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With the upcoming Mortal Kombatdirector Simon McQuoid will go from helming memorable commercials like the beloved Duracell Star Wars ad to directing feature-length movies.
It's a massive step up for any first-time film director, but it's certainly not the first time a newbie filmmaker went big. In fact, modern blockbusters are littered with examples of first-time filmmakers behind the camera.
Of course, it doesn't work out every time — but the ones that have scored at the box office did so in spectacular fashion. Sometimes, the presence of a rookie filmmaker can imbue projects with a fresh perspective you simply couldn't get from a seasoned auteur.
That perspective can resonate with audiences on a significant level, as the biggest directorial debuts of all-time at the worldwide box office attest. Although many of these successful debut blockbusters thrived due bfst very different and very specific circumstances, they show that sometimes, handing the reins of a major project to someone new to the form can result in a film that is special both artistically and financially.
‘The Ballad of Lefty Brown’
One note before going forward: this list pertains exclusively to live-action films, solely because it's far more common for artists to make their directorial debuts on mega-budgeted projects in the world of dances with wolves best picture filmmaking. With that said, let's look at the highest-grossing directorial debuts of all-time. Back inthe box office success of Snow White and the Seven Dwarfs gave birth to a whole new way of making movies through animated filmmaking. While not nearly as impactful as that inaugural Disney cartoon, 's Snow White and the Huntsman proved the enduringly persistent financial viability of the Snow White mythos. This grim and gritty take on the whole White story placed Kristen Stewart and Chris Hemsworth in the lead roles of the production and put rookie Rupert Sanders in the director's chair. Sanders was making his first foray into feature-length directing, having already directed a number of commercials and music videos.
It was a lavish first step into longer-form filmmaking, considering the star-studded cast and the ubiquity of digital effects work in Snow White and the Huntsman.
Stewart and Hemsworth were both hot commodities, with the former coming off the Twilight films and the latter having broken out in Thor. Pairing the duo up in a retelling of a famous fairy tale was enough to get summer moviegoing audiences to line up in droves, proving that although it had been a long time since http://rectoria.unal.edu.co/uploads/tx_felogin/i-want-to-cushion-the-shock-of/first-black-psychologist.php, the story of Snow White still had enough appeal to make an A-lister out of an unknown director.
Nowadays, J. Long before those gargantuan box office hauls, however, Abrams had a more modest start as a director with the action sequel Mission: Impossible III. Abrams, who had extensive experience as a TV director and a screenwriter remember Alias? Abrams would be making his directorial film debut with the project, and although his past TV efforts were sort of dances with wolves best picture picturre same neighborhood, it was hardly a slam dunk.
Rupert Sanders was the fairest of them all with "Snow White & The Huntsman"
In the process, Abrams' trajectory as a director of a here blockbusters was assured. Despite being unspeakably influential on the world of visual effects, the original Tron was not a box office phenomenon when it was released in Much like fellow sci-fi cult classic The Thing, Tron failed to find much appreciation from moviegoers. In the years that followed, however, a massive cult following would spring up while fans clamored for further adventures set in this universe.]