Sentences with phrase «takes of given scenes»

Through repetition and reenactment, multiple takes of given scenes build shades of interpretation as a story is told, retold, and mythologized.

Not exact matches

To give you an idea of the time, energy and coordination that goes into a show, we decided to take you behind the scenes and profile a designer at this season's Mercedes - Benz Fashion Week.

The latest behind - the - scenes maneuvering over control of the Redstone empire is striking, given that in recent years Shari had taken on a more prominent role at the companies, and often attended management meetings at the company's headquarters in New York.

Founded in 2006, Lytro is behind a series of cameras, which allow customers to capture «all the rays of light within a scene» giving them the ability to refocus shots after they were taken and offered «unprecedented control over focus, perspective, aperture and shutter angle.»

That may help alleviate some of the tension at JFK right now, but given the size of the crowds and the uncertainty surrounding those who have been detained by customs officials, it will take something much bigger than a working AirTrain to bring calm to the scene.

But taken together, these stories, told from many different points of view, converge to give a distinct impression of a real person in action upon a recognizable scene.

No Nativity scenes at Christmas, no school prayer, taking In God We Trust out of the nation's government structures... and yet we talk Muslim holidays, placating to Muslims, and giving special priviledges to Muslims.

It gives you access to all the archived episodes, written transcripts of the show, a behind - the - scenes look at the conversations that take place after each interview is over, plus a special monthly newsletter with special giveaways, discounts and so much more.

Clegg was confident, pleasing the crowd, and giving us a more specific message about the Lib Dems in coalition — the behind - the - scenes bloopers we didn't see, rather than the standard boring trope of rattling off what they have achieved (but don't worry, taking «3 million people on low pay out of income tax» certainly got a mention — and huge cheer as well.)

In a telling scene, he's giving away some of his old rodeo clothes to an up - and - coming rider, and confronted with a younger man who has his whole life and career ahead of him, Brady suggests an impromptu wrestling match, which he takes just a bit too far to prove himself.

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.

The screenplay by Rhett Reese, Paul Wernick, and Reynolds simultaneously want us to take this development seriously — giving us multiple scenes of Wade trying to reunite with Vanessa in the afterlife — and to laugh at it — giving us a James Bond - like credit sequence that calls the screenwriters «the real villains,» after offering a series of tongue - in - cheek statements of disbelief about what has transpired.

Apparently something of a passion project for the star — he had signed on in 2009, but it took years to get funding — Jackman gives his all in every scene.

Bale is brutal as Batman whether he's taking out a thug or just scaring the living crap out someone he needs information out of (the Flass interrogation scene is so spot - on it gave me chills).

So what begins as a lark — with the vast assortment of comic book characters trotting out their costumes; middle - aged Bruce Banner humorously being so out of practice that he can no longer transform himself into the Hulk; Tony Stark bantering once again with Gwyneth Paltrow's Pepper Potts; Holland's Peter Parker looking so childish even he seems to wonder what he's doing in this company; Dave Bautista stealing every scene he's in; Scarlett Johansson and Don Cheadle being given absolutely nothing fresh or original to do; Evans trying to leave his Captain America persona behind him — transforms into something genuinely threatening and grim, something, in fact, that has to be taken seriously: the prospect that evil can win.

But given the folks involved, we're inclined to give «Tomorrowland» the benefit of the doubt: «The Incredibles» director Brad Bird brings his unique knack for a mind - melting action scene, while our favourite chiselled ex-bachelor George Clooney takes the lead role.

And the more I talked about that, the more I felt like I have this movie more or less in my head and I know how I would shoot these scenes and how the camera should move or if I were to direct it this is what I would do... Saying that enough times sort of gave me the confidence where I felt like maybe, just maybe, given the right chance, I could take a crack at it.»

The shoot - out in the climax does take some unexpected turns, so I will give the filmmakers credit for having the guts to go where it goes, but the deadly seriousness of it does jar with the light and comic tone of nearly every scene preceding it.

Director Abel Ferrara gave both actors free rein to improvise; in one scene, following Georges» release from custody on an attempted rape charge, Simone bemoans the fact that one whiff of him is all it takes for her to be back in his thrall.

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.

Interwoven with the finished scenes, the B - roll gives us looks at filming with stunt doubles, animal trainers, moving cameras, Fincher directing, the creation of storyboards, and multiple takes.

In fact, watching terrorists crash the President's plane into a New York City skyscraper can only evoke images of Sept. 11, 2001 when viewed today, and Plissken's landing atop one of the World Trade Center's Twin Towers is another scene that takes on new significance given America's real life history in the years that followed the film's release.

The comedy in this one scene is hardly indicative of tone of the film as a whole, as it leans further on slapstick than the natural give and take charm of its actors.

In a new piece on The Ringer titled «Dick Jokes, Drunk Takes, And Best Friends: How Superbad Was Born,» writers Seth Rogen and Evan Goldberg along with producer Judd Apatow and select members of the cast give a behind - the - scenes look at the making of Superbad, discussing the real - life chemistry that inevitably bled over into the finished product.

In addition to limiting the number of takes on any given shot, he strongly prefers «master shots» — those that capture an entire scene from one angle — over multiple shots that would subsequently need to be edited together.»

Supervised by cinematographer Robert Elswit, the transfer helps to highlight the Nevada desert as an integral piece of the entire film given how many scenes take place against the sprawling landscape.

At the film's recent press day, MacLaine talked about coming to terms with her own legacy, why she's not afraid to take risks, the advice Joan Crawford gave her that will remain a secret, her surprise at meeting Alan Ladd at Romanoff's, how aging people are underserved in our culture and what she'd like to do about it, her impressions of her talented co-star Ann» Jewel Lee, her favorite scene, presenting the Best Foreign Language Film Award at this year's Oscars, why she wants to do an improvisation with Marlon Brando, and the unusual role she'd like to play next.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

None of these women are given any inner life outside of their function as catalysts for actions taken by the two main male characters; even when Avigal finally takes control of her own agency in a climactic scene involving a makeshift Hasidic court, it's only as the result of a male's tender touch.

Lastly the bonus disc: «Secrets of Highclere Castle» includes the one - hour documentary, which takes us the castle featured in Downton Abbey and gives a unique look behind - the - scenes on this show.

After debuting some concept art which appeared to give us our first look at the sentient AI Ship earlier in the week [see here], Bryan Singer has once again taken to social media to tease next year's mutant sequel X-Men: Apocalypse with a behind - the - scenes shot that offers up a glimpse of Xavier and Cerebro... SEE -LSB-...]

For cinema - goers, summer ’11 has provided no shortage of spandex - clad warriors and explosive fight scenes, but the rap game's superheroes have been uncharacteristically coy: Lil Wayne's fourth Carter album has been delayed for months, the Jay - Z / Kanye collabo finally hits stores next week after a half - year's worth of bait and switch, and Drake passed on giving the season a high - profile closer when he pushed his Take Care from mid-September to late October.

Together with cinematographer Barry Peterson they give us the best use of tilt - shift in a comedy film that makes the locations look like a game board, and a one - take action scene to rival the one in Black Panther.

It all comes off slightly soapy, and because of the director's perfectionism (he and virtuoso cinematographer Gregg Toland would often do 20 takes or more of any given scene), the film feels fussed - over in a way that other Wyler productions such as the devastating drama The Heiress do not.

While Hollywood has recently taken a liking to somehow putting regular suburban people into life - threatening situations with explosions and CGI, Game Night gives us a good twist on this formula, by having the characters unaware of the danger — this culminates in a hilarious scene where Rachel McAdams intimidates a biker bar with what she thinks is a fake gun.

Presumably on the basis that it isn't very long ago that he had a film of his own, Chadwick Boseman's Black Panther appears fleetingly (but the best battle scene takes place in his kingdom of Wakanda,) Tom Hiddleston's Loki registers as strongly as ever - but is only given a few minutes in which to do so.Scarlett Johansson's Black Widow isn't on screen for long either.

, a henchmen's demise that gives rise to McAdams delivering one of the funniest lines I've heard in years — and a truly disgusting and quite hilarious take on a scene we've witnessed in countless action movies.

Granik, who made her debut in 2004 with the addiction saga Down to the Bone (the titles of her first two features give the amusing impression that she has taken the term «body of work» very literally), skillfully sustains the atmosphere, climaxing with a viscerally eerie light - of - the - moon boat scene that more resembles the work of the French festival - circuit lightning rod Philippe Grandrieux than a thuddingly well - intentioned American life - on - the - margins narrative like Frozen River.

If most of Showalter's schtick doesn't work, every scene Paul Rudd is in does, and so the project has a surprisingly successful give and take.

From the opening scene where Bateman is shot in the face by his child's excrement to the perverse sexual antics of Reynolds, this film takes an unoriginal but funny concept and gives us the worst possible results.

He takes the opportunity to give the scene a psychological angle by subtly obscuring his actors (Natalie Wood and Richard Beymer) and lighting them in red and blue, the colours of comfort and conflict.

Director Kathryn Bigelow gives the proceedings a hefty dose of style, using a lot of dreamy slow motion and quick editing, and staging the action scenes with great energy; her most brilliant work here are the on - screen recreations of the SQUID clips, shot in long takes and with appropriately edgy and shaky handheld camera work.

What: After Black Panther made his scene - stealing cameo in Captain America: Civil War, the superhero is giving his very own solo film that takes him through his journey as he becomes the king of Wakanda.

Those who watched the film following its surprise Oscar win discovered a unique crime thriller more concerned with people's passions — be they watching sports, getting drunk, or tracking a murderer — than with gunplay or chase sequences (despite a one - take action scene that gives Children Of Men a run for its money).

If «Simon Killer» gets an MPAA rating, NC - 17 is the only way it could go given several scenes of soft porn that find the title character having vigorous sex with Victoria, a hooker who has taken a liking to her customer after having charged him one hundred fifty euros for each of two sexual adventures.

Yet given the depth and complexity of the plot, it doesn't take much to predict that Jake will change his attitude about spying on the Na» vi before the Colonel's time limit is over — necessitating of course, a huge battle scene with lots of opportunity for more visual effects.

A «Screenplay Excerpt» (11 stills) is taken from the climax, and gives the option of viewing the completed scene after reading.

With that said, however, it's also hard to deny the inherent accuracy of such a statement, given that it's a series that takes place behind the scenes of a television program, except rather than sports or comedy, the predominant thrust of the program is politics.

It is worth staying through the credits, as some behind - the - scenes footage gives glimpses of what it took to grab such unforgettable footage.

Semi-Finalists: DATE NIGHT's faux sexy number with Carrel & Fey works pretty well for laughs, WINTER»S BONE has fine music throughout but one scene gives it more play, GREENBERG - if you combine both of Greta Gerwig's musical moments I'll take them but one is too comatose and the other is super super brief.