Sentences with phrase «film material set»

Many of Bill's works combine rare archival film material set to contemporary music.

Not exact matches

Currently, in most production processes in which there is printed ink on plastic films, the material is rejected for not complying with the final specifications required or simply because they come from the initial settings for the commissioning of the machinery.

Having already directed the first two (and superior) X-Men films, Singer shows a level of comfort with both the material and the cast, and he contributes at least one brilliant comic set piece in which new mutant Quicksilver (Evan Peters) lays waste to a kitchen full of security guards in languorous, Matrix - style bullet time (it looks gorgeous and has the slapstick choreography of a Three Stooges routine).

Heder scored better on all fronts by voicing Reginald «Skull» Skulinski in the Steven Spielberg - produced, CG - animated family film Monster House, a spooky and funny romp about a home that begins devouring trick - or - treaters, and the three youngsters who set out to stop it.The November 2006 release School for Scoundrels returned Heder to live - action material.

Tom Wilkinson steals the film as Tuppy, the elder, wealthy bachelor who sets his sights on Mrs. Erlynne; he appears to be the only one correctly cast and in complete command of the material.

It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.

I scurried out to buy a copy of the book based on my experience of the film, and found it refreshingly unique; Garland says he read the source material but once and then set it aside and basically filmed his memory of the experience of reading it.

Jackson's personal devotion to this material is evident in the depths he goes to ensure his homage is accurate and stylistically appropriate for the depression - era in which he sets his film.

This time out the film is set in China, so the Middle Eastern inflections of the first score are gone, to be replaced by stuff about as Chinese as Klaus Badelt's The Promise, but like that score it's not hard to enjoy this sort of material as a kind of guilty pleasure.

What sets it apart however is the fact that the film (and possibly the source material) tells and shows everything from Maisie's perspective.

• Although I think No Country is among the most thematically rich of the Coens» film — owing in large part to the source material, Cormac McCarthy's novel of the same name — what truly sets it apart is its technical virtuosity.

It focuses more on location shooting and other practical matters of film production, and it repeats a bit of the material found elsewhere on this set, but it's still a worthwhile listen for fans.

The trailer seemed very different than the source material, but over-proliferation of zombie - related content obscures how much of anomaly this picture really is: zombies have always roamed through low - budget settings, but what if someone had some serious dime to throw down on a zombie film?

Spanning four countries and as many languages, you'd imagine there would be a wealth of material available for discussion, but the only extra on the two - disc set is a 87 - minute documentary («Common Ground: Under Construction») on the making of the film.

But editor Mako Kamitsuna has so much material to wrestle in the film's first hour that the priority must remain on the characters — plus, Rees is right not to romanticize the story's setting or circumstances.

... Entertainment Weekly unloaded a wealth of Captain America: Civil War material this week, including a cover featuring Cap (Chris Evans), Iron Man (Robert Downey Jr.) and Black Panther (Chadwick Boseman)[see here] and several new images from the Phase Three - launching film [see here and here], while we also got a glimpse at the Sokovia Accords thanks to an image from the Marvel Cinematic Universe Phase Two Blu - ray box set [see here]...

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

Borrowing from Takashi Miike's Audition (seminal J Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.

That's certainly a shame as you would think the film's second appearance on the format would present the perfect opportunity for Disney to provide some good in - depth bonus material the way they did for their two movies and to some extent, last summer's Season One box set of «The Muppet Show.»

Both are absolutely essential to the success of their respective films (both set in UK prisons), elevating already strong material by sheer force of charisma and their ability to bring tons of capital - T truth.

Each film owes a great deal to its source material: the action is largely confined to a single setting over the course of a few hours, and the narrative is driven almost entirely by dialogue.

«Preparing for Battle» (11:09) is the set's only mention of the board game, with cast and crew sharing their experiences and the film being discussed in relation to its source material.

But dialogue and setting in this movie are finally less important than certain facts about its production: according to the movie's press materials, both Chan and director Stanley Tong «finished the film on crutches,» and two stuntwomen as well as actress Francoise Yip broke their legs during the motorcycle tricks.

The scenes set in the rolling hills of the Irish countryside — the greens and purples coordinated, improbably, with Swank's wardrobe — are obvious draws in HD, but for demo material I might choose the film's finale, set inside an empty Yankee Stadium where, in one deep - focus shot, you can clearly make out each individual seat in the upper deck.

Included is an excellent new audio commentary by the always informative film historian / author Troy Howarth; an additional audio commentary by director Peter Duffell and author Jonathan Rigsby; a new 10 - minute interview with second assistant director Mike Higgins; A-Rated Horror Film, a 17 - minute vintage featurette about the film featuring interviews with director Peter Duffell and actors Geoffrey Bayldon, Ingrid Pitt, and Chloe Franks; the English and Spanish theatrical trailers for the film, both in HD; 4 radio spots; an animated image gallery with 68 stills containing on - set photos, promotional materials, and advertisements; and a collection of Amicus radio spots and still galleries for Asylum, At the Earth's Core, From Beyond the Grave, Madhouse, Scream and Scream Again, Tales from the Crypt, The Beast Must Die, The Land That Time Forgot, The Mind of Mr. Soames, The People That Time Forgot, and Vault of Horror.

Spielberg instantly plugs into the sugar - rush milieu of the source material, eliding exposition, character, and setting in favor of a quick succession of «Hey, I recognize them» cameos, as though the entire film were cast from a Funko figurine catalog.

Two documentary features, a «conversation» with Sisterhood author Ann Brashares and «Fun on the Set,» are obviously taken from the film's EPK materials for the theatrical release, but they do offer some substantial information on the origins and success of the book series and the journey to film.

Bonus materials include: Twist by Polanski (a documentary from director Roman Polanski's point of view), Kidding With Oliver Twist (the young stars share their experience while filming Oliver Twist) and The Best of Twist (a look at the sets, costumes, photography, editing and music of the film).

As mentioned, the fine tuned track listing saturates the film, and it is recreated here with solid bass, jangling trebles and sex - laden vocals that feel authentic in live settings, and smooth with as obvious overlapped material.

Director David Robert Mitchell's follow - up to his breakout movie, the creepily elegant horror film «It Follows,» is something of a change of pace: When a young man (Garfield) befriends a mysterious neighbor at his Los Angeles apartment complex (Keough), and she disappears the next day, he sets off on a surreal search for her through a La - La Land populated, in the words of the film's publicity material, by «dog killers, aspiring actors, glitter - pop groups, nightlife personalities, «it» girls, memorabilia hoarders, masked seductresses, homeless gurus, reclusive songwriters, sex workers, wealthy socialites, topless neighbors and the shadowy billionaires floating above (and underneath) it all.»

Tim Grierson at Screen International: «In some ways, The Good Dinosaur is one of Pixar's most conventional films... But that template sets the stage for a mythic, visually resplendent treatment of familiar material, as first - time feature director Peter Sohn wrings considerable emotion from a tale that's part Western, part Incredible Journey - style adventure.»

Not quite as mired in nostalgia as its source material — or, at least, more expansive in the references in which it is mired — Spielberg's film is probably a more appropriate setting for the subject matter than Ernest Cline's novel.

With so much cultural, historical and sociological material to cover along with the arcs of two sets of female characters, the film often seems like a progression of talky scenes that must fulfill any number of obligations.

Blu - ray exclusives will be familiar to loyal Universal customers, beginning with three core U-Control features: a Picture in Picture option that includes cast and crew interviews, set footage, and pre-production art (like storyboards); the Bourne Dossier, which give access to high - tech superspy information technology (like pop - up Agent Status, Character Dossiers, Field Reports with «GPS - enhanced satellite views of the locations,» and other «top secret training material»); and Bourne Orientation, which jumps out of the film to provide literal orientation (globally speaking) and figurative orientation: information about what's driving Bourne at key junctures in the story (answering that eternal actor's question: «What's my motivation?»).

The best material comes at the hands of Whitlock's captors, whose motives are clever and timely for the period in which the film is set.

We actually filmed a lot of the movie on set just for reference material for the animators.

This box set includes the theatrical versions of the films (not the extended versions), plus a wealth of bonus materials.

When the upcoming comedy «The Hangover Part III» wrapped production in January, Warner Bros. was left with tons of used plywood, joists, furniture, faux brick and other materials from the film set.

But what has always set apart the Marvel films from their peers is their loving adherence to the source material.

... Ahead of its home entertainment release here in the UK next Monday, Marvel has dropped details of the special features and deleted scenes set to be included with Avengers: Age of Ultron, while we've also had a sneak peek at some of the bonus material thanks to a featurette entitled «Designing New Powers» [see here], along with the film's blooper reel [see here]

The centrepiece of the supplementary material, a «Black Ops Field Manual» superimposes a running tally of the casualties (it maintains such fidelity to context that the «injured» count is lowered after the corresponding character is «killed»), including intermittent freeze - frame analysis that describes relevant traumas; the 96 hours from Kim's kidnapping (ending at «00:01» — the moment she is rescued from total ravagement — in true movie - countdown tradition) and the distance Bryan travels throughout the film in miles and kilometres (beginning with his treks around Los Angeles, before the plot is set into motion!)

Along with a Blu - ray copy of each of the films (Batman Begins, The Dark Knight and The Dark Knight Rises), the 6 - disc set includes these bonus materials:

«Bonus material includes a collection of behind - the - scenes, making - of stories, including a conversation with directors Joachim Rønning and Espen Sandberg; a sit - down with the two young newcomers who play Henry and Carina; the secrets behind the menacing new villain, Salazar, and his ferocious ghost sharks; an on - set visit with Jack's first mate from all five films; a chat with Sir Paul McCartney who appears as Uncle Jack; and a discussion about the franchise's legacy; along with hilarious bloopers, deleted scenes and memories from producer Jerry Bruckheimer's photo diary.»

A ten - minute clip (or shorter) from a film like The Story of the Weeping Camel from Mongolia might suffice to create a powerful discussion prompt on geography and language, on different perspectives about material luxuries, survival, family, how loved ones are cared for, being kind and considerate, what different living environments look like and how they are built, and how kids play or entertain themselves in different settings.

During a lecture, demonstration, or film, informal cooperative learning can be used to focus student attention on the material to be learned, set a mood conducive to learning, help set expectations as to what will be covered in a class session, ensure that students cognitively process and rehearse the material being taught, summarize what was learned and precue the next session, and provide closure to an instructional session.

Therefore, do not submit any unsolicited creative works or ideas, including, but not limited to, games, films, television shows, videos, audio recordings, music, scores, images, drawings, artwork, sketches, written materials, novels, stories, scripts, storyboards, treatments, comics, plotlines, dialogue, characters, settings, scenes, textures, designs, code, inventions, concepts, plans, marketing concepts, or any other works, ideas, or intellectual property (collectively «Material») to Square Enix.

They are well known for constructing subjective databases of narrative material and making fragmentary miniature film sets with lights, video cameras, and moving sculptural elements to create live cinematic events.

His video work «Field - note 25-01-16 (unintended anthropometric and behavioural study material)» consists of footage from VHS tapes that were abandoned in a dusty corner in the storage of a film set in Mexico City.

Woman on the Run — a large tableau of architecture, sculpture, film, video, neon signs, audio and materials drawn from everyday life — provides a film - noir - like setting for a crime story in which a mysterious woman in Arizona is sought for questioning in the murder of her husband.

Yet the popular cultural fear of the spider reinforced in films such Arachnophobia (1990) sets up a duality inherent in a work structured on contradictions: it is both repellent as a cultural memory and attractive as a glistening material presence.