Sentences with phrase «director focuses his camera»

, and it has nothing to do with graphic imagery or gore or even the uncomfortable meta - layer in which a director focuses his camera on a muse he ends up f*cking (although on that meta layer, mother!

Not exact matches

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Director Joseph Cedar centers the focus on his characters by putting the camera right down in the trenches with them.

Camera (color, widescreen, Red Digital Cinema, 3D), Simon Duggan; editors, Matt Villa, Jason Ballantine, Jonathan Redmond; music, Craig Armstrong; executive music supervisor, Anton Monsted; production designer, Catherine Martin; supervising art director, Ian Gracie; art directors, Damien Drew, Michael Turner; set decorator, Beverly Dunn; costume designer, Martin; sound (Dolby Digital / Datasat / SDDS), Guntis Sics; sound designer / supervising sound editor, Wayne Pashley; re-recording mixers, Steve Maslow, Phil Heywood, Pashley; visual effects supervisor, Chris Godfrey; visual effects producer, Joyce Cox; visual effects, Animal Logic, Prime Focus, Rising Sun Pictures, Iloura, Industrial Light & Magic, Method Studios; stunt coordinator, Glenn Ruehland; assistant director, Jennifer Leacey; casting, Ronna Kress, Nikki Barrett.

Director Nichols beautifully evokes the era, allowing his camera to focus on the couple's tribulations against a backdrop of meticulous period detail.

Not long after, Marvel announced films like Black Panther and Captain Marvel and directors like Ryan Coogler (Creed) and Taika Waititi (What We Do in the Shadows) after only having had white men be the major focus on either side of the camera.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

Camera (Technicolor, Panavision widescreen, Arri Alexa digital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halley Finn.

When a director's filmography includes «big» action movies like Edge of Tomorrow, Mr. & Mrs. Smith, and The Bourne Identity (the original), the last thing we expect is a stripped - down war movie whose camera focuses on a single character for most of the run time.

It's also fair to say that film's director Patty Jenkins wouldn't have focused her camera on the parts of Gadot's body Snyder regualrly chooses to stray on.