Sentences with phrase «costume design look»

The set and costume design look as unreal as ever.

No details about All - New Wasp herself were disclosed, but the costume design looks very similiar to the MC2 Universe character Red Queen, a.k.a. Hope Van Dyne.

Not exact matches

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The Halloween costume your used is very interesting and amazing.The design look so attractive.

Designed by Academy Award - winning costume designer Helen Rose, Princess Grace's wedding dress was the ultimate fairy princess look, complete with an embroidered pearl and Brussels lace bodice.

After the festivities we got a closer look at the story behind a jewelry house that is changing out perceptions of costume jewelry and reigniting our love for designs of the past.

Look at her adaptation of Vanity Fair again, and notice how the costume design and art direction is as frilly and lovely as any costume drama, but she likes to show how the clothes get dirty and the cuffs grow frayed.

As you might guess from the featurette titles, these cover the film's look and visual design, conceptualizing and putting together the Batmobile and its use in the film, physical props and elements, ideas and execution of the Batsuit, Nicholson's take on the Joker and his makeup / costume, and the flick's score.

More important in that department is the debut of a CinemaScope visual style, which cinematographer Leon Shamroy anchors through often hauntingly precise coloration and lighting, in addition to a tight scope which is intimate and grand enough to immerse you into George Davis» and Lyle R. Wheeler's Oscar - winning art direction, which is immersive enough by its own right, utilizing Paul S. Fox's and Walter M. Scott's impeccable set decoration and Charles LeMaire's and Emile Santiago's costume designs to restore the look of Ancient Rome - from its high society to simple villages - lavishly.

Drawing on elements from African history and tribal culture, as well as contemporary and forward - looking flourishes, «Black Panther» pulses with color, vibrancy and layered textural beauty, from the beadwork and textiles of Ruth Carter's spectacular costumes and Hannah Beachler's warm, dazzlingly eye - catching production design to hairstyles, tattoos and scarifications that feel both ancient and novel.

The design work is far above par, thanks to «Mudbound» Oscar nominee Rachel Morrison's glowing cinematography; to production designer Hannah Beachler's depiction of urban Wakanda, which looks a little like Seoul and a little like «The Jetsons» in Middle - earth; and to Ruth E. Carter's knockout costumes for both sexes.

An extended featurette section features four documentary shorts (ranging from five minutes to nine) that go from a general «making of» to detailed looks at the set design, costuming, and cowboy camp preparation.

Metamorphosis: A behind - the - scenes documentary with Darren Aronofsky Behind the Curtain: An inside look at the ballet's influence on the film's costume and production design Ten Years in the Making: Natalie Portman and Darren Aronofsky discuss their creative journey Cast Profiles

Dennis Gassner's production design represents the pic's rather old - fashioned good - versus - evil stance by contrasting oaky Olde English veneer with glassier,»60s - leaning modernism; Jany Temime's costume design is largely pragmatic, though an ivory Tom Ford tuxedo gives Craig what should be his most enduring Bond look across the four films, give or take a certain pair of snug swimming trunks.

However, the film looks beautiful; with elaborate costumes and set designs.

He delivers a running, screen - specific look at story / character issues and connections with the comics, cast and performances, costumes and makeup, production design, sets and locations, music and editing, cinematography and effects, stunts and action, themes and tone, and the use of 3D.

Hellboy II was the best looking film of the year thus far in terms of production design and costumes.

Excellent set design and costumes add to the beautiful and classy look of the movie.

Taking a cue from the enormously popular and critical success of the Jon Favreau directed «The Jungle Book» (which brought in almost $ 1 billion worldwide), Beauty and the Beast certainly does not disappoint visually, with amazing production values (credit Sarah Greenwood, «Sherlock Holmes»), art design (Niall Moroney, «Alice Through the Looking Glass»), set decoration (Katie Spencer, «Anna Karenina»), costumes (Jacqueline Durran, «Pan») and cinematography (Tobias Schliessler, «Patriots Day»).

The DVD gets what appears to be an exclusive bonus feature in «War Horse: The Look» (6:29), which serves up behind - the - scenes footage on the various components that comprise the film, from locations to costumes to production design.

Alejandro Ulloa's opulent cinematography looks positively ravishing on Kino's new Blu - ray release, surpassing Mondo Macabro's already visually impressive DVD from 2003 when it comes to bringing out fine details of costume and set design, like the diaphanous mesh of Nadia's spider - woman costume and the various apparatuses and caged animals that litter Dr. Zimmer's laboratory.

On the page their costumes would look similar, but why does an alien suit from Krypton and a costume designed by a teenager have the same texture?

Credit needing to be given where due, the costume design of the film, expertly crafted by French designer Pierre Yves Gayraud, is captivating to look at.

That the film works as anything more than an elaborate game of guess - the - citation is a credit to two key elements, the first being its imaginative visual sensibility, an expressionist approach to costuming and set design that comes as welcome relief from the grays - and - earth - tones look of contemporary tentpole fantasy filmmaking.

We took an in - depth look at the best achievements in cinematography, film editing, and costume design.

Upon our arrival, such indications only became more prevalent: the set design, costuming, and attention to detail we saw on display was astounding, and I walked off that set visit genuinely curious to get a look at the final product.

The former is a standard - issue behind - the - scenes featurette with brief talking - head interviews with the majority of cast and crew members, while the latter serves as a too - short but intriguing look at the film's costume and production design.

«Getting Real: Recreating an Era» (11:13) doesn't just deal with the film's recent period setting, but with its look as established by cinematography, costume design, and that Oscar - nominated editing.

Once the play actually kicks in, we're treated to designs unique to the Fifties: with bright red, juicy orange, and shades of green and blue, the overall look is highly stylized, including costumes reflecting a kind of streamlined / minimalist design, worn my energetic performers who move through Maurice Noble - inspired sets.

The production design and costumes look absolutely gorgeous, and has a real vibe of the old Hammer Films horror movies.

«Behind The Look of Nine» (8:20) turns our attentions to the film's cinematography, costumes, and production design none too interestingly.

Showcasing incredible production design, matte paintings, sets, props and costumes, Burton's Batman is visually layered and gorgeous to look at.

He runs and operates Tyranny Of Style, providing a closer look at costume design and the language of clothing — covering film, TV, theatre, 3D printing, and fashion history.

DNL presents a new show on TCM looking at memorable costume design.

And it looks terrific, with some award - level costume design in particular — but I found the film's overriding tweeness a little oppressive.

With terrific production values (especially the costumes and set design) and creative camerawork, Burton delivers an effectively Gothic and gripping look to the film.

The CGI and practical effects are near - perfect and the costuming and production design, with its mix of pan-Africanism and the Apple Store, looks unlike anything we've seen before.

However, I fell in love with Shutter Island «s terrific performances, gorgeous design, and, like The Aviator, Scorsese's ability to brilliantly capture the look of the period, from the set design to the costumes.

Despite its low budget, the film looks terrific, thanks to the evocative upstate New York locations, Matthew J. Lloyd's sun - dappled cinematography making extensive use of natural light, Jane Musky's detailed production design and Ann Roth's handsome period costumes.

The most basic reason for this is the great look of the film; the production and costume design is superb, and there are some shots, including an impressive (if somewhat obviously CG) flyover of Rome, that dazzle the eye.

Like Mirth, this is a rich looking film and as all great cinematographers do, makes the rich costumes, locations, set and production design all that richer - looking.

The show looks at how Kubrick came to the project and the adaptation of the novel, locations, set design, and camerawork, costumes, Kubrick's work with the actors, and reactions to the film.

The look is impressive — the costumes and set designs are appropriately extravagant.

Those pieces look at the source novel and its adaptation, cast and performances, costumes and props, visual design, editing, and general thoughts about the flick.

This Chinese dress was art director William Chang Suk - ping's design and Song Hye - kyo was rather pleased with her costume look.

Shot by Yves Bélanger, it's a golden look at 1950s Ireland and New York City, filled with François Séguin's perfect production design and Odile Dicks - Mireaux's gorgeous costumes.

Now imagine having the job of designing the costumes that had to hold up to such an epic action sequence while making them look cool and authentic at the same time.