Sentences with phrase «talk about the film change»

You talk about films changing and the fact that only three of your movies were your own projects.

Does hearing Marcus talk about the film change your opinion at all?

Not exact matches

By Lauren Kearney You may have first seen Gene Baur when he was featured talking about how not eating animal products changed his life in the inspirational pro-vegan film, Forks Over Knives.

Overall, «STEM CELL REVOLUTIONS» is a great film for anyone wanting to learn more about the history of stem cells, hear legendary researchers talk about their ground - breaking work and patients talk about how stem cell therapies have changed their lives, and still get a down - to - earth idea of what is realistically being accomplished with these cells.

In this series of animated films, Nobel prize - winning scientists talk about work, life and discoveries that changed the world.

In this film Gosia Trynka talks about her research looking at the effect of genetic changes on the immune system.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

In an interview with BBC's The One Show, Oscar winner and new raider of tombs Alicia Vikander talked about how excited she was to be playing a badass female character and how exciting it is «To see female characters in these kinds of films... It's definitely a big change happening.»

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

They talked about the positive reaction to the film, whether the project changed during development, the making of the film, getting it ready for Sundance, and more.

After he cleaned himself up, Galifianakis treated us to a roundtable interview in which he talked about his character Alan's central arc in the film, revisiting Alan's family, the ever - changing relationships within the Wolfpack, Alan's sense of fashion and his penchant for animal sidekicks.

We talked about how his life changed after winning the Oscar for Whiplash, if people now say «Academy Award Winner» in front of his name, his first day filming Zack Snyder's Justice League, the look of Jim Gordon, and more.

French director Claire Denis talks about her new film with Juliette Binoche and Gérard Depardieu, the appeal of Robert Pattinson — and why the Weinstein affair has changed nothing

Village Voice Bilge Elbiri on a film review that changed his live (J Hoberman's 1992 piece on Orson Welles» Othello)- lovely personal piece Nick Davis Chicago film festival jury picks and his own precise takes on the movies screened including high profile gems like Call Me By Your Name, and several foreign film Oscar submissions Esquire Bryan Cranston must be seeking to sabotage his Oscar hopes this year with this admission that he's rooting for Trump to succeed Huffington Post talks to Melissa Leo about Novitiate and becoming a gay icon with those «Consider...» ads

During the interview, Phillips and screenwriter Craig Mazin talked about his first cut versus the theatrical release, deleted scenes, what can fans expect on the Blu - ray, what it's like working for Warner Bros. and the creative freedom he's allowed, the writing process, how the story changed, film versus digital, thoughts on doing a 3D comedy, and more.

He talks about why the film industry has to change, balding up to play Dick Cheney — and why he will never, ever, do a romcom

Funny, introspective, and bracingly clear about her vision as a filmmaker and actor, our talk covered the unusual shooting schedule that allowed the film to show New York City going through actual changes of season, the logistics of getting the crew to Paris, and why keeping secrets from the cast made for a film where each actor could, and was encouraged to, create a universe for his or her character.

We talk about the film's various strengths, the rich themes woven into the story, the meteoric rise of director Ryan Coogler, the incredible villain, how it compares to other Marvel movies (there are more than a few insults lobbed at Doctor Strange), how Marvel movies changed after the dissolution of the story group, what Black Panther means for the future of the MCU and for blockbusters in general, and more.

Any movie like this made for the most part since the 1980s would talk the talk about showing the changes, but not show it, show it badly and / or be more sexually oppressed than not, but Russell has zero trouble from this first film he had control over himself dealing with all kinds of human sexuality, yet that freedom is incidental to character study, capturing the story and bringing it to life as he does so well here.

And when we're not talking about overall film quality, but the very specific context of aerial combat films, that changes the calculus a bit.

What I love most though is how these two want to work, the projects they talk about, and how those projects will not only change the conversation about diversity in film but also begin a new conversation about black film.

Tatum even talked about the project yesterday, saying that it's still very much in the cards and that the success of distinct and unique movies like Deadpool and Logan, which both opened while Gambit was in limbo, has changed their approach to the film.

He was talking about how animated films almost build in the idea of reshoots into the process so you can refine and change things.

With its imitations of Robert Bresson close - ups, pointless references to European political change, actors talking about acting, junkies who are never seen doing drugs, «unexpected» pop songs, and deliberately obscured narrative (probably because — wait for it — it has the arc of a bad Victorian social novel), Schanelec's studious bore seems intended for an audience of people who write film festival catalogue descriptions.

We aren't here just to talk about a new title, though, because with that name change comes the film's official synopsis, giving us our first glimpse at the direction Chronicle scribe Max Landis decided to take his retelling of Mary Shelley's iconic tale.

One of the world's most unconventional film - makers, Jane Campion talks about the end of the patriarchy, doing away with decorum, and how losing her baby son changed her forever

In 2015, Alicia gave a TEDx talk about the lack of women working in film and why that needs to change.

Actors Keira Knightley and Jack Davenport also speak over certain scenes, providing a giggly, yet fun chat in which they talk mostly about their characters and how their appearances change throughout the film.

Haigh, Arnold and McDonagh have all benefited richly from the change of scenery — not to mention Lynne Ramsay, whose US - set films We Need to Talk About Kevin and You Were Never Really Here both offer sharp, trauma - shaken meditations on uniquely American cultures of violence and domestic dysfunction.

View co-host Whoopi Goldberg then talked about how changing the landscape largely depends on film studios putting up the funds for female directors.

The changes of pace and atmosphere in each of these works are impressive; Islam's real purpose is to talk about looking itself, about the mechanisms of film and the eye's desire - to look, to see, to possess, to enter the image.

On social media, #mfaNOW and live streaming onsite encourage followers to share their experiences and get the word out about what's happening in real time NOW — from film and food to talks with artists, activists and change makers.»

Visual artist Ruth Maclennan talks about what art can do in the face of climate change, her films of...

The reason I wondered about a prediction, is that in the film they talk about the past climate changes, if they are so certain that their interpretation on past climate is correct for the past, then sureley a prediction for the future would be a good test of their interpretation.