She's helping make the scene less sexist and more inclusive.
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Every director knows that the score can make the scene.
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And, really, doesn't that make the scene more relatable still?
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To make the scene more interesting, he decided to pose women in Colonial dress.
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He leans toward promoting it, saying that more diversity will make the scene cooler.
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So when I got to New York, I wanted to find the scene or make the scene.
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It was a way to try to break down the hierarchy, to make the scene an equal exchange.
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Apatow, Holmes, and the writers went out for lobster rolls and discussed how to make the scene brisker.
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You are exaggerating to make the scene, and if you enlarge one thing you have to reduce something else.
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Bamboo serving bowls are chic vessels for garnishes, while fruit-patterned paper cups make the scene look super stylish. 4.
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Her questions, posed to help make the scene look more realistic — ''How is this touch or physical act deepening the narrative?
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To make the scene look realistic, a fake arm was attached to Badgley while his real limb stayed at his side.
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Their ignorance didn't make the scene that followed — you know, the one involving fondling and a horse — any more comfortable to watch.
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The home has been cordoned off and local and state officials are working on a strategy to make the scene safe, Davis said.
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It also incorporates the song "Cotton-Eyed Joe" which we prerecorded so we could make the scene kind of like a music video.
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In the script, however, the character was not naked, but the comedian offered to take off his clothes to make the scene funnier.
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One of the great things about Gabberfest is we're getting everyone to meet up and start cooperating to make the scene bigger and better.
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At first, as we see during her rehearsals in last week's episode, Amma tries to rewrite the role to make the scene mildly more empowering.
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Jones even bought an old car resembling the one owned by the Parkers to keep in the driveway and make the scene even more life-like.
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I enjoy being on shows in the field because if I get a note or something in post-[production], I actually know how to make the scene better.
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Check it out below to see the shiny silver Model 3 zoom — okay, coast — along the SpaceX Hyperloop track, just to make the scene a little extra Musk-y.
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When Cardi B performs the biggest show of her life at Coachella, her pregnancy won't make the scene backstage any less of a rager ... at least for her entourage.
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That helps make the scene in which a kidnapped Kiki finally faces off against a vulnerable Félix — one of their only times onscreen together — one of the season's most compelling.
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While you can play with the exposure by sliding your finger up the screen to make the scene brighter and down to make it darker, Symes says don't zoom in on the sun.
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Security is tight, and even if you have no reason to to be concerned, the presence of cops and TSA agents can make the scene a little tense, especially for someone who's never experience such scrutiny.
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The cars weren't moving and it was almost pitch-black, so you couldn't help but notice the lack of movement; there was some experimentation with steering-wheel cameras, but it didn't make the scene any more engaging.
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Lars von Trier's two-part film Nymphomanic even utilized porn actors to film the sexier scenes, and digitally altered to place Shia LaBeouf and Stacy Martin's faces onto the body doubles to make the scene appear more realistic.
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If you've seen Arrested Development, you'll already know how Pageant of the Masters works: Actors are cast to recreate the characters in famous works of art, and a team of about 500 costumers, makeup artists, and set designers collaborate to make the scene as true to the original artwork as possible.
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And I felt that if we could make the scene stronger, and I'm partners with SideOneDummy Records and if the people I looked up to at Epitaph Records and Fat Wreck Chords all teamed up and showed people how important this music was, more people would pay attention to it, and what was wrong with that?
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A simple story about a boy who needs to learn to dance to hold on to his girl, the description of the club they go to is so vivid you can practically smell it ("A little cutie takes your hat and you can thank her, ma'am/Every time you make the scene you find the joint is jammed").
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Although she can't name or shame good or bad storylines or scenes, as this would involve talking explicitly about suicide in a triggering way, as well as inadvertently doing the exact same thing in print as she's trying to prevent happening on the screen, she says that if companies come to her there's a very strong willingness to compromise to make the scene work.
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The materials in this painting feel almost real and tangible, which helps to make the scene even more relatable to viewers.
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After experimenting with the sound, they were eventually able to make the scene humorous by only leaving in sounds of the characters' agony.
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Khaldei also copied smoke in the background of another photo to make the scene more dramatic. The photo was published May 13, 1945 in the Ogonyok magazine. While many photographers took pictures of flags on the roof it was Khaldei's image that stuck.
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For a street celebration scene shot in Enoshima, the Japanese extras drank a lot of sake to make the scene authentic. The rail strike scene took inspiration from a similar strike that occurred in 1949. 8 trains and 200 engineers were provided for the same scene. During this particular scene several actors were injured.
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Shapiro (2000), p. 55. Gillian Anderson later explained that, "David [Duchovny] and I knew the kiss was coming. [...] I felt the editors of that episode milked it in a very effective way." In order to create the atmosphere of the scene, specialized camera angles were used and everything was slowed down to make the scene last longer.
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Although the shepherds' fire on the hill behind and the angel outside the window create a light source, it's dim in comparison to that provided by the infant child. The sharp contrast of the divine light against dark is a tool used to make the scene appear more profound for its viewers.Campbell, 1998.The Nativity at Night.
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With one final re-write Koepp managed to make the scene work to Pacino's satisfaction. In the novels Kleinfeld does not die, but De Palma has a huge sense of justice and retribution. He could not have Carlito killed off and have Kleinfeld live. At one point, The Long Good Friday director, John Mackenzie, was linked with the film.
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By the time the game was unveiled in early 2013, it was 60% complete, and Yoko commented "It's not Drakengard or Nier. If you're expecting that, you'll be disappointed." The opening CGI cinematic was created by Visual Works. The scene was based on a storyboard produced by Yoko, and director Kazuyuki Ikumori aimed to make the scene beautiful despite its gory content.
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The first responder and ultimately the crime scene investigator have the obligation to make the scene secure and ensure that any further activities at the scene do not change the evidence. The use of a multilevel security method would accomplish this task. The preliminary scene survey is the first on-scene activity. Precautions are taken for transient and conditional evidence during the survey.
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See inline comment how to fix. and that Khaldei, in order to avoid controversy, doctored the photo to remove the watch from Ismailov's right wrist.Citation error. See inline comment how to fix. Citation error. See inline comment how to fix. Citation error. See inline comment how to fix. He also added smoke in the background, copying it from another picture to make the scene more dramatic.
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She tries to make the scene seductive, while he tries at first to keep it benign. They end up on the floor, passionately making out, until Gregory resists and pulls away. He expresses disappointment in her, implying her behavior is a "female-manipulation" without acknowledging that he only stopped it because he got carried away. Hours later, while he is asleep, she sneaks out and goes home.
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Returning to Lafitte's office he first cracks a blunt object over the man's head, but the blow merely stuns him. The stricken Lafitte turns over to look directly up into the eyes of the young man, and utters a single word: "Why?" In a panic, Summers stabs Lafitte with a pair of scissors, killing him. He steals money from Lafitte's table and tries to make the scene look like a robbery.
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The visual effects team were at work for the video for some time, sometimes staying overnight in the office to produce the video. The direction was to make the video seem "magical". Some of the props used when filming were recreated using digital animation, such as the door and the desks. Because extras were filmed separately, White was meticulous to find the right shots to make the scene more cohesive.
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"Often people on the set or at the studio are so worried about just getting content, and content is not necessarily going to make the scene full of humanity or feel compassion and amusement and humor", Kaufman told The Hollywood Reporter. He particularly singled out the way Adams rolls her eyes in opposite directions while she and Sutherland have dinner as something that a pod person could and would never do.
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According to Deverakonda, if filmed in conventional style, Vanga would have finished the film in 200 working days. For a few scenes, Thota used a hand-held camera weighing , which adversely affected his hands. The classroom fight scene featuring Deverakonda, Pandey and Sharma was filmed in a single take; Sharma wanted Deverakonda to actually hit him to make the scene look natural. He said their experience in theatre helped their performances.
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The footage was then sped up to make the scene more aggressive. Lynch worked with cinematographer Peter Deming to give the film a surreal look. Because the script did not include many descriptions, the film's visual approach evolved as filming progressed. Deming would occasionally pull out the lenses of his camera to defocus a particular scene, while Lynch would often listen to music in his headset and to a scene at the same time to visualize the screenplay.
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Padukone has gyrated to a Punjabi party song ("Main Sharaabi") at The Clapham Grand nightclub in Clapham Junction, by dancing on a table. This is reminiscent of a dance sequence in the song "Chor Bazaari" from Love Aaj Kal (2009). Whilst security was extra tight on the day to prevent outsiders entering the premises, a DJ was hired for the music and club lights were also used to make the scene look as real as possible.
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Following the explosion, Chibs reassured Jax that "we are going to fix this". When the Club decides to vote on Clay "meeting Mr Mayhem", Chibs supports Jax's decision. Clay assists Jax in killing Galen when he and Tig kill Galen's guards to make the scene look like a deal gone wrong. Checking that Jax is good with killing Clay himself, he stands back and watches silently as Jax shoots Clay through the neck, killing him instantly.
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This makes the audience experience Spider-Man's perspective and heightens the sense of reality. In Avengers: Infinity War (2018), the Titan sequence scenes were created using virtual cinematography. To make the scene more realistic, the producers decided to shoot the entire scene again with a different camera so that it would travel according to the movement of the Titan. The filmmakers produced what is known as a synthetic lens flare, making the flare very akin to originally produced footage.
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Before the invention of photography, people commonly hired painters and engravers to "re-create" an event or a scene. Artists had to imagine what to illustrate based on the information available to them about the subject. Some artists added elements to make the scene more exotic, while others removed elements out of modesty. In the 18th century, for example, Europeans were curious about what North America looked like and were ready to pay to see illustrations depicting this faraway place.
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"To the sound of old T. Rex" B A Robertson's "Kool in the Kaftan",Robertson sings the lyrics: "Go out and buy T Rex Fee fi fiddley do" R.E.M.'s "The Wake-Up Bomb",R.E.M. sing the words: "Practice my T-Rex moves and make the scene". and My Chemical Romance's "Vampire Money".My Chemical Romance sing: "Glimmers like Bolan in the shining sun" The music of T. Rex features in the soundtracks of various movies, including Velvet Goldmine,Velvet Goldmine.
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Several of the special effects used in the episode were created in a "low-stress" manner that did not rely wholly on Computer- generated imagery. During the childbirth scene, gas-burners were set a distance away from a fire-proof bed. The scene was then filmed with a long lens to give the effect that the fire was mere inches away from the bed. Producer John Shiban said that the film crew made "a big deal out of the eyes" to make the scene frightening.
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The Japanese Garden, located on the grounds of the Tillman Water Reclamation Plant in Van Nuys, California, designed by California architect Anthony J. Lumsden, south, was used to film the main academy's campus near San Francisco; images of the Golden Gate Bridge were superimposed to make the scene appear as if it were indeed on San Francisco Bay. Oviatt Library In 2009, the exterior of Oviatt Library at California State University, Northridge, was used to depict Starfleet Academy in J. J. Abrams' Star Trek feature film.
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A high-angle shot from Big Buck Bunny Example of high-angle shot in photography A high-angle shot is a cinematic technique where the camera looks down on the subject from a high angle and the point of focus often gets "swallowed up". High-angle shots can make the subject seem vulnerable or powerless when applied with the correct mood, setting, and effects. In film, they can make the scene more dramatic. If there is a person at high elevation who is talking to someone below them, this shot is often used.
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Not everything will be explained to you, and not everything will turn out in the tidy, reassuring ways to which we've all become accustomed. The Ruins is like all great genre fiction in its irresistible storytelling momentum, but in its lack of mercy, it's more like real life." Reviewer Tony Buchsbaum found himself "blown away by the author's crisp, clearly-focused way with a scene. He paints each one like a great artist, yet also holds back, sharing only the bits and pieces of detail that you need to make the scene your own.
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In early 2007 the BBC commissioned RDF Media to make a behind-the-scenes film about the monarchy, titled Monarchy: The Royal Family at Work, for BBC One. A 60-second trailer was shown at the BBC1 autumn launch in London on 11 July. The trailer showed two clips of Queen Elizabeth II; one in which she tells photographer Annie Leibovitz that she will not remove her crown to make the scene look "less dressy", and another in which the Queen says "I'm not changing anything. I've done enough dressing like this".
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Lau's wife, Susan, is the daughter of the billionaire Chow Yuen-sing. One night, Lau and two accomplices break into his father-in-law's residence, where they kill Chow and his butler, Uncle Man. Later, Lau lures his partners-in-crime to a rundown house and murders them, after which he attempts to make the scene seem as though the two of them killed each other in a dispute over the loot. Susan is not convinced that only the two killers were involved, so she hires Yau to help her investigate further.
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Upon the serial's publication, Hergé faced criticism for including Wolff's suicide in the story; suicide was widely viewed as a sin in Catholic-dominated Belgium. In deference to these critics, for the published book version he added Wolff's line of "perhaps by some miracle I shall escape too", to make the scene seem a less obvious suicide. Years later, Hergé expressed regret that he had capitulated on this issue. The story was collected together and published by Editions Casterman as On a Marché Sur La Lune in 1954.
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Shiina was initially whispering her lines while filming this scene, but after discussion with Miike, the two decided that having her say these lines would make the scene scarier. Ishibashi found that Miike was "having so much fun with that scene", and that Miike was especially excited when Ishibashi's character's feet are cut off. For the special effects where Shiina's character places acupuncture needles into Ishibashi, special effects make-up was used to create a mask layer which was laid upon Ishibashi's eyes, which is then pierced by the needles.
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The second take saw the car crash into the container with O'Loughlin away from the shot as McGarrett was in close proximity to the car. The eighth day of filming was spent in a village of quonset huts where McGarrett and Danny chase Doran. In one part of the sequence, McGarrett jumps over the trunk of one car as it was hit from behind by another car. To make the scene a reality, the film crew made a three-part composite shot to ensure no harm came to O'Loughlin.
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Tourists, people-watchers, buskers, and students from Providence's six colleges make the scene. Half a mile south of campus is Thayer Street's hipper cousin, Wickenden Street. More picturesque and with older architecture, it features galleries, pubs, specialty shops, artist-supply stores, and a regionally famous coffee shop that doubles as a film set (for Woody Allen and others). Football game between Brown and Cornell University at Brown Stadium Brown Stadium, which was built in 1925 and is home to the football team, is located approximately a mile to the northeast of the main campus.
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Principal photography began on May 16, 1988, in the Tabernas Desert in Spain's Almería province. Spielberg originally had planned the chase to be a short sequence shot over two days, but he drew up storyboards to make the scene an action-packed centerpiece. Thinking he would not surpass the truck chase from Raiders of the Lost Ark (because the truck was much faster than the tank), he felt this sequence should be more story-based and needed to show Indiana and Henry helping each other. He later said he had more fun storyboarding the sequence than filming it.
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Clyde asks Kate for contacts she has from her past dealings with shady business in Salem. Kate referred him to people who arrange a meeting with EJ DiMera. EJ agrees to Clyde's requests to work for EJ's drug ring in Salem but Clyde and EJ soon argue over drug territory and drugs that Clyde is bringing into Salem. During one argument in the park, EJ's disloyal bodyguard Miguel, who Clyde turned against EJ, shoots and kills EJ. Clyde and Miguel cover up the crime and make the scene look like EJ was robbed and killed by a low level drug addict.
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To save money on visual effects, the crew built set pieces to represent some of the buildings on M7R-227 and placed them in front of the puddle jumper set. Another measure taken as a substitute to visual effects was to cast mime artists as the frozen Asurans. While filming Weir guiding the team to find the ZPM, the fact that she can see "everything" without looking at anything was a hard sell for an actor, but with Higginson's drive in her eyes, this would make the scene more believable for the audience. The scene was not written in the original script.
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Contortionist Linda R. Hager was hired to perform the infamous "spider-walk scene" that was filmed on April 11, 1973. Friedkin deleted the scene just prior to the original December 26, 1973 release date because he felt it was ineffective technically. However, with advanced developments in digital media technology, Friedkin worked with CGI artists to make the scene look more convincing for the 2000 theatrically re-released version of The Exorcist: The Version You've Never Seen. Since the original release, myths and rumors still exist that a variety of spider-walk scenes were filmed despite Friedkin's insistence that no alternate version was ever shot.
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They were unaware at the time that the relationship between Willow and Tara would become romantic, but Benson's performance and demeanor "made up our minds for us", according to Whedon. The writers wanted to make the scene in which Tara and Willow move the vending machine by working together "sensual and powerful", and "a very empowering statement about love; that two people together can accomplish more than when they're alone". Whedon considers the scene one of the "most romantic images we've put on film" in the course of the series. Benson and Hannigan's chemistry was impressive enough that two episodes into Tara and Willow's friendship Whedon took the actors aside and informed them the relationship would be turning romantic.
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Jeremy Nevill Bamber (born Jeremy Paul Marsham; 13 January 1961) is an English mass murderer who was convicted of the White House Farm murders. He was found guilty in October 1986 of the August 1985 shooting of his parents, his sister, and his sister's six-year-old twin sons at his parents' farmhouse in Essex.Carol Ann Lee, The Murders at White House Farm, Sidgwick & Jackson, 2015. Returning a majority verdict, the jury found that, after committing the murders to secure a large inheritance, Bamber had placed the rifle in the hands of his 28-year-old sister, who had been diagnosed with schizophrenia, to make the scene appear to be a murder–suicide.
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Kim comes back with another gun, finishes off Cha, and gives Park his personal opinion before executing him with a shot to the head. They move to make the scene resemble an ambush by North Korean forces, and Kim uses the political fear and tension to his advantage while convening a Cabinet Council. Later, Director Kim and Colonel Min meet with the Army higher-ups to sell them their version of events, but Chief Secretary Yang gets to them first and tells what really happened. With every agency under its own authority and the possibility of inter-agency war looming, the Army arrests Director Kim, leaving Agent Yu and Colonel Min helpless and confused.
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Originally, Sideshow Bob was supposed to step on only one rake after he stepped out from the underside of the Simpson family's car, but this was changed to nine rakes in a row. According to executive producer Al Jean, the idea was to make the scene funny, then drag the joke out so that it is no longer funny, and then drag it out even longer to make it funny again. Additions to the end musical number, including visual gags such as Bob appearing in uniform, were added after the animatics. The crew felt watching the character singing would not be interesting enough, and they had to include these gags to make it work.
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To make the scene a "special moment" for the characters, a "virtual camera" was used to allow the animators to create the illusion of tracking, panning and zooming that "establish[es] the mood" while helping audiences experience what the characters themselves are experiencing. Imitating tracking shots, the camera frequently soars and zooms around the couple. The camera first follows Belle and the Beast as they enter the ballroom before panning until it finally returns to focus on the two characters. In his book Basics Animation 02: Digital Animation, author Andrew Chong wrote that "The sweeping camera move with a constantly shifting perspective during the ballroom sequence was a composition of traditionally drawn elements for the characters with digitally animated scenery".
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To portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director George Stevens decided the scene had to be overdubbed by Nick Adams, who had a small role in the film, because Dean had died before the film was edited.
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He also did not want to disrupt the audience's melancholy after the Titanic sinking. Paxton agreed that his scene with Brock's epiphany and laugh was unnecessary, stating that "I would have shot heroin to make the scene work better ...you didn't really need anything from us. Our job was done by then ... If you're smart and you take the ego and the narcissism out of it, you'll listen to the film, and the film will tell you what it needs and what it does not need". The version used for the first test screening featured a fight between Jack and Lovejoy which takes place after Jack and Rose escape into the flooded dining saloon, but the test audiences disliked it.
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After his younger brother's cremation, Kang Dae-hee goes to Lawyer Lee Yoo-beom and, offering him a big sum of money, reveals to him that he had actually killed his brother so that he can claim his insurance. He had mixed his brother's herbal drink with potassium cyanide and crashed his car to make the scene look like a car accident. Meanwhile, Jae-chan dreams of himself and Hong-joo watching the latter reporting on TV that a man named Kang Dae-hee was proven guilty of killing both of his younger brother and younger sister due to their insurance policies. Jae-chan learns at the prosecution office that Dae-hee is already accused of killing his younger brother for the insurance, and that Dae-hee's younger sister (Cho-hee) is still alive.
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During one scene, the player comes across a squadmate who had been lynched by a mob, and the player has the option to either kill the civilians or scare them away with warning shots. Walt Williams, the lead writer for Spec Ops: The Line, remarked that the development team wanted to make the scene feel organic, and explicitly sought to avoid the "clumsiness" of "No Russian". In his book, Playing War: Military Video Games After 9/11, Matthew Payne analyzed three controversial levels from the Call of Duty series, including "No Russian". He suggested that Allen's death emphasized the militainment theme of the soldier who sacrifices themselves for the greater good and that the level rationalizes morally suspect operations as long as they serve under the guise of national security.
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The weapon is a sword that has components of a revolver that send vibrations through the blade when they are triggered; this inflicts additional damage as Squall strikes an enemy if the player presses the R1 trigger on the controller. Although the weapon was intended as a novel way for players to control weapons in battle, Nomura said he feels it looks odd in retrospect and that it was very difficult to master. Square's Hiroki Chiba said the scene in which Squall and Rinoa embrace in space is his favorite in the Final Fantasy franchise due to the use of Faye Wong's song "Eyes On Me" in the background and because he had to adjust every frame to make the scene work. During one of the cutscenes of Final Fantasy VIII, Squall is impaled by Edea Kramer in battle, creating the theory Squall dies in battle.
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In devising this sequence, this also led to Beaulieu creating the dogbone-like shape of the Satellite of Love with additional inspiration taken from the bone-to-ship transition in the film 2001: A Space Odyssey. Hodgson had wanted to use a "motivated camera" for taping, a concept related to motivated lighting; in this mode, all the shots would appear to have been taken from an actual camera that was part of the scene to make the scene appear more realistic. This led to the creation of Cambot as a robot that the host would speak to during host segments or recording them while in the theater, and Rocket Number Nine to show footage outside of the Satellite of Love. The show's theme song, the "Love Theme from Mystery Science Theater 3000", was written by Hodgson and Weinstein, which helped to cement some of the broader narrative elements of the show, such as the Mads and Joel being part of an experiment.
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The North American version, directed by Chris Applebaum, shows Bedingfield in an elevator. As the elevator stops at each floor, she experiences different things, including running into a park from the elevator where she sings to the camera as the sun shines brightly behind her, comforting a crying woman who kisses the wall of the elevator with red lipstick before she leaves, dancing on a street with a group of children as they are sprayed by water, watching a janitor throw away his money and watches, singing with a church choir, standing next to a couple kissing madly, and finding a potential romance with a man (portrayed by Keith Carhill) who enters the elevator and follows her after she exits. According to a TRL interview, Bedingfield chose to make the scene where she gets wet because while filming the North American version of her "These Words" video it was a very hot and sunny day in Rio de Janeiro. This scene occurs during the second chorus.
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When Adolescence of Utena was remastered in 2011, the digital elements of the dance scene became more apparent when rendered as high- definition video, prompting Ikuhara and colorist Hiroshi Kaneda to exhaustively retransfer the film. Each scene had multiple designs and art directions rendered; for example, Ikuhara has stated that the scene in which Touga first speaks to Utena was initially rendered entirely in monochrome, but colors were ultimately added to make the scene more visually interesting. Other designs were adapted from elements previously used in the television series, such as Utena's dormitory and the Mikage Seminar hallway sequence, the latter of which was included based on the popularity of Mikage among the series' fans. Animators who specialized in mecha anime were hired to work on the final car chase sequence, with Ikuhara noting that several of the animators expressed initial confusion over why they were being hired to work on an Utena film.
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View from the Window at Le Gras, 1827 (manually enhanced version) The original plate on display at the Harry Ransom Center in Austin, Texas, in 2004 Historians Helmut Gernsheim and Alison Gernsheim tracked down the photograph in 1952 and brought it to prominence, reinforcing the claim that Niépce is the inventor of photography. They had an expert at the Kodak Research Laboratory make a modern photographic copy, but it proved extremely difficult to produce an adequate representation of all that could be seen when inspecting the actual plate. Helmut Gernsheim heavily retouched one of the copy prints to clean it up and make the scene more comprehensible, and until the late 1970s he allowed only that enhanced version to be published. It became apparent that at some point in time after the copying in 1952, the plate was disfigured and acquired bumps near three of its corners, which caused light to reflect in ways that interfered with the visibility of those areas and of the image as a whole.
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