Sentences with phrase «often gives the scenes»

It's a striking approach that often gives the scenes the feel of a minimalist play, evoking the sort of otherworldly little corner of the Earth these bizarre souls have carved out for themselves.

Not exact matches

Rachael was given the code name «Rita» during filming, and the scene was done often with a very small crew to ensure that what was being done would not get out to the public.

The latest behind - the - scenes maneuvering over control of the Redstone empire is striking, given that in recent years Shari had taken on a more prominent role at the companies, and often attended management meetings at the company's headquarters in New York.

My students are far too often ready to believe that Kant was just, in a given passage, murky or that Aristotle was pointlessly repetitive or that Tolstoy was, in the battle scenes of War and Peace, needlessly verbose.

Personally, I do nt share the trust you have in Gibbs defensively, whilst I must say he is way better than Clichy going forward I think he often looks unsure of himself without the ball and isnt sure he is where he should be and this may be down to the fact that he was never a defender coming up, he was a winger and Wenger only moved him back since his arrival on the scene in the CC, so, for me, Traore is the safer option for now with Gibbs been suited to games where we may be less exposed and given more time to learn what the positons all about.

When an officer arrives at a crime scene, it is often important that they explore it immediately — there could be a suspect hiding, or a dangerous chemical giving off toxic fumes.

Saskia often gets updates from happily married clients who say Hey Saturday's pictures gave them the push they needed in the online dating scene.

He and longtime cinematographer Janusz Kaminski have brightened up their usual palette of pale blues and grays to give «The Post» welcome warmth, but they often swirl the camera into circles to cover up for otherwise static, speechifying scenes.

Steinfeld, giving her most fully realized performance since her Oscar - nominated work in the Coen brothers» «True Grit» (2010), manages the tricky feat of seeming both caustic and luminous, often in the same scene.

But he's also trying to make a political point, meaning that scenes are often given over to lengthy state - of - the - nation diatribes about the cruelty of the banks and the powerlessness of the little guy.

There's no way to tell how likely this is to actually happen — given both the technical problems of refurbishing a film whose appeal often derives from the fact that it looks like it was shot through cheesecloth, as well as the fact that it's Tommy Wiseau saying this — but we can't help but fantasize and / or have waking nightmares about the effects the addition of 3D might have on certain scenes.

The film also weaves in lots of scenes that are meant to make us think that Barnum was the first 21st century - style «woke» white straight man in America — a goodhearted fellow who gave circus jobs to outcasts of one kind or another (talk about a big tent: the repertory company includes African - Americans, little people, giants, conjoined twins and a bearded lady), not just because they happened to possess certain talents or physical characteristics that Barnum could exploit (often by appealing to the majority's prurient interests or bigotries) but because the onetime poor boy Barnum sees himself in their striving, and wants to build a theatrical - carnival arts utopia in America's largest city with help from his new partner, rich kid turned playwright Philip Carlyle (Zac Efron).

With subtitles on — and noting that it's disappointing to not be given the essential, often - excluded option to resize them — I began my playthrough fully aware of why I was going to become a Hunter thanks to the options prior to the extended opening scene.

It all comes off slightly soapy, and because of the director's perfectionism (he and virtuoso cinematographer Gregg Toland would often do 20 takes or more of any given scene), the film feels fussed - over in a way that other Wyler productions such as the devastating drama The Heiress do not.

And the film's monochromatic quality and frequently static scenes give it a sort of flatness; I found myself often distracted by trying to figure out which voice actor was which, rather than following the story.

A hearty collection of deleted and extended scenes, 25 minutes worth, seems to run counter to the assertions of slashed scheduling and fine - tooth comb budget consciousness that Zombie mentions in his audio commentary track (more on that in a moment), but you have that material if you want it; a lot of it is of the slightly tweaked variety, with a couple clipped, inessential (often vulgar) dialogue exchanges within a given scene.

To paraphrase Civil War General William Tecumseh Sherman, «War is all hell, boys,» and Gibson certainly gives us his own private slice of Hades with these often repellent scenes of blinding, acrid smoke, bomb craters, fatal bullet wounds, bayonet attacks, grenade explosions, artillery bursts and horrid flame - thrower deaths among the mostly constantly - charging Nipponese soldiers.

On another note, there are some interesting and unusually dark flashback scenes giving us some details on the back story of often overlooked characters Jasper and Rosalie.

In a relatively small cast, which probably aided the reshoots, Wahlberg performs to the same level that saw him impress in The Departed and The Gambler, getting a nice grandstanding scene with Plummer, and as Chinquanta, the self - appointed leader of the kidnappers, Romain Duris excels by giving an extra dimension to a role that can so often conform to one - dimensional stereotype.

Indeed, Patriots Day finds Berg working in his preferred aesthetic mode of handheld commotion — in which the twitchy camera itself often seems to be in search of the focal point of any given scene (an approach enabled here by cinematographer Tobias A. Schliessler, a frequent Berg collaborator).

More often than not, though, the laugh - out - loud scenes are orchestrated by young Robbie (Jonah Bobo), playing a teenager refusing to give up on love despite his parents break - up.

Strother Martin must have gotten used to working fast in the»50s, when directors, while clearly enamored of his humorously harried manners and quick - to - turn - to - jelly face, would often give him only a single scene in which to make his mark: in John Huston's The Asphalt Jungle, his first screen appearance, he's given only a single shot.

Yet Rudolph's camera — which often floats dreamily along the edges of scenes — will eventually give up its shy, arty detachment when so moved by an actor.

Befitting writer - director Jarmusch's deadpan style, Depp gives one of his stranger and more low - key performances, allowing more florid scene partners like the terrific Farmer, Lance Henrickson, John Hurt and, in his final film appearance, Robert Mitchum, to steal scenes as often as need be.

Sometimes Hardwick falls into the trap of simply summarizing the action of a given scene, but more often than not he rebounds with some comments about the deeper meanings of the scenes in terms of the characters and the larger picture.

Given that films are text types in their own right, directors can often be seen as adding or discarding scenes and lines or incorporating their own devices into their films, such as Zeffirelli's use of music in his 1968 version of Romeo and Juliet or Brannagh's use of black and white as symbolism in his 1995 version of Othello (such as with Othello's mask in the beginning, and the chess pieces during Iago's soliloquy at the end of Act 1, Scene 3).

And more times than not they do the writing mostly from memory of a book they read months before, usually going directly to the plot and often turning - point scenes that give away too much, because that's what they remember.

And the examples that I often give is there's a lot of hot mess that happens behind the scenes when the doors of this office are closed, there's a lot of tearing of hair and gnashing of teeth even the way I am explaining, the tearing of hair and gnashing of teeth is a way of explaining it, it's certainly not the way it actually looks.

The expanded competition was meant to give opportunities to players in regions that didn't have big competitive gaming scenes or were often skipped over by events like these, as well as players who prefer the other types of fighting games.

During these scenes, characters will often join the party without really giving a reason why they care about what you're doing.

In fact, when it does amp up the challenge it could feel a bit unfair — there's one scene later on in the game where you have no cover and have to take on an onslaught of enemies, which could be a bit hit - and - miss given the often awkward shooting mechanics.

Ismail often speaks about the difficulties of developing games in the indie scene, giving talks titled like «You Don't Stand a Chance.»

The hand - drawn scenes give way to some really diabolical levels that often require training to master.

Of course, in classical painting, the artists are also often closely observing a scene in front of them, but with observational painting, the act of looking is given primacy.

Give them the time and attention they demand, and they turn back into paintings: they are what Clement Greenberg (discussing Mondrian in 1948) described as a «scene of forms,» even if those forms are often hard to see.

An conceptualist who came up in the New York art scene alongside Jasper Johns, Warhol, Roy Lichtenstein, and the rest, Sturtevant moved to Paris around 1970 and took a decade - long sabbatical from making art; when she re-emerged, she found herself often lumped in with an entirely new generation of artists, giving her work a strange out - of - time quality.

Often taken from a high vantage point, these images make use of a «democratic» perspective that dispenses with formal hierarchies and gives equal importance to all elements of his highly detailed scenes.

Widely acknowledged as Atlanta's most renowned painter, Herb Creecy's «Southern - ness» gave him as much pride as lament; he was quoted to have often been disappointed with the limitations of the Atlanta arts scene.

Narcissus and Climate change, the heroic efforts of Prometheus giving electricity to the Piggooses, or the Hamelin Piper leading the herd towards Medusa mix realities, mythologies and, often, the rules of one game with that of another to create scenes without resolution or a set message.

And in Britain forensic scientists are working on a computer program that will give «statistical weight» to fingerprint matches, where, as is often the case, the crime scene prints are less than perfect instances.

Typically, the interviewer will give two or more people in the group a scene to act out, which is often related to workplace expectations.