Sentences with phrase «bigger studios where»

He and his wife Cary had left the city and were living on the top of a hill with a big studio where Norman was making epic paintings, the greatest of his career, I thought.

Not exact matches

Newt will no doubt confine himself mostly to the studios, where he performs so well, launching a self - proclaimed new big idea at a rate of one every five minutes.

But my biggest dream by far would be to own my own studio / shop space where I could sell the work of upcoming and established designers alongside my own.

Many of us in the MindBodyGreen community live in big cities, where we're spoiled by an abundance of yoga studios and talented teachers.

I'm happy to live in a future where studios pay big money for sexy - violent meditations on the slippery state of humanity — and there's a real promise for far - out further seasons — but right now Altered Carbon is all sleeve and no stack.

This led to a 15 - year association with Republic Pictures, where Judy became one of that studio's biggest moneymakers in such raucous vehicles as Sis Hopkins (1941), Sleepy Lagoon (1942), Oklahoma Annie (1946) and Carolina Cannonball (1955).

Sure, you don't want the studios to cut corners to the point where movies start looking cheap and silly — a big reason why superheroes and aliens have been making such a huge impact on movie screens in recent years is that we can finally make them look cool instead of tacky.

«This Is Where I Leave You» is such a rare bird nowadays — a mid-budget, big - studio ensemble dramedy — that the only real basis for comparison is the television drama.

An endless open world title where no one's experience is the same, was the biggest talking point of No Man's Sky, and another surprising part was it came from an indie studio.

It overstates the emotion of each scene, sticks out like a sore thumb where it should be subtle, and often sounds like something from a made - for - TV movie rather than a big studio film.

That is where it started, when studios started hiring bigger name actors to do voice work.

Though March wasn't always known as a month where you could score big at the box office, Zack Snyder's «300» changed all that, and since then, the studios have been more open to releasing some of their higher profile films in an attempt to cash in on the pre-summer excitement.

But where «Brick» and «The Brothers Bloom» were low key productions, «Looper» takes Nathan and Rian Johnson into the studio big leagues, uniquely pairing Bruce Willis with their frequent star Joseph Gordon - Levitt as a future - past hitman, one regretfully trying to change his destiny, while his younger, foolhardy persona is hell - bent on putting himself in the furnace.

One truly can compare the watching of how big studios and their hired bigwigs operate as the equivalent of watching how sausage gets made, as many of us to very much enjoy the end product, but we would be less pleased if we were to know how a kernel of inspiration from the mind of a writer can be second - guessed and repackaged due to executive decisions made by relatively visionless empty suits who are in the creation process solely to make money, squeezing out all trace of artistic merit where it interferes with bottom - line profit.

Big budget studio films are a blast, but we're in a day and age where you can actually insure the influx of those little independent gems.

In 2013, he traveled to the former plantation where «12 Years a Slave» was filmed with director Steve McQueen, and more recently charted how the story of Columbine came to a stage in New York and watched Angelina Jolie take on her first big studio directing job, the «Unbroken» story of Olympian and USC alumnus Louis Zamperini.

In 2000, Schafer left Lucas to found a new studio called Double Fine, where he's led design on Psychonauts, Brutal Legend, and many other games both big and small.

In recent years, August has typically been the month where studios dump their summer fare that can't compete with the bigger blockbusters, and although that's probably true with this year as well, it's hard to complain with a line - up as great as this, including the latest sci - fi treat from «District 9» director Neill Blomkamp, the sequel to «Kick - Ass» and the final chapter in Edgar Wright's Three Flavours Cornetto trilogy.

That's not necessarily a bad thing, but it's a little strange for a time of year where studios tend to live by the mantra that bigger is better.

There's a new trend emerging in studio comedies where humorous set pieces are treated almost like action sequences in comic book movies — they come early and often and there's never much time to let the characters breath and develop in between the wild hijinks that blow up the big screen.

OGOREK: I think they are transforming and I think the opportunity is going to continue to exist in traditional publishers just like we saw where film studios continue to exist and big record labels continue to exist.

In that building he started his studio, an open work space where scenery as big as the prow of a ship could be built, erected, painted, and then broken down and shipped off to the city for load - in.

In many ways this is reminiscent of old Hollywood, where the big five movie studios realized they could maximize their take by collapsing the entire life cycle of movies under their control, including production, distribution and exhibition.

«Everyone at the studio is doing a fantastic with the optimisation, and we're in the final couple of months before release where there's a big push that we hit that 60 fps, and that's the plan.»

Motive is a brand new studio, where developers have the unique chance to work with one of the world's biggest intellectual properties, Star Wars, and be part of the studio's founding team.

While having a nice chit chat we were shown a big blue sofa with consoles where on Fridays studio members play games not only for entertainment but also for research purposes.

It's a bit of a bigger project than their other games, such as WWE SuperCard [Free]-- those are intended to be quick, short sessions, where Mafia 3: Rivals is meant to be something a bit deeper and more expansive for the studio.

Even in a time where the future of the traditional MMO seems in doubt, dozens of production teams, publishers and development studios are banking on players wanting just a little bit more - looking for the next big thing.

Some people do actually we will have a nintendo land in universal studios soon so Like once that's made pshhhh forget about it nintendo will never go any where... Just for this reason alone, imagine this a bottle of water usually goes for 1.50 $ at Wal - Mart at universal a slightly bigger bottle goes for 7 $ now imagine if nintendo set up a souvenir store and sold gee I du n no amiibos for a jacked up price of like 25 $ lol forget about it dude nintendo ain't going no where x ’D

From April till Launch, was a very busy time for Disney Infinity 2.0 and one of the biggest events of the year was the first ever Toy Box Summit, which took place at the Avalanche studios in Utah, where they flew out many of the top Toy Box Artists to take part in a 24 hour challenge to show off Disney Infinity 2.0.

This is just one studio where the company is stepping up its efforts to work with Intellectual Property owned outside of Sega - with Astro Boy a big hit in Japan and on its way to Europe.

It's reached the point where just the mention of the heartless ways big - name game studios perceive consumers has become memetic; entirely a sad joke.

Indie studios don't usually have big advertising budgets and PR is a war where you have to save your bullets for the greatest possible impact.

A big part of that scene is the First Friday Art March (artmarchsavannah.com), where galleries and studios, including the Non-Fiction Gallery (henandcake.com/flourless), open their doors to the public and local artists set up their easels along De Soto Avenue.

Also, there was this big move from Ohio, where I had a gigantic, 5 - 6,000 sq feet studio (it was a big warehouse, which contained a theatre and a studio), to New York, into a studio that was the size of this table.

Standouts included Sarah Sickle «s studio where representative drawings of conversations overheard, interesting reads, and her friends» statements were presented in a blossom pink room, reminiscent of a little girl's room, resplendent with chandelier beads hanging from the ceiling, induced big smiles on my face, as well as many chuckles.

They can have a big studio, and they can be where they want to be.

It's derived from a series of drawings that I scan into the computer and refine through various processes... and send to the sheet - metal shop down the road where it's cut out of metal and assembled into larger structures which are too big for my studio.