Sentences with phrase «director of the first film»

Not exact matches

What he means is, Pixar's ballyhooed Braintrust idea meetings boast a mixture of champion storytellers like John Lasseter, the director of the first two Toy Story films — and a whole bunch of employees unafraid to challenge him, even though he's the John Lasseter.

Well, a former SNL director — who also happens to be lead writer of the David Spade comedy «Joe Dirt» — was behind it, and Stewart was recruited only after the first actress suffered a «nervous breakdown» right before filming.

The character first appeared onscreen in Civil War last year, and the new film is already generating loads of buzz thanks to director Ryan Coogler (Creed) and a loaded cast that also includes Lupita Nyong» o, Michael B. Jordan, and Angela Bassett.

First announced in 2012, the Avatar theme park was intended to open alongside Cameron's sequel of the film, but the director has since delayed the movie until 2020.

Brenda Chapman, an animation writer - director with a storied career (Disney's The Lion King, DreamWorks» The Prince of Egypt), made headlines three years ago when she penned a New York Times op - ed addressing her painful experience being removed as the first female feature film director for Pixar's Brave, a mother - daughter fairytale she created, and replaced by a male colleague.

Peep - show booths that ran film loops came first, then camcorders and VCRs — many of which were invented in Japan, but adopted first in the United States by porn directors.

While Black Panther rode a huge wave of critical acclaim and fan excitement to the biggest opening weekend ever for the month of February (and the fifth - largest of all - time), raking in more than $ 426 million worldwide, a small number of Internet trolls still did what they could to dampen the good vibes surrounding the trailblazing film, which features Marvel's first African - American director (Ryan Coogler) and a cast led by black actors such as Chadwick Boseman and Lupita Nyong» o. Starting last week, in the first few days of Black Panther «s highly - anticipated theatrical release, some Twitter accounts started trying to spread false accounts of attacks at screenings of the movie.

The expulsion of the disgraced comedian and film director isn't a first for the Academy — it kicked Harvey Weinstein out of its Oscar club in October.

Although the films Alibaba Pictures Group has invested in like So Young (by actress - turned director Zhao Wei, who is also a major shareholder of the company) and Tiny Times (by popular writer Guo Jingming) have recorded remarkable box - office revenues, the company has yet to turn a profit, with a net loss of HK$ 443.54 million for the first half of last year.

As he began his film career, the director grew obsessed with telling the Noah story from that perspective — and employing the power of modern special effects to portray Earth's first apocalypse.

In fact, Paulist Pictures» Romero may be only the first of several films about the assassinated prelate; for example, director Gillo Poncecorvo (The Battle of Algiers) reportedly has a Romero project under way (tentative title: The Devil's Bishop) But however many such films are made, none is likely to be as much a labor of love as Romero was.

In fact, Paulist Pictures» Romero may be only the first of several films about the assassinated prelate; for example, director Gillo Poncecorvo (The Battle of...

We first meet them as Ryan decides to pull over a Lincoln Navigator in which yuppie film director Cameron (TerrenceHoward) and his wife Christine (Thandie Newton) are engaged in a bit of horseplay.

Chocolate Milk: The Documentary counters this habitually negative narrative as award - winning director and producer Elizabeth Bayne, MPH, MFA explores the racial inequities of breastfeeding in her first feature - length film.

Abby Epstein, the director of Lake's documentary, said she planned on having her first child at home, but complications gave the film an unexpectedly dramatic climax.

First of all, Corbyn was filmed telling his communications director Seumas Milne: «Seumas, I'm not sure this is a great idea.»

First, they can show feature films in the proportions that their directors intended; on 4:3 screens, either some of the side of the picture must cropped out, or it appears in a letterbox, with black bands above and below.

He is the director of the upcoming film Bread Head, which is the first documentary to cover the science of dementia prevention.

This Oscar - winning intense drama is the first in a trilogy of films by respected writer / director Ingmar Bergman.

By keeping the films inextricably linked through its core cast (Cruise, Rhames), while preserving its currency with self - contained plots and a constantly changing vision through the varying styles of its directors, the M: I gravy train remains unfettered 20 years after first exploding inside a tunnel.

Director David Fincher («Alien3») and first - time screenwriter Andrew Kevin Walker generally handle the material quite well, but so much of the film is so distasteful that it is difficult to recommend.

As schematic as a popular entertainment needs to be yet refreshingly devoid of significant lulls in the action — for exposition, weapon reloading, lovemaking and the like — the film is fast, smart and single - minded, providing not only a satisfying bang for the ever - beleaguered moviegoing buck but memorable debuts for first - time feature director Mimi Leder and fledgling film studio DreamWorks SKG (Steven Spielberg, Jeffrey Katzenberg and David Geffen)-- as well as ringing confirmation that George Clooney is indeed a movie star.

Justin Timberlake and John Goodman also star for first - time director Robert Lorenz, who has produced many of Eastwood's recent films.

The first «American» film by the director of Time of the Gypsies is every bit as bizarre and imaginative as his earlier work, although it's also maddeningly indulgent and erratic.

Where the first film was something of a teen horror film, the follow - up, again from writer - director Stefan Ruzowitzky, is more of an unintentional comedy.

One of his first film roles was for director George Bloomfield in CBC's Paradise Lost.

The unanimously - praised film with a modest budget of $ 23 million deservedly won seven Academy Awards, including Best Picture, Best Director (the first for Spielberg), Best Cinematography (Janusz Kaminski), Best Adapted Screenplay, Best Original Score (John Williams), Best Editing (Michael Kahn), and Best Art Direction.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

But the second part also created another possibility — simply that director David Yates wanted to put all the boring and meandering moments of the book into the first film and then deliver a thrill ride giving the franchise the fitting finale it deserves.

Writer - director Ruba Nadda is wonderful at building up suspense for the first half of her latest film.

In 1959, slightly weary of being ignored by callous Broadway producers and casting directors, Constantine appeared in his first film, The Last Mile (1959), thereby launching a cinematic career that has endured into the mid-1990s.

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.

Filmed on location in Italy and Spain and shot in brilliant Todd - AO and Color and directed by the great British director Carol Reed, Charlton Heston and Rex Harrison (in their first and only film together) give two of the screen's best performances.

FYI, Gary Ross didn't leave for the second one, they started the process of building the second one before the end of production on the first film, so they always had a second team (including director) already in place.

Some things that probably factor into the industry's disagreement: Peter Jackson adapted books fifty years old and respected as great literature, the Potter books were being written alongside the first movies; Lord of the Rings centered on adult characters and played to a wider audience with PG - 13 ratings, the first Potter movies were PG, skewed younger, and starred kids (though anyone can see the films matured and so did the fans, many already wrote the series off); finally, where Jackson provided one distinct vision and a cast of respected performers, Potter had a rotating director roster (all of them secondary to Rowling) and limited opportunities for its accomplished actors, giving the brunt of the work to the three kids and spectacle.

Expect a similar amount of confoundedness over «Under the Skin,» the first film from writer - director Jonathan Glazer («Birth,» «Sexy Beast») in a decade.

This feels like the best way to explain the prevailing attitude and atmosphere of The Hobbit: An Unexpected Journey, the first in director Peter Jackson's three - film adaptation of J.R.R. Tolkien's The Hobbit.

It's clear that Killer's Kiss requires a great deal of patience from the viewer, as much of the movie's first half suffers from the feel of a rather unimpressive student film - with director Stanley Kubrick exacerbating this feeling by suffusing the proceedings with needlessly ostentatious visual choices.

On the first day of production on Hank Moody's latest movie «Santa Monica Cop,» Stu has brought back his «F — king and Punching» director in hopes of creating a cinematic masterpiece, but Hank's rendezvous with the film's leading lady puts his relationship with Sam in jeopardy.

From the poster and an early first glimpse of the film, it looks to be another piece of brutal, bloody, stylized mayhem from the man who brought us the Pusher Trilogy, Bronson, and Valhalla Rising, and won best director at Cannes (where he could be returning this year) for Drive.

The second film's success was perhaps even more staggering than the first: The Godfather, Pt. 2 garnered six more Oscars, including a win for Coppola in the Best Director category; Robert DeNiro won his first Academy Award in the Best Supporting Actor field; and the movie itself became the first and only sequel ever to win Best Picture honors.Next, Coppola began adapting the Joseph Conrad novel Heart of Darkness, transferring its story to the heart of the Cambodian jungle at the height of the conflict in Vietnam.

Take a Pulitzer Prize - winning author's first original screenplay, attach a respected director whose last film was considered a disappointment by many, and add a cast that includes Michael Fassbender (one of the highlights of that disappointing film), Brad Pitt, Javier Bardem, Penelope Cruz, and Cameron Diaz, and you have a solid formula for one of the most anticipated films of the year.

Jeunet, the imaginative French director behind such films as Amélie, Micmacs, and The City of Lost Children, turns to Reif Larsen's novel The Selected Works of T.S. Spivet as the source for only his second English - language feature (the first being Alien: Resurrection) and first shot in 3D.

First they wanted another film with Matt Damon as Jason Bourne, but Damon would only work with Paul Greengrass, the director of The Bourne Supremacy 73 and The Bourne Ultimatum 85.

The best - selling novel by J.K. Rowling (titled Harry Potter and the Philosopher's Stone in England, as was this film adaptation) becomes this hotly anticipated fantasy adventure from Chris Columbus, the winner of a high - stakes search for a director to bring the first in a hoped - for franchise of Potter films to the screen by Warner Bros..

The first film from Jonze since 2009's Where the Wild Things Are is also the first of the director's four features that he has written on his own.

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

Though it was the inaugural project of director Tim Burton, it was not Pee - Wee's first film (he'd already shown up in The Blues Brothers [1980] and Cheech and Chong's Nice Dreams [1981]-RRB-.

The director's work has been spotty, with his first film, Dawn of the Dead 58, holding his highest Metascore and his most recent, Sucker Punch 33, possessing his lowest, and lead actor Henry Cavill, relatively unknown at the time of his casting, hasn't inspired excitement in his recent lead performances in Immortals and The Cold Light of Day (maybe we can blame that on the material).

The potency of writer / director Michael Pearce's first feature film is that we understand Moll's continuing rebellion, and we can even sympathize with it.