My favorite shot of the film is the opening one in the psych ward — long continuous take, no audible dialog, set against disorienting synth music.
Features: The Blu - Ray release of The Witch contains a director's commentary track with Robert Eggers where Eggers dishes on everything from the technical making of the film to working with the performers to which are his least
favorite shots of the film.
Not exact matches
When we were
shooting the book trailer for Simply Vibrant, we took some time to
film a few process cooking videos for some
of our
favorite recipes in the book.
Reichert wrote about Return
of the Jedi, his
favorite childhood
film, and his reappraisal is rigorous, self - reflexive, and heartfelt — that is, very Reverse
Shot.
No Escape — This was very cool; the cast and crew talk about the aesthetic
of the
film (the way it's largely swallowed in darkness) and director Fede Alvarez gets into one
of his
favorite scenes to
shoot, which was the fight in the basement that he
shot in black and white.
Being the
film buff that he is, I had to ask him some geeky questions... and now you can watch Wright while he reveals his
favorites movies
of 2017 (so far) and also the
film that his friend Quentin Tarantino made him watch prior to
shooting Baby Driver.
This haunting, surreal
film is one
of my absolute
favorites,
shot outside Munich in the rococo splendors
of the Nymphenburg Palace and the Amalienburg.
The Tale
of the Princess Kaguya: Isao Takahata's
film, likely the last production by Studio Ghibli's two masters (Hayao Miyazaki's The Wind Rises lost to Frozen last year), probably has no
shot at Best Animated Feature (How to Train Your Dragon 2 is the heavy
favorite), but if it did somehow get the prize, no win on Oscar night would make us happier.
Directed by David Cronenberg (Scanners, Videodrome, The Fly, Naked Lunch, Crash), adapted from John Wagner and Vince Locke's graphic novel by screenwriter Josh Olson,
shot by the British cinematographer and Cronenberg's
favorite collaborator Peter Suschitzky, enhanced by the score
of another Cronenberg's career - long partner Howard Shore, A History
of Violence is a gorgeous
film with a dark heart and a message that's impossible to shake.
Those
films had a light touch, and so does «Trumbo,» which opens with a
shot of the Oscar - winning screenwriter working on a script in his
favorite location: the bathtub.
The three
films in question were
shot over three consecutive years (released in 1974, 1975, and 1976), and they all star Wenders»
favorite actor, Rüdiger Vogler, as an itinerant lost soul, traveling across Germany (plus America, in one instance) in search
of something that's never quite defined.
With her character becoming an instant
favorite after the
film's release, it was no surprise Marvel asked her to appear in one
of their One
Shot short
films, Agent Carter, which was included on the Iron Man 3 Blu - ray.
«Strangers on a Train: The Victim's P.O.V.» looks into the
shot uses for Laura Elliot in the
film (one
of my
favorite shots).
At a recent roundtable interview, Anderson and production designer Adam Stockhausen talked about how the project first came together, what inspired the story, the influence
of Viennese writer Stefan Zweig's work on the multi-layered storytelling approach, their collaboration on the vision for the movie, how they created this rich, lush cinematic world and brought the audience into it, how Anderson cultivated a communal atmosphere on set and made available a large selection
of books and
films to the cast during production, Stockhausen's
favorite day
of shooting, and the challenge
of using different aspect ratios.
Not content with being one
of our
favorite working cinematographers, Reed Morano (who
shot films and TV shows including «Kill Your Darlings,» «The Skeleton Twins» and «Looking») moved into directing this year, and more or less aced it.
One
of my
favorite filmmakers, Darren Aronofsky is gearing up to
shoot his fifth feature
film in New York City in just a few weeks.
Like all
of Haynes»
films (my
favorites: «Carol,» «Far from Heaven»), «Wonderstruck» is beautifully
shot, with the 1920s sequences in velvety black - and - white and the 1970s scenes in worn - soft browns and yellows.
John Wick was hands - down my
favorite action
film of 2014 (and that's saying an awful lot for a year that also had The Raid 2), and that was largely because
of the slick style and cleverly (and clearly)
shot action sequences that Leitch and Stahelski brought to the table.
It's the little notes that he hits that are more memorable than the broad ones like the look on his face when he sees Peppy's new
film opening in a much bigger venue than his own or the way he can't move past the young lady as they try to
shoot a dance number (in easily one
of my
favorite scenes
of the year).
(He also
shot my two
favorite films of 2014, Selma and A Most Violent Year.)
And Topsy - Turvy is one
of my
favorite of all Mike Leigh's
films because, except for the actors who appear in it, it resembles no
film he had ever
shot before.
One
of my
favorite scenes in the
film and definitely my
favorite to
shoot.
After battling several problems regarding the
film's eerie theme, historical context and
shooting location, Eggers and co. finally finished his directorial debut, the main subject
of which is about witches (his
favorite area
of knowledge since childhood) and the horror they bestow upon a farmer family.
It's unclear which part
of the state the
film will target, although it's worth noting that Emmett - Furla Films is the same company behind such recent New Orleans -
shot features as «Fire with Fire» and «Lay the
Favorite,» both starring Bruce Willis; «Freelancers,» starring Robert de Niro and Forest Whitaker; and the just - wrapped «Broken City,» starring Mark Wahlberg and Russell Crowe.
Paths
Of Glory — One of my favorite, and one of the least misanthropist, of all of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
Of Glory — One
of my favorite, and one of the least misanthropist, of all of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of my
favorite, and one
of the least misanthropist, of all of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of the least misanthropist,
of all of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of all
of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of Stanley Kubrick's
films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake
of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction
of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of the battle, a long tracking
shot of the horrors of trench warfare, is one of the most powerful scenes he ever sho
of the horrors
of trench warfare, is one of the most powerful scenes he ever sho
of trench warfare, is one
of the most powerful scenes he ever sho
of the most powerful scenes he ever
shot.
The first surf
film shot in 4K, View From A Blue Moon follows the world's most dynamic surfer John Florence and his closest friends from his home on the North Shore
of Oahu to his
favorite surfing destinations around the globe.
The
film,
shot in the same chiaroscuro lighting characteristic
of Leroy's paintings, begins with Leroy leafing through his
favorite books and speaking animatedly (in French) about Cézanne.