Sentences with phrase «similar shots in films»

Not exact matches

It's a path that includes the relatively low overhead of shooting a film entirely via a mobile device and an app (the studio said Sickhouse «s budget was similar to that of a typical indie film) while potentially tapping into various social networking platforms» massive built - in audiences of users.

BUT, I do say the films are remarkably SIMILAR... DOWN TO SHOTS... and who knows maybe Peter Berg did think up the script while he was in Las Vegas, but no while gambling but up in his hotel room with the hooker, watching STAG on HBO.

Bloody Sunday is a wonderful film, and is shot in a similar style to the latter Bourne films and now Green Zone.

For once I wish they would shoot a film like this, in a manner similar to how Paul Greengrass directed United 93.

Blu - ray Highlight: In addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footagIn addition to an excellent six - part documentary that runs the entire gamut of production — from location shooting in Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footagin Romania, to Nicolas Cage's (creepy) performance capture of the Ghost Rider, to special effects and more — the Blu - ray also includes a feature similar to Warner Bros.» Maximum Movie Mode where directors Mark Neveldine and Brian Taylor dissect the film (sometimes pausing it to discuss certain scenes in more detail) with the help of behind - the - scenes footagin more detail) with the help of behind - the - scenes footage.

On the feature commentary track, Mancini describes more scenes in a similar vein from the script (such as one with Nica bathing in a shower chair that's seen briefly in the film), but says they were never shot due to scheduling constraints.

Given the extreme low budget (the film was shot on a shoestring in Budapest), the special effects look pretty credible, with Petty wisely deciding to spend most of the time with the creatures in the background or swathed in shadow, understanding that Sentinel is a picture of ideas — an unusually faithful recreation of Hitchcock's film possessed of a similar, mordant sense of humour, if an understandable surfeit of corresponding depth.

Paul Thomas Anderson's latest film, Phantom Thread, a portrait of a fictional fashion designer in the couture scene of 1955 London, indulges in similar revels, placing the film firmly in the tradition of the melodramatic women's pictures of the 1940s: it's filled with achingly vivid close - ups (Anderson also shot the film) of shining colored threads, needles piercing thick fabric, rough - edged hand - sewn labels, intricate lace patterns, and rich cloth falling in sculptural folds.

The film was shot entirely on location using non-actors, with many of them playing parts similar to who they were in real life.

You could see similar elements in Lodge Kerrigan's chilly «Claire Dolan» (with a dash of Polanski in there — an unsettling manicure scene followed by a startling shot involving a mirror on an armoire)-- and, sure enough, it turns out that the young, unknown Bahrani so admired Kerrigan's work that he sent him an early cut of the film and asked for Kerrigan's advice.

«I've heard better, but you sing like you do it for a living», notes Robert Mitchum — and the film, alas, treats her with a similar lack of gallantry, even locking her in a closet, out of harm's way, when the shooting starts.

I've noticed a similar trend with a lot of special effects and even some ordinary character shots in both films and TV clearly being modelled to resemble video game scenarios.

Similar to «The Royal Tenenbaums» in that the movie is divided into chapters, Anderson goes one step further by filming each timeline in a different aspect ratio, with the 1930s portion of the story appropriately shot in the classic Hollywood standard 1.33:1 ratio.

The stylistic tics are remarkably similar in all of those films: prolonged takes, carefully worked out mise - en - scène, a penchant for wide shots within a 2.35:1 frame.

Jim Carrey is certainly known for doing things his own way and not necessarily taking the popular path, as he has done in the past with his crusade against preservative laden over-vaccination and his current fame as a Twitter ranter against both access to guns and violence in movies; a recent series of tweets targeted a film he actually appeared in, Kick Ass 2, which he now says he can not endorse with a clear conscience due to its level violence in the wake of the Sandy Hook shootings and many other similar events.

In similar fashion, Rooftop Routine played on the limitations of the camera in capturing the sequences of all the movements in one shot, and viewers of the film are left to imagine the communal experience and the visual rhythms of the hula hoopers with their circular movements against the grid - like views of the citIn similar fashion, Rooftop Routine played on the limitations of the camera in capturing the sequences of all the movements in one shot, and viewers of the film are left to imagine the communal experience and the visual rhythms of the hula hoopers with their circular movements against the grid - like views of the citin capturing the sequences of all the movements in one shot, and viewers of the film are left to imagine the communal experience and the visual rhythms of the hula hoopers with their circular movements against the grid - like views of the citin one shot, and viewers of the film are left to imagine the communal experience and the visual rhythms of the hula hoopers with their circular movements against the grid - like views of the city.

The objects in the paintings imply a narrative arc that, similar to a cutaway shot in film, creates a psychological space for reflection on actions that lie outside the frame.