Sentences with phrase «whose characters speak»

ERIC KOHN: No major American filmmaker has flaunted his autonomy from the Hollywood system more than Quentin Tarantino, whose characters speak and whose movies move in ways that are forever connected to his name.

Not exact matches

Despite the adoring crowds, motivational speaking can be a lonely existence — one reason it suited George Clooney's Up in the Air character, whose stump speech was about unloading people from your life.

(Save your fetish jokes, that's what they call characters whose heads are covered and can't speak.)

Heisel reported a study comparing Japanese and American children's TV programs, whose results revealed that there were even few older characters on the Japanese shows: 4 per cent of all speaking roles, as compared to 9 per cent for the U.S..

And speaking as a Catholic parent, I certainly do want to know and be assured that the ones who teach my children in this important area of their spiritual and moral development are those whose personal character, knowledge and teaching skills are adequate for the task.

Sandel's answer is, of course, the communally situated self, whose ends are given in and with selfhood, so to speak, and whose character bestows an important component of unity.

To begin with the first and most obvious: When we speak of Christ, we certainly have in mind the man whose personality and the general character of whose life emerge clearly enough in the Gospels, the man who was remembered as speaking such words as are found in the Sermon on the Mount and in the fifteenth chapter of Luke and, more important, as being himself the person who could have spoken them.

As a bonus Oden was a kid with bottomless charm whose (warning: NBA - speak) «character issues» didn't extend beyond an inexcusable fondness for wearing a fanny pack.

While the same can't be said for Mirren, whose character could have been played more convincingly by a host of fine French actresses, she is very likeable in the role, speaking all of her lines in English with a regality and refined quality that has been her bread and butter for many a year.

FILM COMMENT spoke with Villeneuve (whose last film was Prisoners, also with Gyllenhaal) to get under the skin of the doubled character.

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.

Robinson's script is a joy, especially when her lines are spoken by Rebecca Hall, whose character is described with due respect as a «bitch».

Dalton Trumbo, whose remarkable body of work included «Roman Holiday,» «Kitty Foyle» and «Spartacus,» was a man who spoke in a declamatory style — «like everything you say is going to be chiseled in stone,» as one character complains.

Two - time Oscar winner Trumbo, whose remarkable body of work included scripts for «Roman Holiday,» «Kitty Foyle» and «Spartacus,» was a man who spoke in a declamatory style — «like everything you say is going to be chiseled in stone,» as one character complains.

Franco's Tommy Wiseau is an oblivious creature who bangs out the script to his mystifying tour de force in a furiously hokey typewriter montage; without any internal conflicts, motivations, or backstory to speak of, his ambitions are simplified into his relationship with Sestero, a character whose two modes are «wide - eyed» and «peeved.»

Gorgeously shot on 16 mm by Christopher Blauvelt, the vast, chilly landscapes of the American northwest embody the isolation and loneliness of the characters, whose silences speak volumes.

Marian, the love interest whose kidnapping kicks off the plot, remains unchanged, in that she still has no character to speak of.

Speaking of morality, there's quite a discussion to be had by the end of the film, and though it's not necessarily the filmmaker's intention to make it the all - encompassing lesson of the story, there are quite a few characters whose motives should be questioned.

In a lively and engaging narrative, Ellis recounts the sometimes collaborative, sometimes archly antagonistic interactions between these men, and shows us the private characters behind the public personas: Adams, the ever - combative iconoclast, whose closest political collaborator was his wife, Abigail; Burr, crafty, smooth, and one of the most despised public figures of his time; Hamilton, whose audacious manner and deep economic savvy masked his humble origins; Jefferson, renowned for his eloquence, but so reclusive and taciturn that he rarely spoke more than a few sentences in public; Madison, small, sickly, and paralyzingly shy, yet one of the most effective debaters of his generation; and the stiffly formal Washington, the ultimate realist, larger - than - life, and America's only truly indispensable figure.

Staake's boldly colored, retro - style art features his signature stylized, round - headed characters, whose expressive eyes speak volumes.

Author Rochelle Weinstein, whose self - published title What We Leave Behind tracks the love life of the main character from a teenaged first love and into the resulting relationship decisions as an adult, spoke to GoodeReader about how the decision to self - publish is both an automatic response to insightful analysis of the publishing industry as well as one that might not be right for every author.

The long - spoken of Yennefer finally appears, for example, joining several returning characters, including Triss Merigold, and a whole host of wonderfully realised new NPCs whose story arcs are engaging.

But I don't speak of characters in the Mass Effect universe; I speak of those whose job it is, supposedly, to give honest, non-biased opinion.

The viewer may in fact draw a comparison between Percival, the seventh character of the Woolf novel, whose first - person voice is never heard, and Hundley, whose artistic output is filtered through experiencing the work of others, speaking through their lyrics and their writings.

In the interview, she speaks of contemporary influences — the British artists Chris Ofili and Isaac Julien, and the American painter Lisa Yuskavage, whose own invented characters are as high - keyed in color as Yiadom - Boakye's are subdued.

The Times did have a bit of fun with it all, and rightly so, what with tears and near - tears on the witness stand from the two principals in the case, as well as apologies for naming characters in the Harry Potter books whose name should not be spoken.