Sentences with phrase «major film budget»

Their critical success gained them a deal with Fox Searchlight and the opportunity to have a major film budget and the ability to get some star power.

Not exact matches

Compared to major studio projects like the forthcoming Aaron Sorkin adaption of Walter Isaacson's popular biography of Jobs, this film was made on a shoestring, with an estimated budget of just $ 8.5 million.

Filmed entirely on location in Morocco on a relatively modest budget of $ 20m, major challenges included filming large - scale battle sequences using a stunt team, and recreating the fall of Jericho with powerful explosives.

But in a year that's seen a slew of big budget releases and star - powered projects from some of Hollywood's most notable filmmakers (Martin Scorsese, Kenneth Lonergan, Mel Gibson) it was a $ 5 million film with no major superstar names that brought home the night's biggest award.

A decade ago it was unimaginable to make a film without major financing, but now given the nature of new media and available technology, independent filmmakers can tell their stories with a limited budget.

In addition to rumors of a bloated budget and unrest on the set between director Mark Forster and star Brad Pitt, the film's original release date was pushed back six months to accommodate major rewrites and additional shooting.

He made his first appearance in an American film in Victor Halperin's grisly thriller Torture Ship, playing one of the criminals on whom well - intentioned (but quite mad) scientist Irving Pichel plans to perform glandular experiments, but he soon moved up to higher budgeted films from the major studios, although still almost inevitably in sinister roles.

Other than a budget boost which means better CGI and more muscular action set - pieces, you'd be hard pressed to spot any major differences in the craft behind the two films, but if it ain't broke, don't fix it.

Outside of major roles in early sound efforts like The Big Trail and Tom Sawyer (both 1930), he could be found playing menacing tribal chiefs and bandits in serials and B - pictures, and seedy, drunken «redskin» stereotypes (invariably named Injun Joe or Injun Charlie or some such) in big - budget films like John Ford's My Darling Clementine (1946).

Knaggs» career reached a peak in the mid -»40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves» Holiday, while also making the rounds of such popular medium - budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night.

By the conclusion of Garland's adaptation, it's clear he understands and respects VanderMeer's point to the extreme, even if the expectations of a mid - to major - budget sci - fi film these days demand traditional closure.

Although it's refreshing to see a major studio take a gamble on a modestly budgeted film targeted towards adults (even if it stars one of the most bankable actors in the world), when that movie is as passively mediocre as «Focus,» you can understand why other studios have been afraid to pull the trigger.

From major studios to independents, from big budget to small, the quality of films this year was excellent and the entertainment, artistic and substantive value high.

Get Out was released by Jason Blum's Blumhouse productions, a studio that can easily be described as the modern - day saviour of the low - budget, major - release film, even if they most recently subjected us to the latest M. Night Shyamalan misfire, Split.

In The Very Witching Time of Night, Mank wrote that Junior wanted to produce «A» films that could compete with major studios, figuring that Universal's staple fare of low - budget Bs would pay for the As.

Two weeks ago, as part of his summer - long institute, Redford held a weekend conference of most of the major exhibitors and distributors of «specialized» films - a category that includes independent U.S. features, foreign films, «art films,» cult films, revivals and almost anything else that isn't a big - budget, first - run standard Hollywood production.

As the major studios have increasingly focused on predictable mass entertainment formulas, quality and imagination have migrated to what could be called Sundance films: Lower budget, innovative projects fueled by the love of their makers, and sometimes by the determination of actors trying to break out of assembly - line fodder.

Matthew McConaughey may have become a star as a leading man in major - studio films like «A Time to Kill» and «The Wedding Planner,» but in the last few years the laid - back Texan has reinvented and revived his career with a string of sparkling performances in low - budget indies: Richard Linklater «s «Bernie,» Steven Soderbergh's «Magic Mike,» William Friedkin «s «Killer Joe,» Jeff Nichols» «Mud» and now Jean - Marc Vallee's «Dallas Buyers Club,» which has made McConaughey a strong favorite to land a Best Actor nomination.

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.

Although it's refreshing to see a major studio take a gamble on a modestly budgeted film targeted towards adults, «Focus» is so passively mediocre that you can understand why other studios have been afraid to pull the trigger.

This work is about globally dispersed high budget film and television production, but it is not told from the perspective of the motives and strategies of the major studios.

Despite the sizable budget, it is an experimental film at its heart, although with an acclaimed director and well - known stars, perhaps it is too large a project to survive the scrutiny of those expecting much more from a major release.

Garant and Lennon, who have made plenty of money writing major studio films like Night at the Museum, put this movie together independently on a small budget.

Yet they share a certain quality of desperation: Both were produced on miniscule budgets outside of major studios, both Ulmer and Dickerson used a variety of techniques to disguise their humble production values, and both films ended up looking indelibly cheap anyway.

Though it had the backing of a major studio (Paramount Pictures), the film had a low budget of just $ 2 million and was not destined to be a sure thing commercially.

Baker protégé Rob Bottin's work on that film was arguably equal to that of his mentor (who left Bottin in charge of The Howling «s effects after he exited the project for the bigger - budget American Werewolf), and yet the Academy couldn't even be bothered to nominate him (or, perhaps more likely, its members simply couldn't bring themselves to watch a low - budget horror movie not put out by a major studio).

These elements are typically found in smaller independent films but are incredibly rare to see in bigger budget films released by a major studio.

This can have an especially damaging effect on the earning potential of independently made films, such as those mentioned above, which do not have access to the large advertising budgets at the disposal of the major studios — studios, which, as CARA's record indicates, have received much more lenient ratings for similar content.

He's only seen early in the film when Deadpool finds himself locked in the Icebox, but the writers of Deadpool 2 recently revealed that in an earlier version of the movie, Cassidy's part continued on from there, however, the film's budget basically only allowed for one major CGI bad guy, and they chose the other one.

While a black filmmaker can scrap together support for a film with a modest budget, securing the support of a major distributor or financier has proven far more challenging.

Nicolas Pesce delivered the major discovery of the 2016 Sundance Film Festival with his chilling black - and - white horror film «The Eyes of My Mother,» and now he's back two years later with a bigger budget, a starrier cast, and hopefully the same level of grisly intensity.

Bana performs predominantly in leading roles in a variety of low - budget and major studio films, ranging from romantic comedies and drama to science fiction and action thrillers.

While the $ 38 million Steve McQueen's «12 Years a Slave» has now grossed could be seen in comparison to many recent major Oscar contenders as mildly underwhelming, when one considers the hardly marketable content (a dark, sometimes brutal exploration of slavery), its $ 20 million budget, and the fact that there could be a good $ 10 - 20 million where that came from once the Oscar nominations come out, «12 Years» stands firmly in the success story column (and should end up topping the aforementioned «Instructions» as the year's highest grossing specialty film by the end of January).

The 26 - year - old helmer was the man behind «Chronicle,» which made back its $ 12 million budget ten times over on release in February, and since then he's been lining up all kinds of projects; while he won't direct any «Chronicle» sequel, he is attached to a film version of Soviet - themed comic book «The Red Star, «and is developing not one, but two major superhero franchises, in Sony's «Venom «and Fox «s «Fantastic Four.»

So often with films, and more specifically high - budget movies coming from major studios with millions of dollars on the line, there is a single choice or a couple of decisions that push a film from being thoroughly successful to not quite.

There is a great narrative associated to Thunder Road: it serves as a brilliant proof of concept project as it was based on the Sundance Grand Jury prize winning short, and serves as a reminder that in this era, regardless of a small budget or limited means — that if you've got a great idea and a team of creative collaborators, you can make a feature film in the month of November and win a major film festival five months later.

What is incredible is that it is a big budget film bankrolled by a major studio starring an A-list actor (John Travolta) and not some tax write - off.

It's important to note, however, two major differences in the awards shows» best picture eligibility: to qualify for the Spirit Awards a film must have a budget of under 20 million dollars, and unlike the Academy Awards, here films without a theatrical release which have screened at a handful of the most prestigious festivals are eligible.