Sentences with phrase «voice as a film director»

Now, she is finding her true voice as a film director... and what a unique voice it is.

Not exact matches

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.

A kind of subversive take on the traditional Noah story, Take Shelter made good on the promises of writer / director Jeff Nichols» first feature Shotgun Stories, establishing him as a powerful new voice in the film community.

Watiti himself steals the film, not so much as director, but as a voice player for supporting cast member Korg, a blue rock monster who is played as a rural stoner without a shred of self - awareness.

Roth is a voice the genre hasn't heard in quite some time as The Green Inferno marks the director's return behind a feature film -LSB-...]

Many American film directors emerged as important voices in the 1970s.

MacFarlane returns as writer, director and voice star of the film.

Interestingly enough the film's director, Alex Proyas, admits in one of the documentaries that he knew the voice - over narration was a mistake but felt too unsure of himself as a film - maker following some negative test screenings to contest its inclusion.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Fans of the Korean auteur (as well as fans of good sci - fi in general) were understandably very vexed by the decision to cut the film down by twenty minutes and add expository voice over, eager to see the director's original, uncompromising vision.

While the first film suffered from a musical chairs of writers and directors lending their voices and creative inputs (and houses one of the worst MCU villains), this sequel looks like it will certainly serves as a step - up from its predecessor.

As Creed director Ryan Coogler has said when talking about the talented women he's worked with, there's always room for strong voices, who will end up elevating the overall level of films being made, because they'll have different points of view and experiences, in addition to talent.

The well - edited commentary track, created from separate recollections by director Tim Burton, actor Martin Landau, screenwriters Scott Alexander and Larry Karaszewski, costume designer Colleen Atwood, and cinematographer Stefan Czapsky (with Landau reprising his Bela voice as your host), is a rich and engrossing tour through the inspiration, conception, and production of the film.

But those in the know have been keeping tabs on Nichols since his breakout sophomore effort, the provocative apocalypse tale Take Shelter, and over these three films (also including his debut, Shotgun Stories, and the moderately successful and excellent Mud), he has established himself as a strong Southern voice on the independent scene, the sort of director who makes you sit up and take notice whenever he announces a new project.

In this excerpt from our special edition's commentary track, writer - director Green and actor Paul Schneider discuss the earthy beauty that fourteen - year - old Candace Evanofski brings to the film as Nasia, the narrator, the movie's particular brand of voice - over, and the authenticity of the young actors» performances.

Filmmakers Noah Baumbach and Jake Paltrow had an idea to do a film about acclaimed director Brian De Palma as a «conversation with a friend,» though the two wanted to remove their own voices.

But The Squid and the Whale, Noah Baumbach's fourth film as writer - director, has inspired more conversation about the degree to which it does or does not tell the story of his own childhood — more specifically, the divorce of his parents, novelist Jonathan Baumbach and former VILLAGE VOICE film critic Georgia Brown — than about the self - reflexive canniness of the filmmaking itself.

Wes Anderson «s «Moonrise Kingdom» seems like an odd choice to open the 65th Cannes Film Festival, with its deadpan Americanism, retro - set timeline and movie - star cast; at the same time, Anderson is clearly influenced by the New Wave, both cinematically and personally, he's a distinctive authorial voice as a director (which is the essence of auteur theory) and while his films are defined by near - silent moments of comedy and human frailty, there's also something mournful and wounded about them.

«First Reformed» (May 18): Ethan Hawke stars as an ex-military chaplain grieving over the death of his son in this drama from Grand Rapids - born writer - director Paul Schrader, one of film's most legendary voices.

Using simplistic melodies, Morricone's Crystal Bird score combines strange atonal passages, trilling female voices, and close - miked bass and percussion - a style the composer chose to abandon for Argento's later films - such as The Stendhal Syndrome, and The Phantom of the Opera (1998)- because of the director's own stylistic changes.

Mario Bava's first credited feature film as director has appeared in various complicated guises since its release 47 years ago in Italy — the original Director's Cut in Italian, the Director's Cut with an English dub track prepared by the Italian producers and released only in Europe, and the AIP re-edit, which had the U.S. distributor cutting it down for faster pacing, re-dubbing the dialogue with its own stable of voice actors, and replacing Roberto Nicolosi's original score with a more punchy, aggressive version by AIP's all - in - one music department, Lesdirector has appeared in various complicated guises since its release 47 years ago in Italy — the original Director's Cut in Italian, the Director's Cut with an English dub track prepared by the Italian producers and released only in Europe, and the AIP re-edit, which had the U.S. distributor cutting it down for faster pacing, re-dubbing the dialogue with its own stable of voice actors, and replacing Roberto Nicolosi's original score with a more punchy, aggressive version by AIP's all - in - one music department, LesDirector's Cut in Italian, the Director's Cut with an English dub track prepared by the Italian producers and released only in Europe, and the AIP re-edit, which had the U.S. distributor cutting it down for faster pacing, re-dubbing the dialogue with its own stable of voice actors, and replacing Roberto Nicolosi's original score with a more punchy, aggressive version by AIP's all - in - one music department, LesDirector's Cut with an English dub track prepared by the Italian producers and released only in Europe, and the AIP re-edit, which had the U.S. distributor cutting it down for faster pacing, re-dubbing the dialogue with its own stable of voice actors, and replacing Roberto Nicolosi's original score with a more punchy, aggressive version by AIP's all - in - one music department, Les Baxter.

Persepolis director Marjane Satrapi's first English - language film, The Voices (Arrow, 15), is a grisly, almost heroically unhinged curio, starring Ryan Reynolds as an amiable American psycho guided not simply by the voices in his head, but those of hisVoices (Arrow, 15), is a grisly, almost heroically unhinged curio, starring Ryan Reynolds as an amiable American psycho guided not simply by the voices in his head, but those of hisvoices in his head, but those of his pets.

The debut feature for writer - director Boots Riley — best known as the vocalist for the politically minded Oakland hip - hop group the Coup — the twisted, timely film features rising star Lakeith Stanfield as Cassius, who takes a telemarketing job to pay off his back rent to his uncle (Terry Crews) and discovers the power of his «white voice,» a hidden talent that opens up all sorts of economic opportunities.

The creator of Ocean's Eleven - Twelve - Thirteen and director of such great films as Out of Sight (you should check that out, if you haven't) and Traffic had me at Daniel Craig with a squeaky country voice.

In the interview, Pete talks about some of his favorite movies he recommends to friends, the evolution of the project over the years, how he got involved as a director, his vision behind the stark contrast between the beautiful, almost photo realistic backgrounds and the cartoony characters, a scene from the film that I felt was a homage to Jaws, the 1400 kid search for the main star of this film, how directing the voice actors for the English version of Miyazaki's Ponyo helped him in making this film, and find out who directs Peter Sohn when he performs in his own film.

Redford was acknowledged for his work as actor and director, his decades long involvement in nurturing independent voices in film and the arts through the Sundance Institute, Sundance Film Festival, and overall advocacy on behalf of artists, as well as his work as an environmental activist over 40 years.

The fourth film from director Marjane Satrapi («Persepolis,» «Chicken with Plums «-RRB-, «The Voices» navigates the line between the gruesome and the goofy with a step as nimble as a tight - rope walker going over a sea of broken glass.

Having established the «Ninjago» universe, however — a pan-Asian chop suey of Chinese, Japanese and Korean influences, lent semi-legitimacy by the presence of Jackie Chan in both a Gremlins - style live - action prologue and as the voice of beard - stroking sensei Master Wu — the film quickly runs out of both ideas and steam, despite having three directors and no fewer than six credited scriptwriters calling its shots.

He himself plays a role in the film as an uncomfortably retired opera director who flies with his wife (Judy Davis) to Rome to meet his future son - in - law and discovers that the boy's undertaker father (Fabio Armiliato) has a great singing voice — but only when he's singing in the shower.

Writer / director / star Lena Dunham is being called one of the most exciting new voices in American independent cinema and critics are hailing her film as «irresistibly funny», «unnervingly honest», and «near perfection».

We are also fortunate to once again have actor, director and environmentalist Robert Redford as the voice of the short documentary films featuring each of the six activists we will be honoring.