Sentences with phrase «go about making the film»

Portman's point about the white / nonwhite binary is particularly timely given the way that Garland went about making the film.

Not exact matches

Far - right Dutch politician Geert Wilders went on trial in the Netherlands on Monday, charged with inciting discrimination and hatred over a controversial film he made about Islam.

Gone Girl may have been a terrible thesis on monogamy being impossible, marriage being terrible and all people being selfish, but it was also an amazing film that made me think hard about guarding my own marriage more closely.

And in Bolivia, where I had gone to make a film about missionary activity, the music again was Christian, and again unique.

Even while I spent six years learning about film production, I was mostly thinking about what I was going to make for dinner when I finally got back to my Upper West Side apartment.

In an interview about the film with National Geographic, Paul McCartney said: «It's actually quite fun when you look at what you do, what you eat, how you live, and think, «Is this what I'm going to do the rest of my life, or would it be interesting to try to make a change?»

When I made it for a large group of chefs, foodies, nutritionists, dietitians, a marketing maven, art director and budding film school student, everyone wanted to know about the recipe and the nutritionist and the dietitian were torn between who was going to get to take the leftovers home.

There is a whole schpiel about Atlanta's oddball economy that goes here: we're the home of UPS, Delta, Home Depot and yes, Coca - Cola, but also the home of Adult Swim, the modern hip - hop - industrial complex and the pre-demolished look and convenient state tax credit that makes filming The Walking Dead here so plausible.

SEE MORE Riquelme's greatest moments — A film is going to be made about the player Man United in awe of di Maria — Teammates can't believe how good he is (Video) Slovakia 2 - 1 Spain — Reigning champions suffer surprise loss

I had the privilege of watching this film on the Disney lot, and afterwards going behind the scenes at Disney Animation studios to learn a little bit about how the film was made from story to art to animation.

YOUR LOT - are about to make it an offence to film police officers going about their lawful business of beating up members of the public.

When introducing his latest documentary at the Tribeca Film Festival Saturday night, director Alex Gibney joked that he was leaning towards keeping the name of his «mostly finished but not quite done» work the «Untitled Eliot Spitzer Film» because he'd never before made a film where he was «so uncertain about where [he] was going... and what the conclusions would be,» given the «divisive» nature of his subject.

So tell us about the resource page that the National Center for Science Education has established for people to go to get information about the claims made in the film.

While there are amazing advances being made with stem cell technology, the film rightly cautions viewers about the dangers of going to a stem cell clinic abroad.

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

And in this moment, the film makes clear what it is that is so compelling about him — perhaps as a person but surely now, as a mythic figure who went out into the mountains and died — the very fact that Chris makes choices, informed and not, eventually irrevocable.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

«Miles Ahead,» actor - director Don Cheadle's unconventional film about the jazz trumpeter Miles Davis, is odd and audacious — in other words, the kind of movie you should make if you're going to make a movie about the revolutionary and unconventional musician.

Fish - out - of - water stories can become tiresome very quickly if they're not anchored itoeither a witty script or good performances, but at the very least., most films which go down this route at least make an effort to emphasise the differences in culture, even if it's just a passing, off - hand comment about how fast people move or the fact that there's no phone signal.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

Saoirse Ronan and Laurie Metcalf are terrific in this funny, charming and grounded film about growing up a girl from a modest family discovering herself and aspiring to more than what is expected of her, and parents making hard sacrifices and letting go.

As an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book about the making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himself.

Far be it from me to expect any sort of cerebral experience from a slasher about a doll, but it's evident that a degree of thought DID go into this, which makes its overall failure as a horror film all the more disappointing.

When the film reaches its apparent climax, there are still 20 minutes to go, although the overwhelming finale just about makes up for that drag.

You're not going to learn much about the making of the film, because this commentary is all about the cast enjoying themselves and reliving favourite moments in the film.

The second act of the film finds Petit and his allies casing the twin towers, making sure that they know everything about the tower that's still under construction — the workers» schedules, which areas give access to staircases, which elevators are best to use... Essentially, The Walk becomes a heist flick in the middle — and like all good heist flicks, everything goes like clockwork until it doesn't.

They talk about how film, both onscreen and those they make, keeps them going, keeps them from losing their minds completely.

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.»

Emerging director Eliza Hittman makes films about the Brooklyn that isn't seen on Girls: blue - collar, unpretentious, drawn to Coney Island and gone - to - seed realness.

During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute format, whether they could have any surprise cameos (Bill Murray made a very memorable one in the film), what will determine whether the pilot is successful enough to go to series, and when they might know if they're picked up.

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.

As much as we want to believe the films will only be about Thanos and the Infinity Gauntlet, they're going to need other elements to make the films a bit more grander than other installments, with or without Spider - Man.

McDormand's inclusion rider contains specific provisions for how film productions should go about making hires for supporting on screen roles and behind - the - camera crew roles.

An under - seen gem of a film, TiMER is a film that asks the hard questions about whether soulmates really exist, if there's a chance you can have more than one and if destiny is a fabrication we make up as a comfort to when life goes wrong.

The film follows the efforts of the heroic Raqqa is Being Slaughtered Silently (RBSS), a small group of activists who have made it their mission to disseminate information across news sites, blogs and social media about what's going on in Raqqa, from the strict law to executions on the street.

Okay, so to be fair... he invented the genre, changed the way horror films are made, blah blah blah — I'm not going to reiterate what's already been said a thousand times about Romero's body of work.

However, it's somewhat unusual for a buddy cop film to make these tropes textual, not as meta - commentary but solely to be upfront about going through the motions of «story» and «character development.»

I personally would have liked to hear more about the differences between the novel and the film, and gone into more detail about the actual making of the film, but oh well.

Given that I am a fan of Smith's and hold a few of his films in high regard, I was certainly happy to go along with seeing how this film turned out, but if I had no clue about what this film was, I am pretty certain I would have thought Tusk was a film made as some sort of dare.

Artistically, one of the hardest things [about «City of Ghosts»] was that unlike «Cartel Land» where there's a sort of visual feast everywhere you went and you'd just have to make all these choices between good options of where to go, who to follow, where to be, this film was very constrained.

When I was a kid I went to Yankee games with my brother and my parents and how could I not want to make a film about the Yankees?

Based on Sandberg's short film, the film is about a malevolent ghost that only appears when the lights go out, which seems like a simple concept but it's done so effectively it makes this horror completely original and very, very scary.

Several films have already been made about the Stanford Prison Experiment, and those intimately familiar with how it went down — the internalization of roles, the abuse, the refusal of those organizing the study to pull the plug when it quickly got out of hand — won't be shocked by the details.

FRUITVALE STATION (2013)-- I'm not hating on the world guys... RIDDICK (2013)-- I'm not hating on the world that allows this movie to keep going... THE EAST (2013)-- I'm hating on the world, and cinema for this movie... MUSEUM HOURS (2013)-- Let me think about art some more... FROZEN (2013)-- Let me wish for more great musical songs per film... THE HOBBIT: THE DESOLATION OF SMAUG (2013)-- Let me wish for shorter films... CALL ME KUCHU (2013)-- Let me wish for equality... THE TWELVE CHAIRS (1970)-- Young Frank Langela makes me feel weird... TOUCH OF EVIL (1958)-- Charlton Heston is badass guys...

A few outtakes embedded herein are labelled «outtake,» a costume designer goes on like Petrie does about how drop dead gorgeous Bullock is and how scaling Everest would be easier than making her seem dowdy, and Caine, Bratt, et al describe their characters and their functions in the film.

It's almost like a standoff in a western film: you're just waiting for that one guy to make a mistake and go for his gun, slightly shaking in excitement for the bullet storm that's about to manifest.

Abrams has made a big deal that he doesn't want anyone to know much about John Harrison before the film is released, and he says the character's motivations won't be evident from the get - go.

Personally, I would love to watch the film while listening to Spielberg, Dreyfuss and gang discuss all the great old stories about the trials they went through while in the process of making history.

The visual joke about Daniel's gleaming phallus going flaccid under seismic stress is so obvious the film doesn't even bother to make it, although it spares the time to follow him after he abandons Blake in a parking garage and beats a solo retreat through the wreckage, establishing his credentials as a world - class dickhole at every opportunity.

Movies about gritty men with gritty jobs only get made when something terrible happens (see also: Lone Survivor, Deepwater Horizon), so you know going in that Only The Brave, a film about a group of wildfire - fighting «hotshots», is going to have something terrible in it.