Sentences with phrase «mm films shot»

Utilising the 16 mm films shot by her grandfather as memorial evidence and the catalyst for a familial reassessment of the mythologised Mick, the filmmaker adequately structures the piece to reveal buried truths.

Not exact matches

I had a clunky Canon 35 mm camera loaded with black and white film that I took around the country and the world alike, and I had the time of my life shooting everything from European cathedrals to iconic East Coast skylines.

17 The Canadians then raced to invent a system that could shoot on film 10 times the size of the 35 mm format and fill a screen six stories high.

MM and I are heading up to San Francisco today to finish shooting our film project.

Shot on 35 mm film using only available light, «Ballast» is a profoundly American film that's nonetheless rooted in the European tradition of improvised, lo - fi naturalism (as in, say, the work of Belgium's Dardenne brothers).

He buys cameras instead of renting them, creates a set of an alley way instead of just shooting in an alley, films on both 35 mm and HD at the same time, and that's before they even start actual production.

Shot on beautiful 35 mm stock, Lincoln is a film filled with natural beauty as seen through the keen eyes of Spielberg and Kamínski.

The film was shot in two anamorphic 35 mm 2.35 X 1 scope formats: Panavision and Technovision, the latter an Italian format that has a good look.

The 1080p 2.35 X 1 digital High Definition image was shot in Super 35 mm by Director of Photography Mark Irwin, C.S.C. / A.S.C., giving it the same lame school look emphasizing the same color schemes typical of such films shot in California.

They are the longest 35 mm Steadicam shots in cinema history — each using nearly an entire film reel.

That it was shot on 35 mm film makes the picture softer and more intimate than hard, high contrast digital.

As for the 70 mm presentation... considering most of the film is shot indoors, on a single set, is it fair of me to say that it seems like a waste of the format?

The feature shot on 35 mm film.

I don't really understand why the film was shot in 70 mm, other than maybe it was impressive back in the 80's, but I guess it's a credit to Tobe Hooper for realizing the world wouldn't be able to handle a movie full of Mathilda May's boobs in 35 mm.

The unveiling of the Macintosh in 1984 is shot on grainy 16 mm film and scored with vintage synthesizers.

Nothing is better suited for 35 mm film than the western because of the narrative significance of the land, often depicted in lingering long shots.

In his own micro-budget way, Swanberg is a real filmmaker: His pacing is swift, his editing efficient and his decision to shoot the film in 16 mm imbues it with authentic visual warmth.

Now Baker's taken on Cannes with The Florida Project — this time shot on 35 mm film — about a precocious six year - old and her ragtag group of friends whose summer break is filled with adventure,

(Liman and cinematographer Roman Vasyanov, shooting on Super 16 mm film, took care of principal photography in 14 days, using the western edge of California's Mojave Desert as a stand - in location.)

As far as I could tell, no one had ever used a roll of film this way — to create a 20 - plus minute shoot on 35 mm — and I thought it would be a fun challenge and an interesting way to make a movie.»

They fit in a lot, be it cameos, fight sequences or 35 mm shot dream sequences (the majority of the film is shot digitally).

Reichardt describes the film, shot on 16 mm, as «a road movie without the road, a love story without the love, and a crime story without the crime.»

«When I was a kid, I started out shooting on super 8 film... graduated to 16 mm, and (Johnny X) was my first 35 mm production.

And it's full of everything we love about the prolific filmmaker, including his stalwart casting of familiars Samuel L. Jackson, Tim Roth, Michael Madsen, and others, including Demian Bichir and Jennifer Jason Leigh, as well as his pithy one - liners, and sprawling Western shots, this time captured on 70 mm film.

Golden Exits; the latest film from Alex Ross Perry (Listen Up Phillip, Queen of Earth), is an unnerving American ensemble drama shot on 16 mm that boasts a star - studded cast led by Emily Browning, Chloë Sevigny and indie stalwart Jason Schwartzman.

Filmed in 35 mm and set in the year Spielberg shot his debut, Duel, it's a finely simulated addendum to his Seventies filmography.

Had the film been shot in color or on 35 mm, it wouldn't have put the viewer in the appropriate state of mind for the unique state of mind necessary and the melding of both comedy and sci - fi.

In every surface aspect, it's a textbook New York underground indie (though shot on 16 mm film rather than video), enamored with repellent details (Laura is introduced mid-crying jag, blasting a mucus strand from her nose and reflexively snorting it back in) and sporting just - get - it - done technical credits.

The film is brilliantly shot on 35 mm by Lol Crawley.

Beautifully shot on 35 mm by Ben Kasulke (who made his debut as a cinematographer on the film).

One of Broomfield's hastier exposés (for starters, it was shot entirely on consumer DV instead of his typical 16 mm), Aileen 2 became a film more or less on the spur of the moment when the documentarian was subpoenaed to testify at one of Wuornos's pre-execution hearings.

Filmed on 35 mm and left in its grittiest state — the colors have a relatively untreated feel, like a»70s Dirty Harry film — Too Late is an L.A. noir shot in five continuous take scenes.

When writer / director Paul Thomas Anderson made his acclaimed drama «The Master» (2012), he originally intended to shoot roughly 20 % of his tale of an alienated young man (Joaquin Phoenix) falling under the spell of the charismatic leader of a new religious movement (Philip Seymour Hoffman) in 70 mm, but wound up shooting nearly the entire thing in the process (the first narrative film to do so since the aforementioned «Hamlet»).

«My Beautiful Laundrette» was made with TV in mind, shot in the then - cheaper format of 16 mm, but the response it received at film festivals quickly proved that it warranted a theatrical release.

But I can confidently report that it's another mammoth achievement for Anderson, who shot the film in 65 mm — not for the sake of spectacle (it doesn't have anything like the grand vistas of Marfa, Texas in There Will Be Blood), but for the intensely intimate relationship that develops between a knockabout WWII veteran (Joaquin Phoenix) and the charismatic religious visionary (Philip Seymour Hoffman) who offers him a way forward.

Shot in Super 35 mm, the film pays special attention to its visuality and contains some of the most beautiful shots ever seen on the silver screen.

When Anderson went on to make his next film, his ingenious Thomas Pynchon adaptation «Inherent Vice» (2014) he shot it in 35 mm but had a couple of 70 mm prints blown up from it that have only received a handful of public screenings to date.

The majority of the film is rather dark, as it takes place in a dark house the entire film, and there is noticeable grain consistent with being shot on film, which Aronofsky opted to shoot on 16 mm.

After Bendjelloul ran out of film for his 8 mm camera, he used an iPhone app called 8 mm Vintage Camera to shoot the remainder of the movie, which came out in 2012.

Nolan and cinematographer Hoyte van Hoytema («Interstellar») shot the film using 65 mm and IMAX cameras, and while the big scenes of spectacle are unquestionably sweeping and impressive, it's the smaller moments that stayed with me more, whether it's those cascading leaflets in the opening scene, the terrifying majesty of a fighter plane gliding with its engines off, or a harrowing sequence involving a downed plane that will doubtless be used by English teachers to illustrate what poet Stevie Smith meant when she wrote «Not Waving but Drowning.»

When I shot one of my first 16 mm short films as a student, the light meter that I checked out from school was broken.

Shot on 16 mm, Bronstein's film is a bleak but unforgettable character study about a New York door - to - door salesman, played with compassion and ferocity by Dore Mann.

The movie, shot on 35 mm film, showed the same steady hand, but McQueen and Bobbitt had more resources to play with, not least in the unforgettable tracking shot that follows Fassbender's Brandon as he goes for a nighttime jog.

The film was shot in anamorphic 35 mm by cinematographer Alexis Zabe, known for his work in music videos (Pharrell's «Happy») and collaborations with director Carlos Reygadas («Silent Night» and «Post Tenebras Lux»).

P.S. I Love You was shot in 35 mm, and the 1.78:1, 1080p presentation has the softness of film without undue harshness or over-processing.

The film was shot with two different cameras at the same time, one 35 mm and one HD.

Additionally, the Blu - ray includes four iconic GN» R music videos that have been newly sync'd to both remastered stereo audio and new 5.1 surround sound mixes, plus a brand - new video for «It's So Easy» that was shot in 1989 by the band but was never completely finished — until now in 4K HD from 16 mm film transfers.

Coixet shot the film herself using a 16 mm camera, hand - held for about 80 % of the time.

His latest, shot in Super 16 mm film, is about a young woman (Anna Kendrick) who has just broken up with her boyfriend and needs to crash on her big brother's couch - but he's got a wife and kid, space and money are tight, and it's a cold Christmas in Chicago.

Shot on grainy 16 mm film («Drinking Buddies» was shot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photograShot on grainy 16 mm film («Drinking Buddies» was shot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photograshot digitally), the look of the film (lensed by Ben Richardson of «Beast of the Southern Wild» fame) is definitely a step backwards, and it appears as if the filmmakers only used available light, which doesn't make for the most flattering photography.