likely fall to the talent to sell the jokes.

As the IndieWire team argued in the run up to this year's Sundance, the best case scenario for filmmakers looking to sell their films at the festival was to draw Amazon's interest because it meant the best of both worlds — deep SVOD pockets, with a promise of full theatrical release.

Making its way around certain parts of the internet — because today is Andrei Tarkovsky's birthday — is the 1988 documentary Directed By Andrei Tarkovsky (made by Michal Leszczylowski, the co-editor of Tarkovsky's final film The Sacrifice), which is about as essential for fans of the legendary filmmaker (and interested persons alike) as the Russian master's movies themselves.

Clearly a fan of legendary Korean filmmaker Park Chan - wook, The Gift resembles Park's own stories of vengeance, not only for its similar twists and turns, but because of its understanding of slow, methodical vengeance, as opposed to the the usual bloody, action - filled tales of revenge that American audiences have grown so accustomed to, since that is what usually makes it to our theaters.

Compared with the shivers of self - loathing that animate «Queen of Earth» and «Listen Up Philip» (2014), his brutal comic portrait of an insufferably arrogant New York novelist, this exquisitely textured ensemble portrait is a gentler, more forgiving piece of work, not least because the filmmaker's jabs — and his sympathies, such as they are — feel more evenly distributed.

It's a moot point, however, because Attal establishes a new career as a filmmaker with «My Wife Is an Actress.»

Well, maybe partly — it is unusual to have the same filmmaker straddling both lists, as much because of release dates as anything else — but mainly, we just thought about how very, very poor «The Cobbler» actually is.

«As supporters of filmmakers - and the human rights of all people - around the globe, we find it extremely troubling that Asghar Farhadi, the director of the Oscar - winning film from Iran A Separation, along with the cast and crew of this year's Oscar - nominated film The Salesman, could be barred from entering the country because of their religion or country of origin.»

And as a filmmaker, you want to make the movie entertaining, because you want people to feel it.

It's unsatisfying not because the characters are uninteresting (they're quite well - drawn) but because they don't illuminate any larger principles, and because it's often hard to tell if the filmmakers are belittling them as goofy, limited people or truly feeling their pain.

ShockYa: In that way it feels sort of like a safety net as a filmmaker, because you can say, «No, no, we don't need frenetic cuts here to goose an audience.»

As a jury we feel it is important to recognize a film that because of the close collaboration between the filmmaker and their subjects lets the audience examine that crisis.

The pacing of the films was only the beginning of the problems with selling such a thing to a broad audience; likely because of Tarantino's standing as the more well - regarded filmmaker, the slow - burn crescendo of Death Proof played after the warp - speed throwback gorefest Planet Terror.

At one point during shooting Wiseau wanted his car to appear to fly off the roof because, as Sestero recalls the first - time filmmaker saying, «It's just possible side plot.

That The Disaster Artist exists as a movie is a bit of a miracle, because in the past, Wiseau hasn't been eager to let filmmakers expand on his source material.

WHY: Hollywood hasn't been shy about its love for sequels, reboots and remakes this year, but as far as big screen adaptations of mildly popular television shows go, you could do a lot worse than «The Man from U.N.C.L.E.» In fact, though director Guy Ritchie has admitted that he wasn't overly familiar with the 1960s TV series before signing on to the project, it's the ideal property for a filmmaker like Ritchie to tackle, because it allows him to cherry - pick the show's best bits and put his own spin on the material without worrying about stepping on too many toes.

As You Are is the feature directorial debut of filmmaker Miles Joris - Peyrafitte, premiering at the 2016 Sundance Film Festival, and it will hopefully give Miles the break he needs to make more films - because he seems to be a very talented storyteller.

Hollywood hasn't been shy about its love for sequels, reboots and remakes this summer, but as far as big screen adaptations of mildly popular television shows go, you could do a lot worse than «The Man from U.N.C.L.E.» In fact, though director Guy Ritchie has admitted that he wasn't overly familiar with the 1960s TV series before signing on to the project, it's the ideal property for a filmmaker like Ritchie to tackle, because it allows him to cherry - pick the show's best bits and put his own spin on the material without worrying about stepping on too many toes.

Cavill and Hammer are so fun in their roles that further adventures would certainly be welcomed, but failing that, Ritchie would be wise to seek out more projects within the spy genre, because it's well - tailored to his strengths as a filmmaker.

It is said that a horror director will cast you as a victim because he admires you — or, in this case, because he admires your hypothetical camp value — but I can't help but sense some rage in the targets Mancini chooses: Set loose in La - La Land, the doll family goes on to kill unworthy pop stars (a Britney Spears look - alike), icons of cinematic change (John Waters — himself much more talented with the whole camp thing — here playing a doomed paparazzo), and pretentious, unlikely filmmakers of the 21st century (rap artist Redman, standing in for Mel Gibson -LRB-!)