Sentences with phrase «then talked about films»

The filmmakers then talked about films that influenced their current projects.

She'll also go into classrooms to do a «movie club» with the students, where they'll watch the film version of The Giver together and then talk about the film and how it contrasts with the book.

They were captivated, laughing frequently at the baby animals» antics, and then talked about the film for several days.

Not exact matches

An adult - film star was paid $ 130,000 by a lawyer for Donald Trump in the weeks before the 2016 election to not talk publicly about a sexual relationship with the then - Republican candidate, according to a report in the Wall Street Journal.

I wore this outfit a few days ago, hanging out with my partner in crime, and we then talked about how this outfit reminded us of the look Carrie wears in the first film on new years eve.

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?

If you make a good film, then it's worthy of talking about, just as an indie drama that's up for Oscars is.

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.

Helen Hunt talks to Jason Solomons about directing her first film, Then She Found Me, and what it's like to have Bette Midler playing your mother

It's one thing to write about film and know what you're talking about, but if your words and ideas don't function as a concise conduit to the reader then you haven't done your job.

The film brings viewers into the then - present day with Fanny singing about «20th Century blues», Jane not feeling the Jazz age, and Aunt Margaret (Irene Browne) wowing her relatives with talk of flying in and out of Paris.

If you want to know a little more about the films of Claire Denis, check out our Cheat Sheet here, and then download the latest episode of Hell Is For Hyphenates, featuring Lynn Shelton talking the films of Claire Denis.

Then it's to the podbooth, where Chris Hewitt recruits James Dyer and Empire's resident Spielberg expert, Ian Freer, to talk about the film in great detail and answer some reader questions.

And that's the way it was for a number of decades, and then about three years ago, I was having dinner with this Polish director who had done the film «Ida» about a Polish nun, and it was a film in the spiritual style, and we got to talking about how much I like the film and how much he liked my book.

That is, until I talked to our own Zach Gayne and then read his review out of SXSW, which concluded: «The Disaster Artist is not only far funnier than you might expect, it's also far deeper than a film about the worst movie of the 21st century has any right to be.»

Then, CJ and Christopher talk about the current state of film criticism, particularly journalists» current obsession with listicles and «buzz - worthy» festival darlings.

There have been talks about the latest Cloverfield movie and how it might be straight to Netflix film and then Netflix goes ahead and releases a trailer during the Super Bowl that says The Cloverfield Paradox will be available to stream right after the game?!?!?!

The film opens with a voice over of Ramirez talking about the stories of the Devil that his grandmother used to tell him where it would always start with a suicide and then boom we get a suicide, then he would get a group of people together and they would all be killed by the end of the story.

** The most detailed film criticism I've seen on American TV was The Men Who Made the Movies, the Richard Schickel PBS series where he led great directors through discussions of their themes and styles, then showed what they were talking about.

It's too bad we can't talk about the actual trauma, as then perhaps I could make specific recommendations for the film.

The film opens to a scene where Brendan discovers Emily's apparently dead body, then flashes back two days earlier, when Brendan receives an anguished phone call from Em asking him for help, talking about things he doesn't fully comprehend, using words like «Brick» and «The Pin».

It happens; let's acknowledge that it does, and then move on to talk about the rest of the film.

As alumni of my school, the pair came to give a talk when I was about 14, and Cornish struck me as the more thoughtful, ambitious one even then, but nothing prepared me for his feature film debut.

Nothing more irritating to me then listening to people talk about films they havent yet seen — based on previous films they clearly did nt understand?

And someone who uses his spotlight to talk about something Olivia Munn said in a book and proclaim that he «banged her a few times» when «she wasn't Asian,» only to go on Howard Stern to deny it ever happened and then use an anti-gay slur in front of an audience should not be allowed to be a major force in a ceremony that celebrates the year's best achievements in film.

Then they talk some box office and throw down a Fat Guy Five about cartoons they want to see get their own live - action / CGI film.

Affleck then talks about the cast and what they brought to the films.

Wexler talks about coming onto the set after the departure of cinematographer Nestor Almendros and how he then worked on the film.

Ron Shelton compares a script to sheet music, but says that it unfortunately only gets played once; he then goes on to talk about Bull Durham being written in a single draft, with his film's opening two - page monologue dictated into a microcassette recorder while driving the back roads of North Carolina.

We immediately became friends and then there was the joy of sitting down with Todd Haynes and talking about my script and listening to his thoughts on how we would film things.

The pair talked enthusiastically about the film and their involvement and then quickly ducked out before the screening began.

Then Neil talks about what it's like as a filmmaker to listen and read criticism of his films, and what influences that has on his work.

Then he talk about some new trailers in the Trailer Park before getting into the new films to review: Jodorowsky's Dune, Only Lovers Left Alive, Million Dollar Arm and Godzilla.

They then talk about how that letter inspired the scenes President Snow has in the rose garden in the film — scenes that couldn't be in the book, because they're not Katniss» POV, but that add depth to the film and to the world of Panem.

I was certainly going to compose some sort of informal ode to Wednesday, and talk about what a great atmosphere this film had, but then I realized that the movie really does keep me at arm's length the whole time, and I can't be the only one.

I find myself every year in the peculiar position as a film academic spending all my time talking about and screening film, and then struggling to physically get to see stuff that's actually showing at cinemas and festivals.

Then, Slate's Aisha Harris joins the conversation to talk about Spike Lee's new series She's Got ta Have It, a remake of his first feature film.

Both Marvel Studios» president Kevin Feige and Johansson herself have talked openly about the possibility to do a Black Widow solo film since then, but nothing substantial has been said about going forward with it.

But then this year the Palme D'Or was awarded to a film that deals with the evolution of a single relationship in a potent and tender way, and while many talked about the importance of the film in terms of sexual politics, this reviewer looked at «Blue is the Warmest Color» more as a remarkably well made relationship film.

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 Transformers franchise hasn't had it easy — games haven't been brilliant, we don't even talk about the films anymore, but High Moon Studio's War of Cybertron was a great example of how you could take a really fun IP, not tie it to anything, and simply focus on making a great game... and then making an even better game.

ramon ray was everywhere, filming, interviewing and recording everything and then posted this great video, that actually contains me talking (rambling actually) about podcasting - plus many others;)

Ten inch sections of film were printed onto long strips of photographic paper and then mounted in rows, forming a final constructed piece which I called a composite... What I am talking about is complexity... There is no particular point of entry or procedure to the seeing; it is a multiplicity of elements operating in an aleatory manner.»

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.

For example, if you ask the assistant about a specific actor or actress, it will then automatically know who you're still talking about if you inquire with a follow - up question about specific films.