Sentences with phrase «tracking shots in his films»

As Anderson is known to use long, uninterrupted tracking shots in his films, it seems he might be looking to really outdo himself on this one.

Not exact matches

Ron Howard is currently in the middle of production on his period Formula 1 racing drama Rush, but the director has a new tool in tow on this film that's giving fans an inside track on how the shoot's going.

It's a terrifically elemental premise for a movie, one that Cuarón treats as an excuse to indulge in some truly spectacular eye candy; his famously epic tracking shots move here on all axes, making the film a pretty remarkable technical exercise — even as a few of the sequences, especially those that adopt a through - the - helmet POV, suggest the experience of watching someone else play an FPS.

On the feature commentary track, Mancini describes more scenes in a similar vein from the script (such as one with Nica bathing in a shower chair that's seen briefly in the film), but says they were never shot due to scheduling constraints.

The wilting, autumnal colors, so violently pumped up in most previous versions, here recover the chilly, bluish cast that suggest a Midwestern winter is fast approaching (although the film was entirely shot in sunny Pasadena, Calif.), and if the newly created 7.1 surround soundtrack seems awfully busy for this tight and rigorous film, the original mono track is available as an alternative.

Thankfully, no such malfunctions mar Thomas» delightful audio - commentary track, in which he discusses the inspiration for the movie, the difficulties inherent in mounting a homegrown Canadian production and the film's Edmonton, Alberta shoot, chiefly on location in an abandoned hospital.

In fact, most of the film has the killer as an invisible threat, a POV tracking shot that looms closer and closer to the next victim.

The shooting style is opposite, compared to the recently predominant tracking shot filming the back of the head of silent actors in order to reveal the space ahead.

You can still find a few little streets and alleyways in Ménilmontant where The Red Balloon was filmed, and a few years ago I found myself on the same beach in Normandy where Jean - Pierre Léaud runs in those beautiful long tracking shots that end The 400 Blows.

The «Select Scenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film in detail, such as the scenes of Orlando's asides to the camera (her cinematic version of the direct address sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginning).

Never more so than in the complex sound mix (one of the first great soundscapes of the postmodern film era) over the now famous, climactic, tracking shot.

The film flatters us by leaving exposition and backstory to our knowledge of anthropology — in fact, Animal Kingdom is best indicated by its unwavering reserve — a reluctance, almost — to say too much when slow, fluid tracking motions and static, medium - distance establishing shots may suffice.

With its ambiguous ending, Tattoo seems to evoke François Truffaut's Les quatre cents coups (The 400 Blows, 1959), the legendary French New Wave film about another «troubled» teenager who experiences freedom only when he is in motion — whether while spinning in a rotor's drum or when running away from the reformatory in the film's famous concluding tracking shot that culminates in a zoom - in - on - freeze - frame image of his gaze addressing the camera.

Such shots are frequently celebrated in film — think of Martin Scorsese's use of tracking shots over the years, or the self - parodying opening of Robert Altman's The Player — but critics rarely call attention to them on TV, perhaps because TV is more of a writers» medium, or perhaps because they're simply not as showy as others, often blending into the background.

The film starts with a slow tracking shot down a country road in summer.

That's not to say the film's style is stagnant either; in a particularly memorable tracking shot, César enters a building and quickly exits the other side, as the camera rushes to make its mark.

Iñárritu does his best Terrence Malick impression with this gorgeous drama filmed largely in the Canadian wilderness, reteaming with cinematographer Emmanuel Lubezki to deliver more of the same great visuals and signature tracking shots, which amplify the realism of the never - ending suffering that Leonardo DiCaprio's character endures.

Director Zack Snyder has also recorded a new commentary track where he compares the finished film to the blue screen composite (shown via picture - in - picture), while the original test footage that Snyder shot for Warner Bros. is no longer hidden as an Easter Egg.

Lutz Bacher, author of Max Ophüls in the Hollywood Studios, provides a commentary track that delves into the intricate technical assembly of the film and how it diverged from prevailing shooting methods of the time.

Hawks, who also wrote the original story, tells you exactly what the film is about in the opening shots: a spectacular wreck on a dirt track, the animated response of the spectators leaping up to get a better view, and then the title.

Well not only was New Mutants going to feature that mysterious company, but The Tracking Board has learned that Jon Hamm was originally going to appear as Mr. Sinister in a tag at the end of New Mutants, and Boone filmed material that led up to that reveal, only for Fox to change their minds after shooting had been completed.

Daniel Stiepleman wrote the script for the film, which tracks Ginsburg's career and achievements, with Diary Of A Teenage Girl director Marielle Heller in talks to call the shots for Focus Features.

The movie, shot on 35 mm film, showed the same steady hand, but McQueen and Bobbitt had more resources to play with, not least in the unforgettable tracking shot that follows Fassbender's Brandon as he goes for a nighttime jog.

He seems to have undergone a complete 180 - degree transformation from his Santa Clause 2 track (in which he acted as if the film was shot at the North Pole with the real Santa Claus).

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

Though there are still some fine tracking shots, they aren't nearly as flashy as in Boogie Nights, and the film never attempts the fevered intercutting or musicality of Magnolia or Punch - Drunk Love.

with optional commentary sees the director proclaiming it «fascinating» how things change during the course of the film and shows young Rosie (a.k.a. Grace) in a continuous tracking shot that the creative team «knew wasn't working» without further clarification of how the final version works better.

• UControl Features — This amazing feature provides audiences with three tracks, providing a wealth of information about the film while it's playing, such as location shoots, medical diagnoses of Bourne at the beginning of the film, and a «Picture - in - Picture» feature.

Refn isn't interested in pretensions of psychological depth, nor does the filmmaker adapt self - conscious art - film tropes like Black Swan's Dardennes-esque tracking shots.

But it benefits from a handful of glorious visual moments unlike anything else in sci - fi — the stunning track - back through the universe at the film's opening, the special effects bonanza that brings matters to a climax and a truly weird and unforgettable through - the - mirror long shot.

The film starts with an opening sequence full of style and pace as we follow stunt motorcycle rider Luke (Ryan Gosling) in one stunning four minute single tracking shot, as he walks through the bright lights of the carnival to the roaring crowd who await him.

How could such a pipsqueak of a director, they asked back in 1997, create a masterpiece that wowed right from its opening sequence: an audacious five - minute tracking shot that swoops and swirls through the nightclub of the film's title in joyful synchronisation to the dance music of the 1970s.

The film features some of the most elaborate and impressive tracking shots of Fuller's career, running in and out of buildings and through the crowded street of his elaborate set.

Shot in a stark black and white, with the actors repeatedly isolated in their own frames, some really creepy images of crazy nuns (the long early sequence wherein the nuns are interrogated and exorcised is a miniature masterpiece) and a series of subjective tracking shots implicating the audience in the chaos, the film reaches a high point when the priest consults the local rabbi (also played by Voit) in a series of head - on medium shots.

As in his 2007 film Atonement, Wright can't help but over-decorate with self - conscious tracking shots and CGI aerial views, though you can understand his determination to make something which looks more like cinema than Sunday evening TV.

The lush green jungles of the Philippines, where Yuddy eventually goes to find his birth mother, seem to hang over the film like a premonition: the credits roll over a tracking shot of the jungle, thick and wet, with layered shades of green, and this image is reflected in the overall green tint of the film.

That subversive nature of the film begins on the formal level: Shot in grainy black - and - white on 16 mm, The Happiest Day commits utmost to an aesthetic of realism, with Kuosmanen and cinematographer Jani - Petteri Passi capturing scenes in detailed long takes and smooth tracking shots.

The film adheres to the flighty, anarchic whims of its protagonists, this time tracking them in gorgeous 35 mm shot by Alexis Zabe, whose day - glo Florida facades and pastel clouds fizz off the screen.

Returning director J. Lee Thompson manages to stage some exciting desert battle scenes, cutting on motion from one rapid horizontal tracking shot to another (reminiscent of his excellent 1958 WWII film ICE COLD IN ALEX, aka DESERT ATTACK), but the story is simply a routine

Iñárritu does his best Terrence Malick impression with this gorgeous drama filmed largely in the Canadian wilderness, reteaming with cinematographer Emmanuel Lubezki to deliver more of the same great visuals and signature tracking shots, which amplify the realism of the never - ending suffering that Leonardo DiCaprio's character endures throughout the story.

Anne Hathaway's brief work as Fantine is memorable, and her signature song «I Dreamed a Dream» stops the film in its tracks with her single shot rendition of I dreamed a dream shot up close and personal which delivers an impressive wounded, defiant vocal.

Extra features on this non-SE include: a comprehensive commentary by director Hoblit and co-screenwriter Billy Ray, with the occasional comment from Bruce Willis sandwiched in; another yak - track from producer David Foster, who concentrates on the film's background in WWII history; ten deleted scenes (in 16x9) that reveal that an even more structurally and politically complex film lies on the cutting room floor, with elective commentary from Ray and Hoblit — they're especially sorry to see go, as am I, a bit in which the American soldiers entertain their German captors by donning blackface; a 4 - part photo gallery — see Bruce make serious expressions for «The Poster Shoot»; and trailers for Hart's War, Windtalkers, and the TV shows «Jeremiah» and «Stargate SG - 1».

Stars: James Whitmore, Edmund Gwenn, James Arness, Joan Weldon, Onslow Stevens, Don Shelton, Fess Parker Length: 93 minutes Distributor: Warner Bros Cinema: 1954 SPECIAL FEATURES: Behind the Scenes, trailer, image gallery Region: 2 Ratio: 1.33:1 (fullscreen - film shot in 1.66:1 and cropped slightly on disc) Sound: Dolby Digital 1.0 (mono) Audio Tracks: English and multiple languages Subtitles: English and multiple languages Captions: English and Dutch Menus: Static with music Special Features Subtitles: None of the special features come with subtitles.

During the many lulls in the story, viewers can pick out elements from other films: The design for the Doberman evokes «Up,» one potential buyer imitates Edna Mode from «The Incredibles,» a tracking shot through the engine of a wrecking crane recalls a clockwork sequence in «The Great Mouse Detective.»

The film also has the most hypnotic closing I can remember seeing in years — a long, trance - like tracking shot supported by utterly haunting music.

Regardless, the film's closing scene so perfectly blends the tracking shot in Taxi Driver with Silent Night that it's hard to imagine genre lovers not watching this once the holiday season rolls around.

Three minutes later, in a single tracking shot, the climactic moment of the film is done.

The film was shot in English, but a full English track doesn't exist because Deep Red was shortened by 20 minutes for international audiences.

Paths Of Glory — One of my favorite, and one of the least misanthropist, of all of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever shot.

This disc's Dolby Digital 2.0 Stereo track does a capable job with the film's workmanlike audio design - dialogue is clear and natural, «Death and the Maiden» sounds nice as a result of accurate fidelity, and although there's very little in the way of exciting audio moments, the few gun shots and loud crashes come through smashingly.