Sentences with phrase «dream scenes in film»

When you think of standout dream scenes in film you're always treated to absurd scenes where the filmmaker is always pointing out how ridiculous the world is.

Not exact matches

Her character dreamed of getting married at the Plaza, though the wedding scene for the show was actually filmed at the Fairmont Royal York in Toronto.

Next up was NASA's Dryden Center, where camera crews once filmed a scene for the opening credits of the 1960s hit sitcom I Dream of Jeannie, in which astronaut Tony Nelson (played by Larry Hagman) walks into the center's main building.

We're not exactly sure what the former reality television star has been up to lately, as her career seems to be at a standstill since her last web series in 2011, «Dream Maker», save for filming some scenes in «Scary Movie 5» that didn't quite make it to the final cut.

Of course, ample scenes of motorcycles hurtling around corners at horrific speeds are included across the film's 104 minute running time, however the emphasis on the riders rather than the race grounds the feature in the relatable quest of chasing a dream.

But each time, that scene was revisited later in the film: the rite of succession; the Black Panther burial / dream.

Sure, he hires and fires people willy - nilly; yells at cast and crew alike; and in the film's most uncomfortable scene, engages in borderline bullying of cast member Juliette Danielle - but he's just a guy with a dream, you know?

There's a dream sequence late in the film that reminded me of something out of a Luis Buñuel film, complete with surreal visuals and butchered meat, and it's startling and alive in a way the film overall fails to achieve, outside of a few scenes.

At first I assumed that this was going to be one of Clooney's films in which he pushes his moral and political views to the fore (think Good Night, and Good Luck, Michael Clayton or Up in the Air) and whilst Governor Morris» policies are clearly left wing wet dreams, the film's portrayal of what goes on behind the scenes is so negative that it practically negates all the good work Morris hopes to do when in office.

This emphasis on complexity and a disinterest in reducing a heroine to a sad - sack victim extends to Lelio's hyper - vivid aesthetic, which drapes the film in surreal dream sequences, beautiful colors and left - field soundtrack choices like «Time» during a pivotal emotional scene.

«Flying Carpets and Bowling Pin Dreams: The Dream Sequences of The Dude» (4:20, HD) briefly discusses the movie's two fantasy scenes, with actors recalling their filming and, in older footage, the Coens citing their influences.

It doesn't quite all hold together in terms of making sense, as there are dream sequences mixed into the reality, and reality mixed into dream scenes of the film itself.

They deal with the LA scenes in a dream - like way that is reminiscent of David Lynch» sMullholland Drive but the Texan scenes have the grit and violence you'd find in a Peckinpah film.

Though most behind - the - scenes features showcase the production process once filming is underway, The Player gives us a glimpse of what goes on behind the scenes of the behind - the - scenes process, where the only dreams that come true are for the people up top — the people who feel that anyone can make a story that will entertain millions, while the lowly creators that nurtured the initial ideas are seen as little more then expendable goods hardly worth receiving input from once the studio handlers squeeze their foots in the door, symbolically getting away with murder — the figurative death of the writer in the Hollywood production process.

The Crossing Guard features a scene where Nicholson wakes up from a nightmare and calls ex-wife Huston on the phone to tell her the dream and it's one of the best scenes in the film.

Despite showcase scenes of Jiro's dreams and test flights, The Wind Rises in some ways Miyazaki's most grounded film.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailein Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical traileIn, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

Meanwhile, Francis Ford Coppola's Twixt got slammed by The Playlist, which gave it a D + and stated, «There are a few striking shots and the muted color palette during the dream sequences can work nicely, but some of the scenes that look like they belong in a DTV film.»

It's not surprising to find, then, in the voluminous behind - the - scenes footage from the documentary «Richard Linklater: Dream Is Destiny,» that on set he comes across more like a gatherer than a hunter, as if making a film isn't about slaying some beast but harvesting the small riches in one's environment.

, a feature - length documentary on the entire series (from the memorable Second Sight Films release of the film); In Search of the Hotel Broslin, a 2001 featurette with Henenlotter and rapper R.A. «The Rugged Man» Thornburn; a six - minute outtakes reel in HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!&raquIn Search of the Hotel Broslin, a 2001 featurette with Henenlotter and rapper R.A. «The Rugged Man» Thornburn; a six - minute outtakes reel in HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!&raquin HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!&raquin Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!&raquin HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!&raquin HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!&raquin the Park!»

His obsessive love will also take him to the demimonde of Istanbul film circles (where he promises to make Füsun a star), a scene of seedy bars, run - down cheap hotels, and small men with big dreams doomed to bitter failure.In his feckless pursuit, Kemal becomes a compulsive collector of objects that chronicle his lovelorn progress and his afflicted heart's reactions: anger and impatience, remorse and humiliation, deluded hopes of recovery, and daydreams that transform Istanbul into a cityscape of signs and specters of his beloved, from whom now he can extract only meaningful glances and stolen kisses in cars, movie houses, and shadowy corners of parks.

In other words, developers can create realistic, film - quality, physically - accurate scenes with lighting, shadows and reflections that capture the scene around them and account for every variable, immersing you in rich, detailed worlds that feature a level of fidelity you could previously only dream oIn other words, developers can create realistic, film - quality, physically - accurate scenes with lighting, shadows and reflections that capture the scene around them and account for every variable, immersing you in rich, detailed worlds that feature a level of fidelity you could previously only dream oin rich, detailed worlds that feature a level of fidelity you could previously only dream of.

In his absorbing short films, Los Angeles — based artist and filmmaker Kahlil Joseph (b. 1981, Seattle, WA) conjures the lush and impressionistic quality of dreams with particular reverence for quotidian moments and intimate scenes.

His final film in the series, Cremaster 3 (2002), begins beneath New York City's Chrysler Building and includes scenes at the Saratoga race track, where apparently dead costumed horses race through a dream sequence, and at the Guggenheim Museum, where artist Richard Serra throws hot Vaseline down the Museum's famous spiral ramp.