Sentences with phrase «lights on a film set»

Not exact matches

They now have a set of lights, a boom mike and a video camera on a tripod to film the show.

In the recent science fiction film Passengers, a huge spaceship flies at half the speed of light on a 120 - year - long journey toward the distant planet Homestead II, where its 5000 passengers are to set up a new home.

The Hasidic Jews» traditional dress may serve as a barrier on the street, and the film does indulge itself occasionally in playing on the incongruity of the suited and hatted men making their way around modern New York, but seeing the generalities of life reflected in such a particular setting amounts to a genuinely powerful insight into some of the universal themes of love, sacrifice and (gentle) self - improvement that are here handled with a charmingly light touch.

Sciamma's film doesn't romanticize Marieme's new lifestyle (though there is at least one instant classic party scene set to a Rihanna jam that is super-cool), though it does shine a light on the intensity of female friendships in a way that is deeply heartening.

Arrow Video's pointedly - titled boxed set «George A. Romero: Between Night and Dawn» is meant to shine new light on the films he made in the interim.

Needless to say, this hyper - atmospheric art film is a little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this film's handsome world.

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

This track is heavy on discussion of the film's 360 - degree set design, the lighting strategy, the work on the miniature lunar landscape (turns out it was 32ft.

Fortunately, this set of six character posters that hit the web yesterday doesn't shed any more light, selling the film on its tantalizing cast and a hazy sense of foreboding that invites so many questions.

Good Morning (The Criterion Collection), set in a suburban Tokyo housing complex in the late 1950s, is one of director Yasujiro Ozu's lighter films, telling the story of how two schoolboys disrupt their entire neighborhood by going on a silence strike because their parents refuse to buy a television.

The film was a great challenge for him as a cinematographer, considering the groundbreaking practical FX as well as all the ways Carpenter likes to set the moodiness and tone with lighting and painting with light (there are many hints throughout the film as to who is human and who is infected through the lighting on their face).

The arrival of the film noir coincided with a new penchant, inspired by Italian neorealism, for moving out of the studio on occasion and onto the great rich set of the American city and its suburbs, a readily available set which became, sometimes with only minimal adjustment of light and shadow, fully as «Germanic» as anything constructed at Ufa in the Twenties.

They first set eyes on each other on a film festival dancefloor but later worked on The Light Between Oceans.

The speakers» varied backgrounds give the track many perspectives, touching on script revisions, casting, imagery, lighting, tone, on - set atmosphere, and a film's lifeline.

Even setting aside my opinion that it's Anderson's coldest and least funny work to date, the film defies everything we know about commercial filmmaking, using an eclectic cast light on star power, an eccentric title, a period setting, international flavor, an R rating, and a versatile narrative that seems secondary to production design.

Beautifully mastered on DVD and Blu - ray, which preserve the intricate textures and vivid, defining colors of the film, with commentary by filmmaker Guillermo Del Toro (whose pride in his work shows through), the featurettes «Beware of Crimson Peak» (a seven - minute guided tour through the manor) and «The Light and Dark of Crimson Peak» (about the set designs and color schemes), and five deleted scenes.

How did the lighting, set direction and camera use in this film help viewers understand Roy's perspective on the world?

This figure was the result of such senseless cost overruns as Wiseau's choice to buy rather than rent his cameras and lighting equipment and to shoot every scene both on 35 mm film and digital video, not to mention his propensity for showing up hours late to his own set every day.

This film set the template for the series with its literate script, Corman's effective direction (he did the best work of his lengthy career on these Poe flicks), Price's immersive emoting and brilliant employment of light and color.

From Bailey, we learn about interactions on the set, the film's visual style, sets and locations, camera, lighting and technical issues, some effects, and general thoughts about the experience.

It features the iconic, fur - trimmed parka seen on the film's poster, but instead of a blinding beam of light, its hood reveals a stylized depiction of the movie's Antarctic setting.

It's loosely based on parts of a 14th - century collection of Italian novellas called The Decameron, and there's a shaggy, improvised feel to the film which at times feels fresh, given the setting, and at others gives it a feather - light flimsiness.

As you'd expect, the track is heavy on anecdata from the set and light on much insight into the film's making, but the participants mount a reasonably good case for Final Exam, pointing out its grace notes.

Vikander, who met Fassbender on the set of The Light Between Oceans, said she's already looking forward to next year's Academy Awards, where she hopes to have three solid films featured.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening September 2, 2011 BIG BUDGET FILMS Apollo 18 (Unrated) Found - footage horror flick, set in 1974, shedding light on a government cover - up of a NASA space mission on which the crew of astronauts were attacked by parasitic life forms they discovered on the moon.

INDEPENDENT & FOREIGN FILMS A Broken Sole (Unrated) Ensemble drama, set in Manhattan on 9/11, examines the fortunes of six souls that fateful day: a cabbie (Bob Dishy) with a passenger (Laila Robins), a shoemaker (Danny Aiello) whose customer (Judith Light) wants him to keep his shop open, and a woman (Margaret Colin) dating a dyslexic (John Shea).

The couple, who met on set while filming The Light Between Oceans in 2014, have been plagued by (false) split rumours, reports they've moved in together in 2016 and now, it's been reported they will wed in a no expense spared ceremony next month; which, if true, will be one of the best kept secrets in showbiz.

The film conveys the period setting with a cold color palette heavy on browns and low on light.

It's funny; I wrote it because when I was talking to Doug Liman on the set of Swingers, we were shooting so much at night on so much expensive film stock in low light levels, and he was like, «If you ever write another script, make it exterior day the whole movie.»

Looking at the follow - ups of some recent Academy Award winners, so you can see a near - three - hour erotic drama (Ang Lee), a one - man show about a man cutting off his own arm (Danny Boyle), a near - three - hour drama about the search for Osama Bin Laden (Kathryn Bigelow) and a near - three - hour musical sung live on set (Tom Hooper), films that for the most part, would have had a trickier time getting a green light without the ability to put «From Academy Award Winning Director...» on the poster.

The actors met in 2014 on the set of their film The Light Between Oceans, in which Vikander prophetically played Fassbender's wife.

The couple met on the set of the 2014 film The Light Between Oceans, in which they played a married couple.

The character and the series are certainly no strangers to spin - offs as there have even been a range of side projects such as Game Boy Advance spin - off games that are not considered to be connected to any of the story arcs found in the home console games, alongside isometric home console games titled Lara Croft and the Guardian of Light for PS3 in 2010, Lara Croft and the Temple of Osiris on PS4 in 2014 and a further isometric game albeit in a turn - based fashion named Lara Croft GO which released for mobile devices in 2015 before being ported to Vita and PS4 in late 2016, while there have even been two films with a third film set to release in 2018 starring Alicia Vikander as Lara Croft.

In the 2011 film Tower Heist, the Estate of Dan Flavin sent an expert to oversee the construction of a Flavin light installation that was recreated on the set.

When the sun set over the Aegean, a drone buzzed overhead, filming the action as Cuoghi lit stacks of wood in two tall papier - mâché teepees, one on the path to the Slaughterhouse and one on its roof.

Binding the exhibition together are Gillick's flickering signage for the individual works (with their hideously trite interpretive descriptions) and Carsten Holler's 7.8 Hz which causes a change in the frequency of the electrical system that turns the exhibition lights on and off at set intervals, plunging works into darkness or rendering the film and video projections temporarily invisible.

Set in Asia, The Boy from Mars (2003) follows dimming points of light and reflections of the sun, before lingering on buffalo tied to a purpose - built structure containing an electricity - generating machine that provides the power required to make the film.

Drawing on the stylistic expression of classic old Hollywood, film noir and the jazz age, the projects are full productions requiring the equivalent of major film sets complete with a casts, extras and lighting.

Filled with 200 bunk beds scattered with books, the animal forms of gargantuan sculptures, a massive LED screen playing edited extracts from science - fiction and experimental films, and piercing lights that suggest some unseen surveillance, the Turbine Hall has taken on the appearance of an epic film set.

What (Else) to Do When You're in Town for Nyu's 2017 Commencement States News Service; May 2, 2017; 700 + words... an exhibition featuring the work of 18 MFA set, costume, lighting, and film designers... exhibition of thesis work by Steinhardt MFA students (on display in the gallery through... s work is also featured in the 2017 Whitney Biennial Exhibition, on view through June 11 at...

As Deadspin wrote Monday, the downtown area of the small town had begun to «resemble the lit - up scurrying of a movie set,» and the town had parceled out areas where the dozens of TV crews could film their on - location reporters.

She suffered an eye injury while shooting the James Bond film, Die Another Day; broke her arm on set of Gothika; and was hospitalized after she was hit in the head with a lighting prop while filming Catwoman.