Sentences with phrase «take shots in her films»

You could take any shot in this film and hang it in a museum.

Not exact matches

But that wouldn't mean much if we didn't take the opportunity to involve and include our employees in the brand activities -; going to some of the events that we sponsor, getting to go on film shoots, interacting with pro athletes.

The five - month shoot will just a bit longer than the filming of «Silence,» which took place in Taiwan from January 30 to May 15, 2015.

When we were shooting the book trailer for Simply Vibrant, we took some time to film a few process cooking videos for some of our favorite recipes in the book.

«Someone wearing a green shirt, we have on film a lime green shirt, took out a gun, shot four people in the vicinity of the basketball court, one of them being a player, and chased another individual across the street and shot that individual.»

«I took my first private yoga classes while on location in Atlanta for a film shoot.

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 basics have been well - publicized: The film, shot in black and white, is about a German Nazi who took over a factory in Poland during World War II and talked his powerful acquaintances into allowing him to use cheap labor, in the form of Jewish workers.

In terms of the visuals, Noxon and cinematographer Richard Wong (Colma: The Musical) opt for a simple but elegant metaphorical solution, with much of the home, where Ellen struggles with her issues, filmed in dimly lit, heavily shadowed shots and moments of hope or grace often taking place outdoors or in brighter lighIn terms of the visuals, Noxon and cinematographer Richard Wong (Colma: The Musical) opt for a simple but elegant metaphorical solution, with much of the home, where Ellen struggles with her issues, filmed in dimly lit, heavily shadowed shots and moments of hope or grace often taking place outdoors or in brighter lighin dimly lit, heavily shadowed shots and moments of hope or grace often taking place outdoors or in brighter lighin brighter light.

Sheen's next major success was also a comedy, the 1991 military - film satire Hot Shots, and while box - office blockbusters tended to elude him, Sheen worked steadily over the next several years, and racked up a respectable number of box - office successes.By this time, Sheen had developed a reputation as a hard - living star who spoke his mind regardless of the consequences, but his fun - loving image began to take on a darker hue in the mid -»90s.

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.

Adele Haenal and Kevin Azais both give strong performances, and the chemistry is certainly present on screen, while the flick's bizarrely charming score and array of beautiful shots create definite impact; one of the film's final scenes, that takes place in an abandoned town, surprised me in its method of creating danger.

Taking place in 1950s Poland, Berlin, Yugoslavia, and Paris, and shot in Academy ratio black and white, the well - reviewed film follows two mismatched musicians, Wiktor (Tomasz Kot) and Zula (Joanna Kulig) through their up - and - down romance.

A smart, adventurous film shot in real time, every Tuesday for a year, that takes us on an unusual but still recognizable personal journey of a close - knit parent and child.

Attempting to recreate the experience of watching a stage play, but with the camera roaming amongst its players, Hitchcock shot the movie in a series of ten - minute takes, a time period limited only by the length of a reel of film.

And it's meticulously designed by Katarzyna Sobanska and Marcel Slawinski; the lounges and bars echo the mood of the underground spaces of Wajda's Fifties films (a friend also detected a flavor of early - Sixties Forman), but more than anything I was reminded of the melancholy retro of Aki Kaurismäki's Take Care of Your Scarf, Tatiana, while a wide shot of a car in a glum garage yard made me think of early Jarmusch.

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.

We should even take a moment to discuss what it's like to watch a film shot entirely in extreme close - up with wide - angle lenses.

Shot last year, the film (a USA / France / Czech Republic co-production) is directed by Ian Edelman (HBO's «How to Make It in America»), with a story that follows 2 detectives working in NYPD's Luxury Goods Recovery Unit, who are responsible for taking down bootleggers selling knockoff consumer items.

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.

Our discussion covers the fake documentary mode, school shooting films, the film's reception in the U.S., and a candid take on the reality of making independent films in Canada.

Academy Award - winning director will officially take over directing duties for the remainder of the film's shooting schedule — there's nearly a month of principal photography to go in addition to five weeks of pre-scheduled reshoots.

The festive film was shot at the height of summer in order to be ready for in time for the Christmas market, but the stifling heat in Louisiana got the better of John and he ended up taking out his bad mood on the crew and his fellow castmembers.

The tune works wonders in the film's trailer, and then in the full feature it takes on an entirely new form, the song being shot in one single close - up on Hathaway, making the moment incredibly raw and heart wrenching.

It's a «love it or hate it» experience to be sure, but in a season no doubt bombarded with other films taking themselves too seriously and receiving American recognition for it, it is undoubtedly worth a shot.

The film was shot from June to September of 2016, but when Jim Gianopoulos took over as Paramount chairman in spring 2017, he took a look at the slate and what was in the can and, according to THR, «looked at what is theatrical [and] what is not in this day and age.»

His new film «Nebraska» is shot in black and white and takes the name of his home state as its title.

The plot interweaves the story of what happens in the aftermath of a police shooting in Brooklyn's Bed - Stuy neighborhood told through the eyes of the bystander who filmed the act, a black police officer and a high school baseball phenom inspired to take a stand, showing the impact of racism and violence on a community.

According to a report in the Hindustan Times, the India location shooting took place inside the Mehrangarh Fort on May 6 and 7, but these are just part of a much larger sequence and it's quite possible the location won't actually be India in the finished film.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Béla Tarr's bleak and bitter film is a glacially paced nightmare in which the scare factor has been replaced with desperate melancholy; it is composed with his characteristic long takes, anvil silences and fiercely unsmiling faces, shot in undersea monochrome, and prefaced with Tarr's habitual austere titles in Times Roman.

The entire gag takes a long while to play out (the money shot - close - up on a set of buttocks most definitely not those of the 62 year - old Willis), though it is infused with the kind of nutty energy that Willis last exhibited in his 1991 megaflop, Hudson Hawk (a film that has since acquired an army of «guilty pleasure» defenders, including yours truly).

John Ford takes on the legend of the O.K. Corral shoot - out in this multilayered, exceptionally well - constructed western, one of the director's very best films.

Taking a shot as a hitman in his latest film John Wick, Keanu Reeves delivers his character with authority in this explosive crime drama.

Not that her long shots serve her well, either: in one, a chorus line of guys waddle like ducks to «Lay All Your Love on Me,» the film's most unintentionally hilarious bit of choreography; a later shot of Streep running up a hillside to «The Winner Takes It All,» her pink shawl flowing behind her, has all the pathos of a perfume ad.

The look and feel of Insidious was something fresh in the genre, with breathe taking shots, and scares that the film earns.

(Liman and cinematographer Roman Vasyanov, shooting on Super 16 mm film, took care of principal photography in 14 days, using the western edge of California's Mojave Desert as a stand - in location.)

His career thus far both in front and behind the camera has been diverse to say the least from exploitation flicks shot for almost nothing like the Amateur Porn Star Killer series, to a film more considered and meaningful (and genuinely haunting) like My Name Is «A» By Anonymous, and scoring a lead role in an Albert Pyun one take film called The Interrogation of Cheryl Cooper.

In fact, the last December movie to take that Oscar was Clint Eastwood's 2004 film «Million Dollar Baby,» a late entry that Eastwood had shot that summer and didn't land on Warner Bros.» release schedule until the leaves began changing color.

The plot of the film, a caper flick set in Europe's major cities, required shooting to take place in London.

His best shot at winning was likely «In the Heat of the Night,» which took home Best Picture in 1968 — but he lost to a young guy named Mike Nichols for a little film called «The Graduate.&raquIn the Heat of the Night,» which took home Best Picture in 1968 — but he lost to a young guy named Mike Nichols for a little film called «The Graduate.&raquin 1968 — but he lost to a young guy named Mike Nichols for a little film called «The Graduate.»

Considerably more is made of the film's debt to John Ford, specifically The Searchers (a debt underscored in an alternate ending that apes its famous bookend shots), than to the graphic novel series on which Goodman's script is allegedly based, and we learn that the phrase «brutal functionism» was coined to describe the movie's props, including a blade fashioned from Damascus steel that took 100 hours to sculpt for a few seconds of screentime.

Shot in color, but being theatrically distributed in black and white, the film was also something of a slow - burn passion project for Payne, as he originally shelved it back in 2003 to take a break from the road movie genre after «Sideways.»

Shot in a single, unedited take, the film directed by Sebastian Schipper premiered at the Berlin Film Festival, where it won a Silver Bear for Outstanding Artistic Contribution for cinematographer Sturla Brandth Grovlen.

Shot with a reverence for the kind of beauty only Michael Mann has ever captured from Los Angeles, the film is a breath of fresh air, a visionary take on a long - storied genre that is one of the most wholly satisfying viewing experiences in a long time.

Shoots for that film took place in Chester Springs and Royersford, as well as Philadelphia itself.

The new new one - take wonder on the block, Victoria is a film by German director Sebastian Schipper which unfolds in a single, unbroken shot.

Just when you thought no one could come up with a fresh take on the Western, the Danes arrive with this astonishingly earthy and inventive film, shot in South Africa no less.

Tsui Hark, the producer, eventually took over as director, recasting the female lead, and the film was finally released four years after it began shooting, in a version disowned by Yim (though the film credits list him as the only director).