Sentences with phrase «ways talking about this film»

See, and this is where I think in some ways talking about this film doesn't really get us anywhere.

Not exact matches

Despite its talking - head format, this 52 - minute film is full of revelations about the ways financial reports can be used — or misused.

With how I view films, I think films are ways that we talk to each other and we deepen the conversation about who we are.

In the trailer, Fisher is preparing to film Star Wars: The Force Awakens, is helping her mother pack and talks about the way aging effects people, in reference to her mother.

Marisa Miller Wolfson, creator of the award winning documentary film Vegucated, took some time out to talk with me at the New York Green Festival about her film, her next projects, what inspires her, and easy first steps for people to take to transition to a healthier way of eating for personal health, the planet and the animals.

And that evolution continues as even the McMahons themselves begin to talk about wrestling the same way that the film and television industry is discussed.

It's a beautiful and entertaining film that will give you and your kids plenty to talk about and a clever and vivid way to understand emotions.

Joining us is Academy Award nominated documentary film maker, Jim Burroughs, and his cardiologist Dr. Shephal Doshi of Providence Saint John's Health Center to talk about how medical advancements are providing ways to help afib patients stay active.

(I had forgotten all about it as it was filmed way back in August) It's a video from JD Williams of me introducing myself and talking about shoes and stuff!

What I admire most about the film is the way it enters the terms of this world — of international politics, security procedures, shifting motives — and observes the details of all - night stakeouts, shop talk, and interlocking motives and strategies.

That aspect of the film is clearly in a fight with all the «why did you come here» Syd Field motivational padding between its troubling setpieces, and it's a very studio - suit move to assume that the only way to give «meaning» to a film is to have people talk about it.

Robert Osborne and Robert Wagner have known each other a long time, so when I sat down with them on April 16, 2013 to talk about TCM's Road to Hollywood presentation of THE PINK PANTHER, the interview became a spirited three - way conversation about the magic of film and filmmaking, as well as why there is... Read More»

Much of the talk at Sundance this year, where, despite everything, sales and attendance were up, was as much about the ways in which movies will be «consumed» in the future — with all the various digital platforms on the horizon — as on the films themselves.

No Escape — This was very cool; the cast and crew talk about the aesthetic of the film (the way it's largely swallowed in darkness) and director Fede Alvarez gets into one of his favorite scenes to shoot, which was the fight in the basement that he shot in black and white.

Talking about the film's phenomenal advance bookings, Girish said, «I was surprised (in a good way) to see the magnificent numbers for the film's advance bookings.

Perhaps all the happy talk around the movie's Oscar chances had little to do with the way the Academy actually thinks: The opportunity to salute Birdman, a film about a Hollywood actor's redemption, proved too tempting.

I always go out of my way to talk about the other people I meet at the festival, and not just the films, because they are just as important as the movies.

That big moment charged the hype machine for the film in a way that major summer blockbusters aren't capable of achieving with an entire year of buildup and spoiler - filled trailers, making this film one of the most talked about projects in the past year simply due to the fact that no one knew what it actually was.

The outspoken Robbins consciously avoided politics while talking about the film, as if he didn't want his own views to get in the way of the film's non-partisan story.

You see I want to talk about the film's structure, how its episodic and unfocused storyline actually points toward its origins as a manga, and how while having little in the way of actual plot the film uses metaphor and subplot as text rather than subtext.

When I wrote him a letter about why he should do this movie, I did talk about how we've come a long way from that time and I think [Redford] playing another journalist in this period of time carries extra added baggage for the film.

When we did manage to stay on topic, they talked about the great cast, their memories of National Lampoon, how Emmy Rossum got cast at the last minute, Mr. Robot, memorable moments from filming, what it was like for McHale to play Chevy Chase after working with him on Community, the way they like to work on set, and so much more.

You were talking about how you don't like when filmmakers put themselves on screen, but this is clearly such a personal film in every way.

Emmy nominated Jake Hamilton sits down to have some fun and talk with Kate Bosworth about her new film, THE WARRIOR»S WAY — only on JAKE»S TAKES!

Many people have been wondering just how the film came to be, and an extended featurette has made its way online with Moore talking about the inception of the idea, some of the difficulties he and his extremely small crew had completing the film, and much more.

The comparison is apt and obvious, though I doubt people will be talking about this film 8o years from now the way we still revere that 1939 Judy Garland classic.

Scorsese told the audience that if you're young and you find this of any interest, you may seek out some of the films he was talking about and learn other filmmakers» ways of thinking of other cultures and to see the universal connection of our shared humanity.

And that's the way it was for a number of decades, and then about three years ago, I was having dinner with this Polish director who had done the film «Ida» about a Polish nun, and it was a film in the spiritual style, and we got to talking about how much I like the film and how much he liked my book.

The guys talk over some of their favorite and least favorite dragon - related entries in film history, the different ways film has depicted dragons and wrap up by talking about where the dragon sub-genre is today.

Because of the way I make films, I can not really talk about what I do next.

He wrote the film, which marks his directorial debut, based in Mapes» book, and while the specifics of what happened, how television news became less about fact, and more about perception, I was interested in talking about my admiration for the way he neatly folded so many facts into the film without it feeling like dull exposition, avoiding the obvious tropes of good guys and bad guys, Cate Blanchett's spontaneity, and the pleasures and perils of casting one icon (Robert Redford) as another icon (Dan Rather).

They talk about how his special effects inspired them to create films and also how it influenced them in their own movies, including the fact that Harryhausen created the way that we all think that dinosaurs move.

Among the films talked about are: Something Wicked This Way Comes, Magic, Godzilla: The Japanese Original, Motel Hell, Big, Lord of Illusions, Super Duper Alice Cooper, It's a Wonderful Life, Videodrome and many more...

At the recent press day, Tarantino and his actors talked about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period film affords a filmmaker the opportunity to comment on the present in ways a present day film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.

So I think it's still way too soon to start talking about profound films that deal with 9/11.

In addition to the films that played at Park City, some filmmakers were in attendance for a series of panels talking about the art of film in a variety of ways, and one panel in particular will be worth your time.

We talk about Theron's moving performance at the center of the film and the way it upends myths about the transformative experience of baby care.

At the film's recent press day, Costner talked about the appeal of playing Coach White, Niki Caro's directing style, the bond that developed between all the actors during filming, the pivotal role a coach can play in a young person's life, the Jim White - type coaches who influenced Costner's life in a positive way, what he learned about Latino culture growing up in Visalia, why he waits for projects to come along that he can really respond to irrespective of genre, the biggest cultural gap he experienced on this film, and how sports movies allow us to address other issues within the wider society.

Sorkin and Chastain sat down with TheWrap to talk about the film, with stops along the way to talk about Harvey Weinstein, Gilbert and Sullivan and who Sorkin really wanted to cast in the lead role.

A defiantly Jewish bit of mishegoss that was conceived as a U.S. / Israeli co-production, the film is a wry, self - defeating response to the anti-Semitic tradition of stories about conniving «Court Jews» who talk their way into becoming one of the king's most trusted advisors.

Noah Baumbach and Jake Paltrow's new documentary «De Palma» features the legendary director talking about his five - decade long career in the film industry, directing such classics like «Dressed to Kill,» «Blow Out,» «The Untouchables,» and «Carlito's Way.»

Ramsay's last film was all the way back in October 2011: We Need to Talk About Kevin.

Chandor's previous film, Margin Call, about the financial crisis of 2008, was all talk (in a good way), filled with sharp and witty dialogue and a cast of vivid characters.

It is such a great way to talk about love and letting go, a familiar theme by now in many of the year's best films.

20th Century Fox has been talking about some of their new films heading our way over at CinemaCon.

You know, they talk about it, and so it's a meta - film in some way.

The two stars also talk about memorable moments from filming, the way they like to work on set, how they prepared for their roles, and more.

I've had this idea percolating in my head for a while, as a way to highlight and talk about both new and older films, since I enjoy both.

In this way, the film becomes a hoot, talking to us in a way we not only can relate to, but with panache and keen wit, Black crafts hilarious situations and some highly quotable lines about Hollywood movies.

He talked about what it's like to be part of a famous filmmaking family and still earn recognition on his own terms, the difficult process of shooting Kill Your Darlings that gives the movie an extra spark, how he prepared to play Kerouac at this stage in his life, his character's arc on Boardwalk Empire, American Hustle and the unusual way they shot the film, upcoming projects including an Errol Flynn biopic and a production of Strangers on a Train in London, and more.