Sentences with phrase «become characters in the film»

«The best moviemakers are the ones who are able to use San Francisco so well it becomes a character in the film,» Hartlaub said, «like David Fincher did with «Zodiac» and Philip Kaufman with «Invasion of the Body Snatchers.»

Not exact matches

«Bennett has become a master of storytelling through character, and while there are clearly no people in these films, it was clearly a very human story, which we knew a director such as Bennett would zero in on and draw out very real human - like emotions from these poor inanimate objects,» Lennon said.

The series» main character is based on Krosoczka's childhood school lunch lady, and the series is now in development to become a feature film.

The Milibands insist they are still close, but relations between their camps have become strained, with David's key allies branding rival Ed «Forrest Gump» after the less - than - bright character played by Tom Hanks in the hit film.

TV shows became confusing: in one film, she was surprised to see a character reel as if punched by an invisible man.

In film, the makeup needs to enhance the actors» performances and become part of their characters, contributing to beauty, injury, aging, etc..

After playing minor roles in the television series Doc and the film Big Fish in her childhood, she became a teen idol starring as the character Miley Stewart in the Disney Channel television series Hannah Montana in 2006.

Director David O. Russell (Three Kings) brings this blue collar Boston town to life, it becomes it's own unique character in the film.

When jobs became scarce in films for highly specialized character actors in the 1950s, Pangborn thrived on television, guesting on a number of comedy shows, including an appearance as a giggling serial - killer in a «Red Skelton Show» comedy sketch.

What becomes clear pretty early on in Mia Hansen - Love's «Eden» is that despite the large roving ensemble of ravers and DJs and partiers, and despite the fact that there is a lead character, the dance - club «scene» is the real star of the film.

In a film with simple characters mounted on an even simpler premise, it's only natural that bodies become the main subject.

An Argentine native who spent her formative years exiled to Spain, Cecilia Roth was a regular in Spanish filmmaker Pedro Almodóvar's early films and a star in Argentina long before she became an international critics» darling as the title character in Almodóvar's Oscar - winner All About My Mother (1999).

It's adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts's play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single - location sequence, which makes it looks oddly like a filmed stage play.

Katja's decision to not commit suicide is tonally pivotal to the film, as this is the juncture at which she becomes less a character than a symbol of the fury and impotency that white nationalists conjure in their victims.

As the American drives his Fiat along the winding roads with a superbly spare score playing in the background, the landscape becomes a main character in the film.

And while the movie's obvious highlight comes with Roma's brutal dressing - down of Kevin Spacey's officious manager, Mamet's screenplay affords virtually all of the actors their moment in the sun - with Lemmon's sad - sack of a character ultimately standing as the film's emotional center (ie despite his exceedingly slimy actions, Levene becomes a figure worthy of the viewer's sympathy).

The characters are all very fun to watch, the comedy that comes from the situation our main character is in is very funny, and is definitely a film people need to see, especially in our environment that's thankfully becoming more tolerant.

Only when the lessons end and characters become simply individuals trying to connect and communicate in the desolate landscape of a forgotten America does the film resonate.

They're all left to twist in a film that imagines it has the epic historical melancholy of Clint Eastwood's «Unforgiven» or James Grey's «The Immigrant» but instead becomes defined by lugubriousness: long lap dissolves of the characters staring sadly into space or pronouncing on the death of the American dream.

The difference between what we can do to direct our lives and the way that our lives become directed by forces outside ourselves and often beyond our control is examined in the lives of many characters in this film.

Though this shift prevents the film from becoming truly touching in the character department, few people are likely to care as the laughs and shocking moments keep coming.

With Feig's gentle touch, the film reminds one of producer Judd Apatow's best work, films in which he refused to turn his characters into plot devices, allowing them to become three - dimensional while being endearingly goofy at the same time.

In establishing McCandless as a character, the film describes his industriousness and good nature; later, his desperation becomes unveiled, and it is this desperation that determines his final actions.

Her persona becomes more «thinky» and less «feely» as the film progresses, which does make her increasingly less relatable (which is probably intentional), which does echo somewhat her character in the lower budget sci - fi release Under the Skin earlier in the year, along with the ever - more - knowledgeable Samantha in Her.

German / Austrian director Michael Haneke has become notorious for making films that are, essentially, extended meditations on discomfort, in which the lives of his fictional characters are marred by unspeakable violence and the minds of the audience are jarred by self - reflexive story twists.

In some ways, Lucy represents the point at which both roles converge, and Johansson has the unusually difficult job here of subtly conveying her character's observations, reactions and eventual epiphanies in a mostly deadpan, flattened - out register that becomes only more subdued as the film progresseIn some ways, Lucy represents the point at which both roles converge, and Johansson has the unusually difficult job here of subtly conveying her character's observations, reactions and eventual epiphanies in a mostly deadpan, flattened - out register that becomes only more subdued as the film progressein a mostly deadpan, flattened - out register that becomes only more subdued as the film progresses.

The characters in those films become real for me; they hurt, they bleed.

Sarah Polley's character was the real villian in the film, she raised Dren for selfish reasons the the second Dren became difficult to deal with she turned on her.

In the film, Jennifer's character Katniss Everdeen performs the song — which she learned from her father — and it quickly becomes an anthem for the rebellion.

The film begins with Arash (Arash Marandi), a handsome gardener, leaning against a ’57 convertible in sunglasses, doing his best Martin Sheen in Badlands; like Malick's character, he will soon become entangled in a doomed romance.

Yes, category fraud could be argued here as the film was really Bradley Cooper's character's stories from the oustet, but in the end, it became their story and it's Lawrence's magnetic work that allows that transformation to occur.

When his titular character is forced to stop living his life in his head and starting embracing adventure instead, his film may become the embodiment of its encouraging message, but it also endears in its earnestness — rampant, repetitive clichés and all.

I felt that the characters gained in depth from the new material, with both Maximus and Commodus becoming slightly more well - rounded as characters in this cut of the film.

I would have liked to know why a character's severed arm came to life and how the ship became possessed rather than focus on a monster attack that was better executed in the first Cloverfield film.

For anyone not intimately familiar with the background and names within the upper echelons of The Third Reich, the coming and goings of so many characters in Downfall can be a little confusing at times; yet the film avoids becoming unnecessarily convoluted.

Paul Rudd's bite - sized superhero becomes the latest Avenger - adjacent hero to get the sequel treatment in the film, which upgrades Evangeline Lilly's character from civilian to sidekick.

The movie is nominally seen through the eyes of Hitler's naïve secretary Junge (Lara) who has become attracted by Hitler's magnetic personality cult, but the film finds time to draw in several other characters to give different impressions of life in the dying city.

Though Patrick Warburton's Kronk was undoubtedly the best thing about The Emperor's New Groove, this film proves that the character works best in small doses; forced to carry an entire movie, Kronk becomes tedious and (unbelievable as it seems) unfunny.

Director Gore Verbinski and producer Jerry Bruckheimer have adopted the more - is - better approach they used in the Pirates of the Caribbean series to The Lone Ranger, crowding the movie with so many extraneous characters and irrelevant subplots that the film becomes an endurance test dotted by patches of fun.

It's his best and most transcendent film since his masterpiece The Royal Tenenbaums, and the first in which I've ever wanted to revisit the characters later in life to see what kind of people they've become.

Since his widely - acclaimed portrayal as the title character in TV's James Dean in 2001, James Franco has appeared in almost ninety films and become a renaissance man of cinema.

And despite the extensive secondary cast of cameramen, sound techs and story editors, the film manages to develop well - rounded central characters, some who of become almost likable in spite of themselves.

He's clearly been interested in pursuing a larger film - acting career since finishing his tenure as The Doctor, so it should be interesting to see how prominent Smith's mysterious Terminator character becomes in future installments - assuming they happen, of course.

In the film, Radcliffe's character Wallace becomes attracted to Chantry (Kazan), only to find out that she already has a boyfriend («Shaun of the Dead» actor Rafe Spall).

In Coogler's film, the women of Wakanda are elevated from lazily constructed positions of subservience to become powerful characters with narrative - shaping responsibilities.

This is especially true in the second half of the film, in which her recovery becomes a surprisingly internal journey and Larson never drops character.

His character is pivotal to the story and becomes the voice of reason in the film's final act.

Harry Dean Stanton, a prolific character actor who brought a soulful, hangdog presence to such varied films as «Alien,» «Paris, Texas,» «Repo Man» and «Pretty in Pink,» becoming a favorite of film fans and directors alike, died on Friday at age 91.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

By this point of the series, the films are becoming bogged down by the very large number of characters and side stories introduced in the first three films (and books), so keeping tabs on just who is thinking what about whom can prove an arduous task for those not intimately knowledgeable about every aspect of the series.