Sentences with phrase «drawn film process»

Not exact matches

At a Q&A following the screening, Larson explained that the process of making the film, «felt like a really long drawn out game of laser tag.»

As in the previous films, Nolan and his co-writer, his brother Jonathan, draw on real - world issues to spice up the fantasy, and with dubious results: with its rampaging Occupy Gotham anarchists, philanthropic billionaires and decent cops who ignore due process, this is so staunchly right - wing it'll thrill all those Fox News anchors outraged by «The Muppets».

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simulation.

The film seems to be juggling quite a number of themes, drawing inspiration from many films and filmmakers in the process.

When plot foregrounds storytelling, the viewer's attention is drawn also to the telling of the film they are watching, leading to reflection on the creative process more generally.

In approaching my interview with Dwayne Johnson, Kevin Hart and Jack Black, I didn't want to ask the standard questions about what drew them to the film or how much work they put into creating their characters or even what they discovered about themselves during the filmmaking process.

Drawing inspiration from adventure films like those in the Indiana Jones or National Treasure series, the Uncharted series follows Nathan Drake, a globetrotting treasure hunter tasked with solving ancient mysteries and coming into conflict with numerous adversaries in the process.

A showcase of the hand - drawn backgrounds for iconic Japanese anime films reveals the painstaking process behind their production.

Those narrative films are frequently contextualised inside site - specific scenographic environments made for the gallery; objects turn alive within Charles» videos through a process of humanisation: using voices to draw absurd and polysemic dialogues.

After attending film school in the 1960s, Fisher worked as a commercial film editor, and his short experimental films often draw upon the behind - the - scenes aspects of filmmaking, such as the editing and storyboarding processes.

These two thought - provoking and visually stunning films draw parallels between the processes of mass production and art production.

His practice is research - based, process - oriented, and multi-disciplinary including film, photography, drawing, and sound.

The artist removes the film from its conventional context by applying different processes that range from traditional artistic techniques (painting, drawing, collage, grafitti, etching) to alternative actions such as emulsion, chemical manipulation and direct exposure of the photosensitive material to light.

It presented film as the verbal and visual representation of sequential movement (storyboards drawn on blackboards); as sound (dubbing sheets and the work Foley Artist); as projected images and as stories (in the films); and as investigations and working processes (framed materials and documents).

Vick Muniz donated the proceedings made from sales made during the filming of Waste Land to the people of Gramacho landfill, drawing attention to its poor state and changing many lives in the process.

«The Mind's Eye presents works drawn from the artist's personal archive of vintage materials and, in addition to photographic prints, includes a selection of three - dimensional photographic sculptures, films, artist's books, albums and work prints to give viewers first - hand insight into Uelsmann's creative process and expressive range.

Her artistic research involves investigating relations between concepts of silence, writing processes and listening situations in the production of propositions and sonorous publications that can be applied in installations, actions, interventions, videos, films, photographs, texts and drawings.