Zitat des Tages über Bogen / Arc:
Dramatically, the moment in 'Gravity' that was hardest to nail down is when Ryan is in the Soyuz capsule and she realizes that she's out of fuel. That's when the character's arc gets defined.
When Captain America is in a room full of Marvel superheroes, he is always Top Dog, even though his powers are pretty modest. He could be stood next to Thor, Iron Man, whoever. He is the one that everyone looks up to. To me, that is Superman, too. Even de-powered in the Legion arc, he was still Superman. Still Top Dog.
Our brain starts a long degenerative arc beginning around age 40.
Trajectories aren't linear. Life's just a roller coaster. If you're getting a chance to do cool stuff, and it's varied stuff, just enjoy it. I guess I'm a believer in the randomness of life rather than it being a linear trajectory or an arc, a consistent smooth arc, towards anything.
I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.
The earth together with its surrounding waters must in fact have such a shape as its shadow reveals, for it eclipses the moon with the arc of a perfect circle.
Joan of Arc had style. Jesus had style.
I am on the International Board of Best Buddies, and I am also working with Special Olympics, and with The Arc to help people with disabilities become more independent and more included in their communities.
In a way, all Scandinavian movies are descendants of the original Scandinavian Christian-metaphor movie, Danish director Carl Dreyer's 1928 'The Passion of Joan of Arc,' one of the seven or eight best films ever made and impossible to watch more than once.
'The Real World' is the most predictable arc ever. They get on the show, they're all excited, we're gonna be best friends, then people start drinking and get hammered, and say stupid stuff, and that's pretty much it.
I grew up in a haunting postindustrial landscape where prehistoric ferns grew among tens of railway tracks surmounted by brilliant arc lights where birds nested and sang in the dead of night, because for them, it was day.
One of the things I find exciting about Joan of Arc is how clearly the story of her life reveals the creation of myth, a process in which every one of us is involved - every one of us who tells stories and all those who listen, each informing the other.
I always wanted to play Joan of Arc. I've always wanted to do that. Now I'm thinking, 'Maybe there's a story in Joan of Arc's mother!' If I don't hurry up, her grandmother!
Through the music I hope to give it an arc that gives it a greater sense of a journey through the set rather than a bunch of songs.
We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.
The fundamental story arc of the Bible is God is passionate about rescuing this world, restoring it, renewing it.
When Joan D' Arc was asked by her judges why as a Christian she did not love the British, she answered that she did love them, but she loved British in their country. In the same way, we do not hate the Turks, we love them, but in their country.
I think the struggle, whenever you make a film or television movie based on a real person's life, is finding a dramatic arc that will hold an audience's attention.
After 'Prom Night' I did two movies where I was playing a prostitute. I gravitate towards characters that have some sort of inner turmoil or some sort of character arc. That's the great thing about acting, so many different things and being really diverse in your choices.
I saw myself as Joan of Arc.
I go to see some big shows of other bands, and I feel like I'm so bombarded and over-stimulated that I lose interest in the music. There has to be light and shade, and less stimulating moments. There has to be an arc to the show.
The moral arc of the universe bends at the elbow of justice.
People buy box sets, and they sit for a whole weekend with a computer on their lap in bed, and they watch two seasons back-to-back of a show. They are invested in the person within that arc or the dynamics of those people - the relationships - and it doesn't matter to them if they're watching it on an iPhone or a cinema screen.
The L.A Trilogy is a series of three novels starring Ray, a robot detective, and his boss, a computer called Googol. Set in an alternative version of 1960s Los Angeles, each book will be more or less standalone but together will form an overarching story arc with 'Brisk Money' as the origin story.
In front of us was not a line but a fortress position, twenty miles deep, entrenched and fortified, defended by masses of machine-gun posts and thousands of guns in a wide arc. No chance for cavalry!
'Goldenheart' is like a modern-day Joan of Arc. Think of it like medieval times-cum-2045 or Lancelot and Guinevere in 3025. It's a new version of these battles - age-old stories for the now.
I would not want to do one-episode television - that's just a brief encounter with your audience. The arc takes the actor into an arena where he can really stretch.
I relate to people and roles that are about the arc of human experience, things that everyday people deal with every day.
I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work.
As much as I devoured comics, I read non-graphic books exponentially more, so I'm not sure I can credit or blame them. Comics, however, taught me a lot about what makes a story arc work and how to bring a story to its natural resting place between issues.
When I hear the piano played in a compositional way, like in a songwriter's way in a compositional way, there's a certain arc to that that I love.
I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
I like the Hotel Costes, on rue Saint Honore, a boutique hotel near the Arc de Triomphe, the Louvre and the Tuileries. I love the dark, moody decor as well as the fantastic scented, candlelit pool in the basement.
As an artist, you don't think about the parabola or the arc you're describing or where you're going to ultimately end up, you're just kind of crawling around, seeing what's out there.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
Well, I don't know what Ron has in mind, but I do know about the arc of the show. Looking at how intuitive and instinctive Eddie and I play, that is the sort of thing that leads into sexual chemistry. I wouldn't be surprised if it emerged.
