Sentences with phrase «true auteur director»

Arguably, Alfred Hitchcock is the first true Auteur director.

Not exact matches

«Black Nativity,» loosely based on a play by Langston Hughes, is brought beautifully to life by writer / director Kasi Lemmons, a true auteur in every sense of the word.

Joan Micklin Silver By Shonni Enelow The director of such lovingly idiosyncratic films as Crossing Delancey and Hester Street merits reconsideration as a true offbeat American auteur

Unlike the «Auteur» or «Shreiber» theories favouring either the director or the writer as the true author of a film, the «Fís» Theory holds that a true singular voice can only be attained when the director is also the writer.

After all, he is now a true «auteur», being credited as the sole writer, producer and director of The Happening.

Saulnier succeeds into full - on auteur as writer / director / cinematographer of this instantly engrossing shocker, aided by a consistent cast, lead by a true - blue Macon Blair.

Seeing as Garrel opened the Directors» Fortnight in 2015 with In the Shadow of Women, we expect another auteur of similar stature to snag the distinction, perhaps Roman Polanski's Based on a True Story.

Fellow film - makers are equally impressed: Ben Affleck has likened Anderson to Orson Welles, while Sam Mendes calls him «a true auteur», one of a small group of directors «who I would classify as geniuses».

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

Schrader enjoyed directing what remains (as of this writing) his last true studio picture, and Universal's budget allowed the director - classified by critics at the time as a «true American auteur» - to expand his visual language.