Sentences with phrase «camera than character»

These stylistic choices are more telling of his vision with camera than character, and prove to be less impressive than his use of silence, or lack of it.

Not exact matches

The love he has for the tale and his efforts to try and do it justice too often come off as overdone; rather than letting the characters tell the tale, he introduces a new character: the camera.

With his hard - bitten squint and studied air of scowling detachment, Bale seems to be channeling Clint Eastwood at his most enigmatic and reserved; like Eastwood and his characters, Bale allows both the camera and his fellow characters to come to him, rather than proving his bona fides through more obvious and eager means.

The camera will be more user friendly, it'll be behind the player and pressing the pad in the direction you see will move you in that direction, rather than the direction the character is facing.

I must say that I loved the direction in this movie and Seth Gordon did it perfectly to stick with characters rather than try to wow us with some camera tricks.

His masterful composition of muted colors and tense but understated score, his visual focus on the characters rather than their actions, and his subtle but powerful use of camera elevate this story above its exploitative trappings.

Quiet is treated differently than other characters by the direction of the game's camera, too.

The camera goes much lower or much higher than you expect it to, and peers at the characters from disorienting angles.

Rather than concentrating on what the characters have to say, the camera nonchalantly follows its subjects around and studies the expressions on their faces.

On the surface, this 1965 mystery is no more than a smartly done, intelligently written thriller but Preminger's fierce cinematic intelligence guides a fluid camera that effortlessly tracks, glides, and reframes characters as they shift through scenes, shifting our perspective along the way.

Characters will talk into the camera about their dreams and aspirations, often lying and almost always revealing far more than they intend.

The camera does take on the point - of - view of someone at some point, then jumps back to an objective place, then plays that trick Evil Dead II plays with perspective in the scene where Ash wakes up in a clearing and looks around in a panning 360 - degree take, only for the audience to discover that the camera eye is both character and commentator, more physical in its way than a first - person point - of - view could ever be.

Director Alexander Korda shoots Marius, whose rolled - up sleeves and hardheaded attitude are comparable to the immigrant gangsters in U.S. cinema from the period, in wide shots that allow the character's actions to dictate the camera's movement, which gives his restlessness more presence than if Korda's camera were constantly in motion.

Though he once again directs himself in front of the camera, this is an ensemble film more than one focused on a specific character — the web of relationships itself seems to be the protagonist.

Steve McQueen is more Stanley Kubrick than Stanley Kramer, and the friction between the inflamed self - righteousness we typically associate with this genre and the frosty insect eye of his camera (he sometimes seems to be autopsying his characters» souls as he peers at them) makes the movie at least as fascinating as it is frustrating.

In between these peaks, it plays out the haunted / cursed house tale mostly via sound, camera point of view shots and character reactions — and it's far more effective than you might expect.

The story is told more from the camera lens than the mouths of the characters.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

You will notice mirrors used throughout and other side characters holding the camera in order to capture some of the other actors and different points of view other than Andrew's.

As the story unfolds, and evolves from that of John Smith to John Rolfe (Christian Bale), it never loses its dreamlike aesthetic, conveyed through Lubezki's always - moving camera, but also through characters who say more in narration than they do in dialogue.

Even when we are in the middle of an action sequence, the camera is always more focused on the characters than the guns.

The Welles connection is worth bearing in mind, in any case, because Apocalypse Now reeks of his influence: not only the portentous offscreen narration, first - person camera angles, and juicy larger - than - life character acting, but much of the chiaroscuro and other lighting effects of Vittorio Storaro's cinematography.

Rather than throwing his hat into the Saw - Hostel splatter arena, the filmmaker whips up frenzies both more modest and punchier, using resourceful characters to question order and reality, drawing on elements from Prince of Darkness and In the Mouth of Madness, and tempering the screenplay's unreliable - narrator clichés with a scrupulous attention to low - key dread, ensemble interaction and unerring camera placement that's downright classical.

The other strength is Haneke's meticulous framing and camera position so that the camera only ever gets as close to the characters as it needs to, rather than opting for indulgent close - ups at every opportunity to elicit easy sentiment.

«The Room» tells the story (I use the term loosely, as the script is a mishmash of many unexplained developments and characters, with a plot even more out of focus than the camera) of Johnny (played by Wiseau, and Franco as Wiseau in this version), a successful banker who has a fiancee named Lisa (portrayed by Ari Graynor), a best friend named Mark (played by Dave Franco as Greg Sestero), and a teenage protegee of some kind named Danny (played by Josh Hutcherson).

(Suzy's glance - to - camera in the final shot — a shot with a completely different grammar and language than the rest of the film — suggests that our characters are headed for a very different world in the months and years to come; it also suggests Anderson might be looking for new worlds to conquer.)

In Wonder Wheel's first shots, the camera drifts past bathers in 1950s swimwear and finds Mickey's face, as he warns us that what we're about to see may not be entirely based in reality: «As a poet, I use symbols, and as a budding dramatist, I relish melodrama and larger - than - life characters.»

So it's more than a little surprising to see Liman's name on the credits for «The Wall,» a gritty, low - budget war movie featuring limited violence, more talking than action and a mere three characters, one of whom is unconscious for most of the movie and another who never appears on camera at all.

The camera captures individual pairings to make the most of character expression, one - liners, and fun, but the brothers behind the camera never step back far enough to give us a look at at the larger - than - life battle taking place.

The trickiest aspect of character preparation for Manville was developing the kind of off - camera ease with Day - Lewis that would inform Reynolds and Cyril's interconnectedness on screen — so potent they often communicate with a look or gesture rather than dialogue.

When you want to see Aguilar and fellow assassin Maria (Ariane Labed), a character with a striking presence, in action for more than a few seconds, the camera generally cuts to Calum in the Animus — a far less visually interesting environment.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

In both the films» smaller moments of character growth (there are several of those here) and its larger - than - life epic battle sequences (there are plenty of those), Jackson uses the camera uniquely to focus on elements in the story that would've otherwise been ignored.

Other than the size difference, we're going to see the usual cast of characters as far as updates are concerned: faster processor, better camera, possibly lighter, maybe a battery with more juice... but those aren't things people tend to really care much about.

First, DRM will be no more effective at preventing unauthorized copying of books than it was for music.14 In an era of inexpensive cameras and optical character recognition (OCR) technologies, scanning books will just get cheaper and easier over time.

One of the biggest issues was how the camera continuously taunted me; it's not fixed on your character and you actually move quite a bit faster than the camera, often resulting in you being at the top of the screen, not being able to see what awaits you.

The only complaint for me is that the camera is too close to my character but its minor... other than that everything is top notch

Mid-battle cutscenes also flow better than before, such as cameras focusing on areas of interest mid-battle, and meetings with certain generals happening in a more realistic way; while in the old games you would sometimes see your character interacting with a general on the other side of the map during a cutscene, this doesn't tend to happen now, some scenes flowing back into gameplay with your character standing in front of the officer they were speaking to, rather than suddenly finding yourself back on the other side of the map as though nothing had happened.

It also has a camera mode that's quite close to your character when not locked on, calling for more detail than the Senran game would require.

The level of precision is much higher than in RPGs, considerations like a character's hit boxes, sizes of projectiles, what collisions exists, camera height.

The quality of the voice work varies greatly, with many peripheral characters playing to the camera like exaggerated horror film stereotypes but Crane's solid vocal performance and the high quality of the soundtrack and the environmental sounds more than makes up for this minor niggle.

In horizontal sections, the camera is usually panned ahead of the playable character, rather than centered.

The camera will be more user friendly, it'll be behind the player and pressing the pad in the direction you see will move you in that direction, rather than the direction the character is facing.

Between balancing your characters almost robotic sense of direction and having to dance with a camera that is also set out to kill you, Dark Souls 2 just feels more like a game (and a dated one at that) than its predecessor.

Strangely enough, the camera really isn't a problem in Sonic and Shadow's levels, which is probably one more reason why they are so much better than the other character's levels.

Controlling your character initially feels like driving a truck rather than guiding a nimble master warrior, not helped by a stubborn camera that makes it difficult to keep the biggest critters in frame.

Virtuos supported the British developer by providing modeling for more than 200 props and by assisting with the animation of character bodies, props and cameras on more than 70 cut scenes and cinematics.

The movie scenes, characters and battle system of xenosaga three are a lot more realistic than those of episode one and two.Even though this game does not support surround sound like xenosaga epsode two the audio department of this game is still great, sometimes stereo is better because audio that is recorded in surround sound can sound really artificial ayway.Anyone who knows xenosaa can tell that the audio has changed because voices of the characters sounds live and raw, wich is very good for a change anyway.The graphics of the game are dull and there are a lot of people that despise dull graphics but I think that dull graphics are great because they often create a nice realistic atmosphere that makes a game feel like it's taking place in the very present or the past also I really like to see the way the speed of the camera and the motion of the characters slowain parts of a movie sequence because I think it adds tension and drama.Three other excellent games that Ireco that have great dull graphics are Chaos Legion and KillZone and Resident Evil 4.

Other issues have characters clipping through floors, or stuck cameras that focus on anything other than the camera.

You'll even be able to take on requests from characters via a message board, allowing you to net money than you can spend in the in - game shop to unlock new items including health and shot - boosting power - ups, added cameras for Doki - Doki, mode, and more.