Sentences with phrase «when studios»

No matter when you visit the Torpedo Factory, you're bound to find artists focused on fascinating projects, but their work doesn't end when our studios close.

Beverly Ryan, «Midnight,» oil on panel, 22 ″ x 18 ″ No matter when you visit the Torpedo Factory, you're bound to find artists focused on fascinating projects, but their work doesn't end when our studios close.

A painter's art is irreplaceable, so it was no surprise that 44 seniors at Pratt Institute were heartsick, many of them left sobbing, when their studios and the paintings they kept there went up in flames in February in a middle - of - the - night fire at the art and design school's historic Main Building in Clinton Hill, Brooklyn.

While this does reflect her feelings about the «British cultural suspicion of contemporary art» as a reason to leave in her case, many other artists also left London to work in affordable spaces in Berlin when their studios in London became unaffordable.

Visitors can meet the artists and learn about each artists» creative process when the studios are open on Sunday afternoons January 14, 21, 28, February 4, 25, March 4, 11, 18, and at the culminating Open Studios on February 10 for Session 1 and March 24 for Session 2.

I could hardly resist, when studios share floors with galleries and small businesses.

Point is, I don't personally mind when studios lean on formulas that's proven to work them.

But comics have bylines, and it's far harder to approach triple - A games with the same mindset when studios and their directors are treated as interchangeable.

Sometimes we miss the simpler days game development, when studios threw darts at a chart of animals, creating an entire platforming franchise around whatever they hit.

But more still needs to be done when studios interact with their community, or they risk confusing and frustrating fans, or worse.

However when studios do attempt something new, it's often met with resistance from the player base.

In the 1920s, when studios controlled actors with lengthy contracts and strict morality clauses, the stars needed a place to get away and let loose.

It's just what happens when school improvement is shaped by policy and the pursuit of system reform — the same way that character and relationships get squeezed when studios figure out what teenage boys want to see.

It's a nice treat when studios decide to trust the director they hire to direct a horror movie.

That said: a directorial switch - up can be very tricky when it comes to franchise fare — especially when studios trade in a respectable filmmaker who leaves a recognizable artistic fingerprint on the series (see: David Slade with The Twilight Saga: Eclipse or Bryan Singer with X2) for someone who delivers more of a generic take on the property (see: Bill Condon with Breaking Dawn or Brett Ratner with X-Men: The Last Stand).

It is a time when studios release their most ass - kicking blockbusters and we fill up on popcorn and overdose on superheroes, action and comedy.

Summer is normally the breeding ground when studios launch their latest franchise / sequel blockbuster to the masses.

January and February are traditionally when studios dump their worst garbage and hope nobody notices.

December is always a big month for movies, a time when studios release tentpole pictures and Oscar hopefuls before the «dump months,» a.k.a. January and February, when commercial and critical expectations are much lower.

It was a time when the studios, reeling from their failure to attract the new generation of filmgoers, briefly threw their gates open to outsiders — mainly young directors formed by film schools and highly conscious of the European art film tradition.

It would be reassuring to see a non-mainstream studio receive the backing of arguably the most powerful company in the world at a time when studios are afraid to launch anything that doesn't include a cape, cowl or lightsaber.

But, there's a reason why this movie opened in December, a time when studios are typically releasing their more serious, Oscar - caliber fare.

«When studios are looking to hire now, they'll ask themselves — as they rightly should — «Is there a woman who is qualified for this job?»

When the studios turn those hits into a franchise, they end up turning sour quickly due to a repeat of scares and plotlines.

Back in December, when the studios and agencies had shut down for the holidays, I found one office in L.A. a flurry of activity — the one belonging to Hollywood Foreign Press Association President Meher Tatna, who was busy preparing for this weekend's ceremony.

When studios themselves complain about the negative influence of Rotten Tomatoes, they tend to do so in defense of movies like Baywatch or the latest Pirates of the Caribbean — terrible films that audiences clearly were not interested in seeing in the first place.

We are entering an era when the studios do not often attempt to make Best Pictures, and most of the nominees are generated by independent filmmakers and specialty distributors.

In a recent TED Talk, J.J. Abrams complained that when studios rip off other movies, they rip off the wrong things.

When studios like Disney / Marvel and Warners are asked why they so seldom attempt to make female superhero movies, they invariably shrug their shoulders and point to the marketplace.

Be it in Tropic Thunder or Funny People, it's somewhat revealing when studios point out the banality that exists in movie - making.

There are those rare occasions though, when studios slip in a surprise and catch us all off guard.

It's now officially that time of year when studios get ready to schmooze and impress Oscar voters in any way that they can.

That is where it started, when studios started hiring bigger name actors to do voice work.

As the end of summer slides into view, so blockbuster season will give way to awards season — the time of year when studios unleash their most prestigious, Oscar - bating movies.

Years like 2010 and 2012 are rare — when the studios are putting out movies the public and the critics and the Oscar voters like.

Black - led movies do travel when studios put the same massive marketing and production budgets behind those movies that they do for white - led films.

Vince Vaughn was expected to star in Daddy's Home alongside Will Ferrell but, was later replaced by Wahlberg when studios changed directors.

It may only be February, and half of the country may still be buried under a foot of snow, but there's a decidedly pre-summer feel to this month's releases — the time of year when studios unleash a barrage of popcorn - friendly movies on audiences that aren't deemed important enough for the summer season.

Yes, there are some popcorn movies coming out between now and December — a new Hunger Games entry, a long - awaited Dumb and Dumber sequel, the final chapter of Peter Jackson's Hobbit franchise — but for the most part, the fall is when studios trot out their somber and serious films.

Category fraud happens when studios (or labels, in the case of the Grammys) submit work in a category they think they can win, as opposed to the category it actually fits in.

And when studios do throw money into a fright flick (e.g., Universal's Van Helsing, bankrolled at $ 160 million), the results can be dismal.

There have been few better British films than Brief Encounter even at a time when our studios are taking their place in the vanguard of this great contemporary art.

While that isn't remotely surprising in 2011, when studios have been comfortable doing direct digital transfers on computer - animated films for over a decade, it still is supremely satisfying, especially since the movie is one of the nicer - looking cartoons to hail from DreamWorks (or any non-Pixar studio).

And fall is when studios roll out the cream of the crop, the serious contenders for best picture.

When a studio owner get it wrong, and a regular is barred from a class as a result, he or she runs the risk of alienating loyal members.

Natalie: I started teaching at Pure Barre Macon when the studio opened in September of 2013.

I know it doesn't mean much, but when studio guys like Seth Davis are noticing PSU hoops, that has to carry some weight.

The last thing that productions want is empty seats when the studio audience is shown on camera.

The year was also a disappointment financially, with Fox's worldwide receipts falling by $ 1 billion compared to 2014 (when the studio was 1st in global market share).

This is what happens when a studio takes a great show and replaces its amazing storyline with a serious case if bad writing.