Sentences with phrase «minute pieces of the film»

Ramsay would send Greenwood, who had read the script early on, five to fifteen minute pieces of the film while she was editing with the hope of luring the busy musician.

Not exact matches

When your dough has been in the fridge for 30 minutes, take your frozen butter (which has been left at room temperature for 20 - 30 minutes), and grate onto a piece of cling film (aka plastic wrap)

The DVD even contains the oft - forgotten «In Search of Dr. Seuss», a full 90 - minute film which is basically a series of set - pieces linking a whole bunch of Seuss's stories together into something approximating a coherent narrative.

There's also a nearly 20 - minute piece with Alan Howarth, who worked on the film's score with Carpenter — That one goes on a bit longer than it needs to, although it's interesting to learn that there's a demand for Howarth to do live performances of the music.

You can feel yourself growing older in the 90 minutes it takes to watch this horrid piece of filmed dinner theater.

First, a seven - minute piece called «The Spirit of the Ride» has the director and various other cast and crew discussing how they drew on the amusement park ride for ideas and general atmosphere for the film; the 14 - minute mini-documentary «Dead Men Tell No Tales» (also available in the DVD - ROM content in the two - disc edition) gives a history of the «Pirates of the Caribbean» ride, complete with lots of behind - the - scenes looks at the animatronic pirates and nostalgia - inducing footage from the ride itself.

Blu - ray extras include a making - of piece; an interview with Cronenberg; his 1970 film Crimes of the Future; and an irresistible 20 - minute segment from a 1980 episode of The Merv Griffin Show, with Reed as one of the guests alongside Orson Welles and Charo.

Extras include a six - minute behind - the - scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary) of the virtuoso ejection set piece that at times gives Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.

They don't need to be period pieces or intimate dramas (although that won't hurt), but they have to be in films that hit creative peaks such as «Room» or «The Revenant» («Beasts of No Nation» should have been one of those films, but more on that in a minute).

Anorak: «The film flows at a good pace, and even without the fantasy action pieces every 20 minutes the events transpiring in the whorehouse world are captivating in and of themselves.»

The shorter pieces, which take on various aspects of the film, the story, production and special effects details (like the use of miniatures, which has become a rarity in the CGI age), range from under two minutes to just over twelve minutes.

It's also close in feel to Brett Morgen's 30 for 30 documentary on OJ Simpson's famous Bronco chase, and, like that film, Berg slowly pieces together the action of the day — a minute's silence for the Newtown massacre's victims, the Red Sox's home game — to give a sense of a calm before the chaos.

Features commentary by film scholar Dana Polan, a new interview with Gloria Grahame biographer Vincent Curcio, a 20 - minute piece with filmmaker Curtis Hanson produced for the 2002 DVD release, a condensed version of the 1975 documentary I'm a Stranger Here Myself (this runs about 40 minutes), and the radio adaptation of the original novel produced for «Suspense» in 1948, plus a fold - out booklet with an essay by Imogen Sara Smith.

Being released five years after it was initially filmed, the 149 - minute Margaret is a thought - provoking piece of cinema, says Paige Feldman.

The longest of the supplements --» Spy Vision: Recreating 60's Cool» on designing the film and «A Higher Class of Hero» on creating the action sequences — are under 10 minutes apiece and the rest under five minutes each: a piece on the creator of the motorcycles in the film and portraits of the two stars and the director.

Extras: Two optional English narrations, including one by actor Roy Scheider; audio commentary from 2008 featuring Schrader and producer Alan Poul; interviews from 2007 and 2008 with Bailey, producers Tom Luddy and Mata Yamamoto, composer Philip Glass, and production designer Eiko Ishioka; interviews from 2008 with Mishima biographer John Nathan and friend Donald Richie; audio interview from 2008 with co-screenwriter Chieko Schrader; interview excerpt from 1966 featuring Mishima talking about writing; «The Strange Case of Yukio Mishima,» a 55 - minute documentary from 1985 about the author; trailer; a booklet featuring an essay by critic Kevin Jackson, a piece on the film's censorship in Japan, and photographs of Ishioka's sets.

New to this disc is the four - minute «In Walt's Words: Snow White and the Seven Dwarfs,» an audio - only interview with Walt Disney discussing the film set to an image track, the seven - minute featurette «Iconography» that explores the film's influences on popular culture, art, and fashion, «@DisneyAnimation: Designing Disney's First Princess» with four contemporary animators discussing the design of Snow White, and an «Alternate Sequence: The Prince Meets Snow White,» plus the breezy promo - style pieces «The Fairest Facts of Them All: 7 Facts You May Now Know About Snow White» with Disney Channel star Sofia Carson and the rap retelling «Snow White in Seventy Seconds.»

The extent to which a parent is able to fulfill this obligation is the extent to which The Pagemaster is worthwhile; using this film as an eighty - minute babysitter - cum - opiate negates any possible positive effect conferred by the picture — raising the question, clearly, of how best to approach criticism of the piece.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

The rest of the supplements are bite - sized pieces: «Welcome to New Penzance» features footage of the locations, «Set Tour with Bill Murray» is a quick 3 minutes, Bob Balaban introduces short segments of actress Kara Hayward (Suzy) reading excerpts from the (fictional) books featured in the film, and «Cousin Ben» features additional footage of Jason Schwartzman as Cousin Ben.

«The Making of Moonrise Kingdom» consists of an 18 - minute featurette shot on the set of the film plus four storyboard animatics and narrator tests, five minutes of screen tests of the child actors, and a short piece on the miniatures used in the flood sequence.

That's followed by a 12 - minute making - of featurette, five deleted scenes (each presented with the optional accompaniment of the commentary crew), a fun and brief piece called «The B Team» that spends some time with three cast members (Juliette Lewis, David Koechner, and Kick Gurry) who felt left out after they joined the filming a few days late, a blooper reel, and a music video for «Put Your Head on My Shoulder» by Blue Mother Tupelo.

And because this is a J.J. Abrams film in some capacity, the methodical pace allows you time to take note of minute objects, in the hopes of finding a puzzle piece to connect this to its predecessor, so anything from an envelope on the ground to a sign takes on added significance.

Undoubtedly a high speed adventure, this film's real genius lies beyond the actors» faces and directly on the shoulders of stunt coordinator Charlie Picerni (Lethal Weapon, Die Hard), who was in charge of the stressful and exciting action pieces that had Hawke's Magna racing against the clock for ninety minutes.

Description from editor Louis Plamondon: «Every year, Cineplex (the Canadian version of AMC) asks me to put together a two minute mashup of all the films nominated for an Academy Award set to a piece of classical music.

It's just as clear that October Sky recovers for an admittedly captivating final stretch, with the emotional punch of the film's final few minutes ultimately confirming its place as an above - average period piece.

This 29 - minute and 40 - second piece provides a general overview of the movie's creation, as it combines the usual mix of film clips, production stills, and new interviews.

This four - minute and 50 - second video piece mainly contributes a taped discussion of the film from Harlin, as he explains why he did it and what he wanted to do with the material.

The 13 - minute and 42 - second piece includes a general discussion of the film's robots plus some notes about Gigolo Joe's make - up and the methods used to bring Teddy to life.

The France - born Benhaim's 40 - minute film — an evocative mood piece in which a young girl wanders through present - day Morocco surrounded by ghostly voices — was one of three works given the shorts competition's top prize at this year's edition of the Rotterdam International Film Festival (IFFR).

Clocking in at 196 minutes, Turkish master Nuri Bilge Ceylan's latest is probably not a film to double - bill with Interstellar — at least, not if you have plans for the rest of the week — but it rewards audiences» patience with an immaculately crafted character piece.

Running time: 97 minutes Distributor: Criterion Collection DVD Extras: A new digital transfer supervised and approved by director of photography; «Ask Todd,» an audio Q&A with director Todd Solondz; Making «Life During Wartime,» a new documentary featuring interviews with actors; a new video piece in which Lachman discusses his work on the film; the original theatrical trailer; and a booklet featuring an essay by film critic David Sterritt.

Johnny Depp, meanwhile, is in the film for about five minutes, despite his face being splashed across every piece of promotional material in a pathetic attempt at drumming up interest.

Special Features Restored 4K digital transfer, with 7.1 surround DTS - HD Master Audio soundtrack on the Blu - ray, both supervised by director David Lynch 7.1 surround DTS - HD Master Audio soundtrack on the Blu - ray, supervised by Lynch Alternate original 2.0 surround soundtrack, presented in DTS - HD Master Audio on the Blu - ray The Missing Pieces, ninety minutes of deleted and alternate takes from the film, assembled by Lynch Interview from 2014 by Lynch with actors Sheryl Lee, Ray Wise, and Grace Zabriskie New interviews with Lee and composer Angelo Badalamenti Trailers PLUS: Excerpts from an interview with Lynch from Lynch on Lynch, a 1997 book edited by filmmaker and writer Chris Rodley

He described the experience as «a bit of film school for me in terms of problem solving, technique and using a budget», before sharing an anecdote in which Emmerich, despite having a $ 75,000,000 for Independence Day, was ordering sets to be built at the last minute from leftover pieces of other film's sets.

Blu - ray Highlight: As you might expect from a movie like «Safe,» the coolest piece of bonus material is a 10 - minute featurette called «The Art of the Gunfight» that takes a look at the action choreography in the film, focusing on three sequences in particular.

An experimental film starring Neil Young and shot partially on smartphone, FF2 critic Katusha Jin saw the 73 - minute piece as more of a concert film than a cinematic feature, but explained that it «defied the rules of storytelling.»

His film may not boast a single centrepiece action sequence to rival, say, the D - Day landing scene in Saving Private Ryan, or even the single - take, five - minute tracking shot of Dunkirk beach in Atonement, but it is effectively one long unbroken set piece — surely one of the most impressive ever committed to celluloid.

The supplement package includes audio commentary by director Martin Brest and three fairly engaging featurettes (a half hour making - of effort and 8 - 10 minute pieces on the film's score and on the casting process - the latter delving into the replacement of Sylvester Stallone by Murphy).

Personally, I attribute the film's Britishness to the roughly three - minute appearance of Leonard Rossiter: even though he's supposedly playing a Russian scientist, with Rigsby's arrival it feels like a little piece of northern suburbia has been transplanted to earth's orbit.

A specific activity that really demonstrates this approach is the close viewing of the film «Pigeon,» a powerful 11 - minute piece about one woman's decision to save a Jewish stranger during the Holocaust.

«Report,» a 13 - minute meditation on the 1963 assassination of President John F. Kennedy, features radio broadcasts on the assassination, brief television clips and the media's deification, commodification and obscuration of the president alongside clips of the president spliced with scenes of bullfights, pieces of Hollywood films, television advertisements and WWII battles.

In Sydney in 2014, the British artist presented her first theater piece, a monologue for the actor Stephen Dillane on death, families, and the nature of performance; in New York two years later, she transformed it into Event for a Stage, a moving and dizzyingly intricate 50 - minute film.

Tacita Dean conceived a piece that consists of an eleven - minute silent 35 mm film projected onto a monolithic wall erected at the end of a darkened Turbine Hall.

The archival wall reads as an elite rose petal taxonomy, funneling the viewer into the auditorium where the artist's 30 - minute 16 mm film of the performance art piece shot on 16 mm at Bell Labs, plays on a loop.

Running simultaneously amongst several stacked monitors, the video is a four - minute loop featuring characters based on chess pieces from the artist's related film A Game of Chess.

Ana Mendieta, Moffitt Building Piece, 1973, Super-8mm film transferred to high - definition digital media, color, silent, 3:17 minutes, Courtesy of The Estate of Ana Mendieta Collection, LLC.

APPARENT MOTION (1975, 30 minutes 16 mm, color, silent) One of Sharits» most sublime pieces, APPARENT MOTION focuses on film grain particles, color and the illusion of motion.

Perhaps less successful as part of a group exhibition is Duncan Campbell's hour long film, It For Others (2013, which is difficult viewing in a similar way to the 2012 entry by Luke Fowler, a 90 minute cinema piece surrounding psychology.

None of them are something you can «get» in a few minutes, you have to spend an hour or two with these pieces in order to really understand them whether that's film or drawing or performance.»