Sentences with phrase «screen film credits»

They discuss how much or how little the on - screen film credits can reflect the work a screenwriter actually does on a project, the complicated system of arbitration, and what it's like to both rewrite someone else's work and be rewritten yourself.

Not exact matches

Spielberg — along with the screenwriter Zak Penn («X-Men: The Last Stand,» «Last Action Hero») and Cline (who is also a credited screenwriter)-- creates an event film that has to be seen on a big screen to be fully appreciated.

Funnily enough I went recently to the screening of the new film about Julian Assange, the Fifth Estate, and I was talking afterwards to Alan Rusbridger, and I said to him, and he didn't disagree, in fact he agreed, I said, «the Guardian gets the credit for basically exposing the phone hacking scandal, but if we hadn't picked it up, nothing would've happened».

It is to the credit of the cinematographer (Soderbergh himself, although he is credited as Peter Andrews) and its production designer, Antxon Gomez, that the film brings Bolivia to harsh life on screen.

Haneke's methods are clear from the opening: after a long, quiet stretch of simple credits, followed by an extended black screen as silent as the grave, the film smash - cuts into its first scene with a terrifying jolt.

Among his recent big - screen credits are Joel Schumacher's horror TOWN CREEK (2009) and the Woody Allen film WHATEVER WORKS (2009).

I should also mention that the preview audience applauded the film once the end credits rolled - and I haven't seen that happen at an advance screening for quite a while.

That same year, she made her credited screen debut starring opposite Sammy Davis Jr. in the drama A Man Called Adam (her first uncredited film role was in 1959's Odds Against Tomorrow).

Armed with a screen story and script credited to Ryan J. Condol (Hercules), Carlton Cuse (San Andreas), Ryan Engle (The Commuter), and Adam Sztykiel (Alvin and the Chipmunks: The Road Chip), the film is loaded with hammy exposition and handwavy explanations for what is even happening and why characters are doing things at any point in time.

The thing that hits you first about this film is it looks sharp, the opening credits are damn nice and Murphy looks his coolest since «Beverly Hills», its a slow builder for sure but with Wincott as the baddie with his raspy devilish voice it keeps you glued to the screen.

What's most telling about this film is that a good two thirds of the most interesting, compelling parts of the story (the subsequent revelations after the trial) are told in brief text flashed up on screen just before the credits.

Additional film credits include TALK TO ME; the 2006 Oscar ® winning Best Picture, CRASH, which Cheadle also produced; HOTEL RWANDA, for which his performance garnered Academy Award ®, Golden Globe ®, Broadcast Film Critics Award and Screen Actors Guild ® Award nominations for Best Actor; OCEAN»S ELEVEN, OCEAN»S TWELVE, and OCEAN»S THIRTEEN, directed by Steven Soderbergh; Mike Binder's REIGN OVER ME with Adam Sandler; the Academy Award ® winning film TRAFFIC and OUT OF SIGHT, both also directed by Soderbergh; Paul Thomas Anderson's critically acclaimed BOOGIE NIGHTS; BULWORTH, SWORDFISH, MISSION TO MARS, John Singleton's ROSEWOOD, for which Cheadle earned an NAACP Image Award nomination; FAMILY MAN, directed by Brett Ratner and starring Nicolas Cage; COLORS, HAMBURGER HILL, and the independent features MANIC and THINGS BEHIND THE SUN.

Irons adds the credit of executive producer and featured actor in TRASHED, a Blenheim Production feature documentary directed by Candida Brady, which received a special screening at the 2012 Cannes film festival.

The film features some of the earliest screen appearances of Emmy - nominated sitcom veteran Ed O'Neill («Married... With Children», «Modern Family»), playing a mercenary reluctant to go on the mission, and a young Jim Broadbent, who is lowly credited but instantly recognizable in a brief background role.

«Empire Records» is a microcosm movie, one of those films where in a single day, in a single music store, every conceivable thing happens to every conceivable character, and at the end of the day, they are all a lot wiser, as the endless list of music credits scrolls up the screen.

She brought a sophistication to movies in the era when movies grew up and though she shares screen credit with her husband, Phillip Smalley, film historians agree that Weber was the defining creative force.

She brought a sophistication to movies in the era when movies grew up and though she shares screen credit with her husband, Phillips Smalley, film historians agree that Weber was the defining creative force.

The film stars Anna Faris (playing a bubbly and ambitious blonde who mirrors her character on CBS» TV show Mom) and Eugenio Derbez (How to Be a Latin Lover) who never develop any believable or even appealing on - screen chemistry — especially not to the degree Goldie Hawn and Kurt Russell achieved in the original, given their thirty - plus - year romance lasting long after the credits rolled.

and Star Trek: The Motion Picture, while Lillian did research for hundreds of films but received screen credit for only seven.

Intriguingly, Ramsay later described You Were Never Really Here as not completely finished, as she planned to weave in more music by Jonny Greenwood, and the script was a work in progress during shooting; the film press - screened without closing credits.

Some wag commented on Twitter during the festival that when a film is described as «soporific,» it means that the critic fell asleep during the screening, but here, we'd mean the word as a compliment; Tsai conjures up a surreal tone closest to the moments after waking where you try and work out if your dreams were real or not, and it's a feeling that lingers long after the credits roll.

No film in 2013 made me feel more than «Upstream Color,» and an early morning festival screening meant walking around in a haze for hours after, not quite sure what I'd just seen (though I think it's more narratively coherent than many give it credit for, especially after a rewatch), and almost wanting to shake it, but also not willing to trade the experience for anything.

Mitch Glazer — «Passion Play» A writing veteran whose work goes all the way back to the early»80s when he wrote for «SNL,» Mitch Glazer «s first major screen credit (and most well - known film) is 1988's «Scrooged» starring Bill Murray.

Stan will reprise the role in the sequel Captain America: Civil War (2016) Other film credits include Summit Entertainment's Gone with Amanda Seyfried, Darren Aranofsky's Black Swan with Natalie Portman and Mila Kunis, Rachel Getting Married with Anne Hathaway, Spread with Ashton Kutcher, Hot Tub Time Machine with John Cusack and Chevy Chase, director Fred Durst's The Education of Charlie Banks, The Architect with Anthony LaPaglia, Isabella Rossellini and Hayden Panettiere and Screen Gem's The Covenant.

Kings is a very basic film, where the younger stars take up most of the narrative and screen time, while Berry (Kidnap) and Craig (Logan Lucky) appear in just enough scenes to satisfy their marquee credit.

When TV stations scrunched up the opening credits of epics to fit television screens, I thought it was a way of telling the audience that an elegant, important film was about to begin.

In between it offers, among other things, meditations on Spanish architecture and landscapes, an outdoor concert where the conductor is on an elevated platform in a shopping arcade and the musicians are on nearby balconies, a lavish state party thrown for the novelist, a verbal chess match at the party, a credit sequence 20 - odd minutes into the film, a concert inside a cathedral, extended lovemaking, a recitation of part of the novelist's book, an opera performed at a gigantic fish market, a university lecture on algae, another opera set (though not staged) in a Turkish bath, a TV interview, a meal prepared and eaten by the three lovers, a film screening, and a plane trying to extinguish a forest fire.

Although other films might've depicted a fun - filled female - bonding sequence as a throwaway montage backed by an En Vogue song, Story transformed it into a full - fledged music video set to Bell Biv DeVoe's 1990 mega-hit «Poison,» complete with MTV - and BET - style corner - screen end credits, resulting in one of Think Like a Man Too's most memorable scenes.

The still menus are fairly basic, but each screen is accompanied by the military - sounding selection of score used in the film's opening credits.

It's that slipperiness of creation and that psychosis that finds us repeating ourselves by repeating images of ourselves (Multiplicity is a trickier flick than given credit for) which informs a trio of new science - fiction films reaching North American movie screens simultaneously (though only one is American in origin)-- we are the world's new cultural / emotional wasteland and the films of our new millennium reflect that status.

The film was given more attention for the off - screen shenanigans of its lead stars than anything else, which is a slight pity because Brad Pitt and Angelina Jolie aren't just beautiful people, they're very fine actors - rarely credited for the latter because, I suspect, of the former.

He did do revisions on one film that is hitting screens in 2011, «The Darkest Hour,» starring Emile Hirsch, but as Hollywood is wont to do, he won't be credited when it's on screen.

When Cooper took a print of the film to Austin, Texas to screen it for Kristofferson, the actor / musician abruptly left the theater when the credits rolled.

Viggo Mortensen, «Captain Fantastic» Although his first official on - screen credit was the 1985 feature film «Witness,» this Danish - American nominee technically first appeared in Woody Allen's «The Purple Rose of Cairo» — a movie from which he was subsequently cut.

Though handicapped with an incomplete grasp of the English language, the Thai actors who portray the film's Vietnamese characters hold the screen better than you'd suspect, even if only three make a distinct impression: Tung Thanh Tran as the dual - natured Tuanh, Chintara Sukapatana as the pretty but quiet Trinh, and the not - sufficiently - credited softball stickler with a contagious smile and polite demeanor.

Lucas Hedges, «Manchester by the Sea» Known for breaking out in «Moonrise Kingdom,» «The Slap,» and now this Oscar - nominated performance, Hedges earned his first screen credit at age 10 in the 2007 Steve Carell film «Dan in Real Life.»

(It's not every film that gives its location scout a whole - screen credit: one Roger Faires has certainly earned his.)

They almost never received screen credit, yet without their input films as diverse as The Ten Commandments, The Birds, and Rosemary's Baby wouldn't be the same.

From on - screen titles dividing the film into three chapters; to the actors posing in front of a curtain and looking straight into the camera for the closing credits; to the brief glimpse of a futuristic city that recalls the kookier side of mainstream sci - fi, we see countless influences, old - fashioned and contemporary, and they're all a treat for the eyes and ears.

Without revealing spoilers, Deadpool 2's may be the best credits scenes ever - at least, according to those who caught the film in early press and fan screenings.

Palminteri and co-producer Jon Kilik, whose credits include numerous projects over the years with Spike Lee, the «Hunger Games» films and «Foxcatcher», will appear after the screening.

The more than can be said about the entire cast the better but it's also worth crediting the supporting players, with each character, no matter how minuscule their screen time, making an indelible impression on the film at large.

Eagle - eyed viewers lucky enough to have seen Black Panther already — we're still waiting for a preview screening here in Chicago — may have noticed a shout - out to Atlanta multi-hyphenates Donald and Stephen Glover in the end credits of Ryan Coogler's soon - to - be-blockbuster film.

Casualties from the 25th Anniversary Edition: a 12 - question trivia game, «Shark World» animal facts, two additional theatrical trailers (one from a reissue), bios and credits for Spielberg and the three stars, six screens of production notes, a page of recommended Spielberg films, a 4 - page chapter insert, and, via DVD - ROM, a screensaver hardly worth mentioning.

Lest one forget who directed the film, Refn's initials («NWR») being planted on the screen during the opening credits rides a fine line between smugness and brilliance.

Striking a poignant note, quite literally, the film's haunting electro - orchestral score marks the final screen credit for composer Johan Johansson, who died this month, here working in tandem with fellow Icelander Hildur Gudnadottir.

One of the film's screenwriters was no less than William Faulkner; the others were Jules Furthman, responsible for other vintage classics like Mutiny on the Bounty, Nightmare Alley and Rio Bravo, and Leigh Brackett, whose final screen credit would come decades later in the form of The Empire Strikes Back.

Partially, this can be credited to less screen time for Tara Reid, whose talent for infinitely gif - able reaction shots created so many laugh - out - loud moments in the first two films.

A master of the stage (he featured opposite Lauren Bacall in Sweet Bird of Youth for the Sydney Theatre Company) and a constant presence on local television (27 small - screen credits, including «Prime Minister John Gorton» in the landmark mini-series, Vietnam), Cassell was a cherished cast member in many of the great films of the industry's boom decades.

As the end credits proudly proclaim, the picture was «filmed in downtown Los Angeles,» which means this jungle is comprised of heaps of green - screen sets and motion - capture technology.