Sentences with phrase «written real characters»

Yolanda Ramke: And I think they really appreciated that we'd written real characters, not just stereotypes.

Happiness Can Be Boring - How to Write Real Characters By Denise Turner Article Word Count: 660 HAPPY STAN: Imagine that you're reading a story about a happy guy named Stan.

Not exact matches

The film is written and directed by his real - life son Emilio Estevez, who also plays the recentlydeceased firstborn of Sheen's character, on whose behalf he is making the pilgrimage.

«I don't think any written character should come across as completely solid because that's not real.

Novelists work diligently to make the written dialogues between characters in the story seem «real», that is, oral.

It's a good thing he's not real, and just a character in a book written by people.

I love to bring stories to life — real stories of the guests I interview on my podcast, the life experiences I write about, and the characters I create in my fictional worlds.

I love to bring stories to life — real stories of the guests I interview on my podcast, the life experiences I write about, and the characters I create in my fictional worlds.

A fresh, well - written comedy that doesn't lag, casts its actors against type and has a real love for its characters.

Even though technically he's not the greatest director ever (a fact which has been harped on ad nauseam by Smith's non-fans, hereafter known as The Pack), his writing consistently brings out delightful characters who sometimes skirt the edges of parody and sometimes dive head - first into it, yet still retain an indelible realness even while engaging in the sort of breathlessly verbose and witty conversations us real people wish we could have, but can't.

The best part of the film is how the characters are written, they act like real people.

In a film so manipulative and wrongheaded on so many different narrative levels, for this gem of a scene to emerge and produce real tears from a character barely written in to the story is a welcome surprise.

This tale of children and adults growing up doesn't quite have the emotional punch of THE DESCENDANTS, but Faxon and Rash once again prove that they can write compelling, flawed characters as well as writing young characters that seem real, which is a rare quality.

The college - lampoon mood is set early, with a title sequence promising, among other characters, «a British villain» and «a sexy chick,» and explaining that the film is produced by «some asshole» and written by «the real heroes here.»

Great acting, but also great writing, gives Carver a humanity that seemed beyond the real estate agent character until that time.

Gudegast, making his feature directing debut after writing «A Man Apart» and «London Has Fallen,» seems to understand just enough about that element of Mann's film to recreate some of its conflicts — both in terms of crime scenarios and the characters» civilian lives — but lacks the discipline, or maybe skill, to lend them real emotional weight, much less originality.

It's cheerfully ridiculous, Johnson looks right at home in a landscape stalked by marauding mutant monsters, and Harris is a good enough actress to make her thinly written character seem almost real.

, these quirks are hung on the character in lieu of real development; like Steve Carell's obsession with Proust, or Paul Dano's desire to be a pilot, they don't reveal anything meaningful to us about these people, it's just lazy writing.

Granted, the film is inspired by true events, but Zhang Ke Jia's way of directing and writing helps add a little bit of realism to each character instead of it feeling like an exaggerated version of someone real.

Angela Robinson, who wrote and directed the film, has managed to take what could have been a tawdry or salacious look into Wonder Woman's naughty roots and give her real - life characters — and their genuine love for each other — the same amount of respect that any vanilla, monogamous heterosexual historical figure would receive.

The best thing about the film, though, is that even though it's all about real events and real people, it still feels like a very well - written piece of fiction — not to say it feels unrealistic, it's more to say that the characters are more developed and intriguing than in most biopics.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

Using the character's written confession (in a location far from his beloved farm) as a framing device robs the story of any real suspense and, worse, fails to enrich the events on screen with emotional or moral substance.

April Wolfe writes for the Village Voice: «[Director Martin] McDonagh painstakingly humanises a character who we find has unapologetically tortured a black man in police custody... and then Three Billboards seems to ask audiences to forgive and forget wrongs like police violence, domestic abuse, and sexual assault without demonstrating a full understanding of the centuries - long toll these crimes have taken on victims in real life.»

Roman J. Israel, Esq. producer Jennifer Fox said that she's often asked if the title character is based on a real person, but she said that the part was actually written by filmmaker Dan Gilroy with Denzel Washington in mind.

Trivia: In Breaking Bad (2008), the characters of Hank and Walt Jr. both mention a book written by the real Robert Mazur who actor Bryan Cranston plays in this movie.

It is simply a cool action movie and while the movie is not without its faults (I particularly missed the architectural fetishism of the Tim Burton movies and some fight scenes are shot up real close so that you can't always see just what the heck is happening) it is like seeing your favourite comic book title being written and drawn by some guys with an understanding of the character involved for a change after seeing it being ruined by some talentless hacks.

If you wrote the most brilliant film with real characters, it would not be made, probably because it would be considered to have not enough action.

Trier writes these characters with such nuance that they seem startlingly real, identifiable and fully understood.

The show also helped launch / further the careers of cast members Penny Johnson, Jeremy Piven, Janeane Garofalo, Sarah Silverman and Mary Lynn Rajskub, and in later seasons brought in Bob Odenkirk as Larry's new agent (modeled on the real - life Ari Emanuel, also the model for Piven's character on Entourage) and «Kid in the Hall» Scott Thompson as the gay assistant to homophobic Hank, and the writing staff included Peter Tolan (co-creator of Rescue Me) and Judd Apatow.

Terry Moore writes real female characters with such breathtaking sensitivity.

«These characters feel real,» one reviewer wrote.

Its narrative was written by Pamuk, and it is the third part of the Nobel Prize winner's multimedia artwork that comprises a novel (Museum of Innocence, 2008) and a museum in Istanbul filled with «real» objects attributed to the novel's fictional characters.

The writing is quite solid, the characters feel real, it's just the dynamics that feel underserved.

She did a fine job of making a thinly - written character become real.

This is a well - written, beautifully directed film that fills a real world with people — not merely characters — who each have distinct points of view and approach life and / or death with very different perspectives.

It will need a top - flight adaptation that basically just takes the idea and the goodwill that it out there, and fleshes out it with real writing and characters.

Her previous two films, Humpday and Your Sister's Sister, were by no means perfect, but both were notable for their characters» disarmingly credible rapport — the kind of real - time recalibration between and among individuals that's nearly impossible to sit down and write.

But ignoring the story would be a real shame, as it is effectively written and stars characters who break free from the humorless machismo and posturing of the past games.

«McDonagh painstakingly humanizes a character who we find has unapologetically tortured a black man in police custody... and then Three Billboards seems to ask audiences to forgive and forget wrongs like police violence, domestic abuse, and sexual assault without demonstrating a full understanding of the centuries - long toll these crimes have taken on victims in real life,» April Wolfe wrote at the Village Voice.

The screenplay, written by the lead characters» real - life counterparts, Peter Gaulk and director Fred Wolf, is a compendium of jokes that don't work and Farrelly Brothers style gags that sicken instead of amuse (the extended bit involving a turkey and Peter's peter is particularly disgusting).

There are real characters here, and the laughs come from the absurd over-commitment to them, as well as some solid joke writing.

It's fun, it's well written, the drama is believable, the characters are great, the story is real and all of this is balanced terrifically with some nicely crafted humor that works fantastically when it needs to.

The sense of character was very real despite the fact you're controlling a robot, and the camaraderie with your human companion was strengthened by the excellent writing and beautiful graphics.

In a recent Big Whoop post, I wrote that one of the things that I adore about character actors is that they're frequently amazing characters in real life as well.

These characters are such well written characters because they are dealing with real issues and aren't just trying to get laid.

Written by Steven Rogers and directed by Craig Gillespie (Lars and the Real Girl), the film features some fantastic character work by Allison Janney, Sebastian Stan (as Harding's ex-husband, Jeff Gillooly), and Paul Walter Hauser.

Frost's Andy choosing not to drink during the pub crawl, or Gary's decision to use the death of his mother as sentimental motivation for the others to join him are moments that really round out the characters, and show that Wright's writing hand and the lead's respective acting skills have a real knack for male camaraderie.

The real action belongs to the words, that distinctive clip - clopping rhythm of banter between central characters that McDonagh writes with such aplomb.

Oswalt, 5» 7 ″ in real life, looks downright dimunitive here, and Oswalt takes another well - written Diablo Cody character and infuses Matt with a relatable empathy that works extremely well.