Sentences with phrase «scenes shot almost»

The look is murky, with the outdoor scenes shot almost entirely in grays and dark greens, and the indoor scenes in browns and earth tones.

Not exact matches

He tries to compose his usual wide shots, but it's as if his efforts are faltering in the chaos; it's almost a brilliant parody of a robbery scene.

McNamara seems to sense this without dramatizing it; there are almost as many shots of the crew walking together in a row as there are scenes of them actually talking to one another.

Reports following Hoffman's death indicated that the shoot for Mockingjay Parts 1 and 2 was almost complete, and scenes involving Hoffman would not need to be reshot.

Shot in a highway coffee shop, the scene is almost entirely filmed in close - up - minutes on end with Hall's face pressing the camera, answered by Reilly's blank stare.

Almost every scene depicts some sort of mayhem, and many of the on - screen shootings include unsuspecting bystanders.

A heap of bad history, the movie rewrites the one - sided feud between the early electric power moguls Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon) into a clumsy public - domain mockbuster of The Prestige; you can almost hear director Alfonso Gomez - Rejon (Me And Earl And The Dying Girl) trying to slap himself awake as he inserts overhead shots, canted angles, zooms, and wide - angle Tom Hooper - isms into every scene.

The final scenes involving Boone and Brando are shot on a beach at dawn and have an almost surrealistic quality.

«Star Wars» Sequel: All six previous «Star Wars» film have shot some scenes at U.K. studios, but almost all of the production on J.J. Abrams» upcoming sequel will be done in the country, including the visual - effects work.

It's almost as if director Ron Howard used the novel as a shooting script, with a majority of the scenes remaining intact, and only a few minor changes made for pacing and dramatic effect.

Jonathan Mostow: If you're referring to the chase with Bruce and Radha, here's a great irony — that sequence was one of the few not shot in Boston — in fact, it was shot almost entirely on the Paramount backlot (to my knowledge, it's the largest and most complex chase scene ever shot on their backlot — which, if you saw it, you'd realize how tiny an amount of real estate it is — and so puling off a chase of that scope was quite a tricky bit of business).

Director Steven Soderbergh shoots those dance sequences with dynamic flourish (The camera is almost always moving in ways that punctuate the actors» motions) and plenty of polish (The stark contrast of the darkened house of the club with the perfectly lit stage is itself a contrast to Soderbergh's washed - out cinematography for the scenes outside of the club).

In one particular scene, Gillooly goes to her hotel room despite a restraining order and almost shoots her.

It's no accident that this scene recalls the opening of Post Tenebras Lux, as Carlos Reygadas's film and The Florida Project are shot by Alexis Zabe and these scenes both evoke a child's ritual of play as an innocent, almost holy form of tunnel vision.

It's a short scene, only a couple of shots over a couple of minutes, and Bordwell uses it as an example of the simple virtuosity of Hong Kong filmmakers, how they are able, again and again, to make an exciting and fun sequence out of almost nothing, budget-wise, and specifically how Tsui's mastery of cutting and framing keeps the whole sequence as light and airy as it is inexpensive.

Charlotte Rampling is particularly stunning here, all the way up to the film's final shot — she has gone through so much internal struggle that you almost want her to explode, but for the actress» better judgment, she gives the scene so much more complexity when the cracks begin to show.

From the opening scene, an almost monochromatic chiaroscuro composition with strong diagonal lines (it was shot in an actual snowstorm), it's clear that Arrow's 1.85:1, 1080p transfer, sourced from a 2K scan of the original camera negative, is on the money.

Malick is notoriously hard on his actors, but no one has suffered for his capriciousness in the editing room quite like Affleck, whose lines have been almost entirely expunged despite his zombified presence in most scenes, and who's consequently left to answer Marina's unspoken prayers with slack - jawed bafflement in a succession of meaningless reverse shots.

The first act of Contraband is awkwardly clipped — almost as if Kormakur had shot longer scenes but had to truncate them to keep things moving (a choice I wholeheartedly support).

The Russos handle the action with growing assurance and impressive range, shooting the early fight scenes with an almost «Bourne» - style handheld intensity, in contrast with the more classically framed skirmishes that follow.

The film lives and thrives on these whiplash moments; it seems as if Wong hadn't yet perfected the languor that I love so much about his films, and so there is no small thrill in the chases, or the extended scenes of almost sadomasochistic violence inflicted on and by Wah (often shot in extremely long slow motion shots), or of course the unspoken flirtations.

So they both used my drawings almost like storyboards, where they both shot scenes directly from what my drawings were doing.

With an almost Kubrickian opening credit sequence, it then cuts to a very realistically shot, written and acted scene.

For example: there's a fantastic scene where an argument between Jeff Bridges and Timothy Bottoms escalates into a fistfight — the shots start to come faster and faster, almost every new shot from a different camera angle, culminating in a shocking moment of violence.

While many of their shared scenes might have easily resulted in a stagy two - hander, Stearns» reliance on static shots, complemented almost exclusively by slow zooms and pans (Pakula's paranoia thrillers of the «70s come to mind) and subtly dated production design (the 1980s, perhaps) put a very deliberate focus on the players, who all rise to the occasion.

The developers reframed the remaster almost shot - for - shot in this version, and there's new additional scenes to help flesh out scenes that were either hinted at or not fully realized in the original.

Awesome, although I was kinda hoping we would get a shot glass like the Japanese special edition did, Here's hoping that Kiwami isnt far behind (hell im kinda surprised it wasnt released alongside 0 seeing as Kiwami is almost a word for word remake, minus the extra Nishki scenes, and new side quest) Gon na be a good start to 2017, with Yakuza 6 and 0 (been importing the series since 5 took forever to come westward)