Sentences with phrase «speak to the other characters»

How do you think it speaks to the other characters in the novel?

When speaking to other characters up to 4 choices are presented, sometimes timed, with critical decisions usually presented in 2 options.

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.

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.

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.

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.

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.

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.

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.

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.

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?»).

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.

The stand - alone yak - track is actually Rodriguez's best to date, since for the first time, really, he speaks of matters not related to penny - pinching or showing up other directors, often connecting the dots between characters and events in Once Upon a Time in Mexico and their real - life inspirations.

This opening shower pretty well sums up the entire thrust of the Megan character, whom Sean and Nick eventually help; the only other requirements for the role are screaming, crying, and passing out, without ever speaking a word (that is, not until there are only 15 minutes left to go).

Along with Nigel, there are three other notable new characters are introduced, all of them initially appealing, but too little is done with Foxy Cleopatra, while Goldmember is a two - joke villain (he speaks with a funny Dutch accent in addition to the obvious) which isn't really funny after the first scene we see him in, and a one - joke character in No. 3, who is a mole (spy) who literally has a giant mole on his face.

Eventually, visitors will be able to locate the book they want and specify, down to the most microscopic detail, the way it will be presented to them: as white characters on a black background, as a Braille printout, as text spoken and displayed simultaneously, or any of a hundred other permutations.

Opportunities for students to: - analysis writer's methods - analyse the creation of tension - develop speaking and listening skills - explore symbolism - create diary entries - make links to other literature including the schoolboy by William Blake - explore the effect on the reader - explore characters and themes

Resources include: • Halloween facts presentation, facts posters, story starters, Character and scene flashcards, Fact cards for discussion, 4 in a row game, finger puppets, Picture fans, Bingo game, Sight word sentences and word cards to match, Question posters, Word fans, Key word cards, 5 minute timer, counting activities, Matching cards game, Jigsaws, face masks, Colouring pages, book marks, bowling game, worksheets, alphabet flashcards, running game, maths worksheets and activities, word searches, throwing games, board game, quiz cards, writing tasks, shape nets, loop cards, long banner, crossword, drawing activities, number flashcards, memory cards game, maze, rhyme, finger puppets, craft activities, colouring pages, treasure hunt, speaking game, song props, and many other resources.

Summary: In this article, Angela Duckworth speaks about her research into Grit and other performance values and voices a concern about the prospect of using testing measures to determine how schools approach character and social - emotional learning.

Ariel is reluctant to speak out loud, fearing that he will burden others with his painful stories, but his stark narrative, both of life at camp and of the harrowing details of how he came to the U.S., reveals a startling depth of character.

Whenever I get a new editor (and with more than 120 books in 35 years, I've had a few), I have to explain yet again that I don't know what happens until I begin to write, until the characters begin to speak to me and with each other.

Because the book is written as if it's Tiny's own composition, his confident, hilarious voice can be heard throughout; Tiny «speaks» even when the words belong to other characters.

Speaking with Marvel.com, Bendis spoke towards Peter and Miles both holding onto the Spider - Man title in the Marvel Universe, «One of my favorite things about a shared universe, is that on top of what you're writing for the characters, other things are happening to the characters, like now Miles is in the new universe, and now he's a part of the Champions, and half of [Civil War II] was people fighting over his head, so things have changed in his life, and his relationship to the Marvel Universe is completely different than it was in the first series and that's exciting.»

But I am kind of curious about... I don't know whether I'll ever get around to doing this, maybe doing a comic where one character speaks in audio and the other character's speech is in speech bubbles and they're having some kind of conversation.

The word «charming» is rather a vague term to use in a videogame review, but truthfully no other word rightly or accurately describes Night of the Rabbit: it is absolutely charming, from its innocent lead character to the astounding world that Daedalic have crafted, everything simply speaks to you.