Sentences with phrase «film footage with»

Clips combine vintage film footage with voiceovers to highlight the firm's recruiting message.

He is renowned for the way he interweaves the past with the present in his films, layering archival film footage with original material, questioning old narratives and constructing new ones.

Most of her activities have been centered on E.A.T., and as Director, she continues to document the history of the organization, acting as executive producer of a series of films on artists» performances at the 9 Evenings combining archival film footage with current interviews with artists and engineer participants.

Not exact matches

And just as Patagonia's films have relied on extensive footage of Ewing and Navarro kicking ass at their various outdoor sports, Lee has wisely stocked «Journey» with plenty of performance footage, showing Jackson at his artistic peak, «from the early days of the Jackson 5 to the Jacksons» 1981 «Triumph» tour, according to the New York Times.

The voyage was one of five filmed by whistleblower Faisal Ullah and the footage he filmed, along with his witness statement, has formed part of the investigation.

I'm experimenting with filming some live - action footage to include with future recipes!

It really is a beautifully - filmed and edited video, with brilliant footage of the cars racing around the track, drivers diving into the pitlane and also interacting with fans.

Back in Los Angeles last month, Curry is shown footage of his morning workout, which was filmed for a documentary being produced on his work with Stephene.

In the film Toback, who has known the fighter for 23 years, intersperses footage from the days when Tyson seemed scared of nothing with clips from an emotional interview done while Tyson was undergoing drug and alcohol treatment last year.

Policemen with riot shields moved in to quell the trouble and footage filmed by United's players showed them cowering on the floor as they coach came under attack.

Through raw footage of empowering homebirths, candid interviews with mothers, doctors, midwives and other health professionals, and an analysis of common hospital birth practices, Lake and Epstein have created a provocative and informative film that is a must - see for all women.

Kicking off with footage of him buying a pound of tomatoes from Brixton market, the film portrayed Major's rise from humble beginnings, from Cold Harbour Lane to Downing Street.

The 10 - minute film, which features a mixture of diary camera footage and interviews with Louise, records the exact moment she shoots a wigeon and captures her immediate reaction.

The Guardian has been given an exclusive preview of the film, which includes remarkably candid footage of sensitive meetings with Labour's high command as the election campaign unravelled, as well as private telephone calls with Gordon Brown and the editor of the Times, James Harding.

«Knowing what we know now... film footage of Dealey Plaza from November 22, 1963, seems pregnant with enigmas and ironies — from the oddly expectant expressions on the faces of the onlookers on the grassy knoll in the instants before the shots were fired (What were they thinking?)

Using archival footage, the film traces Nim's life with his human mentors as they teach him sign language and explore the limits of his ability to speak.

While slow motion is typically achieved by filming scenes with a high - speed camera, Benza and his team were able to achieve the same effect by bringing the footage into Apple's Shake digital - compositing software, then retiming it using a Shake plug - in called Furnace Kronos.

Adding sound effects to an animation is still no different to dubbing it onto filmed footage: someone has to record the sound of a glass smashing, say, or trudge through a tray of gravel to mimic footfalls, then sync the noise with the action.

We're super excited and can't wait to share the short film and behind - the - scenes footage with you!

I will be updating my other social media channels throughout the day and will dedicate a blog post tomorrow with the full release of the film, design, and behind - the - scenes footage.

Composed of field testimonies and hidden camera footage, the film also features interviews with Haiti's Ambassador to the United States, Ambassador Raymond Joseph, the U.S. Department of States» Ambassador John Miller from the Office of Human Trafficking, renowned anthropologist and sugar historian Sidney Mintz, Carol Pier from Human Rights Watch, Public Interest Attorneys Bill Quigley as well as Greg Schell, and a number of activists from the field including human rights lawyer Noemi Mendez, Colette Lespinase of G.A.R.R. Haiti [Organization for Refugees and the Repatriated] and missionaries Pierre Ruquoy and Father Christopher Hartley.

The job of assembling all of this was given to film editor Fred Raskin, who, while working closely with Tarantino, cut the film to a final run time of two hours and 45 minutes, leaving almost two additional hours of footage on the cutting room floor.

Redacted and Diary of the Dead are examples of two recent films that lost some of their edge because they got too obsessed with repeatedly reminding the audience they there were supposedly constructed with found footage.

The film features archival photographs and historical footage with appearances by Allen Ginsberg, Michael McClure, Billy Collins, Dennis Hopper, Robert Scheer, Dave Eggers, and Pulitzer Prize winner Gary Snyder and other movers and shakers from the literary, political and art community.

Leaving was probably for the best, because this «Ultimate Edition,» with its 30 minutes of additional footage, certainly seems the best way to experience the film.

Fellini: I'm a Born Liar is a documentary on Federico Fellini's life and work by filmmaker Damian Pettigrew, who combines vintage interview footage of Fellini, new conversations with those who worked with him (including actors Donald Sutherland and Terence Stamp), and excerpts from Fellini's films (some of them previously unseen outtakes) to create an insightful portrait of a remarkable creative mind.

It was enjoyable but not a breakthrough composition in terms of the film, sort of just standard fare biopic montage of interviews and old photos with the main thread of the piece being the documentarian's footage of Toback's then newest adventure in film - making.

There is footage in the film — of gunfights, of meth cooks, of night expeditions into the hills along the U.S. - Mexico border — that would not be possible with the cumbersome cameras and crews of the past, with Heineman essentially going on ride - alongs as heavily armed vigilantes go about their business.

Stanley Kubrick made news a couple of years before when he filmed scenes for his Barry Lyndon only by candlelight; Malick and Almendros routinely films in pre-dawn shadow and post-sunset darkness, and come up with magical - looking footage.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

Šulík seems to almost switched into documentarist mode as he employs similar approaches in staging encounters with witnesses or survivors and in even special case, he even embeds a documentary footage to break through the veil of fiction film.

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.

This film is made up of interviews with every member of her family (and then some), as well as lots of footage from their past.

Ironically, it comes with a few moments of documentary footage of the real - life hostages returning home — the most human and touching point in the film.

But I was quite surprised as how human this film is, juxtaposing the unnerving trial footage with the moody calm of the vast farmland of Munnsville, following and listening to the Ward brothers as they speak their minds, although incomprehensibly at times, without any sardonic, subconscial mocking.

The film uses excerpts from Italian B movies, rare performance footage and candid interviews with Baker, musicians, friends, battling ex-wives and his children in what turned out to be the last year of his life.

The film intersperses live interviews along with historical footage in an enticing cocktail that I am glad I imbibed; though I admit that this topic may mean more to me since I've been down around that area many a time.

Shot down over the Soviet Union presents previously undisclosed documents, film footage and contemporary witnesses reports that provide us with an authentic image of the dramatic events of the 50s.

Made with the support of the Marley family, the film features rare footage, incredible performances and revelatory interviews with the people that knew him best.

Archival footage is combined with somewhat affected - looking re-enactments, but the film achieves its purpose: to remind us that we still have thousands of bombs, and neither they — nor we — have gotten that much smarter.

Really interesting documentary about director James Cameron and his crew exploring the remains of the Titanic with their adorable filming robots, comparing the wreck to original footage and telling the stories of the people involved in the tragic catastrophe.

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.)

With terrific interviews and archival footage, Marley is a fine film that should definitely appeal to fans of his music.

Featuring interviews with the band and never - before seen footage, the film features behind - the - scenes views of historic moments from the perspective of the band, their fans, crew and management throughout their sold - out 40th anniversary tour.

This film is made up of interviews with every member of her family (and then some), as well as lots of footage from their

This film documents Ivan Marx, one of the most notorious Bigfoot researchers, and his journey, with plenty of raw footage.

Combining newsreel footage with re-enactment's, the film captures the horror of the hostages — Americans Terry Anderson, Thomas Sutherland, Frank Reed; British citizens John McCarthy, Terry Waite; and Irish teacher Brian Keenan — as they are held by the Muslim fundamentalist group, the Hezbollah.

There's some very candid, fascinating footage here capturing the process of making the film (in, for a surprise revelation, not a real Parisian flat but a studio - built apartment replica surrounded by green screens, not at all dissimilar to David Cronenberg's use of similar magic for A Dangerous Method, not that you can tell in either film in its finished form, where the technology is seamless and unobtrusive), with Haneke working with the actors in a rigorous, nitty - gritty way that lets us see what infinitesimal precision he's looking for in performance, in movement, in blocking, and in composition.

The film blends archival footage with illuminating interview segments featuring some of Russell's colleagues and most notable collaborators, including poet Allen Ginsberg, composer Philip Glass and indie pop sensation Jens Lekman.

Mixing extensive archival footage and contemporary interviews with survivors of the era, the film gets across, quite powerfully, Allende's long courtship of the Chilean people.