Sentences with phrase «screenplay credit of»

Not exact matches

Van Dyke was director of the Friends Church media department when he wrote the screenplay, but his boss, Creative Arts Pastor Brent Martz (you met him earlier in this story) threatened to fire him if he didn't give him 50 % co-writer credit, the lawsuit said.

The screenplay is obvious but sincere, with each character gifted a little section of heartbreak they have to overcome before the end credits.

At the same time, Cooper (who also wrote the screenplay) deserves credit for not providing much in the way of easy resolution and answers in Hostiles.

Every bit as epically weird as its predecessor, 1999's Anchorman, Ferrell's shaggy collaboration with director Adam McKay, with whom he shares screenplay credit, represents a leisurely cinematic stroll with one of the comedian's more indelible characters.

The big bum - note is a curiously stodgy screenplay, penned by director McQuarrie, who is also credited with writing one of the finest thriller films ever made with The Usual Suspects.

At every imaginative juncture, the filmmakers (the screenplay is credited to Pixar veteran Molina and Matthew Aldrich) create a richly woven tapestry of comprehensively researched storytelling, fully dimensional characters, clever touches both tender and amusingly macabre and vivid, beautifully textured visuals.

The screenplay by Rhett Reese, Paul Wernick, and Reynolds simultaneously want us to take this development seriously — giving us multiple scenes of Wade trying to reunite with Vanessa in the afterlife — and to laugh at it — giving us a James Bond - like credit sequence that calls the screenwriters «the real villains,» after offering a series of tongue - in - cheek statements of disbelief about what has transpired.

One surprising element of The Interpreter is that it is good despite having three people credited with the screenplay, Charles Randolph (The Life of David Gale), Scott Frank (Minority Report, Flight of the Phoenix), and Steven Zaillian (Gangs of New York, Hannibal), and two with story credit, Martin Stellman (Tabloid, For Queen and Country) and Brian Ward (Tabloid).

Written by Alex Ross Perry (who's maybe the last human being on Earth whose name you'd expect to see in the closing credits) and filled with all of the sincerity that he's left out of the savagely caustic screenplays he's written for himself, «Nostalgia» begins with an insurance agent named Daniel (John Ortiz) visiting Ronald, a curmudgeonly old hoarder played by Bruce Dern.

But much of the credit should go to Lawrence Lasker, Walter F. Parkes, and Walon Green, whose screenplay deftly links the boy's sexual and moral maturation with a similar development on the part of the computer, thus accomplishing the thematic goal of «humanizing» technology that all the video - game movies — and video games themselves — have been striving for.

Robbie Collin, The Telegraph: ««London Has Fallen's» screenplay is credited to four people, though I'd gently suggest that when your hero's dialogue becomes indistinguishable from a Britain First Facebook thread, it's time to abandon further script polishes and turn to a box of matches and a flame - charred oil drum.»

The Blu - ray debut features all the supplements of that release: three commentary tracks (one by director Terry Gilliam, one by stars Johnny Depp and Benicio Del Toro, and one by producer Laila Nabulsi and author Hunter S. Thompson), deleted scenes with commentary by Gilliam, the 1978 BBC «Omnibus» documentary «Fear and Loathing on the Road to Hollywood» (with Hunter S. Thompson and artist Ralph Steadman), the ten - minute featurette «Hunter Goes to Hollywood,» an audio documentary on the controversy over the screenplay credit, a survey of the marketing campaign, selections from the correspondence between Johnny Depp and Hunter S. Thompson (read on camera by Depp), an excerpt from the 1996 audio CD «Fear and Loathing» starring Maury Chaykin, Jim Jarmusch, Harry Dean Stanton, and Glenne Headly, background notes on Oscar Zeta Acosta (the real life activist and attorney who inspired the character of Dr. Gonzo), and galleries of storyboards, stills, and Ralph Steadman art.

Certainly fans can rest assured that Fantastic Beasts is no conveyor - belt cash - in — with David Yates, the director of the final four Harry Potter films, at the helm and a script penned by Rowling herself (her first credited screenplay).

That's to the credit of Nichols» elegant screenplay, which pares down the events so that the emphasis is taken off the legal proceedings and avoids any overdone speechifying.

First, an almost flawless first time original screenplay by Aaron Guzikowski, whose only other writing credit was for his adaptation of the Icelandic film that became the Mark Wahlberg hit «Contraband.»

The rowdy screenplay by Rhett Reese and Paul Wernick («The Real Villains» according to the opening credits) is full of viciously fun winks at countless pop culture references («Yentl» gets particular attention), but it's never funnier than when it turns on itself.

The film's credits do recognize Whedon for his contributions to the screenplay, along with writer Chris Terrio, who previously co-wrote «Batman v. Superman: Dawn of Justice.»

While Baum's writings are credited, the screenplay by Mitchell Kapner (The Whole Nine Yards) and David Lindsay - Abaire (Rabbit Hole, Rise of the Guardians) is largely its own original entity, one modeled as much on the Garland film as anything else.

Thusly, the Frankenstein's monster of a screenplay — credited to Wright, Cornish, Rudd, and McKay — is without an identity, its placement in the Marvel Cinematic Universe as shaky as it is contrived.

As with most other WGBH releases there are no on - disc special features, which is a shame since the closing credits indicate the existence, on the PBS web site, of an interview with Emmy - winning classic adaptation specialist Andrew Davies, who wrote the screenplay here.

If the party seems a bit far - fetched, and it does at points, Simien (who also wrote the screenplay) reminds us during the credits that scenes like this are not just the stuff of movies.

This sequel is more religious thriller than superhero film, though the directing duo of Mark Neveldine and Brian Taylor (whose other credits include Gamer and the maligned Jonah Hex screenplay) make it look like a car commercial, with their jerky handheld digital video, odd angles, and hollow showiness.

Clearly the animus against him for his sole credit of the screenplay, despite a complete re-write from director Ava DuVernay, is starting to come back to haunt him.

Thankfully, as his fortunes improve and Brown becomes more and more demanding, the screenplay from Jez and John - Henry Butterworth inserts some actual discussion of his songwriting and groove technique, giving the man credit for virtually inventing the funk.

Her and Pally come off as natural artists and most of the credit for that goes to the screenplay.

Park brought the DP Chung - hoon Chung, his regular cinematographer since Oldboy, but the rest of the talent was provided by the producers, from the stars to ace production designer Thérèse DePrez (wooed by hardcore indies as well as studio executives), including the actor Wentworth Miller, who signs here his first screenplay (and gets a production credit).

And Philip Seymour Hoffman's Capote — the most impressive performance of the year in my book — works so integrally with the screenplay (Dan Futterman) and direction (Bennett Miller) that we ultimately have to credit all three for their moral indictment of Capote's careerism (not his writing per se) and how it helped to destroy him.

His Hercules, based on Steve Moore's similarly titled comic book with a screenplay credited to Ryan Condal and Evan Spiliotopoulos, marks a novel approach to the character, spinning a tale about the truth behind the legend and letting this revisionist angle sink into every corner of the story.

It's a strange feeling when you feel a film comes across like a neutered imitation of a recognisable artistic voice, only to realise come the end credits that the film's screenplay was actually written by that person.

Her latest, Laggies, is her first directorial outing where Shelton has not also written the screenplay (Andrea Siegel gets her first credit instead), which divorces the film from a body of work largely improvised and often careening off the cuff to mostly enjoyable effect.

The lion's share of the credit should rightfully go to Tom Tykwer, who not only directs in gorgeous fashion, he co-wrote the very ambitious screenplay adaptation and contributed to the gorgeous score, as he has done for all of his films.

Think dating advice from He's Just Not That Into You in reverse, of which both screenplay writers of «Single,» Abby Kohn and Marc Silverstein, also have writing credit for the film.

The remake, with a screenplay credited to Aaron Guzikowski, changes the locales and some of the other relationships between characters, but otherwise appears to follow the same pattern.

Credit screenwriter Steve Barancik, who has written a multi-layered story so intricate it reminds me of Robert Towne's award - winning screenplay for «Chinatown.»

He is also one of four attributed with the screenplay, sharing credit with seasoned scribe Richard LaGravenese (The Fisher King, The Mirror Has Two Faces), stand - up comic and roast dais staple Jeff Ross, and event comedy writer Lewis Friedman (who has been scarce in film since his 1998 debut BASEketball).

Francis Coppola's (he dropped the «Ford» in the»80s) Life Without Zoe (34:19) is the film's insignificant weak link, although it is noteworthy for being the first writing credit of Coppola's daughter Sofia, who has since blossomed into an esteemed director herself and an original screenplay Oscar winner.

To its credit, the screenplay ultimately finds a way around this decision and realigns the focus to the notion that are far greater concerns than the romantic feelings of these three characters.

The screenplay, credited to Geneva Robertson - Dworet and Alastair Siddons, devises a series of puzzles for Lara to solve, though as the action intensifies, it's difficult to follow her reasoning, and the puzzles remain rather puzzling, if they were ever intended as anything more than plot devices.

Evidently, «The Grand Budapest Hotel» was conceived of with an old friend, but it will be the first feature - length screenplay that Anderson has penned that won't feature a co-authoring credit.

Also, if the title itself doesn't give it away, then certainly the opening credits — which inform us that LeMarque is one of the movie's producers and that the screenplay is based on a book that he wrote (with Davin Seay) about his experience — do the rest of the job for us.

Director Harold Daniels is no visual stylist and there's a slackness to many of the scenes, but he comes to life in a nighttime murder scene that he transforms into a model of noir violence, an urban street fight in the dark of the empty city picked out in shards of light (credit likely goes to cinematographer Nicholas Musuraca, RKO's crime movie vet), and the screenplay co-written by Steve Fisher has a bite of irony in its twists.

While a lot of credit for that belongs to director Michael Showalter and the screenplay by him and Laura Terruso (adapting her short film «Doris & the Intern»), there's no denying that a significant portion of the film's success belongs to Sally Field.

In addition, Mazin alone is credited with the screenplay (and shares a story credit) of the current # 1 movie in America, the poorly - reviewed but strongly - performing Identity Thief.

Josh Heald, who conceived the first film and shared screenplay credit with the duo of Sean Anders and John Morris, gets no credited help this time around.

Snyder still gets solo director billing on Justice League, with the former Buffy creator sharing a screenplay credit with Chris Terrio, but the upbeat tone of the movie — snappy patter blending with action unburdened by subtext — is definitely Whedonesque.

The screenplay was the brainchild of Marc Norman but on Weinstein's suggestion, England's esteemed playwright Tom Stoppard was hired to do a rewrite, and they shared original screenplay credit.

(The screenplay is credited to four people, including the husband - and - wife team of Creighton Rothenberger and Katrin Benedikt, who also wrote «Olympus Has Fallen.»)

This one's screenplay is solely credited to Anderson, though British artist and Anderson friend Hugo Guinness shares story credit and Austrian novelist Stefan Zweig gets one whopper of an «inspired by» screen at the start of the end credits.

The screenplay of Eternal Sunshine of the Spotless Mind is credited to Kaufman, an American screenwriter, but the story was initially hatched by two Frenchmen — Michel Gondry and Pierre Bismuth.

But it's to the credit of director Jason Reitman — who co-wrote the screenplay with Sheldon Turner based on the 2001 Walter Kirn novel — that the movie for the most part scrupulously avoids sentimentality.