Sentences with phrase «of creative costumes»

With a few tips and tricks, your face can be the focal point for all sorts of creative costumes.

Not exact matches

Founder, CEO, and chief creative officer Carolyn Rafaelian is from Rhode Island, once the costume jewelry capital of the world and where her family began its foray into jewelry manufacturing.

The Creative Arts Emmys are a niche version of the larger TV awards, specifically for cinematography, costuming and guest - acting.

It is too bad that we often put readers, ordained and lay, in costumes that shackle the creative reading of texts.

Aware of series creator Matthew Weiner's fetish for prop - selection, and aware of the star status of costume designer Janie Bryant, viewers feel challenged to nail down why the creative geniuses have put onscreen the things they put onscreen.

This costume involving Bobby Petrino and his former mistress, Jessica Dorrell is going to be one of the more creative costumes you will see this year.

I'm in a Facebook group with a bunch of other creative professionals, many of whom make beautiful, handcrafted goods, so I invited them to share their costume accomplishments with us.

Get creative and turn your child's wheelchair or crutches into a part of your child's costume.

Sarah's Silks produces a variety of play silks in a rainbow of colors, as well as silk costumes and dress - ups, and silk toys to nourish a chid's senses and encourage endless hours of creative, open - ended play.

But, instead of focusing on a first, second, and third place, plan ahead and create a prize for each child such as: funniest costume, prettiest costume, more creative costume, etc..

«The parade looped around the hamlet and the kids had some of the most creative costumes I've ever seen.

The most popular costumes of the evening were minions (which I can never get enough of), zombies (always love the creative makeup that goes into them) and cat ears... there had to have been about 5 million cat costumes on the streets of New York last night, haha.

You need an easy baby halloween costume but, if you are like me and not into pulling out the glue gun, sewing machine, or any other piece of creative equipment...

Since those over the age of 13 are not allowed wear costumes, people have learned to get creative with regular clothing and use color blocking, shapes, and patterns to create a look inspired by Disney characters.

You really used a lot of creative techniques in this costume!

But as the leaves turned brilliant shades of gold and red we got more creative with how to plan for a gift - giving, and the holidays arrived promptly at our doorstep clad in clever and often hilarious Halloween costumes.

Such a wonderfully creative (and easy) set of costumes!

The cosplay contest was the biggest highlight of the evening, where dozens of participants gather their courage to strut the stage and show off their creative and brilliant costumes.

Avant - garde performance artist / writer, lives part time in San Francisco and Mexico City; very famous but loves privacy, tours internationally, bohemian type, 57, fit, good sense of humor, loves conversation, good food, art, literature, indie movies, creative dancing, costuming, unique art objects

Director Peyton Reed's creative team also includes Oscar ® winning cinematographer Russell Carpenter (Titanic, 21), production designer Sheppard Frankel (Identity Thief, Horrible Bosses) costume designer Sammy Sheldon Differ (X-Men: First Class, Kick Ass), visual effects supervisor Jake Morrison (Marvel's Thor: The Dark World, The Lord of the Rings: Two Towers), stunt coordinator Jeff Habberstad (Marvel's Iron Man 3, X-Men: Days of Future Past) and six - time Oscar ® nominee, special effects supervisor Dan Sudik (Captain America: The Winter Soldier, Marvel's The Avengers).

Director James Gunn's creative team also includes director of photography Henry Braham («The Legend of Tarzan,» «The Golden Compass»); production designer Scott Chambliss («Star Trek,» «Tomorrowland»); editors Fred Raskin («The Hateful Eight,» «Guardians of the Galaxy») and Craig Wood («Guardians of the Galaxy,» «Pirates of the Caribbean: At World's End»); composer Tyler Bates («Guardians of the Galaxy,» «John Wick»); three time Oscar ® - nominated costume designer Judianna Makovsky («Captain America: Civil War,» «Harry Potter and the Sorcerer's Stone»); Oscar ® - nominated visual effects supervisor Chris Townsend («Avengers: Age of Ultron,» «Iron Man 3»); stunt coordinator Tommy Harper («Pirates of the Caribbean: Dead Men Tell No Tales,» «Captain America: The Winter Soldier»); co-producer / first assistant director Lars Winther («Captain America: Civil War,» «Captain America: The Winter Soldier»); and six - time Oscar ® nominee, special effects supervisor Dan Sudick («Captain America: Civil War,» «The Avengers»).

One of the better creative choices made was to have the latter assume a different voice when in costume, which not only helps with suspension of disbelief with regards to his secret identity, but also adds to the fearsome nature of «the bat».

Featuring incredible camerawork from Academy Award nominee Rachel Morrison (Mudbound) and gorgeous costumes designed by the great Ruth E. Carter (Selma), the visual aesthetics of all that Coogler has envisioned is of an imaginatively creative scale unlike anything I had anticipated.

Behind the scenes, the creative team includes frequent collaborators Tom Stern, who served as cinematographer on 13 of Eastwood's previous films, and Deborah Hopper, who has served as Eastwood's costume designer on 17 prior films, editor Blu Murray, who most recently cut «Sully,» and the film's composer, Christian Jacob.

Behind the scenes, Spielberg reunited his creative team from «Bridge of Spies,» including Oscar - winning director of photography Janusz Kaminski («Schindler's List,» «Saving Private Ryan»), Oscar - winning production designer Adam Stockhausen («The Grand Budapest Hotel»), Oscar - winning editor Michael Kahn («Saving Private Ryan,» «Raiders of the Lost Ark») and Sarah Broshar («The Post»), and costume designer Kasia Walicka Maimone («Moonrise Kingdom»).

A lushly produced epic about the harsh realities of creative expression, featuring bravura performances and Oscar - winning costume design and makeup, Topsy - Turvy is an unexpected period delight from one of contemporary cinema's great artists.

We're talking hundreds of extras, large detailed set designs, delightfully spot - on choreographed dance numbers, distinctive costuming, original songs, a creative humorous yet touching script, and lead actors that shine.

Reuniting with the director are members of his Insidious creative team — director of photography John R. Leonetti, editor Kirk Morri, costume designer Kristin M. Burke, composer Joseph Bishara — and his Saw production designer, Julie Berghoff.

The film also reunited key members of Todd Phillips» creative team from the first two films: director of photography Lawrence Sher, editor Debra Neil - Fisher and costume designer Louise Mingenbach.

Creative talent returning behind the camera included director of photography Erik Alexander Wilson («Tyrannosaur,» «Submarine»), production designer Gary Williamson («Bunny and the Bull,» «Submarine»), Oscar - winning costume designer Lindy Hemming («Wonder Woman,» «The Dark Knight»), and editor Mark Everson («Mindhorn,» «Alan Partridge»), joined by editor Jonathan Amos («Baby Driver»).

The creative filmmaking team includes director of photography Simon Duggan, production designer Patrick Tatopoulos, editors Wyatt Smith and David Brenner, and costume designer Alexandra Byrne.

Far more creative and enjoyable than the standard retrospective route, this reunion, seemingly born out of DeVito's surprising and abundant passion for the film, sees the cast revisit and re-enact their favorite moments, share props and costume design drawings, and bask in each other's company.

The behind - the - scenes creative team is led by multiple Oscar - nominated director of photography Caleb Deschanel («The Right Stuff,» «The Natural»), production designer Nelson Coates («Flight»), editor Frédéric Thoraval («Taken»), and costume designer Marian Toy (HBO's «Ballers»).

The behind - the - scenes creative team includes Academy Award ® - winning production designer Rick Carter («Avatar») and «Watchmen» and «300» veterans director of photography Larry Fong, editor William Hoy and costume designer Michael Wilkinson.

The behind - the - scenes creative team includes director of photography Roberto Schaefer («Finding Neverland,» «Quantum of Solace»); production designer Kirk M. Petruccelli («White House Down»); editors Ron Rosen («Godzilla»), Oscar nominee Chris Lebenzon («Crimson Tide,» «Top Gun») and Oscar nominee John Refoua («Avatar»); costume designer Susan Matheson («The Big Short,» «Safehouse»); and VFX supervisor Jeffrey A. Okun («Clash of the Titans,» «The Day the Earth Stood Still»).

The behind - the - scenes creative team includes Oscar - winning director of photography John Seale («The English Patient»); action unit director and stunt coordinator Guy Norris («Australia»); editor Margaret Sixel («Happy Feet»); production designer Colin Gibson («Babe»); Oscar - winning costume designer Jenny Beavan («A Room with a View»); and makeup designer Lesley Vanderwalt («Knowing»).

Behind the scenes, the creative team was led by director of photography Eduardo Serra, production designer Stuart Craig, editor Mark Day, composer Alexandre Desplat, visual effects supervisor Tim Burke, and costume designer Jany Temime.

The behind - the - scenes creative team included director of photography Hoyte van Hoytema, production designer Nathan Crowley, editor Lee Smith, costume designer Jeffrey Kurland, visual effects supervisor Andrew Jackson and special effects supervisor Scott Fisher.

The near future romance Her, written and directed by Spike Jonze, whose widely diverse resume ranges from the world of music videos to MTV's Jackass to major motion pictures, brought together a creative team that costume designer Casey Storm refers to as «friends first, and co-workers second.»

Berloff's creative team includes director of photography Maryse Alberti («Creed»), production designer Shane Valentino («Straight Outta Compton»), Oscar - nominated editor Christopher Tellefsen («Moneyball,» «A Quiet Place») and costume designer Sarah Edwards (upcoming «Ocean's 8,» Showtime's «Billions»).

The creative production team includes Emmy nominated director of photography David Moxness («The Kennedys»), production designer Chris Cornwell («Ride Along,» «The Wedding Ringer»), costume designer Olivia Miles - Payne («Entourage,» «Ride Along 2»), visual effects producer Raoul Bolognini («Spider - Man 2,» «Zombieland»), visual effects supervisor Erick Geisler («The Day the Earth Stood Still»), and editor Scott Powell («24»).

But even with the help of the creative, distinct costumes and make - up created for the characters throughout the film, the natural relationship between the two protagonists couldn't fully repair the at - times underdeveloped screenplay that focused heavily on the visuals and not enough on the story.

The creative team on A Monster Calls also includes production designer Eugenio Caballero, an Academy Award winner for Pan's Labyrinth who previously collaborated with the director on The Impossible; costume designer Steven Noble (The Theory of Everything); and cinematographer Óscar Faura, who shot both The Impossible and The Orphanage for Mr. Bayona.

Behind the scenes, the creative team includes frequent collaborators Tom Stern, who served as cinematographer on 13 of Eastwood's previous films, and Deborah Hopper, who has served as Eastwood's costume designer on 17 prior films; editor Blu Murray, who most recently cut «Sully,» and that film's composer, Christian Jacob.

In addition to all the topical costumes you've already seen — Harley Quinn, Donald Trump, pretty much anyone from «Stranger Things» — a number of actors, directors and musicians got creative with their get - ups: Mary Elizabeth Winstead went as Scarlett Johansson's nameless character in «Under the Skin,» Katy Perry put on a lifelike Hillary Clinton outfit.

The behind - the - scenes creative team includes director of photography Phil Meheux, Oscar ® - nominated production designer Tom Sanders, Oscar ® - nominated editor Stuart Baird, Academy Award ® - winning costume designer Lindy Hemming and Academy Award ® - winning composer Howard Shore.

The behind - the - scenes creative team includes director of photography Martin Ruhe («The American»), production designer Sharon Seymour («Argo»), editor Dirk Westervelt («Journey to the Center of the Earth»), and costume designer Catherine Marie Thomas («The Heat»).

The behind - the - scenes creative team included director of photography Henry Braham («The Golden Compass»), Oscar - winning production designer Stuart Craig («Dangerous Liaisons,» «The English Patient,» the «Harry Potter» films), editor Mark Day («Harry Potter and the Deathly Hallows, Parts 1 & 2»), and Oscar - nominated costume designer Ruth Myers («Emma,» «Unknown»).

The behind - the - scenes creative team was led by Academy Award ® - nominated director of photography Tom Stern («Changeling»); Academy Award ® - nominated production designer James J. Murakami, («Changeling»); Oscar ® - winning editor Joel Cox («Unforgiven») and editor Gary D. Roach; and costume designer Deborah Hopper.

Thurber's behind - the - scenes creative team includes director of photography Barry Peterson («21 Jump Street»); production designer Clayton Hartley («The Other Guys»); editor Mike Sale («The Hangover Part II»); and costume designer Shay Cunliffe («The Bourne Legacy»).