Sentences with phrase «when building a character»

They can also be used when building a character; just what might be in your characters memoir?

Not exact matches

Advocating for yourself when you're going to fundraise, when people are looking at your market, product or value proposition with a specific [judgement] is character building.

When we first built a domain name recommendation tool for customers, we ran into issues with special characters.

When you have people who have strong character as the foundational pieces of the organization, you build off it.

Glad to read that I'm not the only one who believes working tough and dirty jobs when you're young builds character!

As William Rowe points out, when a fawn burns to death in a forest fire and no human being ever knows about it, this apparently unnecessary evil does nothing to build the character of human beings.

Each block represents an amino acid that when attached with another amino acid in the correct order, you can produce a truck, perhaps a building, or individual characters.

Where Wenger differs is maybe at the opposite end of spectrum, when dishing out harsh words or unkind lessons, some managers will go there as a way of building character or venting frustration, but Wenger is unlikely to do that openly out in public that's if at all.

but, here's a little reminder of his importance (i) upon arrival his was the goal that catapulted into th CL; (ii) when others were tired and unable to respond he has the strength of character to fight to bring us into the game; (iii) he scores the goal to save us face in FAC after last seasons fiasco; (iv) he is without equal our best player so he already earned the right to be in the highest bracket of epl strikers, we need sanchez desperately we've no choice other than to pay # 320K + and build into his deal performance rated enhancements so as we're all able to move forwards.

Later, O'Grady says, «I was walking around telling myself that defeat was character - building, when the P.A. starts yelling for me to come to the steward's room.

We talk about things like the «pink aisle» and the «action figure aisle» and «character clothes» - my kids don't have barbies or princesses or superheros or spongebob shirts... because who wants to play with an already dressed princess in a ready - made molded plastic castle when you can build a castle or design your own dress and who wants to wear spongebob on their shirt when he's a grumpy guy and the tye - dye shirt you make yourself is much cooler?

Anya uses her manners and is very polite when speaking to the player which is perfect when teaching your children character building.

«I think they get into their 20s and 30s and they really feel lost — they feel like they never had those character - building experiences as adolescents, as kids, that really make a difference when they get to adulthood.»

PS When I set up the Renewing One Nation unit (the predecessor to the CSJ) inside Conservative HQ in 2000 we had three aims: Investing in Families, Strengthening Communities and, most relevant today, Building Character.

That machine, when constructed, creates an artificial wormhole that allows Jodie Foster's character to travel to the center of our galaxy and talk to advanced aliens — who tell her that they didn't build the wormhole tunnels; an ancient race did.

And you'll want to take into account each character's unique skill cards when deck building.

In the film, Ben Stiller's Walter Mitty character speaks on the phone with his «eHarmony counselor,» who guides him through the process by helping him to build a great profile and coaching him when he hits stumbling blocks.

When we say «we», we mean «we» and not «you», because every player up until now has built up different relationships with different characters through the many choices they have had to make.

At nearly six hours, pic's extreme length lets Giordana and screenwriters Sandro Petraglia and Stefano Rulli build up a novelistic rhythm, pulling the audience so deeply and forcefully into their story that it becomes like a enveloping dream; when it's over, parting with the characters is truly sweet and sorrowful.

It's pure adrenaline with real family, good character building, friends, enemies that know when to support you, controversial situations, tough choices.

When we first meet Tommy, Franco initially keeps his face out of view, dramatically building up the character's mysterious persona by framing him from behind as he takes to the stage with fearless swagger during an acting class.

The blackly comic vibe is both a boon and a bust, as it allows for a good deal of disbelief suspension when the storyline takes a turn to become a «rogue agent» thriller, but it also does severely undercut some of the emotional impact that could have been had when deaths begin to occur and we realize that none of these characters truly mean anything to us, despite the sympathetic build - up of many of them.

We're not surprised when Goodman's sleazy character begins unveiling his plans to build a condo development on the site and that he knows where the will is and intends to destroy it.

Not only are the characters flat, paper constructs, but the levels and buildings are largely made of cardboard (as is Mario's health bar), while environmental effects such as water and sand throw off small circles of construction paper when they splash against something.

The easy plot builds up many characters so we get to know them plus links to other folk so when it all kicks off we feel the emotion run deep.

When we get to the ANZAC attack it is quite devastating because the characters have been built up so well.

When we first meet Ms. Ryan's character, Alice Bowman, she and her husband, Peter (David Morse), an American engineer supervising the building of a dam in Tecala, are bickering.

It's when we (eventually) start getting into the character development / trust - building phase that the movie starts crumbling.

A marvel in itself when you consider it's a film that relies so intensely on audiences already having an in - built knowledge of what's come before: old characters resurface without a glimmer of reintroduction, plot strands descend from the heavens without any impulse for context.

With more build up of its characters and more depth in its design, we might actually be scared when the events turn nasty, instead of just cringing at the level of grisliness.

Back when Iron Man was first released in 2008, the idea of building a shared cinematic universe based on characters largely unknown outside of comic book circles was the definition of risky.

The movie includes several huge, slam - bang battles in which cars, bridges, and buildings are destroyed, and chunks of rock and metal are flung far and wide, but the best parts come when the characters face their own emotional foibles.

While some may charge that it is simply a bait - and - switch when it comes the main character's gender, Hilary Swank's, Maggie, is built out in much more depth than other classic boxing characters like Rocky Balboa, James Braddock, or Micky Ward.

To find that you are short on resources at a crucial moment and forced to walk to the other end of the map and back again is more annoying than challenging — especially when your character has a habit of getting stuck between trees and buildings.

There are some standout scenes here, and certainly defining moments for the central conflict within Caesar's character, yet I couldn't help feeling that the narrative shift put the three - film sweep on pause, exactly when it seemed to be building toward a monumental climax.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

Though ostensibly built on characters and plots from the old TV series, it has very little to do with the show and everything to do with Burton's affection for the ghoulish and the goofy, especially when they come wrapped together.

The film fails when it comes to characters, but at the very least, it builds up to a funny finale and has enough quotes and memorable scenes to be a pretty decent cult viewing.

Instead of starting off heavy - handed with the pathos, the film builds us up with its humor, slowly cultivating each character just to pull the rug from under us when we are completely emotionally invested.

There are some sweet, gentle scenes that build growth in the characters, such as when Chief receives a puppy snack for the first time and a bath.

but I don't believe for a moment that Montand is really in love with Streisand's character — except maybe for when he sings from the top of the Pan Am building over New York — and therefore when the film isn't singing its little heart out, it feels faraway and frivolous.

When they're vanity projects built on such hoary devices as talking to off - stage characters or writing letters and reading them aloud, they can make theater feel like a dried - up old fossil.

In a time when so many movies put service to the plot above building believable characters, «Hostiles» is the sturdy exception that sees the horizon beyond.

There is a lot more character building, especially for Thor and it helps when you have a great supporting cast such as Loki, as the two brothers continue their on - off feud and love - hate relationship with each other.

So after creating your own character and becoming Camp Manager, it is made clear to you that it is down to you to invite Animals back to your camp, make friends with them, build your relationships and even craft furniture that you either like the look of, or your new animal friends can't get enough of and if it all sounds simple when put exactly the way I put it, it's because it is.

Those characters include Larry (Algee Smith), the talented lead singer of an aspiring doo - wop group, whose appearance on the stage of the Fox Theatre is canceled when the police evacuate the building, as well as the young singing group's equally young assistant Fred (Jacob Latimore).

The disarming directness and seeming simplicity of Reichardt's direction can lull you into thinking that there isn't anything going on, when in fact the film is built on a multiplicity of details and insights, never commented upon but essential to understanding the character and her situation.

You can't have character development when there's no story to build on

The cast is great, but when the movie wants to have fun it feels off, from Parker dunking on a guy to using his web to get Gwen to kiss him, these cool moments don't build the character, so much as work against him.

He has an innate ability to build tension, and when he takes it all the way into pure horror, it's easy for viewers to be right there with him, as terrified as his characters are.