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    Just how to Produce a Case Study Article

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    How-to Publish an Introduction for a Manifestation Report

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    Interesting Issues to Create About

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    The Best Programs for Composing a Study Paper

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    Brooding article don’t royal essay uk have a specific construction because can not really be written according notice this to a ordinary essay plan. Essays aren’t just composed on several different essay have reviews subjects but are also offered in get essay on sale various manner. In earlier times as a means to grow into an article writer one desires a pen in addition to a paper plus a clear idea within your head about this issue. On the opposite hand, don’t create too careless ideas. Definitely, custom paper writing services aren’t free. Then, the selection of the problem for concept article might be based on your own curiosity and information, therefore take into consideration both of these things when picking a notion essay topic.

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    Simple Revision Review on your learning style

    Guy understands he possesses totally freewill. Guys tend toward believe that the cosmos was made for their exclusive use. If somebody understands which he or she can not comprehend Lord, then they won’t try judge additional individuals Each individual knows their particular talents, weaknesses and possible. There are plenty of methods a ready person has the ability to include to the revolution of societal and monetary relations in our society. Everything was produced by Lord. God may perhaps not be Knower using an atheist because it simply isn’t a recognized. (更多…)

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    Lender remains will soon nolonger be looked at money but document ventures

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    风暴:一场事先张扬的枪战戏

    风暴

     

    11月号《时尚先生》有篇江志强的访谈,他说以后拍电影,要考虑到中国观众平均年纪越来越小,很少电影可能像《阿凡达》一样,什么年龄都会吸引,要拍商业电影,还是要往年轻的方向去想。期间讲到《风暴》,江老板说目标观众群很明确,15到25岁,“年轻人就喜欢这个,打电玩一样,‘咚咚咚’打。动作嘛,场面嘛,火爆啊。”

    上一部《寒战》,票房口碑,名利双收,可有人鸡蛋里挑骨头,说打得不够过瘾,于是有了《风暴》,一部事先张扬的枪战戏,就是冲着刺激的动作场面去的,按火爆程度,在近几年的华语警匪片里,可算顶级。影片最后的重头戏,吕良伟全副武装,带着各种轻重武器抢运钞车,有好事者估算,军火的成本都不一定比运钞车里的钱少。那又怎样,爽就好,谁让观众的口味越来越刁呢?电影开始前有《等风来》的预告片,男主角说:“爽还不行,还得成天爽?”哈,不知可否看做导演对观众的吐槽?

    作为几乎接踵而至的两部枪战片,总觉得《风暴》与陈木胜的《扫毒》在气质上有相似之处,看完片子回来一查,果然,《风暴》的导演袁锦麟,之前一直是陈木胜的御用编剧。刘德华和胡军在两栋高楼之间的铁丝网上缠斗的一场戏,惊心动魄,熟悉陈木胜的人却也能一眼看出,这分明是摘自《双雄》里的现成戏码。作为新人,袁锦麟交出了一份工整的作业,作品的完成度、剧情的合理性,甚至要高于陈木胜的《扫毒》,过分苛求他有鲜明的个性,可能有些过分,一个新导演能将如此大场面的枪战戏掌控好,已是难得的成就。

    《风暴》的动作戏拍得有好莱坞范儿,“将香港变成‘战场’”,绝非虚言。想想也是,多少年没有看到光天化日之下在街头枪战的港产动作片了——为了拍摄方便,导演们大都把枪战的时间改到了夜里。袁锦麟的这份魄力值得嘉许,让人想到了任达华《悍匪》之类的老港片的那股彪悍气。之前一直热炒的“炸翻中环”,看着很爽,不过也就那么回事,连白宫都在一年之内被恐怖分子占领了三次,用电脑特技炸个中环,相对而言就没那么奇观了。

    第一次在iMax的大幕上看3D香港枪战片,感觉有些奇妙,又感觉似乎没有太大必要。据之前看过非3D点映的朋友说,还是得看3D,两种视觉相比,差异的确很大。没有比较过,不好下结论,个人感觉而言,3D效果肯定比不上《地心引力》带来的冲击,但是看在近战时,尤其是楼道里局促场景下的枪战戏,确实更有代入感。

    看《扫毒》,感觉陈木胜憋着劲儿的要从情感上虐观众:生死之间,两个只能活一个的纠结;被放弃的兄弟高调回归做足戏码,只为听一句道歉;母亲临终的病榻前,三兄弟互诉衷肠最终和解……几场戏倒是催泪,但细想起来只觉得刻意,即便流了眼泪,心里也有被骗似的不爽。

    《风暴》没有这种藤牵蔓扯,连前戏都没有,开场就打,乒乒乓乓,从头打到尾,反而有种直接通透的快感。论文戏,《风暴》虽着墨不多,情感上的推进和转折却也明晰。真要严格论起来,两部戏可能都难称合格。人物平板,桥段老套,煽情刻意,连反派都不出彩(胡军和吕良伟即便颠倒一下,又有多大分别?),已经成为港产动作片的通病。既是通病,又如何指望一个拍动作片的新导演来做出突破呢?只能希望愈加成熟后的袁锦麟,能拍出更好的片子来,千万不要像陈木胜一样,十几年了,再也导不出比《冲锋队之怒火街头》更好的作品。

    还是那篇江志强的访谈,里面讲到,袁锦麟写好《风暴》的剧本后拿给江志强看,说:“我想做导演。”于是他就成了导演。这和无线电视台的台长周梁淑当年录取徐克何其相似,有这种一脉相承的不拘一格降人才的传统,香港电影就不会死——至少她会换个方式、换个样貌活着,在墙外也能开出美丽的花。

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    「泰坦尼克号」:“生命之中,有时需要做一些不凡之事”

    p1482437417

     

    “这些快乐的乘客根本没有意识到他们刚刚登上了一座浮动的坟墓。”

    这是美国作家克莱夫·卡斯勒的小说《倒转地极》中的一句话,说的是史上最大海难的主角——德国邮轮威廉·古斯特洛夫号。这句话同样适用于著名的泰坦尼克号。

    1912年4月10日,被称为“世界工业史上的奇迹”的泰坦尼克号从英国的南安普顿首航美国纽约,船上满怀憧憬的乘客与码头上欢呼的人群都不会想到,这将是一次短暂的死亡之旅。4月14日晚上11时40分左右,泰坦尼克号撞上冰山;两个半小时后,这艘号称“不沉之船”的巨轮缓慢地沉没到黑暗冰冷的大西洋深处。

    因其传奇与悲壮,整整100年来,这个题材为诸多导演所青睐,从1915年意大利拍摄的无声片,到2012年英国iTV制作的迷你剧,曾数次出现在影视剧中。这其中最知名、最成功的,毋庸置疑属于美国导演詹姆斯·卡梅隆的《泰坦尼克号》,1998年在中国公映时,曾造成过万人空巷般的轰动——《亡命天涯》开启了中国的大片时代,而《泰坦尼克号》让中国观众真正领略到了大片的魅力。

    “生命之中,有时需要做一些不凡之事”
    1992年,38岁的年轻导演詹姆斯·卡梅隆在拍完《终结者2》之后已经赋闲了一段时间。一天,他漫无目的地从架子上拿起《冰海沉船》,看了一遍这部电影。电影结束后,他有了重述这部电影的想法:在史实的基础上虚构一段爱情故事,再借助最新的水下摄影技术,讲述一个关于沉船遗骸真相的现代故事。

    这不是卡梅隆第一次对泰坦尼克号产生兴趣。早在少年时代,他就读过沃尔特·罗伊德的纪实文学《冰海沉船》,以及罗伊·沃德·贝克据此书改编的同名电影。对于载有2223名乘客的泰坦尼克号来说,此次事故堪称世界末日——而这正是卡梅隆一直所痴迷的主题。

    仿佛命运的安排一般,看完录像的他随手翻看信件,居然收到一封邀请函,请他观看纪录片《泰坦尼克号:深海的宝藏》。这部纪录片更激起了他的兴趣,他对导演说:“我要把这个故事变成我的下一部电影。带我去俄国。”

    俄罗斯的凯尔迪什号科考船上有两艘和平号潜艇,是当时世界上为数不多的能够潜到约四千米泰坦尼克号废墟的深度的几艘潜艇之一。正在为科考经费匮乏而苦恼的船长与卡梅隆一拍即合,两人痛饮伏特加,不过谁也不曾想过,在此后的十一年中,他们将会共同在船上度过十个月的时光,乘坐和平号下潜超过五十次,最深时将近五千米。

    因为拍摄《异形2》、《终结者》系列及《深渊》,卡梅隆在好莱坞已是炙手可热的人物,构思泰坦尼克号之前,他先拍完了《真实的谎言》,并再一次票房大卖。此时回过头考虑《泰坦尼克号》,他反而踌躇起来:想法能否实现?深水摄影会不会成功?有没有人愿意看这部电影?在他举棋不定之际,凯尔迪什号的船长发来一封传真,上面只有一句话:“生命之中,有时需要做一些不凡之事。”卡梅隆被打动了,这句话在他眼里似乎闪着金光一般,他当即打电话给电影公司:我要拍《泰坦尼克号》!

    “泰坦尼克号上的罗密欧与朱丽叶”

    1995年3月,卡梅隆去二十世纪福克斯公司找到主席彼得·彻宁,他没有准备任何书面材料,只带了一本关于泰坦尼克号历史的绘本读物,他提出的概念是:“泰坦尼克号上的罗密欧与朱丽叶。”只一句话就打动了彻宁,也让他在之后的几年里体会到了从生不如死到欲仙欲死的人间百味。十四年后,彻宁回忆说:“拍摄《泰坦尼克号》简直是场灾难,这是好莱坞有史以来最困难的制作,每天我都以为自己要被炒了。”

    卡梅隆说服彻宁,要通过对泰坦尼克号残骸的实体摄影来加强电影的历史真实性,争取到了四百万美元的潜水费用。他召集了俄罗斯、美国和加拿大的科学家、摄影师、水手和历史学家,于1995年组织了12次潜水。潜艇的驾驶室只有两米宽窄,挤着三个彪形大汉,每次往返需要十个小时,相当于从纽约乘飞机到东京,而卫生间只是一个杯子。

    与所面临的危险相比,这些困难根本算不上什么。海底到处都是扭曲的钢板和垂挂着的钢索,而俄罗斯驾驶员对新型声纳又极度陌生,小小的和平号潜艇随时面临着灭顶之灾。事实上,第一次下潜,卡梅隆的潜艇就险些撞到泰坦尼克号的侧舷;第三次下潜时,更是遇到电力不足和强烈洋流的双重危险,由于每次下潜需要花费四万美元、又只能拍摄12分钟,所以卡梅隆不愿取消任务,险些葬身海底,经过三次上浮,电力几乎完全耗尽才侥幸浮出水面,用“九死一生”来形容绝不为过。

    杰克和罗斯
    詹姆斯·卡梅隆挑选男演员的眼光向来不靠谱:拍《终结者》时,公司推荐施瓦辛格主演,他不同意,想请施瓦辛格吃顿饭,找个事跟他吵几句,然后回头跟老板说施瓦辛格是个混蛋。结果买单的时候发现自己一分钱没带,还是施瓦辛格付的帐,再加上吃饭时聊得还算投机,这才起用了他。前妻凯瑟琳·毕格罗拍《惊爆点》时选了个男一号,卡梅隆极力反对,说这小伙傻乎乎的肯定不行。结果这部电影大获成功,而那个被卡梅隆看扁的小伙,就是后来红得发紫的基努·里维斯。

    《泰坦尼克号》的选角也是如此。对于男主角杰克·道森,他起初意属马修·麦康纳或者克里斯·奥唐纳,至于李奥纳多·迪卡普里奥,卡梅隆的看法是:“他看上去长得太瘦弱,不像个男主角,长得也不够漂亮。”不过出于礼貌,他还是邀请李奥来公司一谈,结果发现办公室里所有的女性员工都跑来参加会议,甚至包括会计和秘书。他这才意识到李奥对于女性观众的杀伤力。

    卡梅隆曾经询问过克莱尔·丹尼斯是否有意出演女主角罗斯一角,但是丹尼斯刚刚演完《罗密欧与朱丽叶》,以感觉两部电影太过相似为由拒绝了。之后卡梅隆虽然还接触过格温妮丝·帕特洛,但当他看到凯特·温丝莱特时,立刻被她典雅的气质迷住了,他告诉她:“这个角色肯定是你的。”为了表示感谢,温丝莱特从英国给卡梅隆寄来一支玫瑰,署名是“你的罗斯(Rose)”。

    李奥当时的片酬只有两百五十万美元,温丝莱特更少,还不到一百万。片中最大牌的演员是凯西·贝茨,短短几场戏,她索要六十万美元的片酬。二十世纪福克斯觉得这个价格太高,卡梅隆把价格讲到五十万美元,并自己掏了十五万美元,这才雇来贝茨。

    饰演老年罗斯的是时年八十六岁的老牌明星格洛丽亚·斯图亚特,老太太很牛,有一天凌晨三点,工作狂卡梅隆敲门请她拍戏,老太太勃然大怒:“你们好大的胆子!”把卡梅隆一通臭骂,他也只好乖乖地让她继续睡美容觉。

    不可能完成的任务
    为了拍摄《泰坦尼克号》,二十世纪福克斯在墨西哥的海岸买下一块16平方公里的土地,工人们奇迹般地在一百天内建成了一座庞大的影城;更奇迹的是,他们在差不多的期限内,造出了一艘与原船宏伟程度大致相当的泰坦尼克号的复制品。要知道,当年的泰坦尼克号是动用了一万四千名工人,花了三年多时间才完成的!

    为了追求完美,卡梅隆对船上的道具都进行了精确考据,从壁灯、地毯、瓷器、家具到一个小小的烟灰缸,他不放过任何一个微小的细节。卡梅隆用来说服彻宁的那本绘本读物的作者受邀来到建成后的泰坦尼克号参观,当他看到自己曾精心研习并加以绘制的场景竟被如此逼真地重现出来时,几乎流下了眼泪。

    对品质的苛求肯定意味着投入的增加。卡梅隆最初估计需要八千万美元的预算,福克斯给了一亿一千万,结果拍到最后,加上宣传费用在内,一共花了史无前例的两亿美元之巨,对于当时来说它是电影史中最昂贵的电影了。卡梅隆主动要求放弃800万美元的报酬,只拿后期分红。而那艘巨大的泰坦尼克号,在拍摄结束后也被拆掉当作废铁卖掉,来补充一点拍摄经费。

    “我是世界之王!”
    过长的拍摄周期、超出预算之外的高额投入、一再延后的发行日期、同期上映的大投入影片《未来水世界》的票房惨败……《泰坦尼克号》还未问世,前途就被打上了一连串的问号。

    第一次试映时,卡梅隆虽然做出一副信心爆棚的模样,其实心里紧张得要死:他的声誉、电影公司的钱、别人的饭碗,都指望着这部电影了。幸运的是,这部长达三小时十五分钟的电影迅速征服了观众,票房走势一路飙升,甚至到了匪夷所思的地步:连续十六周登顶美国票房榜,打破了历史记录;全球票房总收入高达十八亿美元,同样是历史最高——这项纪录保持了13年,直到2010年被卡梅隆自己的《阿凡达》取代。

    在第七十届奥斯卡评奖中,《泰坦尼克号》总共获得十四项提名,平了《彗星美人》的最高记录;赢得了十一项大奖,平了《宾虚》的最高记录。在登台领取最佳导演奖时,卡梅隆抑制不住心中的兴奋之情,手握奖杯高呼:“我是世界之王!”就像李奥在泰坦尼克号船头上高喊的一样。

    有趣的是,直到这时,詹姆斯·卡梅隆的老爸才勉强承认,导演这个职业还算靠谱。在此之前,父亲一直希望儿子能跟他一样,当个工程师。

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    “吃货”熊十力

    熊十力爱吃——不是美食家那种浅尝辄止的吃,而是一种风卷残云、狼吞虎咽式的江湖气,说句不敬的话,类似现在说的“吃货”。他在《十力语要》中写过一篇《说食》:“余以为,国人生命上缺乏营养,此不可不注意也。”缺乏营养怎么办?当然得吃。

    熊十力爱吃,尤其爱吃肉,最爱吃鸡。朋友弟子来看他,一般要给他买鸡买肉才合他的心意。学生徐复观受蒋介石的委托去看他,给他带了一张一百万元的支票,被他大吼大叫地骂走;郭沫若看望他时,滑竿上绑了两只鸡,让他快活异常。

    熊十力、梁漱溟曾与十几个青年学生在北京西郊租房同住,当时都没有固定收入,靠写稿、出书勉强维持,大家都跟梁漱溟一起吃素,唯有熊十力无肉不欢。有个叫薄蓬山的学生管理伙食,一天,熊十力问薄:“给我买了多少肉?”答曰:“半斤。”熊十力闻言大骂:“王八蛋!给我买那么点儿!”过了两三天,熊十力又问:“今天给我买了多少肉?”答:“今天买了八两。”熊十力一听高兴得哈哈大笑说:“这还差不多!”殊不知当时十六两为一斤,半斤八两,哪有区别?

    熊十力一生狷介,曾拍案大喊:“当今之世,讲晚周诸子。只有我熊某能讲,其余都是混扯。”唯独在吃上,或许是执念太深,分不清半斤八两。李敖在文章里写熊十力,说他在家里吃饭,端上来的汤如果盛得不满,他便会责怪厨子,说一定是你偷喝了;但若是太满,他依然会责怪厨子,说你偷喝了也就算了,居然妄图掩耳盗铃地给老子兑上水再端上来!李敖的结论是:“该大儒通晓人情事故到了家。”我倒觉得这纯粹是吃货心理——遇到好吃的,怎肯与人分享?只怕旁人偷吃。

    抗战初期,马一浮由重庆去嘉定办复性书院。行前,贺麟设宴为马一浮饯行,熊十力作陪。席上,有一盘菜熊十力尝后觉得味道不错,于是叫人把它移到自己跟前,吃得淋漓尽致,全然不顾别人。另有一次,熊十力在朋友家做客吃饭,朋友的孩子想吃盘里的一块肉,熊十力见状,眼疾手快,先把那块肉夹到自己碗里,然后教训朋友的小孩说:“我身上负有传道的责任,不可不吃,你吃了何用?”不顾小孩垂涎又委屈的眼神,坦然吃下。你若以为这只是偶发事件那就错了,1934年,熊十力住在学生徐复观家中,他问徐三岁的女儿均琴:“你喜欢不喜欢我住在你家?”小孩答:“不喜欢。”熊十力问:“为什么?”小孩说:“你把我家的好东西都吃掉了。”熊十力听后大笑,用胡子刺她的鼻子说:“这个小女一定有出息。”——传说中的惺惺相惜大概就是指的这种情况。

    熊十力爱吃,在吃的问题上,他不但对自己“严格要求”,对学生亦是如此。学者李耀先初次拜见熊十力,适逢熊家吃汤圆。熊十力留他一同进餐。李耀先一口气吃了九个汤圆,饱了;可碗里还剩一个,他怕不礼貌,勉强又吃了半个,剩下半个实在吃不下去了。正在为难之际,忽听熊十力在桌上猛击一掌,怒喝:“你连这点东西都消化不了,还谈得上做学问,图功事?”李耀先如遭当头棒喝,咕噜一声,剩下的半个汤圆也咽下去了。

    熊十力爱吃,可最后却死于绝食。“文革”开始后,他便经常不吃不喝,1968年5月,84岁的熊十力因绝食而逝。唯大英雄能本色,是真名士自风流,说的便是熊十力这样的人。