sound.
MOVING SHOT - SATCHEL (INT. AIRPORT SECURITY - DAY)
on the belt that takes it thru X-Ray. On the other side a guard
opens the satchel and pokes thru a few toilet articles, personal
items, books, a battleship gray digital camera and - in a small
plastic container marked S.G. - a small, square shiny object,
hi-tech and at odds with the other items. She pulls out an urn-
shaped vessel.
GU
films year-round.
제작자들은 토마스 에디슨이 그의 영사기를 소개한 1894년부터 미국 제작자들이 일년 내내 영화를 제작하기 위해서 온화한 기후와 다양한 장면의 이점을 얻기 위해 California로 이동하기 시작했던 1908년까지 뉴욕 시 지역으로 집중되었다.
1-2. Bollywood Bonanza.pdf
Bollywood Background 배경
Imagine
advantage of the temperate climate and varied scenery to produce films year-round.
제작자들은 토마스 에디슨이 그의 영사기를 소개한 1894년부터 미국 제작자들이 일년 내내 영화를 제작하기 위해서 온화한 기후와 다양한 장면의 이점을 얻기 위해 California로 이동 하기 시작했던 1908년까지 뉴욕 시 지역으로 집중되었다.
talking in emotional tones.
Near the door, a SIGN on a stand: "REMAINING MEN TOGETHER."
JACK (V.O.)
This was a support group for men with
testicular cancer. The big moosie
slobbering all over me was Bob.
BOB
Were still men.
JACK
Yes. Were men. Men is what we are.
JACK (V.O.)
Six months ago, Bobs testicles were
removed. Then hormone therapy. He
developed bitch tits because his
testosterone was too
We are moving through a small airfield full of parked light planes. There are no people around. We move through the cluster of planes towards a hangar on the edge of the field.
INT. HANGAR - DAY
We are still moving through light planes, but now we are inside the hangar. Some of the planes have their engine covers open, parts strewn around. Others are partially covered with tarps or have sections
SAM ACE ROTHSTEIN, a tall, lean, immaculately dressed man approaches his car, opens the door, and gets inside to turn on the ignition.
ACE: (Voice-over) When you love someone, youve gotta trust them. Theres no other way. Youve got to give them the key to everything thats yours. Otherwise, whats the point? And, for a while . . . I believed thats the kind of love I had.
(Suddenly, the car explode
Krypton, is empty for the moment. But the signs of its members are ever-present: around the great floating slab that is their conference table each has his (or her) own console of crystals - a transparent container marked with the identifying insignia, c.f. the symbols on each of their robes in Part I.
As Non and Ursa follow two paces behind. Zod strides along the slab, ignoring console after con
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.
A beautiful golden sun is setting. The sky is on fire. The CAMERA starts to move downwards. A large neon sign rises into shot. It rests on top of a skyscraper and fills the frame. The building is neither past nor future in design but a bit of both.
Slowly we pan downwards revealing the city that spreads below... A glittering conglomeration of elevated transport tubes, smaller square buildings wh
PAN DOWN TO A ROW OF 몷TELLERS몶 CAGES몸 with long lines of PEOPLE waiting to collect their unemployment checks. A sign above the first window says 몷A - F몸, the second window is designated 몷G - L몸 and so on.
CLOSE ON THE SECOND WINDOW -- Waiting his turn at the head of the line is a BLACK MAN in his early 30몶s. He kills time by trying to make a beat-up old wooden yo-yo perform the ba