Sentences with phrase «emotional arcs of»

«Look, we have to tell the story and the story has to be built around the emotional arcs of characters,» he told the audience at Wizard World Cleveland.

At times, the film feels to be a straight drama, exploring the emotional arcs of Assaf and Tamar on their respective journeys.

Although trimming a source material's story for time constraints is an understandable and widely accepted practice in filmmaking, cutting the already trim depths of emotional arcs of Ana and Christian that were presented in the final novel for its movie made the overall adaptation untitallating and unfulfilling.

Autistic children blinked right through those moments, suggesting they were not following the emotional arc of the story, but they responded sharply when an object suddenly moved.

For, although this flick focuses on a different set of survivors as they adjusted to the U.S., the emotional arc of their experience is unsettlingly similar.

«But it is in the emotional arc of the character where Day's work really shines.

One sitting, 90 minutes to two - and - a-half hours of what the emotional arc of it needs to be and the events that need to happen.

Salaam Reads titles happen to have Muslim protagonists, but as with any book, the appeal is in the emotional arc of the characters.

Not exact matches

In his B + review for the AV Club, A.A. Dowd writes, «Zhao holds it together through the sheer range of her performance, reverse - engineering an emotional continuity — an arc, even — that connects characters and past work she's delivered for Jia.

When she looks at herself in the bathroom mirror after she's tried out cheating on her own beloved, a complete emotional arc is displayed on her face in just a few flickering facial expressions: shock, then disappointment, and finally, a flash of pure giddiness.

All that being said, while it never reaches the emotional arc it should (or at least the level it thinks it accomplishes) concerning the ramifications family men and women have with a whole week off of marriage, they do an adequate job making us at least care about the journey.

Fortunately, the movie still makes time for serious emotional drama and resonant arcs for all three of its main characters, Scott Lang / Ant - Man (Paul Rudd), his mentor Hank Pym (Michael Douglas), and Hank's daughter Hope (Evangeline Lilly).

If viewers don't feel connected to a character because of a lack of development, it's difficult to have a response to emotional beats in their story arc.

But where Superbad improves upon the recipe of those relatively - superficial offerings is in the attention it devotes to character development which, in turn, allows for the cultivation of an emotional arc, some warm and fuzzy moments mixed in with the mirth, and ultimately a satisfying denouement.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

Unlike the first movie's largely helpless Sally Hardesty, Renee Zellweger's Jenny is a heroine updated for the post-Aliens era, given an emotional arc and a well of untapped inner strength.

Its uplifting story arc may be formulaic but the strength and honesty of the performances give it surprising emotional heft — especially from Damon as a troubled math genius in the role that marked his arrival as a major, serious actor.

The underused Skurge waddles in his arc of a guilt - stricken traitor, who gains agency too late, but the emotional impact needs a lot more than brief shots over faces of desperate, helpless Asgardians.

Usually in a romantic comedy like this, it's up to the leads to have the emotional arc and all of the supporting actors to bring the laughs.

There isn't much of an emotional arc to the story — we don't care enough about any of these people, ever after learning so much about them, to care who wins.

La La Land steals liberally from Demy's catalogue, both in terms of their visual cues and the characters» emotional arcs.

Bergman's screenplay charts the arc of self - inflicted destruction — the forward march into inevitability — but it's Ullman who finds the nuance, the gestures and micro-sparks of emotional connection and withdrawal that lead inexorably to tragedy.

While none of these emotional beats are necessarily groundbreaking — you'd see them in any relationship movie — they are deeply felt, and the arc over which they unfold in the movie is feels effortlessly orchestral in its composition.

It's just not the same build - up, the situations aren't as dire, and whatever emotional content we might bestow upon the story arcs of Thorin and Bilbo feel like chicken - feed compared to those who've been injected into the piece to supposedly give some resonance.

Character's emotional arcs are all too brief, submerged beneath all those entrails, and as usual, the protagonists demonstrate stupidity in the face of danger.

The story doesn't make much sense, and doesn't really create any kind of dramatic arc or emotional punch.

However, it shares with those films many of the director's creative trademarks including fantastical elements, rich characters, emotional complexity, and an atypical narrative arc.

HBO's set includes a horde of extras that delve into George R.R. Martin's world, though some of the best extras may be the wonderfully unpretentious commentary tracks, each featuring a different line - up but all linked by a sense of glee at what their characters get up to even as the show follows complex political and emotional arcs.

There are defined emotional arcs, decently charming characters and a good amount of irreverent laughs stuffed into the margins and by the end, you find yourself not only rooting for Tree's survival but her redemption and happiness.

But if «Wilson» can pack an emotional punch, and Harrelson carries his character through some form of metamorphic arc, anything is possible.

This gives Deadpool 2 a case of tonal whiplash where you're laughing hysterically at the devil - may - care jokes only to have to pump the brakes and care about Deadpool's emotional arc.

This time they are part of a larger emotional arc for the film and character.

The emotional weight of such an arc is compelling and devastating.

Rockwell — in his best performance to date — has the biggest emotional arc, changing his ways in the course of a story that appeared at its peak the minute it started.

Anderson's films have long had an off - kilter balance between arcs and individual moments, and this movie is largely tilted towards the latter: to name just one of the most piercing examples, the first flashback (of many), which shows Spots and Atari's first meeting, has enough emotional heft to sustain a full half of a lesser film.

Because there's so little time with them together as a couple, I needed to have some bedrock that's incredibly strong and could support the love story side of the movie, and support Rooney's emotional arc, and also that would in a way define for the audience the way in which the movie was going to function.

What it gets right on paper is immediately apparent: Casting hot - ticket stars against type as crestfallen romantics struggling to cope with mental illness provides two attractive but ostensibly vacuous mainstream celebrities (Bradley Cooper and Jennifer Lawrence) the enviable opportunity to prove their worth with conspicuously «revelatory» performances; meanwhile, the fundamental seriousness of their characters» respective arcs, with Cooper hoping to control the outbursts caused by his bipolar disorder and Lawrence attempting to overcome her grief over her husband's recent death, raise the emotional stakes considerably, elevating largely light material from rote comedy to overtly «adult» drama.

None of it resonates however, lacking a gripping emotional arc.

It is a surprisingly touching movie with the same kind of emotional arc as «Awakenings»; the character is in a trance of deprivation and poverty, neglect and drugs, until she is awakened by her violent act and its unexpected results.

T'Challa has no arc — he's just kinda there, while all three of the male villains, and several of the female characters, have much more of an emotional presence.

Because of that structure, critique groups are often better with writing craft issues on a smaller scale (clarifying sentences or paragraphs, scene goals, immediate motivations, dialogue passages, etc.) than on a story - sized scale (character development, plot flow, story goals and motivations, themes, emotional arcs, etc.).

A piece of advice that I heard back in the day with regards to writing pitch letters to agents, I think also applies here: Write as if a Spanish soccer announcer was describing your character's emotional arc.

Successful writers I know — whether they're published commercially or self - published — need to write and rewrite their books many times, usually with the support of a developmental editor, not someone who does spelling and punctuation but a creative partner who is able to identify and solve problems with the story, structure, characterization, dialogue, visual description, literary style, pacing, the narrative arc — with a first, second, and third act that engages the reader and reaches some kind of epiphany or denouement that entertains, illuminates and provides emotional satisfaction for the reader.

I believe this initial assessment of the whole book, rather than reading only a chapter or two, is the best way to see how the author sustains the narrative arc — creates the premise, develops the action, resolves the problem — and brings the reader to some kind of satisfying personal experience, an emotional landing place, whether it's inspiring, happy, tragic or just plain informative.

on The Other Side of the Story with Janice Hardy Helpful Books for the Writing Process by Michelle Ule on Books & Such Literary Agency blog 3 Tips for Writing Heavy Emotional Scenes by Jami Gold Don't Cheat the Reader by Sally Apokedak on Novel Rocket How to Infuse Your Writing with Nostalgia by Frank Angelone on Copyblogger The Secrets Behind Buried Dialogue: Part One and Part Two by Lynette Labelle Crafting Multi-Layered Characters by Marissa Graff on Adventures in YA & Children's Publishing Writing Futuristic Fiction in (What Feels Like) a Science Fiction World by Imogen Howson on Pub (lishing) Crawl How to Spot Mary Sue in Your Writing by Ava Jae Taking the Road Less Taken (With Your Characters), guest post by Kristen Callihan on The Other Side of the Story with Janice Hardy The Ending Debate: Make Mine Hopeful by Marcy Kennedy Unusual Inspiration: Character Arcs Made Easy by Fae Rowen on The Writers In the Storm Blog 25 Things You Should Know About Writing Sex by Chuck Wendig Writing Craft: Action vs. Active Openings to Grab Attention by Kristin Nelson Writing Craft: Mechanics vs. Spark by Kristin Nelson on Pub Rants Writing Craft: Breaking the Rule: Show Don't Tell by Kristin Nelson on Pub Rants Give Characters Interesting Anecdotes by Mooderino on Moody Writing

ARC's network of placement partners will be continuing the physical and emotional rehabilitation of the animals and ultimately matching them with families looking to adopt.

«The neglectful conditions were typical of hoarding, which is a compulsive emotional attachment to things or animals that often leads to a situation like this that causes immense suffering for both the animals and people involved,» said ARC President Scotlund Haisley.

For those of us who are animal lovers, spay / neuter programs like those offered by ARC ease the EMOTIONAL COST that comes with the knowledge that thousands of animals are killed each day due to overcrowding.

It's grand scale war and hallmark boots - on - the - ground Call of Duty action with memorable characters, rich emotional arcs, and stunning new environments, all within an epic new setting.

This crybaby of a character ends up becoming the heart of the party, not only because he's openly emotional, but because he actually grows, maturing over his game - long character arc.