Sentences with phrase «on film sets not»

Not exact matches

Stewart is so comfortable talking up green style that it's easy to forget she is on a set being filmed, until director Damian Weyand interrupts to suggest she not flourish her arms to call attention to the dress.

(b) show them a film produced by the National Insti.tute for Health on the topic; Sekh (c) set a good example for them by not smoking; or

Ender's Game (12A) It's a film set in the future but this vision of it doesn't see gender balance on the horizon.

Just within the last week I've been on four planes and three film sets, not to mention working on recipe after recipe.

While Jalen Rose, Jimmy King, Ray Jackson and Juwan Howard all had producer credits on the film, Webber says he wasn't involved because he was told of it a week before it was set to be filmed.

It will shear the weak bonds that keep the molecules of plastic sticking together but it will not break the plastic molecules themselves — that is, the bowling ball breaking the plastic film does not generate enough heat to set the plastic on fire.

A few more are on Flickr in my film set, if I haven't over saturated you with beach photographs yet (oh, there are still months yet to go!).

When she's not on the set, filming a movie, she's doing the most important work for all — being a mom.

Currently, in most production processes in which there is printed ink on plastic films, the material is rejected for not complying with the final specifications required or simply because they come from the initial settings for the commissioning of the machinery.

The world's last unexplored continent — not a bad setting for a new science fiction movie, once Cameron returns from filming the further adventures of the Na «vi on their native Pandora, in the Alpha Centauri star system.

None of that is right in the foreground of the film's latest trailer, which doesn't mean that it isn't terrifying: The film's intimate title and POV comes The New Scariest Thing You Didn't Know About «The Silence Of The Lambs» The costume designer shares a new on - set story about Anthony Hopkins.

Now comes The American, a European - set film from photographer - turned - director Anton Corbijn (he made Control, about Joy Division's Ian Curtis), a thriller based on a 1990 Martin Booth novel that promises some high - toned excitement, and a chance to see the dark side of George Clooney - that is, the side that isn't being a handsome scamp or earnest humanitarian.

It sets up a very weird situation and actually explains WTF is going on by the end, which most films wouldn't.

Perhaps in the early 1930s when the film is set, things were not so radically different for women than they were in the early, pre-suffragette 1890s when Oscar Wilde wrote his play — but, without wishing to suggest that the battle of the sexes is now definitely over, things have certainly moved on, and the film's preoccupations with womanly virtue and womanly repute is of more historical interest than contemporary relevance, leaving the distinct impression that this «updating» of Wilde has been done only by half measures.

I can't fault anything on display in this film whatsoever, all the visuals, locations, props, sets, costumes, weapons etc...

Not surprisingly, the final film ends with a coda set on King's Cross station 19 years later, as the grown - up Harry, Ron and Hermione send their own children off to board at Hogwarts.

I think Jackson has to be commended for, quite bravely, deciding to jump in at the deep end once more by taking on yet another set of films, where the story is not so much saving the world but helping a band of warriors reclaim their home.

To be clear, Cooper's film is not an exhibition on gun - slinging, nor does it set out to overwhelm viewers, although its few action scenes are both brutal and timely.

His next project (which, though it doesn't begin filming until next month, is currently slotted for an end - of - year release) is a New York - set period dramedy based on the stranger - than - fiction, real - life FBI sting operation (ABSCAM) that brought down numerous crime figures and corrupt government officials in 1980.

Yes perhaps not a film with a particular story that will suit those cinema - goers who like to know what's going on, although there are those of us who just enjoy the medium, stunning sets and magnificent photography, I'd take this over Avitar anyday!

The trick in this film — and others which take on similar historically rehabilitative projects — is to set this racism in the past and attribute it to screwed - up (drunk, self - absorbed, insane) individuals, so all viewers who don't identify with those individuals can feel reassured that they're not to blame.

Not dissimilar to Rosemary's Baby, the made - for - TV The Glow was supposed to have aired during the fall of 2001, but for various reasons (including an unofficial post-9 / 11 moratorium on suspense films set in New York) the film did not make its Fox Network bow until August 30, 20Not dissimilar to Rosemary's Baby, the made - for - TV The Glow was supposed to have aired during the fall of 2001, but for various reasons (including an unofficial post-9 / 11 moratorium on suspense films set in New York) the film did not make its Fox Network bow until August 30, 20not make its Fox Network bow until August 30, 2002.

Spielberg starts off the discussion with commentary about he didn't want to create just another «War Is Hell» film, and the featurette continues with a look at the creation of the film, from location scouting to on - set direction to costuming.

Their relationship is not explored enough in my opinion, leaving little to no impact on me for the future setting of this film.

Everyone knows about different acting methods and a lot of people knew about what Carrey did on the set of Man on the Moon but obviously we never saw it, but that's what this documentary is and although it's not spectacular or anything, it gives another look at the work of the actor and it becomes an excellent companion to the film and especially serves as a testament of one of Jim Carrey's best acting jobs.

On a purely narrative level, however, the introduction of some of the villains feels somewhat awkward, as the film has to abandon its point - of - view close to Ruth to show what kind of people they are before they are set onto a collision course with Ruth and Tony, which doesn't quite feel organic.

Enough Said is a unique film in that it isn't about the man having to overcome his foibles in order to be worthy of the woman he wants, it's about a woman who must look within and come to terms on whether she can accept someone else into her life who has a set of flaws that someone she regards highly finds unacceptable.

Filming scenes all over again required not just having him around so computers could play magic, co-stars Mark Wahlberg and Michelle Williams had to return to the set, money to the reported tune of $ 10 million dollars, was spent on the re-shoots, editing and revamping of the PR campaign.

Real - life astronauts have given the film their blessing but one or two artificial - looking scenes betray the fact the film was shot on sets at Shepperton and Pinewood, not in outer space.

Sciamma's film doesn't romanticize Marieme's new lifestyle (though there is at least one instant classic party scene set to a Rihanna jam that is super-cool), though it does shine a light on the intensity of female friendships in a way that is deeply heartening.

That's not to knock these films on quality or suggest that anything with name actors is merely mindless escapism: Fox Searchlight's thriller The East efficiently mines suspense out of Brit Marling infiltrating Alexander Skarsgaard and Ellen Page's eco-terrorist group (at least until it goes south in its last third) and the Paul Rudd - Emile Hirsch two - hander Prince Avalanche makes the most of its pastoral settings and gently bro - centric chattiness, to name just two.

The remake, which stars Luke «We Couldn't Get Chris Hemsworth» Bracey in the Keanu Reeves role and Edgar Ramirez as the guy who's going to remind everyone they're sad Patrick Swayze is gone, is now the fourth film set to open on Jesus» birthday.

WFF, is a significant player within the Canadian film fest circuit, i known for its intimate, casual environment, set by Mishaw's loyal and tireless admin team, consisting mostly of women, most of whom have been with the festival for years, setting the stage for high - quality film - centric hospitality through which filmmakers and industry honchos mingle, and deals are made not only via scheduled one - on - one meetings, but also in the hot tub or on the ski slopes.

Normally, we'd dock a point any time a Criterion set doesn't include a commentary track, but it seems clear here that a conscious decision was made to ensure the disc containing the main feature had as little else on it as possible, to devote every available byte to presenting the film's images alone.

Also set in the 1950s, this film that notably doesn't star Clooney himself, follows a mild - mannered executive (Matt Damon) in the idyllic hamlet of Suburbicon who gets embroiled in a plot to murder his wife (Julianne Moore) and cash in on her insurance settlement with his sister - in - law (Julianne Moore, too).

I think the best part of being an actor is that to me it feels like I've been in the best film school for the last twenty years because not only do I see the director work on set, I see how the producers work, I see how the DPs work, I see how the gaffers work, I see how the costume department works, I see how the production office works.

As always, Criterion authors the disc to allow you to resume anything you were watching and didn't finish as well as to set bookmarks on the film.

The film leaves room for doubt, and I don't know if it's because the production values are those of an experimental film rather than a documentary - which means we are at fault for depending on a certain set of conventions for truth - or if we simply don't have enough confidence in Emmy's p.o.v.

Put on the spot, she names him after the grocery chain (which nobody in the film ever visits again, though the dog serves as a walking product placement) and convinces the Preacher (how her voiceover self refers to her father) not to kick Winn - Dixie to the curb, then sets about thawing the chilly exteriors of the local would - be shut - ins with her Annie & Sandy act.

THR is reporting that, in addition to Patty Jenkins not being set to direct Wonder Woman 2 just yet, the studio is currently focusing on putting together the Justice League Dark and Batgirl films, with the hopes of having them go into production next after Aquaman.

Thankfully, director Steven Quale doesn't skimp on the tornado action, delivering some really cool special effects - driven set pieces that almost redeem the film.

Colin Farrell admitted he got depressed while filming «Killing of a Sacred Deer» and admits the fact he had to grown a beard for the part meant he couldn't escape the movie when he wasn't on set shooting.

«went on to talk about CBGB and was bitching about how our former film commissioner Jay Self kept showing up to set, telling her she couldn't do this, she couldn't do that and that she was so glad he was no longer film commissioner.

It isn't quite as impressive as his previous two films («Sicario,» «Hell or High Water») but this whodunit set on an Indian reservation is still riveting.

I've been enjoying a lot of the Trailblazing Women programming myself but since we're in the middle of Schocktober, I thought I'd set aside some time to highlight some of my favorite horror films and thrillers directed by women who have left their macabre mark on a genre that many mistakenly assume is not very female friendly.

The entire gag takes a long while to play out (the money shot - close - up on a set of buttocks most definitely not those of the 62 year - old Willis), though it is infused with the kind of nutty energy that Willis last exhibited in his 1991 megaflop, Hudson Hawk (a film that has since acquired an army of «guilty pleasure» defenders, including yours truly).

That can't all be put on Landis, though, because writers don't have the last word — no pun intended — on a film set, the director does.

Set in the past and focusing on the true life events of P.T. Barnum (played fine by Hugh Jackman) and the origins of his infamous Barnum and Bailey Circus, the film could have been a whole lot more better had it not been a cartoonish musical.

The film mightn't have set the box office aflame like many predicted it would (based on those early word - of - mouth screenings that the...

The film isn't anything special but isn't necessarily bad either... it has some brutally violent moments that are sure to make some gasp including Momoa throwing an axe on fire into a guy's shoulder and then setting him on fire.