Sentences with phrase «film edited by»

He also appeared in an anti-gay «documentary» film edited by Faith 2 Action's Janet Porter at the National Religious Broadcaster's Convention in Nashville.

The Smart Museum screened the original, 13 - minute version of the film edited by Wojnarowicz in 1986 — 87 followed by a 7 - minute additional chapter that was later found in his collection.

Not exact matches

Conversations about Corporate Social Responsibility — Episode 3 — Part 2 of 2 — Filmed by Julian Liurette — Edited by Paul Klein and Julian Liurette for Canadian Business Online 2009

Overall Event Summary Power Series Racing with Jim Burke - sub $ 1000 autonomous vehicle competition Comma.AI with George Hotz - company developing autonomous vehicles Swift Navigation with Dennis Zollo - centimeter accurate GPS PolySync with Josh Hartung - vehicle software platform Renovo with Chris Heiser - high end electric vehicle platform AutonomouStuff with Bobby Hambrick - autonomous development platform Plus a bonus video, The Race to Autonomous Driving, produced by our friends at Velodyne Thanks to Matt Cross at Frame44 for filming, editing, and producing these videos!

By registering for the conference you grant permission to pulsus Group to photograph, film or record and use your name, likeness, image, voice and comments and to publish, reproduce, exhibit, distribute, broadcast, edit and / or digitize the resulting images and materials in publications, advertising materials, or in any other form worldwide without compensation.

The birth of baby Luna at Boca Raton Regional Hospital in Boca Raton, FL with midwives Courtney McMillian and Polina Goldenberg of Boca Midwifery, who work with Dr. David Lubetkin, filmed and edited by Paulina Splechta of Paulina Splechta Photography, birth photographer and film maker based out of Boca Raton, FL..

In the film version, this logic was originally articulated by scientists in the film's opening minutes, but director Stanley Kubrick cut the interviews from the final edit.

Filmed by: Department of Media Technologies and Outreach, MPI of Molecular Cell Biology and Genetics, Dresden Edited by: Marlene Hausleitner, MFPL

I'm so eager though to share the beauty tips and tricks I have picked up over the years, that in end I thought oh, what the hell, filmed myself by a window with my ipad and didn't edit at all!

She did have some fun with post editing though by adding some special filters, like film leaks.

This whole experience from visiting Morocco again and filming DVF's Journey of A Dress in Morocco feels very special to me since my best friend Jennia filmed it for me (edited by my Wesley Mason) and to think how far I've come.

In the film, comedian Patton Oswalt plays the voice on the phone trying to help Stiller's character find love by constantly editing his profile.

Night of the Living Dead is a 1968 American independent horror film directed, shot and edited by George A. Romero, co-written by Romero and John Russo, and Bobby Lee LIVE from MADtv, Chelsea Lately and Harold & Kumar Go to White Castle at Arlington Drafthouse.

Free XXX Porn Tube at Night of the Living Dead is a 1968 American independent horror film directed, shot and edited by George A. Romero, co-written by Romero and John Russo, and

This routine film is highlighted by excellent production in filming, editing, close - ups and lighting.

The film was a questionable piece to begin with (audiences were asked to sympathize with a German spy who cheerfully sent young British pilots to their deaths), but was made incomprehensible by Paramount's ruthless editing.

Written and directed by Peter Berg; director of photography, David Hennings; edited by Dan Lebental; music by Stewart Copeland; production designer, Dina Lipton; produced by Michael Schiffer, Diane Nabatoff and Cindy Cowan; executive producers, Ted Field, Scott Kroopf, Michael Helfant and Christian Slater; released by Polygram Filmed Entertainment.

Filming started at the end of May and wrapped by late July, at which point Spielberg had just three weeks to get an edited version to composer John Williams.

Although it could use tighter editing — like most everything in this regrettably paced film — the third act reappearance of Gollum is terrific, and amplified by a go - for - broke motion - capture performance by Andy Serkis.

Directed by Marcus Nispel; screenplay by Laeta Kalogridis, based on the film by Nils Gaup; director of photography, Daniel Pearl; edited by Jay Friedkin and Glen Scantlebury; edited by Jonathan Elias; production designer, Greg Blair; produced by Mike Medavoy, Arnold Messer and Nispel; released by 20th Century Fox.

Soon Rob started a web site called Movieolla and before long was being chased by lawyers for the people who make the Moviola editing equipment that is the film industry work horse for cutting and splicing.

It's easy enough to appreciate... as a painterly near - documentary, shot and edited by a director who got his start in documentary films... or a spacious moral fable about humility and trust in following the righteous path.

Actually, there are several edits in the movie: since a reel of film was divided into two ten - minute minireels back in 1948, the internal reel - breaks are «fudged» by having a dark object briefly obscure the camera lens, sustaining the illusion that no editing has taken place.

But as the Wall Street Journal reported recently, he read the screenplay (by Liz Hannah, a 31 - year - old unknown who'd submitted it on spec) just this past spring, hired Josh Singer (who'd written Spotlight) to do a rewrite, started filming on Memorial Day, and finished editing it just a few weeks ago.

Again, the film's style is pretty frantic, but it's also refreshingly nifty, offering anything from editing snaps to comic panel and onomatopoeia bounces that Randall Miller, as director, utilized well enough to sustain a degree of entertainment value, kept up after style dies down by directorial plays on music.

A surprisingly enjoyable film about an unlikely subject that's brought to life through a clever script, understated wit, finely executed film editing, and excellent performances by Christian Bale, Steve Carell and Ryan Gosling.

Some lovely animation, superb integration of archival photographs and film footage, plus impeccable editing by Peter S. Lynch II keep Chasing Trane informative and engaging.

Witless, insultingly derivative, muddy - looking, and edited in the hammering epileptic style that marks so many films produced, as this one is, by Michael Bay.

The original's commitment to tension and tone worked far better than the slackly - edited split personality of this film - a comparison almost directly invited by slavish repetition of many of the first film's story beats.

The narrative disjointedness is not at all relieved by confusing editing, an uncertain tone, and a dragging pace that makes the film a progressively dreary experience.

Adapted from a well - known short story by Shirley Jackson, The Haunting is also a remake of the modest but genuinely creepy 1963 film directed by workmanlike industry veteran Robert Wise, who counts among his many credits the editing of Orson Welles» Citizen Kane and The Magnificent Ambersons and Oscars for the helming of West Side Story and The Sound of Music.

Devil's Island runs a scant 60 minutes, due to editing demands made by the French consulate in Washington, who felt that the film was detrimental to Franco - American relations.

A bit of impromptu (and sloppy) cosmetic surgery was also performed on this film by its U.S. distributor, with additional English dialogue scenes haphazardly edited into the already confusing original.

Reviewed by Damien Straker on the 9th of March 2018 Roadshow presents a film by John Francis Daley and Jonathan Goldstein Produced by John Davis, Jason Bateman, John Fox and James Garavente Written by Mark Perez Starring Jason Bateman, Rachel McAdams, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall and Kyle Chandler Music by Cliff Martinez Cinematography Barry Peterson Edited by Jamie Gross, Gregory Plotkin and David Egan Running Time: 100 minutes Rating: MA15 + Release Date: the 22nd of February 2018

Nothing about this film works: the camerawork is amateurish, the acting is stilted, the characters underdeveloped, the editing looks like it was done by a blind monkey, and as for the plot — the plot makes no damn sense.

Reviewed by Tim Cooper on the 18th of March 2018 Roadshow presents a film by Roar Uthaug Produced by Graham King Screenplay by Geneva Robertson - Dworet and Alastair Siddons Starring Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu and Kristin Scott Thomas Music by Junkie XL Cinematography George Richmond Edited by Stuart Baird and Michael Tronick Running Time: 118 minutes Rating: M Release Date: the 15th March 2018

Beauvois's film (the French Oscar submission, which surprised many by failing to make the Academy's shortlist) took the top prize, but it was «The Ghost Writer» that netted the most wins, with four — including two for Polanski himself (Best Director and Adapted Screenplay), plus honors for editing and Alexandre Desplat's score.

Warren Buckland, by contrast, picks up exactly these aspects which do not fit and argues that these films do indeed represent something new, something that is not classical at all; his edited collection, Puzzle Films: Complex Storytelling in Contemporary Cinema, offers a number of interesting perspectives on just what is new about these films (2).

Despite sloppy moment - to - moment editing the film's pace works well enough; this is a movie with some energy, and along with the amiable leads and just - enough - jokes script (by Freaks and Geeks» own John Francis Daley, working with Jonathan M. Goldstein, as well as Michael Markowitz) that's enough to get a pass from me.

(Ms. McKenzie edited the film; the cinematography is by Scott Moore.)

Winner of the 2015 Grand Jury Documentary prize at Sundance this past January, this film — produced and edited by women, and with a mostly - female crew — tells the story of the six young Angulo brothers, who were raised in New York City with little to no contact with the outside world.

In an interesting twist, the show was actually filmed by a half dozen fans selected via an online contest, so the footage, as edited together, courses with a free - wheeling immediacy lacking in the staid, singer - drummer - audience - singer cuts of many similarly minded concert docs.

His latest feature, «Django Unchained,» marks a few firsts for the director — including the first film not produced by Lawrence Bender (if you don't count «Grindhouse») and the first film not edited by longtime collaborator Sally Menke (who unfortunately passed away in 2010)-- and though it's hard to say how much of an effect that had on the finished product, it's easily one of his weaker movies.

Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self - consciousness, and editing that avoids editorial comment.

Produced by Netflix and Synthesis films, Making A Murderer, which follows the story of convicted murderer Steven Avery, took home four trophies, including outstanding documentary series, and nonfiction program writing, directing and editing.

That was our cinematographer Rachel Morrison, our costume designer Ruth Carter, production designer Hannah Beachler and our assistant director who was responsible for getting her team going Lisa Satriano, and post production the film was edited by Michael Shawver and Debbie Berman who is from South Africa and finished by Victoria Alonzo.

Reviewed by Damien Straker on the 27th of January 2018 eOne presents a film by Steven Spielberg Produced by Steven Spielberg, Kristie Macosko Krieger and Amy Pascal Written by Liz Hannah and Josh Singer Starring Meryl Streep, Tom Hanks, Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood and Matthew Rhys Music by John Williams Cinematography Janusz Kamiński Edited by Michael Kahn and Sarah Broshar Running Time: 120 minutes Rating: M Release Date: the 11th of January 2018

Out There was written, produced, edited and directed by award winning director Randal Plunkett, the 21st Lord Dunsany (Walt, Prey, Kiss Kiss), who most recently received awards for Dunsany Productions previous two films «Guerrilla» and «Walt» from the LIT Film Festival and Naas.

You've got a fantastic cast, with Jennifer Lawrence and Bradley Cooper having proven onscreen chemistry, yet the film sat on a shelf for almost two years and seems to have been edited by several committees working independently of each other.

A random and unexpected inclusion is The World Parade: Hawaii (9:55), a silent short film from the 1940s shot and edited by Eugene W. Castle.