Sentences with phrase «film directors do»

The football coach doesn't need to be able to throw, and a film director doesn't need to be able to act.

What a film director does is make the statue move.

Not exact matches

Disney and Marvel obviously know what they're doing with superhero movies — they've brought some of the biggest franchises to screen — however, at the same time, making every single film need to fit inside the already established franchise starts to limit the amount of creative license any one director can have on future characters as Marvel's Cinematic Universe only grows larger.

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.

Directors and cinematographers who film there don't have to use Red cameras — but they get a lot of handholding (and preferential rates) if they do.

And now that he's the toast of Cannes, don't expect the iconoclastic British director to willingly mouth platitudes when he's asked how he likes the way the fest has taken to his film.

«I think most film directors would look at that character and instantly think CG but he [Nolan] instantly thought let's do as much practical as we can.

You've made many films and then you did return to a Western and in your 60s you won the Oscar for best director and for best picture so let's take a look at Unforgiven, really a masterpiece.

EASTWOOD: When I did the Rawhide series in the 60s and late 50s we had a lot of wonderful directors, old time film directors that had not been doing that well so they would do television and our television show would come on.

While Black Panther rode a huge wave of critical acclaim and fan excitement to the biggest opening weekend ever for the month of February (and the fifth - largest of all - time), raking in more than $ 426 million worldwide, a small number of Internet trolls still did what they could to dampen the good vibes surrounding the trailblazing film, which features Marvel's first African - American director (Ryan Coogler) and a cast led by black actors such as Chadwick Boseman and Lupita Nyong» o. Starting last week, in the first few days of Black Panther «s highly - anticipated theatrical release, some Twitter accounts started trying to spread false accounts of attacks at screenings of the movie.

«This job is working with interesting people and interesting actors — I didn't feel like I needed to be in another period drama, but this was just a really interesting director who had done a really interesting film,» says actor @douglasbooth of the @tribeca Film Festival film «Mary Shelley.»

This interstellar film from acclaimed director Denis Villaneuve did manage to score quite a few nominations, including one for Best Picture.

After determining that I was not just another moralist who wanted to influence film content, but someone who was genuinely interested in film, Shurlock relaxed and asked me a question that was very much on his mind: «We are trying to determine what to do about a picture in which director Sidney Lumet wants to include a shot of a woman's bare breasts.

In an interview with Wired about his movie Inception, director Christopher Nolan is questioned about an ambiguous scene in the film: So, there's no one right answer.Oh no, I've got an answer.You do?!

But no one has ever portrayed the magic of romance quite as, well, magically as co - writer / director Edgar Wright does in the new film Scott Pilgrim vs. the World.

The viewer notices these ideas in the film (even if the director did not intend for these to be noticed), and changes.

Speaking about the film recently in Los Angeles, Cera — who in this film, takes some refreshingly bold steps away from his usual one - note nerd persona — and co - writer / director Edgar Wright (who also did the zany cult classics Shaun of the Dead and Hot Fuzz) discussed the meaning of the film, the stretching Cera had to go through for the role, and the way in which the film's hyperkinetic action sequences are really just the same as the dance scenes in Grease or a Gene Kelly movie.

The biggest crisis of his film career came when he was cast as a cab driver; he was behind the wheel before the director discovered Abe didn't know how to drive.

As the director Richard Symons said `' the film is about the price you pay for doing the right thing.

Director Stephen Gyllenhaal has been doing some interesting things with the marketing of this film.

The film is all in Arabic and Kurdish with English subtitles, however, the mixture of grief and eye strain does make it a little hard going at times but stick with it as director Mohamed A-Daradji has masterfully handled the subject matter without falling into the obvious Saddam bashing pitfalls.

When introducing his latest documentary at the Tribeca Film Festival Saturday night, director Alex Gibney joked that he was leaning towards keeping the name of his «mostly finished but not quite done» work the «Untitled Eliot Spitzer Film» because he'd never before made a film where he was «so uncertain about where [he] was going... and what the conclusions would be,» given the «divisive» nature of his subject.

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.

Even if the near future doesn't unfold like the 2004 climate - gone - haywire film The Day After Tomorrow, scientists need to be able to produce accurate models of what abrupt change (more likely spanning hundreds or thousands or years, rather than days) would look like and why it might occur, explains Zhengyu Liu, lead author of the study and director of the University of Wisconsin — Madison's Center for Climate Research.

Irena Salina, director of the award - winning documentary film, FLOW, about the world's dwindling water supplies, thinks it can be done if world leaders, international banks, the United Nations and other governmental organizations establish cooperative agreements for the use of bodies of water, including groundwater, and economic mechanisms to make sure those who need access to water can get it.

Every time I said yes, amazing people who believed in me and who've had a bigger vision of what I could do in this world stepped forward — from my mom who went vegan with me after my fourth recurrence of bone cancer, to the yoga teachers who insisted I could become a yoga teacher too, to the talented woman who designed my website, to the director who brought together the crew for this film and made an idea a reality.

But it's good to know that I'm not alone in my horror: Director Luke Gilford has skewered the extreme ends of «wellness» in his new short film Connected, starring Pam Anderson as Jackie, a lonely spinning instructor who wants to feel more, well, connected — so she joins a wellness cult and gets wifi shot into her brain so that Jane Fonda (no, really, she does a voiceover cameo) can tell her how «limitless» she is all the time.

I did a term in film studies at college, and I like to know details, so actors / actresses names, directors, film scores.

Unlike other cinematic adaptations, «Death and the Maiden's» director doesn't hide the fact that the film is based on a play.

Days of Heaven, which brought Malick the best director award at Cannes in 1979 and is arguably his finest film, is being reissued in a new print that does justice to Néstor Almendros's magnificent cinematography drawing on the paintings of Winslow Homer, Andrew Wyeth, Edward Hopper and (in one scene of a religious ceremony in wheat fields) Jean - François Millet.

It is the director's extraordinary intuition about the synchronicity of history, geography and the physical universe — a mysterious relationship that has nothing to do with cause and effect — that gives the film and its predecessor their undeniable power.

Director James Cameron's 1986 blockbuster follow - up to Ridley Scott's Oscar winning science - fiction / horror flick that became one of the biggest grossing films of 1979 asks a good question to a successful hit... How do you make a successful sequel to a film in which much of the suspense comes from learning about the mysterious monster?

I don't really care that the story is ridiculous, Lang directed the film beautifully (Is there any other director who used contrasting shadow and light so well?)

Commentary Track: Director Anton Corbijn does spend a fair bit of time explaining the more nuts - and - bolts side of the film — how this scene was film, and where, and so on.

Equipped with a truly excellent villain (Marcel Iures), a charismatic cast and a talented visual director, this is one of those films that you can genuinely enjoy as long as you don't analyze or think too hard into what is going on.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

Now I am not sure why the writers / director told a story that really didn't have much of a resolution when I think the entire bulk of the film was exposing the problem of this relationship between the husband and the wife.

A lot of current directors try to recapture that old Amblin» Entertainment vibe in their attempts at making a family film, but Waititi has done it because he's made the perfect kids movie by simply not making it for kids.

The scariest thing to be found in this pointless horror film is that its director, Rob Schmidt, has less prowess as a genre filmmaker in his third film than Eli Roth did in his first.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

While there's nothing remarkable about the way director Gary Fleder has brought The Express to the screen, this is a solid film that does justice to Davis» legacy.

Bryan Cranston does the best film work of his career (Affleck has a way of capturing what works about AMC leading men that other directors seem to miss as this follows Jon Hamm's best film work in «The Town»).

It's clear almost immediately that filmmaker Shawn Levy just doesn't have the right sensibility for this material, as the director, known for his fluffy, decidedly comedic offerings, has infused This Is Where I Leave You with a terminally lightweight feel that grows more and more problematic as time progresses - as the absence of authentically heartfelt moments ultimately proves disastrous (ie the film possesses the feel of a glorified sitcom, for the most part).

Like the directors that so clearly inspired Affleck (William Friedkin, Sidney Lumet, among others) so often did with true stories turned into captivating entertainment, the actor / director has made such a fine - tuned, well - oiled machine of a film.

(LINK: Roger Moore talks with WWZ director Marc Forster about the film's troubled history and what he did to «fix» it.).

Cartoonish exaggeration worked for director Jay Roach in Meet the Parents and Meet the Fockers, which The Campaign resembles much more than it does his cutting political films, Recount and Game Change.

I was not looking forward to it for the director, as he has mostly done some pretty terribly reviewed direct - to - disc films, but for the likes of Sam Rockwell and Anna Kendrick as two leads.

While in New York, Bentley also sought other work, and an open casting call for Rent led to a casting director's request for him to do some reading for a small film.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

The film does use elements from other horror films, and director George Bowers steadily builds up the tension to a surprise final.