Word: scripting
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Dates: during 2000-2009
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Take Charles Dickens, slice off his creativity, simmer down his imagination, and you get “August Rush.” An urban fantasy that begins with a promising nod to “Oliver Twist,” the film sputters to a halt with a script as unbearable as Ebenezer Scrooge. Director Kirsten Sheridan poorly attempts to mix realism and fable, and brings to the screen a sappy story that relies too heavily on the viewer to piece everything together. “August Rush” brings together two charming romantics for a one night stand?...
...user downloaded an average of 55,000 documents per day, according to Lydia Petersen, a content manager for HBS’s Baker Library. The user retrieved the documents at a rate as high as four per second, which led Factiva and library officials to believe that an automated script controlled the downloads. The use of such a script is prohibited by Factiva...
...couple scenes, talk in a Russian accent, or at least I attempt one, and then kind of leave again.RR: You don’t have any experience with the Russian accent?EB: No, no experience... I mean, besides just messing around, but it’s written into the script, a lot of it. And I think it’s less supposed to be accurate and more supposed to be ridiculous.RR: Do you have anyone who inspired you for the role of an adulteress?EB: Well, that’s a bit difficult. I don’t think...
...world about to witness Cartagena’s coronation as the new city of love? Not quite. Mike Newell’s “Love in the Time of Cholera,” although beautifully filmed and well acted by the leads, fails inexcusably with its script. The magic of García Márquez, evident in these first scenes, makes only rare appearances throughout the rest of the film.“Love in the Time of Cholera” begins in 1880 with fervent first-sight love. The young Florentino Ariza, played by Javier Bardem...
...directorial debut, “The Squid and the Whale,” which he also wrote, Baumbach dealt with the crisis of a looming divorce and the repercussions it had for two young brothers. The film’s anguish rang true in large part because the script was semi-autobiographical for Baumbach; amidst all the emotional turmoil, what survived was the fragile beauty of boyhood innocence. “Margot at the Wedding,” Baumbach’s second feature, retreads much of the emotional territory of “The Squid and the Whale?...