Sentences with phrase «want real characters»

Imelda Staunton, star of new film Finding Your Feet, claims that ageing audiences want real characters, not violence and special effects

Not exact matches

That's one of the joys of the franchise: prequels notwithstanding, they're a deliciously simple story — it's about good against evil, an underdog upsetting the odds, a final shot at redemption for a corrupt character... It's a story we want to inhabit and make real in our lives.

He said such characters do not have any real reason why they want to represent a particular group of people except to enter Parliament and hopefully be given an appointment.

But it's worse that Peter Rabbit wants to invoke the real Potter without acknowledging what an amazing, accomplished woman she was, someone well ahead of her time as a scientist and a conservationist, a self - publisher of her first book, and a pioneer of character merchandising who started selling licensed Peter Rabbit dolls in 1903.

You do actually forget this character is a robot, by the end of the movie you do look at him as a real person, a little bug - eyed alien that you don't wan na see get harmed.

From the top down, this is a show that has such patience and empathy for its characters, even the most minute of roles, that it makes you want to get to know the people around you in real life better, open yourself up to their stories, discover their secrets within.

Story line sucked big time, they said they want to make it follow the real story line but it didn't, first of all, Megatron all the other characters did not look or sound the same as the original, second, The girl who studied the sound waves of the machine that attacked the military base, was not important at all, she wasted pretty much 20 minutes of the movie, all she had to do was just come in and say, «These could be organic machines».

Brad's Status rarely affords its titular character an opportunity to have a real conversation with anyone else his own age, so the movie becomes a monologue from someone you quickly realize you don't really want to get to know anyway.

Its ambition is admirable: It wants to be an adult thriller like its director's justly famous «Three Days of the Condor,» with political and psychological reverberations, on real - world topics, with a reasonable cause - effect dynamic at play, clear motives, action plausible and not overdone, free of computer effects, full of recognizable, compellingly flawed characters, yet taut and gripping to an astonishing end.

She believes that by portraying a real person, an actor takes on a lot of responsibility: «You want to do justice to their memory, to their character, to who they were, or who they are in this case.

I can be as funny as I want to be in the context of my character behaving poorly, and I can be as sad as I want because the character's also going through real internal conflict.

«What's moving to me about the story is that at the start it's this guy who just wants someone to pick up after him,» says Ethan Hawke of his cantankerous Everett character in Maudie, which also stars Sally Hawkins as legendary real - life folk artist Maud Lewis.

-- Namco Bandai understands that fans want more Tales game in English — Time and money get in the way — Namco Bandai has taken steps to alleviate the issues above, and hopefully we can now look forward to seeing more Tales games worldwide — It's been difficult to fit the game on the 3DS card due to size restrictions — Voice data in particular was challenging to put on the card and feels they solved the problem while keeping the quality high — «Every part of the game, with the exception of the animated cut - scenes, has been redone in 3D» — Yoshizumi believes this makes the game seem more real / immersive than before — Character models rebuilt to improve performance — Rest of the game has been ported over seamlessly — Some changes made to «in - game parameters» to compensate for control differences — No other additions, no new weapons / artes — No communication features (StreetPass, SpotPass)-- Namco Bandai have talked about a sequel, but haven't yet come up with something that would be good enough for a full game — Yoshizumi says he appreciates the comments he receives on Twitter from worldwide fans, and he hopes that more Tales games can make it over in the future — Load times have been improved on significantly — Steadier frame rate (may have been referring to the world map specifically)-- Skits will remain unvoiced

I didn't want to see the predictable jump scares when everything gets real quiet, I didn't want to have a large cast of characters so that they could all die off.

There are moments of real beauty in this movie — particular a bravura panning shot of every character in their own personalized train car, whether or not they're actually on the train — but the protagonists are the last people you'd ever want to be seated next to on a long trip, so watching them in a movie isn't much fun either.

«The challenge that our art team took on this year was as soon as our characters move, we still wanted to keep that immersion where it looks 1:1 like real life.»

The elaborate plot slows down the movie with car chases, bar fights and guns with real bullets just when you want to hang with the characters and get to know them better.

In order to make Silent Hill 2 work we need to be focusing on making the characters real by having high - quality textures, and at the same time we must improve the gameplay so people will feel, even though its really horrific, we must make them want to play the game over and over.

A probing search in to the reasons for his reclusive nature is promised («He wanted nothing to come between him and his characters — they were real to him» claims one relative), and a whole segment at the end of the trailer is given over to the lurid connections between «Catcher in the Rye» and the murders it supposedly «inspired.»

«Bad Moms» continually seems confused as to just how to lean in, lurching between outlandish comedy set pieces based on public meltdowns and misbehavior that would likely get one arrested or injured in real life while also wanting to create some semblance of an emotional reality for its characters.

A Most Wanted Man — one of Philip Seymour Hoffman's last films, this quietly tense espionage movie — yet another adaptation of a John LeCarré novel — kept its audiences on the edge of their seats not by being violent, but by put its very real characters in unremittingly tense situations.

To those that aren't inclined to like a movie like this, never really enjoying filmed plays, musicals, or films with overt messages that come across like heavy - handed Public Service Announcements more than real stories about real people, you'll probably want to avoid this, as the music not only is unrelenting, it is the sole source of conversation among characters for most scenes.

It was not enough for him to shadow motel managers, he wanted «to participate in [their] world,» and working with Baker — who fuses his filmmaking with authentic real - life locations, characters, and moments — allowed Dafoe to do that in a way he never had before in his career.

The stakes are high enough that I cared, the characters are funny enough that I want to see them again, there's an abundance of heart and a real flair for the absurd that bring a quirky script alive in ways I hadn't quite expected to see.

Some movies are out there for deeper analysis but the best «real» character storylines, like here in Man Up, are the ones when you want to be those people for a moment.

The characters are all stunningly beautiful, they all live in Pottery Barn, West Elm or Restoration Hardware homes and none of them have real problems, everyone gets what they want by the end of the film.

It's too real a situation not to wonder why Robert Downey Jr.'s character isn't on the FBI's most wanted list for causing an international incident.

Cougar comedies abound these days, and the possibilities of this romantic angle could indeed make for an interesting movie (it was Prime's hook), but The Rebound is like the character of Aram himself, wanting to make the step into the real adult themes than it has the maturity level to tackle.

When a hottie like Diana, who could have any man she wants eating out of the palm of her hand, makes goo - goo eyes at a loser with a surly attitude like Stanley, it makes her character lack any real dimension and the plot feel very contrived for a happy ending's sake.

You kinda don't want a Ferrari in Deadpool unless it's for a real purpose in the sense that Deadpool is a gritty, grimy, smaller thing, with characters you aren't as familiar with.

On the one hand, Accepted wants to be somewhat like Real Genius or Van Wilder, as the main character is a street-wise slacker who is able to get others to go along with his crazy schemes.

Though Giles is a supporting character who is responsible for The Shape of Water's funniest moments, Jenkins points out that he is also fully fleshed out — «a real human being with wants and dreams and hopes.»

I know this has been done in other films, and I remember Kubrick talking about wanting to show real sex between developed characters, but it still feels kind of impressive in this film, mostly because you actually care about the characters.

Simon Beaufoy «s screenplay of Paul Torday «s novel delivers a few good chuckles, but mostly leaves us wanting a real direction for the story and bit more depth of character.

Paula Patton, whose character is woefully underwritten (it's never clear why the fabulously rich and worldly businessman played by Hounsou would want to stay up all night talking to her, for instance, since she has nothing to say), has a real knack for physical comedy, and Jill Scott and Adam Brody are truly hilarious.

I felt like I just wanted every character to feel like a real person that you wish you could follow.»

She wants them to know that technological disruption has changed the job market and to be real world ready they need «soft skills, which are character traits and interpersonal skills that you use to interact with other people.»

The Bottom Line With the 2017 Cadenza, Kia brings just about everything you could want in a modern, premium sedan, except for any real sport character.

With the 2017 Cadenza, Kia brings just about everything you could want in a modern, premium sedan, except for any real sport character.

Of course, I resist this exercise because I want to do the «real writing,» but I know the writing won't be real until I truly know my character.

Believe him if you want to, but I'm telling you that what happened in Las Vegas was real and the characters you're about to read about are real.

I want every piece of dialogue to ring true, and every character to work and feel real.

As one of the powerhouse young adult authors who championed the #YASaves hashtag on Twitter, a cause that was taken up by authors and readers alike who felt that powerful teen literature had helped them survive high school and shaped them into the adults they are today, Rainfield often writes about the characters and topics that teen readers hunger for but that the adults in their lives want to pretend aren't real.

Screencraft.org has a fabulous video interview with this writer extraordinaire and master of dialogue in which he talks about creating memorable characters («what a character wants, and how they go about getting it defines a character»), and how characters do not resemble real people («people don't speak in dialogue» and «their lives don't unfold in narrative arcs.»)

Pulse allows you to connect with other users in real time and chat about the book, its characters, or whatever you want.

It was fascinating to hear how the veteran romance author creates chemistry between her characters, and her description of the real - life Crystal Cove (which inspired her trilogy's setting) made me want to book a flight to California.

However, if you want real traction with your tweets, you need to leave some of those characters available for retweets and quoted tweets.

On Ms. Phelan's page, it talks about what work she is accepting (YA and MG, literary adult fiction, etc.) and goes on to say «I am looking for complex fiction that pulls you in immediately, characters that you wish were your real friends and plot lines that drag you away from reality to a world you never want to leave.

I have always been cautious in my writing about cultural appropriation and wanting to have my characters be, well real.

A real character who wanted to live life to the fullest despite all her ailments.