Sentences with phrase «scenes view of filming»

Not exact matches

Instead of selling their own SLRs, which use a mirror and prism mechanism to allow a scene to be viewed by the photographer and recorded on film, Panasonic, Olympus, and others started selling selling smaller cameras that relied just on digital sensors.

These mirror neurons are active as men view the most popular porn films, where 88 percent of scenes contain physical violence.

The film's scenes of graphic violence, far from being extraneous or merely fetishistic on Gibson's part, are essential to his theological point of view.

If the server decides that there are objects with geographic coordinates that fall within the camera's field of view, it superimposes these objects on the picture from the phone camera, in a fashion similar to the way the director of a science fiction movie might use special effects to add a spacecraft to a filmed scene.

At least, they could have filmed this in somewhere better to view, instead of such a drap scene after scene.

Just as Jason Reitman's «Up in the Air» — a film that took a mildly more sanguine view of the past decade's far - reaching financial crisis — made its viewers endure repeated scenes of humiliating personal disenfranchisement at the hands of corporate America, so does «99 Homes.»

Featuring interviews with the band and never - before seen footage, the film features behind - the - scenes views of historic moments from the perspective of the band, their fans, crew and management throughout their sold - out 40th anniversary tour.

The film constantly plays with expectation like this; for both fans of the comic and the first film there is a lot of cleverness at play here and so many types of jokes stuffed into a single scene that repeat viewing will surely be required.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

For those viewing the film in IMAX, you'll notice that the full IMAX screen is used in the Arena scenes (the rest of the film will be letterboxed on the IMAX screen in a wider aspect ratio).

On a second viewing, I hope that the film undergoes a transformation from a structuralist to a post-structuralist school of thought after that demolition scene.

Likewise, Emily's point - of - view, which is strong during some of the early scenes, disappears late in the film.

Illustrated by astounding color and black - and - white images, the book presents the best of this mind - bending genre, detailing through insightful commentary and behind - the - scenes stories why each film remains essential viewing.

More concentration should have gone to the threadbare script, which is so barren of memorable scenes, you probably won't remember watching this film a month after viewing it.

Oh, and I almost forgot Fangoria writer Michael Gringold's loving 40 - page commemorative book that also comes with this set, featuring an efficient history of the franchise and dozens of incredible, rare behind the scenes images, many of which can also be viewed within the still galleries included on the various discs for each film.

As I was viewing this film, I was calling it a spoof of «John Wick,» due to certain scenes that make it blatantly obvious.

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.

«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 with Antal.

In terms of the expressive elements he employs, Leigh treats the abortion scenes just as he treats every other scene in the film, in part because Vera doesn't view what she does as in any way out of the ordinary.

Sure, some might not be able to cope with the logic - defying action sequences (the scene with a plane and a mine caused some groans during the viewing), but if you just want a brainless action with a slice of nostalgia then Expendables 2 is your perfect film.

Indiepix Festival Favorites, Volume 2 Value - priced, three film set of music documentaries: «Icons Among Us: Jazz In the Present Tense,» about the modern jazz scene, with Terence Blanchard, Ravi Coltrane, Robert Glasper, Nicholas Payton, Brian Blade & the Fellowship Band, the Dirty Dozen Brass Band, Donald Harrison Jr., Anat Cohen and Esperanza Spalding; «Echotone,» a lyrical documentary providing a telescopic view into the lives of Austin's vibrant young musicians as they grapple with questions of artistic integrity, commercialism, experimentation, and the future of their beloved city; and «Roaring Abyss,» a stunning audiovisual poem, the product of filmmaker Quino Piñero's two years of field recording traditional and modern music from around every corner of Ethiopia, a country of eighty different nationalities and cultures spread amongst mountains, deserts and forests.

With the premiere of Ant - Man over a week in the rear view and talk now turning to what's next for the film's stars, Marvel has revealed (via MovieWeb) the official photo of the Wasp costume glimpsed in the mid-credits scene between Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly).

All of this shows on the screen as The Wolfman comes across as a pieced - together film of disjointed scenes with glaring tonal shifts that makes for unsatisfactory viewing — all sewn together like Frankenstein's monster.

At first I assumed that this was going to be one of Clooney's films in which he pushes his moral and political views to the fore (think Good Night, and Good Luck, Michael Clayton or Up in the Air) and whilst Governor Morris» policies are clearly left wing wet dreams, the film's portrayal of what goes on behind the scenes is so negative that it practically negates all the good work Morris hopes to do when in office.

The film is full of both marked and unmarked point of view shots, allowing us to both get a sense of the subjective view of certain characters as well as allowing us to view the scene through a camera freed from some of the imposed restraints of restricted movement that are characteristic of early sound filmmaking and classical Hollywood cinema generally.

While the battle scenes can only be viewed as impressive from a visual standpoint, where the film finally shows its fatal flaw is in the utter lack of emotional grip, as characters live, love and die, and yet no tears are shed among a viewing audience despite following these hearty heroes for over eight total hours of film time.

In fact, watching terrorists crash the President's plane into a New York City skyscraper can only evoke images of Sept. 11, 2001 when viewed today, and Plissken's landing atop one of the World Trade Center's Twin Towers is another scene that takes on new significance given America's real life history in the years that followed the film's release.

There are interesting side - by - side storyboard / finished scene comparisons for the film's more visually complex sequences; a selection of rather understandably deleted scenes that can be viewed with commentary by director and producer as well as within the context of the film (albeit in rather cumbersome fashion); a largely useless montage of still photos from the production cut to a cue of John Murphy's score; the usual cast and crew filmographies and production notes; plus a full - frame version of the film to go with the nicely transferred anamorphic widescreen one.

Though this is Aniston's movie, Adriana Barraza, so wonderful as Amelia in Alejandro Gonzaléz Iñárritu's «Babel,» in my view the best film of 2006, knocks out the movie's most comic scene as a woman who, like others in her boss's life, wonders why she didn't leave her rich employer months earlier.

It's that tension, enhanced by Villeneuve's constant surveillance of every space these characters inhabit, as if viewing the world through their military vigilance, that keeps the film walking the knife's edge and keeps the audience riveted to every scene.

«So in the film it is more than hinted at that they're a couple, but there is a scene directly after Killmonger takes the throne where you hear both characters articulate their point of view as to why they should or shouldn't follow this man and it's one of the most well - acted scenes I've ever been a part of.

Starring Diane Kruger and Lea Seydoux, both former stars of Inglourious Basterds, this is a beautiful - looking film with an art - house feel due to all of the scenes taken from the point - of - view of the young maiden.

DVD shortcomings aside, this is the sort of film that lends itself to multiple viewings, if only to be able to shift back and forth between scenes, the better to appreciate the clever foreshadowings with which the script is rife.

Fox's DVD delivers a fine feature presentation, a lousy collection of deleted scenes worth viewing only to see the recognizable actors cut from the film, and the trailer.

I watched the film twice, and even though I knew how it ended, I was able to catch more of the little character details that I missed the first viewing, especially with the final scene involving Colin and Violet.

These revealing scenes are certain to give Mary Poppins fans a greater appreciation of the film and even those unfamiliar with the material will get a playful kick out of our fly - on - the - wall view of a Disney film in - the - making.

Extras — There are two special features on the DVD: Behind the Scenes of Meadowland is a 22 - minute featurette on the making of the film and there is also a theatrical trailer available to view.

The Blu - ray edition looks stunning (I did not view the DVD, which features no supplements) and includes the 30 - minute making - of documentary «Hard - Wires Humanity: Making Ghost in the Shell,» which covers the production with lots of behind - the - scenes footage, and the shorter featurettes «Section 9: Cyber Defenders» (11 mins) and «Man & Machine: The Ghost Philosophy» (10 mins), plus bonus DVD and Ultraviolet Digital HD copies of the film.

A feature called «The Scrolls of Knowledge,» which is available on both versions of the film, gives you the option of clicking on an on - screen scroll and then viewing a supplementary piece related to that scene.

One important moment late (sorry, major spoiler if I were to reveal it) in the film is handled very well by Yates from a cinematic point of view, but it curiously is not as emotional in punch as the scene would merit.

While significant portions of the film looked crystal - clear, many other scenes came across as less than terrific, all of which made for a generally good but erratic viewing experience.

The beginning borders on plodding, but all is forgiven about 45 minutes into the film, when the antagonists come into full view in a scene of extreme depravity and violence.

While its pessimistic views on law, business, and the state of the world as a whole make for some interesting monologues and ethical dilemmas during some of the better scenes, it's the contrived core plot that lets the film languish lackadaisically for 75 % of the film.

For instance, I happen to know from a conversation I had with him while he was working on the film that he rejects the view of Turner presented in Styron's 1967 The Confessions of Nat Turner, but you wouldn't know it given the way he adapts several scenes from the novel.

Both discs include deleted scenes, a feature about the production from a kids» eye view called «On Set with Sammi» and an in - depth look at the development of the look of the film in the featurette «Capturing Dickens: A Novel Retelling.»

The brilliance in both films is certainly due to Savides u» nique mise - en - scene and naturalistic point of view, perhaps so real and genuine, it gave «Elephant» a chilling tone to its brutal aftermath and in «Gerry» captured the desperation and isolation of the forsaken.

The period setting is sketched in broad strokes (fittingly, the only real - life filmmaker name - checked here is Norman Taurog, director of Elvis vehicles and Dean Martin and Jerry Lewis movies), giving the Coens a chance to play with dated and outmoded film techniques: wipes, bird's - eye - view matte paintings, painted backdrops, unconvincing model submarines, and, in the movie's most perverse act of homage, a very long driving scene of questionable urgency.

The new footage is uneven — the dubbing is often jarring and the film quality varies — and consists mostly of short scenes that reinforce the story's Civil War backdrop, which fades from view for extended periods in the original release.

Rather than take a backseat to «Drive» director Nicolas Winding Refn, occasional actress and full - time housewife Liz Corfixen fires back with a film of her own, billed as a behind - the - scenes look at her helmer husband's Bangkok - made «Only God Forgives,» but essentially a loose production diary from her point of view.

The tense tracking shots interspersed with static point - of - view sets the scene more than any line of dialogue could - it's two years on from events of 2014 film Dawn and the battle between humans and apes, fuelled by the traitorous Koba (Toby Kebbell), has rendered the world a post-apocalyptic wasteland.