Sentences with phrase «by the production designer»

Credit screenwriter Steve Kloves, who wrote every script but that of Order of the Phoenix, with judicious pruning and a knowledge of the epic's internal pressure points, and the technical crew headed by production designer Stuart Craig for visualizing the landscape of Hogwarts and beyond with such lavish, meticulous creativity.

Editor Bradlee's office looks virtually identical, but the big communal space looks a bit grayer and less vibrant as served up by production designer Rick Carter and Kaminski than it did as conceived by George Jenkins and Gordon Willis, in those respective positions, under Alan J. Pakula's astute direction.

Check out some images shared by the production designer that shows the atmosphere created for the giant monster movie.

Much of the film takes place in Wakanda, gloriously imagined by production designer Hannah Beachler and costume designer Ruth Carter, reflecting extensive research into African design.

For her a source of inspiration was the film's elaborate hotel lobby set, created by production designer Adam Stockhausen, a previous Anderson collaborator and recen Oscar nominee for his work on «12 Years a Slave,» in a former department store in the storybook German town of Görlitz, near the border with Poland and the Czech Republic.

They are joined by production designer Maher Ahmad («Gangster Squad») and editor Jeff Groth («Project X»).

Extras: New Q&A in which Jarmusch responds to questions sent in by fans; new readings of William Blake poems by members of the cast, including Mili Avital, Alfred Molina, and Iggy Pop; new selected - scene audio commentary by production designer Robert Ziembicki and sound mixer Drew Kunin; new interview with actor Gary Farmer; deleted scenes; Jarmusch's location scouting photos; essays by critic Amy Taubin and music journalist Ben Ratliff.

With cinematographer Jarin Blaschke's lens capturing the imagery aided by production designer Craig Lathrop, every frame of The Witch is a stunning work of American, colonial art.

Though the club itself has been faithfully re-created by production designer Craig Stearns on a Georgia soundstage (including, reportedly, the real CBGB toilets), New York City location shooting is notably sloppy, with Kristal at one point catching a gleaming new subway train from the recently renovated Bleecker Street station.

Which is not to suggest that «Tale of Tales» — sumptuously outfitted by production designer Dimitri Capuani and filmed in lustrous widescreen images by cinematographer Peter Suschitzky — is without its visual wonders.

The eye - popping set designs by production designer Hannah Beachler are a sight to behold.

The Boston Globe newsroom that audiences see in the film was created by production designer Stephen H. Carter, an NYU - educated artist whose biggest challenge was finding the right building in Toronto in which to shoot.

No wonder people kill themselves» — Allen's recreation of this rustic residence is vividly realized by production designer Santo Loquasto, working on a Kaufman Astoria soundstage.

Giacometti's Paris studio, beautifully captured by production designer James Merifield, is a mess of brushes, paints, plaster and unfinished art works; Lord can barely find a place to sit.

Narration by production designer Arthur Max comes along with the images.

This dichromatic scheme created by production designer Damian LaFranche and cinematographer Tom Richmond is fascinating and more than a little unsettling: the white - clad scientists and orderlies blend in with background, with only their heads clearly visible, and the somewhat grotesque makeup of multicolored, poorly stitched together Lazarus (created by effects whiz Tom Savini, who also has a bit part) just stands out even more against the plain backdrop.

«The Making of The White Countess» (13:26) adds comments by production designer Andrew Sanders, costume designed John Bright, choreographer Karole Armitage, and special effects coordinator David Fletcher.

Special Effects Camera Dailies provides 3 minutes worth of effects shots directed by production designer Peter Ellenshaw.

So it was that Bond's old Bentley was replaced with the more up to date Aston Martin DB5, as customized by production designer Ken Adam and efx genius John Stears.

I would stay that most of our details were built by our production designer, Chris Crane.

Special Features New 4K digital restoration, supervised and approved by director Jim Jarmusch, with 2.0 surround DTS - HD Master Audio soundtrack New Q&A in which Jarmusch responds to questions sent in by fans Rarely seen footage of Neil Young composing and performing the film's score New interview with actor Gary Farmer New readings of William Blake poems by members of the cast, including Mili Avital, Alfred Molina, and Iggy Pop New selected - scene audio commentary by production designer Bob Ziembicki and sound mixer Drew Kunin Deleted scenes Jarmusch's location scouting photos PLUS: Essays by film critic Amy Taubin and music journalist Ben Ratliff

-- and the day - after - tomorrow environment provided by production designer Seth Reed and costume designer Sandra Burns.

The sense of place is also palpable in this film; the downstairs and attic floors were entirely constructed on sound stages by production designer Steven Altman, Altman's son, who also supervised the real country house used for the main floors.

PB: They were painted by our production designer, Theresa Guleserian.

Whether he's paying dazzling creative homage The Red Shoes or The Creature from the Black Lagoon, Del Toro taps into the history of fantastical cinema for his film, ably abetted by production designer Paul Austerberry and cinematographer Dan Laustsen whose evocative helps bring Del Toro's vision to life.

Shot on 35 mm in luminous, sun - dappled tones in the French village of Saint - Antonin - Noble - Val (with some second - unit work in India), and handsomely appointed by production designer David Gropman and costume designer Pierre - Yves Gayraud, the film is also distinguished by its mouth - watering visual buffet, whether lingering on vats of steaming red curry or a perfectly plated pigeon with truffles.

The Bondurant brothers are the most successful bootleggers in Franklin County, Virginia during the early 1930s (recreated with grimy authenticity by production designer Chris Kennedy and art director Gershon Ginsburg).

Catfight's social circles and downtown milieus, brought to life with funky understatement by production designer Estee Braverman, are certainly specific enough.

Fans who attend midnight IMAX 3D screenings of Sam Raimi's adventure will receive this limited edition artwork by production designer Robert Stromberg.

This is a panorama photo taken by production designer Marcus Rowland of the Winchester set.

The train, as overseen by production designer Ondrej Nekvasil, is a marvel of design.

The film is set in Whoville (vividly realized by production designer Michael Corenblith), and its residents, the Whos, are the same Christmas - loving lot that readers are familiar with.

Directed by Ryan Coogler with serious muscle and style, and magisterially imagined by production designer Hannah Beachler and costume designer Ruth E Carter, Black Panther makes you rue that it took this long for a studio to try it.

Kiss is shot in 2.35:1 CinemaScope, all the better to showcase the vibrant, near - Technicolor hues created by production designer Franco - Giacamo Carbone and captured by cinematographer Mark Mervis.

This is also helped, immeasurably, in it's realisation by Production Designers Lawrence G. Paull and Syd Mead; Art Director David L. Snyder and Douglas Trumbull's exquisite special effects.

The Canadian - born designer was inspired by «The Collector», an installation by production designer Robin Brown for Helly Nahmad Gallery's booth during London's Frieze Masters...

It might not be in her apartment, but we can't forget about Mindy's glam office space designed by production designer, Kathleen Widomski.

Not exact matches

FashionStake.com, co-founded by Vivian Weng and Daniel Gulati, lets designers upload their collections along with their production funding goals.

Nearly every machine produced by a packaging machinery company is supposed to come true to bring a package designer's creation to life, to increase production rates, or to lower costs.To succeed in this business, you must be able to create new formats, packaging types and product shapes rapidly and these machines have to be flexible to accommodate quick changes in future.

Alan Dorich, Jim Harris, Jamie Morgan CONTRIBUTING WRITERS Kerry Bundy, Kate Burrows, Randy Kahnke, Cathy Kallasm, Jim Maurer, Barbara McHatton, Rudy M. Miick, Eric Schmitt, Lori Sichtermann, Warren Stippich SENIOR VICE PRESIDENT OF EDITORIAL RESEARCH Jason VICE PRESIDENT OF EDITORIAL RESEARCH Meghan PROJECT MANAGER Reid PROJECT COORDINATORS Sarah Quan Curis Lingle Hughes, Jayson Rose, Kim Ross, Mara Shenk, Ryan Weinhaus SALES DIRECTOR Alaina Neiburger DIRECTOR OF WEB & REPRINT SALES Brian Levinson [email protected] MARKETING SERVICES EXECUTIVE Brad Parks [email protected] PRODUCTION DIRECTOR Victoria PRODUCTION COORDINATOR Tracy Nodal Pilarczyk GRAPHIC DESIGNER Bethany ADVERTISEMENT DESIGNERS Vogelsberg Vida Soriano, Kelsey Stegner PLEASE NOTE: The opinions expressed by contributors and advertisers within this publication do not necessarily coincide with those of the editor and publisher.

The three short pieces feature «SouthSide Sailor Scouts» (think: Beyonce - meets - Selena - meets song, dance and stories), Peter Carpenter's «Rituals of Abundance for Lean Times # 7: Divisions of Labor» (one part humorous and two parts conversation starter) and The Hypocrites» «Midsummer Dream» (a retelling of Shakespeare's most popular comedy as told by four actors, who also double as production designers).

By prediciting which elements of a visual scene are most likely to receive attention, it allows designers to validate their work before committing to production.

«Designer biosensor can detect antibiotic production by microbes.»

«Lay design constitutes value created by both the professional and lay designer, thereby eliminating the separation of production and consumption,» says Guido Hermans.

Produced by the Space Telescope Science Institute's Office of Public Outreach Narration: Alia Shawkat Writing: Joel Green and Vanessa Thomas Designer: Marc Lussier Music: Associated Production Music (www.pm.com) Sound effects: CSSMusic.com, FreeSound.org, and SoundBible.com (users Sonidor, espectral, Mark DiAngelo, and Mike Koenig)

tonlé designers work side by side with the production team to plan collections that incorporate even the tiniest scraps into original looks.

Directed by Shawn Levy; screenplay by John Gatins, based on a story by Dan Gilroy and Jeremy Leven and a short story by Richard Matheson; director of photography, Mauro Fiore; edited by Dean Zimmerman; music by Danny Elfman; production designer, Tom Meyer; produced by Don Murphy, Susan Montford and Levy; released by Touchstone Pictures.

Directed by Clare Peploe; written by Ms. Peploe and Bernardo Bertolucci, based on the play by Marivaux; director of photography, Fabio Cianchetti; music by Jason Osborn; production designer, Ben Van Os; produced by Mr. Bertolucci; released by Paramount Classics.

Written and directed by Jon Hurwitz and Hayden Schlossberg; director of photography, Daryn Okada; edited by Jeff Freeman; music by George S. Clinton; production designer, Tony Fanning; produced by Greg Shapiro and Nathan Kahane; released by New Line Cinema.

Directed by Tim Burton; screenplay by Sam Hamm and Warren Skaaren, based on DC Comics characters created by Bob Kane; director of photography, Roger Pratt; edited by Ray Lovejoy; music by Danny Elfman; production designer, Anton Furst; produced by Peter Guber and Jon Peters; released by Warner Bros..