Sentences with phrase «dialogue scene sets»

The first dialogue scene sets the tone and direction for the film.

Not exact matches

One scene shows the CIA setting up a meeting to «have a dialogue» with a high ranking radical Muslim terrorist and who shows up on a forward base in Afghanistan and simply detonates his vehicle when the CIA officers approach the vehicle to «welcome him» to their base where he has arranged to meet and «have a dialogue».

In the end, the movie is still a musical, entirely sung through with little or no spoken dialogue scenes, filmed on a big theatrical set.

No recent movie about The Troubles gives the audience the emotions, the pure hatred between the two forces, with the impact of «' 71,» the credit going not only to Jack O'Connell, known to us mostly for his role as the rebellious prisoners in «Starred Up» (never mind that the dialogue was largely indecipherable), but also to director Yann Demanage for setting up realistic seeming fight scenes, a series of breathless chases, and a sense of neighborhood that Demange found not in present day Belfast but in the English town of Sheffield.

Watching «The Room» on your own, and struggling through the banal dialogue and non sequiturs, the dreary sets, the elevator Muzak score, and the long, cringe - inducing sex scenes in which Wiseau bares his all for our appreciation isn't funny but sad.

The DTS - HD Master Audio 5.1 provides a nice set - up with the dialogue up front and atmospheric effects during larger scenes.

Likewise, offbeat choices in the film's look and sound add edge from time to time: In a scene set in a cramped turkey barn, a cacophony of bird noise eerily eclipses the dialogue, suggesting the animal chaos behind the veneer of agrarian Americana.

Mendes also includes a set of unique, memorable scenes, great one - liners and dialogue, and cool soundtrack but the use of talking head video segments and a duel with a sniper seem recycled and lazy.

The otherwise naturalistic dialogue and bleak settings are invested with a touch of poetry through the integration of some simple but effective metaphors — Iris» alienation is figured by a scene where she finds herself literally disconnected by the telephone services, while her disorientation is visualised by her wandering dreamily through the storage corridors of a Lost Property Office where she has begun working, just another neglected object waiting to be found and loved again.

This is a small story, set in 1950, but the emotions are epic, and Davies expresses those emotions with an epic treatment - with a loud string section on the soundtrack, dreamy takes and scenes that crystallize in just a single line of dialogue, suggesting the power of memory to compress events into moments.

The music occasionally, almost out of luck, sets the right mood, but most of the time just makes for awkward dialogue scenes and a composition clash of sound and visuals.

Though best known for her arch dialogue, Cody has a knack for location, setting stories in sharply sketched places and clearly defined moments in characters» lives — qualities that sometimes make Ricki And The Flash feel like a throwback to the minor - key American filmmaking of the 1970s, when Demme first arrived on the scene.

Adapted from the novel by Chris Fuhrman, there's some funny dialogue and interesting insights delivered during the course of the film, and had the tone stayed within the bounds set during the opening scenes, this would have been an enjoyable slice of life film with humor and heart.

Clunky moments in dialogue and transparent narrative mechanics seem mere quibbles when set against several genuinely moving scenes, leaving the audience with a contented smile at the end.

But Focus will need to make some nifty marketing moves to reach them; despite the age and appeal of the cast, the dialogue is often expressed in a kind of stylized formality, while art house touches like a scene backdropped by «Ave Maria» and an upper - crust manor setting can belie the film's quicker, looser rhythms.

In celebration of The Disaster Artist movie release and The Room's 15 year anniversary, Co-star, line producer and former Wiseau roommate Greg Sestero is coming to town to present an exclusive behind the scenes documentary about the making of The Room, a live reading of this first edition of Tommy's screenplay, which features settings, dialogue and plot devices that never made it on screen!

We discuss the overall feel in advance, then, in the case of simple sequences like dialogue scenes, I will even rely on the cinematographer to suggest improvements on my shots on the set.

He's also prone to halting his observations the scene, the setting, what have you, to admire his own dialogue.

There's a superb sequence set around a dinner table (outdoors, of course), and the dialogue is so fresh and invigorating that the scene proves to be as exciting as any action set - piece involving costumed heroes (or if we're talking about Man of Steel, more exciting).

The first, dread - and tension - inducing scene practically functions as a master - class in tone - setting and world - building on a modest budget, achieved through a relatively straightforward combination of visual composition, natural lighting, and production design and not exposition (e.g., dialogue, voiceover narration).

The few quiet, dialogue - driven scenes are far outweighed by the more elaborate set pieces, though speech never needs to fight to be heard.

In a shoot that stretched on for months, he hired and fired entire crews, recast leading roles, reshot scenes in different sets, and added and deleted subplots (including one in which his character had a flying car), but never succeeded in learning the dialogue he'd written for himself.

With one memorable scene set on a night set country road Dom Hemingway is devoid of any true originality and seemingly thought that the fact it had such a vile central figure and such seedy dialogue it would resonate with the ever willing audience of such ventures.

The first set of women are so fun to spend time with, just bantering and setting up the scene, that we can happily just watch them chew up Tarantino's cleverly crafted dialogue and inch forward with the plot.

There's no emotional payoff here, only cliched dialogue and convoluted padding to set up future installments, plus one unintentionally hilarious scene that metaphorically depicts teen sex.

Every scene is an exercise in drawn - out affectation, with the characters» silent stares at each other, gazes off into nothing, and pauses between dialogue exchanges — all set to meaningful piano twinkles and drum beats — so distended as to intimate parody, an impression exacerbated by William twice telling enforcer Vincent (Martin Donovan) that his comments sound like something from a movie.

In these dialogue - free opening scenes, set to a score that buzzes like a plague of locusts, There Will Be Blood establishes itself as a film of Darwinian ferocity, a stark and pitiless parable of American capitalism.

The tense tracking shots interspersed with static point - of - view sets the scene more than any line of dialogue could - it's two years on from events of 2014 film Dawn and the battle between humans and apes, fuelled by the traitorous Koba (Toby Kebbell), has rendered the world a post-apocalyptic wasteland.

The script of this dialogue - rich film sounds forced, with every second line intended as pithy high - brow banter, and many of the set - piece scenes are symmetrically framed to evoke the formalism of 19th century portraiture styles.

Every scene, every shot, every line of dialogue, every pause is so hypnotically composed, so luxuriously overdeliberate, that the audience can't help but assume that Refn knows exactly what he's doing — that he's setting us up for the kill.

It includes three scenes of the film that take place in very different settings than their final versions but retain most of the same dialogue.

If you're interested in improving your writing and learning the creative writing craft, like writing in scenes; showing versus telling; using setting, characters, and dialogue; and structuring a narrative.

The short story elements such as plot, dialogues, characterization, narrative, atmosphere, scene setting are also present in flash fiction; having said that flash fiction may not include every elements of short story (character development, plot, atmosphere, clear beginning, middle, ending etc..)

There is a host of issues, from strange dialogue derailing scenes and blurred character models to the game being rather short and heavily unbalanced in the party's favor that removes any sort of difficulty outside the very hardest setting.

Therefore, do not submit any unsolicited creative works or ideas, including, but not limited to, games, films, television shows, videos, audio recordings, music, scores, images, drawings, artwork, sketches, written materials, novels, stories, scripts, storyboards, treatments, comics, plotlines, dialogue, characters, settings, scenes, textures, designs, code, inventions, concepts, plans, marketing concepts, or any other works, ideas, or intellectual property (collectively «Material») to Square Enix.

All the great LEGO comedy moments are in here, little odd touches that make you laugh, though not having any dialogue or text for the cut scenes did seem a little confusing (I'll be honest I did check my settings to see if this was right).

[1] In a piece on Mikkel Carl's recent works, curator and art critic Toke Lykkeberg discusses the artist's desire to set up dialogue concerning the muteness so predominant on the contemporary art scene.

We spoke to Feign Cubed curators Ed Florance and Jack Finch, «It started out as an extension of my own artistic practice, where I create computer generated interiors and set up dialogues and narratives between objects or the scene as a whole questioning the thematisation of the digital.

Mury's work, whilst narrow and hugely free, opens up a dialogue around the history of art — Taking control over the entire creative process: from costume and set design up to the camera angle, he obtains a unique place in the contemporary scene among artists who use their own image as the strongest element of creation.