Sentences with phrase «staged scenes filmed»

He also hired an actor to play Francis in staged scenes filmed in the style of a black - and - white silent movie from the 1920s.

Not exact matches

Although the film is punched up by some energetic cutting and hip - hop music, many dialogue scenes, particularly early on, are badly written and awkwardly staged.

As I said above, this is one of Lewis» goriest films, and where the guy actually had some skill was staging memorably morbid death scenes utilizing bizarre props.

After a lyrical introduction that layers wistfully reflective voiceover over a spun - sugar cloudscape, the film's opening stages are less concerned with setting a scene than they are with establishing a vivid and unshakable sense of trauma — zeroing in on isolated images of slaughter, human and otherwise, in disorienting darkness.

The key scenes might be better staged and photographed, but like the second trilogy of «Star Wars» films, new and improved isn't necessarily better.

The film lacks the budget to stage much of Salinger's service in Europe, instead subjecting us to rote flashbacks of battlefield chaos and a scene where he rails at Burnett about the friends he lost overseas.

Hughes continued to be a major presence in the Australian film, TV and stage scene until her death in 2014 at age 61.

There are some gruesomely well - orchestrated scenes of body horror (one particular dissection is nightmarishly staged) and Garland's knack for gonzo imagery ensures that many scenes in the film will make a lasting impression.

While Gens can splatter gore with the best of them — early in the film, a human body packed with C4 goes off in graphic detail — he fails to stage so much as a single rousing action scene, even when he has four double - fisted swordsmen facing off inside an abandoned subway car.

That scene sets the stage for the plot of the film, which surprisingly, takes place over a very concentrated point in time — only a month, really — when the Civil War was limping to an end, and Lincoln was rushing to pass the 13th Amendment to ban slavery.

Other than that split screen scene, no convincing argument is made to translate the story from the stage to film.

It's a great - looking film, filled with wildly imaginative sets and costumes that would have done the Maestro proud, and veteran director Richard Fleischer (The Vikings) rises to the occasion with some sharply staged action scenes.

Their cell phones are smashed, other bodies are discovered, and at least one of those mask - wearing weirdos playfully apes that same scene that set the stage in the first film (this one: outside, and all the better for it).

The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed, as well as many a James Bond film during a nightclub sequence right out of something like Skyfall.

The film is also a bit murky from a visual standpoint, perhaps due to the digital camera work in lighting that intentionally uses the actual lighting of the room rather than staged, and the colors and textures are especially muted during scenes filmed indoors.

Richard LaGravenese's adaptation of Jason Robert Brown's stage musical contains about four big numbers that are among the year's most memorable scenes (even though the film itself is pretty spotty).

From the very outset Resnais sets up the theatrical artifice of the film with opening scenes of repetition and staged production design.

Pre-visualizations — crude computer animation used to stage scenes before filming — establish the ideas for two of the Oompa Loompa song and dance numbers: «Augustus Gloop» (2:06) and «Mike Teavee» (1:32).

Luckily, Howard was able to use his stage adaptation, with 14 different scenes, as the basis for the film's screenplay.

But Billboards still speaks the language of film, with incredibly well - staged scenes and a great visual gag involving Officer Dixon (Sam Rockwell) and his music.

The payoff for his method comes in scenes like the film's two very long and unbroken takes, when he calls on his actors to use the disciplines of the stage as well as the screen.

Maybe the photos were snapped during the filming of a scene that will serve as the end - credits tag of Ant - Man and the Wasp, setting the stage for the Avengers finale.

These characters are drawn shallow, while most of the plotting gets shelved for prolonged periods during each film, making way for the special effects and silly scenes of young tomfoolery to take center stage intermittently.

Cox seemed to be constantly cutting corners in Human Touch, and at one stage I think he used an outtake in the actual film, which made no sense whatsoever, and detracted from the effectiveness of the scene.

But Squires has one great scene, set at a food bank, in which the actress and Loach stage a genuinely and disarmingly surprising moment, one that briefly turns Kattie into the film's most galvanizing character.

Except for a well - staged scene depicting the attack on the marchers on the Edmund Pettus Bridge, the best scenes in «Selma» are the small - scale ones: Oprah Winfrey (also one of the film's producers) as an bedraggled activist denied the opportunity to vote; a scene where King's wife, Coretta (Carmen Ejogo), confronts him about his philandering; a cameo involving the father (portrayed by that marvelous actor Henry G. Sanders) of a murdered man in Selma.

Bernard tells Françoise, an actress, that she talks as if she is auditioning, and when Hélène suddenly pulls back the red - patterned drape in her apartment to reveal one of the film's many crucial meal scenes, the startling effect is of a stage curtain revealing a set.

Save for a few scenes that take place on a battlefield, much of this work could easily be accomplished on stage, yet instead of making the film feel small or inadequate, this restrained setting instead gives weight to the micro expressions and gentle asides that Day - Lewis uses to bring life to his role.

Reitman read the stage directions, and each scene was set with an appropriate still from the film projected on a screen above.

We see Tommy go through endless re-takes involving only a few lines of dialogue, an awkwardly staged sex scene, a scene that has no significance to the rest of the film, and a suicide in which the actor writhes on the floor in pain after shooting himself in the head.

- Digital transfer of the director's cut, supervised by director Wes Anderson (with new DTS - HD Master Audio soundtrack)- Audio commentary featuring Anderson, cowriter Owen Wilson, and actor Jason Schwartzman - The Making of Rushmore, an exclusive behind - the - scenes documentary by Eric Chase Anderson - «Max Fischer Players Present» theatrical «adaptations» of Armageddon, Out of Sight, and The Truman Show, staged for the 1999 MTV Movie Awards - Episode of The Charlie Rose Show featuring Wes Anderson and actor Bill Murray - Audition footage - Anderson's hand - drawn storyboards, plus a film - to - storyboard comparison - Collectible poster, essay by film critic Dave Kehr

Letts and Friedkin first collaborated on a screen adaptation of Bug that won the FIPRESCI Award at the 2006 Cannes film festival and was praised for its claustrophobic staging and hallucinatory mise - en - scene.

I didn't like the idea of flashing back to the rest of the Olympics after that stage was perfectly set in the opening scenes of the film, in fact they could have edited the film to have the entire hostage - drama portion before the credits, the flip over to Avner and company and not keep coming back to it.

Like many plays that try to adapt to the big screen, there is a stiffness factor that settles in to most scenes of the film, and what might work in the knowing artifice of the stage becomes strange when played out in the «real world.»

Director of all the Mad Max movies, George Miller, comes to stage and tells us that he considers chase scenes to be the purest form of cinema, and so he wanted to make a film that was one long chase scene.

NICOLAS WINDING REFN: I'm setting the stage knowing that, if you look through the film, you'll see the same dynamic in all the other scenes of death and beauty.

Study the scene where Richie visits Eli Cash to see the striking similarities in composition and staging with Malle's film.

In fact, in the trailer for Blue Valentine Ryan Gosling (Half Nelson) sings his own rendition of You Always Hurt the One You Love on a ukulele to Michelle Williams (Brokeback Mountain), which then cuts to scenes of them in various stages of love throughout the film.

As with the film's earlier segments, these scenes are ably staged and benefit from Gerwig's smart, appealing performance, but they add nothing either to the story or the character.

The contrast between the 8 mm home - movie footage that opens the film and the subsequent scene showing Murray's bookstore in its final throes sets the thematic stage: Fading Gigolo is intended to be as much about aging as it is about love and sex.

Gotham Uncovered: Creation of a Scene: Director Christopher Nolan and creative collaborators unmask the incredible detail and planning behind the film, including stunt staging, filming in IMAX ®, and the new Bat - suit and Bat - pod

Co-star Benicio Del Toro, Producer Molly Smith and Film Editor Joe Walker joined me on stage for a compelling behind the scenes conversation about the Lionsgate film which has turned into one of the Fall's best performing adult dramas.

While the 2016 - 2017 season didn't see any new show rise to Hamilton - like popularity — it's hard for any TV show, film or stage production to reach that level of pop culture zeitgeist — there are plenty of standout showcases of what fans have come to know and love about the New York City theater scene.

The action scenes are staged on a grand scale, appropriate to the power of the film's god - like villain, and the visual effects are spectacular.

One of the most aggressively un-commercial films to play Sundance this year, Entertainment alternates antagonistic on - stage performances with scenes of existential ennui in the American Southwest.

The film is introduced with the atypical title «William Friedkin's Film Of Tracy Letts» «Killer Joe,» «suggesting that it'll be a no - frills adaptation of the play, but that's not quite true; it's plenty faithful to the stage version, but Friedkin and Letts (the latter of whom adapted the screenplay himself) do a pretty good job in making the play cinematic, certainly more so than either «Carnage» or «A Dangerous Method,» adding some striking locations (including an abandoned rollercoaster) and even a chase scene.

The 20 - minute biographical portrait Tati Story features generous clips of Tati on film, stage and TV, the six - minute Au - del de Playtime reveals rare behind - the - scenes footage from the city set he built on the outskirts of Paris, there's a rare audio interview with Tati from the Q&A of the U.S. debut of Playtime at the 1972 San Francisco Film Festival and Jacques Tati in Monsieur Hulot's Work, a 1976 program on the director made for the BBC art series Omnibus.

Interestingly, the two most violent scenes in the entire film do not involve guns: the one is a brutal fight between two slaves staged by DiCaprio, and the other involves a man being torn apart by dogs.

Working with a smaller budget, it's basically a four - character film which wouldn't suffer too much from being staged in a theatre — featuring unusually long dialogue scenes in diners, restaurants and motel rooms, with staccato rhythms and masculine posturing borrowed from David Mamet, another of Anderson's key, acknowledged influences.

Notably, while there are male characters in the cast (including husbands and fathers), they aren't the main characters and barely appear present in the trailer — suggesting an approach similar to the The Women where the staging of scenes emphasizes that the female characters» story is happening primarily in spaces unique to them and often overlooked in other films.