Sentences with phrase «time as a screenwriter»

Not exact matches

The genius of first - time screenwriter Liz Hannah's script is that she makes the story about Graham's evolution as much as it is about the Pentagon Papers.

Mastai is a screenwriter and this book plays out like a movie (it is also no surprise the movie rights were quickly sold) as Tom Barrens time travels from the 2016 we thought we would be living in and then must time travel into the 2016 we really live in.

Screenwriters / directors Anna Boden and Ryan Fleck take the time to examine each of these men as individuals, exploring how they exist in the unforgiving world of gambling and even delving into the question of why they are the way they are.

It's instantly clear that Howard, along with returning screenwriter David Koepp, has learned nothing from the relative failure of both The Da Vinci Code and Angels & Demons, as Inferno, for the most part, chugs along at a lackadaisical pace that's compounded by an overlong running time and surfeit of underwhelming subplots.

A middle - class Danish drama detailing the crumbling marriage of a one - time library assistant and a downbeat factory worker, Honeymoon served as an ideal showcase not only for August's abilities as a director, but his talents as a screenwriter as well.

First - time director / screenwriter Antonio Negret details the frightening trend of kidnapping in Columbia with this tense tale of a young photographer who is abducted and held for ransom as his desperate parents scramble to raise the money that could save their child's life.

After taking some time off from directing and scriptwriting to appear in such films as Out of Sight (1998), Brooks resumed his director - screenwriter - actor hyphenate with The Muse (1999), starring opposite Andie MacDowell and Sharon Stone as a struggling Hollywood scriptwriter in search of divine inspiration; Looking for Comedy in the Muslim World followed in 2005.

The two also became acquainted with novelist Ruth Prawer Jhabvala around this time; Jhabvala would become irrevocably associated with the two, acting as the screenwriter for all but a handful of their films.The trio's first films were set in India, dramas concerned with questions of cultural interplay, personal identity, and physical and emotional isolation.

Deciding it's time they paid him a visit, Judy and Allen pack up their van and head out to Los Angeles, where Andrew is trying to make a name for himself as a director and screenwriter.

Of course, this still might be somewhat forgivable if De Bont and first - time screenwriter David Self didn't openly acknowledge their inspirations for the film — the wonderfully creepy 1963 movie of the same name, as well as its source, the novel «The Haunting of Hill House.»

At other times, however, Mendes and screenwriters John Logan, Neal Purvis, Robert Wade and Jez Butterworth seem to feel the need to include more classic Bond aspects, such as hulking henchman Hinx (Dave Bautista, «Guardians of the Galaxy»), an elaborate base for Oberhauser complete with private army, and an over-reliance on gadgetry.

Though set in Chekhov's time, Mayer's approach, along with screenwriter Stephen Karam, renders this story of love and longing feels startlingly contemporary, particularly Elizabeth Moss» turn as Masha, who drowns here sorrows over unrequited love in both alcohol and a loveless marriage to a man who adores her.

In this universe rife with inside jokes and gems disguised as throwaway lines, Guest himself appears as the wondrously detached director of the film, who asserts his authority by not asserting it when dealing with addled actors or wounded first - time screenwriters (Bob Balaban and Michael McKean).

From his inspired collaborations with the prolific writer Charlie kaufman in Being John Malkovich and Adaptation, to his adapted screenplay of Maurice Sendak's Where The Wild Things Are, Jonze continues to prove himself as not only an important film - maker of his time but also a wonderful screenwriter, and his latest feature Her starring Joaquin Phoenix might just be his magnum opus.

However, as the film builds toward its climax that culminates in moments of violence, Rubin's film, working off of a script by first - time screenwriter Andrew Stern, increasingly overplays its hand, as the scenarios go from relatable to worst - case.

Actress Blake Lively and actor Jason Clarke lead the way from a script by Forster and screenwriter Sean Conway with a story of intrigue, mystery and chilling uncertainty for a woman whose second chance to see for the first time since childhood brings both happiness, as well as striking new questions about her relationship.

Screenwriter John Romano served time as writer - producer on Hills Street Blues, L.A. Law and Monk, while director Brad Furman turned to crime in his first feature, The Take.

Although Affleck's lamentations of unrealized ambitions are symptomatic of a first - time filmmaker, because he's been around the block as an actor (and is, lest we forget, an Oscar - winning screenwriter), he can, unlike most newbies, talk the talk without coming across as pretentious.

As written by its trio of writers (with Jessica Goldberg joined by first time screenwriters Katie Nehara and Justin Shilton), its dramatic possibilities are severely downplayed, instead attempting to reflect meaning off intertextual echoes borrowed from Chekov's The Cherry Orchard (the play being staged within the film).

To help her work on the pilot, Notaro reached out to Diablo Cody, as she was a huge fan of the screenwriter's work («My wife and I have seen Young Adult about a dozen times» she says).

The writing by first - time screenwriter Guggenheim is adequate, as is the direction by Gavin O'Conner (Tumbleweeds)-- neither are stellar, but they get the job done in workmanlike fashion.

So there's a real humility there, and at the same time incredible confidence and originality as a screenwriter.

Subsequent Career: Providing something of a template for screenwriters who want to make the jump, Steven Zaillian has continued as a high - profile screenwriter long after his directorial debut, only occasionally dipping his toe back in directorial waters, and never with the same straightforward success of his first time out.

Title: Mad Max: Fury Road Director: George Miller Release Date: May 15, 2015 Running Time: 120 minutes Language: English Shooting Location (s): Australia, Namibia, South Africa Principal Cast: Charlize Theron, Megan Gale, Tom Hardy, John Howard, Nathan Jones, Nicholas Hoult, Zoe Kravitz, Richard Carter, Rosie Huntington - Whiteley, Hugh Keays - Byrne, Riley Keough, Abbey Lee Kershaw, Courtney Eaton, Josh Helman, Jennifer Hagan, iOTA, Angus Sampson, Joy Smithers, Gillian Jones, Melissa Jaffer, Melita Jurisic Screenwriter (s): George Miller, Brendan McCarthy, Nico Lathouris Production Company: Kennedy Miller Productions (as Kennedy Miller Mitchell), Village Roadshow Pictures Distributor: Warner Bros..

Screenwriter David Seidler wrote a stage treatment «as a way to work out the relationships among the characters for himself», according to his manager Jeff Aghassi in an interview last year with The New York Times, though the screenplay is believed to have come first.

Which is all right with us, as we're big fans of the man who was not only, famously, the highest - paid screenwriter in Hollywood at one time, he has also turned out to be a genuinely terrific genre director, with a particularly bright eye for the wit and wisecrackery he writes so well.

The film, written by first - time screenwriter Pat Rushin, centers on Qohen Leth (Christoph Waltz), a nervous, very bald man who lives in a church, has spent his life waiting for a mysterious phone call, and works as an «esoteric data» cruncher for the Mancorp corporation.

Co-written with regular screenwriter Grant Heslov, it's a big - screen adaptation of Beau Willimon's play «Farragut North», based on Willimon's time as an aide during the failed 2004 presidential bid of US politician Howard Dean.

Giving a great deal of credit to first - time screenwriter Jamie Linden, he does manage to find that silver lining by not concentrating on the game of football except as a means to heal wounds.

«I can not tell you, as much as I thought the memoir and Solomon's words and work was special, I had no concept until I saw the movie for the first time,» said the film's screenwriter, John Ridley, accepting the prize in that category as he referred to protagonist Solomon Northup.

Charlie Kaufman went from TV scribe to red - hot screenwriter in 1999 with «Being John Malkovich,» and his timing couldn't have been better: That's a year the industry looks back upon as being a flashpoint of American indie cinema, with rule - breaking, ambitious films like «Pi,» «Boys Don't Cry,» «The Blair Witch Project,» «Three Kings» and «Fight Club» in multiplexes.

Returning from the DVD — though not the TCM reissue — is a commentary from director Sydney Pollack, actor Robert Redford, and screenwriter John Milius, with the late Pollack, probably as a consequence of having more to say than his collaborators, getting the most mike - time.

The 1982 comedy «Fast Times at Ridgemont High» is the prototypical coming - of - age guy flick best known for enduring stoner - surfer archetype Jeff Spicoli, played by future Oscar winner Sean Penn, the image of a topless Phoebe Cates and as the introduction to the amiable zen of screenwriter Cameron Crowe, who would go on to create such bro - riffic tales as «Say Anything,» «Singles,» «Jerry Maguire» and «Almost Famous.»

Screenwriter Alex Garland has been on my radar for some time writing such awesome works of cinema as The Beach, 28 Days Later, Sunshine, Never Let Me Go, and the criminally underseen Dredd.

A script by first - time screenwriter Andrew Sodroski from the 2013 Hollywood «black list» of unproduced screenplays, Holland, Michigan is a contemporary dark comedy set in what Morris describes as «this strange city on the Western coast of Michigan.»

Features relaxed commentary by director Lone Scherfig and actors Carey Mulligan and Peter Sarsgaard (who spend as much time reminiscing over the shoot and appreciating key moments as discussing the production and the characters), a nine - minute making of featurette (which also includes interviews with screenwriter Nick Hornby and author Lynn Barber) and 11 deleted scenes among the supplements on both DVD and Blu - ray.

So to give audiences a little more time to enjoy the ride screenwriters (which include Sullenberger, whose book Highest Duty was used as inspiration) added an antagonistic National Transport Safety Board (NTSB) investigator, Charles Porter (Mike O'Malley).

A number of other major restorations will have their World Premieres at the Festival: Carol Reed's atmospheric Graham Greene adaptation of OUR MAN IN HAVANA (1959), set in Cuba at the start of the Cold War, makes timely viewing as US / Cuba relations thaw; Ken Russell's reworking of D.H. Lawrence scandalous classic WOMEN IN LOVE (1970) stars Oliver Reed, Alan Bates and Glenda Jackson and shows two couple's contrasting searches for love, and was restored by the BFI National Archive working alongside cinematographer Billy Williams; A MAN FOR ALL SEASONS (1966) is directed by Fred Zinnemann from a script by great British screenwriter, Robert Bolt from Bolt's play about Sir Thomas More, a perfect companion piece to Wolf Hall; Henry Fonda stars in the ripe - for - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disability.

Sam Shepard has spent a lot of time on movie sets as the screenwriter as well as the star, so he knows what he's talking about.

Some of this is due to Gunn's (this time as sole screenwriter) story structure.

And this time, Stone and screenwriters Allan Loeb and Stephen Schiff aren't going to let anyone get confused: Wall Street is evil, greed is bad, and Shia LaBeouf is so believable as a man whose testicles have dropped.

Michael Caine stars as Fred Ballinger, a renowned Orchestra conductor, who is vacationing at a stunning Swiss Alps spa with his daughter Lena (Rachel Weisz) and his long - time best friend, screenwriter Mick Boyd (Harvey Keitel).

With an unexpected election outcome, director John Madden (Shakespeare in Love, The Best Exotic Marigold Hotel) and first time screenwriter Jonathan Perera may just luck out since their film can alternatively be interpreted as a scathing commentary on a corrupt existing system... the single biggest reason for that surprise election result.

Academy Award winning screenwriter Aaron Sorkin, writer of such films as the excellent Steve Jobs, The Social Network, Moneyball, and the acclaimed television series The West Wing tries his hand for the first time at directing a script he adapted titled Molly's Game.

Highly acclaimed playwright and screenwriter David Mamet (The Untouchables, Glengarry Glen Ross) takes the helm as director for the seventh time, and while he's certainly done better as a writer, this is the film where he finally hits his stride as director.

- winning ** screenwriter William Goldman (All the President's Men) and directed by Rob Reiner (A Few Good Men), this chiller starring Kathy Bates (Titanic) and James Caan (The Godfather), is «a Hitchcockian kind of cat - and - mouse» (The New York Times) gameplayed between two cunning mindsone as sharp as a tack and the other as blunt as a sledgehammer.

Screenwriter Alex Garland has worked almost exclusively in the science fiction genre (from «Sunshine,» to «Never Let Me Go,» to «Dredd»), so it comes as no surprise that his directorial debut occupies a similar space, this time focusing on the decades - old debate of artificial intelligence.

The AFCA defines an eligible film as one that is made in Austin, or has a credited director and / or screenwriter whose primary residence is Austin during the time of filming.

It's like they and their screenwriters worried the core audience wouldn't be able to pay attention to a 3 Days of the Condor meets The Parallax View meets All the President's Men adventure without additional wham - bam - thank - you - ma» am pyrotechnics, and as such they've filled the running time up with as much of the stuff as possible.

WHY: Screenwriter Alex Garland has worked almost exclusively in the science fiction genre, so it comes as no surprise that his directorial debut occupies a similar space, this time focusing on the decades - old debate of artificial intelligence.