Sentences with phrase «first experience of the film»

«I probably have never been as excited about a new play as I was when I read that,» Smith told Deadline's Joe Utichi at Deadline's The Contenders London event, reflecting on her first experience of the film's source material.

Not exact matches

Brenda Chapman, an animation writer - director with a storied career (Disney's The Lion King, DreamWorks» The Prince of Egypt), made headlines three years ago when she penned a New York Times op - ed addressing her painful experience being removed as the first female feature film director for Pixar's Brave, a mother - daughter fairytale she created, and replaced by a male colleague.

Most of all, the experience has been gratifying, as God has taken the story he first caused to be lived out in my experiences, and now is blessing others by its retelling in this first - class feature film.

Nevertheless, Chasnoff says, «The experience of engaging in the mainstream media about our film like that was one of the first times that the topic ever surfaced in the mainstream media.»

Inspired by the film Return to Zero — the first Hollywood film to tackle the taboo subject of stillbirth — this is a poignant, inspiring anthology that offers much - needed insight into the unique, shattering, and life - changing experience of losing a child.

The hills are alive... During the first of many backpacking trips, Gazzaley shot 70 rolls of film, including this view of Otago Peninsula on New Zealand's South Island, and experienced a sense of connectedness with nature that he'd never felt before.

Fun Fact: One of Rob's first experiences with yoga presented itself when he was asked to participate as a yoga student in the filming of The Ultimate Yogi with Travis Eliot.

In this first - ever IMAX 3D space film, audiences will travel 220 miles above Earth at 17,500 mph to experience the making of the International Space Station — the greatest engineering feat since landing a man on the Moon.

After several seasons» worth of stage experience, Schiavelli made his first film appearance in Milos Forman's Taking Off (1971) playing a pot - smoking support group leader by the name of... Schiavelli.

I would like to say that this film would make a good example of how visual effects look on a home television experience for a rental, but I still think the better recommendation for that would be the first film.

Anyone who can still remember what happened after that fateful knock in the first film will have a pretty strong idea of what's to come and whether it's an experience they'd care to endure again.

The first feature from Rupert Goold, artistic director of London's Almeida Theatre, the film owes a dramatic and stylistic debt to Capote, another stage veteran's big - screen debut about the complicated relationship between a prisoner facing a murder rap and the writer looking to capitalize on his experiences.

Although I have gotten emotional over films with dogs as a central part of the film before, Megan Leavey is the first canine centric film I've watched since I became a dog owner myself, and it became an extremely moving experience.

The first clip throws you off at first but eventually the change in sound, the obvious body doubles, and the funny give and take between the different films; it really is a guilty pleasure kind of experience.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

Next is Into The Wild: The Experience, 17 minutes of talk with the same individuals from the first feature, this time examining what goes into 8 - months of filming over 30 different locations, and how that filming in practice mimicked McCandless's rough - and - tumble experiences - also enthralling subject matter, and also too short.

The film, which was inspired by Denis» own experiences in Africa and those of working amongst the stark Southwest landscapes of Paris, Texas, proved to be a very auspicious debut, screening at Cannes that year and earning both a Golden Palm nomination and a César nomination for Best New Director.Denis followed her debut the next year with Man No Run, a documentary about Les Têtes Brulées («the Flaming Heads»), a Cameroon band on their first French tour.

But it's still encumbered by the same narrative flaws of the first film, which the higher stakes unfortunately amplify, resulting in an ultimately underwhelming experience.

His experience is an awakening — or perhaps that should be asleep - ening, since the film concludes with Okin getting his first proper night of sleep in years.

Although it shares many similarities with the first film adaptation of the novel directed by Kon Ichikawa in 1959, Tsukamoto chose to bring some of his more traditional genre film experience to the project in order to create a more vivid portrait of the horror and obscenity of war.

Your character goes through quite an experience in the first five minutes of the film.

When it was first suggested that the theatrical release of the unique, twin - experience of «The Disappearance of Eleanor Rigby: His and Her» might require a distillation of two complementing films into a more traditional single narrative release, Jessica Chastain was less than pleased.

During the interview, Hooper talked about if he felt any pressure following up Les Miserables and The Kings Speech, the experience of making a film about transgender issues when the subject is so timely, when he first realized Redmayne and Vikander would deliver such tremendous performances, deleted scenes, how his first cut compared to the finished film, if he's conscious of making «awards» films and whether he want to break out of that, future projects, and so much more.

I attended my first Venice Film Festival this year (read about my experience at the fest) and saw a total of 26 films across 10 days.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

While the first film had a sense of newness on its side that made it somewhat effective as a straight - up shocker, we've seen all of the scary images in this sequel a few too many times to experience their original effect.

I'm so glad my first experience with this film was in Telluride; at an elevation of 8,750 ft, we're more than a mile closer to the stars, a mile closer to the exact setting the movie took place.

These misses narratively combined with other elements of Deadpool 2 make it feel like a backwards step or at the very least of a stalling of the series from the first, there's a sense here that everything's a little auto - pilot, the action too taking a backwards step from the imaginative sequences of the first film and while perfectly entertaining, this is an experience filled with nothing that would suggest Deadpool 2 is going to be a film you'll be going back to anytime soon.

When films were first shown on television, they were — arguably — poor imitations of what audiences experienced in the theater.

Crazy Donny (Giovanni Ribisi) shows up again to menace the bear; one of the main characters has a near - death experience; Sam «Flash Gordon» Jones, who enlivened the first film, seems to be wedged into the second story out of friendly obligation.

Ordinarily I would have thought that idea to be relatively distracting from the plot but in this case it really works and actually enhances the experience, when you consider how the first third of the film is written and performed.

This is Grunberg's first feature film, but he has worked as an assistant director for the likes of Peter Weir, Oliver Stone, Tony Scott and even Gibson himself, which equipped him with the experience to craft impressive set - pieces.

Along with the trade show floor that featured the latest technological advances, concession goodies, comfort seating and more to enhance the theater audience movie going experience, each of the movie studios presented a sneak peak of their upcoming films slated for release in 2012 and beyond, many which were being seen for the very first time.

Yes, there are first rate special effects to be experienced throughout this final film, but they've paled in comparison to their own feats, and there's still a nagging sense of watching endlessly manipulated imagery that tends to make attention wane.

The experience of watching the film is forever changed and one wonders just how much more enjoyable it may have been were the events that unfold at the end of the first act a surprise.

Goodwin joined directors Byron Howard («Tangled») and Rich Moore («Wreck - It Ralph»), and producer Clark Spencer («Wreck - It Ralph») to help introduce fun scenes from the film that included the fox pulling a clever con at an elephant - run ice cream parlor where he first meets the rabbit, and a segment that aptly illustrates every driver's least favorite experience of waiting at the DMV (Department of Mammal Vehicles) with all the employees portrayed as sloths.

With our own experience of the books (hey, we have nieces) being that # 2 is actually the best of the trilogy in expanding the mythology to a more resonant plane while still retaining the visceral excitement of the first, and with the director who'll be responsible for the taking the franchise home now in the hot seat (Francis Lawrence, replacing Gary Ross), we're hopeful for a film that at least partially deserves its inevitably blockbusting box office, and the trailer makes it look like it may.

Such rules would normally be frowned upon (and even ignored by many), but in fact, this film does such a masterful job of paying homage to the first, while enhancing the characters and story, that we are eager for every viewer to experience it with fresh eyes and clear mind... no matter how tempting it is to talk about!

The two Brat Packers» fond recollections and candid observations do not give us a definitive first - hand account of production but they do give us insight and another fun way of experiencing the film anew.

The boisterousness of the film's finale, with its sieges and rescues, its lightning bolts and flash floods, relieves what would otherwise be an almost unbearably sad evocation of what is least preservable about youthful experience: not so much the loss of that «innocence» that is such a hackneyed motif of modern American culture (and for which summer camps have always been a favored location) but the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it, an intelligence that can conceive everything and realize only the tiniest fragment of it.

It's hard to even call it a film, as it consists mainly (90 %) of scenes lifted from the first two Boogeyman pictures, strung together as the psychic experiences of narrator Annie (Kelly Galindo) in sessions overseen by shrink Dr. Love (Omar Kaczmarczyk).

«I am a Flatbush girl», first - time feature director Eliza Hittman said proudly at the world premiere of It Felt Like Love in the Next section (it later went to Competition in Rotterdam), and, while not entirely autobiographical, the film draws from her experience of growing up in this largely working - class neighbourhood of New York City's most populous borough, of these endless summers where you have to escape to the sea with your friends for fear of melting like the asphalt under your feet.

It was one of my first REAL foreign film experiences in my high school film class and it's always stuck with me since.

Both films employ a conspiratorial, first person voice - over together with a potent mix of surreal realism and exceedingly black humour to invest the experiences of their anti-heroes with genuine pathos.

Following the Michael Peña Q&A, we'll segue into a film that first earned buzz at last year's Toronto International Film Festival (if you're keeping track, that's a day of films that premiered at SXSW, Sundance, Berlin, and TIFF — capturing the spirit of CCFF in the way it's designed to bring the international film festival experience to Chicago).

Still, I'd be a hypocrite if I denied enjoyment of individual sequences, especially those in the first half of the experience, much of it set in and around Paris, Texas (though it was actually filmed in and around Austin).

That film heralded a new era of PG - 13 action cinema, one that could be enjoyed equally by children, their parents, and young adult geeks looking to experience the innocent excitement many of us first felt while reading superhero comics.

The first film tracked the development of their friendship as their own high school experience was flipped upside down: Schmidt, the lonely geek, found himself in favor, while Jenko, the popular jock, found himself on the outside looking in.

She noted that even with her experience in television and having directed episodes of «Buffy» and «Girlfriend's Guide,» making her first feature film was still something new.

Unlike other films in the subgenre, this isn't a series of CliffsNotes or the greatest hits of a former first lady's life, but rather an entirely subjective, visceral, upsetting and sometimes beautiful experience.