Not exact matches
Perhaps, though, the biblical
character of Jesus, rather
than being entirely mythical, was
based on one of many Jewish messiah claimants who had followers who euhemerized his
life to a greater extent
than those of other such claimants, so that in time the stories were so embellished that he became a god in them, but the Tesimonium Flavianum is hardly proof of his existence.
The performances of the players are so uniformly terrific that you could do worse
than to bring these deeply flawed
characters into your
living room on a regular
basis, as this is a series for which TiVo was invented if ever there was one.
(The
character is
based on real -
life socialite Florence Foster Jenkins, subject of an upcoming, official biopic — though we have a hunch that Stephen Frears» take on the story will be more frothy
than painful.)
The screenplay by Gideon Defoe (
based on the first two books in his series about these
characters) gets far more mileage out of these
characters when they are simply mucking about — getting into arguments about the best part of a pirate's
life, sailing while leaving behind red dots in the water so that their progress can be seen on a map, and otherwise doing very silly things for no reason more
than that they must.
In Wonder Wheel's first shots, the camera drifts past bathers in 1950s swimwear and finds Mickey's face, as he warns us that what we're about to see may not be entirely
based in reality: «As a poet, I use symbols, and as a budding dramatist, I relish melodrama and larger -
than -
life characters.»
Screenwriters John Ronson and Peter Straughan (who very loosely
based the
character on Frank Sidebottom, the comic persona of the late U.K. performer, Chris Sievey, amongst other musicians) are aware of the thin line between madness and genius, but rather
than exploit that tired trope, they use it as a jumping off point to explore issues as inherent to both art and
life as identity, voice, creative output, and that age old question of what it really means to sell out.
Life 2.0 Director: Jason Spingarn - Koff More
than an examination of new technology, the film is foremost an intimate,
character -
based drama about people whose
lives are dramatically transformed by the virtual world called Second
Life.
But then it could be argued that the hoops action is almost incidental in this fact -
based story, for the title
character, Richmond High School (though actually filmed at my alma mater, Long Beach Polytechnic High School, which somehow became the go - to ghetto high school filming location after I graduated) basketball coach Ken Carter (Samuel L. Jackson), is less concerned with how his young charges fare on the court
than they do in the classroom and, ultimately, in the game of adult
life.
The
characters, even those
based on real people, are larger
than life too.
Amano's evocative
character illustrations formed the
basis for many of Super Senso's larger -
than -
life mechs and units, and Uematsu created the game's vibrant, symphonic theme song.
I wish I could tell you more about the story
than that, but unlike a traditional Assassin's Creed game in which you
live the story through gameplay, the narrative in Identity is doled out in text -
based mission descriptions, leaving the gameplay with little more
than tasks like «identify the Crow» or «assassinate this
character» to forward the plot.
With Schulz's full blessing, Everhart began creating vibrant, larger -
than -
life paintings
based on the lines and
characters in Peanuts.
Based on research by Nansook Park, Chris Peterson, and Martin Seligman using the Values in Action Inventory of Strengths, these three
character strengths are more positively associated with
life satisfaction
than the intellectual strengths of appreciation of beauty, judgment, and love of learning.