Sentences with phrase «films and performances staged»

Not exact matches

The Miracle Worker ran for over 700 stage performances before it was adapted as a film, earning both Bancroft and Duke Oscars for reprising their stage roles.

The theatre features state - of - the - art film projection as well as a large stage ideal for panel discussions, Q&A's, and live performances.

James» physical presence and dedication to a truthful performance has given him the pleasure of appearing in over 50 feature films, in numerous television projects (both episodic and long form), and on the New York stage.

In 1983 Phillips went to film school in Los Angeles for a year but decided to follow his heart and stick to music and stage performances.

More film, television, and stage work followed, but Tyson did not truly become a star until her Oscar - nominated performance in the Depression drama Sounder (1972).

Modine was nominated for an Emmy for his performance as aloof AIDS researcher Don Francis in the 1993 TV movie And the Band Played On, and continued to accept occasional stage roles in between his film and TV projecAnd the Band Played On, and continued to accept occasional stage roles in between his film and TV projecand continued to accept occasional stage roles in between his film and TV projecand TV projects.

Some of the biggest and brightest stars in British comedy appear in this performance film, which documents a revue staged by John Cleese of Monty Python as a benefit for the human rights group Amnesty International.

After getting overshadowed by Forest Whitaker in «The Last King of Scotland,» James McAvoy takes center stage here with a nimble, natural performance that beautifully navigates both the humor and sincerity of the film.

Continuity and growth are tricky things to consider when you're talking about a film role as opposed to a stage performance.

At the Q&A after the film, the director and writer, Damien Chazelle took to the stage and talked a bit about J.K. Simmons performance.

During last month's 7th Annual Deadline's The Contenders awards season event at the DGA Theatre he joined me on stage with his director Joe Wright to discuss the film and the towering performance in front of a packed house of AMPAS and key guild members.

The actors — many with considerable stage experience and minimal film work — deliver strong naturalistic performances, especially leading man Lamothe, whose Roque smoothly charms the ladies and sweeps us along whenever he speaks, while holding in reserve a restive intensity we glimpse in his pensive eyes.

But the play was a deeply religious work, metaphorical, the imagery of man merged with horse essential to its message, so while Richard Burton and Peter Firth gave excellent, Oscar nominated performances in the film, the picture never quite captured the power of the stage play.

Grace Jones: Bloodlight and Bami lets us get to know the legendary musician and see her stage performances specifically for the film.

Jesus Christ Superstar Live in Concert is both stage production and filmed performance of stage production.

Featuring a fantastic score of 17 all - new songs, Shrek The Musical was filmed on stage to capture the magic of a Broadway performance and stars an amazing celebrated cast including Brian d'Arcy James (Shrek), Sutton Foster (Fiona), Daniel Breaker (Donkey), Christopher Sieber (Lord Farquaad), and John Tartaglia (Pinocchio).

Staged as a three - handed chamber piece between Winstead, Goodman and Gallagher Jr., the film hinges on the performances of its cast.

«One of the final stages of the process was having a print of the film prepared with the music stripped out for the live mix; the mix in the rehearsals and concert being a constant conversation between the on - stage performances, the film's audio and the room's acoustics, requiring a huge amount of skill and awareness of the moments where a particular element (be it the music, dialogue or sound effects) needs to come to the fore, or be shaded off to make way for another layer.

Most of the women winners — most prominently among them Nicole Kidman and Laura Dern for their performances in Big Little Lies, and Reese Witherspoon for her producing — spoke about the issues at hand when up on stage, many of them having brought women's rights advocates who work outside of the film industry with them to the show, as a sign of solidarity and support.

Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor.

Overseen by Keith Clark, a trio of making - of featurettes kicks off with the longest of them, «None of Them Are You: Crafting Anomalisa» (30 mins., HD), a comprehensive overview of the production that includes stills and audio from a performance of the original «sound play» (which also featured Tom Noonan, David Thewlis, and Jennifer Jason Leigh, with the film's composer Carter Burwell conducting an orchestra off to the side), shedding light on its unique staging.

Perhaps with someone else at the helm Jersey Boys could have had the pop and crowd - pleasing pizzazz that the stage show is said to but the film turns out to have more in common with your dull, run - of - the - mill biopic than it does an energetic stage show, and without the quality performances that can at least make the former bearable on occasion.

The film is at its best pre-interval, when director Mohit Suri stages some creepy sequences free of the burden of exposition; when he and writer Shagutta Ratique have to deliver some explanations in the second half, the decent performances by Ranaut and Hashmi are crushed under the weight of overly contrived plotting and some distractingly lackluster (if still better than the first film's) effects work.

Add to these a very rough sense of storytelling, and there's really not much going for the movie with the exception of a few strong performances and some obvious but still enjoyable attempts at bringing elements of the stage to film.

As with the film's earlier segments, these scenes are ably staged and benefit from Gerwig's smart, appealing performance, but they add nothing either to the story or the character.

This observation isn't meant as a criticism specific to this film — Get On Up provides good performances and its manipulation of time works well to contrast the various stages of Brown's life in a unique and engaging way.

After collecting some celebrity testimonials on The Room from the likes of Kristen Bell, J.J. Abrams, Lizzy Caplan, and Adam Scott, the film opens in 1998 at a San Francisco acting class where Sestero (Dave Franco, the director's younger brother) meets Wiseau (James Franco), a bizarrely - fashioned, curiously - accented loner who disarms the class by writhing around on stage and shouting «Stella» in a performance inspired by Tennessee Williams» A Streetcar Named Desire.

Stage Beauty (2004) 3/5 I had expected a great deal from Richard Eyre which stars two great actors (Claire Daines and Billy Crudup) early in their careers and thought the film is entertaining enough and the performances, particularly from the leads, are excellent, the film as a whole is rather underwhelming.

Directed by Paul McGuigan (in a decisive change of pace after «Victor Frankenstein»), the film offers a «My Week With Marilyn» - style gloss on the life of the great, oft - neglected stage and screen actress Gloria Grahame (Bening), who won an Academy Award for «The Bad and the Beautiful» and who is perhaps best remembered now for her heartbreaking performance opposite Humphrey Bogart in Nicholas Ray's 1950 noir masterpiece, «In a Lonely Place.»

Already an esteemed figure on the London stage during the 1980s — his 1986 performance as the seductive schemer Valmont in Christopher Hampton's Les Liaisons Dangereuses was hailed as an all - time West End and Broadway great — Rickman achieved global success as a film actor relatively late in life, following his memorable turn as terrorist Hans Gruber in 1988's Die Hard opposite Bruce Willis.

The nightclub stage will feature nightly performances, including a TheWaveVR DJ set by actor Tye Sheridan, who portrays Wade Owen Watts in the film, and musical sets by Them Jeans, FM - 84 and Bird Peterson.

While Sherman's direction is kind of oafish (though who knows how much of this is attributable to the fact that the film's comedic aspects were toned down by its financiers in post-production, leaving what must have been sizable gaps in approach), with montage simply not his forte (he bungles a chase episode involving a family taking a detour through Potter's Bluff), he derives performances from his cast that elevate wafer - thin characterizations and stages the climax brilliantly, placing an unexpected emphasis on the moving image.

Not since Brando had a performance unleashed such lethal, unapologetic, muscular power — and Brando was the figure De Niro was evoking with his cheesy nightclub act in the film's final stages.

There has been word of a Cannes premiere — a 2011 release was potentially on the cards before a late switch - up so the film's probably close to ready — with the leading trio's band, The Twylight Zones, also continuing to convene regularly and give promises of a performance at some stage in the future.

The truly spectacular action sequences never falter, more seamlessly blending live - action performance and stunt work to CGI marvels: a rampaging battle staged on the side of a building and a runaway train sequence easily trounce the efforts of the first film, and Raimi's effects team (again supervised by John Dykstra) also subtly improves upon the hero's web - slinging transit high above the city streets.

(PJ Norman courtesy Sundance Institute) The Brooklyn feminist performance artist Narcissister will star in her film / stage work Organ Player, which will be presented in the New Frontier Films and Performances program of the 2018 Sundance Film Festival.

It is gloriously bereft of the cynicism that has sapped so many stage - to - film adaptations from achieving the heights of their source material and features some of the most striking performances in the history of the genre.

From its sketchy screenplay to its uninspiring score by Benj Pasek and Justin Paul to its showy but shallow performance by Jackman and its oddball staging of musical numbers (one is actually performed by Efron and Zendaya while they're twirling on ropes and spinning dizzyingly as in a Cirque du Soleil routine), the film does little to advance the cause of musical motion pictures.

Once Forman stages his first recreation of bits from Kaufman's standup act, the film sets into cruise control, offering reenactment after reenactment of keystone events and performances in Kaufman's career (including his infamous «feud» with wrestler Jerry Lawler), with few moments of downtime in between and even less dramatic momentum to string it all together.

And to think she began her film career — after several acclaimed stage performances in her native Australia — as a bit character named Mrs. Haines in the crime series «Police Rescue» in 1993.

Peter McRobbie does solid work to as Pop Pop, in a less showy performance but one that also packs in its fair share of horror and threat in the film's later stages.

The film ultimately belongs to Riggan, who suffers repeated humiliations (learning a drunk Carver probably wrote a prized note, having to wander Times Square in his underwear after a mishap with a stage door, and getting a lambasting from Lindsay Duncan's cruel critic) while the voice of his movie alter - ego prattles in his head about the actor's failures, and Keaton, whose performance finds the right balance between longing determination and outright insanity.

The long takes — seamlessly stitched together by editors Douglas Crise and Stephen Mirrione — also inform the film's dialogue between stage and screen acting: while the actors are clearly acting for a camera, the duration of shot gives the performances the sustained intensity of theatre, the best of both worlds.

Working with his most trusted collaborator, Denis Lavant (who turns in an Oscar - worthy performance), Carax sets Holy Motors in a cinephile's wet dream fantasy land, where a man pops in and out of various characters, various stages of film history, and multiple storylines revolving around love, loss, family, and coming home.

It is a cliche that eyes can be the most important and expressive part of a great film performance (the close - up is, of course, the great equalizer and film's advantage over the stage), but then you see someone like Therese Belivet in Todd Haynes» masterful Carol and you understand how cliches become cliche.

His charisma and range are extremely impressive and he brings such subtlety, depth, and truth to every performance (believe me; I have seen them all (film anyway, not stage)-RRB-.

Nina Franoszek returns to voice Frau Irene Engel having previously voiced Irene in Wolfenstein: The New Order and acted in a live action short film titled Wolfenstein: Liberation of London in performances that always makes for a believable ruthless villain having also starred in stage productions, TV series and films.

Just a few feet from where we're sitting is a full filming studio fitted with motion - capture cameras, suits, a performance stage and an editing suite, where the game was created.

Ballroom Marfa is an independent contemporary cultural arts space which supports emerging and established artists working in the visual arts, film, music and performance and in particular, on projects that would be impossible to stage in traditional gallery or museum settings.

His interdisciplinary practice combines painting, sculpture, and performance, and merges disparate fields and influences, from interior and stage design to film and comics, exploring desire, memory, and estrangement in contemporary domestic and commercial culture.