Sentences with phrase «closing shots of the film»

Not exact matches

We felt that the best way to exploit the scale and scope required to close out the final chapter of these three phases, was to be the first films shot entirely on the IMAX / ARRI Digital camera.»

Schindler's List is memorable for being mostly a black and white film bar the opening and closing shots, and the dash of red of a little Jewish girl's coat.

The circumscribed aesthetic of the cheap thriller film - within - the - film that Binoche is shooting — made clear from the shot - reverse shot editing and close - ups antithetical to the look of the rest of the film, shot mostly in single takes — signals that we're somehow outside of Haneke's world, even though we're actually buried deep within its layers.

Casting light on the inherent contradictions between the public claims of Scientology as an applied philosophy and its actual practices, the film gives voice to these peoples» stories by inserting them as recurring reference points throughout the film, from its opening credits to its closing shot.

In any shot that isn't a close - up, the transfer doesn't quite scream HD, although the aesthetic of the film as a whole, a definite throwback to the 70s style of indie filmmaking, doesn't necessarily lend itself as fair competition to a more polished 21st century production.

The film is exceptionally well - made, shot in a chilly style that utilizes intriguing close ups between the two men, evoking the coldness both of a winter in the Pacific Northwest and of a truly psychopathic crime.

Its jazzy rhythm and economy of form place it closer to a 1950s film noir, shot through with humor so dark you need a flashlight to see it.

The movie kicks off with a poorly CGI'd (for Zemeckis) shot of the hero standing in the Statue of Liberty's torch with the Towers looming across the water behind him, talking and talking and talking not to you but at you, often in bizarrely gargoyle - ish close - ups, about the amazing thing he's about to do, or is doing — as if convincing us to buy a ticket to the film we're already sitting there watching.

A smart, adventurous film shot in real time, every Tuesday for a year, that takes us on an unusual but still recognizable personal journey of a close - knit parent and child.

One should mention that Chazelle uses a lot of up close shots to really make the film feel personal and real.

Over the closing credits are shots of the film's concept art, which could be totally interchangeable with most of the plotting.

The entire gag takes a long while to play out (the money shot - close - up on a set of buttocks most definitely not those of the 62 year - old Willis), though it is infused with the kind of nutty energy that Willis last exhibited in his 1991 megaflop, Hudson Hawk (a film that has since acquired an army of «guilty pleasure» defenders, including yours truly).

Slow West continues the Western's visual convention of wide cinematography — it's a landscape film — and extends it with chopped extreme close - ups during the shoot - em - up action scenes.

Other audiences will find some of Noé's shock tactics too contrived (a close - up on an aborted foetus feels overly calculated to offend) while some moments may elicit unintentional giggles (for example, the radical perspective used for the film's climatic shot — in two senses of the word «climactic»).

Director Antoine Fuqua (Training Day) handles quieter moments of the film but his frenetic style does the fight choreography a disservice by having to many quick cuts and close up shots.

Yet Harding's prowess on the ice — her spins and jumps sinuously shot, the camera keeping close, in perhaps the film's only display of finesse — would seem to be the least important metric.

Denis clearly adores Binoche, offering close up after close up of the 54 - year - old actress's face and body right from the film's startling first shot.

In fact, most of the film has the killer as an invisible threat, a POV tracking shot that looms closer and closer to the next victim.

Veterans Frank Langella and Glenn Close show up as Brian's parents and give the film a nice shot of humor.

Paul Thomas Anderson's latest film, Phantom Thread, a portrait of a fictional fashion designer in the couture scene of 1955 London, indulges in similar revels, placing the film firmly in the tradition of the melodramatic women's pictures of the 1940s: it's filled with achingly vivid close - ups (Anderson also shot the film) of shining colored threads, needles piercing thick fabric, rough - edged hand - sewn labels, intricate lace patterns, and rich cloth falling in sculptural folds.

During our interview, which we'll post in full closer to the film's release date, «The Squid and the Whale» director, who shot «Frances» on the quick and quiet (hardly anyone knew it even existed until it premiered at the Telluride Film Festival last year), dished on some of his upcoming projects and it seems he's hitting a prolific stride.

Patrick readily admits his uncertainty, and even in the film's unforgettable closing shot seems unsure of whether he did the right thing.

The beauty and terror of Leviathan could be easily summed up in the astounding shot that closes the film.

The opening credits of the film are displayed while a camera shoots extreme close - up sweeps around a dead body which is currently being consumed by maggots and other bugs, and this should give you an indication of how unflinching the rest of the film is in the showcasing of disturbing acts of violence.

A stark, brutal, yet tender prison drama starring Jack O'Connell as a violent inmate sent to the same lock - up as his jailbird father (Ben Mendelsohn), the film's shot through with a raw energy and authenticity that's closer to «A Prophet» than to most other British films in the genre, with Mackenzie making the movie feel like he's bottled up a hurricane of tension, which at any second could kick through the screen at you and hit you with a sock full of snooker balls.

Eastwood's film was as much of a closing chapter to Westerns as was John Ford's The Man Who Shot Liberty Valance back in 1962.

Many of Brown's comments regarding the film's cinematography are repeated within the bonus material on Disc 2, but it's enlightening to discover just how much was shot with the SteadiCam, and I appreciated his dry musings on how he wasn't wearing safety goggles when filming the close - ups of the axe chipping away at the bathroom door and how shooting a nude scene is anything but an erotic experience.

Their screening as the Closing Night film of Directors» Fortnight at Cannes this year brought a shot of adrenaline and a whole lot of passion to the Croisette; we can't wait for the rest of the world to experience the Jersey magic when the film hits theatres this August.

As for the surfing, the film gets by on passable doubles (including Hamilton herself) shot from a distance, some decent close - up effects, and some sporting degree of actor athleticism.

Let us now celebrate the delightful barrage of close - up shots that accompany every Edgar Wright film with this wonderful compilation video, created by Jaume R. Lloret.

Unlike No Country, with its isolated figures, Burn After Reading takes full stock of the chaos wrought by human misdeeds, a fact underscored visually by the film's opening and closing shots of satellite images of the earth.

We note the significance of the eyes relatively early in the film, and it's clear that director Paul Greengrass intentionally establishes and emphasizes the power Hanks» eyes possess here through close - ups and medium shots that move in on or out from Hanks» face.

The interesting main menu consists entirely of a creepy Michael Shannon in profile overlooking a loop of the film's closing highway traffic shot.

BE: How close is the film to the original concept of the film, and was it difficult shooting the nude scenes?

When it came to making the film, Landesman goes on to say that he made a point to shoot a lot of close - ups of Neeson's eyes, as a large part of Neeson's performance relies on the actor silently turning things over in his head.

However, director Tom Hooper makes some very specific choices to shoot much of the film in close - ups.

Director Garth Davis (best known for the Oscar contender Lion) fills the film with tear - stained close - ups of her and shots of a dreamy looking Jesus, preaching to his followers.

In the first, Lorraine ducks K.G.B. agents by slipping into a screening of Stalker, which leads to some fitfully gorgeous shots of nasty close - quarters combat set against images from the Andrei Tarkovsky film's transcendent climax.

Gerwig holds the lead role of Frances Halladay (the truncated title becomes clear in the film's closing shot), a 27 - year - old who's struggling to stay afloat in New York City.

This reflection can not be denied, especially in the film's closing shot of the World Trade Center — a haunting crystal ball image of history doomed to repeat itself.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

Volumes One and Two may have had viewers scratching their heads, and this portion of the film is by no means conventional, but there's a musicality and dreamlike quality to The Enchanted One which resonates long after a tremendous tracking shot of Chico Chapas draws this sprawling epic to a close.

The Uninvited is DreamWorks's redo of the 2003 Korean chiller A Tale of Two Sisters, and it's rather appropriate that the title was changed, for while the film hews close to some of original writer - director Kim Ji - woon's basic concepts and a few specific shots, directors the Guard Brothers (Charles and Thomas) and screenwriters Craig Rosenberg, Doug Miro, and Carlo Bernard take a very loose spin on things plot wise — namely, reconfiguring the overall story into much more conventional American genre terms.

He films his characters» conversations at right angles, a two - shot with them facing each other, perpendicular to the camera, followed by medium close - ups of each actor as they face the camera directly and speak in turn, Green not cutting until they've finished what they have to say.

It appears organic and film - like with mostly even grain levels and a high amount of fine detail in both close - ups and wide shots.

At the recent press day, Tarantino and his actors talked about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period film affords a filmmaker the opportunity to comment on the present in ways a present day film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.

With shooting close to wrapping up in Los Angeles and plenty of interest shown in the film at Cannes, the first images from Nicolas Winding Refn's new thriller The Neon Demon have arrived online via Screen International.

At first teasing that it will address — or at the very least acknowledge — some of the widespread negative reaction to the film, «Hitting it Hard» quickly settles into cutesy shots of Penélope Cruz dozing off and Crowe imitating aggressive journalists, though it closes with an indiscreet answering - machine message Cruise left for Crowe that's a fascinating glimpse beneath the veil of Cruise's public persona.

(Her choice to shoot the film in the classic 1.33:1 Academy ratio — possibly a nod to Werner Herzog's Aguirre, The Wrath of God, another film about a delusional explorer — adds to a sense of nature closing in on the characters.)

Even the opening shot — a close - up of Willard's face shown upside down — seems a direct steal of the opening shots from two Welles films, Othello and The Trial.