Sentences with phrase «influenced shots in the film»

In it, he reveals a bunch of little tidbits — like which movies influenced shots in the film or how Laura Dern couldn't stop saying «pew» when she fired her blaster.

Not exact matches

After determining that I was not just another moralist who wanted to influence film content, but someone who was genuinely interested in film, Shurlock relaxed and asked me a question that was very much on his mind: «We are trying to determine what to do about a picture in which director Sidney Lumet wants to include a shot of a woman's bare breasts.

In the wake of the Florida school shooting, politicians have raised concern over the influence of violent video games and films on young people.

Transforming the city into an existential wasteland (clearly influenced by the depressing fringes of Mississauga), cinematographer Nicolas Bolduc's sickly muted palette envelopes the movie in a distressing, cigarette - stain yellow (the film also boasts some of the most genuinely uncomfortable aerial cityscape shots seen in some time).

Lamorisse's imagery of an anthropomorphised balloon is central to Hou's film, making its influence felt in the very first shot where schoolboy Simon (Simon Iteanu) tries to coax a red balloon from the trees beside a metro station.

Frank desperately desires the power that Morton's money and influence commands, and the film becomes, in part, a portrait of his failure to straddle the line between old world (shoot first, ask questions never) and new world (wielding money as a weapon) criminality.

Altman is more engaging on «Imagining Images,» an archive featurette in which he freely discusses his influences, including Persona, and confirms that Images was conceived and shot in the same improvisational style as many of his other films, even if it feels more hermetic and controlled.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

That new perspective is the way the film looks like an action movie, filled with car chases and fights and shoot - outs, while behaving in a way more akin to a musical (For further evidence of the musical's influence, one need only look to the opening credits, which has the hero dancing around the city, as an assortment of visual gags highlight certain lyrics).

Bordwell points out that the Japanese influence is only one factor in the style of the films, so although they were often shot with the same Tohoscope anamorphic lenses that Akira Kurosawa was using in Japan, Shawscope films don't look exactly the same as their Japanese counterparts.

Out of the competition, the international highlights were El Clan (The Clan, Pablo Trapero), an effective if derivative Argentinian political drama / gangster film heavily influenced by Scorsese's Goodfellas; L'avenir (Things to Come, Mia Hansen - Løve), a fine if rather low - key drama helped enormously by Isabelle Huppert's lead performance; and, best of all, Robert Greene's Kate Plays Christine, a truly disturbing mixture of fiction and documentary concerning the attempt to make a movie about the tragic suicide of Florida journalist Christine Chubbuck, who shot herself on live television back in 1974.

Apparently Christopher Nolan's influence has fully asserted itself in the blockbuster world judging by all the Star Trek, James Bond and other franchises seeming to shoot and market their films in this manner.

What made the film so brilliant and compelling despite its theoretically repellent cast of characters is that instead of going for cheap shots or silly attempts at psychological insight, Coppola simply observed them in ways that helped inspire a certain understanding into their mindsets and how they had been shaped and influenced by a celebrity - obsessed culture that overwhelms them on a daily basis.

Having established the «Ninjago» universe, however — a pan-Asian chop suey of Chinese, Japanese and Korean influences, lent semi-legitimacy by the presence of Jackie Chan in both a Gremlins - style live - action prologue and as the voice of beard - stroking sensei Master Wu — the film quickly runs out of both ideas and steam, despite having three directors and no fewer than six credited scriptwriters calling its shots.

In particular, Mili's extended exposure shot of Alfred Hitchcock sauntering from right to left — westward — across the frame, during the filming of Shadow of a Doubt (1943), would most certainly have been an influence on Pollock.

His work is also strongly influenced by the Hollywood film industry: the mountain in his Mountain Series is a play on the Paramount Pictures logo; Large Trademark with Eight Spotlights (1962) depicts the 20th Century Fox logo, while the dimensions of this work are reminiscent of a movie screen; in his painting The End (1991) these two words, which comprised the final shot in all black - and - white films, are surrounded by scratches and streaks reminiscent of damaged celluloid.

But his experience working in film editing, of cutting celluloid and «putting together the various frames of film... was later to influence his use of «close - ups and «long shots» in the triptychs and hanging pieces.

Fred Cuming RA reflects on his long career as a painter, his influences and sources of inspiration in this short film, shot in and around his home and studio at East Sussex.