Sentences with phrase «actors build character»

Some actors build character from the outside using make up or costume.

Each actor builds a character from the feet up, adopting an accent and / or a ridiculous period - accurate hairstyle to help define their personality.

Not exact matches

With solid actors, good writing, vibrant costume work, a terrific score from Coogler - regular Ludwig Goransson (Central Intelligence, Stretch), humor that's delivered with refreshing subtlety, and Coogler's taut pacing that also takes the time to build up its scenarios, Black Panther succeeds at delivering an unlikely solo effort in the superhero genre, and leaves skeptics and those completely unaware of the characters within the comic books hungry for more.

All of these comedy duos and trios built characters around their real life personas, so it's sort of strange seeing other actors step into these roles.

Nolte is OK in a part that affords him very little to build a character from, Robert Shaw does a dialled - down version of his salty dog Quint from Jaws, and the great character actor Eli Wallach appears in a supporting role as an old drunk who plays both sides.

The cover story, «Grade B — But Choice,» is devoted to an obscure 1934 musical called «Young and Beautiful,» featuring «budding starlets, grade - A character actors, grade - B musical numbers, a pair of vaudevillians, a look behind the scenes of Hollywood, bogus appearances by Charlie Chaplin and Buster Keaton and a script by Dore Schary» [later famous as a producer of films such as «Crossfire,» «Mr. Blandings Builds His Dream House,» «They Live By Night» and «The Red Badge of Courage»].

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

The other actors are also quite good but are there clearly only to add to the building - up tension between the 2 main characters.

Through this experience, I recognized what an extraordinary set of personality traits it takes to be able to succeed in that world, and I was really drawn to the character work we could build with actors as a result.»

It's an actor's dream, since the entire movie is built around his character, and he gets to play nearly every emotion, but it's bereft of excessively showy dramatics.

It often takes hearing a screenplay read by actors to see how the characters come to life and to see which scenes play well and which are problematic, as well as to experience live how the structure of the screenplay builds the story or where it doesn't engage the audience.

Sanders and Roades's Chirons in particular bring so much nuance to a part that would seem to have little inherently built into it; both actors develop shades of introversion and reflexively projected self - confidence to give the character a movingly damaged sense of black masculinity.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

Nice attention to character building at the beginning is muted by the generic road trip story and the rote character arcs by its supporting cast, which includes many talented actors like Toni Collette and Alice Eve, along with noteworthy cameos by Jessica Rothe (Happy Death Day), Patton Oswalt, Tony Revolori (The Grand Budapest Hotel) and more.

Once again, Russell puts fascinating, flawed characters on display, which the perfectly cast and uniformly excellent actors build into a close - knit universe to which we have boundless access.

Such work is built upon making the labor of acting visible enough to lend importance to a performance, and it can often lead actors to forget the more fine - tuned interiority that makes a character feel real.

He does his actors no favors in The Neon Demon, so while it should be nice that Refn has assembled a cast of mostly women after building his career on tales of rippling masculinity, it's more disconcerting that the filmmaker reduces the characters» conversations to catty chats about sensual lipstick names and the importance of cosmetic surgery.

Built on facts but willing to depart from them to serve its own storytelling needs, the movie places the same winning emphasis on characters, who are exquisitely brought to life by four actors who starred in the director's two prior films, all of whom landed Oscar nominations (for both performances), plus Jeremy Renner, who would have been just as worthy of a nod.

Niccol seems to understand that what we see and how we think is all predicated on illusion, an illusion created in an industry built on making us believe that a work of fiction is really the truth and that the actors are really the characters they portray.

I once had a workshop with Mike Leigh, and he told us about his crazy rehearsal process for three months: the actors don't know the script, and they don't know if they are main characters or not, and he just builds up every character with every actor, with the costume designers, and set designers.

Hoffman, who was no matinee idol figure with his tubby, lumpy build and limp blond hair, made his career mostly as a character actor.

There comes a point when the actors are ready and I consult with them, as it doesn't make sense to discuss what they're wearing earlier on in their life while they're building the character.

I must say that this was one of the worst movies I've ever watched, «Evil Dead» was better than this mound of shit... Gareth Edwards should be banned from directing hence forth, and now I hear he's directing the new Star Wars spin - off... I'm not one to talk down to others but let's be honest, you have to be retarded to like this movie... It made absolutely no sense, the script (the most important piece to any movie) was terrible, the plot was stupid, the acting was horrible and it seemed that the actors who were chosen were acting for a different movie all together... Where was the sense of urgency, I mean there were 300 foot tall behemoths walking through buildings and all you could show us was who was going ride with the little boy on the school bus... Maybe if all the main characters died and they just let Godzilla do his thing from there on out an eyebrow could've been raised but unfortunately, there isn't one good thing to say about this movie... I'm shocked the WB handed over one their biggest names to Legendary Pictures... Let's not forget what they've done with Superman Returns... This is shameful...

Directed by Derek Cianfrance, who also co-wrote the script, the film allows its characters to develop as authentic people by providing foundations upon which the actors can build highly convincing emotions.

Watching the two aging actors step back into the ring decades later is not only embarrassing for them, but the audience as well, particularly when the movie is built around a bunch of unfunny old geezer jokes and lame callbacks to their respective boxing characters.

And in contrast, we have Michael Stuhlbarg's indelible work as Elio's father — an example of what a great actor with decades of experience, after unostentatiously building and deepening his character with very limited screen time throughout the movie, can bring forth within a single climactic monologue.

The actor has been building a resume playing troubled young men, from Bloodline to It, and a less - intelligent script would've turned this character into a walking cliche.

There has also been a string of releases to build up anticipation for the film, including a behind - the - scenes featurette on how the film was made and a cast interview where the voice - actors are replaced with their characters.

In order for this formula to work, all three elements of world - building, character development, and gameplay have to mesh as surely as a screenwriter, a director, and actors in a perfect movie.

The character models are incredibly sharp and smooth (especially those found in the TRON world, based off actual actors) and the environments are all colourful and have this exciting feel about them — especially if you've got some of that good old Disney nostalgia building up.

In most games, you'd typically expect the main character to receive the most attention to detail, but everyone in the cast, from Pasos to that lowly IT engineer, appear as if a significant number of man hours were spent building and modeling these virtual actors.

While his 2000 film The Beach followed DiCaprio's character's search for an unspoiled, untouched stretch of oceanfront property, the actor's life imitated art when he purchased the 104 - acre Blackadore Caye in Belize with plans to build an eco-friendly Four Seasons resort on the property.