Making a movie image is hard work under the best circumstances. It is a process of collaboration that requires careful, I hope cordial coordination between an incredibly diverse series of craftsmen: directors, actors, writers, cameras operators, designers, tricks, electricians, carpenters, animal arguments and occasionally muppets. The degree of difficulty increases when you dare to shoot at less than welling elements such as water, jungle or desert.

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"Jaws", "Apocalypse Now" and "Lawrence of Arabia" are three of the biggest films ever made, but they were brutally difficult to gather. Hughes of Mother Nature broke all three of these schedules. The sets were destroyed, the equipment was damaged over the repair and the mechanical shark refused to work properly. Did it be worth? For the viewer, absolutely. You watch these films and, among the stunning sequences, complain that they really couldn't be made in this way of taking risks nowadays. But one view of the George Hicliper, Fax Bahr and "The Hearts of Darkness of Darkness: The Apocalypse of the Director" should thank the manufacturer of your choice that you have been subjected to Francis Ford Coppola's controversial approach to "Apocalypse now" while turning the Philippines into a war zone.

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And then, here's the "Roar" of Noel Marshall.

Marshall's passion project and his film wife Starwarra Tipi Heden, "Roar", is, on an area, a family film for Naturalist (Marshall) that leads natural preservation in Tanzania inhabited by large cats. When she carries his family (the real Marshall-Heden clan, including a young Melanie Griffith) to join him as he continues his study, all hellish breaks are lost. They arrive until he is threatening to preserve, leading to a frightening encounter with these gigantic creatures (who will play with you until you are dead as a housecat would be a mouse). It's all frightening real, and the danger is unstable until the loans roll 90 minutes later, at that moment you wonder how no one killed this wild work.

Stunning, no one died while filming Roar, but Jan de Bon-Legendary Dutch director and cinematographer, who set "Die Hard" and "Hunt for Red October", directed "Speed" and "Twitter"-flourished with the big exit.