Word: characterã
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...illustrate in wrinkles what tree stumps reveal in rings. With especially tight and focused shots, Tarantino gives full billing to Carrandine’s lips; in Vol. 2, we are first reintroduced to Bill’s lips tickling a flute, then to Bill himself. The gravity of each character??s lips is sealed at the Two Pines Wedding Chapel, when Bill (pretending to be Beatrix’s father) kisses his feigning daughter in an eerie scene that dares to surpass the sexual tension which famously transpired between Thurman and John Travolta in Pulp Fiction, Tarantino?...
...more interesting aspects of the story for movie buffs is Stiles’ character??s hatred of Shakespeare. She is an inveterate math and science geek who is unable to pass the school’s Shakespeare requirement, and turns to well-schooled Eddie for help. For movie dorks like myself, this is ironic because Stiles got her start acting in Shakespearean adaptations like 10 Things I Hate About You (aka The Taming of the Shrew), Michael Almereyda’s adaptation of Hamlet and Tim Blake Nelson’s O, a high school version of Othello...
Both are two very wonderful experiences—but whichever you do, you dance as yourself. Whenever I dance, although I may “play” a kind of fictional role, there is always a personal side to my portrayal of a character??even if it is just in the energy I share with the audience...
...Sandvoss’s hands, the character??s lack of eloquence, part deliberate and part a function of the script’s weak points, becomes transformed into stumbling sweetness. And despite choppy pacing, awkwardly campy dialogue and a soundtrack that imposes emotional cues with all the subtlety of a tank, there’s plainly something there: genuine chemistry between Sandvoss and Ramsey, some sense that when they finally crumple in each other’s arms, it’s all for something much better than Hollywood-style inevitability...
...Zackheim wallow in this sort of bad acting during Roberto Zucco, but Dewis mostly succeeds in building a useful character out of it. He knows when to pause, when to be frank, and when to be droll—and by so demonstrating that he knows how his character??s mind worked, he makes his emotionlessness believable. Zackheim is less lucky; his deeply disturbed characterization shades into Keanu-like detachment even at his moments of greatest passion. Meanwhile, Fleisig-Green swings back and forth between this aggressive flatness and an equally aggressive style of scenery-chewing...