Sentences with phrase «with long tracking shots»

A postscript: If you read the screenplay for Paul Thomas Anderson's The Master, you'll see that it's laden with long tracking shots and expansive sets.

That somebody is David Robert Mitchell, who nailed the «70s and «80s slasher feel with long tracking shots, a synth score and a plot to scare you off sex for life.

Twohy moves effortlessly between conventions of the sub and horror genres, with long tracking shots and masterful sound design, shock cuts and mismatched mirrors and reflections.

Walk Hard opens with a long tracking shot as a stagehand looks for Dewey Cox and finds him in an iconic pose of self - reflection.

Not exact matches

Stanton for years has dominated the Statcast tracking for longest and / or hardest - hit home runs, but Judge has taken some of that thunder this season with prodigious shots of his own.

He wasn't his brilliant best, with a few long shots flying over the bar, but he hardly looked like someone who was struggling — even tracking back to his own penalty box at times.

Long stretches of Under The Skin resemble a hybrid of Stanley Kubrick films, shifting from the head - trip sensation of 2001's stargate sequence to The Shining's ominous tracking shots to A Clockwork Orange's depictions of a crumbling United Kingdom fraught with peril.

Cianfrance and Bobbitt shot the movie in a kind of coldly sunny blur of metallic speed and near - constant movement that starts out with a five - minute - long tracking shot.

His mastery is aptly demonstrated at the very start of the film, with the breathtaking, over three minutes long tracking shot.

The long tracking shots of cocaine - fueled parties and cocaine - fueled writers rooms are jam packed with actors portraying everyone from John Belushi to Paul Shaffer.

The long tracking shots of cocaine - fueled parties and cocaine - fueled writers rooms are jam packed with actors portraying everyone from John Belushi to Paul...

Even after watching the brilliantly effective first trailer — which opens with a slow tracking shot down a long, dark corridor — we have absolutely no idea what the film is about.

He directed all 8 eps, but that's the one with the crazy long tracking shot.

Busting features one of the finest cinematic foot chases ever shot — a long tracking shot through a supermarket complete with a gun battle in the produce aisle.

Alavi and Jamal depict his fantasies in bright, vivid colors with dynamic movement; when the characters jump, dive or wrestle, the directors stay with the action, often as though we're in one long, handheld tracking shot.

Rather, Wright expends quite a bit of his energy in staging scenes, with long, tracking shots, where individuals, dead and dying, are mere decorative pieces in his grand design.

With artful use of darkness and long, spooky tracking shots, Shults maintains an atmosphere of sharply felt anxiety, danger, distrust and even sexual tension.

When McQueen isn't marking time with exercises in post-slow-cinema aesthetics (as in the long tracking shot of Fassbender sternly jogging to his bitchin» Glenn Gould playlist), he elides and defers.

Similarly, The World's End, which leaps into action only after its characters have imbibed a few pints, features brawls shot with swooning long takes that track a thrown punch a half - second too late, a delayed reaction that suggests the camera itself attempted the Golden Mile.

It begins with too many fancy visual touches — with a long, long tracking shot that looks in too many windows, for example — and we're afraid that Miss Moreau is trying too hard in her directorial debut.

Shot in a stark black and white, with the actors repeatedly isolated in their own frames, some really creepy images of crazy nuns (the long early sequence wherein the nuns are interrogated and exorcised is a miniature masterpiece) and a series of subjective tracking shots implicating the audience in the chaos, the film reaches a high point when the priest consults the local rabbi (also played by Voit) in a series of head - on medium shots.

Ten years ago, Joe Wright took audiences to Dunkirk in a five - minute tracking shot that ranks with the best of cinema's long takes.

Even the opening shot, a long tracking shot that follows Gosling from above the shoulder as he gets ready to perform a motorcycle cage of death stunt, is gorged with palpable tension.

All the slow motion, tracking moves, and framing and wide and long shots are hauntingly descriptive: In that strangulation sequence, a shot in an apartment hallway with Bulger and his victim in the foreground slowly accommodates, in the background, one out - of - focus henchman, then another.

That subversive nature of the film begins on the formal level: Shot in grainy black - and - white on 16 mm, The Happiest Day commits utmost to an aesthetic of realism, with Kuosmanen and cinematographer Jani - Petteri Passi capturing scenes in detailed long takes and smooth tracking shots.

The new M (Ralph Fiennes) may not approve of Bond's epic shoot - out / blow - up / chopper chase in the middle of Mexico City's Dia de la Muerta (Day of the Dead), one of the most heavily populated set pieces (with a doozy of a long - take tracking shot) in Bond history.

As appears to be Antonioni's signature, the film ends with a flashy bit of awesome filmmaking, this time a long, circular tracking shot.

The film ends with an almost unendurably long tracking shot from the back of a car, looking back impassively at the three - mile stretch of road where Byrd was dragged to his death.

Entering one event after another, the undersized horse with the oversized rider begins to make track history that amazes even jaded journalists and a world - weary radio announcer (William H. Macy) who has to eat crow when the long shot wins his first race.

A long tracking shot featuring Trintignant in a wheelchair as he has an inaudible conversation with a group of Africans is reminiscent of similar sequences in 2005's Cache, the meaning of which is only later made eerily evident.

Mike Leigh's sprawling J.M.W. Turner biopic opens with a marvelous extended - take long shot: A windmill's silhouette churns its blades against the rays of the rising sun as two Flemish maids enter the frame carrying buckets of water on their shoulders, the camera tracking with them along the muddy banks of a canal before settling finally on a distant figure in top hat, Mr. Turner (Timothy Spall), fervidly sketching the scene in a portfolio.

Glazer creates a sort of chamber melodrama tone, with stately, long takes, extended tracking shots and slow, deliberate focus pulls.

Just when I was ready to bend the rules, the slowpoke prematurely dipped into the pit lane, leaving me with a clear shot at the track's long front straight and a sudden outlet for the red mist that had been building over the lapping session.

The Trophy, which is Autocar's long - term test car, has done a couple of photo shoots on closed circuits and a track day at Spa since it arrived with us a month or so ago.

One Mile Film (5,280 feet of 35 mm film negative and print taped to the mile - long High Line walk way in New York City for 17 hours on Thursday, September 13th, 2012 with 11,500 visitors — the visitors walked, wrote, jogged, signed, drew, touched, danced, parkoured, sanded, keyed, melted popsicles, spit, scratched, stomped, left shoe prints of all kinds and put gum on the filmstrip — it was driven on by baby stroller and trash can wheels and was traced by art students — people wrote messages on the film and drew animations, etched signs, symbols and words into the film emulsion lines drawn down much of the filmstrip by visitors and Jwest with highlighters and markers — the walk way surfaces of concrete, train track steel, wood, metal gratings and fountain water impressed into the film; filmed images shot by Peter West — filmed Parkour performances by Thomas Dolan and Vertical Jimenez — running on rooftops by Deb Berman and Jwest — film taped, rolled and explained on the High Line by art students and volunteers) 2012, 58 minutes, 40 seconds 35 mm negative and film print transferred to high - definition video, no sound Commissioned and produced by Friends of the High Line and the New York City Department of Parks and Recreation