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.
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.
Fast forward to today, and DigiSpecMedia have recreated the
film,
scene - by -
scene (or as good as given limitations) using Assetto Corsa «s new
Dream Pack 1 content, which just so happens to include the McLaren P1 and the ribbon
of tarmac infamously known as the Green Hell.
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.
Assayas uses music, mostly classical, the clouds
of the
film's title, and his weighty lines spoken by his talented actresses (particularly Binoche) to create a
dream - like
film arcing from one revelatory
scene to another.
The cover story, «Grade B — But Choice,» is devoted to an obscure 1934 musical called «Young and Beautiful,» featuring «budding starlets, grade - A character actors, grade - B musical numbers, a pair
of vaudevillians, a look behind the
scenes of Hollywood, bogus appearances by Charlie Chaplin and Buster Keaton and a script by Dore Schary» [later famous as a producer
of films such as «Crossfire,» «Mr. Blandings Builds His
Dream House,» «They Live By Night» and «The Red Badge
of Courage»].
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 drea
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 drea
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 drea
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.
Hathaway's short but blistering performance is the highlight
of the
film, especially when she sings
of a
dream she once
dreamed as she suffers a nervous breakdown — a truly stunning
scene that justifies Hooper's approach.
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.
«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.
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.
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.
On Disc One, which contains the theatrical version
of the
film, there's Cholo's Reckoning, an interview with actor John Leguizamo; Charlie's Story, an interview with actor Robert Joy; The Pillsbury Factor, an interview with actor Pedro Miguel Arce; Four
of the Apocalypse: The Zombies
of Land
of the Dead, interviews with actors Eugene Clark, Jennifer Baxter, Boyd Banks, and Jasmin Geljo; the
Dream of the Dead IFC TV special with optional audio commentary by director Roy Frumkes; deleted footage from
Dream of the Dead; a set
of deleted
scenes (titled The Remaining Bits on previous releases); the
film's theatrical trailer; and a photo gallery with 111 images.
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.
Like «The Disaster Artist,» this
film takes us behind the
scenes of a real - life catastrophe based on
dreams of stardom, hopeless miscalculation about their own abilities, and a distorted, media - fueled idea
of reality.
Despite showcase
scenes of Jiro's
dreams and test flights, The Wind Rises in some ways Miyazaki's most grounded
film.
Bayona almost single - handedly rescues the
film, with «conventional»
scenes that manage to be unnerving by the little touches added by his off - kilter visualizations and,
of course, the truly spectacular
dream / story sequences.
While Ahmed and Schreiber make those
scenes very watchable (they're fine actors), they really clash with the rest
of the
film — I would have much preferred to just watch Changez» journey from seeker
of the American
Dream to teacher
of the new Pakistani
Dream.
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 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.»
The rest
of the
film follows suit by stuttering between two children playing hooky, a cute waitress (Melanie Doane) flirting with a drifter while
dreaming, Steve Earle - like,
of getting out
of Dodge, and
of an investigation
of a possible serial killer who leaves black swan feathers at the
scenes of his crimes.
, 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!»
A SOW focusing on some key
scenes from Shakespeare's A Midsummer Night's
Dream, including activities where students reimagine part
of the
film as a science fiction.
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 of.
join sarah burns
of how to get away with murder and the
film slow learners and aisha as they wax both awkward and prolific about playing alone,
dreaming big, living large,
scene stealing and going toe to toe with viola.
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.