Sentences with phrase «film someone 's working on»

The scheme offers film artists a unique opportunity to make artistic film works on arts subjects.

DO N'T list every short film you worked on in college.

Arnby's film works on many levels and is more than a simple genre film.

In describing the relationship, McKellen quoted the first film he worked on with Condon, saying, «There's a wonderful line in «Gods and Monsters» where James Whale, the English film director living in Hollywood says, «Making movies is the most wonderful thing in the world: Working with friends, entertaining people.»

There are a few missteps — such as a car accident that is filmed from an unnecessarily confusing angle, and an ending that doesn't quite work — but overall this anti-John Hughes teen film works on most levels.

It's a dizzyingly reflexive concept that could be too self - involved to really connect, but as our reviewer discovered, the fragmentary, impressionistic «Cameraperson» (often employing off - cuts of films she worked on) actually builds to «a surprisingly emotional and heartfelt film... Humanity permeates [the film], so as experimental as it is, it's also stirring and poignant, with a tangible sense of empathy intact in every frame...» [A]

Although it is better known today as the last film worked on by stop - motion animation from creature - creator Ray Harryhausen (Jason and the Argonauts, The Golden Voyage of Sinbad), it is in the imaginative scenarios, colorful villains, and nicely developed action scenes that this Desmond Davis (Ordeal by Innocence, Girl with Green Eyes) directed fantasy shines.

In the work of New York - based artist Alejandro Cesarco, I am reminded of his most recent film work on view as part of his exhibition, Song, at the Renaissance Society at the University of Chicago, which was revisited, restaged, and recomposed.

She co-wrote Frances Ha and Mistress America, two films we worked on together that Noah Baumbach directed.

In an interview Rudolph helpfully singled out an Altman film he worked on as assistant director, The Long Goodbye — a much better film, one that can accommodate in its gallery of gargoyles a tragic figure like Sterling Hayden's alcoholic novelist as well as a nightmarishly comic one like Mark Rydell's Jewish gangster.

This underappreciated yet undeniably effective horror film works on a variety of levels (hell, even the late, great Roger Ebert gave the film four stars!)

ABOUT NICK HARTEL A fan of the big screen from the age of four, Nick Hartel has always had a fascination with how film works and how film work on viewers.

With three films he worked on coming out this year - «The Avengers», «Cabin in the Woods» and «Much Ado About Nothing» — his asking price is get to skyrocket but Lionsgate could negotiate a good deal to land Whedon's signature.

However, Baker really got attention for the next film he worked on, An American Werewolf in London, for which he received an Academy Award and a lot more attention and kudos.

The artist films her work on a green screen, carefully directing her cast of characters to make movements, perform dances, or spell out her «video alphabet.»

Edwin Burdis has begun filming his feature length operatic film work on Britain, for which he has been awarded an Arts Council Bursary.

This exhibition also re-presents a colour data stream from Changing Everything in 1998, made from footage shot in the 1990s around the South London Gallery, alongside film works on 14 monitors.

The repetition of an action within certain boundaries is similarly thematized in the three film works on display.

It's a raw record of the after - dinner talk between one of the world's greatest directors and his greatest actor, both in their early 70s, punctuated by clips from the five films they worked on together — Tire - au - Flanc (1928), On Purge Bebe (1931), La Chienne (1931), Boudu Saved From Drowning (1932), and Tosca (1941).

The film works on a very meta level, and by the end of it, I can't believe their relationship, or * what * their relationship was, was even up for debate.

The emotional investment, fully rounded characters, and engaging events that are needed to make the film work on all fronts simply isn't there.

The film works on multiple levels — as a supernatural thriller (though explicit paranormal elements are limited to a hallucinatory dream sequence and the final shot of the baby's eyes), as a psychological thriller about a paranoid pregnant woman who imagines herself at the centre of a conspiracy, and as the last word in marital betrayal, since the most despicable villain here is surely Guy, who allows his wife to be raped by the devil in exchange for an acting role.

AVC: The Exorcist does take the priests and their beliefs fairly seriously, which is probably one reason the film works on so many people.

He is a guy who is so good at what he does and he and I worked so closely to figure out how to make this film work on this budget, along with the producers and line producers.

Tinged with a romanticism that's not immediately obvious, the film works on many levels.

We never see even a foot of the film worked on by Gilderoy.

The film works on many levels, which is a testament to its director's steady guidance.

This film works on so many different levels to the comic it is pleasantly surprising.

He's since gone on to score all of Aronofsky's subsequent films, in addition to working with directors like Park Chan - wook, Barbet Schroeder, and Ben Wheatley (whose J. G. Ballard adaptation High - Rise, featuring a score by Mansell, opens next week), enlivening the films he works on with his characteristically refined yet visceral musical sensibility.

The film works on three basic levels, as a comedy, a cat - and - mouse chase, and a family drama.

Myriad CEO Kirk D'Amico explained, «We have to make both films work on their own, both for the buyers but also for the audiences.

Whatever the thing is that lives in the shack — where it's tended by two hippieish, scholarly elderly people — it has an intense sexual power that has already become dangerous for Veronica, and for some reason it's now necessary for her to find it a new partner, or prey (the film works on that horror story logic by which victims of a curse, or here an ambivalent blessing, must save themselves by passing it on).

Mike Gencarelli: Out of all the films you worked on with K.N.B. EFX, pick one films that stands out as your favorite?

While it's certainly possible to find metaphors in Eraserhead's bizarre imagery, the film works on such an intensely visceral level that attempts to analyze it seem counterproductive.

But to consider it a failed experiment, or a quixotic folly, would be meaningless because the film works on terms that are entirely its own: if it resembles anything at all, it's the uncategorizable, uncanny extraterrestrial artifacts left behind on Earth by the alien visitors in the Strugatskys» Roadside Picnic.

The film works on every level but it would have fallen flat if not for the already award - winning work by the amazing Jean Dujardin.

Directed and co-written by Phil Alden Robinson, the man responsible for the equally entertaining, Field of Dreams, the film works on many levels, mixing comedy, action, suspense, drama, and even a little romance.

Anyway, this film works on sheer novelty value alone today, and because of a couple of great performances by Bob Hoskins and John Leguizamo.

The film works on several levels.

Steadily paced and bursting at the seams with humor (shout - out to Groot's «finding Yondu's fin» montage), the film works on nearly every conceivable level, from special effects sizzle reel to big studio comedy to the aforementioned family drama that Marvel hasn't yet pulled off with its Avengers films.

Carter Burwell doesn't usually write the kind of big, sweeping music one associates with Oscar scores; he settles into the films he works on and provides colors that might have otherwise been missing from their palettes — such as subtext.

The film works on several fronts, although the bulk of its success can be attributed to Emma Stone raising the level of her game.

The film works on several fronts, although the bulk...

The film works on many levels.

It isn't necessary — the film works on many levels — but the more you know about 1950s cinema, the better.

So the film works on three primary levels: loose adaptation, behind - the - scenes comedy, and literary analysis.

dialogue in the beginning, the film works on almost every level, leaving you profoundly moved — to laughter and tears — at the end.