Sentences with phrase «production end of the film»

Running nine minutes, it goes just as much into Irving's story than it does the actual production end of the film.

Not exact matches

generates a «sour» review they could (in theory) change the end of that very show as soon as they read it... the Story NXT tells is set on film (digital file) 4 days to 4 weeks before the Audience sees it, to adjust their sails for that would require back stage re-shoots and post production edits (look at Impact scrambling to re-write their Pre-tape to cover for ADR's release)... easier to let it ride, see if the opinions stay sour, and then IF Needed adjust the angle for the next taping, at which time they'll have a better idea for the correction and can make it look more organic

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

FYI, Gary Ross didn't leave for the second one, they started the process of building the second one before the end of production on the first film, so they always had a second team (including director) already in place.

The story of what went on behind the scenes was as interesting as what ended up on the screen — if not more so — as the world learned when Greg Sestero, a star of the film and compatriot of Wiseau, pulled back the curtain in his 2013 book The Disaster Artist, in which he chronicled his life as a friend to Wiseau and the ridiculously lengthy and taxing production of The Room, while also trying to shed some light on the legend of Tommy Wiseau.

You get a sense of what differentiates Romans from the citizens of Pompeii, the geography and culture of the place, and the production values seem solid enough for what was probably a mid-to-lower end of high - budget film.

started production at the end of January, when director David F. Sandberg shared a picture of the film slate on social media.

In fact, I notice this with a lot of Blumhouse productions, although it's actually a symptom of how they make their movies (they rework a lot of their films and end up removing quite a bit of footage by release).

Doug Liman will still direct Channing Tatum in Gambit — but the script needed some rewrites, so instead of beginning production this quarter, the X-Men adaptation won't start filming until the end of this year.

So Cuaron, who used the same writer (Steven Kloves), production designer (Stuart Craig), composer (John Williams) and trio of leads as the previous two films did, ended up putting the best face on a problematic situation.

Production on the film is set to begin at the end of April in London.

And while there are a number of strong sequences sprinkled throughout (eg Cole talks to his mother (Toni Collette's Lynn) about her own deceased parent), The Sixth Sense's funereal atmosphere ultimately lessens the impact of the much - vaunted climactic twist and it is, in the end, clear that the film doesn't entirely work as either a drama or a spooky thriller - with the movie's mild success due mostly to Shyamalan's considerable talent and his ongoing ability to wring top - notch work from folks both in front of and behind the camera (ie this is an exceedingly handsome production, undeniably).

The clear implication, given the production timeline of the second film, was that Brolin had been a part of it the whole time, and his character was nowhere near defeated at the end of the first one.

At the same time, Assayas would come to realise that a script is merely the starting point of the production process: you begin with a script and end with a film.

The films, financed by Roger Corman (who had also produced Hellman's Los Angeles stage production of «Waiting For Godot»), were well received at European film festivals but tossed into legal limbo when its European distributor went bankrupt and ended up being sold directly to American TV.

Moreover, because it's a Hollywood studio production you know there has to be some reveal of what really happened at the end and our heroine — the film's entire pov — has to be the one to discover it.

In fact, PA3 opened bigger and though it had the series» weakest legs to date, it still ended up with a domestic gross close to the first film and a franchise - high worldwide take of $ 203 M. And while the production budget again rose, it was still kept to just $ 5 million, well under the competition and far less than the marketing costs of such a high - profile wide release.

The Lyric reopened in 2015 with a hit production of «Bugsy Malone» and later produced «Ghost Stories» ahead of its West End run and adaptation into a film starring Martin Freeman.

When Studio Ghibli announced it was closing production of feature films in 2014 many saw it as the end of an era, even if they did take back that statement a few years later.

Jack Gracie chats with Mary and The Witch's Flower director Hiromasa Yonebayashi and producer Yoshiaki Nishimura... When Studio Ghibli announced it was closing production of feature films in 2014 many saw it as the end of an era, even if they did take back that statement a few years later.

I am just back from the cinema and I am still imitating the lines from blak thunder.The touch of ethan cohen make the sense of the film spread in so many ways.He must to had drunked at least one night with Stiller and decide to make the film that represent the sbluf hollywood production system and his stars.The first scene that comes on mine mind in this moment is the «Appocalypsis Now» scene with Stller and Downey at the end and the quasi-phycological dialog.Wonderfull for a men who was searching for a good comedy, my lastone good comedy was Burn After Reading, before that The Boss of it All fromm LArs von Trier.

«The Gathering Storm: The Chronicles of the Hobbit Part 3» is a making - of documentary that runs just short of five hours and «Here at Journey's End» (aka «The Appendices Part 12») goes into detail on aspects of the production and pulls out to see the film in the context of the entire Tolkien story told in the six films.

The idea behind the new credit was to put one person, other than the director, in charge of the visual elements of the film, so as to unify the design and end all the usual turf battles that a production had about the visuals.

The Natalie Portman - starring western Jane Got a Gun (a by - now infamously troubled production), finally set to premier at the end of January, features Portman as one of two or three women in the entire film; contrast that with indie drama About Ray and the hotly contested remake of the Ivan Reitman classic Ghost Busters, a production attempting to further distinguish itself by pushing the words together to form Ghostbusters — how crafty.

This week's entry in the Ender's Game production blog features a photo of director Gavin Hood crossing off a scene he's completed filming in the Battle Room.

In 1930, nudity in American films was abruptly ended by the introduction of the Hays Code, which was an agreement among the large (and a few small) production studios to self - censor their content to avoid government restrictions.

A moderate performer by overall box office standards, the film still landed at the high end of production company Dark Castle's output.

Simon Pegg and Nick Frost, the lovable and hilarious duo behind Shaun of the Dead, Hot Fuzz and The World's End, have just formed a new film and TV production banner titled Stolen Picture, reports Deadline.

The end results are plenty of production details, backgrounds on cast and crew members, and with the exception of the final reel, the pacing is pretty brisk; it's only their admiration for actor Arthur Dignam that results in dead spots during the film's denouement.

Howard was later officially confirmed to take over the project, and while some reports suggested he ended up reshooting much more than initially thought, Lando Calrissian actor Donald Glover assured fans that the change in production didn't have too much of an effect on the overall film.

Yet they share a certain quality of desperation: Both were produced on miniscule budgets outside of major studios, both Ulmer and Dickerson used a variety of techniques to disguise their humble production values, and both films ended up looking indelibly cheap anyway.

Cinematographer Dick Pope (Naked, Mr. Turner) lenses with an intense yet subdued color palette, and combined with first - rate production design from Tom Conroy (Breakfast on Pluto) make London's East End in the Swinging Sixties crackle and spark, but nothing can call away attention from Hardy, who carries the film with his alternately unhinged and equitable representation of selfsame mafiosos.

The film is set at the end of the Motion Picture Production Code, a series of laws film - makers had to endure in order to have a picture shown on screens.

There is a two part feature called «Toasting Tintin» which celebrates the beginning and the end of the film's production.

Late in the film, while watching a production of Richard III, one of Ben Jonson's playwright colleagues asks another, «How does it end?»

It came at the end of a frustrating period in Schepisi's early American career that was littered with false - starts, partially developed projects, and films that were taken out of his hands — such as Raggedy Man (Jack Fisk, 1981), a film that shares its screenwriter with Barbarosa — just prior to production.

«Tumbling down the rabbit hole...» RLJE Film has released a teaser trailer for a very twisted, crazy cool new assassins film titled Terminal, formerly known as End of the Line while in production.

From the costumes and production design to the cinematography to the film editing (done by End of Watch alum Roman Vasyanov), not to mention the score (from last year's category winner Steven Price), sound effects, and visual effects, it's all top notch.

Employing a workshop format to cast the film, he ended up with quite the impressive roster; working with DiCaprio again for the first time since his take on «Romeo & Juliet,» he also has a galaxy of stars in support, including Maguire, and, playing against type, Mulligan as the materialistic, sometimes simple - minded Daisy Buchanan; curiously, it's her first leading role in a big Hollywood production.

And even though Columbus would not pick up the pace or improve as a filmmaker for the second film, «Chamber of Secrets,» he set a production values bar, and a casting one, that the series would uphold to its very end.

No matter the unique circumstances surrounding Doctor Strange, «Iron Fist» or this film, the end result is the same: Hollywood shies away from putting an Asian actor front and centre of big - budget productions, even those that necessarily call for such casting.

Octogenarian James Ivory, the acclaimed filmmaker of A Room with a View and Howards End, whose 1987 film Maurice was a landmark in gay cinema, was slated to direct Call Me, but he ended up writing the script and co-producing, handing over the reins to Guadagnino mainly as a result of financial pragmatism (Guadagnino refers to his production as «micro-budget»).

Simon Pegg and Nick Frost (Spaced, Shaun of the Dead, Hot Fuzz, The World's End, Paul) have formed a new film and TV production company called Stolen Picture.

Amazingly, despite his less than impressive credentials, the high - end production values of the first film remain intact on Lafia's watch.

As Ian Olney explains in his recent book Euro Horror: Classic European Horror Cinema in Contemporary American Culture, Hollywood stole distribution tactics from B - film production studios, such as saturated openings, while also recognizing the viability of cheap sequels to accompany these methods, where films could make so much money in one weekend, as to become profitable, that whether or not audiences actually liked the film ended up being an afterthought.

For the balance of the film, production designer Boris Levin's sets present a richly poignant view of working class mid-century Manhattan, right down to the graffiti - style end credits.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

First is Sting's dramatic Oscar - nominated end credits anthem «My Funny Friend and Me» (2:54), presented as a hybrid of a music video and the artist's reflections about working on the film (a sterilized abbreviation of production, to be sure).

Special Features New, restored 4K digital transfer, supervised by cinematographer Caleb Deschanel, with uncompressed monaural soundtrack on the Blu - ray New documentary on the making of the film, featuring interviews with members of the production team Excerpts from a 1980 American Film Institute seminar with director Hal Ashby Author Jerzy Kosinski in a 1979 appearance on «The Dick Cavett Show» Appearances from 1980 by actor Peter Sellers on NBC's «Today» and on «The Don Lane Show» Promo reel featuring Sellers and Ashby Trailer and TV spots Deleted scene, outtakes, and alternate ending PLUS: An essay by critic Mark Harris

SCREENING ROOM: An intimate theater in which co-president Louis D'Esposito claims all Marvel films start and end, and where we are being treated to dailies from «Motherland» — the production title of Black Panther.