Sentences with phrase «screenplay credit with»

Vince Vaughn, the son of a salesman, is credited with the story and shares a screenplay credit with Jared Stern, which probably accounts for one of the more favorable portrayals of salespeople in recent cinematic history.

Director Derrickson, known for his successful horror films, shares screenplay credit with Jon Spaihts and C. Robert Cargill.

Gervasi shares story credit with Niccol and screenplay credit with Nathanson.

This time around, Oscar - winning Argo scribe Chris Terrio shares story credit with Snyder and screenplay credit with none other than Joss Whedon, the Avengers writer - director who has defected from Marvel and finished, sans credit, directing this film after family tragedy pulled Snyder away.

Despite the palpable electricity between McQueen and Dunaway, the original's romance felt rushed and therefore somewhat forced; here, screenwriter Leslie Dixon (who shares screenplay credit with Kurt Wimmer, who, in a unique arrangement, handled only the action scenes) fleshes out the love story, showing how their basic desire develops into real affection.

The studio has released updated credits for Justice League as part of its fall movie preview, revealing that Whedon will share screenplay credit with Chris Terrio (Batman v Superman: Dawn of Justice, Argo).

Part of the time, Ritchie, who shares screenplay credit with Harry Potter executive producer / Man from U.N.C.L.E scribe Lionel Wigram and lapsed filmmaker Joby Harold (the 2007 thriller Awake), applies the Sherlock Holmes treatment: the cloudy gray visuals, the slow - motion fight sequences, the irony - heavy anachronistic sense of humor.

Jumping the Broom, whose title comes from a wedding tradition Pam alone wishes to see honored here, marks the feature film debut of director Salim Akil (a veteran of TV's «Soul Food», «Girlfriends», and «The Game») and Arlene Gibbs, who shares screenplay credit with story - credited Elizabeth Hunter (an alum of «ER», «The L Word», and «Charmed»).

Oddly, Juice marks Dickerson's only writing to date, as he alone is billed with story and shares screenplay credit with the less experienced Gerard Brown, who has almost never worked in Hollywood again.

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.

But the most significant talent the filmmakers tapped was Rowling herself, who, having already churned out a stage - bound sequel («Harry Potter and the Cursed Child»), now earns her first screenplay credit with this cinematic prequel.

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.

It is apparent that Cianfrance, who shares screenplay credit with Brother Tied co-writer Joey Curtis and novice Cami Delavigne, is not simply trying to go against the grain.

Jackson didn't wait as long as Lucas and his adaptations (on which he shares screenplay credit with three others) can't warrant the same story - fixated criticisms as Lucas» inventions.

There is even an effort by Loter, who shares story credit with Tom Rogers (who also shares screenplay credit with three others), to pack a little emotion into the proceedings, aided by some original songs by KT Tunstall and Bleu.

Two years later, he shared a screenplay credit with Robert Towne on Sydney Pollack's The Yakuza.

Krasinski — sharing screenplay credits with Bryan Woods and Scott Beck — piles on diabolical bits of ominous foreshadowing, especially a nail that pops up on the staircase, as Marco Beltrami's sinister score tightens the screws.

Not exact matches

And that's why John shares story credit with Chris and I, and Chris and I wrote the screenplay.

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

The screenplay is creditd to John Gatings, with story credit to Dan Gilroy and Jeremy Leven.

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.

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.

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).

Four writers are credited with the screenplay, which provides Burke with at least half a dozen opportunities to perform full stand - up routines at comedy clubs, a wedding, a retirement community, the courtroom and even a roast at The Friars Club honoring 95 year old actress, May Conner (played by Cloris Leachman).

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.»

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.

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.

He does have one Oscar nomination to his credit, for co-writing the screenplay for The Royal Tenenbaums with Owen Wilson.

Alejandro G. Inarritu, nominated for best director, best screenplay (co-writing credit) and best film (co-producing) for Birdman, has been busy in the Canadian Rockies with The Revenant, a frontier thriller about real - life 19th century fur - trapper Hugh Glass.

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.

Lee, whose most recent credit includes the screenplay for A Beautiful Lie about crime novelist Patricia Highsmith, recently attended the Sundance Institute Screenwriters Intensive and spoke with us about her creative origins, inspiration culled from the Hong Kong New Wave, and how she hopes to balance the scales when it comes to women on screen.

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.

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.

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).

This is a film that makes a lot better sense when the end credits roll and you realize that director Jocelyn Moorhouse co-wrote the screenplay with her husband, none other than P.J. Hogan.

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.

Directed by Chris Columbus, the screenplay was written by Timothy Dowling whose past credits include Role Models and Just Go With It.

It's a credit to Frazier's screenplay that we're only really pondering the problems with the hypothesis when the movie is directly talking about it, and it's an even greater credit to the script that such instances are rare.

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.

Affleck's writing credits are best known with such films as GONE BABY GONE, THE TOWN, and his Oscar - winning screenplay for GOOD WILL HUNTING.

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.

Although del Toro didn't return to direct the sequel, he is credited with creating the story on which it's based, with the screenplay being written by DeKnight along with Emily Carmichael (Lumberjanes), Kira Snyder (The Handmaid's Tale), and T.S. Nowlin (The Maze Runner).

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.

As first reported by TheWrap, Joe Robert Cole will write «Black Panther,» and while it's unclear whether Coogler will have an official screenplay credit, he'll likely work with Cole and Marvel executives to hone one cohesive vision for the film, which is an important entry in the Marvel Comic Universe.

There's a specificity to her character, for which the screenplay surely deserves partial credit, inasmuch as Carol juggles her home life with her attraction to Jay, all the while being drawn back into the world of prisoner - advocacy due to an altruistic love for the work.