Sentences with phrase «life character acting»

The Welles connection is worth bearing in mind, in any case, because Apocalypse Now reeks of his influence: not only the portentous offscreen narration, first - person camera angles, and juicy larger - than - life character acting, but much of the chiaroscuro and other lighting effects of Vittorio Storaro's cinematography.

Not exact matches

That was a very interesting read many comments caught my attention I've recently been diagnosed with Bipolar I have hallucinations and hear voices in my ear's when I hallucinate it's likes they are trying to get me thousands of them I can only describe them as dark shadows and they are trying to get me just as they are about to get me a brilliant white light surrounds me and there's three entities humanly shaped but like this brilliant white light they are also glowing this brilliant whiteness I can't understand what they are saying the only way I can explain it is emotions comfort joy love is what I feel emanating from these entities the voices I hear aren't evil telling me to do bad things to people when I get put into a mode of fear I live in a rough area of Scotland and everytime I've got into a fight something possesses me I know this for a fact as I can't control myself I'm an observer watching my family / Friends say I change they say my eyes change and I look evil I personally do think possibly through my own personal experience I» am possessed as I act out of character I've lost interest in many things I've recently I decided it's time for change I've lost my faith I've been trying to connect with God and feel his love which I used to feel the presence of the holy spirit everytime I try connect I get a feeling of abandonment I just think if I am possessed could these entities stop me connecting with «God» I can say from my heart of hearts «JESUS CHRIST HAS COME IN THE FLESH» I think it's more to do with the persons own personal fears which I have noticed my fears have changed if I had to be truthfully with myself I fear God which I know I'm not supposed to just I can't explain it I guess if you ever need a test subject I'm up for the challenge like I said I'm on journey to find myself and my travels have brought me hear I'm going to hang around for a wee while there's lots of good information to be plundered loll

The sacrament «is stripped of its essential character when it no longer includes an elemental, life - claiming and life - determining experience of the other person, of the otherness, as of something coming to meet and acting hitherwards.»

He chose the dialogue form, I believe, because it was the vehicle best designed to dramatize the movement of inquiry as an act of life, involving characters in conversation, not intellects in isolation.

True to that vision, The Goldfinch remains a largely secular story, and its characters often act as if God does not exist: They live for the moment, sin boldly, and speak in profane ways.

Guess my question for you is that if you are not able to reconcile the acts of God in view of his character, can you live with that?

First, we are given an in - depth discussion of the process of practical reasoning; the moral evaluation of human action; a philosophical psychology that draws together the roles of intellect, will, and emotion in human acts and in the development of virtuous or vicious moral character; the nature of sin and the foundational role of conversion to Christ; and the place of law in the Christian life.

In fact, a closer look at Smiths career shows that he has made a healthy living off playing characters who battle things that do nt exist including Space Aliens, zombies, space aliens, his own sons acting abilties, iRobots, space aliens again, racism in golf, and the unrealistic expectations of upward economic mobility.

And then her character, the way she talks and acts, she is a living lie, always on the side where she can get the most out of, and tomorrow if things changed she is on the other.

Read St James's consultation: http://www.stjames.tgacademy.org.uk/wp-content/uploads/2013/03/finalconsultation.pdf Read the BHA's correspondence with the Academy and Diocese: http://humanism.org.uk/wp-content/uploads/BHA-correspondence-with-Tudor-Grange-Academy-Solihull.pdf Read Tudor Grange's affiliation agreement with the Diocese of Birmingham: http://www.tudor-grange.solihull.sch.uk/images/docs/draftjul11.doc Read the relevant section of the Equality Act 2010: http://www.legislation.gov.uk/ukpga/2010/15/section/85 Visit the local campaign's Facebook group: http://www.facebook.com/groups/150736215077978/ View the petition against the plans: http://www.ipetitions.com/petition/tudor-grange-admissions-policy Read more about the BHA's campaigns work on «faith» schools: http://humanism.org.uk/campaigns/schools-and-education/faith-schools/ Read the BHA's table of types of school with a religious character: http://www.humanism.org.uk/wp-content/uploads/schools-with-a-religious-character.pdf The British Humanist Association is the national charity working on behalf of non-religious people who seek to live ethical and fulfilling lives on the basis of reason and humanity.

Indeed, animators are tasked with bringing computer - animated characters to life, particularly those with key «acting» roles.

Based on the main character Lisbeth Salander, a misunderstood genius with a cache of authority issues — Summerville has this to say about the visual essence of the collection... «Salander's look is very real and very lived in, with pieces that her character has worn for a long time, like her jackets that act as her armour to shield her from the world.

The Music Of Silence lacks emotional weight, developed characters, a coherent linear story, and sufficient enough acting to make a passable biopic of a living legend.

The exaggerated, unambiguous expressivity and the connect - the - dots definitions of character (featuring pat confessions and reheated memories) reflect the closed - off academicism of acting workshops and screenplay pitches rather than the open - ended complexities of life.

And, while his almost villainous rigidity is so well defined, and the glimpse into the lives of Iranian exiles are valuably drawn, the character of his teenage son Esmail (Jonny Ahdout) is not, making his last act of desperation a mere device to provide a climax.

It's a real toss - up as to which character is more pathetic; the janitor with terminal cancer who lives in a trailer, or the hairdresser with braids who devotes her life to a certain unfortunate musical act from the late - eighties.

An dramatic and comedic ensemble piece, the one - act traces several years in the lives of a group of characters working in an auto parts warehouse during the Great Depression of the 1930s.

The most prominent characters include Haven Hamilton (Henry Gibson), a socially conservative, arrogant country music star; Linnea Reese (Lily Tomlin), a gospel singer and mother of two deaf children; Del Reese (Ned Beatty), her lawyer husband and Hamilton's legal representative, who works as the local political organizer for the Tea Party - like Hal Philip Walker Presidential campaign; Opal (Geraldine Chaplin), an insufferably garrulous and pretentious BBC Radio reporter on assignment in Nashville, or so she claims; talented but self - involved sex - addict Tom Frank (Keith Carradine), one - third of a moderately successful folk trio who's anxious to launch a solo career; John Triplette (Michael Murphy), the duplicitous campaign consultant who condescendingly tries to secure top Nashville stars to perform at a nationally - syndicated campaign rally; Barbara Jean (Ronee Blakley), the emotionally - fragile, beloved Loretta Lynn - like country star recovering from a burn accident; Barnett (Allen Garfield), Barbara Jean's overwhelmed manager - husband; Mr. Green (Keenan Wynn), whose never - seen ailing wife is on the same hospital ward as Barbara Jean; groupie Martha (Shelley Duvall), Green's niece, ostensibly there to visit her ailing aunt but so personally irresponsible that she instead spends all her time picking up men; Pfc. Glenn Kelly (Scott Glenn), who claims his mother saved Barbara Jean's life but who mostly seems obsessed with the country music star; Sueleen Gay (Gwen Welles), a waitress longing for country music fame, despite her vacuous talent; Bill and Mary (Allan F. Nicholls and Cristina Raines), the other two - thirds of Tom's folk act, whose ambition overrides constant personal rancor; Winifred (Barbara Harris), another would - be singer - songwriter, fleeing to Nashville from her working - class husband, Star (Bert Remsen); Kenny Frasier (David Hayward), a loner who rents a room from Mr. Green and carries around a violin case; Bud Hamilton (Dave Peel), the gentle, loyal son of the abrasive Hamilton; Connie White (Karen Black), a glamorous country star who is a last - minute substitute for Barbara Jean at the Grand Old Opry; Wade Cooley (Robert DoQui), a cook at the airport restaurant where Sueleen works as a waitress and who tries unsuccessfully to convince her that she has no talent; and the eccentric Tricycle Man (Jeff Goldblum), who rides around in a three - wheel motorcycle, occasionally interacting with the other characters, showing off his amateur magic tricks, but who has no dialogue.

And don't think ZACHARIAH is wanting in the suspense department; in fact, the entire film (especially in its third act) hums with an imperceptible tension, as these characters slowly figure out if they can trust one another (and, really, spend the rest of their lives together).

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

By Harry Potter and the Half - Blood Prince, it feels like we're seeing these characters live through this story, rather than acting out an adaptation.

The Creative Assembly are going through pain - staking efforts to bring the cast of Alien Isolation to life and instead of creating virtual characters and simply hiring voice actors to voice them, they have employed a real cast of actors whose likenesses are being scanned into the game and their acting is also being motion captured.

It is a specific type of acting and it must be precise as it has to bring a character to life.

I need a bit of clarification though as far as Rupert Grint goes, is his character the one looking to go from acting to porn or is he really doing that in real life??

You know, I talked before about how we translate this into a live act — that means filling out the characters.

All of the characters live in rich, fancy houses yet somehow don't work and can just talk about working out, mommy and me play dates, and acting competitive with the other moms in the neighborhood.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Whether it's the powerful actors, the cinematography, or the gripping music from Nicholas Britell, you find yourself fully immersed in the three act emotional life of this character.

Based on true events, director Richard Brooks patiently and disturbingly paints a picture of two characters who act stupidly and carelessly, concentrating on fulfilling their own shortsighted, selfish desires while senselessly taking away four lives.

In the final act, he decides to get real with his characters when they decide that life isn't always greener on the other side.

The voice acting, including various moments such as Prompto singing the Final Fantasy Victory Fanfare after finishing a battle, really brings the different characters to life.

Streep excels in many areas of acting, but I feel when it comes to stage adaptations to the big screen, Streep doesn't live in the character as comfortably as she would in any other role.

The acting was brilliant (was awesome in particular to see Ralph Fiennes play a type of character we haven't seen him play before), and the setting itself played a massive part in bringing the directors» vision to life.

Who wouldn't want to see a character like Terence Fletcher, played by J.K. Simmons (Juno, Upcoming Justice League movie as Commissioner Gordon) in front of a live audience, using funny profanity, hollering, and acting like a maniac at a lovable character like Andrew Neiman, played by Miles Teller (War Dogs, Bleed for This)?

The first act, originally released on PC more than a year ago, was a success among critics for its story and characters, brought to life by the voices of actors including Elijah Wood, Jack Black, Wil Wheaton, and Jennifer Hale.

Mildred, as willed to life by McDormand's take - no - prisoners acting turn, is simply a great screen character, and she sells it for all its worth.

And strong acting helps bring the characters to life, even...

Amidst some fantastic acting - especially those of Ellar Coltrane (Mason), Patricia Arquette, and Ethan Hawke - and authentic characters, Boyhood takes the audience on the roller - coaster ride known as life.

There's also Vanessa Bayer dancing in a bear costume, and Jacki Weaver acting like she's a live - action character from «The Simpsons,» among other slap - happy joys.

The characters are unrelated in the show, but in real life the brothers are both members of a prolific Mexican acting family.

Feeling very Star Trek: TOS-esque on a very CGI Ego the Living Planet, the second act is almost - all spoken exposition — the characters mostly walk around sets on Ego and have a lot of conversations.

The result is a film that has the requisite third - act orgy of CGI, but also has a fine sensitivity to the emotional lives of the characters.

The second act expands on it, giving us two new characters, a new philosophy behind life in this world, and an extended portrait of the devastation.

Despite being a more realistic part of her life than the fantastical world of voice acting, her desire to improve the lives of disadvantaged children is similar to the role her character plays in the final game in the Final Fantasy XIII trilogy, Lightning Returns: Final Fantasy XIII.

The gruesome, frenetic last act is utterly over-the-top, but still manages to be entertaining simply because it's so preposterous, and because we've come to like being around these characters who are now in a battle for their lives.

Brought to life by Peter Ustinov and, perhaps definitively, by David Suchet, the character's past incarnations are an even tougher act to follow than the railway mystery itself.

The narrative trips itself up somewhat with a messy third act that falls into predictable realms of police corruption and overly convoluted, poorly explained schemes to benefit the hierarchy while threatening the lives of our main characters (for some reason) but the lack of coherency can't get in the way of Creevy's skill for adrenaline - fueled action filmmaking and that is where Punch really delivers.

It's truly in the Oasis where the character really comes to life but even there, Wade acts like a typical teenager who falls in love easily (way too easily) and simply wants to win the grand prize.

• OSCAR WINNING ROLES: If by some miracle Bryan Cranston won he'd be the second actor to win for playing a previous Oscar winner (the first being Cate Blanchett as Katharine Hepburn in The Aviator) • GENDER: If by some miracle Eddie Redmayne won it'd be the first leading actor win for a female character though not the first Oscar win for someone playing another gender — that was Linda Hunt as a male photographer in The Year of Living Dangerously (1983) • MULTI-HYPHENATES: Matt Damon and Leonardo DiCaprio have also been nominated outside of acting categories.

Nicholson makes the character of Schmidt genuine and likeable, clearly showing his confusion with the turns his life has taken, without resorting to the «extreme Nicholson» acting for which he is justly famous.