35 Example Sentences of "for the film"

Here are 35 examples "for the film" there used in a sentence.

1. In 1987 Herzog and his half-brother Lucki Stipetić won the Bavarian Film Award for Best Producing for the film Cobra Verde. In 2002 he won the Dragon of Dragons Honorary Award during Kraków Film Festival in Kraków
2. In theory, realistic computer animation can reach a point where it is indistinguishable from real action captured on film. Where computer animation achieves this level of realism, it may have major repercussions for the film industry
3. In the stage productions, actors generally did their own makeup, but for the film the producers chose Pierre La Roche to redesign the makeup for each character. Production stills were taken by rock photographer, Mick Rock who has published a number of books from his work
4. He divorced his wife, Irma Raush, in June 1970. In the same year, he married Larissa Kizilova, who had been a production assistant for the film Andrei Rublev (they had been living together since 1965) . Their son, Andrei Andreyevich Tarkovsky, was born in the same year on 7 August
5. Disney intended for the film to have an open-air premiere at Pnyx hill, but the Greek government declined after Greek media and public panned the film. A Greek newspaper entitled Adsmevtos Typos called it "another case of foreigners distorting our history and culture just to suit their commercial interests"
6. The method of strata-cut animation has also been used in the music video for "Big Time" by Peter Gabriel, also for the ' ABC ' part of Michael Jackson's Moonwalker video compilation, and the title sequence for the film "Freaked." Daniels has also used it as background imagery as other forms of animation or live action is superimposed over it
7. Distinct from the centers are the locations where movies are filmed. Because of labor and infrastructure costs, many films are produced in countries other than the one in which the company which pays for the film is located. For example, many U.S. and Indian movies are filmed in Canada, the United Kingdom, Australia, New Zealand or in Eastern European countries
8. Cameron's scriptment for Titanic was 131 pages. The term became more widely known, when Cameron's 1994 scriptment for the film Avatar was leaked on the internet during pre-production, although other directors, such as John Hughes and Zak Penn, had written "scriptments" before. The scriptment for Avatar (2009) was 80 pages and reportedly Cameron wrote it in just two weeks
9. During the 1980s, audiences began increasingly watching films on their home VCRs. In the early part of that decade, the film studios tried legal action to ban home ownership of VCRs as a violation of copyright, which proved unsuccessful. Eventually, the sale and rental of films on home video became a significant "second venue" for exhibition of films, and an additional source of revenue for the film industries
10. During the summer of 1979, Tarkovsky traveled to Italy, where he shot the documentary Voyage in Time together with his longtime friend Tonino Guerra. Tarkovsky returned to Italy in 1980 for an extended trip during which he and Tonino Guerra completed the script for the film Nostalghia. During 1981 he traveled to the United Kingdom and Sweden. During his trip to Sweden he had considered defecting from the Soviet Union, but ultimately decided to return because of his wife and his son
11. Mulan was the first of three features produced primarily at the Disney animation studio at Disney-MGM Studios in Orlando, Florida. Development for the film began in 1994, when a number of artistic supervisors were sent to China to receive artistic and cultural inspiration. Mulan was well received by critics and the public, grossing $304 million, earning Golden Globe and Academy Award nominations, and winning several Annie Awards including Best Animated Feature. A 2005 direct-to-video sequel, Mulan II, followed
12. Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some moviemakers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still shot on film
13. The film received positive reviews from film critics mostly due to Curry's performance and singing. Based on 39 reviews collected by Rotten Tomatoes, 77% of the critics positively reviewed The Rocky Horror Picture Show. At Metacritic, which assigns a normalized rating out of 100 to reviews from film critics, it has a rating score of 55, indicating "mixed or average reviews" based on six reviews. The film has taken in US$365 million at the US box office, DVD sales, etc. since its release. The original budget for the film was US$1, 400, 000
14. The most sophisticated technique was originally developed for the film The Empire Strikes Back and used for some shots of the tauntauns and was later used on films like Dragonslayer and is quite different from traditional stop motion. The model is essentially a rod puppet. The rods are attached to motors which are linked to a computer that can record the movements as the model is traditionally animated. When enough movements have been made, the model is reset to its original position, the camera rolls and the model is moved across the table. Because the model is moving during shots, motion blur is created
15. Unlike many Walt Disney animated features, One Hundred and One Dalmatians features only three songs, with just one, "Cruella De Vil", playing a big part in the film. The other two songs are "Kanine Krunchies Jingle", and "Dalmatian Plantation" in which only two lines are sung by Roger at the film's closure. Songwriter Mel Leven had, in fact, written several additional songs for the film including "Don ' t Buy a Parrot from a Sailor", a cockney chant, meant to be sung by the Badduns at the De Vil Mansion, and "March of the One Hundred and One", which the dogs were meant to sing after escaping Cruella by van
16. The film's original score was composed by Edward H. Plumb, Paul J. Smith, and Charles Wolcott. The title song, "Saludos Amigos", was written for the film by Charles Wolcott and Ned Washington. The film also featured the song "Aquarela do Brasil", written by the popular Brazilian songwriter Ary Barroso and performed by Aloysio De Oliveira and an instrumental version of "Tico-Tico no Fubá", written by Zequinha de Abreu. "Aquarela do Brasil" was written and first performed in 1939, but did not achieve much initial success. However after appearing in this film it became an international hit, becoming the first Brazilian song to be played over a million times on American radio
17. The United States has one of the oldest film industries, and Hollywood is the primary nexus of the U.S. film industry. However, four of the six major film studios are owned by East Coast companies. Only The Walt Disney Company — which owns Walt Disney Pictures, Touchstone Pictures, Hollywood Pictures, Lucasfilm Limited, the Pixar Animation Studios, and Marvel Studios — is fully based in Southern California. And while Sony Pictures Entertainment is headquartered in Culver City, California, its parent company, the Sony Corporation, is headquartered in Tokyo, Japan. New York, Louisiana, Georgia, North Carolina, Florida, and California are considered the most productive areas for the film industry
18. Film budgeting refers to the process by which a line producer, unit production manager or filmmaker prepares a budget for a film production. This document, which could be over 150 pages long, is used to secure financing for the film and lead to pre-production and production of the film. Multiple drafts of the budget may be required to whittle down costs. A budget is typically divided into four sections: above the line, below the line (direct production costs), post-production (editing, visual effects, etc.), and other (insurance, completion bond, etc.) . Film financing can be acquired from a private investor, sponsor, product placement, a film studio or entertainment company, or out of pocket funds
19. Chaplin founded a new production company, Attica, for the film and rented a studio from Shepperton Studios for the shooting. Filming in England proved a difficult experience, as he was used to his own Hollywood studio and familiar crew, and no longer had limitless production time.[note 26] According to Robinson, this had an effect on the quality of the film. A King in New York was released in September 1957, and received mixed reviews. Chaplin decided not to release the film in the United States, which severely limited its revenue, but it achieved moderate commercial success in Europe. He also banned American journalists from its Paris premiere. A King in New York was not shown in America until 1973
20. The backgrounds for the film were inspired by the Eastern American woodlands. One of the earliest and best-known artists for the Disney studio, Maurice "Jake" Day, spent several weeks in the Vermont and Maine forests, sketching and photographing deer, fawns, and the surrounding wilderness areas. However his first sketches were too "busy" as the eye did not know where to focus. Tyrus Wong, a Chinese animator, showed Day some of his impressionistic paintings of a forest. Day liked the paintings and appointed him art director of the film. Wong's backgrounds were revolutionary since they had more detail around the center and less around the edges; thus the audience focus immediately focused on the characters
21. According to producer Don Hahn, the original idea for the film came from development executive David Stain, who was inspired to turn Victor Hugo's novel The Hunchback of Notre-Dame into an animated feature film after reading the Classics Illustrated comic book adaptation. Stain then proposed the idea to Disney, who called on Kirk Wise and Gary Trousdale to work on the project. Wise and Trousdale were working on other projects at the time, but "none of them were quite gelling", so they "jumped at the chance" to do the film. According to Wise, they believed that it had "a great deal of potential...great memorable characters, a really terrific setting, the potential for fantastic visuals, and a lot of emotion."
22. In 1980, the Los Angeles Times reported that animators Wolfgang Reitherman and Mel Shaw had begun work on Musicana, "an ambitious concept mixing jazz, classical music, myths, modern art and more, following the old Fantasia format. " Animation historian Charles Solomon wrote that development took place between 1982 and 1983, which combined "ethnic tales from around the world with the music of the various countries". Proposed segments for the film included a battle between an ice god and a sun goddess set to Finlandia by Sibelius, one set in the Andes to the songs of Yma Sumac, and another featuring caricatures of Louis Armstrong and Ella Fitzgerald. The project was shelved in favor of Mickey's Christmas Carol
23. Fantasia ranked fifth at the 1940 National Board of Review Awards in the Top Ten Films category. Disney and Stokowski won a Special Award for the film at the 1940 New York Film Critics Circle Awards. Fantasia was the subject of two Academy Honorary Awards on February 26, 1942 — one for Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company for their "outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia", and the other to Stokowski "and his associates for their unique achievement in the creation of a new form of visualized music in Walt Disney's production Fantasia, thereby widening the scope of the motion picture as entertainment and as an art form"
24. Production for the film took place from late 1994 to early 1997. The character design was based on Greek statues and artist Gerald Scarfe's work in Pink Floyd—The Wall. Each major character in Hercules had a supervising animator. Andreas Deja, the supervising animator for Hercules, commented that the animation crew he worked with to animate Hercules was the "largest [he] ever worked with". He previously worked on other characters with about four animators on his crew, but he had a team of twelve or thirteen for Hercules. Given Deja had worked with three villains before, he was first offered Hades, but asked to animate Hercules instead - "I knew if would be more difficult and more challenging, but I just needed that experience to have that in your repertoire."
25. The term soundtrack now most commonly refers to the music used in a movie, and / or to an album sold containing that music. Sometimes, the music has been recorded just for the film or album (e.g. Saturday Night Fever) . Often, but not always, and depending on the type of movie, the soundtrack album will contain portions of the score, music composed for dramatic effect as the movie's plot occurs. In 1908, Camille Saint-Saëns composed the first music specifically for use in a motion picture (L ' assasinat du duc de Guise), and releasing recordings of songs used in films became prevalent in the 1930s. Henry Mancini, who won an Emmy Award and two Grammys for his soundtrack to Peter Gunn, was the first composer to have a widespread hit with a song from a soundtrack
26. There are dozens of companies that specialize in the creation of film trailers in Los Angeles and New York. The trailer may be created at agencies while the film itself is being cut together at the studio. Since the edited film does not exist at this point, the trailer editors work from rushes or dailies. Thus, the trailer may contain footage that is not in the final movie, or the trailer editor and the film editor may use different takes of a particular shot. Another common technique is including music on the trailer which does not appear on the movie's soundtrack. This is nearly always a requirement, as trailers and teasers are created long before the composer has even been hired for the film score—sometimes as much as a year ahead of the movie's release date—while composers are usually the last creative people to work on the film
27. In 1984, Tron was followed by The Last Starfighter, a Universal Pictures / Lorimar production, directed by Nick Castle, and was one of cinema's earliest films to use extensive CGI to depict its many starships, environments and battle scenes. This was a great step forward compared with other films of the day, such as Return of the Jedi, which still used conventional physical models. The computer graphics for the film were designed by artist Ron Cobb, and rendered by Digital Productions on a Cray X-MP supercomputer. A total of 27 minutes of finished CGI footage was produced—considered an enormous quantity at the time. The company estimated that using computer animation required only half the time, and one half to one third the cost of traditional special effects. The movie was a financial success, earning over $28 million on an estimated budget of $15 million
28. Brakhage briefly attended Dartmouth College on a scholarship before dropping out to make films. He completed his first film, Interim, at the age of 19; the music for the film was composed by his school friend James Tenney. In 1953, Brakhage moved to San Francisco to attend the San Francisco Art Institute, then called the California School of the Arts. He found the atmosphere in San Francisco more rewarding, associating with poets Robert Duncan and Kenneth Rexroth, but did not complete his education, instead moving to New York City in 1954. There he met a number of notable artists, including Maya Deren, Willard Maas, Jonas Mekas, Marie Menken, Joseph Cornell, and John Cage. Brakhage would collaborate with the latter two, making two films with Cornell (Gnir Rednow and Centuries of June) and using Cage's music for the soundtrack of his first color film, In Between
29. The composer usually enters the creative process towards the end of filming, at around the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film, before the editing is completed, and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process the composer will take precise timing notes so that he or she knows how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting"
30. Generally tax-advantaged theatrical film and television investment for affluent individuals comes with little risk. Most often, the cost of production is recouped by a combination of federal and state tax incentives, thereby eliminating most of the risk. Capital is still required as a direct investment, but must also be "at risk", which allows § 181 IRC write-offs. For example, if a private equity source is found (individuals with capital or a private wealth management firm representing individuals personal funds), the investor pays for the film or TV production, and receives back an equal amount of capital in tax-incentives, pre-sales and state tax credits, thereby making the investment and recoup a wash. This is a highly specialized tax play, and is often looked upon as risky by those who do not understand the risk mitigation offered through state tax and federal tax incentives like § 181 IRC
31. The film is directed by Kirk Wise and Gary Trousdale and produced by Don Hahn. The songs for the film were composed by Alan Menken and written by Stephen Schwartz, and the film features the voices of Tom Hulce, Demi Moore, Kevin Kline, Paul Kandel, Jason Alexander, Charles Kimbrough, David Ogden Stiers, Tony Jay, and Mary Wickes. It belongs to the era known as Disney Renaissance, which refers to the ten-year era between 1989 and 1999 when the Walt Disney Animation Studios returned to making successful animated films, recreating a public and critical interest in the Disney studios. The film is considered to be one of Disney's darkest animated motion pictures similar to films such as The Black Cauldron and released during the same period of time in the 1990s that the first-run episodes of Disney's still-popular Gargoyles, with a similar degree of "darkness" in its own storyline, were airing on American television
32. Critics"> Contemporary reviews for the film were mostly negative. Roger Ebert said of Waterworld: "The cost controversy aside, Waterworld is a decent futuristic action picture with some great sets, some intriguing ideas, and a few images that will stay with me. It could have been more, it could have been better, and it could have made me care about the characters. It's one of those marginal pictures you ' re not unhappy to have seen, but can ' t quite recommend." James Berardinelli of Reelviews Movie Reviews was one of the film's few supporters calling it "one of Hollywood's most lavish features to date". He wrote: "Although the storyline isn ' t all that invigorating, the action is, and that's what saves Waterworld. In the tradition of the old Westerns and Mel Gibson's Mad Max flicks, this film provides good escapist fun. Everyone behind the scenes did their part with aplomb, and the result is a feast for the eyes and ears."
33. Musker and Clements wrote a draft of the screenplay, and delivered it to studio chief Jeffrey Katzenberg in 1991. Katzenberg thought the script "didn ' t engage", and only approved it after the screenwriting duo Ted Elliott and Terry Rossio rewrote it. Among the changes, the character of Aladdin's mother was removed, Princess Jasmine was made into a stronger character, Aladdin's personality was rewritten to be "a little rougher, like a young Harrison Ford, " and the parrot Iago, originally conceived as a "British" calm and serious character, was reworked into a comic role after the filmmakers saw Gilbert Gottfried in Beverly Hills Cop II. Gottfried was cast to provide Iago's voice. Several characters and plot elements are also based on the 1940 version of The Thief of Bagdad, and many aspects of the traditional story were changed for the film – for instance, the setting is changed from "China" to a fictional Arabian city, Agrabah
34. The years of the First World War were a complex transitional period for the film industry. It was the period when the exhibition of films changed from short programmes of one-reel films to longer shows consisting of a feature film of four reels or longer, though still supported by short films. The exhibition venues also changed from small nickelodeon cinemas to larger cinemas charging higher prices. These higher prices were partly justified by the new film stars who were now being created. In the United States, nearly all the original film companies which formed the Motion Picture Patents Company went out of business in this period because of their resistance to the changeover to long feature films. The one exception to this was the Vitagraph company, which was already moving over to long films by 1914. The move towards shooting more films on the West coast around Los Angeles continued during World War I, until the bulk of American production was carried out there
35. We ' re re-writing the script from scratch, and I ' m just jumping into that literally right now, about to close the deal and leap off. Until the screenplay is written you never know who's going to be acting in it or not. But there are a lot of good actors out there who even look like Nathan Drake and who could do it. I love the project, I think it's a great adventure and it's a wild insane ride... the game is and the movie will be. I mean it has pretty great character at its core, Nathan is a bit of a con man, a hustler... knows his stuff, ballsy..it's great. Absolutely. And then you know you have to do what a movie does best, as well... build on what's cool about the game and then make it into a movie. Yeah there will be in this one, this one is a very great adventure, and it's just a matter of pulling out the the [sic] very cool intense stuff that works for the film story, and making sure the story supports those elements and also makes us really connected to the character

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