Sentences with phrase «cameras cut away»

Meanwhile, the cameras cut away periodically to another angle within the apartment before returning to the original viewpoint where we see a henchman lying unconscious in a pool of blood.

After rapping about her cast - mates, Eleven announced that «Barb is still alive,» with the camera cutting away to the old - school Hollywood - stye synchronized swimming tribute that Barb deserves.

Just before the camera cut away we could see a woman, dressed in a suit, attempt to hit someone else.

If a camera cuts away from a musical number, does it still exist?

In a near - blasphemous move, the camera cuts away almost entirely from the biggest explosion in the film.

Right after the camera cuts away from the entrails, there's a close - up of Kurt Russell's face and his expression evokes an overwhelming sense of hopelessness that leaves the audience with the completely shattered.

Or try the C - SPAN Drinking Game, where players imbibe «every time Congress appropriates an additional quarter - billion dollars» or whenever the camera cuts away to a shot of Senator Edward Kennedy napping.

The video doesn't actually give us that race though, as the camera cuts away at crucial moments, only to show up at the finish line when the M35h predictably crosses in first - place.

When we watch shows on animals these days, the camera cuts away after the wolf kills the calf, the lion kills the baby gazelle, or the cat kills the mouse.

Not exact matches

It's taken discipline in front of the cameras to rebuild that trust, and I wouldn't want to see Osborne throw that away for a few seconds «interview relief» by making a rash promise of tax cuts - even if he believed that they would be what was needed!

A man finds beer bottles and beer cans in wall - coolers in an abandoned market and the camera cuts to him as he sits on the floor appearing drunk and slurring his words, a man drinks from a bottle of beer and prevents a woman from taking it away from him, a woman unaccustomed to drinking drinks wine and giggles loudly and a man tells her that she should save the rest of the bottle for another time (she pours and drinks another glass of wine, giggling more), two men and a woman drink wine at dinner in a few scenes, and a woman asks a man to have a drink with her and he politely refuses.

Endless fast cuts complete with whooshy sound effects, thumping techno bass lines, ugly on - screen graphics, garish colour filters, and * cringe * a hero who talks directly to camera (Michael Caine is STILL the only actor to EVER get away with that...) Every tacky, irritating and superficial MTV affectation is on display here, in an unbelievably lame attempt to make an american rip - off of a Guy Ritchie heist movie.

The camera usually cuts away as the trigger is pulled, but the shock factor remains.

Precision cutting and flowing camera movement would come to define the action film, blowing away the tension - based American system with a surfeit of bullets, preferably fired by a man clinching a match in his teeth, firing two handguns at once it a vain attempt at exorcising his existential pain.

«I knew I wouldn't have enough time for camera movement or a whole lot of action... I had a whole bunch of people and made it like Nashville where you can always cut away to another little sub-plot, and it seems to be moving even though the shots are static.»

He often cuts away to close - up reaction shots, for example, when a more casual camera placement would have allowed the audience to notice whatever or whoever we needed to in our own time.

In the first shot, the jewel thief Frank (James Caan) gets into an Eldorado driven by his partner Barry (James Belushi), which then cuts across the camera's field of view and drives away into the distance, down Chicago's rain - swept Lincoln Avenue — thereby epitomizing the script's bare description in a later sequence: «Taillights on wet, black streets.»

He often likes to hold long takes from a single angle and just when you think the camera has to cut or move away the shot's meditation will linger on a few moments longer.

It's the small, black comic cut - aways that fall flat; the straight - to - camera rhetorical questions and open - ended sentences that Wes Anderson and Todd Solondz do so well.

I can always see the action in your films, as opposed to a lot of today's filmmakers who use quick cuts, tight close - ups and constantly move the camera in ways that take away the impact.

The camera backs slowly away from Barbara Jean, then reverse - cuts, disclosing the small assembly in the chapel: Barnett, waiting for it all to be over; an earnest young girl nodding and moving her lips in accompaniment to that voice; a group of mostly aged friends and relatives of other hospital inmates; and two men, Mr. Green (Keenan Wynn) and Pfc. Kelly (Scott Glenn), keeping what will turn out to be deathwatches over the crucial women in their respective lives.

Other combat scenes feature a rapidly moving camera or editing that cuts away to obscure violent details.

The camera never breaks away (though there are clear moments where cuts can be and are hidden, which is by no means a detriment), and its perspective shifts from character to character as they interact.

The camera never cuts to black or goes away to a loading screen unless you die.

Not taking away, Honor 9 Lite's fair share of appreciation, the cameras are definitely a cut above the competition, and will be loved by users, for us the dual - cameras at the front and back don't create a landslide of a difference as was expected.