Sentences with phrase «time filmmaker films»

It may be a possibility that most of the first time filmmaker films submitted were very lousy this year.

Not exact matches

Los Angeles Times: Charity head says «Innocence of Muslims» filmmaker misled him One of the purported filmmakers behind «Innocence of Muslims,» the low - budget anti-Muslim film that has generated unrest across the Arab world, issued a statement Monday saying that he as duped.

Actor - filmmaker Ron Perlman recently used the film hub for the third time, but the facility has not been heavily used by film production companies since its opening in 2015.

Well, let's compliment the filmmakers; Mark Mathis one of the producers was kind enough to bring the film to our offices and so we got a chance to watch it, and after we watched it, we had, at times rather...

Malin Akerman was spotted having a whale of a good time while at the Apple Soho Store for the «Meet the Filmmaker» event for her upcoming film last Tuesday night.

«Legendary filmmaker George A. Romero passed away on Sunday July 16, listening to the score of «The Quiet Man,» one of his all - time favorite films, with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero at his side,» the statement said.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

The filmmakers know how to craft a solid actioner, even at times if it's not truly perfect, there are a lot of things going for this film that surpasses the low points.

It's clear almost immediately that filmmaker Shawn Levy just doesn't have the right sensibility for this material, as the director, known for his fluffy, decidedly comedic offerings, has infused This Is Where I Leave You with a terminally lightweight feel that grows more and more problematic as time progresses - as the absence of authentically heartfelt moments ultimately proves disastrous (ie the film possesses the feel of a glorified sitcom, for the most part).

To me, it all seemed that the filmmakers didn't care about the end result of the film, and this is a film that is not worth your time, and should be avoided if you're looking for something funny.

But what they may not realize is that this time around, due to the grand scale of some of the film's scenes, coupled with the difficulty of creating water using stop - motion animation, the filmmakers employed the use of CGI.

Like the entertainingly bad film that inspired it, «The Disaster Artist» has an appeal all its own, but this time, for reasons its filmmakers actually intended.

Despite Wiseau's hard - hitting dramatic intentions, The Room is a film that provides shared happiness and joy Wiseau has been touring The Room for some time and it's always been complicated deciphering to what extent we're laughing with vs. at the filmmaker.

The film is another showcase for the filmmaker Zahler, he really delivered something interesting in 2015 with Bone Tomahawk and wastes no time with the next film.

I disagree with the assessment that they are caricatures rather than characters; if the film took the time to develop each soldier into fully fleshed - out three - dimensional characters, we'd end up with Band of Brothers, and at slightly under three hours the filmmakers just didn't have the time for that.

In his growing years as a feature filmmaker, Arcand would alternate between fiction films and documentaries, at times combining the two in such efforts as 1975's Gina.

The filmmakers have clearly spent time carefully designing the motions for each of the characters and I don't understand why it's filmed so fast, wasting all that effort?

One of the most talented, influential, and iconoclastic filmmakers of all time, Brian De Palma's career started in the 60s and has included such acclaimed and diverse films as Carrie, Dressed to Kill, Blow Out, Scarface, The Untouchables, Carlito's Way, and Mission: Impossible.

It's a frustrating experience at times, but the script from Ben Ketai and «The Strangers» filmmaker Bryan Bertino eventually allows the family to take some satisfying actions in the second half of the film.

As anyone who has seen Maddin's stunning 2000 short film «The Heart of the World» (possibly the pinnacle of his career) can attest, he can cram more complex storytelling and memorable imagery into a few minutes of screen time than most filmmakers can muster in an entire career.

The filmmakers were abel to skip the world - building required for first films, but they don't spend their time on anything more interesting here.

Taking Five This month alone sees two first time feature filmmakers tackle genre films that haven't been done before in Singapore's...

Rihanna's «We Found Love» is the grandest of the musical juxtaposition this film has to offer, but other tracks like Sam Hunt's «Take Your Time», The Raveonettes» «Recharge and Revolt», and E-40's «Choices» help build the world and characters in which filmmaker Andrea Arnold is creating here.

It may sound glib, but Romney's assertion about the cat was the first time I realised that film criticism didn't have to be a job which involved attempting to understand a filmmaker on his or her own terms.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

Yet, despite costing a meagre # 400» 000 to make, this first time feature filmmaker, along with an incredible cast and crew, have managed to push through the boundaries of their financial constraints to produce a calibre of film that rivals many of its Hollywood mainstream siblings, giving them a real run for their money.

At the same time, Uchida is responsible for some of the most remarkable swordplay films of the 1950s and»60s; his five - film Musashi Miyamoto epic (not screened at MOMA), starring Kinnosuke Nakamura in the title role and Ken Takakura as his arch-nemesis Kojiro, surpasses the better - known Inagaki Samurai Trilogy starring Toshiro Mifune in terms of both drama and swordplay, yet remains little - known in the West (despite its availability on DVD in the U.S.) After the BAM retrospective (and others) in 2008, most of Uchida's films remained unscreened and undistributed in America, so with MOMA's bigger series recently ending, it's time again to encourage distributors like the Criterion Collection, Kino Lorber, and Arrow Video to bring out more of the director's masterpieces, both for critical reconsideration and for those whom the veteran filmmaker will be a major new discovery.

Shot outside Pittsburgh on a shoestring budget, by a band of filmmakers determined to make their mark, Night of the Living Dead, directed by horror master George A. Romero, is a great story of independent cinema: a midnight hit turned box - office smash that became one of the most influential films of all time.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who... read more →

There is just something about the idea and setting that intrigues me and I think seeing something made by a first time feature length filmmaker is a must for everyone when attending a film festival.

According to the Sundance press release «115 feature - length films were selected, representing 28 countries by 40 first - time filmmakers, including 25 in competition.

An impressive indie - noir from a first - time filmmaker who takes a simple idea and turns it into a surprisingly powerful film.

First time director Eddie Mullins was a film critic for a decade prior to becoming a filmmaker, and as a result has an encyclopedic pool of filmic reference from which to pull from.

After terrible test scores and some unsuccessful reshoots, Morgan Creek took control of the cut, leading Sheridan to go to the DGA to remove his name from the film (there were some suggestions at the time that the «Alan Smithee» credit could have been revived)-- it's the most high profile recent example of a filmmaker disowning his own film.

The big winner: Winter Sleep, a three hour, sixteen minute long Turkish film from filmmaker Nuri Bilge Ceylan, who last brought his masterful Once Upon a Time in Anatolia to Cannes a few years ago.

Framing the film around the definition of «Altmanesque,» Altman goes through the filmmaker's work one at a time in chronological order, starting with his work on television up to his swan song A Prairie Home Companion.

With Shirkers, Sandi Tan (also a first - time filmmaker) revisits the long - lost footage from her unfinished narrative feature shot in Tan's native Singapore in 1992, also called Shirkers, and in the process reckons with both why the film was never finished and how several relationships were forever changed in its wake.

I was also curious as a first - time filmmaker, what was it like working with a cinematographer like Seamus McGarvey or production designer like Nathan Crowley on your first film?

Shot outside Pittsburgh on a shoestring budget by a band of filmmakers determined to make their mark, Night of the Living Dead, directed by horror master GEORGE A. ROMERO, is one of the great stories of independent cinema: a midnight hit turned box - office smash that became one of the most influential films of all time.

Fox and His Friends, Fassbinder's twenty - second feature, made when he was twenty - nine — a time of life when most filmmakers would be lucky to have half a film under their belts — is amusing, sometimes even hilarious, in its single - minded trudge toward dissolution.

After shooting, Lanthimos began preparation to shoot The Favourite but then turned back to The Killing of a Sacred Deer after the filmmaking team watched footage and figured the feature could be finished in time for a premiere at Cannes, where the filmmaker's previous films The Lobster and Dogtooth debuted.

It's considered one of the best concert films ever made, crafted with love from one of the great filmmakers of our time.

French artist and filmmaker Neil Beloufa discusses his feature film, Occidental (2017), a staging of socio - political anxieties in a out - of - time hotel.

While it's easy to compare this film to 12 Years a Slave, considering the brutally honest representation of slavery in both films, this one is unique in that it's a different story told in a different way by a first - time filmmaker.

On Michael Reeves and British gothic film [New York Times] Credited with directing three déclassé horror movies, dead from an overdose of barbiturates at 25, the British filmmaker Michael Reeves (1943 - 1969) is a quintessential cult figure.

One of the biggest discoveries and best films of the 2018 Cannes Film Festival is a Belgian dramatic feature titled Girl, from first - time filmmaker Lukas Dhont.

Another Time's Up / #MeToo column for another film in which filmmakers left T.J. Miller in the cast.

On Robert Bresson [New York Times] The great French filmmaker Robert Bresson (1901 - 1999) not only made movies but also gave instructions about how his films might be watched and thought about.

The filmmakers behind the five longest and five briefest short - film selections at TIFF ’17 talk tight run times, tough decisions, and what ends up on the cutting room floor

After a string of incredibly successful art house favorites throughout the late 1960's and early 1970's, Herzog, who alongside trailblazing filmmakers Rainer Werner Fassbinder and Wim Wenders, was a major figure in the German new wave movement, turned his gaze to the film he correctly acknowledged as the single most important German movie of all time.