Sentences with phrase «shoot around the actor»

When McAvoy's name cropped up a few weeks ago, the word was that Condon's movie would shoot around the actor's X-Men schedule.

Not exact matches

Calliet points to a photo shoot Boyega did around Thanksgiving last year for The Hollywood Reporter that shows off the actor looking «leaner and ripper» than he did in the movie.

Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.

Too many of the wide shots and battle sequences are all too obviously green - screen, in that they consist of actors running around somewhat aimlessly, looking for their marks and trying to use their imagination.

A mural maker fluent in the extended, meandering, zooming wide shot, Altman could swallow elaborate social environments like Hollywood in a single gulp; and by peopling those environments with actors set free to improvise, he allowed an uncanny degree of naturalistic behavior to indemnify the real - lifeness he collected by, it seems, just rolling and rolling film and looking around him.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

It turns out that Yim Ho — the gifted director of Homecoming (1984), which I reviewed favorably when it showed at Facets Multimedia in late 1987 — started shooting King of Chess in Taipei around that time, from a script that he wrote with Tony Leung, one of his lead actors.

Regardless, the effect of limiting the film to the Dunst - Hartnett storyline is twofold: first, we get to enjoy many many many shots of pretty young actors being pretty, walking in slow motion, rolling around in the grass, etc; second, none of the other characters ever mean anything to us.

Jafar Panahi and Mojtaba Mirtahmasb's semi-documentary was given its title because on a certain level, it isn't a film in the way of Panahi's past work — it has no script or actors, it was shot in the Tehran apartment in which he's been serving out his house arrest, and it's centered around his talking through the feature he would have made had he not been banned from filmmaking for 20 years.

The famous father of actors Domhnall and Brian Gleeson admitted he found the shoot, which took place around Ireland, «relentless» and was exhausted after filming wrapped.

What is making the headlines today is ALL THE MONEY IN THE WORLD, you are all aware of the sexual accusation around Kevin Spacey, Ridley Scott decided to reshoot all the scenes of Spacey with another actor, Christopher Plummer who was the first choice of the director but the studio executives wanted a bigger name, Plummer should shoot his scenes in the comming weeks, it looks like they want to keep the december release date, and Michelle and Mark Whalberg are expected to do some reshoots, i don't think michelle began working on Venom yet, it's crazy but i think Ridley is right to cut out Spacey of his film.

A troubling hush seems to follow Anton Corbijn's fourth and least enthusiastically received Life, a snapshot on the short but intensely felt celebrity of actor James Dean revolving around a famed photo shoot for the titular magazine administered by Dennis Stock.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

The director disguises the doubles he uses for the actors by cutting to distant overhead shots and jumps around the match highlights in a manner more befitting SportsCenter highlight reel than a suspense movie.

Highly stylized, the masterful direction immediately jumps out; the camera is perpetually moving, with long and involving shots that roam around the actors, thrusting you right into the middle of the powerful, visceral drama.

Bruce Campbell revisits the horror comedy that made his career in his directorial debut in this spoof, shot in and around Medford, Oregon (where the actor has made his home) and the town of Gold Lick (which, yes, is a real town in Oregon).

O'Bannon's filmmaking techniques are simple and resourceful, with shots following the actors around the room in consistent medium shots as they volley rapid - fire (and quotable) dialogue off of one another.

If I had had an actor who wouldn't play it naked, I would have had to shoot it with a towel around him, which would have been pretty silly, or I would have had to shoot it in a very restrained way.

Francis Ford Coppola's wife filmed the insanity around the shooting of Apocalypse Now: the drugs, the typhoons, the heart attacks, casting changes, overweight millionaire actors who don; t bother to learn their lines, the inability of the director to come up with an ending.

«It was just a really enjoyable group of people to be around,» Australian actor Joel Edgerton, 43, tells PEOPLE in the new issue about getting close to Jennifer Lawrence, 27, and the entire Red Sparrow crew while shooting in Budapest, Vienna, Bratislava and London.

In the later scenes of the film, he is seen shot more frequently in a slight distance or seated, and actors around him were standing on risers.

Shot in the deserts of Arizona and Southern California, prolific actor John Carroll Lynch's directorial debut follows Lucky (Stanton) as the taciturn brooder shuffles around a nowhere town, sipping coffee at a diner, buying milk at a mini-mart, and nursing a drink at a bar where the gray - haired regulars lecture one another about what life ’s

The director and his DP, Harris Savides, shot the movie largely on digital, but the film so often favours steady, patiently held compositions that allow its actors to move around within the frame and interact with each other, showing spatial relations in much the same way that Fincher is drawing connections between the facts of the case.

The Welfare of Tomas Ó Hallissy is filmed in and around the Kerry village of Dún Chaoin and directly integrates newly scripted material shot with actors with footage from The Village which was also set in Dún Chaoin.