Sentences with phrase «different edits of the film»

At least until the warehouses are emptied, Arrow's release of C.H.U.D. offers two different edits of the film.

Not exact matches

A similar technique could help a film editor work out how effective different edits are for an audience's understanding of a film.

Brickman does a handful of a snazzy moves — some with editing, some with the narration, some with lighting and slowing down the film (nothing ostentatious, but certainly a little different from the rest of his approach)-- and the score tempers it.

The cult filmmaker made over 200 films, editing, cutting, and repurposing movies to fit current demands and The Sadist of Notre Dame, as it had its beginnings as Exorcism and then as Sexorcism — complete with a nude woman on an upside down cross — is no different.

It's suffocating (I'd never considered how liberating edits were from a complete immersion into a film) and at times unbearably tense — and though some will point to the airlessness of Hitch's Rope or the fluid choreography of Alexander Sokurov's Russian Ark, The Silent House is a different beast altogether.

While I wouldn't mind playing with some of these side characters and superfluous plotlines in a video game, as an adaptation of a beloved work that has enchanted many millions of readers, young and old, I'm left longing for a different kind of fan film — the inevitable one in which someone edits out all of the stuff not from the writings of Tolkien — and makes it the movie it always should have been from inception.

The disc also features six different radio spots, a single TV spot, and a theatrical trailer (2 mins., HD) consisting mainly of the film's money shots edited together, tail to head, with The Car's signature horn blaring on the soundtrack: BEEP!

Last but not least is the surprisingly interesting «Boats»N Hoes» Music Video Editor, an innovative use of Blu - ray technology that lets you create your own edit of the film's crass music - video clip by using your remote control's number pad to select from nine different camera angles that run the length of the video.

Instead, it is all about mood while telling the rise - to - fame story through its sharp and unique editing style — the film's co-directors earlier work includes The Tree of Life, Moneyball and 28 Days Later, which should give you a good idea how Jimi: All Is by My Side feels vitally different from your standard musical biopic.

Other films in the spotlight will include a pair of Weinstein Co. releases that have made news because of editing: Different versions of opening - night film «Grace of Monaco» have reportedly led to conflicts between director Olivier Dahan and Weinstein, while the Un Certain Regard entry «The Disappearance of Eleanor Rigby» screened as two separate films in Toronto, but will be unveiled as a trimmed - down third version at Cannes.

A different form of improvisation is felt in «Touchy Feely,» the fifth feature from Lynn Shelton; instead of the loose outlines and dialogue of the director's recent films («Your Sister's Sister,» «Humpday»), it's the film's subjective and technical experience that feels crafted on the spot and cemented in the editing room.

Plus, the book offers plenty of unique charms, comparisons of scenes to their literary equivalent, discussion of the film's different incomplete edits, a fold - out timeline, and updated cast / crew bios and credits.

There is a different and possibly shorter edit of this movie that is probably much better, but the film is still compelling and watchable, if only because the main thrust of two brothers inevitably caught in each other's various spirals is fascinating.

Both are extremely different films in tone and material, but both have a unique sense of flow and free - ness to their use of editing and structuring that's easy to get lost in.

In the comics industry, there are a couple of very good editors, but most of them could not define the word «edit», however, that's different in film.

Mark Aerial Waller's single scene from Flipside of Darkness, Resistance Domination Secret, is an amalgamation of different ghosts from the history of film cut and edited in a magical way.

For the installation Joints 4tet for Ensemble, Atlas brings the resulting films together for the first time, editing the material into four channels of synchronized video and showing them across a choreographed arrangement of ten different sized monitors; some placed on mono - stands, some on rolling carts, and others grouped in pairs.

The film Under the Bridge - the first part of the Shanghai Redux project launched by Shi Qing + Radical Space, and Ming Wong's newly - editing version of Next Year / L'Année Prochaine / 明年 will be presented for the first time in Shanghai; the two works are similar to each other for their recreations of classical movies, shifting between reality and memory through different montages and artistic techniques, reflecting on the turn of the wheel through the cross of time and space.

GS: The engine of cross-cutting between the to different worlds of western consumers and the African coffee producers, was that a device you developed during the editing or the film or was that designed into the film before you began shooting?