Sentences with phrase «budget filmmaking»

Budget filmmaking refers to the practice of making movies on a limited amount of money. It involves finding creative solutions and making cost-effective choices, such as reducing production expenses or using fewer resources, in order to bring a film project to life without spending a lot of money. Full definition
He mentions these pitfalls in big - budget filmmaking with good humor, but it's difficult not to view his work as an also - ran epic.
The result was a new megastar period for him he is still in and the film holds up very well considering what has followed in the genre and big budget filmmaking in general.
Low - budget filmmaking in Bhutan posed certain challenges.
It poses so much potential for future engagement in low - budget filmmaking as moviegoers now are craving the humble slices lying there beside sensational large - scale events.
Tangerine is an example of low - budget filmmaking at its best, and it exists as living proof that there is really no excuse to not be making movies if youʼve got a smartphone in your pocket.
Split follows The Visit in Shyamalan's new - found foray into lower - budget filmmaking after a couple high - profile flops.
Though her previous efforts were exercises in ultra-low budget filmmaking, she makes a remarkably smooth transition here.
It's safe to say that the Wachowskis have pushed the boundaries of big budget filmmaking once more... But it's just a pity that the overall experience is inconsistent and overlong.
As mid-level budget filmmaking wanes and decent visual effects become quite affordable, we're seeing more and more genre filmmaking exploring big ideas and themes in a way that often makes a very small scale film feel large.
WHY SEE IT: An interesting and creative premise for a film that is clearly a labor of love — kind of an indie comedy take on CUBE and LABYRINTH, with a touch of ALICE IN WONDERLAND and Terry Gilliam insanity thrown in for good measure — DAVE MADE A MAZE is an amusing diversion for fans of budget filmmaking who can appreciate a smirk - inducing comedy with a light touch of horror and fantasy.
I highly recommend seeing this film, mostly to support talented young directors and shoestring budget filmmaking.
The Levelling was developed and commissioned under the iFeatures scheme - the low budget filmmaking scheme funded by Creative England, the BFI and BBC Films.
The film comes from What We Do in the Shadows director Taika Waititi, who is preparing to make the jump to big budget filmmaking with Thor: Ragnarok at Marvel Studios, and his latest film proves why he's one of the best and brightest filmmakers working today.
We got a chance to chat with the director recently and discussed why he chose the role in «Cold Turkey,» how low budget filmmaking has changed since the days when he made «The Last Picture Show,» how his new film (next year's «Squirrel To The Nuts «-RRB- is turning out, what is going on with his long gestating, attempted restoration of the Orson Welles film «The Other Side of the Wind,» and much more (he also has his own Indiewire blog, fyi).
The film is an incredible tightrope walk between comedy and action and drama, and while there are some significant pacing issues, Black pulls it off beautifully, deftly summoning the best traits of big budget filmmaking.
Since his return to low - budget filmmaking after a fallow decade, the writer - director (and actor) has made vérité - style profiles of an unrepentant convicted perv (RSO: Registered Sex Offender, 08) and a sad - sack troubadour who'll chew your ear off over his last break - up (Harmony and Me, 09).
10 Cloverfield Lane poses so much potential for future engagement in low - budget filmmaking as moviegoers now are craving the humble slices lying there beside sensational large - scale events.
The first «Terminator» is a masterpiece in low budget filmmaking.
It may not have made for great headlines, but it obviously worked, because «World War Z» strikes such a good balance of action, suspense and human drama that all blockbusters should adopt a more thoughtful, hands - on approach to big budget filmmaking.
Perhaps Carpenter's best film next to The Thing, this is a model of low - budget filmmaking, with a tight script, appropriately tight - lipped actors and atmospheric location shooting.
These are the stories of people who learn what lies beyond the dream — yacht parties with theremin makers that end on the rocks, low - budget filmmaking that blurs the line between truth and fiction, movie stars and Hollywood hopefuls whose stories seem too crazy to be true.
Director Shane Meadows is no stranger to low - budget filmmaking.
Viewers interested in low - budget filmmaking should find all of this fascinating.
The story, setup, and payoff are awesome; the time travel stuff, though subtle, is awesome; the performances and link between Willis and Gordon - Levitt is awesome; Emily Blunt is awesome, holy shit she's fantastic in this; the visual effects and low budget filmmaking are awesome; the action is awesome.
It is a real landmark achievement in the world of low - budget filmmaking, produced primarily through the use of still photos and voice - over narration.
We already knew that The Modern Ocean would be Carruth's first step into big - budget filmmaking, but no one saw this cast coming.
Narrative incompetence is one of the more venial sins of big - budget filmmaking, but there is something particularly ugly and cynical about the sloppiness of «The Cloverfield Paradox,» as if its status as a franchise stepping stone excused its blithe contempt for the audience's satisfaction.
However, due to studios» desire to appeal to as broad an audience as possible in order to rake in the largest possible returns, big - budget filmmaking isn't generally conducive to overt messaging beyond universally agreed - upon things like «Friendship is good» or «Mass murder is bad.»
Surprisingly, Jeff, Who Lives at Home comes from the brothers Mark and Jay Duplass, independent filmmakers who are sometimes associated with the «mumblecore» movement (low - budget filmmaking with low - key, naturalistic dialogue).
When he was ready to work again, he considered making The Exorcist III but eventually settled on an ill - fated Chevy Chase vehicle, the $ 40 million sci - fi adaptation Memoirs of an Invisible Man, that torpedoed his attempted return to big - budget filmmaking.
Eight American films selected for their innovative and original work in low - and no - budget filmmaking.
I hate to dock this movie because of what I attribute to the limitations of low - budget filmmaking, but I do so with the hope that this is just a stepping stone on a greater path.
Locke by Hope Madden Give him the chance and Steven Knight will restore your faith in low budget filmmaking.
Sadly, he has also toned himself down for his first foray into big - budget filmmaking.
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