Word: actions
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...train laden with all her possessions--and ghosts. The filmmakers imposed images of real human eyes onto the animation, creating eerily emotive characters. The other wordless film, a dark spin on Prokofiev's Peter and the Wolf using puppets and digital imagery, took home the gold statue. The live-action category includes an austere British western, The Tonto Woman; a Danish cancer weepie, At Night; and the winner, Mozart of Pickpockets, about a deaf-mute child who charms a pair of thieves...
Obama raised almost $6 million in the primary, and some of it came from sources Obama now shuns--$180,000 from political-action committees and $40,000 from lobbyists, according to the Center for Responsive Politics. More than half his war chest came from people working for industry groups--legal, securities, real estate, banking, business services, health care, publishing, utilities and insurance among them. Rezko raised $160,000 for the primary and later general election--funds Obama gave to charity after Rezko was indicted on corruption charges for which he's now being tried. Obama's contributor list made some...
...machine battle than in a movie about how to get along with your computer. Favreau and the Wachowskis know this. Their films show their heroes blending with robot suits and race cars in order to vanquish the bad guys. And in doing so, they've provided plenty of standard action-movie pleasures. Iron Man gives you a guy flying over L.A., disrupting military aviation and confronting a villain in even larger metal couture. Speed Racer boasts enough auto-erotic car-nage to make Grand Theft Auto IV seem, by comparison, like a jalopy junkyard...
...films back then, for all the pioneering imagination shown by Stanley Kubrick's team on 2001, visual effects were fairly primitive, and animated pictures were still hand-drawn. In today's movies, whether "live action" (with lots of computer effects) or animated (virtually all CGI), the machines that make them are the finest toys imaginable. And the people who program those machines use them as extended hands, as part of their brain. Machines are tools that free the creative spirit of the director and the effects mavens...
...from her stories: they refuse to sum themselves up with a neat final epiphany, and Lahiri doesn't write one-liners. "I approach writing stories as a recorder," she says. "I think of my role as some kind of reporting device--recording and projecting." She steps back from the action, gets out of the way, so the people and things in her stories can exist the way real things do: richly, ambiguously, without explanation...