Sentences with phrase «stories as a filmmaker»

But how do you reach those stories as a filmmaker?

Not exact matches

Among the women who joined us in 2016: Jewel (performing and sharing her extraordinary story with us), Apple Head of Global Consumer Marketing Bozoma Saint John, Making a Murderer filmmakers Moira Demos and Laura Ricciardi, Uber Regional General Manager Rachel Holt, Priceline EVP of Global Operations Maelle Gavet, Facebook Head of People Lori Goler, SoulCycle CEO Melanie Whelan, Accompany CEO Amy Chang, designer Rachel Roy, Girls Who Code founder Reshma Saujani, Joyus CEO Sukhinder Singh Cassidy, Hearsay Social CEO Clara Shih, WWE Chief Brand Officer Stephanie McMahon, and Lean In lead researcher Marianne Cooper, as well as top executives from leading global companies such as Airbnb, Amazon, Coca - Cola, Google, IBM, NBCUniversal, Nike, Pandora, Target, Twitter, and Walmart.

In a March appearance with Sanders and Sen. Elizabeth Warren (D - MA), documentary filmmaker Michael Moore called the Daniels story — as well as questions about the Trump campaign's alleged collusion with Russia — «shiny keys to distract us» from the real problems in the country.

«I'm in a really privileged position as a woman filmmaker, as a black filmmaker because at the current moment there's not a shortage of opportunity to tell the stories and that's not something that I was able to say even two years ago, three years ago,» she says.

As he prepares for the release of new album Carrie & Lowell, singer, songwriter and sometimes - filmmaker Sufjan Stevens sat down with Pitchfork to discuss the stories behind his new record Carrie & Lowell (it's named after his mother and stepfather), but he also talked about the faith that has been a theme of his music since the beginning.

Can you offer an explanation as to why filmmakers used those alluring and intriguing mushrooms in their stories?

Her passion for telling stories that matter ultimately led her to finding her niche as a filmmaker — often taking on projects that she loved despite the lower compensation.

After all, she thought she was in a relationship In late 2007, filmmakers Ariel Schulman and Henry Joost sensed a story unfolding as they began to film the life of Ariel's brother, Nev..

The script, co-written by Bahrani and veteran Iranian filmmaker Amir Naderi from a story by Bahareh Azimi, makes no attempt to present Carver as anything but a pale - suited Satan from the get - go.

For a while, as the story and the Black Panther veer here and there, jumping from Wakanda to Busan, South Korea, the filmmakers seem as if they're simply going to deliver a remix of James Bond with a touch of Spidey shenanigans.

Forster finds a nice way of visualizing this last quirk by showing Harold surrounded by shifting diagrams and mathematical equations, but in one of the film's many missteps, these visual effects show up only sporadically throughout the rest of the story, as if the filmmakers couldn't decide to either fully utilize them or get rid of them after paying the special effects studio a lot of money to create something so nifty - looking.

It gives the filmmakers the stepping stone of a compelling story and characters, but it also takes some of the bad ideas with it and seldom seeks out an identity of its own so as not to take the risk of alienating anyone.

She provides Mary a tour of the school, which stands many stories tall, containing devices as ordinary as elevators (Mumblechook points out that electricity is, after all, a form of magic) and as fantastic as bubbles that carry students to their classrooms (In one of the classes, the filmmakers fit in a small homage / jab at a famous, British child wizard, who's tormented by a flying broomstick that he can't control).

But when female filmmakers try to simply tell stories they want to tell, they get pigeonholed as «niche» or «special interest.»

For those without strong feelings for the Harrison Ford - era Clancy adaptations, which were polished but largely unmemorable, American Assassin works best as a little - league version of one of those or, in more contemporary terms, as an unsurprising origin story for what the filmmakers obviously hope is the beginning of a franchise.

The Room's audience is a devoted lot and the idea of Franco taking on the starring role of the filmmaker with the mysterious origin story - an ambiguous age, accent, and source of bottomless wealth to finance the project and its endless takes - may strike some as tampering, but rest easy.

A new generation of brilliant filmmakers such as Quentin Tarantino and Robert Rodriguez have rediscovered and embraced this cutting edge genre; introducing story elements and developing a visual style influenced by the maestros from the Banned Western Channel.

But despite its dry - boned style, it also exudes the same sentimentality as so much of the filmmaker's other work, albeit perhaps in this case as a consequence of telling a story not only whose outcome we know, but feels unlikely to challenge audiences» own values or opinions about the events in question.

Akin was inspired to tell the story by real - life political events in Germany, and his skills as a filmmaker are such that escape from this unsettling film is not in the cards.

With The Disaster Artist, James Franco transforms the tragicomic true - story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau — an artist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds.

Yet even as she and the filmmakers — Mr. Lelio shares script credit with Rebecca Lenkiewicz — thicken the texture, adding realistic details that should energize the scenes, the movie insistently puts a secular frame around its story, leaving little room for the metaphysical.

As with other films that have relied on the audiences» imagination to move the story forward (Boyhood) where in fact there is none or in this case a missed opportunity, I would like to point to the core problem that the filmmakers are trying to conceal.

Sometimes, brave filmmakers try to cast «real people» as themselves, re-creating their stories, as with Clint Eastwood's recent The 15:17 to Paris, only to realize that «real people» are not trained actors and can not act.

Knowing this much, a different filmmaker might have set about structuring his story as a personal journey into his family's history.

There's a lot to chew on here, and if Burden is ultimately buried by its muddled central character, it's as much a testament to the filmmaker's refusal to sugarcoat this story as it is a criticism of the final product.

Filmmaker Joseph Lovett, himself a gay activist who produced one of the first major investigative stories on AIDS to be broadcast on American television, interviewed a number of men who survived the»70s for his documentary Gay Sex in the»70s, which offers a sometimes witty and sometimes rueful look back at the discos, bathhouses, underground clubs, and gay - friendly resorts which dominated the social and sexual scene of the day, as well as the stories of the men who sought to declare their new identities through sex.

As «I, Tonya» skips here and there and thickens the plot, it becomes increasingly baffling why the filmmakers decided to put a comic spin on this pathetic, dispiriting story.

The filmmakers referred to the film more as fan fiction and it might not actually live up to the standard set by Mark Twain's stories, but it certainly is fun to see them try to tell a modernized story of Tom Sawyer and Huckleberry Finn.

This year, Russian filmmaker Andrey Zvyagintsev (The Return, Elena) returned to Cannes with his drama Leviathan, the story that is described as a gripping parable of class, faith and corruption, centering on a land dispute between a small - time mechanic and his local authorities that reaps unimaginable consequences.

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

Gerwig's warmth as an artist becomes important, because in «Lady Bird» she is dealing in what is often the most self - centered of forms, the coming - of - age story; particularly, the coming - of - age story based on the filmmaker's own life.

There aren't many filmmakers that could tell a story of small - town rape, murder, grief and guilt while taking you down all sorts of blackly comic paths and having immense fun with the writing and acting as well.

But perhaps hampered by an obligation to tell this story as respectfully as possible, the filmmaker has turned in his least personal effort ever.

As with his Formula One documentary Senna, filmmaker Asaf Kapadia cleverly uses archival footage to explore the wrenching story of Amy Winehouse.

Never in a million years would I have guessed that the same filmmaker might turn around and make something like Tangerine, his punk - as - fuck portrait of a much seedier L.A.. It's not just a total creative 180, but kind of the opposite of a sell - out move: Trading a formulaic story for an unpredictable one and a slick Indiewood aesthetic for a gorgeous, radical lo - fi approach, Baker trains his iPhone camera on the kind of characters — black and transgender prostitutes, immigrant cabbies — that the movies rarely acknowledge, let alone put into starring roles.

Guillermo del Toro Presents 10 After Midnight is described as a collection of the Oscar - winning filmmaker's personally curated stories, described as both equally sophisticated and horrific.

They're both produced by J.J. Abrams and directed by up - and - coming filmmakers (as were the original Cloverfield and 10 Cloverfield Lane), and all of the films so far have featured strong casts and high - concept science fiction stories.

Rom - com sequels are a rare species, as most filmmakers hold off on continuing the love story — or stories, in the case of Think Like a Man — after the happy ending (or something close to that) has seemingly been reached.

Here's to hoping one of these makes some goddamn money, so more filmmakers can trick studios into backing what are, more often than not, complete expressions of worldview disguised as stories about cowboys and horses.

Over recent years, the film noir genre has largely served as a reference point for filmmakers, who dress up their movies with snappy dialogue and / or complex, violent stories but neglect the genre's bleakness.

I respect their work, I respect them as filmmakers, but I wasn't quite sure if there would be a good marriage between what I'm trying to pursue and the work that I'm doing and what they're doing, but they helped make that real clear to me early on by expressing some real interesting story [and] photographic ideas that really resonated with me.

He is tentatively set up as a possible romantic interest for Rose, but is otherwise given no character, beyond a ponytail, a fondness for model aeroplanes, and a missing arm, with the filmmakers refraining from giving us the story behind his absent limb.

It's a decidedly stirring premise that is, at the outset, employed to competent yet far - from - gripping effect by John Cameron Mitchell, as the filmmaker, working from Lindsay - Abaire's screenplay, offers up an opening half hour that generally comes off as an overly conventional look at grief - with Becca's inability to accept her boy's loss precisely the sort of reaction that one expects from movies and stories of this ilk.

The fact that Frances McDormand doesn't have to wear booty shorts or a low - cut shirt should not have to be what passes for Michael Bay's ability to progress as a filmmaker and ability to tell a story beyond just ersatz emotional imagery.

Much like Guardians of the Galaxy the movie hints at stories that go beyond the typical superhero status quo, and while there are plenty of little hints as to how Strange's escapades fit into the bigger story, for the most part the filmmakers do a fine job of keeping things enjoyably self - contained.

I want the directorial flourishes that Smith has learned in his over 20 years as a filmmaker to be used in a story that has true meaning.

It's clear right from the get - go that director John Huston (who co-wrote the screenplay with Peter Viertel) isn't interested in presenting both sides of this story - said Chief of Police is almost ridiculously evil, completely devoid of any redeeming qualities - but that's not necessarily a bad thing, as the filmmaker does an effective job of establishing each of these rebels (to the point where we're genuinely rooting for them to accomplish their complicated mission).

Steven Spielberg finally hits his stride as a mature filmmaker with the autobiographical (and sharply auto - critical) Catch Me If You Can while new directors Sam Jones and Todd Louiso offer, respectively, a magnificent music documentary (I Am Trying to Break Your Heart) and a story of grief and loss (Love Liza) just to the south of true.

Picking up right where the first film left off, this sequel proves that the filmmakers have plenty more tricks up their sleeves as they push the story in entertaining directions.

As the film screens, Richard Linklater and Jason Reitman will share fun stories, behind - the - scenes details, and filmmaker insights in real time.