Sentences with phrase «brief scenes shot»

Not exact matches

Except for the bookends (its opening and closing scenes) and two other brief shots (the little girl in a red coat and candles burning with orange flames), the entire film in - between is shot in crisp black and white.

«The Interpreter» is rated PG - 13 for some strong scenes of violence (shootings and some explosive mayhem), some gore, scattered use of strong profanity, some lewd dancing (during a brief strip - club scene), and some brief nudity (veiled nudity, as well as some nude photos).

The visual effects vary from the iffy to the sublime, whilst the action scenes are well - shot, if brief.

Only a subplot involving a pair of crooked local cops and the two brief, vigorous action scenes — shot largely with the camera following the assassin Portnoy from behind, her black wig in the center of the frame — give a glimpse of what Florentine is capable of.

In a Frederick Wiseman - ish way, some of his subjects appear for only a single brief scene, while some recur throughout, and they're certainly a broad selection: an aristocrat who hires his family home out for film shoots, paramedics, an eel fishermen, some transsexual prostitutes, and a man trying to stop insects from destroying palm trees.

The «Select Scenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginScenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginscenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginning).

Apart from the opening scene, which incorporates special effects to help create a massive dry dock that serves as a prison (the prisoners hauling a ship into it with lines as thick as tree trunks), and a few brief establishing shots, which include dramatic rises and falls of the camera through space and time as each new stage of the story begins, Les Misérables keeps us in close — sometimes very close — proximity to the actors.

Aside from a quick look at a passing steam train, there are brief scenes where Morgan threatens a local man as he pins him to the wall, then a violent shot of the outlaw involved in a brutal fistfight.

The brief action scenes are shot in a purposefully removed way, implying rather than showing what is taking place

«The Making of The Illusionist» (7 minutes) is a brief featurette which contains comments from Norton, Biel, Sewell, and Giamatti, and only one behind - the - scenes shot.

I always thought they'd go for a brief conversational scene, perhaps in District 12 or on the train on the way to the Capitol, but we actually got one of the book's most striking moments — when Katniss shoots an arrow through the apple in the Gamemakers» pig's mouth.

Wong's violent interludes are most often brief riots of slurred or slow - motion action alternating unexpectedly with freeze - frames; these sequences, delivered so rapidly one can often barely perceive what's happening, are obviously abstract versions of the action scenes in conventional martial - arts films (The Eagle Shooting Heroes included).

The DVD and Blu - ray are both released on single disc and two - disc sets, that latter with the usual making of featurette and deleted scenes, plus a short featurette on the film's set design and locations and a brief «Shooting Diary,» all in Cantonese with English subtitles.

Hence the 91 - minute flight is shot in real time and, a few brief preliminary scenes aside, the film's scope is narrowed down to a handful of settings: five windowless control rooms and the inside of the passenger jet.

As we move on we get to see other quick shots following this scene including Anne Hathaway as Catwoman, and a brief shot of Joseph Gordon - Levitt.

Judging from the concept art and brief glimpses of behind - the - scenes footage, the film will be as lush as it is sci - fi: shots of T'Challa in his upgraded Black Panther suit in the jungle, fighting in a bar and giving a political speech.

«Workin» Nine to Five (AM): Pom Behind the Scenes» (3:42) shows us the arduous making of the film's brief professional POM commercial, with storyboards, Spurlock reflections, and on - set footage of the late night supermarket shoot.

It even includes a few brief scenes of Eric Stoltz, who was originally cast as Marty and shot five weeks worth of footage before being recast.

The first battle scene is full of brief shots of men slipping, intercut with explosions, as the platoon takes shelter in a cave.

Aside from a quick look at a passing steam train, there are brief scenes where Morgan threatens a local man as he pins him to the wall, then a violent shot of the outlaw involved in a brutal fistfight.

Her looped video works, often no longer than a minute, and shot in a dull, saturated color, build single ambiguous scenes through vivid repetition of brief moments: a breath, the screeching sound of a vinyl record being scratched, a muttered phrase.

Brief shots of forest scenes are illuminated by what must be fireworks falling out of the sky and hitting the great trunks in showers of sparks — but my mind conjured ideas of prehistoric meteor storms.