Sentences with phrase «between characters speaks»

Not exact matches

when the Bible speaks of God's Word, then it means unreservedly word as word — word that as far as its word - character is concerned is completely normal, let us not hesitate to say: natural, oral word taking place between man and man.5

(p. 27 and cf. p67) It is not clear whether, in the dialectic between subject and «community with ecclesial character», when say papal teaching does not «speak to me», there is a place for Vatican II's call for the human subject to offer a «religious assent... of mind and will... according to (the Pope's) manifest mind and will» (Lumen Gentium, 25).

Manifesto's visual inventiveness and Blanchett's multifarious performances make the movie consistently engrossing, even when the relationship between Blanchett's character and the words coming out of her mouth — or, more often in this version, spoken by her in voiceover — seem purely arbitrary.

Full of ideas that are usually more clever than funny — e.g., the running joke satirizing lack of communication between men and women by having the characters speak jibberish, generic phrases, or different languages — but it should prove interesting and inventive enough to keep smart people watching to the end.

The film is rooted in Hollywood classicism, populated with idiosyncratic characters who have plenty of room to speak and interact in between the action / horror set pieces.

Adapted from stories drawn from Giovanni Boccaccio's medieval book «The Decameron,» the film draws humor from the tension between its setting and the way the characters speak and interact as a story unfolds about a fugitive servant (Dave Franco) who pretends to be a deaf - mute to be taken in by a convent that includes three young nuns (Aubrey Plaza, Alison Brie, Kate Micucci), each dealing with personal crises of their own.

In between the admittedly excellent musical moments, no character in the film speaks except to deliver the exposition that moves the already thin plot forward, and the pace moves forward so quickly for everyone except August.

His jumps between characters and factions become smoother — in a late issue he moves from the Midnight Angels speaking to Tetu and Zenzi through video chat to the duo's post-chat conversation and back to the Angels and their Dora Milage council's debate over how to respond.

Before the film's release, The A.V. Club spoke with Rudd about getting into character, his off - screen relationships with his onscreen siblings, and the similarities between Our Idiot Brother and the one movie from his past people are always eager to discuss.

Speaking with an approximated early New Yorker cadence and flat vowel sounds that somehow suggest a middle ground between roughneck and rococo, he's a fearsome character, spitting hatred toward immigrants with both relish and genuine fury.

The characters speak a corn - pone argot that's too self - consciously literary, and many of the scenes, such as the ones between Tyrone and the white, racist sheriff (Stacy Keach), are familiar.

The film's nominal story involves a terminally ill mother, a corpse found floating in the ocean, and a tentative teen romance; as usual, though, Kawase is mostly interested in having these characters speak her ideas aloud, handing them endless turgid dialogue about nature, death, and the link between the two.

Even if the level of other characters» own development decreases as they move down the food chain of plot importance (Some speak of their lack of feelings of worth and act upon them, others give themselves neat nicknames and show off their abilities, and one seemingly appears only as fodder for the villain (After the pronouncement that said character is dead, we half expect the follow - up to be «And we have killed him»)-RRB-, there is at least this conflict of ideas between its central characters playing out as though it, instead of nifty superhuman talents, is what matters the most.

Actress speaks about the difference between her and Angelina Jolie's interpretation of the character

Speaking of characters, U4 still delivers on the beloved banter between characters, in fact, it features some of the best moments between character interactions, some of these by the means of the optional conversations mentioned above, characters interactions never fail to amuse and bring joy, and finding other people's stories through journal notes never cease to intrigue.

You can swoon, longing for more glances and gestures that speak multiple volumes between these characters.

I appreciate the film working with that theme as well as keeping most of the interactions between Spanish - speaking characters in Spanish.

Can you speak a bit about the dynamic between the two characters?

At the film's press junket, James Corden, Rose Byrne, Domhnall Gleeson, Margot Robbie and Elizabeth Debicki spoke at a conference about finding their character's voice, working opposite CGI characters that weren't really there, Flopsy's lisp, the similarities between General Hux (in the Star Wars films) and Mr. McGregor, the mystery of why these rabbits where jackets, and what they would like children to learn from seeing this movie.

It's hard to say exactly how we would all react to a low - scale alien invasion, but I think the film has it pretty right as all of characters authentically act and speak like urban teenagers and their arcs realistically waver between humor and fear.

The screenplay by Scott Neustadter and Michael H. Weber (based on the book by John Green), which does such solid work in presenting one character, falters quite a bit when it concentrates on the bond between Hazel and Augustus, which centers on an adventure in Amsterdam to speak with the reclusive author (Willem Dafoe) of Hazel's favorite book about what happens to the story's characters after its abrupt ending.

As yet we don't know for certain how The Hulk will factor into Thor: Ragnarok (although it's been heavily rumoured that the film will incorporate elements of the Planet Hulk storyline), but during an interview with Collider actor Mark Ruffalo has spoken about his character's arc in the film, teasing a resolution to the conflict between -LSB-...]

The basic premise is a pretty high concept idea, but instead of exploring the figurative relationship between Murphy's character and the leaves on the tree that fall with every word he speaks, Robbins and screenwriter Steve Koren (who's also responsible for last year's incredibly awful «Jack and Jill») take the broader route by making the bond much more literal.

The stand - alone yak - track is actually Rodriguez's best to date, since for the first time, really, he speaks of matters not related to penny - pinching or showing up other directors, often connecting the dots between characters and events in Once Upon a Time in Mexico and their real - life inspirations.

(Properly speaking, TV and ecological crises are all the 22 characters have in common, though there are many references early on to doors being left open — a glancing reference to the more figurative portals that make the interactions between the various plots possible.)

Explain major differences between poems, drama, and prose, and refer to the structural elements of poems (e.g., verse, rhythm, meter) and drama (e.g., casts of characters, settings, descriptions, dialogue, stage directions) when writing or speaking about a text.

In a lively and engaging narrative, Ellis recounts the sometimes collaborative, sometimes archly antagonistic interactions between these men, and shows us the private characters behind the public personas: Adams, the ever - combative iconoclast, whose closest political collaborator was his wife, Abigail; Burr, crafty, smooth, and one of the most despised public figures of his time; Hamilton, whose audacious manner and deep economic savvy masked his humble origins; Jefferson, renowned for his eloquence, but so reclusive and taciturn that he rarely spoke more than a few sentences in public; Madison, small, sickly, and paralyzingly shy, yet one of the most effective debaters of his generation; and the stiffly formal Washington, the ultimate realist, larger - than - life, and America's only truly indispensable figure.

It's too nineteenth century with the lower class characters speaking in sentences like «He was willin», so long's I «greed to be careful about fire, an» well... there's nothin'to keep you from comin» down to - night and seein» it» and «I s» pose we'll have a high old time between now and mornin», «cause that kid, sweet as she's lookin» jest now, ain't goin'to be quiet.»

Furthermore there's some discrepancies between emotions the text describes and what the actors portray, and you'll quickly notice that characters speak not as a person would, but as a writer would, which is to say in lengthy sentences that read brilliantly but sound downright clumsy when spoken.

- first 30 mins or so can be confusing if you haven't played the demo - Yew Geneolgia is the leader of the Three Cavaliers, who guide the Crystalguard into battle - mission of the Crystalguard is to Protect pope Agnes Oblige from harm at all costs - Agnes is captured by this game's new villain, Kaiser Oblivion - together with Cryst - Fairy Anne, they hatch a plan that becomes more apparent as you move along - one of Yew's longterm partners, Janne, has betrayed everyone and actually works for this newly formed Empire - he killed most of the remaining Crystalguard - Yew finds the final member Nikolai of the Cavaliers before his death and requests of him to simply walk away - Yew is determined to bring Agnes back from the airship she is being held captive on - Yew is young and gets easily scared - Edea Lee from the previous game returns - Magnolia Arch, a Ba'al Buster warrior who claims to come from the moon also appears - between lines of English dialogue, she speaks lines of French as well - there is a long chat between all three characters about how adventuring and camping can be a ton of fun - Party Chat makes its return, and seems a bit more humorous this time - Tiz Arrior will also join your team - some things in Luxendarc have changed since the last game - the world is more united against this common threat - if you beat all enemies in a single turn, it enables the «Bring It On!»

When speaking to these characters you are regularly given two options for your reply, these options could be the difference between making a friend and find yourself arguing with a drunk in what seems to be a dark gritty bar.

«Lucas and Spielberg also spoke of vast differences between filmmaking and video games because the latter hasn't been able to tell stories and make consumers care about the characters.»

Speaking of the characters, you now have the ability to initiate dialogue between them, making them more than sword - swinging automatons and adding a lot of flair to the game.

Outside of a narrator occasionally explaining a scene — typically after solving a puzzle or beginning a new area — there is absolutely no spoken dialogue between the characters.

Speaking of which, the three playable characters (skittish engineer Alph, fruit - obsessed Brittany and carefree captain Charlie) are all charming in their own way, especially the faux - language they speak that sounds like a cross between Animal Crossing and French.

He's got an intriguing design based on all the previous Mario RPG villains in one (someone even said that this is intentional, given his concept as a living nightmare), a way of speaking taken straight from old Dracula movies and a personality which strikes just the right balance between «menacing» and «having any character» (unlike say the Shroobs or Dark Star).

Speaking of characters, U4 still delivers on the beloved banter between characters, in fact, it features some of the best moments between character interactions, some of these by the means of the optional conversations mentioned above, characters interactions never fail to amuse and bring joy, and finding other people's stories through journal notes never cease to intrigue.

BT speaks with the cold, humorous objectivity often associated with AI characters, but the way Jack's snappy dialogue plays off their budding friendship establishes a buddy - cop dynamic between the two.

Each character doesn't really speak as much as repeat a bunch of gibberish, which can get a little grating in some of the longer interactions between them.

Jack Mitchell remains the player character throughout the entire game, and while he doesn't speak during missions, he does have plenty of dialogue during the cutscenes in between each mission.

It speaks to the elitism of a world of characters that effortlessly transmigrate, hopping from one biennial to another, with other art fairs scheduled in between.

It speaks to the elitism of a world of characters that effortlessly transmigrate, hopping from one biennial to another, with other art fairs scheduled in - between.

The viewer may in fact draw a comparison between Percival, the seventh character of the Woolf novel, whose first - person voice is never heard, and Hundley, whose artistic output is filtered through experiencing the work of others, speaking through their lyrics and their writings.

Mandarin Chinese (to use the most commonly spoken language in East Asia), incorporates many out - of - vocabulary words such as proper names that pose a significant challenge for machines because unlike English and other Indo - European languages, there are no spaces between words / characters.