Sentences with phrase «screenwriter than a director»

As previously mentioned, Black is known more as a screenwriter than a director, having written scripts for Lethal Weapon 1 and 2 as well as The Monster Squad, Last Action Hero and The Last Boyscout.

Not exact matches

«This year, we wanted to make our ribbon cutting special, and what better way to do that than by having actor, producer, screenwriter and partner of the new vodka brand, BiVi Vodka, Chazz Palminteri,» said Kristen Santoro, Nightclub & Bar Media Group conference and content director.

Eventually, more than 300 artists — including directors, radio commentators, actors and particularly screenwriters — were boycotted by the studios.

Mathew Chapman is the great, great grandson of Charles Darwin, from whom he inherited his glorious English accent, but much more than that, he is an acclaimed author, Hollywood screenwriter, director and film producer.

The screenwriters — John Logan, Neal Purvis and Robert Wade — and director Sam Mendes have fashioned something that digs deeper into the Bond mythology than is normal, while also pushing out the borders to cover satisfying new territory.

It's clear right from the get - go that director Alan Poul and screenwriter Kate Angelo aren't looking to reinvent the wheel here, as the movie initially comes off as an almost prototypical example of a modern romantic comedy - with the less - than - innovative atmosphere cemented by the proliferation of wisecracking characters and the protagonists» initial encounter (which essentially defines the term «meet - cute»).

Not many books have been as consequential as «Origin of Species,» and Mr. Bettany's Darwin, as imagined by the director Jon Amiel and the screenwriter John Collee, has more than an inkling of what the fallout will be.

Milos Forman and screenwriter Shaffer have laid down a fresh yakker for the Director's Cut that drifts from screen - specificity on more than one occasion.

And when the producers decided they didn't want to work once again with Bourne Identity director Doug Liman — a man notorious for causing chaos behind the camera rather than in front of it — screenwriter Tony Gilroy recommended Greengrass, and he got the job.

Many directors say that while it seems tougher to write a great piece of dialogue than craft some sharp mise - en - scêne, in fact, that's a screenwriter - centric view, and doesn't consider the full trickiness of cinematography and direction.

That's not to say director Mira Nair and screenwriter William Wheeler make Phiona's neighborhood prettier than it is or overdramatize life in Kampala, where prosperous citizens assume Katwe residents can't contribute to society.

Screenwriter Josh Klausner, working from an idea hatched by producer - director Shawn Levy, creates a story far more complicated than necessary.

Preacher (World Premiere) Directors: Seth Rogen, Evan Goldberg Screenwriter: Sam Catlin Preacher is a supernatural, twisted and darkly comedic drama that follows a West Texas preacher named Jesse Custer, who — along with his ex-girlfriend Tulip and an Irish vagabond named Cassidy — is thrust into a crazy world, much bigger than he is.

Garland's science - fiction chamber piece — his first film as director, and fifth as screenwriter, after 28 Days Later, Sunshine, Never Let Me Go and Dredd — starts from the premise that no one knows us better than our internet browsers, then turns that queasy intimacy inside out.

Mike White — «Year of the Dog» Maybe one of the purest expressions of «screenwriter - turned - director» (though he's also an actor given to appearing in character roles in some of his films) Mike White had, in years leading to 2007, carved out quite a distinctive place for himself as an indie screenwriter dealing more in low - key human dramedy than some of the more bombastic Shane Black - types, or more mainstream Steve Zaillian - types on our list.

Gag after gag, line after line, there's no more unhinged comedy in the whole of American movies than this genius invention, crafted by director - screenwriters Jim Abrahams and brothers David and Jerry Zucker.

There's a brief moment in Harry Potter and the Deathly Hallows: Part 2 that establishes the way director David Yates, who is now responsible for half of the movies in this series including the best (the fifth) and the least (the sixth) installments, handles the histories of these characters in visual terms that more than makes up for the apparent lack of consideration screenwriter Steve Kloves has for them.

Returning from the DVD — though not the TCM reissue — is a commentary from director Sydney Pollack, actor Robert Redford, and screenwriter John Milius, with the late Pollack, probably as a consequence of having more to say than his collaborators, getting the most mike - time.

This all comes off as more interesting in the synopsizing than in the actual telling; screenwriter Peter Landesman («Parkland») and director Michael Cuesta («L.I.E.,» the «Homeland» pilot) bobble their portrayal of journalism early on — you'll flinch if you know the first thing about newspaper captions or the inverted - pyramid style of reportage — and they (along with Renner) never make Webb a captivating enough character to follow through the ups and downs of this saga.

Plus, director Doug Liman and screenwriter Gary Spinelli streamline the story to suggest Seal had rather less agency in becoming a career criminal than the actual facts would indicate.

I think in the end a Joker solo movie would be a better bet than a joker origin movie, in the hands of a good screenwriter and director.

That would leave George Nolfi, the screenwriter turned director of The Adjustment Bureau, and brothers Anthony and Joe Russo, who between them have directed more than 30 episodes of NBC's Community.

Director Jon Watts and his five other screenwriters are better at the small stuff — the jaunty high school scenes — than the kapowie CGI battle sequences.

From Academy Award - nominated screenwriter JOHN LOGAN (Gladiator, The Aviator, Hugo, Skyfall) and acclaimed, Tony Award - winning director MICHAEL GRANDAGE in his feature film debut, comes Genius, a stirring drama about the complex friendship and transformative professional relationship between the world - renowned book editor Maxwell Perkins (who discovered F. Scott Fitzgerald and Ernest Hemingway) and the larger - than - life literary giant Thomas Wolfe.

He's on shakier ground as a director with entries such as BLADE: TRINITY, but his track record as a screenwriter is healthier than a marathon runner on a celery binge, and combining him with Cameron should make an engaging mix.

The Forbidden Room / Canada (Directors: Guy Maddin, Evan Johnson, Screenwriters: Guy Maddin, Evan Johnson, Robert Kotyk)-- A submarine crew, a feared pack of forest bandits, a famous surgeon, and a battalion of child soldiers all get more than they bargained for as they wend their way toward progressive ideas on life and love.

That status has been a big question mark more than once in the past couple years as directors and screenwriters have tried to develop a new Americanized live - action version of the classic manga and anime by Katsuhiro Otomo.

And if you hate both of those minefields, then let me, as the husband of a sometime screenwriter, ask a question closer to home: What 2015 movie would most have benefited from someone other than its director writing it?

Deadpool 2 misses director Tim Miller more than I assumed since the original screenwriters Paul Werwick and Rhett Reese returned alongside star Ryan Reynolds.

A less than 48 hour wallop where twelve lucky screenwriters get their workshop mojo on, headed by Labs Director Ilyse McKimmie, the Sundance Institute Screenwriters Intensive (aided by former participants passing on the baton and made possible by coin support by Will and Jada Smith Family Foundation) began yesterday with the folks you see above / read below receiving some screenwriters get their workshop mojo on, headed by Labs Director Ilyse McKimmie, the Sundance Institute Screenwriters Intensive (aided by former participants passing on the baton and made possible by coin support by Will and Jada Smith Family Foundation) began yesterday with the folks you see above / read below receiving some Screenwriters Intensive (aided by former participants passing on the baton and made possible by coin support by Will and Jada Smith Family Foundation) began yesterday with the folks you see above / read below receiving some sound advice.

It's also less artistic than Woody's finest, but what it lacks in flourish it makes up for in energy, and we can appreciate the way writer - director Adam Brooks (screenwriter for Bridget Jones: the Edge of Reason and Wimbledon) takes the time to build up the story's many fine small touches to give the larger ones the depth and interest necessary to soar when it needs.

But, mindful of their elders, the director J.J. Abrams («Lost,» «Alias») and his screenwriters Roberto Orci and Alex Kurtzman, have also reserved pride of place for Leonard Nimoy, whose appearance in this film as the once and future Mr. Spock carries far more screen time than the usual sentimental cameo.

Screenwriter Anthony McCarten («The Theory of Everything»), director Joe Wright (who delivered a stunning single take of the beach at Dunkirk in «Atonement»), and Oldman (who has only been nominated once, for «Tinker Tailor Soldier Spy») turn what could have been a wordy chamber drama into something viscerally compelling and far more timely than anyone anticipated.

Director Gore Verbinski (fresh off the Pirates Of The Caribbean movies) and screenwriter John Logan (The Aviator) seem to be more interested in creating a twisted fever dream of a world than in telling an actual story.

Though most would not classify director Ridley Scott's 1979 collaboration with screenwriter Dan O'Bannon and Swiss freakazoid H.R. Giger as a «horror movie,» per se, we dare you to find many movies from this decade — or ANY decade, really — that are filled with more iconic scary moments than Alien (with one possible exception, which we'll discuss below).

There's never been a more brutally eloquent term for the locals in a college town than the word director Peter Yates and late screenwriter Steve Tesich use in Breaking Away — «cutters,» for the men who worked in the quarries and cut the stones that built Indiana University's Bloomington campus.

If there's a way to tell a story about cancer, avoiding downbeat despair and plugging in distinctly English humor without seeming flippant or anything less than honest, director Catherine Hardwicke and screenwriter Morwenna Banks (whose 2013 BBC radio play «Goodbye» was the inspiration) do it well, finding a tricky balance between dignified and accessible.

And director Tim Miller and screenwriters Rhett Reese and Paul Wernick eschew the idea that there must be anything grander to a superhero story than that.

Director William Dear infuses the movie with less style than a typical movie - of - the - week, while screenwriter Jonathan Kahn substitutes overt instances of sentimentality for anything even resembling authenticity and genuine emotion.

It's not necessary, I suppose, for a movie about a billionaire to be in lock - step with the times, but couldn't the director, Jason Winer, and his screenwriter, Peter Baynham, at least have made more than passing reference to our current muck?

This satire of middle - class media madness owes more to screenwriter Buck Henry than to director Gus Van Sant, who courts mass - market appeal by soft - pedaling his usually subversive style.

Included is Sho Kosugi: Martial Arts Legend, a new 21 - minute interview with the actor about him and his career; The Making of Black Eagle, a 36 - minute featurette with Sho Kosugi, director Eric Karson, screenwriter Michael Gonzales, actors Doran Clark, Shane Kosugi, and Dorta Puzio; Tales of Jean - Claude Van Damme, a 19 - minute featurette with many of the same people speaking about their experiences working with Van Damme; The Script and the Screenwriters, a 27 - minute featurette with Michael Gonzales and Eric Karson discussing the film's development; a set of 11 deleted and extended scenes, all of which are in the extended cut and offer up a tiny bit more story and character development more than additional action or carnage; trailers for the film itself, D.O.A.: A Rite of Passage, Attack of the Killer Tomatoes, and Savannah Smiles; a fold - out poster; and a DVD copy of the film, which offers up all of the same extras.

The problem is that director Forman and screenwriters Scott Alexander and Larry Karaszewski, who memorably humanized Hustler publisher Larry Flynt in The People vs. Larry Flynt, do little to make the film appear to be more than a showcase for Carrey's gift for reverent mimickry.

Homework (Director and screenwriter: Gavin Wiesen)-- Quirky, rebellious George has no ambitions other than to cut his next class.

Homework (Director & Screenwriter: Gavin Wiesen)-- Quirky, rebellious George has no ambitions other than to cut his next class.

Little Birds (Director & Screenwriter: Elgin James)-- Amidst the stark landscape of the Salton Sea, two 15 - year - old girls test the limits of their friendship when one follows the other to Los Angeles, only to discover that the boredom of home may be better than learning to survive in the big city.

Give it time, and one suspects director Hettie Macdonald and her unexpected screenwriter, American Oscar - winner Kenneth Lonergan (of Manchester by the Sea renown), will have tapped into the unique power of a novel that does nothing less than refract English society, mores and values through the homestead of its title.Barely has episode one begun before the family pile of the title is conveyed in careful detail, as seems appropriate given the disparate people who will gather under its roof.

by Hope Madden Director Steven Soderbergh has worked with screenwriter Scott Z. Burns three times now, each instance a bit weaker than the last.

Director Michael Matthews and screenwriter Sean Drummond know the language of the western genre well enough to give it due place: wide angle shot of a beautiful, empty landscape, which speaks to both the wildness of this end of the line place, and the people who cling to it, even if the future seems less than hopeful for change.

But rather than weep and wail, screenwriter Shlomit Nehama, and director Emil Ben - Shimon create a joyous dramedy about faith and fellowship.