Sentences with phrase «real audiences make»

We all know that real audiences make a difference.

Not exact matches

It makes the vision story real for your audience by citing past successes as proof that the vision is attainable.

So we have to take whatever steps we can to capture and captivate our audience, and increasingly, making content look great is a real priority.

But this was a challenge because we have to work so much harder to make the audience believe this is real.

Part of what makes demon possession so scary — especially for religious audiences — is that the Bible says it's real.

The Friar upbraids him for his adolescent hot blood and sternly admonishes him, using words whose message scarcely means much more than «haste makes waste» but whose musical phrasing immediately awakens the audience to the real meaning of the couple's tragedy:

Roxana has a passion for all things food, a sweet tooth that can't be tamed and a severe case of the wanderlust With an audience in search for real food and no fuss recipes, I make midweek meals exciting sharing approachable recipes, both sweet and savory, that taste completely sinful.

It's real, it's happening, it's going to make a difference in the lives of people who've been struggling for too long,» Cuomo said to applause from the audience invited to the event.

The shadow foreign secretary, Douglas Alexander, who represents Paisley and Renfrewshire South, told an audience at Glasgow University on Saturday that the time had arrived to make clear to the Scottish people that real change would follow a no vote.

And because they have recently made the switch from postdoctoral training to a «real» job, the audience will better relate to the panelists» interview experiences and the key factors involved in their career selection.

The real audience is now the journalists in that lecture room and it is to them that the hard task of making science meet the public really falls.

And since I usually get real excited about sharing the music and art I make with my audience, and my Instagram feed is a continuous scroll of my giddy face, I can understand why one might imagine that I'm «happy all the time.»

While Dave hopes to reach a younger audience in the future, for now he said the company will continue recruiting more photographers, expanding into more cities, and providing more quality photos that can make a real difference in people's love lives.

By offering a secular and evidence - based approach, we hope to teach our audience what meditation is and help make learning mindfulness meditation more accessible and relatable to a mainstream audience while keeping it real and meaningful.

And in the 15 years since Peter Jackson introduced filmgoing audiences to the wonders of 48 frame - per - second 3D elves and dwarves and wizards and hobbits, they've finally figured out a way to make it look like real life, only more so.

Grint brings the comic relief, saying what the audience is thinking when things become preposterous, dangerous, or both, and the heroism of a young man who rises to the occasion, no matter how difficult, how unsettling, or, in the case of Ron and Hermione» s first kiss, a wondrous spontaneity that makes the inevitability and the surprise of the moment both indelibly real.

Although Nixon's starring role on the hugely popular series may have brought her to the attention of a new audience, observers of the New York theater had been watching the actor on and off Broadway since 1980, where she had performed in productions that included David Rabe's Hurlyburly, Tom Stoppard's The Real Thing, Angels in America, and Indiscretions, for which she earned a Tony nomination.Born in New York City on April 9, 1966, Nixon made her film debut in the 1980 movie Little Darlings.

Two storylines make Red Doors an enjoyable film but there are so many things holding it back (the mother / wife's story is given no real time to connect with the audience) that stop it from being a respectable movie.

He's made an endearing, engaging horror thriller that can be enjoyed by different audiences, and it's real thrill.

It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT cinema in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up; it's a stirring narrative of women escaping from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.

The combined success of the record - breaking, critical acclaim - nabbing and audience - thrilling success of Marvel Studios» Black Panther, introducing a black superhero and boasting a largely black cast, and the recent record - breaking, critical acclaim - nabbing and audience - thrilling successWonder Woman, whixh gave female filmgoers a superhero in their own image, should prove to Hollywood that inclusion sells in cinema, but will it bring real change in the making of movies?

This style of shooting makes the fights feel even more real as if the audience is watching it as it's happening.

It makes the audience wonder what is real and what comes from the mind of the screenwriter.

They are detailed, lush, and fully realized often times making the audience believe they are real places instead sound stages and green screens.

I felt the writers were focusing most on making the audience laugh instead of keeping the story real, to go beyond the gags.

The guiding principle was to make everything seamlessly real, and give the audience an experience worthy of Brown's legacy.

There are two things at work here: Winding wants to make things as real as possible, but his camera allows the film to win its audience's trust, making the abrupt spectacle, that Winding is famous for, that much more cruel and colored.

Instead, watching the quiet battles waging in the lives of Stanley and his daughters allows audiences to appreciate the magnitude of the sacrifice made by these sideline heroes and the real life military families they represent.

Ejiofor is the audience's gateway and he makes the experience a little too real and far too close.

But the real question is whether the well - made kidnap drama, starring Michelle Williams as the anxious mother of the billionaire's grandson Paul, French star Romain Duris as his empathetic kidnapper, and Mark Wahlberg as J.P. Getty's cocky lieutenant, will lure audiences when it opens on December 25, a mere three days later than originally planned, with a budget of $ 50 million instead of $ 40 million.

The philosopher Stanley Fish has written that the way the film alters the real - life Northup's memoirs, cutting out the process by which Northup's freedom was made a public crusade and presenting it instead as a surprise, «is so abrupt and so quickly achieved that it is made to seem miraculous and the audience is not invited to generalize from it to any optimistic conclusion about the merits of the liberal state informed by the rule of law.»

But it makes the audience work to deconstruct the plot, wondering how many of the principal character's fantasies are real.

Samuel Fuller, who directed some of the best war movies ever made, and who was a combat veteran himself, famously stated, «To make a real war movie would be to fire at the audience from behind a screen.»

Every blink, from vast cornfields to frozen planets, has the aim of making the audience sit agape, popcorn falling between buttery fingers, and yet it hesitates when it comes to the real sublime: not just the vastness of its vistas but the «boundlessness» Kant says makes the rational mind squirm.

And despite most of the characters having already been introduced and fleshed out prior to the events of the film, Infinity War will still have to make time for each to get their own moment to shine, while also making way for Josh Brolin's Thanos, who audiences will finally get to spend some real time with after years of cameo appearances in previous Marvel films.

Despite its attempts to construct itself as a crime drama and psychological thriller, rather than exploit a pontificating agenda to appeal a more balanced audience, Captive remains an unsatisfactory account of a notorious real - life event that made headlines around the world, owing to the phenomenal spiritual awakening of a cold - blooded murderer and rapist.

That could be the reason why it didn't resonate with audiences as much as expected, but it likely has more to do with the fact that, despite having the makings of a real tearjerker, the movie lacks emotional punch.

As director Paul Greengrass explains in his brief introduction to the new edition (the «special» part), he wanted to make a movie that would expose the huge audience for the Bourne thrillers to the real - world skulduggery by which the Bush administration sold the Iraq invasion as a hunt for weapons of mass destruction.

They used something real as a jumping - off point to make a work about the fragility of life that would hopefully cause audiences to think about the living conditions of people like Oscar Grant.

I can't imagine ever watching Deadpool 2 again — I tried rewatching Deadpool recently and the whole too - cool - for - school, talking - to - the - audience, hey - look - ma - we're - in - a-movie thing got old real quick — but it makes for an entertainingly nihilistic night out.

Over time, the plot of the book begins to make sense to the audience in the context of the real life story.

Best Actor: Jeff Bridges — True Grit — an amusing, disgusting, powerful presence that makes everything seem possible & REAL Jesse Eisenberg — Social Network — smart, subtle, fearless & very, very funny in a very, very specific way Colin Firth — King's Speech — appropriately pompous with vulnerability the audience adores — a true star turn and a true joy to behold James Franco — 127 Hours — wild and impassioned and believable with manliness battling it out with sensitivity in almost every frame Hrithik Roshan — Guzaarish — remarkably vulnerable with an edge of steel and a level of frustrated yearning that blew me away

While the story builds up to its point, Pixar make do with impressing an audience with animation so real that moments feel like we aren't watching an animated adventure at all.

With a parrot on her shoulder (yes a real one), the almost unrecognizable Janney makes sure the audience knows that LaVana wants it to be all about her.

My issues with «Beloved» are Winfrey who is simply not up to the material as the rest of them are — with a real actress in her role of Sethe, Angela Bassett perhaps, you have a masterpiece, a film that makes demands of its audiences are dares them to take a journey where ghosts and real and the dead come back — I loved what Demme did, and the actors around Winfrey are quite extraordinary... she is the films» chief and fatal weakness.

(Steve Oram, UK, 2015) one of the pleasures of programming is making discoveries, screening this — and watching the stunned audience emerge — was a real joy.

Perhaps the real Mazur never did struggle, but the movie seems to want to make the audience believe like he is and it never really registers.

With spotty acting, superficial developments, and rules that seem to be made up as the film moves along, Dead Silence is strictly only of interest to audiences who are all about scary images set to ominous music, caring far less about a good storyline to follow or characters who do or say things that might be plausible to anyone who experiences them in real life.

Yet he also invests Ethan with real heart and feeling, making the audience understand why this boy just can't stay away from Lena and the obvious danger she represents.

That's the real art: making the audience see the forest rather than the trees.