What makes the scene so remarkable is how boring it is.
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It makes the scene of real bleakness that much more bleak.
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It's not just the kissing that makes the scene sweet and romantic.
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We can't reveal any more because the element of surprise makes the scene.
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The stakes are painfully high, but that's what makes the scene so fun to watch.
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But what makes the scene feel real is that, yes, women share these things with each other.
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What makes the scene thematically richer is that Lester is black, while his management clients are white.
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That's what makes the scene between Luke and Serena such a great effort of narrative pretzel logic.
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Merlin scarcely makes the scene, and Guinevere and Lancelot have yet to arrive to stir up trouble.
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We don't see what happens in the barn, but the implication of sexual violence makes the scene extremely upsetting.
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Then again, that's what makes the scene, and the Mission: Impossible movies as a whole, so thrilling to watch.
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Though Goldberg makes the scene funny in a macabre sort of way, it's incredibly hard to watch—or forget.
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What makes the scene particularly effective is that Agents of S.H.I.E.L.D. hasn't been shy about killing off its characters.
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It's an item that makes the scene of the crime seem so much more gruesome than it actually was.
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Her ability to connect with her own grief as well as her character, Randi's, is what makes the scene so gut-wrenching.
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What makes the scene especially intriguing is that it seems to corroborate past descriptions of Infinity War's yet-to-be-released trailer.
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In all genres, I wait in ambush for the exact, perfect, telling detail, the thing that makes the scene or line come alive.
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And there's just a palpable sense of community here that makes the scene really special What's the weirdest thing you've seen at a Phish show?
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That's what makes the scene between Matt and David so powerful, and not just because it's Christopher Eccleston and Bill Camp playing the two characters.
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What makes the scene even more emotional is that we know when he says, "It'll be the biggest regret of his life", he's thinking of himself.
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But what makes the scene land is the hour-plus before that, during which the movie explores both the frustration and the affection between the characters.
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What makes the scene more uncomfortable and touching is that as she wades into the suffocating surge of the cute and popular, no one even notices her.
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Well, here's your chance to see one of the most iconic moments in the two artists career without the famous score that makes the scene explode with emotion.
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Indeed, it's the obviousness of each man's agenda, and Mr. Trump's obliviousness to that obviousness, that makes the scene so banal as stagecraft — and so startling as statecraft.
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It makes the scene a lot more awkward — but it also makes Hamlet much clearer and more human than how he's often taught (and sometimes acted), as a melancholy philosopher.
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What I think makes the scene interesting is that the bad guy actually tells you what he's after and he doesn't have any shame about telling you what he's after.
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In one scene, he walks along a waterfront where refugees are arriving by boat; elsewhere, he comforts a distraught woman and, to his credit, makes the scene about her and not him.
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" You look at the scene, and you're like, "Well, the scene isn't slow, but the way we get into the scene, it slows down here, and that makes the scene feel longer.
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A performer playing a "straight man" is more likely to make anything they feel is out of the ordinary into the "game of the scene"—essentially the joke that makes the scene funny.
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The deliberately generic drawing of the figures within a limited palette tones everything down, makes the scene seem emotionally distant – like something we might see momentarily in a dream – until we realize what's going on.
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When I was around, there were a lot women involved in the scene, but they did zines, and other aspects of what makes the scene, but ultimately when talking about the music scene, the band is the center point, right?
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But what makes the scene so mesmerizing — at least to the weary eyes of a European, or a North American, resigned to the corporatization of sport — is the sense that this is something that we have lost, or that this is how it should be.
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The directors of this episode, Robert Pulcini and Shari Springer Berman (whose work on the 2003 movie American Splendor remains some of my favorite directing of this threadbare millennium), hang back from the confrontation with a documentary-like detachment, which only makes the scene funnier and more desperate.
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Though the peculiarity of the combination of one female nude with three clothed figures sparked mixed responses, the lack of interaction of the figures in addition to the lack of engagement by the nude woman provoked laughter instead of offense. Laughter as a response represses the sexual tension and makes the scene rather unthreatening to the viewer in the end.
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Wyler had worked with cinematographer Gregg Toland for six of his films, mostly in the 1930s. Toland used deep focus photographic technique for most of them, whereby he could keep all objects on the screen, whether foreground or background, in sharp focus at the same time. The technique gives the illusion of depth, and therefore makes the scene more true to life.Phillips, Gene D. Exiles in Hollywood: Major European Film Directors in America, Lehigh University Press (1998) A perfectionist, Wyler earned the nickname "40-take Wyler".
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Jeanne Makes the Scene, a July 23, 1993 article from Entertainment Weekly The following year, she starred as Abby McDeere opposite Tom Cruise in The Firm and in 1995 had another lead role alongside Kevin Costner in Waterworld. As lead actress, Tripplehorn starred in the 1997 box-office bomb Til There Was You. The next few years she had supporting roles in small films, including Office Killer, Monument Ave., and Sliding Doors; and in 1999 starred opposite Hugh Grant in the British romantic comedy Mickey Blue Eyes.
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Although they are very similar with regards to the layout and postures of the figures, the Palace Museum version (upper image) is much more spread out, with a large gap between the attacking bear and Lady Feng, which makes the scene much less dramatic than the British Museum copy. Furthermore, in the Palace Museum copy, Lady Fu is on the other side of the inscription for the following scene, thereby making her an unexplained appendix to the story of Lady Ban, and at the same time destroying the intended contrast between the courageousness of Lady Feng and the cowardice of Lady Fu.
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Within the huge spaces of the sets they employed unusually active movements for the camera whose virtuosity makes them highly visible to the spectator. At Saccard's party the camera glides back and forth above the guests; in the bank scenes it moves alongside and among the crowds. Most strikingly of all, in the scenes at the Bourse, a vertical shot from the high ceiling down to the "corbeille" (dealers' enclosure) makes the scene resemble the teeming activity of ants; and an automatic camera then creates a dizzying effect as it spirals down towards the floor. The result is a sense of dynamic exploration of the spaces contrasting with the monumental appearance of the sets.
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Such inner warmth is seemingly incompatible with the family's crooked and disheveled surroundings, and their fuzzy appearance with a lack of facial detail makes the scene into a general archetype for rural southern blacks living conditions and qualities. Thrash was referencing an experience common to thousands of black families in rural occupations at the turn of the 20th century, often forced into slavery-like tenant farming as their only means of livelihood in the racist South. The “uneven clapboards, leaning porch, broken shutter, and uprooted fence” are rife with instability, much like the post-slavery economic and social systems of the South, making it clear that for African Americans, “the house is not the home; rather, the figures on the porch represent family unity and continuity”. In this way, Thrash is able to not only champion the positive qualities of blacks in the family setting but underscore this with a symbolic look at their disadvantaged situation, making it all the more impressive that they persevere.
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