Sentences with phrase «in big studio films»

I really wish that I could create a petition that states «Miles Teller may no longer act in big studio films, but instead act solely in independent projects.»

Quote: «It wasn't fun at all but it was a way to get involved in a big studio film.»

Not exact matches

The studio has two more big Marvel releases (Guardians of the Galaxy 2 and Thor: Ragnarok) as well as a live - action version of Beauty and the Beast, two new movies from Pixar Animation Studios (including Cars 3), and a fifth installment in the Pirates of the Caribbean franchise (two of the first PotC films grossed more than $ 1 billion apiece).

Of course, some of the nominated films are still in theaters, and winning a big haul at the Academy Awards is known to result in a bump at movie theaters, which is all the more reason for studios to pull out all the stops in their awards - season marketing efforts.

Much like the success of last year's Warner Bros. film Wonder Woman helped change the conversation around a female superhero movie helmed by a woman director, a box - office smashing debut for Black Panther could pave the way for a similar paradigm shift in Hollywood with regard to how studios approach big - budget stories about characters of color.

Film studios have learned which films to release in 3D, and evidently those movies are the big action blockbusters.

So Paramount, in the wake of a disappointing 2017 that saw big budget films like Transformers: The Last Knight and Ghost in the Shell underperform while the studio's would - be Oscar hopefuls Suburbicon and Downsizing were DOA at awards season, is looking to make some changes in 2018 and selling God Particle off to Netflix may be a cushy deal.

This would be a big shift in the business model of feature - film distribution for both the major studios and the theater chains.

A decade after «The Passion of the Christ» surprised Hollywood, rankled liberals and raked in $ 600 million worldwide, big studios are backing a flotilla of faith - based films.

Moviegoers are finally about to get a break from all of the big - budget summer blockbusters and superhero action movies, as studios move away from large - scale spectacles in favor of award - season prestige films.

I think if the studio realized the film had the potential to be this big, it would have been released in lots more markets simultaneously — in the U.K. they have to wait till October!

If Harrison Ford had listened to the advice of studio heads early in his career, he would have remained a carpenter and never gone on to star in some of Hollywood's biggest films and become one of the industry's most bankable stars.

And looking at the trailer, this might be a big mistake by the studio, since the films looks to have a very dark palette — an unfriendly look in 3D, if you ask me.

That film was also the year's biggest box office flop from a major studio, boasting one of the worst opening weekends in history ($ 306,367) for a nationwide release.

Just on a technical level, the film represents such a big jump forward for Saulnier that you should expect the studios to immediately start arguing over which giant soulless franchise should occupy his time in the near - future.

It will be extremely hard for the studio to match those figures in 2016, as many of its biggest franchises are sitting out the year and Universal's planned 21 - film slate doesn't feature any sure - thing blockbuster hits aside from (maybe) a still - untitled Bourne sequel.

After making his name with three independent films in Shotgun Stories, Take Shelter and Mud, director Jeff Nichols approaches his fourth feature with a bigger budget, making it his first studio production and allowing him to operate on a slightly more ambitious and grander scale.

And the studio scored its biggest - ever year at the box office, thanks in part to Lee Daniels» The Butler, the fifth TWC film to date to pass $ 100 million.

The film was one of MGM's biggest hits in 1942 — indeed, one of the biggest in the studio's history.

Seldom making a liveable income in films, Miller remained an unknown entity so far as the «big» studios were concerned — but his teenaged fans were legion, and he was besieged on the streets and in public places for autographs.

Even though Sony released only one positively reviewed film in 2010 and managed to boost that total to six films in 2011 (led by best picture nominee Moneyball), its overall Metascore still dropped nearly two points last year, while the studio's average Metacritic user score was also the lowest among the big six distributors.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

Two of the biggest studio films of the year in the awards race are both from Paramount, and both will be challenging for mainstream audiences — Silence and Arrival.

Producers, writers and actors from the film «The Big Sick» in the L.A. Times photo studio at the Sundance Film Festival in Park City, Utah, on Friday.

The video (shown above), titled 10 Years of Fandom, takes a look at the growing fan - base of the MCU, with footage from some of the studios» biggest hits — starting with Tony Stark's very first Iron Man armour shown in his first solo film and jumping to the latest Marvel release, Black Panther.

While we haven't heard a whole lot about Promised Land so far, the fact that the studios are going out of their way to ensure it has a shot at the big awards suggests they have a lot of faith in this film.

In ways Sundance became a victim of its own success: unworthy films started getting bought up speculatively at vastly inflated prices by Hollywood studios, and big - name filmmakers began using the Sundance brand to lend credibility to their work.

If all this weren't enough, Mannix also has to contend with twin gossip columnists (played by Tilda Swinton) who are circling the studio in search of scandal; a near - fatal accident involving a film editor (Frances McDormand); an accountant (Jonah Hill) enlisted to see whether the pregnant ingénue can legally adopt her own child; and a song - and - dance star (Channing Tatum) harboring more than one Big Secret.

«No studio is going to take a big film to the ratings board and have them say, «Go back and cut that dismemberment or that decapitation,» or you land «in jail» with an NC - 17.

While it is getting a huge screen count and a big studio release, the film is essentially an art film in disguise.

Lister - Jones, who is currently seen on CBS» «Life in Pieces,» said that this film marked a return to her indie roots after getting a peak into the big - budget Hollywood studio system.

«In the face of massive marketing for big studio films, it is the ultimate underdogs who have emerged as critic's darlings and fan favorites,» said Tim Gordon, president of WAFCA.

In the late 1920s, Fritz Lang was the star director of Germany's Ufa Studios, the biggest film studio outside of Hollywood, and one of the most celebrated filmmakers in the world for such ambitious epic visions as Destiny (1921), the Die Nibelungen (1924) films and especially Metropolis (1927), his allegorical science fiction classic that is still considered one of the great films of the silent erIn the late 1920s, Fritz Lang was the star director of Germany's Ufa Studios, the biggest film studio outside of Hollywood, and one of the most celebrated filmmakers in the world for such ambitious epic visions as Destiny (1921), the Die Nibelungen (1924) films and especially Metropolis (1927), his allegorical science fiction classic that is still considered one of the great films of the silent erin the world for such ambitious epic visions as Destiny (1921), the Die Nibelungen (1924) films and especially Metropolis (1927), his allegorical science fiction classic that is still considered one of the great films of the silent era.

Back when it sounded like Suspiria was dead in the water, Green noted that the reason was mostly because the budget was just too big for a film that a studio was essentially going to be taking a risk on.

There are a lot of films that could make it in the ensemble race if you go by big casts with lots of respectable actors in them and studio marketeers pushing those movies.

There are more big ideas packed into this 16 minute film than there are in most major studios» entire catalog of science fiction.

Based on the 12th novel in James Patterson's long - running series, the studio is clearly hoping that «Alex Cross» can reboot the film franchise that stalled out after 2001's «Along Came a Spider,» but surely there was a better option to play Cross than a man whose biggest claim to fame is dressing up like a fat black woman.

With The Thing, it was the first major studio film he and Carpenter worked on which was «so full of interesting new things» for the duo in terms of the types of boundaries they were pushing with the film on top of having the backing and budget of a big studio.

I suspect «Fast Times» couldn't be made today and remain intact, at least not in big - studio form; a character has an abortion, for example, and the film never judges her for it.

The studio has been trying to court some of the biggest names in Hollywood for their films as proven with them courting Mel Gibson for Suicide Squad and having Ridley Scott (The Martian, Alien Covenant) along with Fede Alverez (Don't Breathe) in the wings to hopefully sign on for The Batman.

In the film, written by Kelly Marcel and Sue Smith, Disney is faced with one of the biggest challenges of his career, when P.L. Travers (Thompson), the Australian author of the «Mary Poppins» series, is resistant to the studio's attempts to adapt her books.

Still, part of the reason why The Big Heat looms large even in the incomparably rich spectrum of cinema that is film noir is its recognizability as a studio re-creation (specifically, mid-Fifties Columbia, as Man Hunt represents early - Forties Fox craftsmanship at its highest).

Whatever the outcome of this ideological clash, it does at least point out a startling dearth of sexual diversity in big budget studio films.

«When I founded the Institute in 1981, it was at a time when a few studios ran the industry and an artist's biggest concern was whether their film would get made,» said Robert Redford, Founder and President of the Institute.

Most recently Akkad confirmed studio troubles had resulted in the new film's delays, so maybe this pending «divorce» from Dimension could be what is needed in order to get Michael Myers back on the big screen.

The behind - the - scenes action of Living in Oblivion is no exception, and although we've seen many films just like it in recent years, such as Mistress and The Big Picture, Tom DiCillo's (Double Whammy, Box of Moon Light) creation distinguishes itself by being about a independent filmmaking, not greatly influenced by the dictation of a major studio or bigwig producer, but by conflicts within the filmmaker himself.

Since 2015, when the hashtag first became a rallying cry for inclusion, most, if not all, of the big studios have reinvigorated or created diversity initiatives, agencies have taken a more active role in supporting their clients and film festivals have continued to be entrees into Hollywood for traditionally marginalized folks.

While Hawke's other filmmaking endeavors (Chelsea Walls, The Hottest Scene) has been similarly produced outside of the big studios and with muted commercial prospects, he has retained star power on the opposite side of the camera with performances in big wide release films, from Training Day to Daybreakers to The Purge.

While filmmaker Jon Favreau has been dabbling in big - budget studio fare for the past few years, his next film returns him to his indie roots.

THE DVD by Bill Chambers Sort of inevitable that Warner / Morgan Creek's DVD release of Exorcist: The Beginning doesn't, despite rumours promising the contrary, contain the Paul Schrader incarnation of the film (which will premiere at the Brussels International Festival of Fantasy Film (click here for a link to the trailer)-RRB-, so perhaps the bigger letdown of this disc is the coyness of its supplementary material, which alludes to Schrader's version only in terms of the unusual duress that replacement director Renny Harlin was under in helming a prequel to one of the biggest breadwinners in the studio stable.