Sentences with phrase «making a feature film takes»

Pulling together a project which is also the equivalent to making a feature film takes a lot of work so huge respect to Louis for that!

Not exact matches

Husband - wife duo Jared and Jerusha Hess literally came out of nowhere — well, the heart of Utah — in 2004 when they made their first feature film, Napoleon Dynamite and took the film world by storm with a wildly successful screening at the Sundance Film Festival.

Capturing three generations in the one picture by taking a photo that features a grandmother, daughter and granddaughter for example, makes the age difference become quite clear and in doing so, creates a wonderful family memory on film.

Take Magazine features in - depth stories of people in New England who are making culture happen in the fields of visual art, music, design, literature, film, dance, food, fashion, and theater as well as the timely information you will need to plan your cultural consumption throughout New England.

These are some reviews of the features released in 2005 that have generated the most discussion and interest among film critics and / or the Batman begins making a name for himself just as the flamboyant Joker takes over the Mafia in director Tim Burton's adaptation of the comic book.

While Emmy - winning Survivor producer and host Jeff Probst (born November 4th, 1962) has occasionally taken a seat besides Kelly Ripa on Live with Regis and Kelly and even directed his own award - winning feature film, chances are that when all is said and done, the role he'll be best remembered for is that of the firm but fair host who snuffed out more than his share of torches on the popular competitive reality show that made him a household name.

Harris» feature films for 2004 include the live - action remake Thunderbirds and the thriller Trauma, starring Colin Firth.Though her star was steadily rising in Hollywood, it wasn't until 2006 that Harris would really make a splash on stateside screens; and after supporting roles in Brett Ratner's After the Sunset and Michael Winterbottom's A Cock and Bull Story, Harris took to the high seas for her role as Tia Dalma in the eagerly anticipated summer sequel Pirates of the Caribbean: Dead Man's Chest.

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.

It's really the direction, along with breathtaking cinematography from Erik Wilson, that takes what might be a fan video and makes it feel like a real feature film.

It's not his fault, though, as this film would have been weak regardless of the star, with a predictable storyline and events that will have you recalling bits and pieces of plenty of other comedies of humiliation featuring a meek man finding the cojones to finally take on the bully in his life, only to make an utter ass of himself.

The tune works wonders in the film's trailer, and then in the full feature it takes on an entirely new form, the song being shot in one single close - up on Hathaway, making the moment incredibly raw and heart wrenching.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

The film is shot primarily by camera operator Lukasz Zal, making his feature debut; he took over shortly into the shooting from the director's usual DP Ryszard Lenczewski, who stepped out partly because of illness.

Yet rather than see anti-Semitism in the film, one could just as easily criticize it for ultra-Zionist revisionism, featuring baseball bat - armed Jewish supermen, macho enough to make even David Mamet proud, taking matters into their own hands.

The weekend takes a terrifying turn when a meteorite crashes the party forcing everyone to face the darkest, screaming extraterrestrial nightmare imaginable... The Gracefield Incident is written and directed by up - and - coming filmmaker Mathieu Ratthe, making his feature directorial debut after a number of short films previously.

The internet calmly took this news in by immediately casting about for wild rumors regarding what this might mean for the second film — specifically, the idea that once it was made clear the Captain Marvel movie (coming out in between the two Avengers films) would feature the Skrulls (a race of green - skinned shape changers, for all you non-comic nerds), the fourth Avengers movie would turn its attention to a «secret invasion» storyline, starring said aliens.

Admittedly, we wouldn't be surprised if he wasn't interested in taking on another sitcom gig so soon after wrapping «Scrubs,» especially if he has any desire whatsoever to make a significant play for more feature - film work, but he was so darned good at berating Zach Braff that we'd be lying if we didn't admit to being kind of excited at the thought of pitting him against Cryer and Jones.

He also talked about the experience of being a part of the highly successful The Hangover franchise, whether he and Todd Phillips took the criticism of the second film into account when writing The Hangover Part III, making films for audiences to enjoy, and the animated feature Turkeys (featuring the voices of Amy Poehler, Owen Wilson and Woody Harrelson), which he's writing and producing.

A vérité style narrative featuring professional and non-professional actors, and produced with a crew made up largely of women, Newman offers a new take on the sports film which wisely avoids sentimentality and melodrama.

A kind of subversive take on the traditional Noah story, Take Shelter made good on the promises of writer / director Jeff Nichols» first feature Shotgun Stories, establishing him as a powerful new voice in the film communtake on the traditional Noah story, Take Shelter made good on the promises of writer / director Jeff Nichols» first feature Shotgun Stories, establishing him as a powerful new voice in the film communTake Shelter made good on the promises of writer / director Jeff Nichols» first feature Shotgun Stories, establishing him as a powerful new voice in the film community.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening March 23, 2012 BIG BUDGET FILMS The Hunger Games (PG - 13 for intense violence and disturbing images) Screen adaptation of Suzanne Collins» futuristic sci - fi novel about a 16 year - old girl (Jennifer Lawrence) who volunteers to take her unlucky younger sister's (Willow Shields) place in a nationally - televised fight to the death featuring 24 participants picked by a government lottery.

That cycle was started when Italian actress Monica Vitti, known for her brooding films with Michelangelo Antonioni («L'Aventurra,» «L'Eclisse»), exquisitely took up the mantle of popular British comic strip heroine «Modesty Blaise» (1966), a pop art masterpiece (or train wreck, take your pick), which makes up a double feature with Jane Fonda's turn as «Barbarella» (1968), based on a French comic strip, on Thursday, May 17, at the Castro Theatre.

Gone is director Len Wiseman, who took wife Beckinsale with him, though the former receives a story credit while the latter makes a bizarre cameo constructed out of footage from the original feature film.

Screenwriter Carl Gottlieb (The Jerk, Jaws 2) takes his first stab at directing a feature film, based on the screenplay he co-wrote, and ends up making almost an extended version of the caveman sequence of History of the World Part I, which came out the same year.

Of the six features on this set, all but Playtime make their respective American Blu - ray debuts and two appear on disc for the first time in the U.S.. From his debut feature Jour de Fête (1949) to the birth of both M. Hulot and the distinctive Tati directorial approach in his brilliant and loving Monsieur Hulot's Holiday (1953) through the sublime Playtime (1967) to his post-script feature Parade (1974), this set presents the development of an artist who took comedy seriously and sculpted his films like works of kinetic art driven by eccentric engines of personality.

Many of the rules that Jamie Kennedy jokes about in «Scream» came to being here — both Annie (Nancy Loomis, oxford and undies) and Lynda (P.J. Soles, «totally» topless, also in «Carrie») are sexually active and ultimately die, and Lynda's boyfriend Bob may be the first on record to say «I'll be right back» and not make it back — but there are also some classic hair raising quick - take shots of Michael Meyers across a street, in the backyard, and especially the one of him rising in the background after Laurie (Jamie Lee Curtis, in her feature film debut) thinks she's killed him once and for all.

Earlier this week we took a look at this year's unpredictable Animated Feature race and the reasons why literally any animated film can make — or miss — the final 5 without any real shock.

Jon Stewart will take a 3 - month break from The Daily Show this summer to make his feature film debut.

Making a feature - length film takes more than a cool concept and themes of fatherhood.

Take a look at the making - of David Cronenberg's prophetic 1983 film Videodrome with this short documentary featuring the Canadian master himself and various members of the crew divulging the process behind creating some of the movie's grotesque (and still - impressive - to - this - day) special effects.

But for the next twelve years, Reichardt struggled to get another feature film made, couching surfing in friend's apartments, taking teaching gigs, and making a few short films.

In addition to best film last year, the Spirit Awards and Oscars lined up on best actor (Casey Affleck, Manchester by the Sea), screenplay (Barry Jenkins took adapted for Moonlight at the Oscars), and feature documentary (O.J. Made in America).

I am sure I am not alone in that I spend far more time watching abstract films and short experimental videos than I do watching feature films; in part because I make experimental films, and in part because, to my mind, the most risk - taking visual artists don't necessarily work in feature films; but instead work in video art and experimental filmmaking and newly emerging filmic art forms, such as gifs.

And in his feature film debut, Sean Durkin takes full advantage of his chosen medium's advantages, making «Martha Marcy May Marlene» one of the most immaculately edited new films we can remember.

Instead of feeling like the same thing on a feature film scale, this film was able to take this character and show the audience his personal struggles, while still making a film filled to the brim with uncomfortable laughs.

The film took four years to make and grew from a short film, to a feature - length «splatter comedy».

«A Walk Among the Tombstones» is the fifth feature - length film made from Lawrence Block's fiction and the fifth time Liam Neeson goes after psychos who take people hostage.

This is a feature film and not a documentary (on - screen notes at the end explain that while the film is based on meticulous research, some dramatic license was by necessity taken), but Bigelow has a way of making scripted drama feel like an utterly gripping newsreel.

The debut feature - film of documentary filmmaker David Gelb (Jiro Dreams of Sushi), The Lazarus Effect takes an overdone horror / thriller movie premise and manages to make it into something fresh and creepy... for about its first half.

The group made a short film based on their idea, got support from Texas - based screenwriter L. K. (Kit) Carson, took the short to the Sundance Film Festival, and found backing from big - time filmmakers including James L. Brooks, who helped them get money for a feature from Columbia Pictures.

Thus, the director decided to take advantage of the presence of his crew and most of his cast and shot a full second feature, Crystal Fairy & the Magical Cactus on a shoestring budget while waiting to complete principal photography on the film he was supposed to make in the first place.

NEW Sounds from the Cold — interviews with supervising sound editor David Lewis Yewdall and special sound effects designer Alan Howarth NEW Between the Lines — an interview with novelization author Alan Dean Foster Audio Commentary by director John Carpenter and actor Kurt Russell John Carpenter's The Thing: Terror Takes Shape — a documentary on the making of THE THING featuring interviews with John Carpenter, Kurt Russell, special effects make - up designer Rob Bottin, legendary matte artist Albert Whitlock plus members of the cast and crew (80 minutes — SD) Outtakes (5 minutes — SD) Vintage featurettes from the electronic press kit featuring interviews with John Carpenter, Kurt Russell and Rob Bottin (12 minutes — SD) Vintage featurettes — The Making of a Chilling Tale and The Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby making of THE THING featuring interviews with John Carpenter, Kurt Russell, special effects make - up designer Rob Bottin, legendary matte artist Albert Whitlock plus members of the cast and crew (80 minutes — SD) Outtakes (5 minutes — SD) Vintage featurettes from the electronic press kit featuring interviews with John Carpenter, Kurt Russell and Rob Bottin (12 minutes — SD) Vintage featurettes — The Making of a Chilling Tale and The Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby camake - up designer Rob Bottin, legendary matte artist Albert Whitlock plus members of the cast and crew (80 minutes — SD) Outtakes (5 minutes — SD) Vintage featurettes from the electronic press kit featuring interviews with John Carpenter, Kurt Russell and Rob Bottin (12 minutes — SD) Vintage featurettes — The Making of a Chilling Tale and The Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby Making of a Chilling Tale and The Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby caMake - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby cards)

It's taken Sharon 15 years to make Brown Girl Begins, the first ever Canadian - Caribbean science fiction feature film.

The mock - up contains fifteen heavy - parchment pages of art from the book (a few of which made it into the movie's prologue), while Sullivan, an animator on the film, contributes the only bonus feature new to this presentation, a seventeen - minute «Evil Dead II: Behind - the - Screams» slideshow in which he narrates a series of photos he and others took on the set.

Anyone who makes a film about a sexual relationship between a boy and his mother and derives its title from a colloquialism for male masturbation is clearly a director who wants you to sit up and take notice — and that is just what David O. Russell did with his feature debut «Spanking the Monkey» (1994).

Liz W. Garcia's feature film directorial debut «The Lifeguard,» starring Kristen Bell, is now in theaters and Garcia talks about what it takes to get a movie made.

DVD Features: New Line would have been better off not even bringing this film on DVD at all, but the single - disc release does include a 60 - minute making - of featurette, perhaps to explain why it took so long for director Terrence Malick to edit the damn thing.

Hittman does nab a fascinating lead (out of England because few upcoming American male actors would take on, and shed off, a role this revealing) out of Dickinson, who makes his feature film debut.

Sure, the film isn't exactly Best Picture material, but what it lacks in quality it makes up for in charm (from its eccentric cast of characters to its pop - inspired soundtrack featuring classic dance hits like «Hot Stuff,» «You Sexy Thing» and «You Can Leave Your Hat On»), and sometimes, that's all it takes to make a hit.

Documentarian Amy Berg makes her feature debut with a slow burn of a mystery, one that takes cues from her amazing fact - based films, Deliver Us from Evil and West of Memphis: the banality of evil, the inequities of the criminal justice system, the abuse that can occur when those who are supposed to love and protect the innocent and vulnerable don't have the best intentions at heart.