It is very early in the dawn - blue light filters through the jungle and across a foul swamp. A mist clings to the trees. This could be the jungle of a million years ago.
Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to the tepid water. A small bubble rises to the surface; then another. Suddenly, but quietly, a form begins to emerge; a helmet. Water and mud pour off revealing a set of bea
Trucks are parked on the parking lot of an ice rink. Flemish technicians, grips and electricians, talk together while unloading the equipment, lamps, cables, tracks. They spread it out on the parking lot, take some lamps into the rink. The four technicians all wear the same black T-shirt with an inscription in Dutch.
A few cars arrive, belonging to the film crew (cinematographer, sound engineer).
Moulin Rouge Script
I hope you split your breeches, kid!
Control yourself, Aicha.
They talk like they were Herculeses,
all of them.
And after a few turns,
they pant, they gasp, and they wheeze.
- One has to give them smelling salts!
- What is the matter?
My shoes are soaking wet.
I shall die of cold.
- Then take them off.
- I cant. I havent any socks on.
When the wine arrives,
you pay for it as i
combed, his face unshaven, his teeth -- those still
left -- are rotting. Hes also missing an arm; but the one
thats left is potent, and hes shaking Danny with it.
DANNYS FATHER
You no count boy! Johnson come lookin,
said hed pay a dime for you to shovel
his pig shed, and I cant find you no
place.
DANNY
Daddy, I told you I was comin here.
His father slaps him off his feet. Rafe is so horrified he
Losing Isaiah Script
You aint leaving
that baby here...
not hollering like
that, you aint.
Yo, girl! Hey, baby!
Come on over here
and get warm.
Come on, now.
We gonna trade you
some good shit!
Come on, you can have
a little bit of this.
Come on, now.
You know, we know
what you need.
Come on, baby.
Okay, Isaiah.
There you go, okay? Shh.
Ill be right back, okay?
Thats right.
Okay, okay.
Okay, there
Of glowing honey-colored stones. Their shapes ABSTRACT as THE CAMERA EXAMINES air bubbles and crystalline patterns.
MOVING UP AND OVER this amber abstraction, the CAMERA FINDS unusual shapes and imperfections caught in the glassy stone: flecks of dirt, hairs, cracks. STILL MOVING. STARBURSTS OF LIGHT ricochet off the different surfaces of the stones.
CAMERA TURNS along a creamy stretch of amber.
The camera is moving toward an Indian city. We are high and far away, only the sound of the wind as we grow nearer and nearer, and through the passing clouds these words appear:
No mans life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the
As presentation credits begin, we hear Johnny Cashs "Home of the Blues." Then we see Allisons name, under it Alexs, under that Roberts, under that Quentins, then under that the title logo for Four Rooms, followed by "Starring Tim Roth as the Bellboy." Then "The Guests" listed in alphabetical order of all the actors playing guests. After the actors names, we...
FADE UP ON A WALL
The camera pans
Security men and porters are loading wagons for a convoy. As they work, we see across the lake a lone horseman entering the village. One of the men recognizes him.
WORKER
Master Li is here!
ANGLE ON LI MU BAI, thirties, powerful and handsome.
In the background, old AUNT WU, at the sight of Li Mu Bai, drops her parcels and runs excitedly into the building.
INT. YUAN HALLWAY - DAY
Aunt Wu runs hurr
내담자중심 카운슬링은 카운슬링의 인간학적 어프로치의 한 형태이다. 이 이론은 인간이 가지고 있는 기본적인 경향으로서, 실현경향성(actualizing tendency)을 신뢰하며, 카운슬러는 이를 최대한 신장 발현시키는 것을 중시한다. 이론의 기반으로 본다면 퍼스낼리티의 성장론에 근거하고 있으며, 자기이론