Sentences with phrase «get as a filmmaker»

Not exact matches

Filmmaker Steven Schardt debuted Auto at Tribeca's Virtual Arcade, where viewers got to sit alongside Musay, an Ethiopian immigrant who can't find work as a traditional driver and must act as the safety driver for an automated vehicle.

But as a filmmaker, Toni knew one way to get answers to her questions: she got out there and started asking them.

It's clear virtually from the get - go that filmmaker Todd Phillips is looking to transform this true - life tale into a Martin Scorsese - like crime drama, as evidenced by War Dogs» less - than - subtle visuals and almost paint - by - numbers rise - and - fall structure.

The script, co-written by Bahrani and veteran Iranian filmmaker Amir Naderi from a story by Bahareh Azimi, makes no attempt to present Carver as anything but a pale - suited Satan from the get - go.

Forster finds a nice way of visualizing this last quirk by showing Harold surrounded by shifting diagrams and mathematical equations, but in one of the film's many missteps, these visual effects show up only sporadically throughout the rest of the story, as if the filmmakers couldn't decide to either fully utilize them or get rid of them after paying the special effects studio a lot of money to create something so nifty - looking.

The feature debut of writer - director Aimee Lagos, the film feels overstuffed and overcooked, as if the filmmaker were trying to get too much out all in one go.

While getting some good laughs at the expense of the rich and superfluous (Landecker, in particular, is cartoonishly funny with her big hair and bigger shoes, as is her Transparent co-star Jay Duplass), the filmmakers and actors also make an effort to not completely demonise them.

Inevitably, this tense comedy dips into tragedy, with our fearful intelligence agencies getting everything wrong and the filmmakers using their rare access to chart each mistake as it happens.

It's just as clear, however, that the film's incongruously languid pace stands as an almost insurmountable obstacle virtually from the get - go, as filmmakers Jon Hurwitz and Hayden Schlossberg have employed an episodic structure that becomes more and more problematic as the thin narrative unfolds - with the ongoing emphasis on subplots of a decidedly underwhelming nature (eg Jim's continuing efforts at resisting the advances of a sultry neighbor) compounding the movie's increasingly lackluster atmosphere.

The result is not nearly as clever as director Tom McGrath (Madagascar) and a couple of inexperienced screenwriters (Alan Schoolcraft and Brent Simons) would have us believe, but I've got no doubt that audiences will nonetheless reward the minimal efforts coming from these filmmakers.

As the script begins to unravel the secrets of Miguel's ancestors, the film gets bogged down in its over-plotted family melodrama, with the last third in particular feeling like the filmmakers are running down a narrative to - do list.

Ashby's instincts are so off throughout Lookin» To Get Out that he only accentuates his major weaknesses as a filmmaker - plot twists, slapstick, chase sequences and lots of screaming that eschews any character development or scenes of insight.

Moonlight, which announces Jenkins as a major filmmaker, gets you good.

But when female filmmakers try to simply tell stories they want to tell, they get pigeonholed as «niche» or «special interest.»

It's a promising setup that's employed to curiously (and consistently) uninvolving effect by director Stanley Kubrick, as the filmmaker, working from a script cowritten with Terry Southern and Peter George, proves unable to wholeheartedly capture the viewer's interest right from the get - go - with the movie suffering from a stagy, talky vibe that grows more and more problematic as time progresses.

That gap, though, seems as if it was enough time for the filmmakers of «The Strangers: Prey at Night» to get it right.

There's little doubt that Water for Elephants gets off to an exceedingly promising start, as filmmaker Francis Lawrence, working from Richard LaGravenese's screennplay, opens the proceedings with a modern - day sequence revolving around an older Jacob's (Hal Holbrook) arrival at a contemporary circus.

The first time we hear Etta James crooning «At Last» in Let the Sunshine In — the surprising new romantic comedy by French filmmaker Claire Denis — it's ill - timed background music drifting through a bar as the love - hungry artist Isabelle (Juliette Binoche) is getting her heart broken.

Then «Just a Guy Leaning on a Wall: Getting to Know Tommy» (7:12) obviously focuses on Wiseau, as a pointless on - set Q&A between Franco and Wiseau is supplemented by talking - heads with cast and crew and some of Wiseau's better - known admirers, as they explore the filmmaker's mystique and work.

Obviously alotting more work, and money, towards getting an ensemble cast — as opposed to garnering producers with emphasis on purpose and ingenuity — the filmmakers, here, create a product that is not the least bit unique; it's a generic label laden with followed genre - specific cliches, bawdy humor, and disjointed direction.

Penn, as a filmmaker, has never met a moody pause he couldn't over-extend, but he's got a real flair — for visual suspense, for landscape, for holding his actors in the throes of slow - motion breakdown.

... Okay, so it's kind of lame to forcibly cite this film as nerdy to the point of getting a star with a surname that sounds kind of like «Edison», but the filmmakers had to have some corny joke somewhere in the casting, for it's not like Edison has been earning enough attention from, well, anyone to get a gig even this low in profile.

Penn, as a filmmaker, has never met a moody pause he couldn't overextend, but he's got a real flair — for visual suspense, for landscape, for holding his actors in the throes of slow motion breakdown.

The ensemble of mostly no - name actors includes «ICarly» alum Nathan Kress as the VP's other son, a kid who refuses to put down his video camera even in situations where he's about to die, and Matt Walsh (Mike on HBO's «Veep»), as the head storm chaser / filmmaker obsessed with getting incredible footage at all cost.

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

It's like a get - out - jail - free card for any filmmaker with a nasty streak, as they can proceed to punish the lead characters in unfathomable ways without asking the audience to feel too guilty for relishing in their suffering.

It looks like The Silver Linings Playbook just got a nice boost, and The Promised Land too, as The Independent Filmmaker Project just announced they will be the recipients of career tributes at the 22nd Annual Gotham Independent Film...

They never get enough attention on the Red Carpet and, as an aspiring filmmaker, I think they deserve a lot more notice.

And little indie Blue Valentine sees its director, Derek Cianfrance, finally getting some recognition as Most Promising Filmmaker.

During this 1 - on - 1 phone interview with Collider, actress and filmmaker Heather Graham talked about wanting to make a movie celebrating women and friendship, the biggest challenges in getting this film going, having her voice heard, as a female filmmaker, what she most enjoyed about playing Honey, putting together this cast, funny moments on set, what she enjoyed about the experience of directing, her hope to do it again, juggling three different writing projects, and doing the British TV series Bliss, from David Cross.

Östlund has hit a home run with Force Majeure (I realize that reference doesn't make sense but who cares), not only bringing to Cannes one of my new favorite genre - bending dark comedies, but I'm now a fan of his work as well, and I get to explore his past films and learn just how talented of a filmmaker he really is, while keeping an eye on his career.

The last half - hour or so gets a bit forced, as the filmmakers find ways to nudge Charlotte and Granville together in ways that aren't entirely convincing.

This is all pretty early going and distilling the various trade reports, it appears to be on wishlist territory with Christian Bale, Ben Affleck, Matt Damon and Bradley Cooper all on the whiteboard as people the filmmakers might approach if they can't get their first choices.

But none of them feel as if they are willing to take much in the way of a risk, and while filmmakers like James Gunn and Taika Waititi seem to have had some liberty to make the interstellar exploits of the crew of The Milano and the Nordic wanderings of the God of Thunder their own, it was equally apparent Marvel wasn't going to allow them stray too far afield in a way that would make getting to Avengers: Infinity War more difficult than it needed to be.

The filmmakers of Get On Up were smart: They rose to the challenge by casting Chadwick Boseman as the «godfather of soul.»

It's clear right from the get - go that director John Huston (who co-wrote the screenplay with Peter Viertel) isn't interested in presenting both sides of this story - said Chief of Police is almost ridiculously evil, completely devoid of any redeeming qualities - but that's not necessarily a bad thing, as the filmmaker does an effective job of establishing each of these rebels (to the point where we're genuinely rooting for them to accomplish their complicated mission).

Desplechin regular Mathieu Amalric returns as the same academic from the filmmaker's 1996 My Sex Life... or How I Got Into an Argument, though the actor quickly takes a nostalgic supporting role as the movie shifts into teenage flashbacks that alternately take the tone of domestic melodrama, spy thriller and gushing romance.

The Art Of Getting By, formerly known as Homework, was both written and directed by up - and - coming filmmaker Gavin Wiesen, who's making his feature debut after a short film in 2008 called Kill the Day.

«Netflix guaranteed my complete freedom in terms of putting together my team and the final cut privilege, which only godlike filmmakers such as Spielberg get,» he said.

It took the 29 - year - old filmmaker some time to get this project to the screen, having to first develop it as a short film in order to secure funding for the desired feature - length project, but we're all lucky he pursued it to fruition as Whiplash is a marvelously involving exploration of the perils of obsession and the virtues of perseverance, played out through one of the finest - acted two - handers in years.

It's an imaginative story about a hotel concierge who inherits a fortune and then gets framed for murder, which sends the story into — as we have come to expect from this filmmaker — unexpected directions.

Steven Spielberg, considered as one of the finest filmmakers Hollywood has ever produced, gets great ideas when he is on the verge of panic.

Cinderella was re-envisioned as a lavish period piece by director Kenneth Branagh; The Jungle Book was brought to life by jaw - dropping visual effects courtesy of director Jon Favreau; Pete's Dragon got a humanistic update via filmmaker David Lowery; and Beauty and the Beast is a mega-hit, grossing over $ 1 billion at the box office.

It's about as mediocre as a studio can get these days, featuring just enough deleted scenes (seven, to be exact), two production featurettes (the making - of featurette «Plebe Year» and the boxing extra «The Brigade»), as well as a filmmaker commentary with director Justin Lin and writer Dave Collard.

The filmmakers burn up so much energy getting Chow onto criminal turf that the relationships once there are hastened towards poignancy, as when one of the thieves (Danny Lee) shows his loyalty to Chow by starting and engaging in a Mexican stand - off with the remaining gang members.

Which is to say that there isn't another American filmmaker alive who could get away with creating something as brash, overblown and sporadically brilliant as the eighth film by Quentin Tarantino.

The Kasdans eventually found Mac; for Freeway's fate you'll have to see the movie, but it's hard not to wish the filmmaker could get his mojo, as well as his dog, back.

: Ida served as a career rebirth of sorts for the filmmaker, and now that we've got an auteur friendly distrib backing the project, this larger scaled production will likely be targeted for a top tier fest such as Cannes or Venice.

Whether or not it takes an Eddie Mannix type to keep this wacky train on the rails in 2016, I am quite happy that filmmakers such as these get to keep gliding along in their own idiosyncratic fashion.

Sorry, but Cronenberg has gotten immensely better as a filmmaker since he moved away from «hard» horror.