Sentences with phrase «dance shots in the film»

Not exact matches

Before Charlie Ahearn shot his seminal hip - hop film «Wild Style» in 1982, he was directly exposed to the bourgeoning hip - hop, break - dancing and graffiti movement, while shooting his super-8 martial arts epic «The Deadly Art of Survival» around the projects (next door to his apartment) in the Lower East Side in 1979.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

It's the first film to include both a cameo appearance by Jesus and a full - frontal nude shot of Harvey Keitel dancing in a drugged stupor.

Another notable strength of the film is the slick imagery, courtesy of DP Gianfilippo Corticelli, who uses slow - motion shots stylishly and appropriately (a sequence with Cruz dancing in a puddle as Hirsch photographs her is stunning.)

There's sweetness and sadness in a film that makes hearts soar with its Bowie - set dance through the New York streets, and invites ample cringing in its protagonist's awkward encounters, but mostly there's recognition of the authenticity of its immaculately - shot quarter - life crisis portrait.

Most jaw - droppingly, Brewer nearly shot - for - shot re-creates the centerpiece of Ross's film, the tour de force explosion of teen rage set in an empty warehouse, in which Ren fights back against his daily humiliations via gymnastic solo dance.

For Iranian - born Swiss director Barbet Schroeder, venturing into the picturesque Mediterranean paradise that is Ibiza is something he is familiar with, shooting his 1969 debut film «More» in the country, now famed for its exuberant party life and strong love dedication to the hypnotic epidemic of electronic dance music.

That new perspective is the way the film looks like an action movie, filled with car chases and fights and shoot - outs, while behaving in a way more akin to a musical (For further evidence of the musical's influence, one need only look to the opening credits, which has the hero dancing around the city, as an assortment of visual gags highlight certain lyrics).

Every shot (mostly full shots, with a few mediums and only a few well - chosen close - ups for punctuation) seems to have been planned with the camera in mind, so that the whole dance only exists as assembled on film.

The film juxtaposes intimate behind - the - scenes access, rich archives and history, engaging character driven stories, and dance performances shot in North America, Europe and Japan.

In particular, a Stanley Donen movie, Give a Girl a Break [1953], a simple film shot in next to no time with short dance numberIn particular, a Stanley Donen movie, Give a Girl a Break [1953], a simple film shot in next to no time with short dance numberin next to no time with short dance numbers.

Chazelle, the quintessential film nerd, lays in a good supply of trainspottery factoids about his aesthetic choices amid the more practical information such as the amount of times they shot the iconic dance number with the LA sunset as a backdrop (three times over two nights in a half - hour window as the horizon shimmered pink).

There's a hint of Berkeley left in the film in the final shot, an arial view of dancing horses forming one of Berkeley's trademark geometric patterns, but for the most part the film feels completely generic.

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.

At the film's recent press day, Tatum, Bomer, Manganiello, Nash, Rodriguez, Stephen «tWitch» Boss, Jada Pinkett Smith, Amber Heard, Andie MacDowell, Donald Glover, Jacobs and Carolin talked about their favorite moment from the shoot, how the first film inspired the sequel, the decision to cast Pinkett - Smith in a role originally written for a guy, why the male camaraderie was so important to the film, how they fit all the dance routines into the movie, the amazing finale with 900 extras, what they've learned about what women want, and why this is a great date movie.

And yet here you are making a movie with lengthy dance sequences, filmed in uninterrupted shots.

Keaton's biggest film credit since I Spit is its unofficial, largely unknown and unloved sequel, Savage Vengeance (a.k.a. I Will Dance on Your Grave), shot in 1988 and curiously released in 1993 to unanswered questions.

How could such a pipsqueak of a director, they asked back in 1997, create a masterpiece that wowed right from its opening sequence: an audacious five - minute tracking shot that swoops and swirls through the nightclub of the film's title in joyful synchronisation to the dance music of the 1970s.

It's the little notes that he hits that are more memorable than the broad ones like the look on his face when he sees Peppy's new film opening in a much bigger venue than his own or the way he can't move past the young lady as they try to shoot a dance number (in easily one of my favorite scenes of the year).

From random anachronistic intoxicated dancing to Wally's bizarre stroll past bearded Jews and street musicians to a closing crane shot that attempts to create significance for Manhattan's skyline, this film is a slow, puzzling journey whose greatest revelation is that even in the 2010s, no one is going to say no to Madonna.

EXTRAS: There's a pair of featurettes on the film's choreography and location shooting in Georgia, as well as an extended version of Stephen Boss» dance sequence.

One of the film's stars, Andi Matichak posted to her Instagram story earlier today a video of her (or someone) wearing a Michael Myers and dancing joyfully to Carpenter's iconic theme music, with the text «First day of filming got me like...» Roughhouse Pictures has since reposted the video (which you can watch below), confirming that shooting has in fact begun with the caption «Happy first day of filming to DGG and our @halloweenmovie team!

Opening at the Australian Centre for the Moving Image (July 16 — November 1), I'm anticipating the Australian David Bowie Is will have film footage of Bowie's first stadium tour in Australia in 1978, as well as displays and videos from two of his most famous videos, both shot in Australia: «Let's Dance» and «China Girl,» displaying images of the plight of the indigenous Australians.

The series will feature the world premiere of Jacob Burckhardt's film Happy Holi, shot in Sri Lanka capturing a vibrant dance party celebrating the Hindu Holi festival of colors.

As Cunningham articulated his joints in a minimal dance Atlas filmed in a variety of ways with his new Super-8 camera, shooting close - ups of Cunningham's wrist, elbow, ankle, and knee.

One Mile Film (5,280 feet of 35 mm film negative and print taped to the mile - long High Line walk way in New York City for 17 hours on Thursday, September 13th, 2012 with 11,500 visitors — the visitors walked, wrote, jogged, signed, drew, touched, danced, parkoured, sanded, keyed, melted popsicles, spit, scratched, stomped, left shoe prints of all kinds and put gum on the filmstrip — it was driven on by baby stroller and trash can wheels and was traced by art students — people wrote messages on the film and drew animations, etched signs, symbols and words into the film emulsion lines drawn down much of the filmstrip by visitors and Jwest with highlighters and markers — the walk way surfaces of concrete, train track steel, wood, metal gratings and fountain water impressed into the film; filmed images shot by Peter West — filmed Parkour performances by Thomas Dolan and Vertical Jimenez — running on rooftops by Deb Berman and Jwest — film taped, rolled and explained on the High Line by art students and volunteers) 2012, 58 minutes, 40 seconds 35 mm negative and film print transferred to high - definition video, no sound Commissioned and produced by Friends of the High Line and the New York City Department of Parks and Recreation

Little of the music is heard, but the centrepiece is a film in which Rosemary Lee, shot from a dramatic overhead view, battles her way out from under a bed of wet clay to the internalised sound of Stravinsky's score, expiring after 14 minutes of dancing herself into birth and then, as in the ballet, to death.

Now, as part of «Storylines,» Snow has edited footage she shot at that party into a 24 - hour film called Stamina, which will premiere at another 24 - hour dance party held in its honor.