Definition, Betydelse & Anagram | Engelska ordet SCRIPT'S

Definition av SCRIPT'S

1. böjningsform av script

Exempel på hur man kan använda SCRIPT'S i en mening

• Studio executives were opposed to the script's bleak conclusion, insisting on a more mainstream and optimistic outcome.
• The female lead evolved from the initial script's description as "the society editor who writes under the name of 'Lorelei'" to star crime reporter "Lorelei Kilbourne," with no hint that her first name was a stylized byline.
• During the script's early drafts, the plot concerned Foley, Rosewood, and Taggart going to London to rescue Captain Bogomil (Ronny Cox), who was being held hostage by terrorists during an International Police Convention.
• " He also took issue that the first half of the script was driven by destruction and by the script's mid-point, there was "monster fatigue" and no "encore," stating, "So I thought the audience would be fatigued and ready for something new – and the new thing wasn't delivered.
• This analysis called the script a "good effort by an unrepresented writer", and considered the script's weak characterization and plot issues correctable.
• In October 1972, because of the Latin script's simplicity, its ability to cope with all of the sounds in the language, and the widespread existence of machines and typewriters designed for its use, President Mohamed Siad Barre required it for writing Somali instead of the Arabic or Osmanya scripts.
• Jada Pinkett, Lisa Bonet, Monica Calhoun and many other popular actresses auditioned for the role of Justice, though Singleton knew from the script's draft that the role was solely intended for Janet Jackson.
• Although depicted as the factory-backed Scuderia Ferrari team, the 512s used were borrowed from Belgian Ferrari distributor Jacques Swaters, after Enzo Ferrari balked at supplying cars due to the script's Porsche team victory.
• Allmovie gave the film a mixed review, complimenting the film's screenplay, but criticized the script's mechanical nature and lack of scariness, as well as the varying quality of performances from the cast.
• But the choppy, cliched visuals and the script's superficial approach to the characters' predicaments ultimately undo any goodwill that the actors can generate.
• Mullally revealed that the show's writing team was "notorious for tinkering with the script's laugh lines", even during the actual taping of the episodes.
• " Marjorie Baumgarten of The Austin Chronicle was critical of the script's characters and overall message as being "out-of-whack and sophomoric" but gave credit to the actors portraying them and the production team for being a vital element in Dickerson's filmmaking, saying: "He has a definite flair for action pictures but the stunning contributions from cinematographer Bojan Bazelli add immeasurably to the movie.
• Padmanath Bhattacharjee Vidyabinod, who wrote the first scholarly article on the script, is of the opinion that Abdul Karim's standardisation marks the start of the script's reawakening (nobojonmo) period.
• Geoff Andrew, writing for Time Out, stated that "despite the largely sensitive depiction of waste, suffering and despair, the often ponderous pacing and the script's solemnity tend to work against emotional involvement".
• Saunders can add zing to the script's rough sketch of a sorceress", dismissing her as "a female impersonator caught in a female body, promoting specialties that are the fairy-tale equivalents of super-extreme makeovers.
• " Entertainment Weeklys Lisa Schwarzbaum gave the film a D grade, highlighting the script's "stereotyping" of its main leads, saying that "each man's shtick swells into a frenzy of overacting in the name of aging that should have died with The Golden Girls.
• From the late 1950s, he was one of the first Mayanist scholars to give credence to the theories of the Russian linguist and ethnographer Yuri Knorozov concerning the phonetic and syllabic nature of the Maya script, which would later lead to breakthroughs in the script's decipherment.
• Writing for The New York Times, Stephen Holden called it "a movie of frantic action and clever special effects" with "jumpy nonstop energy that overrides the script's incongruities and the amateurish performances".
• Clark and Fast's screenplay depicts Jonathan as an example of the Mandingo stereotype, and derived many of the script's sex scenes from interracial cuckolding culture, depicting the white sexual partners of Jonathan and Brenda as viewing their blackness as a commodity.
• " Shales also wrote: "Director Robert Markowitz succeeds at making the slow pace work for the story and the bucolic Georgia setting, but he can't do much about the script's tiring talkiness.

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