Sentences with phrase «designed production shot»

Swinton, playing a rock star sidelined by throat surgery and thus rendered mostly mute, is joined by Ralph Fiennes, Dakota Johnson, and Belgian breakout Matthias Schoenaerts, for an exquisitely designed production shot on location on Pantelleria Island in Sicily.

Not exact matches

The participants get into cast and performances, characters and story issues, sets, production design, and shooting in Louisiana, deleted scenes and changes made for the extended cut, making their directorial debut, and a mix of other production topics.

Incredibly, Manifesto was shot in only 12 days and looks like a million dollars, with production design Erwin Prib doing a particularly good job of finding breathtaking and very different locations in and around Berlin.

«Chronicles» covers the novel's complicated path to the screen, concept design, actor training and rehearsals, the start of principal photography and aspects of the shoot, performances and related technical issues, sets and production design, various effects, stunts and action, costumes, weapons and makeup, the end of principal photography and the movie's premiere.

Typically strong on production design, Niccol fully indulges his love affair with midcentury modernism here, paying direct homage to Gattaca with a handsome array of vintage cars, classic suits and lovingly shot brutalist architecture.

Shot handsomely by Vittorio Storaro, with costumes by Milena Canonero and production design by Dean Tavoularis (who goes back with Mr. Beatty to «Bonnie and Clyde»), it has both polish and pizazz.

Kapur's shots are beautifully composed, and the costumes and decor add to the film's delicious production design.

Shot from every conceivable vantage point, Jan Roelfs» production design is extensively detailed, and cinematographer Chung - Hoon Chung skillfully pulls off every Dutch angle, dolly shot and lens flare he's asked to provShot from every conceivable vantage point, Jan Roelfs» production design is extensively detailed, and cinematographer Chung - Hoon Chung skillfully pulls off every Dutch angle, dolly shot and lens flare he's asked to provshot and lens flare he's asked to provide.

Like a shot of an antique shop raided by the royal court and Chris Van Allsburg, it blends opulent production design with near - absurdist block font, which serves to communicate the clout of the story, its endurance in modern times, a diva sensibility, and even the wintry Russia setting, reflected in the gleam of those imposing, towering letters.

The production design in the New York scenes (the entire film shot on built sets in Canada) is an appetizer for the main course, The Sharpe Estate.

Wide span shots of gorgeous production design flawlessly set the scene, but then Hooper comes in for the close - up, revealing even the tiniest of details, whether it be the grain in the walls or a facial blemish.

These range from cinematographer Roger Deakins's overt restaging of many iconic shots from the first film, to Dennis Gassner's production design that meticulously matches its grimy neon - noir urban dystopia, to the dashing trench coat worn by this movie's young robot - hunter, K (Ryan Gosling).

Shot in black - and - white, with a spare, minimal production design making it an expressionist piece projecting the barren interiors of its broken characters, Nebraska, though not the adaptation of the identically - named collection of Ron Hansen short stories I initially hoped it was, at least possesses the same wintry, intellectual mien.

Shot on a minimal budget, with a production design that favors ingenuity and creativity and a cast that includes such major European actors as Geraldine Chaplin, Mathieu Amalric, Udo Kier, and recent Oscar nominee Charlotte Rampling (some of them in multiple roles), it has a whimsical, absurdist sense of humor.

Beardsley remembers lessons learned, Armenaki and Ziegler talk about executing the opening shot (and Ziegler throws some shade in Stanley Kubrick's direction), Schulenberg talks about taking design inspiration from the Memphis Group, and most everyone talks fairly frankly, thank the maker, about their feelings on the entire production.

The production design is great, even though half the movie looks like it was shot in the bathroom of an Apple Store, and in the other half the lighting is so cold it looks like it was shot inside a refrigerator.

47 Ronin is one of the strangest big - budget productions in recent memory: a 3 - D fantasy set in 18th - century Japan, shot in Hungary and the U.K. with a predominantly Japanese cast, and distinguished by ornate production design, arcane intrigue, and a downbeat tone which bring to mind David Lynch's flawed - but - fascinating take on Dune.

Paul designed the new look for Pinhead and was production designer on the shoot and Le Han pulled in all of his film resources and directed the teaser on the new Alex 4:3 camera with anamorphic lenses.

Jonze's sense of camera and production design remains top - notch; his LA (actually shot in Shanghai) is both evocative and cozy, and his implementation of new technology without tipping over into the garish is inspired.

Utilizing clips of interviews with the cast and crew plus a good amount of production footage, this program covers a number of facets of the film's production including casting, plot / character changes, shooting in locations around the world, the numerous cameos, and designing Phileas» inventions.

It's handsomely presented — lit and shot beautifully with some lavish period production design.

You'd think this would be an opportunity to at least go wild with production design, but other than a few shots involving a throne of bones, it's just a typical low - rent direct - to - video crime movie that somehow snagged Will Smith.

Herein lies both the appeal and the flaw of A Cure for Wellness: beautifully shot and edited, with gorgeous production design, it overplays its hand by making everything an augury.

Godzilla's cinematography and production design can't even match the pastel appeal of ID4's images: almost every shot is a rain - soaked disappointment.

Any journalist who has worked in a newsroom can tell you the production design for Spotlight was spot on, but what's surprising is that the film wasn't shot in a real newsroom.

The movie does have some pretty impressive production design considering its presumably small budget, so it's a shame to see all that hard work wasted on a director more interested in unnecessary visual flourishes (like a POV shot from a water bucket) than focusing on important things like character and story.

The elaborate CG crane shot from Bitter Sweets is analyzed (1:42), the production design is detailed upon (2:32), and Pace and Fuller comment on the appearance of Molly Shannon, Raúl Esparza, and Ned's revelation to Chuck (6:09).

Dante Ferretti's color production design and Sandy Powell's wide - ranging costumes (the black - with - green - stripes design on wicked stepmother Lady Tremaine's dress offers an expressive contrast with Cinderella's initial plain pink dress) are so intoxicatingly colorful that every shot has the immersiveness of a dream.

While these segments, covering a variety of aspects of the production from the conception, shoot, design, and stunts to Nispel on the set and a spotlight on actor Clancy Brown (who plays the villain), are fairly informative, they don't cut too much deeper than your standard EPK promo materials — and, indeed, these segments originally appeared at the MySpace Trailer Park page to promote the theatrical release.

Production design from Dennis Gassner (The Truman Show, Skyfall) brings to life another world, details plunged into the margins of every shot.

Payne explains how he came to the project, his symbolic approach to the material (watch for circles, apples, and trash), shooting on location at an Omaha school, the cast and production design.

They discuss story and script issues, shooting in China, cast, characters and performances, sets and production design, the score, some facts behind the tale, and other production elements.

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.

Of course, we learn a lot about the effects, but we also find info about cast and performances, shooting on location and dealing with weather, real tornadoes and research, story and characters, music and audio design, and a mix of other production topics.

Universal Animated Anecdotes» Text Commentary • «The Making of Back to the Future Part II» • «Making the Trilogy: Chapter Two» • Deleted Scenes with Optional Commentary from Producer Bob Gale • Outtakes • Production Archives • Hoverboard Test • «Evolution of Visual Effects Shots» Featurette • «Production Design» Featurette • «Storyboarding» Featurette • Huey Lewis and the News «Power of Love» Music Video • Theatrical Trailer • Cast & Filmmakers • Production Notes • Booklet • DVD - ROM Features

That's largely due to the decision to shoot the film on 65 mm, which basically doubles the width of the image, not only resulting in more sprawling exterior shots, but also enhancing the performances and production design.

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

The shrunken production timeline gave Pixar less time to design the film's locations, and the extreme number of shots would make it impossible to have matte painters create the atmosphere and environment in the skies and distance, as they had in previous films.

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.

EXTRAS: The Blu - ray release includes nine featurettes — covering a range of topics like the cast, stunts, visual effects, production design, location shooting in Johannesburg and A.I — as well as an alternate ending, an extended scene and a concept art gallery.

It's marvelously detailed in terms of production design, vividly shot and full of surprises.

We're shooting in this house tomorrow, and our production design team was brilliant and could somehow pull off these miracles.

«Shooting Through It» (11:18) focuses on the technical challenges of design and photography on this all - practical production, from dealing with the cold weather to getting equipment up snowy slopes in winter.

is a (16x9 - enhanced) retrospective that focuses on the film's design team (Emmerich and Devlin are AWOL and the actors appear solely in interviews conducted during production), the execution of various F / X, and the challenges of shooting in the Arizona desert, which sometimes reached temperatures of 120 ° and above.

All the elements in «I Shot Andy Warhol» work toward a con vincing tapestry: the original music by John Cale, whose Velvet Underground was the house band for Warhol's Factory happenings, and the production design by Therese Deprez and costumes by David Robinson, which capture the indulgence and experimentation of that period — nothing was outlawed except the familiar.

It's a film that forges its reputation on the immaculate, from its production design and costume design to its lovingly hazy grainy cinematography shot in Super 16 mm by Ed Lachman to Carter Burwell's score, everything just fits together so organically and remarkably.

Daybreakers conjures a convincing mood, punctuated by a sharp production design, vivid creature - feature gore splashes, and a few inventive action sequences (a car shoot - out, where Edward has to avoid scorching light shafts made from bullet holes, is a film highlight).

While many of their shared scenes might have easily resulted in a stagy two - hander, Stearns» reliance on static shots, complemented almost exclusively by slow zooms and pans (Pakula's paranoia thrillers of the «70s come to mind) and subtly dated production design (the 1980s, perhaps) put a very deliberate focus on the players, who all rise to the occasion.

Stoller also manages to inject artistry into the production design and cinematography; the wild party scenes are especially chaotic and well - shot, with bursts of color and disorientation.

While the first 12 months or so were largely limited to design analyses and hot takes that often seemed to more closely reflect the author's position on Tesla stock rather than the car's potential merits, the start of prototype production in late February led to numerous spy shots of both the amateur and professional varieties.