Sentences with phrase «shooting scenes like»

Not exact matches

But the Whistle Sports study finds that the teenage audience is more interested in things like «fails» (which doesn't really interest the 34 - 54 audience, Selander says), or behind - the - scenes videos, or crazy dunks, or trick shots, or pranks.

Here is our behind the scenes photo shoot, not even in my kitchen, but what it really looks like with little fingers grabbing at everything!

Enjoy several ways to get the perfect shots, including the ability to switch your phone between standard and vertical shooting and unlimited low angle shooting for pictures that let you experience a scene like never before.

We had to shoot a flashback scene and I got dressed like I was living back in the 70's as you might have already seen in this Instagram picture.

Hey I'm Derrick I work ALOT lol so really don't have time for the whole dating scene so here goes I'm looking to meet a girl with a good head on her shoulders cute funny a little bit country and not afraid to get dirty I like to go fishing riding shooting boating hobbies are working on cars or...

The aforementioned opening shots of Snape look more like Impressionist paintings than a scene from a kiddie film.

The American feels, all too often, like the world's longest music video: the shots are all nicely composed, and there are compelling scenes that work in miniature, but nothing ever adds up to a complete narrative.

The script (by Matthew Perniciaro and Timm Sharp) is trite, and the direction so flat that every scene looks like it was shot in a broom closet, but the bright young cast makes things more bearable than they should be.

The shows contain plenty of interesting behind - the - scenes shots, although the focus stays on the giant Ferris Wheel - like centrifuge scene.

With Dark Star, he had gotten used to shooting the odd scene, going off to raise money, coming back and repeating the process, much like David Lynch was doing with Eraserhead around the same time.

But with Mahoney's pedestrian, shot - reverse - shot direction, these scenes play out like situational skits from an instructional video made for ESL students.

But here, it feels like he scribbled each scene right before shooting - that's how unstructured it is.

When we finally get to the battle against the Armada, Kapur also demonstrates he has no knack for shooting fight scenes, meaning the boffo climax looks less like epic warfare and more like «Shark Attack 3.»

Luke's decapitation scene looked like something from «Gumby» (close - up on flue swinging, close - up on Luke screaming, distant shot of body standing upright without a head and no blood to be found).

Bay shoots every scene with such grandeur, such enormity, it's like a trailer that never ends.

So I began to pick - up on some unintentionally humorous elements, including a shot of six cars driving onto an icy which looked like a scene out of a Lexus commercial, and all the Dunkin' Donuts product placement.

Verbinski certainly did his western - movie homework, for outside of all the rootin» - tootin» Rube Goldbergian action scenes, the director consciously evokes John Ford with his widescreen vistas of sun - baked deserts (on - location shooting took place in Utah, Texas, and beyond), and his nod to films like The Searchers with scenes of near - helpless families under attack in the wilderness.

He's also added bed - based brooding and Tommy Lee Jones - talking to his considerable repetoire of skills; meanwhile, it looks like returning director Paul Greengrass (The Bourne Supremacy, The Bourne Ultimatum) has finally mastered the art of shooting a tense action scene without shaking his camera like he's tap dancing on the San Andreas fault.

Cinematographer Guillaume Schiffman shoots the film with a modern camera but attacks each scene with finesse and diligence like an old pro.

Shot over two weeks, he allowed his ferocious performers to be the focal point of every scene, shooting so intimately that you felt like the events were unfolding before your very eyes.

From its opening scene slowly falling down Violet's closet in a continuous panning shot that makes her hat boxes and skin - tight dresses seem more like a modern city than a wardrobe, Bound quickly proves itself as a tightly constructed (and unexpectedly funny) lesbian noir with incredible camerawork, solid acting by the entire cast and tight pacing that'll keep you feeling empathizing with Violet, Corky and Caesar as their high - stakes game take several reversals of fortune.

«Angela sent me a note about how she liked to shoot sex scenes beforehand: «Just leave it up to me, I've done a bunch of them, you're going to be fine, it's gonna be fun»,» Heathcote reports.

«Taking satirical aim at the pretensions of Brooklyn hipsters and the New York City art gallery scene is like shooting fish in a barrel, but director / screenwriter Michael C. Bilandic (Happy Life) pulls it off with rough - hewn aplomb in his ultra-low-budget sophomore feature.»

And the more I talked about that, the more I felt like I have this movie more or less in my head and I know how I would shoot these scenes and how the camera should move or if I were to direct it this is what I would do... Saying that enough times sort of gave me the confidence where I felt like maybe, just maybe, given the right chance, I could take a crack at it.»

Jena Malone's scene with necrophilia became such an experience that I was like... I had found the protagonist, but the antagonist was never really clear for me, even on script, even on prep, not even until we shot that scene with Jena Malone.

Like many cinephiles, I was first drawn to Ozu by his serene compositions, the meditative «pillow shots» of train stations and empty rooms that served as scene transitions, and the exquisite way that his films explore the architecture of domestic and urban life.

Nothing like his slapdash «Idaho» (a freeform 2011 experiment in which Franco remade Gus Van Sant's «My Own Private Idaho» from an alternate script), these bonus scenes were shot by «This Is the End» DP Brandon Trost and prove that Franco is capable of making a professional - grade movie when he applies himself.

You can shoot a scene with him like that all day.

Although marketed as an action movie, Max Payne runs surprisingly action - free during most scenes, playing more like a brooding potboiler than the exhilarating, pulse - pounding shoot - em - up you'd gather it would be from the video game.

And there are a couple of scenes that are really stunning, like the bus shooting, and an emergency room operation, and scenes where the partners try to shake up street people to get a lead out of them.

Instead, each scene was acted and shot, like a traditional live - action movie.

Besides the acting, I liked it's gritty feel, the robbery scene was well shot and the slow - mo assassination scene was very neat.

The other major issue is that the scenes on the field, while they are very well - shot and put together, just don't feel like high school football, or even professional football for that matter.

It's your usual assortment of production anecdotes, but Wynorski is pretty good at screen - specific observation, cluing us in on which shots required the most work behind the scenes — like the tracking shot through the furniture store that forced stagehands to move furniture into place and stay out of frame as the camera rolled backwards through the set.

Other shots - long shots, into the light, so we can not see the characters» lips — look suspiciously like scenes that were filmed first and dubbed later.

Filmed on 35 mm and left in its grittiest state — the colors have a relatively untreated feel, like a»70s Dirty Harry film — Too Late is an L.A. noir shot in five continuous take scenes.

In a clip released by Disney showing the behind - the - scenes of the photo shoot, «Thor's» Hemsworth said, «It felt like being at the Academy Awards or something.

There are shots and scenes here that overwhelm with a sense of the kinetic, uncontrollable force of nature, as the stern section of a massive oil tanker, which has been ripped in two by the waves and a storm, is tossed around like a child's toy in a bathtub.

yes you may have liked this one to some degree but to be truthful you have no idea the thought and passion that goes into it every camera angle every scene instead of just being shot to death by a DIR to get the right shot.

It looks like rehearsals for the movie are currently underway, and Nina Bergman, who appears in the film, uploaded this behind - the - scenes video of people running around pretending to shoot guns.

It looks like director David Gordon Green will be heading back to Haddonfield to shoot additional scenes for Blumhouse / Universal's Halloween sequel.

Kick Ass is a much - needed adreneline shot for this ailing genre, much like Shaun of the Dead was for the vampire scene.

He expertly synthesizes influences (he writes dialogue like Cassavetes, shoots like Scorsese, and embodies Altman's generous compassion for human life) without getting smug or derivative, blends humor with nerve - shredding tension (the scene at Rahad Jackson's is virtuosic) and plumbs the depths of the darkness of which men are capable.

Director Ryan Murphy's expansion of the original play bears the burden of its staginess, despite a hyperactive camera that sometimes makes The Normal Heart feel like an episode of «American Horror Story» (this guy can make a scene showing a few men shaking hands feel like a goddamned Tilt - a-Whirl ride, and he seriously overvalues ostentatious overhead shots).

Sources says Lawrence shot the scene in Georgia last fall (the Dumber set was near theMockingjay shoot location) but retained the right to nix it if she didn't like it — a right that she exercised.

Payne wallows in this hick sideshow: There's a long shot of the extended family gawking like lobotomy patients at a sports game, while another scene set in a supremely tacky restaurant / karaoke bar finds Stacy Keach — as an old, bullying business partner — warbling out a painful rendition of «In The Ghetto.»

It is simply a cool action movie and while the movie is not without its faults (I particularly missed the architectural fetishism of the Tim Burton movies and some fight scenes are shot up real close so that you can't always see just what the heck is happening) it is like seeing your favourite comic book title being written and drawn by some guys with an understanding of the character involved for a change after seeing it being ruined by some talentless hacks.

There's no way to tell how likely this is to actually happen — given both the technical problems of refurbishing a film whose appeal often derives from the fact that it looks like it was shot through cheesecloth, as well as the fact that it's Tommy Wiseau saying this — but we can't help but fantasize and / or have waking nightmares about the effects the addition of 3D might have on certain scenes.

There are a lot of competently shot outdoor scenes (Nova Scotia stands in for Cape Cod) that are picturesque without quite dazzling like many other Blu - rays do.

And I kept feeling like the final scene was shot at the same house where The Celebration took place.