Sentences with phrase «scenes shots of the filming»

«The Shoot» (5:39) provides the cast's perspective and contains many behind - the - scenes shots of the filming process.

Co-director Chris Miller took to Twitter this morning to announce the news, showing off a behind - the - scenes shot of the film's clapboard and a caption that riffs on the classic «Han shot first» Greedo controversy: HanFirstShot pic.twitter.com/KReR6rgKFT — Chris Miller (@chrizmillr) January 30, -LSB-...]

Not exact matches

According to a behind the scenes featurette for the film, Bay used the spinning shot to attempt to show both sides of the shootout without cutting away.

The opening scene of «Spectre,» the latest James Bond film, centers on a Dia de los Muertos (Day of the Dead) parade shot on location in Mexico City.

However, the rest of the Getty scenes in the movie are clearly of Plummer, which Scott could pull off as they are mostly scenes shot in one exterior location or interiors, which could all have been filmed on studio sets.

Jay Leno hops into the backseat of the Porsche Panamera, the king of the high speed camera cars, and sees firsthand how film director Jeff Zwart is able to shoot a car chase scene.

Among the content to look forward to, Malibu and Ne - Yo completed a commercial shoot in Spain that will provide a variety of brand assets — from videos and short films to behind - the - scenes images.

For example, if a film company wants to shoot a car crash scene, they call pull it off at the fair instead of Armory Square.

There is also a scene of an arrow being shot into someone and various other slapstick violence which is common in the film.

The aforementioned opening shots of Snape look more like Impressionist paintings than a scene from a kiddie film.

At the end of a big rhinoceros battle, a male character submits to Gurira in the film's single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay - friendly Marvel moment to date.

There should be a little more horror than a couple of shots in the first hour and then a few poorly filmed kill scenes at the end.

During the shoot, Spielberg took advantage of a couple spare hours here and there during setup to cut scenes he'd already filmed.

Forster's manic editing style — at its worst in The Quantum of Solace (2008)- does turn that opening street rampage into a blithering mess of shakycam shots, reverse - swish - swoop pans and psycho - edits, but the film soon calms down, and there are several strong performances in the quiet scenes that buffer Lane's ongoing question for answers.

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

Adele Haenal and Kevin Azais both give strong performances, and the chemistry is certainly present on screen, while the flick's bizarrely charming score and array of beautiful shots create definite impact; one of the film's final scenes, that takes place in an abandoned town, surprised me in its method of creating danger.

The film also stars Natalie Portman, Cate Blanchett and Isabel Lucas, but a number of additional actors have been seen on the beaches of California shooting scenes with Bale, including Wes Bentley, Imogen Poots, Freida Pinto, and Teresa Palmer.

One of many interesting stylistic choices by director Irvin Kershner and cinematographer Haskell Wexler, who shot the film in gorgeous high contrast black - and - white with the warts - and - all insouciance of a documentary, is to present this reunion scene sans dialogue (which is buried by train noise)-- with Billy and Pio framed in the oval window of the train door.

Penny Dreadful, Season 3: Get a look back at the third season of Penny Dreadful with this mashup, featuring a quick behind the scenes shot from each day of filming, from August 31, 2015 to February 11, 2016.

I think that the mix of the really short shoot (miraculously, Prince Avalanche was filmed in 16 days), with what an action - packed shoot it was, in terms of the amount of scenes we did every day, and the comedic dynamic of the character was something that I never explored before.

Already one of the most Halloween - friendly shows on TV, we already know that the some scenes for the new season were filmed in the South Pasadena neighborhood where John Carpenter shot Halloween, reportedly even using some of the same houses.

Producer Mike Kaplan has gone the extra distance to find interviews and behind - the - scenes footage shot during filming on location in Maine, conducted new interviews and shared his own vivid memories of making this lovely picture with director Lindsay Anderson and a once - in - a-lifetime cast: Bette Davis, Lillian Gish, Ann Sothern, Vincent Price, and Harry Carey, Jr..

Verbinski certainly did his western - movie homework, for outside of all the rootin» - tootin» Rube Goldbergian action scenes, the director consciously evokes John Ford with his widescreen vistas of sun - baked deserts (on - location shooting took place in Utah, Texas, and beyond), and his nod to films like The Searchers with scenes of near - helpless families under attack in the wilderness.

Hayley Atwell «s Agent Peggy Carter was such a scene - stealing standout in Captain America: The First Avenger, she went from a supporting character in Captain America's debut film to a One Shot subject to the lead of her own TV show, Agent Carter (not to mention the fact that her cinematic arc was only just wrapped up in Captain America: Civil War).

Audio Commentary — Director Derek Cianfrance and his film studies professor, Phil Solomon, discuss the film, the shooting process, and the reasons Cianfrance chose to include some scenes in lieu of others.

Blu - ray Highlight: In addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footage.

No Escape — This was very cool; the cast and crew talk about the aesthetic of the film (the way it's largely swallowed in darkness) and director Fede Alvarez gets into one of his favorite scenes to shoot, which was the fight in the basement that he shot in black and white.

Vittorio Storaro comments at some length on the color symbolism in Bertolucci's The Last Emperor, which he shot, demonstrating more critical insight into how the film works and what it's about than we are likely to find in reviews, and there are similarly revealing commentaries from Michael Chapman about the iconographic and stylistic sources of Raging Bull (Life magazine and the photographs of Weegee) and from Hall about the role played by chance in the lighting of a scene from In Cold Blood, where the shadows of raindrops appear to be running down Robert Blake's face.

Nolan's awe - inspiring masterpiece «Interstellar» will be released on 4K Ultra HD in a 3 - disc Combo Pack that includes the film on 4K UHD and in high definition on Blu - ray, as well as a bonus Blu - ray Disc ™ with three hours of in - depth, behind - the - scenes content detailing the epic shoot, the scientific realities explored in the film, a look at creating the stunning visuals, and much more.

Copying some of the same inventive techniques used by Godard, Hazanavicius gives the film some visual pizzazz with invigorating tracking shots and trademark scenes where characters break the fourth wall.

Well, he does save the world and in the final scene returns to her cell for his «reward», which is conveyed in the film as a POV shot recorded by the agent's spy glasses, much to the shocked disgust of Q-esque Merlin (Mark Strong).

Wood focuses on the complex system of identification Hitchcock establishes in this scene, and Bellour details the ways in which the film plays with doublings (or «rhymes») of looks and framings, point - of - views shots and eyeline matches.

A veteran action director, McTeigue shoots individual fight scenes well enough, but never provides any modulation or sense of escalating terror — at no point is anyone allowed to crack a smile, and even when the children are threatened with imminent death, the film's pace never seems to quicken.

Slow West continues the Western's visual convention of wide cinematography — it's a landscape film — and extends it with chopped extreme close - ups during the shoot - em - up action scenes.

As the film began as a loose collection of scenes, many of which were originally shot for Lynch's website on a low - resolution camera, Lynch committed to making the film on digital cameras and wrote scripts daily in response to what had been filmed the day before.

The two recount the various scenes, complement their beauty, and explain some of the shots captured during the filming.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

Any number of great films, even leisurely paced ones, will provide wondrous examples of how much story detail you can pack into a scene and even within a single shot.

Filming on Creed 2 is now underway, as confirmed by set photos showing Dolph Lundgren and Florian Munteanu shooting scenes at Philadelphia's Museum of Art, where the famous «Rocky steps» are.

proper are less outtakes than straightforward, behind - the - scenes looks at the filming of specific shots (primarily concerning the particulars of revealing a turtle's penis and dumping fake semen onto a lizard puppet) that spotlight Smigel's perfectionism — the target of many jokes in the audio commentaries.

Already a shockingly careless film (watch for boom microphones and mismatched shots), the finale decides to dispense entirely with transitional scenes, shuttling Santa and his henchmen from situation to situation in a flutter of an eye with nary an explanation for how one thing led to another.

«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.

While it's awesome that digital effects can reduce the headache of shooting certain scenes, it's nice to know that even with a film at the scale of Rogue One they're still grinding out some amazing creature effects.

One of the great frustrations of this film becomes evident in this scene as it becomes clear that humans will never learn to mind their surroundings, particularly in times as dire as these — in other words, the safeguard of Jersulam's 100 - foot walls gives rise to, yep you guessed it: that infamous shot of the pile of crazed zombies.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

EXTRAS: Sadly, there's no audio commentary by director Darren Aronofsky, but the Blu - ray does include a two - part featurette on the construction and filming of the ark and a behind - the - scenes look at location shooting in Iceland.

It is packed with interesting interviews (including one from 1978 with Donald Pleasance who fails to conceal his contempt for the project) and production trivia (e.g. the mask of the killer originally bore the face of William Shatner), and includes two scenes which were shot later to make the film long enough for NBC to televise.

Director Jon Watts reveals a new shot of Tom Holland filming a mysterious scene featuring plenty of green screen for Spider - Man: Homecoming.

This is an abstract making - of alternating B - roll shot in a variety of media, watermarked outtakes (including one from a deleted scene between Phoenix and Amy Adams), and snatches of dialogue from the film that gives the impression of a tight - knit cast and crew there to serve Spike's vision.