Bowling Shoes Cost 2 Rent

The important thing is to finish


Stefania off the light.
With notes by Amelie leave this space for free minds,
open and available as a friend with beer in hand
(feel strange bedfellows in the groom, and love
see these pages fragrance) .
The thoughts of the author but on another fly in space,
you to investigate where / how / why.
Want to die again, then?

Easy Homemade Novelty Cakes With Templates

Fear and Loathing in Las Vegas Ed Wood

this hallucinatory and hallucinatory Fear and Loathing in Las Vegas (Italian translation Fear and Loathing in the wrong from the original Las Vegas / Fear and Loathing in Las Vegas). Last work of former Monty Python director Terry Gilliam (former author of visionary films as Brazil and the Army of 12 Monkeys), the film is viscerally tied eponymous autobiographical novel by Hunter S. Thompson was released in the United States in the "far" 1971. Nestled in the "drug culture" of the late 60s the novel tells the quick ascent and descent through the violent adventures of two characters in Las Vegas a typical expression of that passage. Raoul Duke (an extraordinary Johnny Depp), aka dummy by the same author, doctor of journalism, and his wacky lawyer Dr. Gonzo (Benicio Del Toro an unrecognizable). Laurel and Oil caught in the middle of a drug party, Don Quixote and Sancho Panza to grips with the windmills generated by the effects of hallucinogens. An extraordinary descent into the underworld in a desperate search ganglia, fragments of a fading American dream. The murderess of John Kennedy, the Vietnam War, and a little later Nixon and Watergate. The end of an era, the crushing of a ideale.Baule filled with every kind of narcotic drug, mescaline, ether, acid, grass, the two "no heroes" across the Nevada desert to reach Las Vegas. In the city is waiting for them with the difficult task of telling the famous "Mint 400", busted for bikers race through the dunes of the American desert. But the more difficult it will survive their epic quest for the "American Dream." A place, an idea, a space now (re) closed in on itself. The portrait of the generation "sex, drugs and rock and roll" is upset, stressed, distorted through the distorting lens of drugs. Narrated by using images that are often suspended between hilarity and horror, between objectivity and subjectivity narcotic. A member of the psychedelic record book that is translated in the film through a hallucinatory imagery, a deliberately ungrammatical use of the camera. A rare case of osmotic relationship between matter and told narrative technique. A sort of perverted and prolonged visual stream of consciousness: a clear sky crossed by a flock of fake bats, patrons a bar that become horrifying Jurassic reptiles, decorative elements that take lives suddenly. The film, in the spirit of the book, he strives to not ever tell a priori between reality and fantasy, leaving the final decision is up to the viewer. See about the extraordinary opening scene with the attack led to the two main characters from a horde of bats fictitious (?). The whole story seems to unfold in a sort of parallel reality. A World Apart, based on a series of "exaggerated" by the effect of hallucinogens. Another dimension with which it is possible for the characters interact in the usual manner. The initial trip through the desert thus assumes a very specific meaning symbolic. Abandonment aware of any limit, any social convention, for each value. A rite of passage that acts as the ultimate goal to find an animal level primal fear of being deprived of any man. Here come Duke and Dr. Gonzo bare, cleansed, before the ultimate expression of fiction, of unbridled capitalism, of counterfeiting: Las Vegas. City of Vice, the game of perdition. City specially created out of nothing and nothing is surrounded by desert with the specific intention of being an outlet for repressed lusts and perversions in society. A detachment of mind which becomes physically separated also in Las Vegas. Mind and body travel on two different orbits. A Las Vegas everything is legalized, anything goes, everything is so fake as to seem almost real. So even forcibly submerged in the mass of tourists who inhabit the weird way the two main characters are hiding, highlighting their diversity. Openly showing their eccentricities, the two homogenize the human landscape around them. The frustrating search for the American Dream from the depths of society, the mass and places that populate it. The "pop culture" is replaced abruptly to the "drug culture". Tom Jones, "Mission Impossible", Humphrey Bogart icons that new advances. There solver and cathartic awakening in Fear and Loathing in Las Vegas because there is no substance of sleep. Sleep and nightmare are generated the same raw material, inscribed into each other. Fear, disgust, horror and delirium. Will not willing to surrender before the discovery of a lost dream, an opportunity missed, the final abandonment of an era. Duke and Dr. Gonzo's stuffed with all sorts of drugs, without distinction, without preference. A prey to terrible hallucinations, sudden and unexpected mood swings. Violence and crying, ineptitude and sudden rages. Closer to their state of mind, the film proceeds to tear, ignoring any logical consistency, away from any disorderly narrative center. In a large hotel room Raoul Duke stunned the television screen sets. Under his different look everything flows: Vietnam, Nixon, Barbara Streisand, the youth protest. The TV picture transships bounds of the screen and is reflected on the walls of the room. An iris greatly expanded under the influence of the drug is able to understand the most critical points of a society being destroyed. The 1971 as 1999. Years marking the end of an era is open to uncertainty. The lid is lowered, the visionary eye closes. Duke and Dr. Gonzo leave Las Vegas to Los Angeles. There is only one road to Los Angeles: "Just two other freaks in the freak kingdom."

[Fabrizio Pirovano]

^ Post vaguely dedicated to a person - "Bats, Bats!".

Opera definitely haunted and if - two hundred. The color is lost and enter into a dynamic and humorous almost impossible to bring all of the framework of Renoir (green instead of blue, purple instead of pink - commutative in the art of color?). The sense then, seems to do everything possible to sidetrack ... although there appears to be a logic to the melancholy vision of the end credits. We lose the balance during most of the images - of our rubbish. It certainly made an ode to the belly of the Benicio emeritus, as well as the slender legs of Mr. Duke (who me a lot of those ricordan Saimon). ^

What Type Of Primer To Use Bmx

Director: Tim Burton . 1994. USA.
Model: Johnny Depp, Martin Landau, Sarah Jessica Parker, Bill Murray, Patricia Arquette, Lisa Marie, Vincent D'Onofrio
Duration: 124 '


Far from Hollywood, the fifties. In the thirties a theater half dilapidated director Edward D. Wood Jr. brings to the stage a day after the show panned by critics. By day he worked as a porter at the studios film and one day discovers that a manufacturer is looking for a director to make the biography of a homosexual. Edward proposes to man confessing his passion for women's clothing, but they reject it anyway. Back home he meets the actor Bela Lugosi, who played a lot of forgotten horror of Universal, which creates a relationship of friendship. Weiss returned by the manufacturer, proposed the name of Lugosi as the star and then they decide the film Glen or Glenda produrgli?. Edward also took the opportunity to confess to his wife, Dolores Fuller, his vice. Finished shooting the film offers a distributor who believes that this is a joke and the Manufacturer's screams Weiss against any failure. At a meeting of the big catch Ed Wood, Tor Johnson writing for a possible film, while continuing the decline of Bela Lugosi with the continued use of morphine. And then decided to seek funds for the next film and is contacted by a television writing Bela Lugosi for participation, and that turns out to be a complete disaster. Television studios, however, know the magician Criswell, a charlatan who knows but the world of entertainment. Then organized a party to raise funds to make the movie, but get nothing. Desperate, Ed Wood in a bar knows the young Loretta King, newly arrived in Hollywood willing to finance the film in exchange for the starring role. And accepts and keeps the role in Dolores, which does not take it well. When it turns out, the shooting started that Loretta has no more than three hundred dollars, the shooting stopped and the crew is forced to organize a new party, however, what sort the same effect as the first. Ed Wood finally gets a loan from the owner of a chain of meat which, however, imposes a new ending and the idiot son as an actor. After stealing a giant octopus in establishments film, the film is finished and give a party during which, however, Dolores left the group. And then one night is Bela Lugosi's Morphine shocked and suffering from a delusional attempt suicide. The actor is convinced and becomes hospitalized for detoxification. You know Ed Wood Kathy with her she begins to come out and after they confessed their pleasure nell'indossare women's clothing, they fall in even a story. For lack of money in the meantime, Bela Lugosi was forced to leave the hospital and back at home where Ed Wood takes it back for the last time in front of a camera. In the film Bride of the monster is a disaster so that everyone is forced to escape being chased by the public. A few days after Bela Lugosi dies. Difficulties in paying the rent by owner Ed Wood learns that the Baptist Church would like to make a series of twelve episodes, but he convinces them to produce his first film in order to secure a commercial return to make the series. Since fired from the television set which he worked, Ed Wood, Vampira can also contact all together and be baptized. On the set, however, things are not going well in the presence of producers when Baptists and Ed Wood is shown dressed as a woman is forced to leave the set because it offended. He took refuge in the usual bar meets the director Orson Welles struggling with funding from the movie about Don Quixote and an exchange of words with him enough to encourage him to close the film. At the first of Plan 9 from Outhere the public space may seem like work, but Ed Wood decided to leave the room. A tribute
heard of director Tim Burton to a genre, to a world, and above all a way of making films which had many technical and operational deficiencies, but with a vitality that was sincere, even if sometimes overly positive. Who is Ed Wood Tim Burton second, then? Gone down in history as one of the worst film directors (born 1924 and died in 1978), Tim Burton becomes the symbol of the darker side of Hollywood's most famous (that opening sequence plane escapes from almost written overlooking the hills of California ), a film made of scoundrels and, old glory, alcoholics and drug addicts, a film made up of lives that are lost or abandoned on the streets to themselves. Ed Wood is essentially a loser, and would not have been otherwise if you look better than Tim Burton's filmography, devoted to diversity and the shortcomings, the minds anxious and sad that populate his imagination and this world (and also to celluloid). It is certainly a challenge for Tim Burton's homage to a true failure, but thanks to the success of the film seems to win in agility and is also avenged his lost hero. It is a film with circular structure, which opens and closes like the biography of a man brackets (and also of a whole troupe referred to in the end titles) who had the courage to make films more than any other passion (besides then put his vices in the streets) and in the end he, too, has slipped into oblivion alcoholism and loneliness. Portrayed by a talented and increasingly good Johnny Depp, Ed Wood becomes a comedian, a caricature that has desperately light in the eyes of imagination, hope, and which binds his life for others, but also a lack of adherence to reality. It is the eye illuminated by Johnny Depp and Tim Burton films over the strings of a tender, cheerful, funny, educated and above all beautifully shot, I live in his dirty black and white. Do not miss the hundreds of small details that make the body on a forgotten historical reality (the producer by the name jew, old television programs, the direction of the silent film) a film taste but fantastic liar, but no intuitive technique, lively and cheerful but in essence profoundly sad (the relationship of friendship between Ed and Bela). The biography Ed Wood is also therefore a means to open the doors to the viewer of the show, of his tricks (the film in the cinema), its most ridiculous figure (which often come from television already) but in which there is always room for small feelings (broken up into a cohesive group). Certainly the approach of Tim Burton, who has always used his audience to the fantastic and in the sale, but here shows a closer disenchanted (the impurities they are accustomed to the magician charlatan Criswell) but not for cynicism, but it never really sinks If anything is really good at bringing out the story of a fictional character irraccontabile. It's the film that speaks and tells of the film is not with a delicate sense of contempt (who is really sucking the blood, Bela Lugosi? Morphine? Success? Ed Wood?). Its success is measured from a distance with complete clearance of low-cost genre films (the effects, perhaps unintended, will be seen years later with the recovery of the first American genre films, then Italian mostly) free real stars ( Lapsed or star) and animated by extras from the strong physical features and bad artistic content (an example of all the catch wrestler Tor Johnson). For fans of classic horror movies, Ed Wood is also a mosaic of quotations (from shots to the arrangement of lights, from billboards to stars called into question) and that will be taken up and reused in another gesture of love for the classic film genre, the sci-fi brought to the big screen by Tim Burton himself with the next Mars Attacks! (1996) where, however, is not given to any particular biography (Ed Wood has used the one written by Rudolph Grey). The film won the Oscar for best supporting actor Martin Landau (himself an interpreter of many who plays Dracula and Bela Lugosi in a hilarious homage to the genre apostrophised) and for the trick, which was also attended by Rick Baker. The music of the film were composed by Howard Shore, almost unique signature of the movie soundtracks of Canadian director David Cronenberg. To create the right atmosphere, the composer used the theremin, a special tool that Soviet production is played by touching them with your hands because it is an electromagnetic field to make it vibrate. This instrument was chosen among others in Hollywood because it was used largely as a consequence for flying saucers.

[Bucci Mario]

"The director perhaps the most dilapidated in the history of cinema (Edward D. Wood jr., In search of fortune in Hollywood in the fifties), a circus strongman , dark actress known as Vampira, a pseudo-seer, a fearless disguise, a morphine addict and forgotten old glory (Bela Lugosi was Dracula, masterfully played by Martin Landau won the Oscar) here is the court of miracles in the middle of the tender and funny film by Tim Burton dall'immaginifico that revives with careful art faces and environments into a flaming black and white . Wood (Johnny Depp, of course. And of course, perfect) was heterosexual, but he loved to walk with heels, miniskirt, and - above all - wearing angora sweaters (vaglielo to explain to his girlfriend then shocked to find them in the drawers). He also loved science fiction low (lowest) cost, the production of Z-series, enthusiasm and friendship with a vengeance. He hated to run two times the same scene and remained in front of incredulous the distrust that surrounded his films (even though - as we discover in a tasty encounter between the two - is based on the same foundations that of Orson Welles). Sexual ambiguity of "Glen or Glenda" (us: "Two lives in one") to fake octopus and flying saucers cardboard "Plan 9 from Outer Space": Tim Burton recounts the miseries of a decent man eventually ridiculous be overwhelmed by the tenderness. "

[Alessio Guzzano]

shelf unit: Cinematerapia

Soundtrack: Interpol - The new

Best Point Nd Shoot Camara

Wild at Heart

THE YELLOW BRICK ROAD

by Wild at Heart to The Wizard of Oz

Ada Lanzaro

Wild at Heart (Wild at Heart) 1992 Director: David Lynch; screenplay: David Lynch; Cast: Nicolas Cage, Laura Dern, Willem Dafoe, Isabella Rossellini, Harry Dean Stanton, Crispin Glover, John Lurie, Jack Nance, Sherilyn Fenn, Sheryl Lee, Diane Ladd, from the novel by Barry Gifford, The Wild Life of Sailor and Lula

"Wild at Heart is a road movie, a love story, a psychological drama and a comedy violent. A strange mixture of all these ingredients" (Rodley 1998: 169). As a very clear narrative level and elusive to every canonical definition, the structure of Wild at Heart is classified as belonging to the category of road-movies. A film from the path of travel rather odd, though, considering that the flashbacks and parallel stories included in the narrative continuum ripped the temporality of the narrative between past and present, the here and elsewhere, preventing progress towards a final release and breaking the film into a false speech movement along the main American roads.
"Wild at Heart is an unusual road movie, as it leads nowhere" (AA.VV. 1991: 80), and the presence of the road as a narrative structure refers more to a mental place that material in a path, since there is no attempt to relate the characters with the surrounding space and the horizon as a backdrop to the story remains limited. The movement in this film is given more by moving through the inserts, filmed in the subjective (the memories of the characters, their visions) from advancing in that car and get lost in the vastness of the American continent, as happened to other couples on the run of road- movies.I continuous references to a "reverse that is not met, that is untied, and isolates the characters in their first film and then the existential loneliness "(AA.VV., 2000: 72) tell us the nature of the journey of the protagonists, a move bound to an illusory space, which indeed takes place regardless of anywhere reale.Il treatment Lynchian basic dramatic intrigue is not so bizarre when you consider the narrative style of the novel by Barry Gifford that was inspired by: The Wild Life of Sailor and Lula, who at the time of completion of film had not yet published, is a road novel that has "a ballad in the form of unstructured [...] in which the action, reduced to essentials, and no little progress" (CHION 1995: 141-142) .
In the book successive chapters separated from each other, sometimes very short and never numbered but named as if it were many small incidents unrelated to the narrative level, as the story develops along two main characters and events narrated by referring to the past, rather than occurring in the present of narration (CHION 1995: 142 and HUNT 1992: 90). The director shall respect the lack of temporal linearity in the novel placing in his film, on the sidelines of the stories which they abandon continuously Sailor and Lula, the images in a subjective or flashback to break any kind of suspense and fragment the forward thrust typical road movie. Barry Gifford, which is not party to the making of the film or the drafting of screenplay, contrary to the expectations of the press was happy ply perverse, almost morbid taken by the story in the film: if journalists speak of a "catalog of bizarre encounters and often extremely violent" (Rodley 1998: 266), Gifford comes to declare that, in his view, it is "a fantastic film. Wonderful. It's kind of big, dark musical comedy" (Rodley 1998: 266). The adjustment, according to Lynch, has done nothing but make what was a bit light 'brightest and what was a little black' blacker, highlighting contrasts, precisely "because life alternative to other wonderful aspects horrible "(Rodley 1998: 275).
At a formal level the film is the result of a combination of aggressive elements and scenes disjointed and sometimes conflicting, in which an assembly "and insisted sudden" (CHION 1992: 150) recalls the style rather rapid, accurate and fragmentary video clips. The director uses the soundtrack to accentuate this gap, using a mixture of musical styles different from each other, from rock to '50s synth sparse, minimalist songs written by Angelo Badalamenti. To punctuate the different tracks filmed central axis switching back from hard rock (the powerful guitar riffs of the Slaughterhouse Powermad), which opens the film in the scene of the beating and scans the moments of intimacy between Sailor and Lula, Im Abendrot orchestral introduction to Richard Strauss, amplified by the use of Dolby that accompanies the opening credits and the long kiss at sunset of the protagonists: "They are like two expressions of the same power of love - with the emphasis falling on the concept of power. Strauss is not in fact the composer more Nietzschean, and not only because it derived a symphonic poem by Zarathustra? " (CHION 1992: 152). Even the prose of Gifford was supported by frequent references to music played by the two in the car or in the place where you go, a characteristic also typical of any history of travel, road-road-movie or novel, worthy of respect. At the end of the film, however, contrary to the conventions of the genre and the closed end of the novel, in which Lula Sailor leaves, the couple faces a cruel fate, but decides to stay together, suggesting that the expected future as a happy family together, he also added that it was the arrival of a child: "their driving days are over" (Alexander 1993: 124). Many critics have questioned the final scene of Wild at Heart, if this is a solution for "free" economy of the story as some of the stories that will fit without any apparent logical connection, or if there is a presumption that the Lynch 'has added to have more potential in terms of commerciale.Il director himself said: "commercially is much better than there is a happy ending, but if I had not changed the ending, so that people could not have said that I tried to follow the market, I would not be faithful to the substance of the film. Sailor and Lula were to remain together, the problem was to devise ways and at the same time preserve the scene where they break up. In the end, the solution helped The Wizard of Oz "(Rodley 1998: 275).
Although the ghost of The Wizard of Oz has long hovered Lynchian imagination in the form of goblins, witches and ghosts that populated his earlier films, or more directly in the Dorothy played by Isabella Rossellini in Blue Velvet, Wild at Heart in the theme of the magical world of Oz is revealed more explicitly by invading the plot. The Wizard of Oz, a series of fourteen books written since 1899 by Frank Baum, was intended by the author a new kind of fairy tale, typically American and no spells, dream-fantasies of cruelty and the European tradition, represented by the brothers Grimm, Hans Christian Andersen or Lewis Carroll in Alice in Wonderland. For
Baum, Oz was a real world where a girl named Dorothy was actually gone, even if the film that Victor Fleming took out in 1939 suggested that the adventures of Dorothy in the kingdom of Oz had taken place only in a dream and sometimes indulged , contrary to the principles of the author, and a grim details crudeli.La film's plot follows that of the book to a certain point: besides the fact that Dorothy is no longer a child of five or six years, but a twelve year old girl (also played by a sixteen year old Judy Garland), the Wicked Witch of the West remains the only threat to obstruct the path, while in Dorothy's story the way he was continually thwarted by a world full of giant spiders, wild animals, trees with sprawling branches and numerous other pitfalls (HARMETZ 1981: 31-41). The subtext consists of The Wizard of Oz, a work that has influenced much U.S. cultural imaginary and the substrate, acts as a constant counterpoint (in its film version than in the novel) to the fabric of film Wild at Heart and becomes a constant point of reference, although was completely absent from the novel by Barry Gifford.Generalizzando, both stories can be regarded as a parable of innocence, trust, trustful, kind of a variant of the "American dream".
Wild at Heart may in fact be called a "childhood film, a film of a child who sees everything in great and strong contrasts (CHION 1998: 155) in which the protagonists to soften trivial (consider, for example , the necklace of candy that gives Lula Sailor) and often speak or act with an almost childish immaturity and fickleness: Lynch spoke of the same pair as two "idiots" (Hunting 1992: 87) underlines the candor and 'ingenuity, and in this sense that should be read in the many references to the world of Oz. Another distinctive feature of the film, which takes an already distinctive style of Gifford's novel, are "the captions that mark the history of" pointing "years-months-days past, but now to relate the time required to bring that present-bazaar does not come "(AA.VV. 2000: 50) This timelessness exasperated feeds the indeterminacy and favors the presence of a halo and magical fairy tale in which fit well and explains the strange appearances and visions that alternate the characters 'normal', polarizing the story about an insane coexistence of opposites. Hence the strong stigma of good and evil within the narrative, typical character of a fable, just as the lack of irony and the presence of ambiguous scenes, poised between tragedy and comedy, such as that of the death of Bobby Peru (Willem Dafoe), whose head explodes for a gunshot like a balloon, which is thematically related to the transformation of putrescent liquid wicked witch from The Wizard of Oz. Still, Lynch pauses on some shots of the wicked witch flying on her broom, the couple beside the car and a final part of the Good Witch (also borrowed from the novels by Baum), "fairy ex machina" (CHION 1995: 145) that comes down from heaven to help the Sailor, in trouble because they suffered a violent beating inside a pink bubble (1). The simplicity of the special effects used by Lynch strengthen the accuracy and reliability of vision, making it sometimes more disturbing comic. As in every fairy tale characters are characterized by a particular aspect or element of their morbid physical or personality: Juana, the torture of Farragut, has a complicated prosthetic leg while Dell, the cousin of Lula, is an unbalanced obsessed with his physical relationship with cockroaches and Mr. Reindeer, a hit man who lives in a brothel, is a sort of "sinister Wizard Oz eccentric who sits on the toilet talking on the telephone, watching naked girls dance in His bathroom" (ALEXANDER 1993: 118-119). The sequence that takes place in Big Tuna, then, is even "a study in Lynchian abjection" (Alexander 1993: 120) in which the young couple made the acquaintance of a number of misfits: "I know it's Not Exactly Emerald City .. ., "says Sailor.
Keep in mind that not always, in Wild at Heart, the mixture of "violence and destroy affectation" (CHION 1995: 154), light and shadow, humor and fear, unable to reach a perfect synthesis. This maybe because the presence of the magical world of Oz as a counterpoint to the underlying film was not planned from the beginning, but rather an idea that has arisen during the filming, a sort of divertissement copyright may choose to support of dimension of the "visionary child" (AA.VV. 2000: 104) always present in his films, or that of multiple worlds, just as important. "If I ever go looking for my heart's desire again, I will not look Any Further Than my own backyard, "said Dorothy wisely, but in Lynch's film no one seems to have a firm base to return after being lost, and this abrupt alternation between fairy tales and hard reality seems to explain the sense of displacement continued, the lack of spatial references that pervades the film. All I dream of two young players is to reach them too, along a yellow brick road, Emerald City, which is merely a normal life, away from wicked witches, away from a world that is "wild at heart and weird on top". In this sense the dedication of The Wizard of Oz to all those who are "young at heart" fits perfectly the idea of \u200b\u200ba world lynchiana narrated from the point of view, fragmentary and unresolved youth dimension, deeply imbued with heterogeneous elements, narrative fragments, mythology of rock and advertising, not especially interested in the resolution of the plot. In Wild at Heart
issues may remain unresolved unclear, and this is because the halo derivatogli fairytale universe of Oz, where "there is a certain amount of fear, but also something to be able to dream. So, in a sense, it seems true "(Rodley 1998: 270).

shelf unit: Cinematerapia

Soundtrack: Rogue Wave - Publish My Love

Bride Escorted By In Wedding Program

Alienation Bubble

S 'look at this Work slowly.

<>

S 'points out this work with expectation.

<>

S 'points out this work,

so that the look of shame,

paint themselves black and forget it.

<>

Learning to reconsider,

my dear.

Learning to breathe in water - you can
because they are dismayed,

unlearn your 's aroma,

my friend.

Learning to rest with
class absences on others stony,

my sister.

will learn how to French kiss

anxiety as to your

that they were the first fifteen years, new and wrapped,

my child.

Learning to undress' s a hint of panic,

to emerge proud of nudity.

<>

Long Range Wifi Antennapreamp

Doubly

Louis XIV> Best Little Secrets Are Kept> Paper Doll

"Ah bang a gong or get it on We don't need to take off our clothes to get it on Pull your skirt up a little bit Pull down your top and show me a little tit I said hey short girl you're like a midget You can turn a phone cord into a widget She said you son of a bitch you little bitch I ain't gonna show you my love without a hitch I said hey hold up sugar just one at a time Show me yours baby I'll show you mine She said oh you're so pathetic yeah well so...you're so magnetic I said hold up girl I know your game Ah you want a sugar daddy you can tame I said sing, sing me a song And bang me like the girls in Hong Kong I know I know I ain't correct But politics are so much better when there's sex I said rollover do me a trick Do it with your shoes on it'd be a kick Ah tell me the horse that you pick Let me buy you a lollipop you want to lick She said Does that shit work with other girls If it does, why don't you find one of them to give you twirls My love cost pearls ah does it baby - you don't say She said hold up I know your game You want a paper doll that you can tame I said sing, sing me a song she said well touch me like the boys that did me wrong you know it's ok, it's alright If you want clean fun go fly a kite. "

The cinematics > Break

Testo non trovato , damndamndamn :)

shelf department: The Way of the 7 notes

Soundtrack: The same songs themselves galore

Does Menards Have Clothing In The Store

Director: Steven Soderbergh
PRODUCTION: USA - 2005 - Thriller
LENGTH: 73 '
CAST: Debbie Doebereiner, Dustin Ashley, Misty Wilkins, Omar Cowan, Laurie Lee Screenplay: Coleman Hough
PHOTOGRAPHY: Steven Soderbergh
ASSEMBLY: Steven Soderbergh
MUSIC: Robert Pollard
WEB SITE

Plot:
Martha and Kyle work in a doll factory and are friends. Their relationship is troubled by the arrival of a new worker, Rose, an unwed mother.

Reviews:
Choice antihollywoodiana to Soderbergh that BUBBLE - think also to recent work of Van Sant - opting to work at low cost in the U.S. will see a simultaneous theatrical release, on the satellite and on DVD (there are five other films with similar characteristics of distribution). Away from the major film is the story of a minimal way in which very precise, well-designed characters drown in the static routine of dreary industrial district; none of the human relationships described in the film is sound: Martha nourishes friendship morbid for Kyle, but Kyle Rose approached him at the first opportunity steals, Kyle used to hang out with Martha Rose, Martha Rose looks with suspicion a person was deemed ambiguous and dangerous; the characters have nothing apart from their habits and drugged by the compulsion to repeat that imprisons them, they come to conceive or accept the horror, the tragedy until finale.Interpretato non-professional actors living in the province of Ohio in which the film is set, shot in record time, BUBBLE is simple and no frills look naked Soderbergh, away from the dollar and the theories, the central objective.
[Luca Pacini]

Tales of Ordinary Madness:
Director discontinuous but from appreciating the spirit investigator, Steven Soderbergh, with "Bubble", challenge the movie industry with great courage. Firstly, because it bypasses the logical common ground rather than letting the distribution of his films simultaneously in theaters, on DVD and pay-tv. Second, because this step takes a little work with anything but commercial and free of any appeal. The challenge, at least from the point of view of style, is won (and probably also the business plan does not languish, given the cost). At the base of the experiment there is a story both simple and disturbing. In a small town in Ohio, in a doll factory, the balance between two work colleagues, a young man and a woman, is troubled by the arrival of a single mother. To involve the structure is not so much "yellow" of the story, as the subtle director's ability to connote perfect theater environment of the story and the characters drift. No star on the assembly line, but common side facing a devastating slow But from the everyday. A dozing placid routine where the tragedy of inner emptiness unbridgeable. In this sense, the small town America comes out in pieces and it is in the silences, filled mostly by noise environment in trade monosyllabic during lunch or a night at the pub over a beer, say the absence of significant events, which can be explained by Soderbergh under the alienation of a life devoid of stimuli, in which the successive days by inertia and really nothing seems able to diminish the emotions. A world without reference points, with variable amok, in which killing can be a choice as simple as required. Finally, the digital out of the habit of shelling at all costs, showing that an alternative to film, without much difference in quality is possible. The script is well structured and interpreters, all non-professional actors recruited in place, have the right to make credible faces destabilizing event.
[Luca Baroncini]

gaze: When
now, admit it, hope was lost here is Soderbergh's return in good shape: the director, who now seemed consecrated the Industry, running a film low cost with beautiful faces from the road, stirs in the mud of the American province evoking the alienation of TWIN PEAKS, choose a story taking it rough all the way without fear of horrifying. BUBBLE is a gnome for the standard of the director: minimum, spectacular zero, are simple but effective in their infinite disquiet (doll factory). The deviance, the tunnel mental illness does not scare the author, that proves that you can (still) making a film using a staging freezes and unadorned, although the support is usually rough triangle sentimental opera opens his eyes wide as gaze of Martha (Debbie Doebereiner, a beautiful monster ") and the tip straight into the abyss. In the background: an extraordinary formal austerity tells America inability to communicate, through almost endless fixed plans, Gus Van Sant in the balance between acceleration decadent rock. How insane film about insanity BUBBLE, uncomfortable next-door neighbor, turns out to be by far the best proof of the American.
[Emanuele Di Nicola]

Comments:
Focus, parallissi and production of meaning:
The focus, as is known, is a narrative process which is to provide the reader with a number of knowledge of (internal focus) or less (external focus) to one owned by a character. Genette calls it "a restriction of 'field', a selection of information than the so-called omniscient narrative tradition (...)". In reality, the cinema would be more appropriate to speak of ocularizzazione (François Jost) - or even rather, bias (André Gardies) - but, to avoid intolerable academic constraints, we are satisfied dell'arcinota genettiana category. Also because it allows us to bring in another concept, the less worn and abused, the French scholar: that of parallissi, or the "retention of information logically carried as" the party dominant mode of the story. In other words, if a story is internal focus, the omission of a fact known to the person on whom the story is focused parallissi. The premise of narratological order is less than it seems inessential, since it helps to address the last Steven Soderbergh's second coordinates suitable are those of the narrative mechanism. Film at greater risk of overstatement, Bubble is in fact built entirely on the procedures mentioned. Wisely - we must add - but at a substantially conventional chains Soderbergh in blocks of narrative focus internal variable (the story is focused now on the character of Kyle, now up to Martha) until the murder of Rose. Here a work parallissi omitting the essential information that should be guaranteed by the party rules adopted by the story. Parallissi focus on internal variable here is the formula by which the American filmmaker works his small films (low-cost duration and low: only 73 '), proving once more shrewd and skillful manipulator of the entertainment packager of audiovisual products. There is no mention of experimental work, because of experimental Bubble is not a trace: the use of actors off the street and kept in the dark narrative of the development is not new, the mounting pseudojump-cut is the figure soderberghiana for excellence and the use of digital key antispettacolare semidocumentaristica and has already been formulated and practiced in the U.S. by the project groups (of which it is useful to recall the interesting Tape (2001) by Richard Linklater, adapted from a play by Stephen Belber). The characterization the characters and the establishment of their relationships suffer from a similar schematic: Martha morbid obesity and Kyle are the sensitive boy cronies, the arrival of the charming and cheeky Rose will send everything upside down. Also on the allegorical, the film seems to go beyond the programmatic and inconsequential statement. Exemplary in this sense, the first shot of the film: the bucket of a bulldozer sinking into the soggy soil of a cemetery. The meaning is all too clear: this film will dig into the quagmire of the American province, showing the moral poverty, squalor and horror. Is there a way to produce more mechanical way with images?
[Alessandro Baratti]

Grey Suit Colour Shirt

The bench of 19 - Ode to a girl


girl,
lithe and dark,
between smiles mint
cheeks and strawberry.
girl,
forever and never once
growth,
yet turn the pages
and knows first
of 'start' s a book
its final page,
his thanks
and 3 blank pages
left, including the price,
the 'smell and cover .
girl,
detached from existentialism
but well hang on nails
crisis of the mirror.
girl,
hands to push up the 'listening
a sign of respect singular,
against d 'a world of the masses,
a character who is known for 7,
pages Russian banner of' romanticism
persos forever on the road -
Pollicino there 'taught anything.
girl,
ghost too, with a 'smoky industry
in London and pocket full of dreams.
girl,
ghost also probably
you have been next -
vanilla and cinnamon, ginger, remember?
Invisible and rootless,
for you that you do not have suitable glass eyes.
hours sitting on your watch 19 of dissolved
to the right edge of a Provencal road.
The red bike you see is mine.

Hiding Status And Mood

a Long Dimanche de fiançailles

DIRECTOR: Jean-Pierre Jeunet
PRODUCTION: Fra / USA - 2004 - Drama
LENGTH: 134 '
CAST: Audrey Tautou, Gaspard Ulliel, Albert Dupontel, Jodie Foster, Lanners, Thierry Gibault, Jean-Pierre Darroussin, André Dussolier
Screenplay: Guillaume Laurent - JP Jeunet (novel by Sebastian Japrisot) PHOTOGRAPHY: Bruno Delbonnel
DESIGN: Alice Bonetto
ASSEMBLY: Hervé Schneid
COSTUMES: Madeline Fontaine
MUSIC: Angelo Badalamenti

Plot:
Mathilde lost in war her boyfriend, who started two years earlier for the front. Despite reports to the contrary she is convinced that he is still alive and doing everything to find him.

Reviews:
Love that never dies :
At the time I did not understand the widespread resentment against AMELIE, a work that was the only defect of being clever than some Hollywood movies but bill of well over a substrate and with plenty more cultured. The following AMELIE while thematically is less risky (Jeunet takes refuge in the pages of a novel) is definitely more risky in the development and in the outcome. The melodrama of the fund, as well as the content - clearly pacifist - are, in fact, more than in his popular predecessor, a mere pretext, sufficient to fit the author's method recognizable here, then, that under the distorting lens of the director, the film opens divagational one thousand tracks, history center being the center of many streams branching narrative - some only sketched, others continued and developed in a continued use of flashbacks (and flashbacks of flashbacks) real or assumed - that tone of literature for the slight craziness reminds Queneau the methodical and maniacal in Perec. The beginning of the film is in this sense almost programmatic and sketched the story of five characters by following cardinal the story from multiple perspectives, as will (of course our thoughts go to Kurosawa) for the blast mowing the Albatros-Manech Fiordaliso, while the film runs on the track of the memory of a mythical time and postcard that unfold in environments fairy tale (the home of the protagonist) and where the border with the commercial awareness is more often exceeded (the arrival of the postman, tasting the delicacies prepared by your hostess, the catchy word). In this sense, the care of the décor, perfectionism, which controls each sequence, the register does not restrict the (moving from movie footage all'onirismo made - brilliantly - in the form of silent film), the use a human and a digital photo and turn saturated, while mania may appear sickly and, precisely, blatant advertising, the other representing the perfect rendering of a poetic and visual imagery in obsessive detail, expressionism , vintage, modern antiques and bric à brac are the masters. The story goes while playing with destiny, a destiny which the protagonist, mad love (the same Amelie, in his permanent happiness for all, was not she too, in its way, a mentally unstable?) Tries to grab hair and bend to his will (the beloved must be alive and Mathilde is keen to point out that it is not persistent but of hope - Hope is the normal form of delirium, he said Cioran -) and that scattering traces and clues that will be consistently recovered and put into context, it is up a catalog (nearly Luperi) of characters, the most diverse (confused - in comparsame - even Jodie Foster). Perhaps there is nothing really new in this, if not the perfect setup for that method described above (and PellesC wittily AMELIE hoped that at the time of the eye that the director was still a prisoner of megaproduzione castrating - as in ALIEN RESURRECTION -, finding in this discipline it needed to give their best), probably to the theoretical construction basic element of the work is striking (Greenaway docet) so as to freeze the melodrama (but we are sure, the author had every intention), maybe two hours and passes control of affectation end up being too much (but better of any, pallosissimo Gilliam, who, in many ways, we can approach the French), perhaps the way Jeunet has reached its peak and now seriously threatens the sterile exercise, but in the face of such anonymous mass of celluloid, the ' A VERY LONG ENGAGEMENT operation, with all its faults, is still welcome greeting.
[Luca Pacini]

Life is a novel
is not the nostalgia of the past to suggest the translucent surface on which to run the headlines: a cast of more than meatloaf love and war one (s) lost golden age, Jeunet's new work is an explosion in style Amélie. It is not only the presence of Audrey Tautou to allow the comparison: a long dimanche de fiançailles (the engagement must be replaced, in the Italian title, a general passion) is a quasi-remake of the earlier film, serving as part of a research a "treasure box" (containing the last shreds of life of a group of men devoted to death), involving / upsets diverse lives and lands in a stunted, yet wonderful, loving joy. After an introduction conveniently frowning (some weighed down by too many blinking in Paths of Glory), the film flaunts its exuberance sovereign creating a magic lantern filled with specks of Visp and enchanted sea, traveling through time and space with the soft rush of voice over, making the rectangle of the screen fragments of expression between the Gothic and Art Nouveau, piling up and flipping through pictures and sounds with a meticulousness that slips into a gentle madness (Bénédicte dixit). The visual splendor, rich in detail icy and unnatural (the bizarre prostheses used by the characters in their own personal treasure hunt) is undeniable, but if some sequences offer pearls of elegance (the reluctant lovers) and dried voltage (the hospital in the hangar, with the disaster underscored by a fart mechanical), and other heavy sound far-fetched (the Verdi of revenge against 'officer in default). The irony quite often loses his way home, the tenderness does not always fill the gap. Is not, by Jeunet, one step back, but all in all a break and enjoyable rather comfortable. Best, however, the direction of the colorful cast, which features a delicate Foster of despair.
[Stefano Selleri ]

Comments :
Area readers:
From the novel by Sebastien Japrisot Jeunet's latest film, with the shadow of Amélie to wander (though in a more painful) in this strange and captivating film noir of war. 1917, five men on the front of the Somme are injured to return home, instead of ending court-martialed and then thrown in the trench, the so-called ultimate fighting coward. Mathilde (Audrey Tautou in an intense), not getting any news from her boyfriend Manech (just an honest Gaspard Ulliel), will start his search. Dreamer, naive inventor of all personal superstitions (Amelie played with proverbs), seeks obsessive clues scattered like a treasure hunt but written with too many sheets. Atmosphere charming and terribly realistic, painstakingly minute details, a judicious use of digital technology (which among other things makes a big Paris, thanks also to the beautiful photography of Bruno Delbonnel), the practical realization of so many great ideas and original (rather, only convincing case already heard the music of Angelo Badalamenti) ideas, however, only partially contribute to the construction and evolution of a story, indeed rather ragged and heavy to be followed. At one point, in fact, you lose the road and we are entrusted to a director, but with the anger of those who wanted to walk from the film alone. E at the end when the narrative balance is compromised by too many names, too many faces, too many sottostorie, you lose interest in knowing if Manech is alive or dead. But when the attention dies down at times, never sleeps as in some Italian movies (I do not know, we want to talk about "Crystal Eyes" by Puglielli or favorite "I Can See in the eyes" of Santella? Still waiting for the next Calopresti and Piccioni, of course).
[Andrea Battantier]

piccolopiccolo ^ This is a film as a kind of card that you almost get lost in your pocket. Trat tasi a history of difficult, however slight, runs on the eyelids.

The color is once again becoming the bone of cuttlefish (think Delicatessen) and the size is, as is typical in Jeunet, almost fable-like and almost devoid of Time.

The melodies of Badalamenti then reconfirm the effects and the pathos - then I wonder about the quick step or less from Lynch to Jeunet. Paris also seems to be better dressed than usual ... beautiful picture of a crowd crowds before, after a solitary portrait.

Certainly the love here is more concrete, almost on the side of Boccaccio, but no less milk & mielecaldo. ^

Brazilian Wax Salons In Al

Maya

Cara cloud spirit and inspire Wind,

in our expressions and against our will,

at the moment of birth collected by him mind

and accepted with the right glass of unconsciousness in

nature as well as our future profession ideals.

Cara cloud fun look in our eyes,

facing our faces with a taste of rain and black currant,

cullacci fancy take us and as a woman caring

let rest for a moment ,

allow the temporary wonder noumenon

allow the mystical encounter between air and mouth,

between dreams, as a kind of bread to accompany, and parted lips .

The prospect of this fantasy long months and years,

gives us no paper, ribbon and ticket

it poses to our senses and misleading stepmother.

We need, at least in moments of recreation,

of a royal flight,

anything that smacks of focal and childish.

Over the hedge, over the bridge,

beyond the old and the sea.

We delude ourselves waiting

of being steeped in a race,

of Serbia in the bosom

the number of a second,

the graphic sign of an hour,

the name of a month,

attributes of a season.

So.

hand heats if passed

with frenetic sense of anxiety

belly inflated with helium

excited eyes -

is the first day of school for them -

know of several changes from now to mark

and eyelashes,

are about to become nth interval

for a viewing of a film

director of novices,

with little critical acclaim

but resounding general affection.

Brazilian Wax Truckee

Betrayal

The first page of that book

(carrying in her womb a dedication by 8 months or already there):

Empty pockets friend

in the spine because

lies not certainty,

nor any center of gravity.

Close in circles that take you behind, every experience rhythmic appearance, but in the sincerity expired and gone bad.

shame and pain because prostitutes

every bit of culture,

your mother and your grandmother

t'appesero the Sun North

so delicious with intimate care.

Clock pendula But you shells.

Hold between nails and details, to the Dominican port of burlesque and a summer house and ask yourself, ask yourself what is still pure, still rectum. Look MadreMare and ask for the death of a coin, when asked about a laugh dropped in a pit between each of us taken and tense, designed and built. Go wild in every hair, scream the bloody breath!

Trace and thrown on each sheet,

apostrophised those hands dirty by Venus

left corner of unsold paintings.

S Mussati corners nose worn -

really believe

with it

can

will hold a sky of only one meter more than you

large and mature?

Of Dorian six poor daughter!

Unfazed sterilize each category

leave it to the ideas to get the love and kissing.

Clairvoyance: the concepts will open their legs to the letters! L ' Orgy will not only be imagined! But spoken! With kindness! Way! Education! Cassandra was the last page, now it's only earth. Immerse yourself in it and vestitene memories. Join the field, embracing events time only natural (and nonverbal).

The word does not make sense, and so the verb.

just threw it in color.

Voice on the belly.

legs.

belly again.

lips.

So enjoy the paragraph.

Orgasm lies at the foot of the page -

first academic world, you know?

hath been clouded now, forgive shoes and scarves. Tell the skirt today finally, tomorrow I will have the paragraph to read. Turn your gaze to me, Hold my hand, still have much to write about you,

you're

my

unspoken

undressed

raped

refused

lost

reflected the sun.

Fans still

where saliva

turns the page,

forgive the anger.

Life is your

and to Thee I dedicate.

Wedding Favor Tag Sayings

smell like

I met a girl. They were unlucky day of Spring, her favorite season. He told of how persecuted the smell, stressed saccenza with the choice of the word smell instead scent of sea and wind. Described in my ear unwisely then, why maybe miserably conscious of the many ways that these feelings had to take it back, or on the legs smooth and white.
I met this girl I said - from the first moment the impression was of how much he had learned his stuff from an early age. Studied for profession and I could not tell for sure what, but I can now draw the little importance of the issue. It was clear his ability to move between fields and gave almost always the impression of having learned from elementary school to make the protagonist of paintings by Van Gogh. He knew variants of blue and red, but he dreamed of one form of purple.
He showed me the afternoon of the sixth day of our knowledge diaries: Chronicles of bizarre mental journey. He walked the bricks. Gray brick, brick-colored cream. Did not seem to be overly proud and, I admit, I felt something strange. For every expression of my curiosity seemed to hold almost homeless, fed the need for probably gestures, little things. Small intimate things, I mean.
Over the months that followed that sixth week, emerged kisses and broken words. He knew how to be loved, in a highly personal and not very viable way of course. Yet he knew and wanted, so he wanted to know.
Sere type A in which he showed me with a lot of non-luminous baton between your fingers, than it was lively and spirited the world in black and white Resnais. Evenings of type B in which he could drive me crazy and taste the blood film with red or reddish or so that some of Lynch (mother told me how her daughter had begun to eat stuff to film the third year of high school - it was argued vehemently in the house the view of the very few calories in about one of the many evenings A). Fanciulla of a certain style and melancholy, nothing to object.

remained rapt and waiting, every time I tried to collect the lips or cheeks between her fingers. And I was absolutely blind eye when he told me of his or repeated changes of mood, his renunciation of the mirror with pride expressed a desire for suicide carnival personality. The pressed to identify any objectification of will be able to cancel later, along with the memory of having owned the same lap.

any thoughts on content and formulation of hair seemed to go and fire. I will admit in confidence he had never longed shutdown. Only once, just once I hugged her and I remembered how it would be easy to find, "to the left of your flesh, where the only meat you refuses to be left."

We made love after 11 months of Friends of the election and was, as one was ever able to learn in the years to follow, once as it should. He waited, silent. I dressed the body of stamps air breaths breaths breaths. He claimed his being and his stature with the air. Funny creature that managed to wake up at 6 am, leaving me in my shine on the bed without a name, surname and date of belonging. Then I saw there were the 7, 7, and something better to say - "where the hell I left the phone heretic?" ... he cut her own hair, that crazy tuttaocchi. I sighed for a moment, narrowing his eyes and God knows how I burned my eyes in the morning - "maybe I'm better with hair so short, just a little slope to the left" - I thought. I went back to bed and I also observed that morning in my stuttering alone. A few more distortion on the right, another left and then I'll be blunt perfect. For a closed box. For a box with lid. Just a little hole in the north - west, where I will always remember of a landscape en plein air.

Copy From Samsung Recorder To Usb Hdd

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