Sentences with phrase «making her feature film directing»

«I Give it a Year»: «Borat» scribe Dan Mazer makes his feature film directing debut with this romantic comedy about a young couple (Rose Byrne and Rafe Spall) who are doing their best to stay married despite the doubts of their friends and relatives.

Ben Affleck makes his feature film directing debut with Gone Baby Gone, based on a novel by Mystic River author Dennis Lehane that Affleck adapted with co-screenwriter Aaron Stockard.

Comedian turned serious actor John Krasinski (13 Hours, Away We Go) makes his feature film directing debut on a project that's unbalanced to a spectacular degree.

The acclaimed performer of stage and screen makes his feature film directing debut with «Breathe,» the Andrew Garfield and Claire Foy starrer about husband - wife activist duo Robin and Diana Cavendish.

Directing duo John Francis Daley (you know him from Freaks and Geeks and Bones) and Jonathan Goldstein made their feature film directing debut with the thoroughly mediocre Vacation, and Game Night is a significant step up but I'm not sure that has a lot to do with them.

Not exact matches

Zegna's ambitous «A Rose Reborn» directed by Park Chan - wook made our list, as did Alexander Wang's funny Autumn / Winter campaign film, featuring Chris Kattan as Mango, a character from the American comedy show Saturday Night Live.

The second film to be made from Woody Allen's successful stage comedy (following a 1969 feature starring Jackie Gleason), Don't Drink the Water is a made - for - television adaptation directed by and starring Allen himself.

Phyllida Lloyd makes her feature film directorial debut an uneven one; she's a leading British theatre director who is noted for her work in opera and directed the original stage production.

Poorly written and directed, the film features a bland performance by all the leads, except for Nick Nolte and Beatrice Dalle, who are the only two who make an impression.

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.

The overwhelming English sadness of Ian McEwan's novella On Chesil Beach has been transferred to the movie screen, adapted by the author and directed with scrupulous sensitivity and care by Dominic Cooke, known for his stage work and making his feature film debut here.

McTiernan went on to make over 200 television commercials before making his feature film debut by directing the fantasy horror movie Nomads (1985).

Goreshter made her foray into film opposite actor Harrison Ford, Gary Oldman and Liam Hemsworth in the high stakes thriller feature PARANOIA, directed by Robert Luketic.

Welcome to Willits is directed by filmmaker Trevor Ryan, making his feature directorial debut after a number of short films.

Nocturnal Animals is the new film by Ford, the fashion designer who made his feature directing debut on A Single Man.

The One I Love is cleverly written by Justin Lader and directed with budget - minded skill by Charlie McDowell (son of actor Malcolm, and step - son to Ted Danson, who makes a small acting appearance), both of whom are making their feature film debuts.

Bad Samaritan is directed by veteran producer / writer (of the scripts for Universal Soldier, Stargate, Independence Day, Godzilla, «The Outpost») and now filmmaker Dean Devlin, making his second feature film after directing Geostorm previously.

The Brit, best known for directing nearly every episode of the UK series «The Mighty Boosh», just made one minor feature film prior to this.

Gehenna is directed by Japanese filmmaker Hiroshi Katagiri, an FX legend working for years at Spectral Motion and Stan Winston Studios, now making his feature directorial debut after a few short films previously.

After the impact of these two features (the latter screening at Cannes and championed by such critics as Pauline Kael), Schepisi moved on to directing films overseas, including such varied works as Barbarosa (1982), Plenty (1985), Roxanne (1987), The Russia House (1990), Six Degrees of Separation (1993), Last Orders (2001) and the HBO - financed Empire Falls (2005), which won a Golden Globe for Best Mini-Series or Motion Picture made for Television.

At various points in his fantastically varied and storied career he wrote position papers on the need of support for a moribund Australian film industry, wrote and directed numerous episodes of such seminal TV shows as Homicide and Division 4 for Crawford Productions, was central in establishing film courses and departments in places such as Canberra and Brisbane (Griffith University), wrote plays and performed poems at Melbourne University and La Mama in the 1960s, directed feature films in the early 1980s (most memorably Ginger Meggs in 1982), made documentaries for the ABC and SBS (The Myth Makers, Images of Australia, The Legend of Fred Paterson, and numerous others), wrote and edited such books as Screenwriting: A Manual and Queensland Images in Film and Television, helmed commercials for a vast array of companies and government bodies, contributed film reviews to ABC radio (and more occasionally TV) across various states (for almost 40 years), wrote for numerous publications including Overland, The Canberra Times, Metro, The Concise Encyclopedia of Documentary Film, The Hobart Mercury, and so much more.

Featuring relative unknowns as its starring cast and a directing team of Justin Benson and Aaron Moorhead who despite a few small, mostly unheard of films are still making a name for themselves.

Gudegast, making his feature directing debut after writing «A Man Apart» and «London Has Fallen,» seems to understand just enough about that element of Mann's film to recreate some of its conflicts — both in terms of crime scenarios and the characters» civilian lives — but lacks the discipline, or maybe skill, to lend them real emotional weight, much less originality.

Despite these triumphs, Leonard's reputation mainly rests on the series of six musical films he made with the singing team of Jeanette MacDonald and Nelson Eddy; Leonard directed all but two of their features, including Maytime (1937), long established as the uncontested favorite of the cycle.In Leonard's late career, the properties he handled were somewhat less auspicious, though there is a surprise in the hard - boiled melodrama The Bribe (1949), a respected film noir that is the only film of its kind in Leonard's canon of 161 known titles.

The Lazarus Effect is directed by David Gelb, whose last feature film was — and I've rechecked this three times to make sure it's not an error — the fascinating 2011 documentary Jiro Dreams of Sushi, about an old Japanese man who runs a tiny but renowned restaurant in Tokyo.

Screenwriter Jeremy Brock (The Last King of Scotland, Mrs. Brown) makes his feature directing debut with this modest, moving and semi-autobiographical film.

As directed by Steven Bernstein, a veteran director of photography who makes his feature film debut here, «Decoding Annie Parker» frequently dangles on the precipice of falling into Lifetime Original Movie territory.

The Art Of Getting By, formerly known as Homework, was both written and directed by up - and - coming filmmaker Gavin Wiesen, who's making his feature debut after a short film in 2008 called Kill the Day.

The film makes direct reference to the Manson Family, and later features a sequence echoing real - life events.

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.

Annabelle: Creation is directed by Swedish horror filmmaker David F. Sandberg, who made his feature debut with the horror film Lights Out (based on his own short) last year.

Red Christmas is both written and directed by Australian actor - filmmaker Craig Anderson, making his feature directorial debut after numerous short films and TV work including «Double the Fist», «Black Comedy», and «How Not to Behave».

Polaroid is directed by Norwegian filmmaker Lars Klevberg, making his feature directorial debut after a few shorts previously, including the Polaroid short this film is based on.

Hounds of Love is written and directed by Australian filmmaker Ben Young, making his feature directorial debut after a few short films previously as well as episodes of «Prank Patrol» and «Castaway».

Annabelle 2 is directed by Swedish horror filmmaker David F. Sandberg, who made his feature debut with the horror film Lights Out (based on his own short) earlier this year.

Despite it being the directing duo's début feature, the film along with impeccable performances, exquisite cinematography and subtle splashing's of noir, has been making waves on the international film festival circuit.

Robin Hood is directed by English filmmaker Otto Bathurst, a veteran TV director (episodes of «Peaky Blinders», «Black Mirror», «Criminal Justice», «Hustle», «UGetMe») making his feature film directorial debut with this.

Nancy is written and directed by up - and - coming filmmaker Christina Choe, making her feature directorial debut after a number of short films previously.

The idea for 355 came from Chastain, and she pitched it to him while they worked on that superhero film on which Kinberg made his feature directing debut.

Izzy Gets the F*ck Across Town is both written and directed by American filmmaker Christian Papierniak, making his feature directorial debut after a few short films previously.

An accomplished editor in her own right whose credits including Fifty Shades of Grey, Salmon Fishing In The Yemen and Seven Psychopaths, she has recently started to direct music videos for the likes of John Grant and Goldfrapp ahead of making her first feature film.

The film is written by Peter Craig, who recently penned Ben Affleck's «The Town» with director Asger Leth making his dramatic feature directing debut after his 2006 documentary «Ghosts of Cite Soleil.»

Terence Davies, an actor turned filmmaker who directed his first short film in 1976, has made a mere six features since 1988, when he released his debut feature Distant Voices, Still Lives.

Aardvark is directed by American actor - filmmaker Brian Shoaf, making his feature directorial debut with this film after a few shorts previously.

She noted that even with her experience in television and having directed episodes of «Buffy» and «Girlfriend's Guide,» making her first feature film was still something new.

In the feature, Donaldson effectively compares and contrasts the career trajectories for Mimi Leder, who made her name through her Emmy - winning work on «ER,» directed the one of the top - grossing films of 1998 with «Deep Impact» and then went to «movie jail» and didn't direct another film for nine years after the middling performance of her 2000 family drama «Pay It Forward,» to those of Trevorrow, who made his feature debut with the Sundance hit «Safety Not Guaranteed,» won the choice gig helming «Jurassic World» on director Brad Bird's recommendation and managed steer to the reboot of one of the most popular film franchises of all time to giant box - office success.

Summer 1993 is directed by Spanish filmmaker Carla Simon, making her feature directorial debut after a few short films previously.

Extras: New interviews with Coppola, Lachman, actors Kirsten Dunst and Josh Hartnett, author Jeffrey Eugenides, and writer Tavi Gevinson; «Making of The Virgin Suicides,» a 1998 documentary directed by Eleanor Coppola and featuring Sofia Coppola, Eleanor and Francis Ford Coppola, actors Dunst, Hartnett, Scott Glenn, Kathleen Turner, and James Woods, Eugenides, and more; «Lick the Star,» a 1998 short film by Coppola; official music video for Air's soundtrack song «Playground Love,» directed and shot by Coppola and her brother Roman Coppola; trailer; an essay by novelist Megan Abbott.

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.

Dial M for Murder premiered at the Westminster Theatre in London in 1952, only for it to be made into an expert crime mystery thriller by Alfred Hitchcock two years later, while Wait Until Dark, another complex and dark play in the vein of Hitchcock's interests directed by Arthur Penn (who would helm Bonnie and Clyde the very next year), saw the light of day in early 1966 on Broadway, where it instantly attracted the attention of both the audience and Warner Brothers, determined to turn it into a feature film starring none other than Hollywood's sweetheart Audrey Hepburn in a much darker, insidious story than her filmography had ever witnessed.