Rapaport, a career actor, basketball junkie and, now, fidgeting interviewer, rephrases his question: Who smells the worst?
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A curator takes the often-emotional comments, removes them from their combative context and rephrases them as cogent, dispassionate bullet points.
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" She then rephrases, as if highlighting the line for my benefit, "My old ways just don't do it for me anymore.
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His group is planning to launch a system later this year that does that using other cues, such as when a person interrupts and rephrases their query or command.
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Socrates rephrases the question, which has come to be the canonical statement of the paradox:Plato. [380 BC] 1976. Meno, translated by G. M. A. Grube. Indianapolis: Hackett.
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Despite his apparent stupidity, he can sometimes say something brilliant, which T.C. instantly rephrases to make it sound like T.C. thought of it himself. He is voiced by Leo De Lyon in the TV series. In the movie, his voice, by Jason Harris, is a little deeper, and he is made even more obviously stupid.
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We ask why a child should die an untimely death. And we ask why we should all grow old and die. Dawkins rephrases the word purpose in terms of what economists call a utility function, meaning "that which is maximised". Engineers often investigate the intended purpose (or utility function) of a piece of equipment using reverse engineering.
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The customer rephrases his request to reveal he in fact wanted "fork 'andles - 'andles [handles] for forks" (pitchforks). He then asks for plugs. To try to avoid a similar mistake the shopkeeper asks what kind and is told "a rubber one, bathroom". Believing that he is asking for rubber bath plugs the shopkeeper gets out a box of them and asks for the size.
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Most of the passages from The Femicide Machine's third chapter War City/Mexico-USA are recycled throughout Field of Battle. In particular, the fourth chapter of Field of Battle, Global War on Drug Trafficking, rephrases and slightly permutes the latter two-thirds of War City/Mexico-USA. In both cases the material covers the geopolitical interests of the United States via CIA operations within Mexico and Latin America, and the expansion of Mexican drug trafficking to Europe via West Africa.
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In Federal Court, Jack successfully prosecutes mobster Frank Renda for drug trafficking. Before being sentenced to fifty years in federal prison at Sheridan, the elderly Frank makes a veiled threat of revenge towards Jack. After court is adjourned, Frank’s son Joey (Richard Portnow) rephrases the threat in a more intimidating manner, but Jack does not back down and then dismisses him entirely. Sandy and Jack discuss his moving in, of which eleven year old Ben (Jonathan Taylor Thomas) does not approve despite his mother’s reassurance that it is only a trial period.
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Wilson uses the eye in the pyramid as a symbol of the dysfunction of hierarchies. Every level except the top is blind, but the eye can see only one way. Wilson rephrases this himself many times as "communication occurs only between equals". Celine calls this law "a simple statement of the obvious" and refers to the fact that everyone who labors under an authority figure tends to lie to and flatter that authority figure in order to protect themselves either from violence or from deprivation of security (such as losing one's job).
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Despite being a cinematographer himself, Anand opts not to wield the camera for his own ventures and has actively tried to select different cinematographers for each of his projects, like Soundararajan. S, M. S. Prabhu, Richard M. Nathan, Om Prakash and Abhinandan Ramanujam. During the script-writing process, Anand often finishes up to six drafts, though mentions he rarely "locks his script", suggesting it is always open to changes for improvisations on the shooting spot. He often rephrases dialogues; and sometimes has invented titles during the drafting process, being constantly on the lookout for short and crisp titles.
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The scene where the crew find and enter the old Planet Express ship (whose crew's fate is unknown) is similar to a scene and the theme of the film Sunshine. In the scene where Bender is on the lookout nest and sees the space whale emerge from the 4th dimension and exhales (breathing out a shape resembling a Julia set); Bender reports to Leela; "Look, off in the distance, it's exhaling!", Leela commands Bender to use "boaty talk", Bender sighs and rephrases what he says into, "Thar' she blows!", a popular phrase that was used in the Moby-Dick novel.
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What constitutes a hook — a repeated refrain of "I care for you, care for you" — is complemented by softly puttering synths, which become increasingly layered as the track progresses, punctuated by discrete moments of silence". According to Winston Cook-Wilson of Spin, "the track opens with a long passage that sounds distinctly liturgical, reminiscent of centuries-old sacred polyphony. The vocals for the first minute of the song do not form clear lyrics, but their phonemes, at relevant moment, recall words from a Catholic Mass: "fili" and "sanctus."" The journalist moreover observes that "the musical complexity swirling around the vocals germinates gradually, as she rephrases the line "I care for you" over and over again, as if convincing herself of the point in real time.
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