Sentences with phrase «experience as a screenwriter»

Given de Souza's experience as a screenwriter, one gets the impression from the finished product that he probably didn't get his way much of the time when conceptualizing this movie, as it features one of the shoddiest plots and dumbest characterizations I've ever seen for a movie of this magnitude.

«I think I was able to do that from my experience as a screenwriter.

Not exact matches

The best compliment I can give Stone as a screenwriter and director of Snowden is that he took a thoroughly challenging scenario with few cut - and - dry answers and made an accessible movie experience that effectively conveys moral outrage and dismay.

As a screenwriter with limited experience, his specialty is the crime - thriller genre: Adams collaborated on Heist (2015), starring Robert De Niro, and on Extraction (2015), starring Bruce Willis.

Norwegian director Eric Poppe (who has drawn on his own experiences as a war photographer) and his screenwriter Harald Rosenløw Eeg chart Rebecca's attempt to respond to her family's emotional needs.

Shane Black, a bright, experienced screenwriter directing his second movie, is an anonymous leader of a vast technical army, and the film's saving graces are Downey's Stark, a charming neurotic; Rebecca Hall, an old flame who seems to have taken a wrong turn but is infinitely more engaging than Stark's tiresome current girlfriend Gwyneth Paltrow; and especially Ben Kingsley, a big surprise in every sense as the villainous «Mandarin», his best performance since Sexy Beast.

Lord wrote about his experience which is now captured in «Final Portrait», a passion project for the actor Stanley Tucci, here assuming different hats as director and screenwriter.

But Stiller and screenwriter Steve Conrad reinvent Mitty as a do - nothing dreamer who unwittingly embarks on the kinds of adventures he previously experienced only vicariously through O'Connell's photography.

by Walter Chaw Editor Éva Gardos's An American Rhapsody, her first film as writer - director, is riddled with inconsistencies, lacklustre performances, and convenient platitudes that are perhaps not terribly surprising for a debut screenwriter and director, but disheartening from a veteran cutter who gained experience with the likes of Hal Ashby and Peter Bogdanovich.

An established screenwriter of such films as Scarface, Conan the Barbarian, and Midnight Express (which won him the Adapted Screenplay Oscar), Stone would cement his reputation as a director with Platoon, a drama based on his experiences in the Vietnam War.

The central problem of the picture has a lot to do with the idea that Cronenberg has again taken a pre-existing script and reordered it along distinctly Cronenbergian lines — that what must have read initially as a sociological text on another facet of the immigrant experience (much like screenwriter Steve Knight's Dirty Pretty Things) now plays like one of Cronenberg's investigations into the difficulty of parsing concepts like «normal» and «family» in the crushing crucible of bugs pretending to be human among humans.

Screenwriters Marc Frydman and Justin Stanley's idea of self - reflexivity remains one - dimensional at best: Jack merely suggests that Paul draw from real events they're both experiencing together, going so far as to pull a knife and a rifle on him in order to make the unfolding story feel realer.

It was born out of the brothers» own experiences as Hollywood screenwriters, although they themselves stress their own experiences were never as traumatic as those of their title character, played by John Turturro.

Kelly & Cal is written by Amy Lowe Starbin (first time screenwriter), who writes these characters personally, as from experience.

Jim, most known for writing Hook, Epic, Contact, Dracula, and August Rush has three decades of experience as a major Hollywood screenwriter and 20 years teaching seminars around the world.

Other contents include an essay by Karl Ove Knausgaard (presented as a removable book); 100 frames from Lotte Reininger's 1926 animation The Adventures of Prince Achmed introduced by John Canemaker; two film treatments by screenwriter Hampton Fancher (Blade Runner), based on Esopus subscribers» submissions; anonymous photographs from the collection of Peter Cohen; materials from MoMA's archives on events and installations in the Museum's garden over the past 60 years; a piece on the creative process behind the survivalist game The Long Dark; a new installment of a regular series, «Guarded Opinions,» for which guards from the Barnes Foundation discuss works they oversee; a comic book by George Cochrane; and a CD of new music inspired by «close calls» experienced by 15 musicians, including Jo Lawry, YC the Cynic and Lemolo.