A beautifully filmed sequence in which the two brothers fought amid collapsing towers and turrets, both evenly matched.
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In a filmed sequence that played before the show's opening credits, Ms. Bee joyously discovered that it was Nov.
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The prison explodes, in a gorgeously filmed sequence that ends with the camera spinning and a gun pointed at a guard's head.
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It's a beautifully filmed sequence: his image blurs as Kate freezes, and the moment captures her panic and disorientation, her paralysis in the crisis.
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Riverlands: Speaking of letting people starve, here we come to a wholly unexpected and hauntingly filmed sequence with The Hound that's probably my favorite part in the premiere.
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In a filmed sequence whose creation was widely documented on Friday, Ms. McCarthy roamed the streets of New York riding a motorized White House podium (to the tune of Simon & Garfunkel's "The Only Living Boy in New York").
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In a beautifully filmed sequence, the two brothers fought amid collapsing towers and turrets, until finally Sandor realized that his brother, whom Qyburn had effectively turned into a zombie after he was wounded by Oberyn Martell's poison-tipped spear in season four, was unkillable by any means other than fire — the thing Sandor fears most.
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After working on Les Quatre Cents Coups du diable, Méliès opted to build the filmed sequence "Le Voyage dans l'éspace" into a freestanding film. The new material was made at least six months after the original filmed sequences, with different actors, including Méliès himself as Mephistopheles. Though some elements of the film are derived from the stage play, Méliès devised a new plot, and modified the wording of the French title from Les Quatre Cents Coups du diable to Les Quat'Cents Farces du diable to avoid questions of copyright. (Méliès eventually reused the other filmed sequence from the play, "Le Cyclone", as a scene in his later film Robert Macaire and Bertrand.)Malthête & Mannoni, p. 209.
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The theme song for One Day at a Time, "This is It", was composed by Brill Building songwriter Jeff Barry and his wife Nancy Barry, and performed by recording artist Polly Cutter. The opening credits were originally seen over a filmed sequence showing Ann, Julie, and Barbara excitedly moving into their new home. Later, the opening credits sequence mostly consisted of clips of each cast member taken from previous episodes.
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From the trailer for The Sun Comes Up (1949) After opening the Metropolitan Opera's membership campaign, MacDonald appeared as herself in Follow the Boys (1944), an all-star extravaganza about Hollywood stars entertaining the troops. The more than 40 guest stars included Marlene Dietrich, W.C. Fields, Sophie Tucker, and Orson Welles. MacDonald is shown during a concert singing "Beyond the Blue Horizon," and in a studio-filmed sequence singing "I'll See You in My Dreams" to a blinded soldier. She returned to MGM after five years off the screen for two films.
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By the end of the year she became the subject of a documentary entitled Gunvor - A Media History, which concluded with a newly filmed sequence of her weeping on the Eurovision stage. She continued through 1999 working as a tap dance instructor but admitted in an interview that the negative press towards her was causing her depression. By Christmas she was singing and dancing in Zurich's Conelli Circus and had released a third single. The following year, she released her debut album, From A to Z, but this too failed to find success.
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Each season had an individually filmed sequence for the opening credits. In season one, for example, a cartoon-like drawing of a freshly laid concrete sidewalk was displayed with the show title and stars' names scratched into its surface, while in the final season, the Cleavers left the house through the front door carrying picnic items (see List of Leave It to Beaver episodes for specific season opening sequences). Billingsley was the first to be introduced in all opening sequences, followed by Beaumont and Dow. Mathers was introduced last, with the voice-over line, "...and Jerry Mathers as The Beaver".
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For Les Quatre Cents Coups du diable, De Cottens and Darlay commissioned Méliès to make two short films to be projected as part of the entertainment. One of these, for the scene titled "Le Voyage dans l'éspace" ("The Space Trip"), showed the Good Genie traveling from the sky to the Earth in a celestial taxicab (and, on a more practical level, filled the time needed for an elaborate scene change going on just behind the screen). The other filmed sequence was "Le Cyclone" ("The Cyclone"). Méliès also contributed material to the script of the production, which was a marked success, running for some five hundred performances.
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A filmed sequence showed extracts from the torch relay around the UK, to the music "I Heard Wonders" by David Holmes. This then cut live to show David Beckham driving a dramatically illuminated motor boat down the River Thames and under Tower Bridge, to fireworks, while footballer Jade Bailey held on to the torch in the boat. This section had been rehearsed on 24 July 2012 when the close-up shots were pre- recorded, and was directed by Stephen Daldry. There was then a tribute to "..friends and family of those in the stadium who cannot be here tonight", including the victims of the '7/7' 2005 London bombings (on the day after London had been awarded the Games).
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After time was already scheduled to attempt the shot, Madalone explained to the director that he could take the filmed sequence and digitally manipulate it onto the bottle. Madalone was also responsible for firing a cork from a bottle at Colm Meaney's head from off screen to make it appear as if Bashir did it, and managed to do it on the first take. "Our Man Bashir" was the longest shoot of any single episode of Deep Space Nine, taking nine days to film instead of the normal seven. The episode required a great deal of stunt work and special equipment, such as stuntmen going through tempered glass instead of sugar glass because of the better glass breaking effect.
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The Ealing filming involved scenes set in the alien jungle, which was originally to be recorded in a real forest, but after the success of the previous season's Planet of Evil, it was decided to create a jungle in the film studios. Another filmed sequence for episode one included a scene where the Doctor threatens one of the tribesmen with a knife. Lead actor Tom Baker refused to threaten someone with a weapon and instead substituted it for a jelly baby, much to Hinchcliffe's annoyance who wasn't present at the day's filming. Episode one also introduced the character of Leela, who wasn't intended to be a new companion, but a one-off character with whom the Doctor would interact.
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An Adventurous Automobile Trip ( or Le Raid Paris–Monte Carlo en deux heures) is a 1905 French short silent comedy film directed by Georges Méliès. The film, a spoof of the devil-may-care motoring exploits of King Leopold II of Belgium, features the King engaging in a manic, implausibly fast automobile ride from Paris to Monte Carlo. The singer-comedian Harry Fragson stars as the King, supported by a large cast of stage performers from the Folies Bergère cabaret and other venues, with two cameo appearances from Méliès himself. Méliès, working in collaboration with the stage director Victor de Cottens, designed An Adventurous Automobile Trip as an innovative Folies Bergère act combining stage performance and film, with a live prologue and epilogue used to frame the filmed sequence.
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Another Clayton sequence that was removed featured a giant disembodied hand that reached into the boys' room and tried to grab them – this was deleted by the studio on the grounds that the mechanical effect was not realistic enough, and it was replaced with a newly filmed sequence in which the boys' room is invaded by spiders. (In 2012, co-star Shawn Carson recalled the harrowing experience of having to film the new scene, which was entirely done using real, live spiders). Bradbury was asked to write new opening narration (read by Arthur Hill) to help clarify the story, and new special effects were inserted, including the "cloud tank" storm effects. Another major disappointment for both Clayton and his musical collaborator Georges Delerue, was the loss of the original score, which Disney rejected as being 'too dark' – it was removed at the studio's insistence, and replaced by a new score, written by James Horner.
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