Sentences with phrase «budget studio films»

Long after the form fell out of vogue — and in an era when many big - budget studio films pack the screen with saturated candy colors and in - your - face 3 - D effects — indie filmmakers and even the occasional studio - movie veteran are turning to the monochromatic.

That's because the Shakespeare and Milton work in question are two big budget studio films with CGI - loving directors at the helm, and in the former's case it's more of an unraveling of the lore surrounding William Shakespeare than an adaptation.

He doesn't always make big - budget studio films, but his work should be seen and recognized.

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.

Whatever the outcome of this ideological clash, it does at least point out a startling dearth of sexual diversity in big budget studio films.

After a summer slew of big - budget studio films, it can be difficult to find, sit down and watch a movie with more modest origins.

James Cameron seems to only think Big - Budget studio films exist.

A big - budgeted studio film about a black action superhero with a nearly all - black cast is a huge step forward.

Speculations over when exactly Jeff Nichols» first real big - budget studio film would premiere have been growing over the past few years.

The best way to go into Crimson Peak would be completely blind, but in this day and age that is nearly impossible with a big budget studio film, so I can only advise you to temper your expectations, sit back and enjoy the beautiful ride that is Guillermo del Toro's Crimson Peak.

Overall, it's just the type of well - done sound mix that you'd expect from a new big - budget studio film, but not as active as you might expect or hope for.

Having just made one smaller feature and independent shorts prior, how different of an experience was it for you to make your first big budget studio film?

There are so many comparable elements between Krisha and August Osage County that it's impossible to abstain from comparisons, despite one being a budgeted studio film with the greatest living talent and the other a first time endeavor.

Not exact matches

He added that the extra revenue would wind up as a boon to filmmakers, with studios investing more money in film budgets and making more movies overall.

Much like the success of last year's Warner Bros. film Wonder Woman helped change the conversation around a female superhero movie helmed by a woman director, a box - office smashing debut for Black Panther could pave the way for a similar paradigm shift in Hollywood with regard to how studios approach big - budget stories about characters of color.

It's a path that includes the relatively low overhead of shooting a film entirely via a mobile device and an app (the studio said Sickhouse «s budget was similar to that of a typical indie film) while potentially tapping into various social networking platforms» massive built - in audiences of users.

Compared to major studio projects like the forthcoming Aaron Sorkin adaption of Walter Isaacson's popular biography of Jobs, this film was made on a shoestring, with an estimated budget of just $ 8.5 million.

So Paramount, in the wake of a disappointing 2017 that saw big budget films like Transformers: The Last Knight and Ghost in the Shell underperform while the studio's would - be Oscar hopefuls Suburbicon and Downsizing were DOA at awards season, is looking to make some changes in 2018 and selling God Particle off to Netflix may be a cushy deal.

Moviegoers are finally about to get a break from all of the big - budget summer blockbusters and superhero action movies, as studios move away from large - scale spectacles in favor of award - season prestige films.

Albany, NY - New York state would give even more taxpayer money to movie and television studios that film in Upstate New York under the budget up for a vote in the Senate and Assembly.

As it turns out, «'' Amy»» entrepreneur Banky Edwards (Jason Lee) has sold the film rights for his «'' Bluntman & Chronic»» comic book — which is loosely based on Jay and Silent Bob — to Miramax, and the studio greenlit a big - budget production.Before it even begins, though, the pending «'' Bluntman & Chronic»» film provides more than enough fodder for a new wave of hate - mongers who prowl the Internet, namely pimple - faced geeks who slam anything they can type about on a series of movie gossip websites.

He made his first appearance in an American film in Victor Halperin's grisly thriller Torture Ship, playing one of the criminals on whom well - intentioned (but quite mad) scientist Irving Pichel plans to perform glandular experiments, but he soon moved up to higher budgeted films from the major studios, although still almost inevitably in sinister roles.

Knaggs» career reached a peak in the mid -»40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves» Holiday, while also making the rounds of such popular medium - budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night.

All of these films were made independently (only one, the poorly received The Guru (1969), has been made for a studio during the course of Merchant and Ivory's years together), and ably demonstrated the kind of technical expertise the filmmakers were capable of achieving with a very limited budget.

1080p, AVC - encoded transfer for The Disaster Artist shows off all the polish you'd expect from a modern studio picture, even one with roots in low - budget indie filmmaking (represented by the windowboxed «footage» from the fictionalized filming of The Room.)

Truth: Blumhouse Productions is the boutique horror studio whose high - volume, low - budget business model has fostered a culture of creative risk that actually pays off, and has given rise to films as vital as Whiplash and Get Out.

After making his name with three independent films in Shotgun Stories, Take Shelter and Mud, director Jeff Nichols approaches his fourth feature with a bigger budget, making it his first studio production and allowing him to operate on a slightly more ambitious and grander scale.

It is this ability to crossover from potential niche status - a huge risk for a film with a mammoth budget - to billion dollar behemoth should light a fire under the asses of studios to show them that stories about anyone can be successful as long as they are well made and engaging.

Some of the idiocy that is being poked at for laughs doesn't seem so strange when you look at YouTube comments and E! Many of the things that are wrong with this film stem from the fact that it is very low budgeted and didn't get much financing from its studio.

Though he made a pair of low - budget film noirs, Kubrick made his first professional studio movie with The Killing, a tautly - paced heist thriller centered on Johnny Clay, a veteran criminal (Sterling Hayden) planning one last heist before settling down to marriage.

The final of the films is the real low point of the series but its hard to blame the film makers, the budget was at a all time low here and the studio wanted a more lite family film here.

A former Miami Beach lifeguard, strapping Ohio - born Bob Wilke performed stunt work in Hollywood films from 1936, often working for low - budget studios such as Republic Pictures and Monogram.

Although it's refreshing to see a major studio take a gamble on a modestly budgeted film targeted towards adults (even if it stars one of the most bankable actors in the world), when that movie is as passively mediocre as «Focus,» you can understand why other studios have been afraid to pull the trigger.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

From major studios to independents, from big budget to small, the quality of films this year was excellent and the entertainment, artistic and substantive value high.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who... read more →

It's a tribute to stars Benson and Moorhead, who combined to direct, write, edit and shoot the film, that their micro-budget project comes off more haunting than many big - studio productions with 100 times (at least) the budget.

If the recent crop of low - budget, intimate war films featuring a handful of actors in limited locations tells us anything, it's that studios are desperate to ensure that they get a better return on investment than a full - blown, star - studded action spectacle.

Naturally, fans would be able to easily tell the difference between a film from a studio production and that of a low - budget film, but as you find out watching The Disaster Artist, Wiseau's The Room was hardly a micro-budgeted project.

Interesting Fact: In order to get the film made with the studio's modest take - it - or - leave - it $ 28 mil budget, Washington and director Robert Zemeckis accepted a reported tenth of their usual salaries.

Scoring noticeably fewer films than before, he has concentrated on big - budget studio material at the expense of everything else, seeming to leave behind the smaller movies with which he attracted much of the praise afforded him over the years.

The million - dollar film does not exist anymore; one - and - a-half to two million dollars is now the standard low - budget film in the studio system.

3D is already being heavily pushed on every director making a bigger budget film and studios are creating small production companies to make Paranormal Activity - like films.

Get Out was released by Jason Blum's Blumhouse productions, a studio that can easily be described as the modern - day saviour of the low - budget, major - release film, even if they most recently subjected us to the latest M. Night Shyamalan misfire, Split.

It wouldn't surprise me if that was true, because «The Legend of Tarzan» — a would - be event film that happens to be pretty uneventful — has the air of a big budget movie whose studio didn't realize its mistake until it was too late.

Lister - Jones, who is currently seen on CBS» «Life in Pieces,» said that this film marked a return to her indie roots after getting a peak into the big - budget Hollywood studio system.

Not only are «Get Out,» «The Shape of Water» and «Blade Runner 2049» some of the very best films of 2017, but from the no - budget indie realm («Prevenge,» «A Ghost Story,» «Transfiguration,» «Raw») to expensive studio epic scale («War for the Planet of the Apes,» «Kong: Skull Island») and newly blazed ground out of the predominantly formulaic superhero («Logan,» «Wonder Woman,» «LEGO Batman») and Star Wars («The Last Jedi») factory farms, fantasy filmmakers tried their hardest to be smart, visually adroit, sometimes startlingly innovative and — strangest of all for this escapist format — humanely, emotionally credible.

A handful of earlier films had examined (for some, exploited) juvenile delinquency but these productions, such as Youth Runs Wild (Mark Robson, 1944) and I Accuse My Parents (Sam Newfield, 1945), had been low budget efforts of smaller studios.

On the other hand, a # 1.60 m UK debut for a relatively low - budget genre film, essentially populated by three actors, none of them marquee names, and largely set in a basement — most studios would like the economics of that proposition.

In The Very Witching Time of Night, Mank wrote that Junior wanted to produce «A» films that could compete with major studios, figuring that Universal's staple fare of low - budget Bs would pay for the As.