Sentences with phrase «of a film camera before»

Jude had never been in front of a film camera before.

Not exact matches

In a chapter on kids and cameras in my book, there's a bit about Polaroids - which was written, of course, before the sad news that Poloroid would stop producting it's film (check out Save Polaroid).

«Five minutes before the talk was due to start a man burst into the room holding a camera phone and for some seconds stood filming the faces of all those in the room.

Next, to explore the potential role of handshakes in communicating odors, the scientists used covert cameras to film some 280 volunteers before and after they were greeted by an experimenter, who either shook their hand or didn't.

In that case, the COLTRIMS experiments proved that the position of the Danish physicist Niels Bohr in the «Einstein - Bohr debates» 80 years ago was correct and, shortly before that, other physicists from the atomic physics work group used COLTRIMS to «film» the destruction of a molecule by a strong laser pulse — a reaction so fast that it can not be captured by an ordinary camera.

Before becoming a lighting director, he worked a variety of jobs in film ranging from camera operator to sometime actor.

Featuring a strong ensemble cast and solid camera work, the film starts out as one kind of story before metamorphosing into a bittersweet tale of retribution that never fails to engage.

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.

The film represented Arthur Kennedy's return before the cameras after ten years» retirement; after one additional performance in the independently produced Grandpa, Kennedy died in 1990 at the age of 76.

As before, Bujalski's preference for nonprofessional actors, his ear for the rhythms of conversation among bright young 20 - somethings and his adept use of a roving, hand - held camera (this time shooting in fuzzy black and white) lend the film an invigorating energy.

The icy stare she delivers as her dismantled frame falls to the ground is as puzzling and secretive as that of the late artist and writer Theresa Hak - Kyung Cha in her 1975 film Mouth to Mouth, in which Cha appears, disappears, and reappears before our eyes, sometimes with her back to us, sometimes facing the camera and looking ahead.

Like Kurosawa did before him, Altman used multiple cameras to film the big crowd scenes; the actors had to remain in character because they had no way of knowing what footage of them might be used.

The «Steve Jobs» director is currently working with «Trainspotting» writer John Hodge on the script, and hopes to have the film before the cameras at the end of the year.

The film's had a troubled production — shut down in order to try and get the budget down, only for it to skyrocket once the film went before cameras anyway — and it still remains something of a question mark in the eyes of many.

In a less explicable musical interlude, The Lobster and Tale of Tales actor John C Reilly took to the stage to sing a be-bop version of Just a Gigolo with four - man Dixieland outfit the Flyboys, before presenting the Camera d'Or for best first film to César Augusto for Land and Shade.

Combining penetrating on - camera interviews and never - before - seen still and archival motion picture footage with the testimony of Warhol's bewilderingly vast body of work itself, the film will be the first to exploit in depth the immense Warhol archives at the Andy Warhol Museum in Pittsburgh.

As the film began as a loose collection of scenes, many of which were originally shot for Lynch's website on a low - resolution camera, Lynch committed to making the film on digital cameras and wrote scripts daily in response to what had been filmed the day before.

We traded blizzard stories (I was in the middle of one when we spoke and he had just dug himself out of one the week before) for a few moments before he talked about his new film, «Boardwalk Empire» and what could be next for him behind the camera.

The film is also Anderson's first feature with no credited cinematographer, as the filmmaker worked with a crew of camera technicians he has collaborated with before in a new way.

Before the films of Kenji Mizoguchi or Jean Renoir, Preminger or Orson Welles, Nicholas Ray or Satyajit Ray — or, indeed, Bertolucci — cinephiles rightly gasp at the expressive eloquence and power of that three - point relation of camera - actor - environment as it clicks into place with precision.

The accidental similarity, plain as day on paper, becomes even plainer on the screen: Minutes into the film, stage and cinema veteran Simon Axler (Al Pacino, himself a veteran of both Broadway and Hollywood) ambles out of his dressing room, the camera following close behind; gets locked out of the back entrance of the theater, and must come in through the front; and dramatically inflicts some violence upon himself before a shocked live audience.

Granted, people had been waiting for a new live - action Star Wars film for over a decade before The Force Awakens hit theaters and may have been a bit easier to please, but a great team has been assembled both in front of and behind the camera, and the new footage looks great, so, as of now, there's no reason to believe that Disney and Lucasfilm won't be going two for two with their recent Star Wars releases.

Back in the day (2006, to be exact) we reported on Peter Weir signing up to direct the film with a William Broyles Jr script, and we guessed it would step before the cameras long before Weir's other planned project at the time, an adaptation of William Gibson's Pattern Recognition.

Although Samuel Shellabarger's novel had been bought by Fox long before the cameras rolled in 1946, it took a few years before everything was set to begin filming one of the studio's costliest production (which also included, Forever Amber, shot concurrently).

In 1948, a year before they made the nonpareil thriller «The Third Man,» director Carol Reed and screenwriter Graham Greene collaborated on another tilted - camera film - noir classic: this mesmerizing story of a French diplomat's son (Bobby Henrey), who hero - worships the embassy butler (Ralph Richardson).

The movie is introduced as «a film without actors,» and it is noted of the main players, «These five appeared before a camera for the first time in their lives.»

Caleb Deschanel's cinematography contributes to the mystery and thrill of the film, with the camera always being a witness and sometimes being a guide before the action happens.

The use of photographs - within - film to freeze characters in a milieu while defining it in modern terms was already a worn idea when George Roy Hill claimed it for Butch Cassidy and the Sundance Kid, and here it's handled with even less integrity, by way of a photographer whose 19th - century camera and anachronistic darkroom give him in a few short hours prints of a quality no photographer achieved before about 1920.

With three or four different time periods over the course of the eight - year investigation covered and returned to time and again, but without any discernible rhythm, it's really only by paying stricter attention to Speedman's facial hair than we'd like to have had to, that we eventually worked out a rough timeline and even then, certain events are unmoored: how long before she went missing did Dunlop discover the cameras that were filming Tina?

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

The films opens with the bear running at the camera before we cut to a man jolting awake; we see the fiery ursine figure again later from above, running through the forest, before cutting to a line of firefighters moving through a burnt - out section of woods.

With three or four different time periods over the course of the eight - year investigation covered and returned to time and again, but without any discernible rhythm, it's really only by paying stricter attention to Speedman's facial hair than we'd like to, that we eventually worked out a rough timeline, and even then, certain events are unmoored: how long before she went missing did Dunlop discover the cameras that were filming Tina?

Realizing that they are trapped in their room with hidden cameras now aimed at them filming their every move, David and Amy desperately find a means of escape through locked doors, crawlspaces and underground tunnels before they too become the newest stars of the mystery filmmaker's next cult classic!

Long before «Baby Driver,» «Scott Pilgrim vs. the World» or breakout film «Shaun of the Dead,» writer / director Edgar Wright was just a young 20 - year - old filmmaker who wanted to make a feature film with his most immediate resources: a camera, some friends, some cowboy hats.

It's undoubtedly one of the marquee films competing for the Palme D'Or; featuring an intriguing cast with Tatum in the lead, Mark Ruffalo in supporting, and Steve Carell overshadowing in his first villainous role, directed by one of America's brightest emerging talents, and with an Oscar buzz that began before cameras rolled.

We only just learned a couple months ago that Doug Liman had finally replaced Rupert Wyatt, it's unlikely Wyatt left the film in tip - top - shape before exiting, so there's a bunch of major things still left to do before even cameras start rolling.

I recall that when discussing his plans for the film, Guadagnino had told me that he would end the film with a shot of young Elio weeping before the camera.

The film intercuts the television coverage (the cameras were so close that you can see what's happening inside the bus as if you were only a few feet from the windows) with interviews with surviving hostages and with relatives and social workers who had known the hijacker, himself a survivor of the infamous massacre of street kids by the police a few years before.

Introduction by Omar Sharif (1:40), Disc 1, Side A (just before film) / Audio Commentary by Actors Omar Sharif, Rod Steiger and Director David Lean's widow Sandra Lean / Isolated Score by Composer Maurice Jarre / 30th - anniversary behind - the - scenes documentary «Doctor Zhivago: The Making of a Russian Epic» (60:23, indexed with 21 chapters with photos), Disc 2 / Vintage «Zhivago: Behind The Camera with David Lean» (10:12), Disc 2 / Vintage «David Lean's Film of Doctor Zhivago» (7:13), Disc 2 / Vintage «Moscow In Madrid» (4:27), Disc 2 / Vintage «Pasternak» (8:46), Disc 2 / New York Press Interviews with Julie Christie (10:07), Disc 2 / New York Press Interviews with Omar Sharif (18:52), Disc 2 / Geraldine Chaplin Screen Test (3:14), Disc 2 / «This Is Julie Christie» (1:06), Disc 2 / «This Is Geraldine Chaplin» (1:08), Disc 2, / «This Is Omar Sharif» (1:38), Disc 2 / «Chaplin In New York» (2:14), Disc 2 / Original release Trailer

Without a heavy hand on the camera, before long you'll forget you're watching a film and feel as though you're really part of the action.

Please note that some of these photos were taken on slide film before digital cameras came out, others were with a digital camera.

Please note that some of these were taken with slide film before the arrival of digital cameras.

I grew up admiring my parent's classic photo albums (a time before digital cameras which included only film and photo prints) of their lives living in other countries especially in Japan.

They are not film stills but shot with a medium format camera and printed before the editing of the films.

In the form of a video confessional amassed over 12 years, the film records Hershman Leeeson's struggle, transformation, and transcendence as her personal story unfolds before the camera and sees the mirroring effects of when the personal becomes political, becomes cultural.

The artist acquired a small movie camera just before he travelled to Los Angeles to see his show in September of 1963, and the impact of Los Angeles, of Hollywood, and of the camera combined to set him on one of the most important paths of his career, that of film - maker as well as artist.

Well, I wanted to film a video of our latest junkin» excursion, but somebody with blonde hair, whose name rhymes with Kayla, forgot to charge the video camera battery the night before, so unfortunately this is all we got... BUT, we did have our regular camera with us, so we did manage to get a still -LSB-...]