Sentences with phrase «even film studios»

There are plenty of stories about authors who managed to find their fan base and catch the attention of publishing houses — and even film studios — after independently publishing their work.

Not exact matches

Last year, a small movie studio even released what it claimed to be the first scripted feature film ever shot and released entirely on the messaging app.

Avnet (whose father, Jon, is a veteran Hollywood director and producer as well as the studio's co-CEO) told Fortune the studio wanted to maintain the film's authenticity — they wanted viewers to think the horror film playing out in real - time might really be happening — so they avoided marketing the movie and, in fact, they did not even run the idea by Snapchat before proceeding.

If the movie theaters ever make a bigger profit, even from concessions, the studios can just raise the price of film rental.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

The studio execs at Fox were wrong about what their market demographic would find acceptable, and the bottom line of their film may have even paid a price.

Creativity will be the keyword of the evening as it will feature film screening and original live music with the performance of composer Pete Drungle on archive images from Gaumont film studio.

But the subsidies covering other costs make it easier for the films» studios to pay the actors and directors, and Nixon didn't even have to leave her hometown to shoot.

Albany, NY - New York state would give even more taxpayer money to movie and television studios that film in Upstate New York under the budget up for a vote in the Senate and Assembly.

As it turns out, «'' Amy»» entrepreneur Banky Edwards (Jason Lee) has sold the film rights for his «'' Bluntman & Chronic»» comic book — which is loosely based on Jay and Silent Bob — to Miramax, and the studio greenlit a big - budget production.Before it even begins, though, the pending «'' Bluntman & Chronic»» film provides more than enough fodder for a new wave of hate - mongers who prowl the Internet, namely pimple - faced geeks who slam anything they can type about on a series of movie gossip websites.

And even with the studio push for 3D, the number of 3D films being made is a miniscule portion of the market.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

In 2013, Paramount led all major distributors in film quality, but even that studio could muster only a C + grade, thanks to a mediocre average Metascore of 58.4.

For the second straight year, Disney released better films overall than any major studio — and this time, it wasn't even close.

1080p, AVC - encoded transfer for The Disaster Artist shows off all the polish you'd expect from a modern studio picture, even one with roots in low - budget indie filmmaking (represented by the windowboxed «footage» from the fictionalized filming of The Room.)

There are striking similarities between certain, um, elements in this film and «Avengers: Infinity War» — a fluke of timing, surely; the movies don't even share a studio (yet).

Even though the studio literally made a movie about feelings, Coco ranks among its most heartfelt and emotional films.

Even including the studio's few misfires (The Fifth Estate, Delivery Man, The Lone Ranger), Disney grossed on average more than $ 170 million per release in the U.S. alone; no other studio averaged over $ 100 million per film.

There have been few better British films than Brief Encounter even at a time when our studios are taking their place in the vanguard of this great contemporary art.

Had Ferrell and his collaborators Adam McKay and Judd Apatow (who has never believed a movie could be too long) and their studio, Paramount, been thinking of their audience above all, they would have needed only one version of their film; given how great the first Anchorman was, that version may even have been good.

Even though Sony released only one positively reviewed film in 2010 and managed to boost that total to six films in 2011 (led by best picture nominee Moneyball), its overall Metascore still dropped nearly two points last year, while the studio's average Metacritic user score was also the lowest among the big six distributors.

Although it's refreshing to see a major studio take a gamble on a modestly budgeted film targeted towards adults (even if it stars one of the most bankable actors in the world), when that movie is as passively mediocre as «Focus,» you can understand why other studios have been afraid to pull the trigger.

The final straw was a disagreement between Kaye and New Line over the final cut of the film, when the studio rejected Kaye's preferred (apparently even more pessimistic) finale.

Perhaps securing distribution, even direct - to - video with a Blu - ray edition nonetheless, is reward enough, especially from a studio that has recently handled films from James Franco, Twilight's Catherine Hardwicke, Shia LaBeouf, Nicolas Cage, John Travolta, and Robert De Niro.

Even though no studio is so far confirmed to distribute the film, the sources told The Hollywood Reporter that streaming giant Netflix is eyeing it.

Following the success of last year's Million Dollar Arm, which was pretty decent, and previous efforts like Cool Runnings (brilliant), Invincible (okay) and even Remember The Titans with Denzel Washington (decent), the studio presents McFarland, a film named after one of the poorest towns in California, situated just north of Los Angeles.

Get Out was released by Jason Blum's Blumhouse productions, a studio that can easily be described as the modern - day saviour of the low - budget, major - release film, even if they most recently subjected us to the latest M. Night Shyamalan misfire, Split.

And not because of studio PR marching orders, or even because the film's plot twists are especially precious.

August has been a down month at the box office even as we head towards a Labor Day weekend that won't see the studios release a huge film.

Thanks to the obsession with blockbusters that has preoccupied major studios for the past 40 years or so, there have been many weekends where two heavily promoted tentpole films — sometimes even from the same studio — have occupied the top two slots at the domestic box office.

If I were to list the prominent cast members, I'd reach reach the studio mandated word - count before even beginning to detail my spoiler free thoughts on this film.

Long before the Noir period started, sound on film ushered in several great series of detective movie series where the lead was usually a bright crime solver, but the gumshoe, gritty detective was not far behind and Noir kicked in just in time for that kind of investigator as the classical detectives (Charlie Cahn, Mr. Moto, Sherlock Holmes, The Thin Man) were on a roll that even defied studio expectations.

And of course, Pixar isn't even the first animation studio to make a film about Dia de Muertos: 20th Century Fox Animation beat them to the punch with 2014's Book of Life.

Taking it in context as to when this film arrived, it's no wonder the Coen Brothers took Hollywood by storm, even if they did so on their own terms and largely outside of the studio system, a move that has allowed them to keep final cut on their films ever since Blood Simple.

Midnight Special is the sort of personal, ambitious mainstream film that seems to have all but evaporated from studios» release schedules, which makes the fact that it was a commercial dud even more upsetting and dispiriting.

Even hough the upcoming film may be working against a spoiled storyline, Terminator: Genisys has the endorsement of the original Terminator director, which the studio seems to be using for a marketing advantage.

To make a prequel to the genuine American 1939 classic film The Wizard of Oz is a huge risk, even for the Disney studios.

The video features footage of Boyd performing the song in the studio, juxtaposed against footage from the entire six - film saga and even some behind - the - scenes footage.

That could work for a studio that doesn't have interest in spending much money on a film that didn't cost even over $ 60 million to actually make, marketing excluded.

The casting choices are also a liability, with Kunis laboring to look even slightly domestic or even just lived - in as a character with a long history with a one - dimensionally self - centered husband and two precocious kids that look like they were freshly pulled from the Movie - Kid rack at the film studio prop store.

As a supervillain, Thanos solves a problem even Marvel Studios, the Kevin Feige - led movie studio owned by Disney (aka, the «Devourer of [Media] Worlds»), has fitfully overcome over the course of 10 years, 18 films, and 30,000 visual effects (someone actually counted).

Again, it's a miracle this film was even made at all with all the references to Disney properties (with the studio choosing not to sue producers) and the guerilla shooting style, but that's what has people buzzing about the film.

Of course, you can expect even more when Warner treats the film to an Extended Edition release, which will probably be shortly before Thanksgiving or Christmas if the studio sticks to the playbook.

Pratt is an actor who now finds himself in the enviable position of being the focal point of a number of high profile franchise films (including next summer's dino - riffic «Jurassic World «-RRB- and one of the rare actors who can find even the most jaded filmgoer actually looking forward to those giant studio confections.

His films reflect all of this and more, rooted in unfettered emotion and steeped in style, running the gamut from small studio pictures to micro-budget contemporary fables, like Ray Meets Helen, which premieres Friday at the Quad, with Rudolph and actors Keith Carradine and Samantha Mathis in person for the evening show.

Still, part of the reason why The Big Heat looms large even in the incomparably rich spectrum of cinema that is film noir is its recognizability as a studio re-creation (specifically, mid-Fifties Columbia, as Man Hunt represents early - Forties Fox craftsmanship at its highest).

It was one of those rare times when a major film studio — United Artists, in this case — allowed him to make pretty much anything he wanted, even a sophisticated and very personal British movie about an openly gay Jewish doctor sharing his lover with a woman.

The two essays are surrounded by the studio's usual bevy of film and disc credits and even a column of vintage classified ads.

The Oscar - nominee (for Alexander Payne's «Sideways») returns to the multiplex after a part in the hit religious film «Heaven Is for Real» from last year, while having previous appeared in a mix of indie and studio projects that range from «George of the Jungle» to «Lucky Them» and even «Spider - Man 3.»

A haunting scene involving Rudd interacting with an elderly woman searching the burned remains of her home sticks out like a sore thumb (in a good way) and gives the film a unique shape that distinguishes it even more from Green's studio work.