Sentences with phrase «so than the script»

So, I'd have to say that the idea of working with them motivated me more so than the script.

More so than the script, its pretty obvious that the reason each of them signed on was because the others had agreed to sign on.

Not exact matches

While the second quarter will almost certainly be stronger than the first and the economy should pick up by year's end, so far the consumer isn't playing to script.

It's based off the October, 2002 issue of Bon Appétit, and is so easy to use ingredients you have on hand rather than just sticking to the script.

But the script accuses Higgins of being «so detached from reality that while families in New York are forced to pay more than $ 3.70 a gallon, Higgins has been in Washington supporting big - government policies that lead to higher gas prices and restrain the production of American - made energy.»

Even in Refn's and Hubert Selby Jr.'s script, this film is just so blasted limp, and from a directorial stance, Refn makes pacing problems all the worse with a meditative atmosphere which is rarely effective, primarily carrying dead air which is inspired by a quiet sobriety that distances and bores more than anything.

The script (by Matthew Perniciaro and Timm Sharp) is trite, and the direction so flat that every scene looks like it was shot in a broom closet, but the bright young cast makes things more bearable than they should be.

Kidman and Penn are good actors but the script is a bit limited, especially in terms of characterization, and it just leaves you thinking that this could've been so much better than what it was.

Far from Heaven is indeed a great movie because it has such high aspirations - a movie from 2002 that dares to style itself after a 50's drama and to do so via (gasp) a subtle script rather than relying on special effects and things blowing up etc..

Using Roland Barthes's A Lover's Discourse as a jumping off point for the script, Let the Sunshine In feels cream - puff light, but is deceptively rigorous, and about so much more than one woman's quest to find the One.

For starters Kasdan's script is beautiful and makes the characters so much more than two dimentional cutouts.

The middle hour is mostly filler, so devoid of substantive comic bits, that it almost feels like they brainstormed every morning about what might be funny and just rolled film, rather than go with a polished, finished script.

Hopefully the script by «Fringe» writer J.H. Wyman has more to it than has been suggested so far, but if not, there's an eclectic cast, with Rapace joined by Colin Farrell, Dominic Cooper, Terrence Howard and, of all people, Isabelle Huppert, in her first English - language role since «I Heart Huckabees.»

And not even so much through... I'm not the world's greatest believer in auditions and line readings, and all that, because the condition is, somebody comes in with a script in their hand and stands there in your office, and they may be skillful, or whatever, but it's so different than what it will be under photographic conditions on the set, knowing you already have the part, knowing you are the character.

So the script's a little laboured, but for shere exuberance and adrenaline pumping you don't get better than this unless you're at a rave.

The genius of the producers that fund these scripts is that every so often formula meets a demographic that needs a voice and even if that voice is less than beautifully articulate, that demographic will watch and watch and watch just to hear themselves speak out loud.

Yet the film's insistent indictment of Duncan and Simmons, and its qualified accusation of Roberts, lack all conviction, despite the explicitness with which it spells out their personal responsibility for the disaster, because the fire itself is so far more convincing and menacing a villain than the script's paper - doll miscreants and good / bad guys.

The beauty of the script is that Lily Collins» character is so much more than a film about the illness.

It was just a really good script and I really wanted it, so it was a little more excitement than I would have in any other audition.

Constant (directing a script by Laura Eason, «House of Cards») seems to want us to be inside of Vivienne's head here, but the editing is so jerky that what results is spatially incoherent rather than emotionally involving.

Other than one scene of brutal, physical violence, Shyamalan unfolds his story without delving into the horror and gore of so many scary scripts.

In fairness, Edgerton is guided by Cooper's hand and Jez Butterworth and Mark Mallouk's script, and like so many other movies set in Bahston, their concept of the provincial dialect boils down to clichés: drop your Rs, speak through your nose at two octaves higher than normal, and communicate primarily by saying «fuck.»

The script by Carlock is more chuckle inducing than funny, so it's up to her to really make some of the scenes sing.

So rather than try to engineer our way around that, Slated designed its process to harness that subjectivity by applying the same set of rigorous standards to the way readers assess every script, based on the same objective criteria that buyers and reps themselves use to judge material.

Director Jaume Collet - Serra put Neeson through his paces in Unknown and does the same here, unleashing him on a script that is not much more than a series of plot twists and evil genius scheming with so many moving parts that it could only work in the movies.

When I was writing the film, I wrote it more like a novel than a script because I had so much detail in my head relating to the visual and sonic landscape of it.

Had more resources gone toward the script department (which consists of no less than four individuals), perhaps the other failings wouldn't have been so egregious, and this really could have lived up to its aggrandizing title.

In Tom Stoppard «s spectacularly good script (I suspect the quality of which has been overlooked because so few film critics have actually read the book), it has a jumping off point that more than any previous take, digs into the themes of the novel — the many forms that love takes, artificial metropolitan life vs. simple pastoral life — and allows the peripheral characters their moment in the sun, while still keeping the running time at around a brisk two hours.

One can imagine that he is swimming in scripts for better movies than this, so it must be okay.

Of the many thrills that come from interviewing creative people — variously, unknown, ascendant and at the top of their game — there's also the under - discussed flipside: talking with, 1) vapid young «actors» (line - reciters is more like it) who have neither a sense of film history nor an appreciation for their occupational good fortune and, 2) perfectly genial writers and directors who are nonetheless so relentlessly on script — occasionally reciting entire career - checking passages verbatim from press notes no doubt spit - polished into significance by some friendly faction in the dark wings — that you realize they actually have less summary insight or thoughts about several months or years of their own work than you do after 90 to 120 minutes with it.

According to the director, Digging for Fire had a more complete, «bigger» script than any of his other projects — mostly because he had so much talent involved and needed to schedule like a really Hollywood dog.

Kate Winslet and Josh Brolin weren't bad so much as they were just trapped in an awful script, working for a director than had never been anything but competent.

So who better to punch up a comic book movie's script than a comedian?

The humor in this film is what makes it so entertaining to watch, since the script is otherwise full of too many easy cliches that prevent it from being much more than another good laugh.

Though it takes about an hour for the interviews to get underway, Morgan's script offers plenty of buildup to the inevitable showdown so that when it finally does arrive, it's even more electrifying than you anticipated.

He's reliable as ever here, as a character considerably more altruistic than his villainous roles in Casino Royale and TV's Hannibal, but this script gives him so little to do.

The Plummer gets a call So little time has elapsed between Christopher Plummer's casting in «All the Money in the World» and his Oscar nomination — less than two months, by our calculations — he may turn up at the Dolby Theatre still clutching the script.

The script is also cleverly structured so that each of Victoria's male antagonists is dearer to her than the last and, as a result, more difficult to handle.

Orlando Bloom's iconic Legolas is somewhat disappointing in this latest installment, as is Ian McKellen's brief involvement as Gandalf, but this is to be expected with the script focusing so much more on assailing us with erratic action scenes than portraying the complexity of these characters.

So, I entered the lab knowing nothing other than 1) even through those fleece - lined waterproof boots, my toes were freezing and 2) my script wasn't done, and as strongly as I felt that, I didn't know why.

Abi Morgan -LRB-» Shame») will write the script, and given her previous credits it'd suggest this won't be a spoof or anything less than a straight - up adaptation, but Sony's not talking yet so until they do let's remain hopeful that Green's wasn't high on dish washing detergent and blindfolded into picking his next project from a bucket of bobbing apples when this came about.

Working from a script by John Ridley (Red Tails, U Turn), who adapts Northup's own incredible memoir published in 1853, McQueen creates a powerful effect by not making the film «epic» or by proclaiming itself an «pretentiously important issues movie», but by keeping the emphasis on the characters and their individual stories much more so than as a film meant to cover the topic of slavery as a whole.

Miller recalls that other than Guster's music, Trevorrow hadn't heard anything else «I hadn't read the script, and he hadn't heard any of my stuff, so it was really blind faith that we were both going to like each other's work.»

The star - studded cast had fun with a darkly comic script and if the result had more style than substance nobody minded because it was so damn cool.

The Buzz: Okay, so Wilson and Beckinsale aren't exactly De Niro and Streep... but their involvement still seems to suggest that the script is better than your average escape - from - impending - and - all - but - certain - death thriller.

Rather than «We had twenty years to prepare... so did they», a more accurate tag - line for Independence Day: Resurgence would have been: «They had twenty years to write a decent script... they didn't».

It's hard to watch this because we as an audience know that the actors involved are capable of so much more than this trite script.

The only thing worse than watching Tatum bumble his way through yet another leading role is the dreadful script by Montiel, which lazily strings together a series of incredibly pointless events and moments of manufactured conflict that are so easily avoidable it can be viewed as nothing less than an insult to the audience's integrity.

The script is supplied a s Word file so you can customize it if you wish (e.g. shorten it, add a few more lines etc.) You also receive songsheets (to make OHP transparencies) A simple melody - line score (sheet music) is also provided free of charge, if you prefer to use a pianist rather than play the backing tracks.

It even has a script, so users can utilize the presentation for professional development, or to get more details than what is stated on each slide: SLO Training