Sentences with phrase «much about filmmaking»

I learned so much about filmmaking.

Not exact matches

One of the things that MM and I talk about frequently is that the barrier to entry is much lower now when it comes to filmmaking.

But the art of filmmaking is not so much about what is being said, but how you say it.

What is it about his particular style of filmmaking that appeals to you so much?

The filmmaking is extremely impressive because it shows so much both inside and outside the truck, and addresses so many topics about politics and Egypt through this intimate story of various people arrested and thrown inside.

Benny is a filmmaker, but this isn't about filmmaking as much as it is about a person who has chosen to walk that risky road, in keeping with every other risk she has taken on a daily basis.

But ultimately that's what's great about his filmmaking, and The Raid 2 in particular: Where the first film felt like a gritty, hardcore tribute to the martial artists and films that inspired it, this one blooms more fully, not only feeling like its own entity, but offering much thrills that are significantly more democratic.

As always, it was fun to sit down and talk with Alex about filmmaking and much more.

He has about as much filmmaking experience as Beyonce and surely knows a lot about film.

While we don't know much about what this draft contained, largely due to Lucasfilm's secretive approach to both script development and filmmaking, we do know that its direction was massively affected by the tragic death of Carrie Fisher in December 2016.

My friend disdains Eastwood's filmmaking as much as I mostly esteem it, but he agreed with me about one thing: he was «blown away» by Matt Damon's performance.

I'm still going to keep making Mario Bros jokes about this movie and be fine with it... This week ok the podcast we discuss being alone and the film Prince Avalanche as David Gordon Green returns to much smaller scale filmmaking.

For a blockbusting action epic, OLYMPUS HAS FALLEN has quietly gone about its filmmaking business, pretty much under the radar.

He cites Paul Greengrass's two installments in the Bourne series — Supremacy (2004) and Ultimatum (2007)-- as bold embodiments of a post-classical filmmaking style that is as much about the story of Jason Bourne as it is the fight - or - flight experience of the protagonist in dizzying car chases, foot chases, and fist fights shot with hand - held close - ups and edited at breakneck speed.

Even if you know what's coming, it's a neat bit of meta - thriller filmmaking, as much about the mechanics of storytelling as a reasonably satisfying example of it.

There is so much to love about this movie, from the two leads playing off each other perfectly, to the exquisite filmmaking including fantastic dialogue with long - takes, to how deeply layered the screenplay is touching upon popularity, alcoholism, parenting, relationships and plenty more.

We can talk a lot about the harm caused by certain studios when it comes to reshoots and edited versions of films, but when it doesn't concern huge movies where those stories will easily make headlines, it generally shows how much of a collaborative process filmmaking is and how there are producers who know a thing or two about development.

Alfred Hitchcock remade The Man Who Knew Too Much (original 1934, remake 1956) because he felt that he didn't know enough about the craft of filmmaking in 1934 to really do justice to the story.

It's just one example of Audiard's astute filmmaking sensibilities, and one of the many reasons I love him and his work, and why I've come to like Rust & Bone so much thinking more about it afterwards.

It's been a little over a month since the Fifty Shades Of Grey filmmaking team announced that Dakota Johnson and Sons Of Anarchy's Charlie Hunnam would be taking the much buzzed - about roles of Anastasia Steele and Christian Grey in the adaption of E.L. James» bondage - stuffed first tome.

In approaching my interview with Dwayne Johnson, Kevin Hart and Jack Black, I didn't want to ask the standard questions about what drew them to the film or how much work they put into creating their characters or even what they discovered about themselves during the filmmaking process.