Sentences with phrase «second change in director»
There was worry that after a second change in director, and the success of other action games like Bayonetta and Dante's Inferno, Kratos might not quite make the cut this time.
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«People don't give him credit for his basketball intellect,» says the Knicks» director of administration, Ernie Grunfeld, the second bill in the Bernie & Ernie Show at the University of Tennessee, who was King's teammate on the Knicks and is still his neighbor in Franklin Lakes, N.J. «Bernard had to consciously change his game.
«Accidents can happen in seconds, and lives can be forever changed when these recreational and often dangerous explosives are in the hands of everyday citizens,» said Blair Summitt, M.D., assistant professor of Plastic Surgery and medical director of the Vanderbilt Regional Burn Center.
While in the final cut this scene was drastically reduced to mere seconds as part of a montage (which just worked in benefit of Ferrell's character), it was a great way of realizing about the amount of improvisation that was going on in the set, as the cast and the director changed lines, added jokes (there was one involving Steve Irwin) and even visual gags (i.e. Ferrell imitating the manta rays).
It's true that lots of things happen in this movie — lots of car chases and stunts and rapid - fire dialogue and whiplash changes in scenery — and director James Mangold even has the decency to sometimes hold a shot for more than five seconds.
But Natalie Perera, a former DfE adviser who is now executive director at the Education Policy Institute, said she «remained concerned» about the lead - in time for the second consultation and the «potential regulatory changes required».
«It is a great feeling to take a dog that was in a shelter and know that it will change the life of someone who needs it,» Natalie Tayman, the founder and executive director of the rescue group Willow's Second Chances, told the Jacksonville Daily News.
Art critic Louisa Buck recalls first edition fig - 1 in 2000, painting a picture of the second edition of the project and the changes in the contemporary art world in the intervening fifteen years; Director of the Contemporary Art Society Caroline Douglas explores shifting models of philanthropy and patronage in the arts; Serpentine Gallery co-director Hans - Ulrich Obrist discusses curatorial approaches and the role of the institution with Fatos Ustek; Writer and lecturer Gilda Williams uses the fig - 2 programme as a vehicle to explore language and differing approaches; Tate Modern Curator of performance Catherine Wood dissects the role and impact of performance?
Tellingly, it's the board's opposition to climate change risk assessments that underscores why long - term shareowners need a second reform opposed by the board: a meaningful voice in the election of directors.