Sentences with phrase «single shot of the film»

Lawrence's face, or the back of her head, takes up nearly every single shot of the film.

Not exact matches

For a half hour, @sigeyosiinoue filmed a single shot of an ocean of people flooding through the terminal.

They discovered that when a single layer of iron selenide film is placed atop STO, its maximum superconducting temperature shoots up from 8 degrees to nearly 77 degrees above absolute zero (minus 196 degrees Celsius).

At the end of a big rhinoceros battle, a male character submits to Gurira in the film's single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay - friendly Marvel moment to date.

The circumscribed aesthetic of the cheap thriller film - within - the - film that Binoche is shooting — made clear from the shot - reverse shot editing and close - ups antithetical to the look of the rest of the film, shot mostly in single takes — signals that we're somehow outside of Haneke's world, even though we're actually buried deep within its layers.

It's the first feature - length narrative film shot in a single take (on digital video, using a specially designed disc instead of tape).

The latter describes a single shot in the film as a «55 - minute tour de force of sustained mobile camerawork to rival such one - take wonders as Russian Ark — and in 3 - D, to boot.

Director Rupert Goold shoots True Story with a pulled back approach, never quite placing all of the blame on Christian, while also questioning every single word that he speaks up until the film's exposing finale.

Despite perilously under - lighting a few nighttime sequences, cinematographer Rachel Morrison shoots the country so full of life that it's genuinely hard to believe she didn't film a single frame of it in Africa (for a movie that's full of sloppy CG, the environmental green screen work is astonishing).

For the «Takes» series of issues, contributors were asked to write a complete essay on a single shot, color, cut, or instance of sound design; each article breaks down these elements of filmmaking in a way someone who hasn't been to film school can appreciate.

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.

As for the 70 mm presentation... considering most of the film is shot indoors, on a single set, is it fair of me to say that it seems like a waste of the format?

There isn't a single shot of sunshine, yet the film is still stunning.

Any number of great films, even leisurely paced ones, will provide wondrous examples of how much story detail you can pack into a scene and even within a single shot.

In a Frederick Wiseman - ish way, some of his subjects appear for only a single brief scene, while some recur throughout, and they're certainly a broad selection: an aristocrat who hires his family home out for film shoots, paramedics, an eel fishermen, some transsexual prostitutes, and a man trying to stop insects from destroying palm trees.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

It takes guts to shoot a film over twelve years, but it takes even more to play a single mom over that period of time — and Arquette really was as amazing as she was gutsy.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

Victoria (Germany, 2015)-- 9:00 PM «Victoria (2015) is an impressive technical achievement: a street film turned romantic drama turned crime thriller, shot in a single, unbroken take in real time over the course of a couple of hours between late night and dawn.

Perhaps because this is a film written and directed by men, cutting loose for these moms does not mean acting like they did when they were young and single, but rather a frat boy fantasy involving speeding in muscle cars, downing bottles of vodka and Jell - O shots, shrugging off any responsibilities, flipping their condescending boss the bird, throw wild and hedonistic parties, and trying to get laid with easy hookups at the local bar.

by Walter Chaw Billed as being filmed in a single shot (though the skeptical — and those taken in by the «unedited» long takes of Alfonso Cuarón's Children of Men — should wonder why an editor is credited), Gustavo Hernández's zero - budget conceptual experiment The Silent House (La casa mudi) has found a way not only to suggest a gimmick successfully carried through, but also to weave that gimmick into a richer thematic tapestry.

It's shot in black and white which adds some style, and it has a haunting score by Abel Korzeniowski (of A Single Man, W.E.), but this is a film that is destined to be loved by a small audience, and be much more of a cult classic than anything.

Unfolding in his signature long takes — the opener is a candidate for shot of the year — the film ventures to the driver's single - room home in a windswept prairie, where he and his daughter subsist on potatoes and wait out a storm of apocalyptic proportions.

every film he makes is exactly what Tarantino wants to make he holds back nothing and achieves with a single camera shot the intensity of a million dollar CGI fest.

The way that the fragments follow each other seems to have a new fluidity — and with the exception of the prologue and epilogue scenes, and the film within the film, all the other scenes are shot in a single take — despite the regulation cuts to black.

Beyond the incredible stunt casting, there's a shamelessly impressive formal gimmick: Most of the film has been shot to resemble a single, unbroken take, the great Emmanuel Lubezki (Gravity, Children Of Men) masking cuts under cover of backstage darknesof the film has been shot to resemble a single, unbroken take, the great Emmanuel Lubezki (Gravity, Children Of Men) masking cuts under cover of backstage darknesOf Men) masking cuts under cover of backstage darknesof backstage darkness.

Unfortunately, he's one big scene shy of having any shot at supporting actor nominations, adding to his streak of appearing in and dramatically aiding decorated films without ever being personally singled out with accolades.

The disc also features six different radio spots, a single TV spot, and a theatrical trailer (2 mins., HD) consisting mainly of the film's money shots edited together, tail to head, with The Car's signature horn blaring on the soundtrack: BEEP!

With over a hundred films in his C.V. (including silents), King remained one of the studio's leading directors for decades, and though he worked with superb cinematographers, his films consistently show a dramatic visual style that maximizes elements within a single shot, plus a knack for crafting kinetic action scenes — particularly the storming of the fortress at the end of the film.

In accordance with their agreement for a single day of closure for a single day of shooting at the Hermitage Museum, Sokurov and his boundless crew managed to capture the entire film on the forth try, the last and final attempt.

Typical for modern films of this nature, the action scenes are filled with shaky handheld cinematography and rapid cuts that mean there often isn't a single well - framed shot in the whole sequence (and if there is it lasts about a nanosecond before being replaced by one that isn't).

Battle of the Bulge (Ken Annakin, 1965, filmed in Ultra Panavision 70) and Grand Prix (John Frankenheimer, 1966, filmed in Super Panavision 70) were both marketed as Cinerama films, even though they were shot on single 65 mm negatives.

The film starts with an opening sequence full of style and pace as we follow stunt motorcycle rider Luke (Ryan Gosling) in one stunning four minute single tracking shot, as he walks through the bright lights of the carnival to the roaring crowd who await him.

However, Anderson operated the camera for this film (with the help of other crew members, hence why he refuses to be called the director of photography for this picture), so every single shot is likely exactly what Anderson intended.

He also replicates a single unbroken shot from the original film's sequence at a soccer stadium; this time, it's set at Dodgers Stadium and impressively shot by cinematographer Daniel Moder (Roberts» husband), as Ray and fellow detective «Bumpy» (Dean Norris) pick out the suspect out of the crowded stands and give him a chase.

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

LOST IN TRANSLATION (2003): Sofia Coppola?s minimalist film says more with a single shot of Bill Murray?s eyes than most say with 120 pages of dialogue.

The DVD and Blu - ray are both released on single disc and two - disc sets, that latter with the usual making of featurette and deleted scenes, plus a short featurette on the film's set design and locations and a brief «Shooting Diary,» all in Cantonese with English subtitles.

Her only explanation was to cite a single shot that occurs quite early in the film: Linda (Linda Manz), the narrator, is fleeing the industrial inferno of 1916 Chicago with her older brother and his girlfriend (Richard Gere and Brooke Adams).

That's right, Paramount just dropped the net worth of 2013 Kanye West on this film without even a single shot filmed.

He's in some of the longest, most aggressively focused two - shots in all of American cinema, some of which push in so slowly that they seem ever still — yes, this is a feat (just ask Waterston, whose hypnotic, naked, single - take monologue late in the film goes beyond bravura in front of Anderson's patient camera).

by Walter Chaw Stop on any single frame of Alfonso Cuarón's remarkable war idyll Children of Men — a film that's rarely in repose, sometimes seeming composed of one long, frantic shot — and I suspect the sharp - eyed, educated viewer would be able to cull a reference to modern art, most likely one about men reduced to their base animal nature.

Anne Hathaway's brief work as Fantine is memorable, and her signature song «I Dreamed a Dream» stops the film in its tracks with her single shot rendition of I dreamed a dream shot up close and personal which delivers an impressive wounded, defiant vocal.

A long single shot in which Shaun walks to his neighborhood shop near the beginning of the film is repeated after the zombie outbreak has begun; Shaun is so dimly aware of his surroundings that he scarcely notices the blood smeared on his convenience store's cooler, the crashed cars in the road or the shuffling, groaning people slowly making their way down the street toward him.

Three minutes later, in a single tracking shot, the climactic moment of the film is done.

She had a coming out doubleheader at this year's Sundance Film Festival where she was the star of two of its most buzzed about films: Martha Marcy May Marlene, in which she plays a girl who escapes from a cult, and Silent House a film that uses a single camera shot to follow her character, a terrified girl descending into madness, around an abandoned summer house.

This list, or so I've tried, was put together following many different but intimate echoes in between films; some correspond just in reflections of a single shot, others to the general feeling experienced, many to a communal and identified way of being (for example, woman), of living, cinematically.

In several shots from 1974 that were filmed with a stationary camera, and in at least one shot from 1980, the picture develops a mild but unmistakable case of vertical jitters, with the image shifting up and down a single pixel or two from frame to frame, indicating some minor registration problems during the film - scanning or telecine process.

It's surprising, because Rosenthal made the patient, rural noir A Single Shot — not a great film, but one that at least conveyed a clear sense of place.

The 27 - year - old son of film legend Brendan Gleeson was singled out for a Shooting Star award at the Berlin Film Festival (10 — 20 February 2011 as well as receiving an IFTA Rising Star award.