Sentences with phrase «production of a film set»

Not exact matches

Nintendo is nearing a deal with production studio Illumination Entertainment on an animated film set in the world of Super Mario Brothers, according to a Wall Street Journal report on Tuesday that cited anonymous sources.

Analysts were forecasting weekend sales of $ 41 million to $ 47 million for the Spielberg film, a respectable opening for a movie with a production budget set at $ 150 million to $ 175 million by people with knowledge of the matter, and additional millions in marketing costs.

The campaign film is shot with a balance of tradition and heritage with contemporary imagery, and depicts the comparative sets of words against the renowned Speyside landscape and the bustling distillery during the production process, reinforcing the premium and craft credentials of the range.

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

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 program looks at sets and their construction, locations near Jamestown, and the involvement of Native Americans in the production and their depiction in the film.

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 production design is incredible, with some of the biggest sets I have ever seen in a film.

With scenes in the United Nations — this is the first time a Hollywood production has been granted access to film there — it also has smatterings of Alfred Hitchcock's «North by Northwest,» a thriller also set in and around the United Nations.

Production designer Eugenio Zanetti worked closely with director Jan De Bont during filming of The Haunting to build some of the largest and most elaborate sets ever created.

«Keith Carradine Demo» (12:06) sets the actor's four performances of three songs («It Don't Worry Me» twice, his Oscar winner «I'm Easy», and the unused «Big City Dreamin»») to film stills and production documents.

The first half of the film is dreadfully contrived and artificial, from the uneven acting to the stereotype - filled script, to the aforementioned set and production design.

As the film's shooting schedule wears on, Fairbanks becomes romantically involved with her leading man, Jake Fields (Jeremy Sisto), but Fields and his friends on the production staff begin to question her stability when she starts wearing her costumes at all times, living on the sets, and tries to live as the character of Guinness.

Gangster Squad's time setting allows a rather gritty film to be bombastic in its use of color and production design.

Production designer Santo Loquasto created much of the sets at the Kaufman Astoria Studios in Queens, Allen's go - to film studio in New York.

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.

During production of the film, director Josh Trank displayed «erratic» and «very isolated» behavior on set.

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.

Production for the film was also rocky, as the media found out through a video of David O. Russell storming off set after an argument with Lily Tomlin.

Instead, it is betting more on its self - financed productions, which include the new film by the acclaimed Greek filmmaker Yorgos Lanthimos set in the 18th - century court of Britain's Queen Anne.

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.

Like Edmund Halley, who died just a couple of years before seeing his prediction come true about the date when the comet bearing his name would return, the sad note about the film is that Rad (listed as director, producer, writer, editor, composer, production designer and set decorator) died in 2007 before he saw it gain new life.

From the very outset Resnais sets up the theatrical artifice of the film with opening scenes of repetition and staged production design.

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

It focuses more on location shooting and other practical matters of film production, and it repeats a bit of the material found elsewhere on this set, but it's still a worthwhile listen for fans.

A smattering of extras begins with a deleted scenes section that more accurately details abandoned concepts for the films; running 12 minutes when «play all» is selected, «All Things Deleted» includes intros from producer Pam Marsden, Disney Toon executive Jeff Howard, and director Matthew O'Callaghan that never once make mention of the precedent - setting nature of the production!

Costume Designer Colleen Atwood, production designer Dante Ferretti and set decorator Francesca Lo Schiavo comment on the look of the film «Designs for a Demon Barber» (9 minutes).

Berg looks at the opening credits, cast and performances, sets and locations, music, story issues, camerawork, some history behind the film's subjects, and a few other bits of production trivia.

In June of 2010, I was able to visit the set of director Shawn Levy's Real Steel when the production was filming at a hundred year old Ford factory in Detroit.

The expensive and exhausting production of the original 1978 film has been documented elsewhere, most recently in the 12 - DVD box set released by Warners in 2006 to celebrate their «year of Superman» that coincided with the release of Brian Singer's Superman Returns.

«Armed and Underground: Production Design» (7 mins., 1080i / 16x9) brings production designer Jon Gary Steele into the interview mix for an insider's view of the film's carefully - aged sets (the industrial - site exterior was a real location in Fontana, CA, but the massive interior was built on a soundstage), while «Crash Course: Stunts» (11 mins., 1080i / 16x9) taps stunt coordinator Lance Gilbert to tell, among other stories, the one about crawling around on the floor with his kids» Hot Wheels cars to plan the armoured - truck chase scene wProduction Design» (7 mins., 1080i / 16x9) brings production designer Jon Gary Steele into the interview mix for an insider's view of the film's carefully - aged sets (the industrial - site exterior was a real location in Fontana, CA, but the massive interior was built on a soundstage), while «Crash Course: Stunts» (11 mins., 1080i / 16x9) taps stunt coordinator Lance Gilbert to tell, among other stories, the one about crawling around on the floor with his kids» Hot Wheels cars to plan the armoured - truck chase scene wproduction designer Jon Gary Steele into the interview mix for an insider's view of the film's carefully - aged sets (the industrial - site exterior was a real location in Fontana, CA, but the massive interior was built on a soundstage), while «Crash Course: Stunts» (11 mins., 1080i / 16x9) taps stunt coordinator Lance Gilbert to tell, among other stories, the one about crawling around on the floor with his kids» Hot Wheels cars to plan the armoured - truck chase scene with Antal.

With another big film, Rebel in the Rye (directed and written by Danny Strong and co-starring Nicholas Hoult) coming to theaters this fall, a recent wrap on The Year of Spectacular Men (written by her sister Madelyn Deutch and directed by their mother), and production starting on the Netflix romantic comedy Set It Up, a work drought does not seem to be in Zoey's future.

The digital choice allows the movie to look clean, but perhaps the grain of film would have been better fitting for the overall presentation that Baumbach was going for (especially with some of the production design and set decoration (especially the apartments) by Sam Lisenco and Hannah Rothfield, respectively).

For her a source of inspiration was the film's elaborate hotel lobby set, created by production designer Adam Stockhausen, a previous Anderson collaborator and recen Oscar nominee for his work on «12 Years a Slave,» in a former department store in the storybook German town of Görlitz, near the border with Poland and the Czech Republic.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

During production in Atlanta, Newton — who, by the way, was also in both Lady Bird and Three Billboards Outside Ebbing, Missouri last year — would pop over to the set of Halt and Catch Fire to film yet another role.

Along the way, we touch on the abandoned film project that Lee was working on with screenwriter Michael Arndt, how The Book Of Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael GiacchinOf Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchinof the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchino.

Some of the other extras are more production - based, like the location featurette «James Bond in the Bahamas,» an in - depth featurette on filming the sinking palazzo sequence («Death in Venice»), and storyboards for two of the film's big set pieces.

With a solid belief from film critics that she's bound for stardom and a growing filmography of award - winning indies and big - budget productions, Emmy's success will rest on her own talents when she sets out to prove everyone right.

And production designer Giorgio Giovannini, who created many of the film's forbidding sets for its shoot on the Titanus Appia Studios soundstage, deserves credit as well.

Fox's X-Men spinoff Gambit reportedly still intends to film in New Orleans, as originally planned last year, before production was set back by the loss of director Doug Liman and an overhaul of the script.

Galleries of production stills, production art, filmmaker biographies, posters, lobby cards, merchandise, set documents (call sheets and the like), and a screenplay excerpt of the film's climax (Felton had a beautiful command of language), three radio spots, storyboard - to - screen comparisons for the scuba and squid scenes, an outtakes reel, and 20,000 Leagues Under the Sea's 1954 theatrical trailer finish off this exhaustive treasure chest of a DVD.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

With production now underway on Ridley Scott's Prometheus sequel / Alien prequel Alien: Covenant, some new spyphotos have arrived online from the Sydney set of the film, showing what has been described as an «extraterrestrial massacre» featuring what looks to be scorched humanoids (or Engineers?).

The 1975 production is set in the 1920s and stars Warren Beatty as a con man trying to get his hands on the fortune of a madcap heiress (a bubbly Stockard Channing in her first major film role) and Jack Nicholson as his dim - witted stooge who slowly figures out he's really a partner in crime.

Even the themes of the film are distinctly eastern, although the action and characters themselves could just as easily stepped off the set of a Hollywood production.

Though Ng dropped out of film school with one semester left for the chance to document Willard's journey to the screen, I can't imagine she'll live to regret it: She's the best I've seen at compiling on - set footage with momentum since David Prior and should find steady employment in the specialized field of DVD production.

«British Columbia's work - safety agency says a film production company «failed» to ensure the safety of workers on the set of «Maze Runner: The Death Cure» when actor Dylan O'Brien was injured in March.»

Originally set for a June 2018 release, the live - action version of Barbie suffered a huge setback last March when comedy star Amy Schumer suddenly dropped out of the project due to «scheduling conflicts,» just two months before the film was set to go into production.

Extras: Two optional English narrations, including one by actor Roy Scheider; audio commentary from 2008 featuring Schrader and producer Alan Poul; interviews from 2007 and 2008 with Bailey, producers Tom Luddy and Mata Yamamoto, composer Philip Glass, and production designer Eiko Ishioka; interviews from 2008 with Mishima biographer John Nathan and friend Donald Richie; audio interview from 2008 with co-screenwriter Chieko Schrader; interview excerpt from 1966 featuring Mishima talking about writing; «The Strange Case of Yukio Mishima,» a 55 - minute documentary from 1985 about the author; trailer; a booklet featuring an essay by critic Kevin Jackson, a piece on the film's censorship in Japan, and photographs of Ishioka's sets.