Sentences with phrase «lot about making films»

I find i learn a lot about making films from the special features, if the director, writer or actor speak about their own experiences.

Not exact matches

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.

I am grateful for the journey and I have learned a lot, about the subject, about myself, about what it takes to make such a film.

Having re watched the trailer after the film, the it does pretty much give away what the film is really about and make the twists a lot less surprising.

A lot of people have a phobia about these creepy crawlies and of course it makes for engaging horror films.

Older Joe (Bruce Willis, whom Gordon - Levitt has been somewhat awkwardly made to look like) has other plans in mind for the past and escapes his execution, beginning the film's grinding chase and giving us lots to wonder about in regard to theories of time travel and butterfly effect and all those other head - scratchers.

That's all well and good but Sony's Anniversary Edition DVD from 2004 had a lot more: an hour - long documentary on the making of the film, a lengthy doc about real - life AIDS victims, and Bruce Springsteen's «Streets of Philadelphia» music video.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

We sat down with Boston - area library maven Margaret Willison to talk about the film, the 2014 documentary that partly inspired it, and how hard it is to make a comedy in which there's a lot of physical abuse.

We don't get a whole lot of the comedy in the trailer, which makes the film seem like a fairly straightforward drama about a woman's spiritual battles.

There's still not a lot known about the film, as no footage has been released nor has a synopsis made its way online.

We can't tell you a whole lot about the film other then what we hear from the official Facebook that a big announcement will be made around valentine days, so keep checking Dark Universe for further updates on the film.

Thematically, «The Stanford Prison Experiment» clearly has a lot to present about not just male aggression but what being imprisoned does to people (Nelsan Ellis is phenomenal as an ex-con who tells Zimbardo that they need to «teach these boys of privilege what a prison is»), but writer Tim Talbott hits a few too many of the film's themes repeatedly, just to make sure you get them.

Feature Commentary with Director Craig Gillespie: An intriguing and informative commentary in which the director gives you lots of interesting background info about the making of the film.

The promises and pitfalls of the digital age is the perfect subject for Herzog, a rare filmmaker who's a bigger personality than most of the people he makes films about — and considering the sorts of eccentrics, dreamers and madmen Herzog makes films about, that's saying a lot.

Yes it's a Michael Bay film and I know I talk a lot of trash about the man but two factors have made me curious about 13 Hours - 1.

There are a lot of things to admire about the 12 - issue miniseries (from its multilayered narrative to its psychologically complex characters), but the Holy Bible of comic books it is not, and that only makes reviewing the film adaptation even more difficult.

«They're taking different approaches to it too — Amazon is getting a lot of credit right now in the press for their commitment to the theatrical exhibition of their film, it's not just about the digital platform, where Netflix is taking a slightly different approach — although they're doing limited theatrical with stuff too — it'll be interesting to see what the long - term end result is for those two approaches and where it all ends up, but I think right now it's great for our filmmakers and our producers to make their money back and they have a chance to reach massive audiences through these digital platforms.»

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening November 23, 2007 BIG BUDGET FILMS August Rush (PG for slight violence, mild profanity and mature themes) Freddie Highmore stars as the title character in this escapist fantasy about a promising musical prodigy who runs away from an orphanage to New York City to find his parents (Keri Russell and Jonathan Rhys Myers) only to end up living with a Fagin - like wizard (Robin Williams) and lots of other kids in a makeshift shelter in an abandoned theater which was once the Fillmore East.

There's a lot about this film that makes me think Richard Curtis is a misogynist hiding in plain sight, and it's not just that the women in Tim's family randomly don't share the gift of time travel the men have.

I give the team behind the new sports movie, «When the Game Stands Tall» a lot of credit for pulling - off something nearly impossible: they've made a film about the most successful high school football team of all - time that's about as exciting as a 0 - 0 tie in an NFL exhibition game.

Fifteen or 20 movies may not seem like a lot when compared to the number of crime films produced in the United States, but it's amazingly high considering that England makes only about 200 films annually.

«While we were making the film, we had a change of presidency, and a lot of things started to be said about Mexico and about Mexican Americans that were unacceptable.

The film also weaves in lots of scenes that are meant to make us think that Barnum was the first 21st century - style «woke» white straight man in America — a goodhearted fellow who gave circus jobs to outcasts of one kind or another (talk about a big tent: the repertory company includes African - Americans, little people, giants, conjoined twins and a bearded lady), not just because they happened to possess certain talents or physical characteristics that Barnum could exploit (often by appealing to the majority's prurient interests or bigotries) but because the onetime poor boy Barnum sees himself in their striving, and wants to build a theatrical - carnival arts utopia in America's largest city with help from his new partner, rich kid turned playwright Philip Carlyle (Zac Efron).

«We went to film school together in Melbourne,» Whannell reminisces, «and while everybody else was making esoteric movies about sand inspired by Yoko Ono, I saw James» first project about zombies and knew we had a lot in common.

For a movie based on fact, it feels an awful lot like fiction, and that may be why it took so long for someone to make a film about Kuklinski's life.

I feel that a lot of the advance hype for Raw — making all sorts of hyperbolic claims about how extreme and shocking it is — has been a little bit misrepresentative of what kind of film it is.

Or, as I asked him, based on his Comic Con presentation, is this the sort of movie a lot of devotees of»70s genre film always talks about wanting to make, where you've got a pulpy story, but a cast that's really devoted to it?

He made a lot of wonderful films over the course of his notable career, but if you wanted to put one movie into a capsule and shoot it into space for other worlds to know about the star power of Cary Grant, this might be the one.

After all, a swords»n' sorcery saga takes a lot of work, and I found myself fretting about all the hours Jason Momoa must have spent in the gym to get those muscles, all the expense that must gone into the ridiculous costumes and sets, all that effort that must gone into lugging lights and cameras to the Bulgarian hills and caves where the film was shot... all to make such a noisy, bombastic load of nonsense.

But we decided not to do what we did with HOT FUZZ, which was to watch a lot of films, because we decided we didn't need to learn any kind of language of cinema — we weren't going to make any comments about science fiction or make any references to other films.

I kind of learned this from working on Creed, and I would talk with Sly [Stallone] about this a lot too while we were making that, and I think it was advice he gave me about action films being kind of like musicals.

I did learn a lot in particular about macro-photography and how to think of ways to make a film on a tiny budget.

«A lot of people don't want to tackle race in anything they talk about,» rapper and «Bodied» co-star Dumbfoundead told The Times after the film from director Joseph Kahn («Detention») made its buzzy premiere at the Toronto International Film Festival.

Matching this director with a strange, campy film about turn - of - the - century magicians engaged in mortal combat makes a lot of sense.

I don't know, this has been like a three - year process and I'm just approaching the tail end of it... I've learned a lot from making this film, both about myself and about filmmaking.

He had made great films such as Harold & Maude and The Last Detail, but this is a satirical comedy film and it will leave you with a lot of inspiration and ideas about philosophy coined by Heidegger.

We can talk a lot about the harm caused by certain studios when it comes to reshoots and edited versions of films, but when it doesn't concern huge movies where those stories will easily make headlines, it generally shows how much of a collaborative process filmmaking is and how there are producers who know a thing or two about development.

In essence, it is ironic the film is about insomnia when at its heart it's almost like a dream — lots of fanciful things going on but when it's over there's not a whole lot of sense we can make out of it.

Again, if you weren't crazy about the film, this is a lot of time to devote to hearing about its making.

Not suprisingly, DePalma has a lot to say about the state and business of film - making today.

Frankly, the film owes a lot to the likes of the Lord of the Rings films, where character is the heart of the story, under the remarkable and bombastic events that occur around the individuals we're made to care about in the film.

I didn't have any problems with it, and I guess it just made me happy that I really didn't know a whole lot about the film (besides having seen the trailers) before seeing it.

The five top - tier actors look back at — and laugh a lot about — making the latest film from quirky cinematic masters, the Coen brothers.

Rumors of a fourth installment in the rebooted Star Trek film franchise gained considerable traction last year when The Hollywood Reporter posted about the newly signed contracts that landed Chris Pine and Zachary Quinto a lot more money to make another film.

They shared some funny memorable moments from filming (Jack Black share a great story about ripping a bit of improv from Joaquin Phoenix), the challenges of trying to make Don't Worry in 25 days, what it was about the material that got Gus Van Sant and the cast involved, what it was like shooting the group scenes, what Van Sant learned from early screenings, and a lot more.

It almost made us forget about the fact that his most recent film hadn't been a whole lot to write home about.

The video, as revealed by Ryan Reynolds, is mostly just Deadpool dressed as gentile soul Bob Ross making a painting and cracking wise, but about two thirds of the way through we get a lot of flashes of footage from the film.

We've been blogging a lot about books made into films lately, and today I got word of another movie to anticipate: Johnny Depp will produce (and possibly star in) a movie based on the life of Theodor Geisel, aka Dr. Seuss.