Sentences with phrase «other characters spoke»

Though I should point out that a friend of mine with Asperger Syndrome asked me to note that he didn't like both the way other characters spoke of River's Asperger Syndrome or the way one of the other characters, written to also be an Aspie, was just part of the «proud asshole with Asperger syndrome» media trope.

Most of the other characters speak in the regal dialogue of a 19th - century novel.

Furthermore, the two central characters aren't French in the way that term is typically understood, though they and the other characters speak French throughout.

Not exact matches

While it's free to download and play, devotees can purchase extra characters — champions, in LoL - speak — and buy them virtual clothing, known as skins, and plenty of other decorative stuff.

I can not speak for others but we hold members accountable for character flaws that do not bring glory to God.

The Corporeal Nature of Freedom and its Sphere Before speaking of the existence of freedom and in freedom something will have to be said about the specifically human creatureliness of freedom which will clarify the dialectical character of our relation to our own and other people's freedom.

We may speak by analogy with Hartshorne's «neoclassical theism» of Whitehead's neoclassical empiricism» precisely because it is a self - conscious revision of the classical tradition on the one hand and can be seen to consist in an analysis of the formally possible doctrines regarding the character and content of experience on the other.

Careful reading of Book Z of the Metaphysics, to be sure, makes clear that there are at least two conceptions of substantial form in Aristotle's philosophy: one more Platonic in character whereby the form possesses its own substantial unity and communicates that unity to the material elements (stoicheia) from the outside, so to speak; the other apparently originating with Aristotle himself according to which the substantial form comes into being as it unifies the elements into an organic whole (cf. TKT 67 - 120).

I realize that in speaking in support of the idea of the active character of all knowing, I open myself to attack not only from Hall's Taoist perspective but from the standpoint of a number of other significant critics of contemporary thought and culture.

I was also lucky to find a variety of other characters in Harlem, from teachers and administrators to students and parents, who really opened up to me, speaking candidly and eloquently about their own hopes and fears for their children and their futures.

All the other candidates gave respectable answers, but this Schneiderman character gives an answer that exactly what Brodsky (who just spoke before) said they should be avoiding.

Other graphic references that spoke to the designer's heritage were the actual photographs of the film's lead characters that he printed on pants, T - shirts and on the backs of some coats.

Other graphic references that spoke to the designer's heritage were the actual photographs of the film's lead characters that he printed on pants, T - shirts and on the backs of some coats.Overall the collection again showed Simons» ability to connect with Millennials and even Gen Z yet still manage to energize and inspire Gen X and beyond.

Occasionally, these characters throw a few well - spoken words of their mother tongue at each other, but these little touches of authenticity only underline the improbability of their other conversations.

Zemeckis has apparently determined that audiences will no longer support the fiction that a group of foreign - language characters all speak to each other in English, so he's forced to invent all sorts of pretexts for Petit to speak primarily in the language of Hollywood: he's going to New York so he must practice; Annie speaks good English, so she's happy to establish their relationship in that language.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

The two leads (Broadway legends Celia Johnson and Trevor Howard) act as if they were still on the stage, their facial expressions, the way they hold one another, the way they carry themselves in these desperate times, really spoke volumes about the way the characters interacted with each other.

More than that, during their conversations, Demme captures each character's reflection in the partition glass as the other speaks, once again making the visual impression that these two are equals, have similarities, are in some ways alike.

His familiar loveable form from Sonic Generations has made a return and, even though he doesn't speak throughout the game, his interactions with Tails, Eggman and the other characters are quite brilliant at times.

But in the rare moments in which these characters actually do speak to one another (always when louder sounds are drowning out their voices), the things they say are so basic and obvious that one wonders whether they actually know each other at all.

The other is «Novel mode» that basically reads like a Novel detailing the background, the thoughts of the character as well as the dialogue spoken by them.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

Having characters often not understanding each other as they speak Polish, Yiddish, German and Ukrainian underlines the fraught complexity of Poland's ethnic situation and points out, for instance, the way the Germans used Ukrainians like Socha's friend Bortnik (Michal Zurawski) to do the dirtiest of their dirty work.

Dominika and the other main characters in the Moscow scenes speak English with the kind of heavy Russian accents you associate with Smersh or Spectre agents in Bond stories.

The same holds for other recent Landmark selections, including Amelie, Y tu mama tambien, and The Fast Runner (Atanarjuat)-- movies whose ability to hold an audience is so great the fact that their characters aren't speaking English scarcely matters, though it will still keep such movies out of most other American multiplexes.

One major character in particular had a strange echo whenever he spoke for the first few levels, something that only became more noticeable when other characters were able to speak much more clearly.

Speaking with Famitsu and translated by Siliconera, general producer Hisashi Koinuma and producer Yosuke Hayashi said they hope fans «will get a better idea of what we're trying to do,» as well as reveal other playable characters.

Söderholm's character on the other hand doesn't need as much exposition because her uncompromising spirit speaks for itself.

Speaking of that other Valkyrie, obviously the version that Tessa Thompson plays in the film is different from the original Marvel version of the Valkyrie, as the Marvel version intentionally evoked the mythological version of the character, which is very much a Norse vision of what a woman would look like, complete with the name Brunhilde (Brunnhilde also was a major part of Richard Wagner's famous operatic «Ring» cycle).

The transformative aspects of the character — victim to «warrior» so to speak — has influenced the portrayals of other female protagonists.

Much of our understanding of the character, so much an enigma to other character that they rarely speak of him, comes from his portrayal.

While others did not make the connection to the Star Wars film, they spoke very highly of crossover film, which will see characters from Guardians of the Galaxy, Doctor Strange, and Black Panther folded into the Avengers fold.

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.

Only one character and the audience know who Cassius is, leading to numerous instances of the assassin speaking in the third person about the nature of a cold - blooded, remorseless killer (attributes that the character repeatedly fails to follow up on) and others making too fine a point on how well certain characters seem to intrinsically understand the mind of a cold - blooded, remorseless killer.

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.

As a bombastic piece of entertainment that unites at least 27 characters with speaking parts along with an assortment of other entities, it's miraculously enjoyable.

He films his characters» conversations at right angles, a two - shot with them facing each other, perpendicular to the camera, followed by medium close - ups of each actor as they face the camera directly and speak in turn, Green not cutting until they've finished what they have to say.

We recently had a chance to sit down and speak with Dianna Agron about her new film, her character, and how this movie will be different than other aliens films.

Jones notes that the three to four hours it takes to be transformed into the character each day actually isn't so bad — relatively speaking — as he rattles off how much longer it took to embody creatures in other collaborations with Del Toro, including «Pan's Labyrinth,» the «Hellboy» movies and «Crimson Peak.»

The Cloverfield Paradox is an unholy mess... The characters here never feel like they could exist in a world outside of this space station, all of them barking in tech - speak at each other, rarely acting in what could be classified as recognizably human behavior... As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom... The Cloverfield franchise is rumored to grow even more later this year with a second world war - set thriller potentially unspooling in October.

We may watch expecting to laugh and feel superior, but the prismatic approach, with characters speaking to us to explain their perspectives (or try to put the blame on each other) is surprisingly sympathetic, grounded, and insightful.

Additionally, lines of dialog memorably belonging to the Beast have been distractingly handed off to other characters; up until halfway through the movie, it looks like they're trying to keep the Beast hidden and rarely spoken, but some worthy and clever expanded dialog has been added to his part, so why shuffle the lines around?

Nick and Norah's sharp, self - conscious repartee has a snappiness that's closer to the way real suburban teenagers speak than the baroque one - liners Diablo Cody put in the mouth of Juno (not to mention every other character in that movie, appropriate or not).

Characters address each other while speaking directly to the lens, in tones too matter - of - fact for their circumstances, at least the way movies train us to listen.

Speaking of «generations», the developers even include characters from some of the other games which successfully links these titles together.

Blu - ray exclusives will be familiar to loyal Universal customers, beginning with three core U-Control features: a Picture in Picture option that includes cast and crew interviews, set footage, and pre-production art (like storyboards); the Bourne Dossier, which give access to high - tech superspy information technology (like pop - up Agent Status, Character Dossiers, Field Reports with «GPS - enhanced satellite views of the locations,» and other «top secret training material»); and Bourne Orientation, which jumps out of the film to provide literal orientation (globally speaking) and figurative orientation: information about what's driving Bourne at key junctures in the story (answering that eternal actor's question: «What's my motivation?»).

She acts and speaks with the same kind of naturalism as the other characters.

However, beyond the character and production designs and the high - quality of the CGI animation, there's little other directorial flavor to speak of.

Some of the questions are wonderfully ridiculous, but others speak to how closely fans have examined this film, and how thoughtfully Peele constructed even the smallest details of the costumes, character interactions, and scenes.

Watching these characters work through their estrangement, rediscover one another, and ultimately come to respect each other — all set against the recklessly ruthless backdrop of Southern dirt track racing — spoke to me and made this project exciting.