Sentences with phrase «turned director whose»

A Vogue profile celebrating William's performance in «My Week With Marilyn» last fall mentioned that «one of her idols, an actress turned director whose memoir Williams had been carrying around with her wherever she went, offered her a role in an upcoming film adaptation of a nineteenth - century stage classic.»

Whereas Zero boasts the buzz - attracting pedigree of Bigelow and Boal, Seal Team Six hails from John Stockwell, an actor turned director whose niche has been water - based films like Blue Crush and Into the Blue.

Not exact matches

On Monday, federal prosecutors in Mr. Silver's corruption trial turned to a relatively obscure staff member on the Assembly Ways and Means Committee whose title seemed as bland as the job he held — deputy budget director for budget studies — to open a window into the seemingly impenetrable world of state finances that Mr. Silver controlled.

Bille August is a photographer - turned - director whose penchant for weaving deeply personal stories eventually gave way to adapting seemingly impenetrable novels into moderately successful features.

Even fueled by Reynolds, whose likability is practically a super power, a new director in David Leitch («John Wick» and «Atomic Blonde»), charismatic new costars like Zazie Beetz («Atlanta») and Julian Dennison («Hunt for the Wilderpeople»), bigger stakes (and more money to execute them), «Deadpool 2,» suffers from the sequelitis that typically threatens gimmicky gambles turned tentpole franchises.

Occupying the director's chair is Nimrod Antal, a kindred spirit of Rodriguez's whose «Vacancy» and «Armored» were genre films that turned out better than a lot of their genre - mates do — which describes «Predators,» too.

A Fox Searchlight Pictures release by visionary director Darren Aronofsky (THE WRESTLER), BLACK SWAN takes a thrilling and at times terrifying journey through the psyche of a young ballerina whose starring role as the duplicitous swan queen turns out to be a part for which she becomes frighteningly perfect.

A bit more suspense would have gone a long way here, and while director David Gelb, whose prior experience had been in the crowd - pleasing documentary Jiro Dreams of Sushi, has turned in a slick - looking feature for one with such a small budget (reportedly, only $ 5 mil), it really can't compete with better films out there in terms of quality, while it's too straight - faced in execution to at least give us some choice b - movie thrills.

Instead of coming from a filmmaker whose last movie had won Picture and Director Oscars, this version hailed from Bille August, a Danish cinematographer turned director with few English language credits (among them, The House of the Spirits and Smilla's Sense of Snow), who would subsequently return to working in his native ScanDirector Oscars, this version hailed from Bille August, a Danish cinematographer turned director with few English language credits (among them, The House of the Spirits and Smilla's Sense of Snow), who would subsequently return to working in his native Scandirector with few English language credits (among them, The House of the Spirits and Smilla's Sense of Snow), who would subsequently return to working in his native Scandinavia.

A Touch of Zen features one of the best villains of any 1970s swordplay film, a cunning enemy commander whose troops dog Hsu at ever turn, portrayed by Han Ying - chieh, who also served as action director.

The Midnight Madness section's strongest entries included Afflicted, the latest iteration of the found - footage horror subgenre, in which writer - directors Derek Lee and Clif Prowse play Canadian students Derek and Clif, whose video documents a not - so - excellent European vacation, and Lucky McKee and Chris Sivertson's playful pastiche All Cheerleaders Die, in which the tangled intrigue around a high - school cheer squad turns lethal — call it When Witchcraft - Resurrected, Life - Force - Sucking Mean Girls Attack.

Burbank, CA, April 5 — See the unique story of three friends who became heroes when «The 15:17 to Paris» arrives From Academy Award winning director it * Clint Eastwood which tells the real - life story of three men whose brave act turned them into heroes during a high - speed railway ride.

Yet even as badly written and directed as it is, the character interplay is not without its occasional fringe benefits, including Richard Chamberlain's early scenes with Newman, Holden, and Susan Blakely; and a surprisingly good, though brief, performance by soap opera first - stringer Susan Flannery as Lorrie, a secretary whose love - tryst with Publicity Director Dan Bigelow (Robert Wagner) turns into a nightmare.

Director Catherine Hardwicke, whose Thirteen (2003), seemed to understand the peculiar, alien thought processes of teenage girls, somehow turns in a 122 - minute film that moves briskly.

Possession (Yari, February 22) Starring: Sarah Michelle Gellar, Lee Pace, Michael Landes, Chelah Horsdal, William B. Davis Director: Joel Bergvall, Simon Sandquist Rating: PG - 13 The Pitch: Gellar plays a woman whose life is turned upside down when her husband (Landes) and brother - in - law (Pace) are involved in a car accident that leaves them both in comas.

His best - known plays include Ma Rainey's Black Bottom (1984), the Pulitzer Prize - winning The Piano Lesson (1990) and the Tony Award - and Pulitzer - winning Fences (1987), now on the screen courtesy of actor - turned - director Denzel Washington, whose third outing in that role this is, after Antwone Fisher (2002) and The Great Debaters (2007).

Lucky comes to us from the most recent actor turned director John Carroll Lynch, whose name might not be household, but his face certainly is.

Director Joseph Kosinski is making the jump from sci - fi (Tron: Legacy, Oblivion), and works with Life of Pi cinematographer Claudio Miranda to depict the other - worldly reality of men whose jobs place them amid walls of flame that turn night to day, smoke that turns day to night.

A 10 - episode, intense psychological thriller based on a best - selling novel and brought to life by executive producer and director M. Night Shyamalan, about a Secret Service agent on a mission to find two missing federal agents, whose investigation only turns up more questions.

In the latest episode of my new Deadline video series Behind The Lens, in which I explore the art and style of directors in one - on - one conversations, I talk to a relative newcomer to helming, Stephen Chbosky whose third feature film, Wonder, has turned into an out - of - the - b0x hit for Lionsgate since it opened in November, so far grossing well over $ 100 million domestically and going strong.

Moreover, the director always keeps the movie rooted in a compelling dramatic situation, with Pitt giving a very appealing turn as the seen - it - all veteran of the world's worst places whose desire to protect his family trumps his desire to save the world.

Ginsburg received standing ovations from the Sundance audience, but she turned her compliments to directors Betsy West and Julie Cohen, whose work she had seen before.

Chartering the life of this little - known tale is Stephen Gaghan («Syriana»), who has always excelled as a screenwriter and whose few turns as a director have been greatly rewarding.

I'm trying to think of an actress - turned - director whose first film was positioned so favorably and the only name coming to mind is Angelina Jolie.

Actress - turned - director de Clermont - Tonnerre, whose credits in front of the camera include The Diving Bell and the Butterfly, developed Mustang through the Sundance Labs and received the Sundance Institute / NHK Award for the project in 2015.

Go - to television director Craig Zisk, whose credits include Scrubs, Weeds and United States of Tara, takes a turn on the big screen with this insightful comedy about self - discovery co-starring Greg Kinnear, Nathan Lane, Michael Angarano and Lily Collins.

Darren Aronofsky is the kind of artiste director whose films tend to play well with the cineaste crowd and prompt cricket chirps at the cineplex, but he's also got savvy commercial instincts and a gift for casting (Mickey Rourke, whose career was brought back to life thanks to his star turn in Aronofsky's «The Wrestler,» would surely agree).

This Australian director returns with her second feature set in Germany, about a young woman whose romance with a young scholar takes a turn for the highly distressing.

Working with Marilyn Monroe must have been quite a special experience for third assistant director Colin Clark, whose brief time with the star has turned into two memoirs, and now a film, titled My Week with Marilyn.

MUBI heads to Japan this week for a double - bill of work by TV comedian turned director Hitoshi Matsumoto, whose career is defined by his strangely inspired and giddily irreverent attitude to genre.

Whose idea was it to turn those latter day Caribbean pirates Johnny Depp, Bill Nighy and (director) Gore Verbinski loose on a cartoon, ostensibly for kids?

But the soul of Ghibli, it emerges gradually, is really a trinity: Miya - san; fellow director - turned - partner - turned - creative rival, Isao Takahata, aka Paku - san (whose lovely «The Tale of Princess Kaguya» is in production at the same time as Miyazaki's «The Wind Rises «-RRB-; and in between the two, the unsung producing partner, Toshio Suzuki, whose unenviable job it is to keep those two antithetical personalities from flying apart, while also ensuring the films get made, bought, distributed, translated, and diversified into a line of plush toys and calendars that the world's Ghibli museums can sell.

The title stands for Gorgeous Ladies of Wrestling, a short - lived 1980s TV show of which I have no memory whatsoever, and it stars Alison Brie (Community, Mad Men) and Betty Gilpin (Nurse Jackie) as L.A. - based actresses - turned - wrestlers whose major conflict is outside the ring, and comedian Marc Maron as the down - on - his - luck movie director who hires them to be part of an all - woman wrestling show that's as much soap opera as it is fighting.

Alison Brie (Community, Mad Men) and Betty Gilpin (Nurse Jackie) star as L.A. actresses - turned - wrestlers whose major conflict is outside the ring, and comedian Marc Maron as the down - on - his - luck movie director who hires them to be part of an all - woman wrestling show that's as much soap opera as it is fighting.

You would think that such a shortcoming would inspire director Declan O'Brien (whose other credits include Wrong Turn 3: Left for Dead and, for Syfy, Rock Monster and Monster Ark) to use the beast sparingly, realizing suggestion and shrouding would go a long way to give the titular threat some kind of menacing presence.

Director Ryan Coogler's all - black cast far surpasses previous paltry offerings to the black and brown people whose dollars and pounds turn films into blockbusters, yet who rarely see themselves represented with any depth or diversity on the big screen.

Natalie Portman's directorial debut A Tale of Love and Darkness screened as a Special Screening during the Cannes Film Festival, giving her the opportunity to promote this first film at the festival outside the competition unlike her actor - turned - director fellow Ryan Gosling, whose debut feature Lost River screened in last year's Un Certain Regard and received mixed and harsh reviews...

They include Emily Callahan and Amber Jackson, who are using their skills and intellect to turn oil rigs into coral reefs; Nate Parker, the activist filmmaker, writer, humanitarian and director of The Birth of a Nation; Scott Harrison, the founder of Charity Water, whose projects are delivering clean water to over 6 million people; Anthony D. Romero, the executive director of the ACLU, who has dedicated his life to protecting the liberties of Americans; Louise Psihoyos, the award - winning filmmaker and executive director of the Oceanic Preservation Society; Jennifer Jacquet, an environmental social scientist who focuses on large - scale cooperation dilemmas and is the author of «Is Shame Necessary»; Brent Stapelkamp, whose work promotes ways to mitigate the conflict between lions and livestock owners and who is the last researcher to have tracked famed Cecil the Lion; Fabio Zaffagnini, creator of Rockin» 1000, co-founder of Trail Me Up, and an expert in crowd funding and social innovation; Alan Eustace, who worked with the StratEx team responsible for the highest exit altitude skydive; Renaud Laplanche, founder and CEO of the Lending Club — the world's largest online credit marketplace working to make loans more affordable and returns more solid; the Suskind Family, who developed the «affinity therapy» that's showing broad success in addressing the core social communication deficits of autism; Jenna Arnold and Greg Segal, whose goal is to flip supply and demand for organ transplants and build the country's first central organ donor registry, creating more culturally relevant ways for people to share their donor wishes; Adam Foss, founder of SCDAO, a reading project designed to bridge the achievement gap of area elementary school students, Hilde Kate Lysiak (age 9) and sister Isabel Rose (age 12), Publishers of the Orange Street News that has received widespread acclaim for its reporting, and Max Kenner, the man responsible for the Bard Prison Initiative which enrolls incarcerated individuals in academic programs culminating ultimately in college degrees.

Then it was MoCA director Philippe Vergne's turn to wax poetic about Koons, whose editioned balloon - dog plates with Bernardaud — displayed outside the tent — has raised a ton of money for MoCA.