Sentences with phrase «how film work on»

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.

Not exact matches

In a series of broadcasts by Britain's Channel 4, Nix was filmed making controversial statements about his firm's work on elections, including how Cambridge Analytica played a major role in Trump's presidential victory, including «all the data, all the analytics, all the targeting.»

The bestselling book and blockbuster film The Girl on the Train grittily portrayed how destructive the breakdown of a marriage can be on the party that desperately wanted the marriage to work.

In a highlight film of his career that was shown at a testimonial dinner for him last year, Marino appears on camera, full frame, with a few earnest opening remarks about how he'd like to be remembered as a team man who worked as hard as he could, and as a team leader, etc..

How did working on this film differ from other projects you've worked on?

This doesn't mean giving yourself a full - on glam makeover; it just requires that you give a little thought to how your clothing and accessories will work on film.

From there she tells how she came to be the producer for many of his films, what it was like working on Seven, which she notes was distributed by Roger Corman, Andy's penchant for casting playmates, what it was like working with William Smith and quite a bit more.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

One of the overriding questions one has while enduring a particularly awful film is, with all of the talented out - of - work film - makers in Hollywood, just how on earth did this get made?

Michele's well - regarded work on that series boosted her stock in the film industry, and, in 2003, she appeared in two major motion pictures: How to Lose a Guy in Ten Days and Dark Blue.

They've produced four films in the Shrek series (plus a Puss in Boots spin - off due this November); they're preparing a third Madagascar for next June and have begin work on a followup to How to Train Your Dragon for 2014.

It's just one example of how «Django Unchained» is one of those films that works on multiple levels, either as pure escapist entertainment or as something deeper.

New York's Museum of Modern Art has created a YouTube series, «How To See,» that features museum curators and sometimes the artists themselves delving into the work, Monitor movie critic Peter Rainer's pick for best film of the year, «The Florida Project,» is available on DVD and Blu - ray, and more top picks.

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.

Somewhat fittingly for a film that promises an adventure channeling a hefty chunk of nostalgia, the featurette allows author Ernie Cline — on whose novel the movie is based — to wax poetic about how Spielberg's work shaped his youth.

At the film's press day, actor Paul Giamatti, who's also an executive producer on the movie, talked about what drew him to John Dies at the End, his most memorable experience of the shoot, working with such new actors, how he sees the industry now, and that he doesn't think a film like Sideways would even get made today.

I think the best part of being an actor is that to me it feels like I've been in the best film school for the last twenty years because not only do I see the director work on set, I see how the producers work, I see how the DPs work, I see how the gaffers work, I see how the costume department works, I see how the production office works.

How is it working with special effects on this film?

You started hearing rumors and half - whispered, cryptic comments last year: Paul Thomas Anderson is working on a new film; it has something to do with the London fashion world in the 1950s, maybe; it will reunite him with his There Will Be Blood star Daniel Day - Lewis, potentially; it's loosely based off the life of either Charles James or Cristobal Balenciaga, possibly; the actor could be studying how to be a real - life tailor for the part, we think.

The whole antimatter issue from the film and its accuracy are discussed by actual CERN members, and there's a focus on just how their research works.

The visual pyrotechnics are nicely balanced with a focus on the emotional beats of the story and the film works largely because its three young principals have finally learnt how to act.

She talks about how these familial connections fuel her own work on stage and film.

Vittorio Storaro comments at some length on the color symbolism in Bertolucci's The Last Emperor, which he shot, demonstrating more critical insight into how the film works and what it's about than we are likely to find in reviews, and there are similarly revealing commentaries from Michael Chapman about the iconographic and stylistic sources of Raging Bull (Life magazine and the photographs of Weegee) and from Hall about the role played by chance in the lighting of a scene from In Cold Blood, where the shadows of raindrops appear to be running down Robert Blake's face.

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.

They discuss how much or how little the on - screen film credits can reflect the work a screenwriter actually does on a project, the complicated system of arbitration, and what it's like to both rewrite someone else's work and be rewritten yourself.

Steve Carell and Paul Rudd have worked together previously on The 40 Year Old Virgin, and Anchorman, but in their previous films they didn't have as much on - screen time together, so it was interesting to see how their dynamic changed.

In spite of several lines about how romantic comedies have given people seriously messed - up expectations about the way the world works, it's unsurprising that Tropper is already working on adapting the book as a feature film.

There's a nice bit demonstrating how the film's culinary consultant, Susan Spungen, and executive chef, Colin Flynn, worked in a tent set up at Silvercup Studios to prepare the food that was seen on screen.

The film has some solid observations about why relationships sometimes don't work, and how it's easier to focus on another person's faults than on one's own.

Mads Mikkelsen revealed how it was working with Hideo Kojima on Death Stranding and how it offers a very different experience from film.

It's a small film that touches on large issues: the world of work, and how it defines us.

It is hard to see how Myers can continue to get his films greenlit yet a quick look on IMDb suggests he has several in the works.

With the director of Titus and Across the Universe taking on one of Shakespeare's greatest works with such talented actors as Helen Mirren, Alan Cumming, Chris Cooper and Djimon Hounsou, how could the film be anything short of spectacular?

Like Howard Hawks, another Hollywood professional who celebrated professionalism in his films, Huston is more interested on how things work and how they fall apart, where arguably the greatest noirs were more interested in the why.

And while there are admittedly a few nifty twists within the third act - all of which, naturally, were present within the original film - Shutter's place as an absolutely redundant piece of work is undeniable virtually from start to finish (which is a shame, really, given how infrequently Jackson is afforded the opportunity to take on leading man roles within theatrical releases).

The film is written by the same creative quartet that work on Jamie's television show, so they know the character inside and out, and how much you find funny will also greatly depend on whether or not you know white kids like Brad Gluckman yourself, the well - off white kid who wants so desperately to be down with the hip hop lifestyle.

(2) Quick Review: The first half of this film works very well as a reflection on why and how Europeans fall victims to radicalization.

Stars James McAvoy, Michael Fassbender, Hugh Jackman, Patrick Stewart, Ellen Page and Peter Dinklage open up about their experiences working on set and explain the themes of time - travel and how it plays a major role in the film.

We want to interview anyone who has ever worked on an Allen film or project, no matter how small.

Talking to PeopleTV, Clark Gregg says that he's having «a blast» filming Captain Marvel before talking about how proud he is to work on the first MCU movie with a female superhero in the title role.

Along the way, we touch on the abandoned film project that Lee was working on with screenwriter Michael Arndt, how The Book Of Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchino.

To prepare for working on a film set in the»70s, aside from learning how to use cameras from that era, Gerwig says it was «more about trying to place more what it would feel like to encounter it for the first time.»

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.

At Skywalker he has worked on a range of projects from the family film How To Train Your Dragon to Errol Morris's Abu Ghraib prison doc, Standard Operating Procedure.

During our chat we touched on why the film is only 58 minutes long and whether there was any intention to extend it, whether Refn believes he should have won the Palme d'Or, why he switched from composer Peter Peter to working with Cliff Martinez, how they had little boosts of money that helped get the film made, why the film is just now coming out instead of closer to Only God Forgives «release, whether Refn ever wanted to stop being filmed, the commercial prospects of an hour long documentary, and much more.

Armies swoop towards one another across a vast plain, each group displaying their own intricate maneuvers and battle strategies, wielding their own specific weaponry, making one think it could be a deleted scene from John Woo's «Red Cliff,» or that a fussy Middle Earth equivalent of John Keegan had been a consultant on the film, providing information on how the dwarf infantry worked, and how the elves moved in formation.

When we did manage to stay on topic, they talked about the great cast, their memories of National Lampoon, how Emmy Rossum got cast at the last minute, Mr. Robot, memorable moments from filming, what it was like for McHale to play Chevy Chase after working with him on Community, the way they like to work on set, and so much more.

«Life Itself,» Steve James's film about the life and work of iconic film critic Roger Ebert, joins «Finding Vivian Maier,» co-director Charlie Siskel (nephew of Gene Siskel, Ebert's co-host on «Siskel & Ebert») and executive producer Jeff Garlin's portrait of the Windy City nanny who was secretly a genius photographer, and «Red Army,» Gabe Polsky's exploration of the hockey team's rise and fall and how it mirrored that of the Soviet Union, as three of the top contenders eligible for the Best Documentary Oscar shortlist.

On the latest Crew Call, the Long Island native and two - time Oscar nominee of The Hurt Locker and 3:10 to Yuma talks with us about his latest work as well as his early days at Yale Music, and how he decided to take the plunge into film scoring thanks to The Omen and Poltergeist composer Jerry Goldsmith.

How did working on a film such as The Florida Project differ?