The film's most striking quality is its extensive use of the split-screen.

: The Director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of Actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack.

On the film's DVD commentary, Di Novi mentions that the filmmakers wanted to use the original Doris Day version of the song, but Day would not lend her name to any project using profanity.

The creative use of music videos within their 1964 debut film A Hard Day's Night, particularly the performance of " Can't Buy Me Love ", led MTV decades later to honor the film's director, Richard Lester, with an award for " basically inventing " the music video.

In the 2010 film adaptation of Scott Pilgrim vs. the World there are multiple references to the Zelda games and the soundtrack, including use of the " Fairy Fountain " theme in one of the film's dream sequences.

However, these scenes are not on the DVD as he changed his mind after recording the commentary ; Mendes felt that to show scenes he previously chose not to use would detract from the film's integrity.

* In Recess: School's Out ( 2001 ), the film's main antagonist attempted to use a tractor beam to move the moon to create a new ice age.

Shortly after the film's premiere, Cameron and video editor Ed Marsh created a longer video cut of The Abyss for their own use that incorporated dailies.

In the film's prologue ( set 19 years after the events of Unification, and as depicted in the graphic novel Star Trek: Countdown ), Ambassador Spock ( Nimoy ) promises the Romulans he will use Vulcan technology to save them from a rogue supernova that threatens to destroy their Empire.

Now disembodied, he speaks to Luke telepathically in the film's climactic battle scene, telling him to use the Force to destroy the Death Star.

The nomination also caused protests, this time from pro-Israeli groups in the United States, who objected to the Academy's use of the name " Palestine " on its official website to designate the film's submitting country.

The film is noted for its use of ragtime, particularly the melody, " The Entertainer ", by Scott Joplin, which was adapted for the movie by Marvin Hamlisch ( and became a top-ten chart single for Hamlisch, when released as a single from the film's soundtrack ).

The film's score makes repeated use of the short composition Gassenhauer from Carl Orff's Schulwerk, and also uses other pieces from the Schulwerk.

For the distinctive cinematography, Altman and Zsigmond chose to " flash ' ( pre-fog ) the actual film negative, as well as use a number of filters on the cameras, rather than manipulate the film in post-production ; in this way the studio could not force him to change the film's look to something less distinctive.

Spielberg earned $ 500, 000 a day from his share of the profits, while the Hershey Company's profits rose 65 % due to the film's prominent use of Reese's Pieces.

The film's use of imaginative gymnastics fit the athletic star, his " catlike, seemingly effortless " movements were as much dance as gymnastics.

The film's plot centers on a group of four teenage girls who pursue witchcraft and use it for their own gain.

The film is notable for its almost exclusive use of one set: with the exception of the film's opening, which begins outside on the steps of the courthouse and ends with the jury's final instructions before retiring, a brief final scene on the courthouse steps and two short scenes in an adjoining washroom, the entire movie takes place in the jury room.

Tisdel sued the producers of the film for unauthorized use of her name and likeness before the film's release.

The film's title is a phrase generally used in the UK to mean ' the whole lot ', or ' the whole hog '; in the film, the characters use it to refer to full nudity — as Horse says, " No one said anything to me about the full monty!

Like Blue, the film's cinematography makes heavy use of the title colour: the sky is almost always white, and a scene in Poland is filmed in a white snowscape.

More recently, critic Glenn Erickson discussed the editorial message of the film's producers: " The makers of The Atomic Cafe clearly have a message to get across, and to achieve that goal they use the inherent absurdity of their source material in creative ways.

This album featured the modest pop hit " Searching for a Heart " and the rocker " Things to Do in Denver When You're Dead ", later utilized for the title of the neo-noir film of the same name directed by Gary Fleder ; after some skirmishing over the unauthorized use of Zevon's song title, the Zevon track was licensed to play over the film's end credits.

: With a photochemical process, the color timer adjusts the color of the film via printer lights for greater consistency in the film's colors.

In the special edition DVD, Michael Chapman, the film's cinematographer, regrets the decision and the fact that no print with the unmuted colors exists anymore, as the originals had long since deteriorated.

He was granted unprecedented permission to film in the Forbidden City of Beijing, and the film's central character Puyi undergoes a decade-long communist re-education under Mao which takes him from the peacock colors of the palace to the grey suit worn by his contemporaries to live out his life as a gardener.

Truffaut was especially impressed by the film's extravagance: the bold colors, the poetry of the dialogue in certain scenes, and the theatricality which results in cowboys vanishing and dying " with the grace of ballerinas ".

The film's style is drawn from a number of real and mock documentaries, and its shots are crafted to create this effect, in many cases through the use of hand-held cameras.

According to the film's press notes, this was the " first time ever that a major feature film has been even partially shot using IMAX cameras ".

The film's co-writer Roberto Orci suggested that the IMAX footage would be 3D, but Bay later said that considering himself an " old school " filmmaker, he found 3D gimmicky and added that shooting in IMAX was easier than using stereoscopic cameras.

) But because of the considerable noise made by IMAX cameras, 35mm and 70mm cameras had to be used for shooting the film's dialogue scenes, and dialogue had to be dubbed when shot with IMAX cameras.

" He deemed it an eerie coincidence that Big Brother made its debut a year after the film's release, and he also compared the film to the 2003 program The Joe Schmo Show: " Unlike Truman, Matt Gould could see the cameras, but all of the other contestants were paid actors, playing the part of various reality-show stereotypes.

* DX encoding, a standard for marking 35 mm and APS film cartridges so that cameras can determine the film's speed and number of exposures

Biziou often used two cameras for the film's intimate scenes to reduce the number of takes that had to be shot.

The film's cinematographer John Alonzo used light-weight Arriflex II cameras that offered a great deal of flexibility in terms of free movement.

The film's budget of $ 620, 000 was shot in 35mm format by utilizing Panavision cameras.

Shooting was a generally pleasurable and easy-going experience for those involved, the film's budget was broad and the shooting schedule was not tight.

The film's unusual camera angles, however, were not appreciated by all critics at the time.

According to the film's co-producer Richard Lederer, Exorcist II was conceived as a relatively low-budget affair: " What we essentially wanted to do with the sequel was to redo the first movie ... Have the central figure, an investigative priest, interview everyone involved with the exorcism, then fade out to unused footage, unused angles from the first movie.

The clusters of those fast moving meteoroids appear to be identical in shape and detail ( actually, the same prop meteoroid was shot from different angles and then optically printed in tandem, at different sizes, on the film's master negative ).

" In The 50 Most Influential Black Films: A Celebration of African-American Talent, Determination, and Creativity, author S. Torriano Berry writes that the film's " odd camera angles, superimpositions, reverse-key effects, box and matting effects, rack-focus shots, extreme zooms, stop-motion and step-printing, and an abundance of jittery handheld camera work all helped to express the paranoid nightmare that life had become.

Needham decided to include outtakes in the film's end credit scrawl to highlight alternate camera angles for the impressive stunts performed for the movie.