Sentences with phrase «director shot a movie»

Last time the Danish director shot a movie in Los Angeles, he made dream - pop noir from the minimalist crime sagas of Michael Mann and Walter Hill.

The director shot his movie under the radar over an exhaustive 11 - year period, so that we see little Mason (Ellar Coltrane) grow from infancy to manhood and watch the world change around him.

The director shot the movie in Ultra Panavision 70 and had it projected in the long retired 70 mm format in around a hundred theaters around the world that are designated to carry a special roadshow edit (which apparently runs 6 minutes longer than the multiplex edit).

Not exact matches

For example, a Hollywood director can bypass visual effects specialists and tweak movie shots directly.

The director confirmed at numerous screenings that he attended leading up to the movie's release that there's indeed one shot in the final cut of the film where Spacey can be seen playing billionaire J. Paul Getty.

The movie within a movie tells the story of idealistic film director Sebastian, who has finally managed to fund his dramatization of the conquista by shooting in cheap and politically corrupt Bolivia.

Of all the comments made following the tragic shooting in Aurora, perhaps the most piercing were those of Peter Bogdanovich, the Hollywood director: At first, some of the people [at The Dark Night Rises] thought it was part of the movie.

Three years ago, movie director Milos Forman, who had left Czechoslovakia in 1969, was allowed to shoot Amadeus in Prague, and for some time now Navratilova's parents have been permitted to visit Martina in Texas almost at will.

On today's edition of WBFO's Press Pass, Pat Feldballe and Buffalo Niagara Film Commissioner Tim Clark discuss prospecting at the Sundance Film Festival, an upcoming film by a director making his third movie in Western New York and a music video shot in an iconic city location.

PLANETARIUM (Planetarium) Director: Rebecca Zlotowski Cast: Natalie Portman, Lily - Rose Depp, Emmanuelle Salinger, Louis Garrel Searching for their big break, two American sisters, who earn their living through clairvoyance, arrive in 1930s Paris, where they beguile a movie - producer intent on shooting their séances as part of an ambitious new film.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

Cooper and his director of photography Masanobu Takayanagi (who also worked on the filmmaker's last two movies) paint a visually striking but harsh and brutal portrait of the scenery here, placing an emphasis on long shots of desolate landscapes and closeups of human anguish in order to create the film's dismal mood.

When Les, a young film director, goes back to his old Brooklyn enclave to shoot a movie, he has no idea what he's getting himself into.

Bobby Bowfinger, a nearly bankrupt aspiring movie producer - director, is about to take one last shot at fame and fortune.

Director Taika Waititi shows us beautiful shots of the New Zealand forest, most reminiscent in A-list movies as the bedding for Lord of the Rings.

Arranged and photographed in largely static but never dull fixed shots, the movie comes from Anna Muylaert, a former film critic turned writer - director.

Sixteen months after the blockbuster's debut, director Todd Phillips has one of this year's most anticipated movies in the forthcoming buddy road comedy Due Date, all three leads have moved past their vaguely familiar stage to a reasonable degree of stardom, the savvily - greenlit The Hangover 2 has begun shooting, and Warner Home Video has just reissued the film in Extreme Edition DVD and Blu - ray sets.

Verbinski certainly did his western - movie homework, for outside of all the rootin» - tootin» Rube Goldbergian action scenes, the director consciously evokes John Ford with his widescreen vistas of sun - baked deserts (on - location shooting took place in Utah, Texas, and beyond), and his nod to films like The Searchers with scenes of near - helpless families under attack in the wilderness.

Director Terrence Malick's currently - shooting untitled film set within the Austin music scene isn't exactly lacking in actors, but we all know that just because you shoot scenes for a Terrence Malick movie doesn't mean you'll actually be in a Terrence...

The Directing Award: World Cinema Documentary was presented to: Sandi Tan, for her film Shirkers (Director & Screenwriter: Sandi Tan, Producers: Sandi Tan, Jessica Levin, Maya Rudolph)-- In 1992, teenager Sandi Tan shot Singapore's first indie road movie with her enigmatic American mentor Georges — who then vanished with all the footage.

Speaking of the camerawork, director Pablo Larraín shot and edited this movie more like a song than a traditional film.

Director Daniel Espinosa has the advantage of shooting with, and around, digital effects that actually don't look like the last seven space movies you've seen, although the few times the script calls for a Martian's - eye - view shot, it throws you out of the movie temporarily, rather than pulling you in deeper.

Neeson's currently shooting (and punching, and kicking) the third movie in the Taken saga, and has just wrapped another thriller with his Unknown and Non-Stop director Jaume Collet - Serra, entitled Run All Night.

Blu - ray Highlight: In addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footage.

Director Canuel, who shot this in Canada where he, Plummer, and the play all originated, injects some cinematic flourishes unachievable on stage, having the film assume the look of an old black & white movie and editing together self - conversations.

Director Peyton Reed — who replaced «Shaun of the Dead» director Edgar Wright just weeks before shooting began — deserves credit for jumping aboard a speeding train, but his inoffensive finished product proves that Marvel is more interested in protecting the house style than making greatDirector Peyton Reed — who replaced «Shaun of the Dead» director Edgar Wright just weeks before shooting began — deserves credit for jumping aboard a speeding train, but his inoffensive finished product proves that Marvel is more interested in protecting the house style than making greatdirector Edgar Wright just weeks before shooting began — deserves credit for jumping aboard a speeding train, but his inoffensive finished product proves that Marvel is more interested in protecting the house style than making great movies.

Director Jaume Collet - Serra gets an assist from longtime collaborator and cinematographer Flavio Martínez Labiano who fashions some truly beautiful imagery from the Australian coast where the movie was shot.

Schenectady is where this madly ambitious neo-noir — about father and sons, motorcycles and bank robberies, and tragic destiny — takes place and where the movie was shot, super-documentary style, by director / co-writer Derek Cianfrance («Blue Valentine») and cinematographer Sean Bobbitt («Hunger» and «Shame»).

A heap of bad history, the movie rewrites the one - sided feud between the early electric power moguls Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon) into a clumsy public - domain mockbuster of The Prestige; you can almost hear director Alfonso Gomez - Rejon (Me And Earl And The Dying Girl) trying to slap himself awake as he inserts overhead shots, canted angles, zooms, and wide - angle Tom Hooper - isms into every scene.

The movie then dumps us beside a windmill somewhere in Spain, where a cynical young director, Toby (Adam Driver), is shooting a TV commercial.

The movie will most likely shoot in late 2012 after Cruise finishes his other big sci - fi epic, Tron Legacy director Joseph Kosinski's post-apocalyptic Oblivion.

You'd think that with a more concerted effort to tie in the movie version of Blade with his comic book roots, as well as having the screenwriter for all three movies actually calling the shots from the director's chair, that this third movie wouldn't be plagued by story inconsistencies and confused plotting.

While Florentine and his longtime cinematographer, Ross W. Clarkson, manage to get a few»90s Hollywood - flavored Steadicam shots in, much of the movie is composed in an anemic, impersonal style that more closely resembles Florentine's past career as a regular director on various Power Rangers TV shows than the low - budget craft of Ninja (2009) or Undisputed III: Redemption (2010).

As in most of Allen's movies from the past decade, the director ventures out of New York to shoot in a visually stunning locale that's lush enough for a travelogue.

The movie looks tremendous as well, thanks to Kore - eda's decision to shoot in the CinemaScope format, something the writer - director hasn't used before.

You pick a reliable director like David Yates, who directed four Harry Potter movies and knows how to shoot the sweeping scenic tours of landscape any movie set in Africa obviously needs.

The director creates tension by the way the movie is shot and edited along with the cinematogrphy and music.

Director Jonathan Liebesman background in horror films shines through in some genuinely tense moments, and one or two of the action sequences are well executed (a massive shoot - out on a freeway overpass is a particular highlight), but the potential of this movie is both wasted by a lack of general coherence, and then destroyed by dialogue that swings wildly from cheesy patriotic to unintentionally hilarious.

Director Paul W.S. Anderson (Resident Evil, Alien Vs. Predator, and a lot of films like those two) shoots for the sensory overload of a Michael Bay movie and falls short.

Blu - ray Highlight: There's not much in the way of special features, but if you don't mind sitting through the movie a second time, writer / director Lesyle Headland's audio commentary is worth a listen, especially for any aspiring filmmakers interested in what it's like to shoot your first feature.

The drives director Walter Salles shot for the movie took a lot longer to film - because the cast and crew had to take the back roads from city to city.

He's also savvy enough to team with artists who draw comics in the same way that Halloween director John Carpenter and cinematographer Dean Cundey shoot movies.

Best of all, the movie's in the can already, having been shot secretly over the past couple of months with director Gary Fong.

But we'll have to wait and see if Will Ferrell will star... A movie version of John le Carré's 2010 novel Our Kind of Traitor has just started shooting, helmed by veteran British TV and Nanny McPhee Returns director Susanna White, hot off HBO and the BBC's Parade's End, not to mention four episodes of Generation Kill.

«We are still exploring the themes of memories and empathy, that's still in the deeper tissue of what the movie is about and the relationship to what it means to be human,» says director Denis Villeneuve in the Facebook Live Q&A that helped launched the trailer, before feeling happy that he hadn't been shot for giving away any spoilers.

Due to availability constraints with Claudette Colbert, that is all the time Director Frank Capra had to shoot this movie.

Superbly shot by the director himself on 35 - millimeter film, the movie pulls you in immediately.

From director Jeremy Saulnier (Blue Ruin)-- formerly a cinematographer (Putty Hill, Septien)-- the movie is meticulously shot and acted, as fine a piece of cinematic craftsmanship as there is.

Guest director Joshua Oppenheimer, whose wrenching «The Act of Killing» debuted at TFF in 2012, has put together an eclectic program that includes Werner Herzog's 1970 «Even Dwarfs Started Small» (with Herzog in attendance), Jon Bang Carlsen's intriguing and obscure «Hotel of the Stars» (1981), an hour - long Danish documentary about extras who live in a shabby apartment hotel in Hollywood; the only movie directed by Charles Laughton, 1955's exquisitely - shot «The Night of the Hunter,» starring a brilliant, terrifying Robert Mitchum, and fortuitously playing in his centenary year; «Salam Cinema,» Mohsen Makmalbaf's 1995 record of auditions by aspiring actors; a new print of Frederick Wiseman's long - banned, corrosive «Titicut Follies» (1967), filmed in a notorious Massachusetts hospital for the criminally insane; and Jacques Demy's glorious, gorgeous musical, «The Umbrellas of Cherbourg» (1967), starring the glorious, gorgeous Catherine Deneuve.

After a lean stretch of indie experimentation, Altman emerged with his director's chops intact and delivered a series of great movies, from the under - appreciated «Vincent and Theo» to two Oscar - recognized portraits of Hollywood, 1993's «The Player» (complete with an Orson Welles opening tracking shot) and Raymond Carver omnibus «Short Cuts» (1994) starring Julianne Moore.