Sentences with phrase «talks about her film production»

Middlebrooks also talks about her film production and her award - winning film

This is an interesting talk as the three not only talk about the films production, but they also discuss why certain elements were added to the film, most notably those which were taken directly from the comics.

Not exact matches

Haskell Wexler remembers Terrence Malick's command of film technique and talks about his own efforts to maintain visual continuity after Néstor Almendros had to leave the production early.

For someone who performs so many roles on this film [writer, director, producer, composer, editor, production designer, art director, costume designer, etc.], it seems like the screenwriting aspect gets talked about the least.

In this 40 - minute clip, (a quite young) Carlos Reygadas talks about his venture into directing films and the shooting process of Japón, his first feature - length production.

The film gathers nearly all of the film's key players, apart from the conspicuous absense of Stephen King, to talk about the film and reminisce over its genesis and production.

And while there are a number of strong sequences sprinkled throughout (eg Cole talks to his mother (Toni Collette's Lynn) about her own deceased parent), The Sixth Sense's funereal atmosphere ultimately lessens the impact of the much - vaunted climactic twist and it is, in the end, clear that the film doesn't entirely work as either a drama or a spooky thriller - with the movie's mild success due mostly to Shyamalan's considerable talent and his ongoing ability to wring top - notch work from folks both in front of and behind the camera (ie this is an exceedingly handsome production, undeniably).

Lucy Mazdon on Henri - Georges Clouzot, the French cinema expert and academic talks at length about the films of Clouzot and the troubled production of Inferno

Sources close to the production of the next Star Wars anthology film, a story about the early years of intergalactic smuggler Han Solo, have said that Woody Harrelson is in early talks to...

We talk with Re-recording Mixer Scott Millan and Music Production Supervisor Curt Sobel about the music that is featured in the film and the work that was required to prepare a wide range of archival recordings for the big screen.

Extras: «Lucy Mazdon on Henri - Georges Clouzot»: The French cinema expert and academic talks at length about the films of Clouzot and the troubled production of «Inferno»; «They Saw Inferno,» a featurette including unseen material, providing further insight into the production of «Inferno»; filmed introduction by Serge Bromberg; interview with Serge Bromberg; stills gallery; original trailer; reversible sleeve featuring original and newly commissioned artwork by Twins of Evil; First Pressing Only: Illustrated collector's booklet featuring new writing on the film by Ginette Vincendeau.

Extras: Two optional English narrations, including one by actor Roy Scheider; audio commentary from 2008 featuring Schrader and producer Alan Poul; interviews from 2007 and 2008 with Bailey, producers Tom Luddy and Mata Yamamoto, composer Philip Glass, and production designer Eiko Ishioka; interviews from 2008 with Mishima biographer John Nathan and friend Donald Richie; audio interview from 2008 with co-screenwriter Chieko Schrader; interview excerpt from 1966 featuring Mishima talking about writing; «The Strange Case of Yukio Mishima,» a 55 - minute documentary from 1985 about the author; trailer; a booklet featuring an essay by critic Kevin Jackson, a piece on the film's censorship in Japan, and photographs of Ishioka's sets.

On this episode of Represent, Aisha Harris talks to Black Panther production designer Hannah Beachler about her process when taking on new films, creating the imagery of Wakanda, and more.

A few weeks back I trekked out to the company's Venice, CA production facility to talk about the work put into that film's sequel, «TRON Legacy,» with CEO Cliff Plumer, commercial division head Ed Ulbrich, visual effects supervisor Eric Barba and animation head Steve Preeg.

Lynne Ramsay is a tremendously talented director, as anyone who has seen her films We Need to Talk About Kevin and Ratcatcher can tell you, which makes the latest ripple in her career quite a bummer: When production began Monday on her latest film, the Natalie Portman - fronted Western Jane Got a Gun, Ramsay was nowhere to be found.

There was talk about recasting the role of Tony Stark in fear of «challenging» negotiations with Downey Jr., but now Marvel confirms that he's locked for the pair of films, the first of which is scheduled to go into production in March of 2014 and hit theaters on May 1, 2015.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

At a recent roundtable interview, Anderson and production designer Adam Stockhausen talked about how the project first came together, what inspired the story, the influence of Viennese writer Stefan Zweig's work on the multi-layered storytelling approach, their collaboration on the vision for the movie, how they created this rich, lush cinematic world and brought the audience into it, how Anderson cultivated a communal atmosphere on set and made available a large selection of books and films to the cast during production, Stockhausen's favorite day of shooting, and the challenge of using different aspect ratios.

Production Values Barbara Galavan, chief executive of Screen Producers Ireland (SPI), talks to Film Ireland about the challenges facing the Irish film industry

As part of the 20th Century Fox panel at this year's The Contenders Presented By Deadline (taking place last month in front of AMPAS and key Guild members at the DGA Theatre) I was happy to be able to talk to Production Designer Jack Fisk about the challenges he had to undertake in this massively complex film shot entirely on location and in natural light.

ShockYa: I'd be interested in that element of embraced fear you talk about, especially coming off of an experience like «Mr. Woodcock» (a film Gillespie left during production, with David Dobkin stepping in to direct) where there were disagreements about the final tone of the movie, where you couldn't bridge that gap [between what you and the studio wanted].

We've already raved about the film, and after having its North American Premiere at the Toronto International Film Festival we were able to sit down with Anne Émond (who's already in the middle of production on her third feature) to talk about Our Loved Ones.

In honor of Skateland's May 13th release, Greene sat down to talk about her experience making the film including working with Fernandez and Freeman and how this production compared to working on The Twilight Saga, which, of course, we talked a bit about as well.

They talk about the film's production and the other actors in the movie.

This talk is far more serious, as this group talks about the production of the film, and Sandler's involvement.

Lasseter brought out producer Katherine Sarafian and the very lively director Mark Andrews (dressed appropriately in a kilt and flowing locks) to talk about production on the 2012 film.

He talked about what it's like to be part of a famous filmmaking family and still earn recognition on his own terms, the difficult process of shooting Kill Your Darlings that gives the movie an extra spark, how he prepared to play Kerouac at this stage in his life, his character's arc on Boardwalk Empire, American Hustle and the unusual way they shot the film, upcoming projects including an Errol Flynn biopic and a production of Strangers on a Train in London, and more.

In an interview with the Asahi Shimbun, Tatsumi Kimishima talks about Nintendo's plans for film production, mobile games, and the NX platform.

«Pass Over» is a filmed stage production about «two young black men talking...

We talked about the inspiration behind the film, the methods they used to shoot the film as well as how they overcame the fear of being shut down during the production of the film.

Thanks to Nathaniel Rogers for pointing out a Screen Daily video interview (embedded below the cut) in which John Cameron Mitchell talks in some depth about his next film, «Rabbit Hole,» which goes into production next month.

This talk is fun as the trio reminisce about the film's production.

This is an OK commentary, as the trio comments on the production of the film, talking about their cast and the choices in dialogue and costumes.

The film can not be reviewed without first talking about the production.

This is usually the part, when talking about a film in early production, where one writes: «While there isn't that much information to go by just yet... ``.

In addition to revealing some interesting anecdotes about the long road from development to production (including Eddie Murphy's original pitch for an all - black cast with guys like Chris Rock, Dave Chappelle and Chris Tucker), the quartet also talks about working with the ensemble cast and the challenges of filming the movie's various set pieces.

Thank you James for giving me the chance to talk about this new film student production.

The film and stage director talks to Mark Leipacher about his acclaimed production of King Lear, working with Simon Russell Beale and his career thus far.

«And it is an experiment, because that (the film production) is a more advanced version of what we're talking about,» the agency in this case performing as executive producer to a comparatively massive display of authorial accomplishment.

«We went from talking about the Kindle to Amazon creating a whole film and television production arm, right?

Micah Stansell talks to Rachel Reese about premeditated experimentation, collaborative production processes, and weighs in on the film vs. video debate.

I received a copy of this film by mail, An Inconsistent Truth and despite my misgivings about the name of the production company «Extry Good» and it's talk - radio pedigree, I'll have to say its better than many other efforts I've seen.