Sentences with phrase «cut scenes in the film»

Not exact matches

The scene ultimately ends on a different note than in the original film's cut.

The filming of the dog - walking scene demonstrates in exaggerated form one of the challenges residents would face if street - cleaning services were cut.»

In the typical science fiction film circa 1950, there's that scene in which scientists return from the just - landed flying saucer and tell the Army brass that no tool known to humankind can cut, burn, bend, or otherwise scar the hulIn the typical science fiction film circa 1950, there's that scene in which scientists return from the just - landed flying saucer and tell the Army brass that no tool known to humankind can cut, burn, bend, or otherwise scar the hulin which scientists return from the just - landed flying saucer and tell the Army brass that no tool known to humankind can cut, burn, bend, or otherwise scar the hull.

We're not exactly sure what the former reality television star has been up to lately, as her career seems to be at a standstill since her last web series in 2011, «Dream Maker», save for filming some scenes in «Scary Movie 5» that didn't quite make it to the final cut.

In every scene, the film's cutting is dictated by the turbulent pace of the characters» inner lives.

At the same time — and time is impossibly circular here, the film cutting back and forth in time, among scenes of memory, storytelling, and devastating flashbacks — Darwin is repeatedly haunted by Annie's ghost.

The music in this film has a masterpiece atmosphere that controls characters» feelings scene - by - scene but the cinematography and jump - cuts is also a masterpiece that nobody would ever find a British film with a masterpiece cinematography like

Danny Trejo wasn't on screen enough for me, and in the extended scenes it's clear that his comedy stylings have hit the cutting room floor, presumably to keep the tone of the film more level.

In an interview promoting the film, the director, Alex Garland, discussed one of the few cut scenes.

Watching TV in bed, I caught one of the latest commercials, which had me scratching my head — there was an insanely badass scene cut of the film.

I feel its similar to Kingdom of Heaven in that scenes are missing and the directors cut will make it a better film.

EXTRAS: In addition to both the theatrical and extended cut of the film (featuring 10 minutes of never - before - seen footage), there's a brand new collection of bonus material, including an audio commentary by director Ridley Scott, writer Drew Goddard and author Andy Weir, a making - of featurette, deleted scenes and more.

Indeed, he's matured into such a terrible actor that it's actually disturbing to watch him in scenes with Firth (solid here), as though he's some theatre geek who's cut himself into the film with iMovie.

In this case, that amounts to your typical scene - specific trivia in addition to some other interesting tidbits, like the title of the cut from the film's score that's playing at any given moment, or detailed cast and crew listingIn this case, that amounts to your typical scene - specific trivia in addition to some other interesting tidbits, like the title of the cut from the film's score that's playing at any given moment, or detailed cast and crew listingin addition to some other interesting tidbits, like the title of the cut from the film's score that's playing at any given moment, or detailed cast and crew listings.

Edited with a frantic energy, the film cuts back and forth with almost cartoonish verve from Don's real - life experiences to explicit scenes of pornography that are humorous in their gratuity, but also serve to highlight the character's obsession, revealing the constant feed of sex playing inside his mind.

But I kept telling the studio, and I kept telling Ryan, I'm like, «No, the director's cut going to come in at like 2:12,»» Leitch explained about his rough cut of the film before elaborating that the extended version contains a montage of Deadpool attempting suicide, some extra material with Domino and alternate takes of existing scenes with different dialogue.

An unbelievably lengthy and self - indulgent epilogue - you can't call it a cut - scene, it's an entire film in its own right, and a deeply boring one too - is how Solid Snake's career comes to a close.

Cutting within the scene, Haneke reverts to conventional film grammar — and, in the process, calls attention to the scene's artifice.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

Although these new scenes kept the gritty tone and sass of Helgeland's original, they weren't Helgeland's scenes, and though still considered by many as a good film, given that most of the filming had been completed by Helgeland before his departure, the chance was there for Helgeland to make the movie that he wanted, in a similar way that Richard Donner had done with his Director's Cut of Superman II.

But it's still a cut above the majority of family entertainment, and director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film's dollhouse - storybook world; the aesthetic influence of Wes Anderson is especially pronounced in the scenes set at the prison, where an early mishap involving a red sock and the prison laundry dyes the convicts» uniforms a Grand Budapest Hotel shade of lavender pink.

There are some telling moments when they discuss material that was excised from the final cut, such as scenes that might have made other characters in the film more sympathetic, but unfortunately none of this footage has been preserved on this disc.

The whole film is wobbly enough that many of scenes could be moved or cut altogether with no effect, with one obvious example being a stop - over in a village, where Snatched makes some half - assed attempts to paint Emily's largely unsympathetic character in a better light and tries (and fails) to mount a gross - out slapstick bit with a cheap - looking CGI tapeworm.

A production of New Line Cinema and Metro - Goldwyn - Mayer Pictures, this extended cut of the second film in The Hobbit Trilogy includes 25 minutes of extra film footage that extends individual scenes, making this the must - see, definitive version for fans.

Limited Edition 2 Disc DVD set & Blu - Ray Extras: 36 minute Black Metal short film of deleted scenes, Alternate ending, Outtakes, The Cutting Room with musicians not in the film including: Enslaved, Ted «Nocturno Cutlo» Skjellum from Darkthrone, and Jørn «Necrobutcher» from Mayhem, plus more with Ulver, Immortal, Jan Axel «Hellhammer» Blomberg, Gylve» Fenriz» Nagell and Kjetil «Frost» Haraldstad, 46 more minutes of Varg Vikernes and a 45 minute class on the history of black metal with Fenriz

Salles tries to approximate Kerouac's hopped - up prose by shooting the film in jittery jump - cuts, and the actors seem to be careening between scenes rather than inhabiting them.

Cox seemed to be constantly cutting corners in Human Touch, and at one stage I think he used an outtake in the actual film, which made no sense whatsoever, and detracted from the effectiveness of the scene.

Cowperthwaite's direction is specific and confident, especially in one extremely complex battle scene where — unlike in a lot of films nowadays that over-rely on shaky - cams and quick - cuts — you can tell what is happening, who is doing what, and why.

Rosi uses the same montage style from the «baptism murder» sequence in Coppola's film, cutting from a lavish dinner held in Luciano's honour to scenes of bosses being shot to death in various locations, mostly in Peckinpah-esque slow - motion.

A scene in which Abdellah shares a cigarette with a kind, genial stranger on a park bench would have been cut from most films, as it serves no specific narrative function, but here it's an unexpected reprieve and a simple opportunity to watch Abdellah smile.

High - concept in the basest definition of the term, the film would fall apart with a sigh if it weren't held together, however tenuously, by jump - cuts, zooms, slo - mo — the whole kitchen sink of obfuscating choices courtesy an artist trying way too hard to be au courant by imitating a style of film that hasn't been fresh since around the time that Tarantino hit the scene.

A 3 - minute gag reel in which Cuthbert cracks up while faking an orgasm acquaints us with a moment or two found only in the section of deleted / extended scenes (16 in all, totalling 11 minutes), wherein Greenfield, providing optional voice - over, repeats «cut for time» like a mantra and generally demonstrates — as he does in his yakker for the film proper — that he rolls over easily when confronted with studio research.

Rumours abound that Tom Cruise, angered by preview audiences who rated Emmanuelle Beart's performance in Brian De Palma's Mission: Impossible (1996) superior to his, cut out as many of Beart's scenes as possible: although De Palma denies this, there is a smoking gun, for the trailers contain shots of Cruise and Beart making love, something that never happens in the released film.

You could see similar elements in Lodge Kerrigan's chilly «Claire Dolan» (with a dash of Polanski in there — an unsettling manicure scene followed by a startling shot involving a mirror on an armoire)-- and, sure enough, it turns out that the young, unknown Bahrani so admired Kerrigan's work that he sent him an early cut of the film and asked for Kerrigan's advice.

There is a step by step look into the film processing technique used to achieve the sun - blasted look of the Mexican scenes; a demonstration of the editing choices and process of three scenes narrated by editor Stephen Mirrione (watching each scene become subtly sharpened and focused through each successive cut is a real education in the art of editing); and an instructional look at the art and technique of sound editing, hosted by sound editor Larry Blake.

One of them was in the «Love Jones» co-starring Larenz Tate and the scene was cut from the film.

But as was made public well before the film's release, Singer had to cut a lot of footage to get the film to an acceptable theatrical length, and in doing so he cut out almost all of Anna Paquin's scenes as Rogue.

The scene - building tactic that the film keeps returning to entails the camera hunkering down in a defined space (a frat - house common room, a bar, a dugout) to observe a large group of characters tripping over each other with rapid - fire quips, cutting between them like a little steel ball careening wildly off ramps and spring - loaded slingshots.

For a full list of sequences that were filmed but not included in the final cut, see Cigarettes & Red Vines: Guide To «The Master» Deleted Scenes.

The way that the fragments follow each other seems to have a new fluidity — and with the exception of the prologue and epilogue scenes, and the film within the film, all the other scenes are shot in a single take — despite the regulation cuts to black.

The «X-Men: Apocalypse» star detailed how Professor X and Magneto had to fight a man too stupid to mind control in a scene cut from the film.

But there's also a lengthy deleted scene from the very end of the film, which keeps the story going long after the theatrical cut ends, and reveals even more flaws in Felt's character.

Probably my favorite scene in the film is when the Warrens first go into the basement and it cuts to the cameraman's pov from the 1970s camera style / look.

According to the course description, «the movie's source material, script, shot lists, storyboards, shooting schedule, VFX, final cut and even exclusive behind - the - scenes footage» will give students an in - depth look at how a Hollywood film is made.

It makes one wonder if Reynolds and his team shot several iterations of scenes in the film and are using some of the alternate cuts for the trailers and preview clips exclusively.

All but one of the eight scenes included are brief and offer alternate cuts or extensions of scenes that are in the final film.

What is making the headlines today is ALL THE MONEY IN THE WORLD, you are all aware of the sexual accusation around Kevin Spacey, Ridley Scott decided to reshoot all the scenes of Spacey with another actor, Christopher Plummer who was the first choice of the director but the studio executives wanted a bigger name, Plummer should shoot his scenes in the comming weeks, it looks like they want to keep the december release date, and Michelle and Mark Whalberg are expected to do some reshoots, i don't think michelle began working on Venom yet, it's crazy but i think Ridley is right to cut out Spacey of his filIN THE WORLD, you are all aware of the sexual accusation around Kevin Spacey, Ridley Scott decided to reshoot all the scenes of Spacey with another actor, Christopher Plummer who was the first choice of the director but the studio executives wanted a bigger name, Plummer should shoot his scenes in the comming weeks, it looks like they want to keep the december release date, and Michelle and Mark Whalberg are expected to do some reshoots, i don't think michelle began working on Venom yet, it's crazy but i think Ridley is right to cut out Spacey of his filin the comming weeks, it looks like they want to keep the december release date, and Michelle and Mark Whalberg are expected to do some reshoots, i don't think michelle began working on Venom yet, it's crazy but i think Ridley is right to cut out Spacey of his film.

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

A lot of times it actually feels like The Drop had scenes that were awkwardly cut out of the film, many of them being ones that I think would have given more room to expand on Torres» position in this world and his impact on the narrative itself.

Though there are some subplots that could have easily been cut to prevent the film from feeling so bloated, in many cases, those scenes allow for the supporting cast to be developed beyond simple background extras.