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Studio in sentence

881 examples of Studio in a sentence

I am all for using found public locations, non-actors, no name talent behind the camera and in the studio.
There really isn't much to recommend it... you may get some amusement from the faked studio shots of the star "wading" through a "swamp".
Now just how did the long-gone studio known for Chuck Norris movies ever come up with a complete lack of knowledge in the first place?
While Siskel, Ebert, and Roper promoted independent films and were only hit-or-miss with the big budget studio productions -- what a surprise: these two guys LOVE the big studio schlock and only manage to tolerate a few indies.
The other performances were so uniformly terrible, I am amazed a studio would actually pay the "performers" to appear.
Disney was not the right studio to run this film.
The whole film is depressingly reminiscent of those that occasionally came out of Rodger Corman's studio when he'd give a first time director a few bucks and a camera--but without the discipline Corman would impose.
I thought the studio would be handing out money to people as they left the theater as a sign of their apologies, but to my dismay that wasn't happening.
At the time (the 1940s mostly), they were very popular and had enough clout that the studio starred them with Boris Karloff, Bela Lugosi AND Peter Lorre in this film.
It seems that American-International (a studio that specialized in ultra-low-budget fare in the 60s) bought this film and utterly destroyed it--slicing a two hour plus film into a 64 minute film!
Funny how a studio thinks it can make a sequel to what was a classic Christmas story with an entirely new cast and expect it to float.
Turns out he's "just a guy" who walked in the side door of the recording studio and pretended to be a producer.
The "Trivia" page on IMDb claims the filmmakers protested because this film was re-cut by the studio to "simplify the plot".
The funniest thing about this was the original ad campaign in which the studio admitted this film was crap! (One poster had a fictional review that said, "This is the best movie I've seen this afternoon!").
It's all shot using a motionless mounted camera in a small, bare studio, sometimes using blue screen for outdoors backgrounds.
After reading the other reviews for this film I am of the opinion that the high markers are probably paid studio lackeys as the film I saw was absolutely dire, with wooden acting, lacklustre scripting and plodding predictable directing, one of the few plus points has to be the stunning scenery as this film features some stunning backdrops with great sweeping vistas and dramatic skies and wide open prairies, sadly when the most memorable thing in a film is the part featured behind the actors this has to be a warning sign as to the quality of the movie, all in all a thoroughly uninspiring addition to the western genre which even at the very reasonable price it can be obtained on DVD is best to avoid.
A few daylight location shots, for example, would have helped relieve the succession of dreary studio sets.
Written by Joel Schumacher well before he became a big-league director of mainstream studio product ("Batman Forever", "The Phantom of the Opera"), this movie seems grittier on the surface.
And no effort was made to make the numbers sound as if they were happening right there in front of you, every single one sounds like its coming from a studio, essentially sucking all the life from the songs.
Despite post - modern interpretations purporting somehow to see it as a gay or even feminist tract,the fact of the matter is that it was a major disaster in 1970 and remains one today.How anyone given the resources at Mr Sarne's disposal could have screwed up so royally remains a closely - guarded secret.Only Michael Cimino ever came close with the political and artistic Armageddon that constitutes "Heaven's Gate".Both films appeared to be ego trips for their respective directors but at least Mr Cimino had made one of the great movies of the 1970s before squandering the studio's largesse,whereas Mr Sarne had only the rather fey "Joanna" in his locker.
And thirdly... given that there were people perverted enough to decide to make dreck like this, shouldn't there have been someone in the system - the studio, the distributors, or somewhere - sane enough to prevent it actually getting completed and released.
A friend once asked me to read a screenplay of his that had been optioned by a movie studio.
At first, these films with MGM were not that bad (such as THE CAMERAMAN) but with talkies, the studio really blew it--putting him in several films with Jimmy Durante.
By 1941 Columbia was a full-fledged major studio and could produce a movie with the same technical polish as MGM, Paramount or Warners.
It's a somewhat generic ghost story about an actress haunting a studio during the filming of a WWII period drama.
But the movie was mostly very bad and the sad part is that it was produced by a major motion picture studio... which is now bankrupt.
The animation is up to the usual studio standards of the time, which are unquestionably higher than those of the present day.
Released in December 1951 by Warner Brothers, STARLIFT is a very obvious effort to replicate the success of the studio's star-studded World War Two home-front morale booster "Hollywood Canteen."
If they ever propose a movie idea, they should be kicked out of the studio.
I'm sure that when they were really young and made some O.K. movies, some studio boss bought all their rights for 15 years, or something, so that now that they're, what, 17, they can make movies in other countries whenever they want using the studio's money.
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