영문 Gattaca 가타카 영화 대사

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2015.06.27
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[윤리학] 가타카(Gattaca), 유전자 조작에 대하여(영문)

반다이(BANDAI)와 건담의 힘

애니메이션 반다이(BANDAI)와 건담의 힘

멋진 신세계-헉슬리

유전적 한계도 극복한 의지의 힘 가타카(1997) 영화감상문

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영문 Gattaca 가타카 영화 대사에 대한 자료입니다.

본문내용

Gattaca
A Screen Play
by Andrew M. Niccol
FADE IN
A white title appears on a black screen.
"As night-fall does not come at once, neither
does oppression...It is in such twilight that
we all must be aware of change in the air
- however slight - lest we become victims of
the darkness."
Justice William O. Douglas
The title fades off, replaced by a second title.
"I not only think that we will tamper with
Mother Nature, I think Mother wants us to."
William Gaylin
The second title fades off, leaving a dark screen.
The darkness gradually gives way to a dawning light.
We are confronted with sight of a barren, empty landscape. A
wide expanse of wasteland.
Suddenly, without warning, an elephant tusk falls from the sky
and crashes onto the parched ground. The earth-shuddering
impact causes the tusk to rebound once in slow motion before
finally settling to the desert floor in a cloud of dust.
The first tusk is quickly followed by a second, also dropping
from the heavens. It lands near the first. Another tusk
smashes to earth several yards away. Yet another comes crashing
into the foreground.
Finally the dust settles upon a graveyard of tusks.
DISSOLVE TO
A BARREN, EMPTY LANDSCAPE
In another region of the wasteland, a forest of tree trunks
suddenly rains down from the sky. The trunks thump to the hard
ground, also rebounding in slow motion. Cleanly sawn,
branchless, palm-like trunks, they come to rest in the dust only
to be followed by a second cascade of lumber.
When the dust finally clears. the felled tree trunks lie in a
huge, log-jam in the desert.
DISSOLVE TO
A BARREN, EMPTY LANDSCAPE
Next to descend from the sky, a torrent of firewood. One shower
after another, crashing to the plain. Enough chopped lumber to
fuel a thousand hearths.
DISSOLVE TO
A BARREN, EMPTY LANDSCAPE
Joining the rest of the debris is a deluge of slate - sheets
of shale from a great unseen quarry in the sky come slamming to
earth. Some of the pieces shattering, some rebounding into the
air until the granite litters acres of landscape as far as the
eye can see.
TITLES ARE SPACED APPROPRIATELY THROUGHOUT THE PRECEDING
SEQUENCE. THE FINAL TITLE READS:
T H E N O T - T O O - D I S T A N T F U T U R E
The camera commences a long, slow pull-back from the pile of
elephant tusks. Gradually they are revealed as human
fingernails magnified many hundreds of times.
The tree trunks are mere hair follicles. The firewood,
whiskers. The slate, flakes of skin.
INT. INCINERATOR. EARLY MORNING.
A naked MAN, thirties, seen in profile, is crouched upon a metal
floor inside a small, brushed stainless steel tank, rubbing his
skin raw with a wire brush. JEROME MORROW.
Having completed his scrupulous ablutions, Jerome arches his
lean frame through the small, oval door of the metal room
with practised ease.
Securing the thick, fireproof windowed door behind himself, he
turns a switch to release gas into the vacated chamber. The gas
instantly ignites in what is now revealed to be a gleaming
modern stainless-steel custom-made incinerator.
We refocus on a MAGNIFIED CLOSE UP of his exfoliated flesh in
the incinerator as it blackens, curls and burns.
Jerone covers himself with a silk robe and steps into a pair of
backless slippers.
INT. EUGENES CONDOMINIUM. EARLY MORNING.
JEROME emerges from the incinerator room into a large, luxurious
loft-style condo containing a bizarre assortment of equipment -
arranged somewhat like a production line.
Long, scrupulously clean metal work benches are arranged along
one entire wall. Laid out on the benches in neat rows are
dozens of plastic bags - some filled, some unfilled. Instruments
on trays - various types of tweezers, scissors and other less
familiar utensils. Round, stainless steel containers filled
with hairs of differing lengths and other body matter.
JEROME approaches another man slumped over one of the benches.
EUGENE. He clutches an empty vodka bottle. He is snoring
lightly - sleeping off the night before. As JEROME gently
prises the bottle out of his hand, we are struck by the
similarity of Eugenes face to Jeromes.
Jerome pulls Eugenes chair back from the desk with surprising
ease. A wheelchair - a modern, ergonomic design. Jerome wheels
Eugene to a bedroom and, with some difficulty, hauls the larger
man onto the bed. Through his alcoholic fog, Eugene feebly co-
operates - his paralyzed legs a particular dead weight.
After covering Eugene with a blanket, Jerome enters a bathroom
containing a surgically-clean stainless steel basin, sink,
shower and toilet.
Beside the toilet stands a large, industrial-style stainless
steel refrigerator.
Donning protective gloves, Jerome opens the liquid-nitrogen
cooled refrigerator. A cloud of condensed water vapor billows
out. Revealed inside the fridge are racks of labelled jars and
silicon pouches - some containing a yellowish liquid, some a
deep, red liquid.
In front of one of the jars is a handwritten shopping list -
"TRUFFLES, CIGS, VODKA". Jerome smiles to himself as he
retrieves the note

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