Sentences with phrase «scenes material shot»

Cloud Atlas by David Mitchell contains «never - before - seen footage from the major motion picture, behind - the - scenes material shot during production, and interviews with the author, directors (Tom Tykwer, Andy Wachowski, and Lana Wachowski), and actors (including Tom Hanks, Halle Berry, Hugh Grant, Hugo Weaving, and James D'Arcy) discussing both the book and the film.»

Not exact matches

For diehard fans, the film is as faithful to the source material as you're likely to get, with some scenes even playing out word - for - word and shot - for - shot.

Many of Brown's comments regarding the film's cinematography are repeated within the bonus material on Disc 2, but it's enlightening to discover just how much was shot with the SteadiCam, and I appreciated his dry musings on how he wasn't wearing safety goggles when filming the close - ups of the axe chipping away at the bathroom door and how shooting a nude scene is anything but an erotic experience.

Home Video Notes: The Shallows Release Date: 27 September 2016 The Shallows releases to home video (4K Ultra HD / Blu - ray or Blu - ray / DVD / Digital) with the following extras: 4K Ultra HD - Feature film in resolution with High Dynamic Range (HDR)- Dolby Atmos soundtrack (Dolby TrueHD 7.1 compatible)- Also includes the film and special features on high - def Blu - ray Blu - ray, DVD & Digital Bonus Materials Include: - Deleted Scenes - Four Featurettes: Shooting in The Shallows, How to Build a Shark, Finding The Perfect Beach: Lord Howe Island, When Sharks Attack

Extras begin with a short but redolent behind - the - scenes featurette (7 mins., HD) in which cast and crew — guests of the same hotel they're shooting in — bond over their dogs (we infer that the Yankee Pedlar does not have no - pets policy) and the material, of course.

The scenes set in the rolling hills of the Irish countryside — the greens and purples coordinated, improbably, with Swank's wardrobe — are obvious draws in HD, but for demo material I might choose the film's finale, set inside an empty Yankee Stadium where, in one deep - focus shot, you can clearly make out each individual seat in the upper deck.

The worst moments are ported complete from the Tolkien source material (and the theatrical version of The Two Towers): the convenience of a fortuitous in - battle as little Sam storms an enemy keep by himself, the deus ex machina of giant eagles arriving at moments of crisis (in fairness, it seems as though the scene establishing their summoning has been jettisoned), the curiously limp money shot of Aragorn's grasping of his legacy, and a general narrative choppiness that defeats pacing and deadens interest for all but the most invested.

According to the course description, «the movie's source material, script, shot lists, storyboards, shooting schedule, VFX, final cut and even exclusive behind - the - scenes footage» will give students an in - depth look at how a Hollywood film is made.

There is no new footage and no interviews shot for this film, only archival material from Brando's performances, his television interviews and some behind the scenes footage and rare videos of his personal life.

We'd have all these crazy discussions, and then we started talking about Man On The Moon, and I told him about this incredible wealth of material that we had that we had shot, because most people behind the project feel like the movie was great, but the real movie was what happened behind the scenes.

It's very heartening, too, that the DVD features such a robust slate of bonus material, anchored by 50 minutes» worth of behind - the - scenes footage that includes interviews with all the cast and crew, and charts the movie from inception (producer Ian Birkett was a film school classmate of Andrews, and his older brother Paul worked up the script) through pre-production work, shooting up in Canada, and post-production.

In an interesting decision, director Alex Keshishian elects to shoot the half - dozen concert numbers (including «Express Yourself,» «Vogue» and «Live to Tell») in color while filming the backstage material in black - and - white — these behind - the - scenes vignettes include Madonna hanging out with her back - up singers and dancers, impatiently putting up with then - boyfriend Warren Beatty (who pretty much nails the movie's inadvertent theme when, after someone asks Madonna if she'd like to talk off - camera, he comments, «She doesn't want to live off - camera, much less talk.

One of the most thuddingly unfunny sequences is the «movie - quoting bad cop» opening scene, which the Blu - ray's behind - the - scenes material identifies as a laugh - filled day for cast and crew that didn't translate to any fun for the audience (the lower energy unused opening scene found on the Blu - ray is much funnier in Smith's patented «shooting the shit» style).

A few loud scenes like the opening sequence in the factory and shots of big farm vehicles created the best material.

Both films contain copious extra materials, behind - the - scenes details, test shots, art galleries and similar bells and whistles.

An assemblage of documentary clips and off - cuts, Frieze: An Underground Film is a tongue - in - cheek riff on the experimental filmmaking mode — the material includes a point of view shot from the rollercoaster ride at Luna Park in St Kilda (another iconic Melbourne façade), a young boy bouncing on a bed, a snowy field, a woman in a bikini, a poster of Jean - Paul Belmondo, and some behind the scenes footage from Violence in the Cinema.

After finding a copy of the original script that included the initial structure online, Gelderblom loaded the film onto his computer, reassembled it along those lines (as he had no access to any previously deleted material, there is no additional footage in this version save for one repeated shot that was needed to help make a smoother transition between scenes at one point) and posted the results online.

They shared some funny memorable moments from filming (Jack Black share a great story about ripping a bit of improv from Joaquin Phoenix), the challenges of trying to make Don't Worry in 25 days, what it was about the material that got Gus Van Sant and the cast involved, what it was like shooting the group scenes, what Van Sant learned from early screenings, and a lot more.

Unsurprisingly considering the amount of footage likely shot, we get a wealth of material classified as additional scenes (42:00) and divided into ten groups.

McGregor and cinematographer Martin Ruhe light and frame scenes exceptionally, that leads me to believe Obi - Won deserves another shot at directing, but with better material.

Yet on this occasion, you do get the sense that there's maybe a slight shortage of material, as the director does keep returning over and over to the same venues, and his exposition shots of the raised subway line which fall between scenes all start to feel very familiar.

Title has no sense of the rhythm of material like this, so the attempts at frights happen without much or any context (Basic staging is a significant problem here: In one scene, four actors are talking, and each one is shot in complete isolation, meaning we're spending more time determining who's responding to whom instead of listening to them).

There's also a extensive still gallery, featuring myriad publicity shots of the film's characters; production stills, with shots of Darkness from the U.S. version's early scenes and material from the U.S. - used Pygmy scenes; and continuity Polaroids -LRB-!).

«The Legend of Van Helsing» has Sommers explaining in concise terms his own reworking of Abraham Van Helsing, and the clip makes generous use of Universal monster flicks (capped by a cross-promotion shot after the credits), plus some behind - the - scenes production shots and blooper materials.

«Ben - Hur» — Rare behind - the - scenes materials including makeup and wardrobe tests, production design sketches, sample matte paintings — A forward and captions written by Charlton Heston's son, Fraser C. Heston — Excerpts from Charlton Heston's acting and shooting journals during filming — Details about the development of Panavision and MGM's proprietary widescreen process (MGM Camera 65)

The scene never made it to the final cut of the movie, but in the Crichton Archives, we found some fun behind the scenes material from that day of shooting: a thank - you letter from the the president of The Center Courts, a picture of Michael Crichton playing a game of racquetball and a picture of Michael Crichton with a group of racquetball «fans»!

The artist composed the film of archival footage material — interspersing found footage, clips from science fiction films, diplomatic training films, reportage shots, airline promotional films, home video and reconstituted scenes.

Fusing archival material, readings from classical sources and newly shot footage, Akomfrah's piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life.

Comprised of material shot for Laura Poitras's Academy Award - winning documentary Citizenfour (2014) about whistle - blower Edward Snowden — for which the artist was a contributing cinematographer — instruments of surveillance are revealed in scenes of bucolic landscapes, uncharacteristically marked by satellite dishes and radomes, busy city centres and moody seascapes.

It's a study on pre-9 / 11 terrorism, composed of archival footage material — interspersing reportage shots, clips from science fiction films, found footage, home video and reconstituted scenes.

The scene never made it to the final cut of the movie, but in the Crichton Archives, we found some fun behind the scenes material from that day of shooting: a thank - you letter from the the president of The Center Courts, a picture of Michael Crichton playing a game of racquetball and a picture of Michael Crichton with a group of racquetball «fans»!