Aluminium shutter. Rolling hurricane shutter. Window blinds for pc.
Shade Stallone. Disney Princess Window Blinds. Custom Window Blinds.
- Sylvester Enzio (1946–), US actor, writer, and director; nickname Sly. He is best known for writing and starring in five Rocky movies (1976, 1979 1982, 1985, 1990) and three Rambo movies (1982, 1985, 1988). He also directed Rocky II, Rocky III, and Rocky IV
- Stallone is a surname of a Hollywood family: * Sylvester Stallone, actor * Sage Stallone, son of Sylvester * Frank Stallone, younger brother of Sylvester * Jackie Stallone, mother of Sylvester
- Darken or color (an illustration or diagram) with parallel pencil lines or a block of color
- relative darkness caused by light rays being intercepted by an opaque body; "it is much cooler in the shade"; "there's too much shadiness to take good photographs"
- represent the effect of shade or shadow on
- shadow: cast a shadow over
- Screen from direct light
- Cover, moderate, or exclude the light of
GETTING PLAYED. IT'S ALL IN THE GAME. The hand is quicker than the eye in LA's underground gambling scene, hustlers get hustled and fortunes ride on every deal. Three small-time grifters devise a plan to beat the ultimate card mechanic - The Dean. But a seat at The Dean's table doesn't come cheap. Stuart Townsend (Queen of the Damned), Gabriel Byrne (The Usual Suspects), Thandie Newton (Mission Impossible II), Jamie Foxx (Any Given Sunday), Melanie Griffith and Sylvester Stallone star in this stylish film where quick maneuvers and shady alliances keep you guessing until the last hand is revealed.
corporate brainwashing in action
at "whole foods market university", soma.
about whole foods market:
* glock-armed security personnel confirmed in stores at santa monica, ca; austin, tx.
* security using excessive force reported in many locations... security people are always kind of shade, but at wfm, they get to exercise their authority to a more affluent demographic.
i like to compare wfm security policies to the landmark 90's film "demolition man."
* continues to sell tuna of all sorts: constantly stocked with fresh ahi steaks; bonito; canned "ventresca"; all sold at $1-5 mark ups above smaller speciality stores
* routinely labels farmed fish as "wild";
* sells sake at $1-2 mark up above smaller specialty store prices.
* pushes out the same discount campaigns as safeway/ lucky's/ raley's, implying same mark up practices
* ships large quantities of produce across state lines, even into california
* brainwashes employees (see picture)
* dave matthews and adam sandler both love wfm. see "you don't mess with the zohan". shiawase! ??!
i shoplifted again.
after i came out of the gym, i went down the street to the wfm. i pretty much stood there and waved a bottle of sake at the camera, then stuck it into my bag.
when i went outside the security guard was like: do you have a receipt for that sangria in your bag.
i'm like: it's not sangria.
him: suh suh suh....
a sweet old lady walking down the street, who probably lives at the low income public housing for old ppl nearby, saw what was happening and tried to help. she walked up to me and held my wrist saying: girl, i wish i could wear what you are wearing.
i smiled at her and thanked her. but then i kept talking to the security guard. she went on her way.
i repeated to him maybe 10x: i can just give it back to you.
he repeated to me maybe 10x: go inside the store, we'll do it right inside the door. i don't want to cause a scene.
me: there is no scene, i can just give it back to you.
we went right inside the door.
"come to the office."
"you said we were doing it right inside the door."
he then pushed me to the point of me losing balance. this is a 6 ft+ tall man in his 20s.
i told him to not touch me; he backed off, freaked out about getting fired for using excessive force probably.
the security guard located the store manager by sight, he called out to him. the manager invited me to the back of the store.
"this makes things easier."
we went to the back while they threatened to call the cops and have me locked up. i said: they're not going to put me in jail.
they sat me in a chair with the word "jail" painted on it, with black and white stripes. i told them i liked that. i took this picture sitting in "jail".
the manager went off. the security guard asked for me ID and began doing the paperwork. while i sat there and drank the unicef water they were selling out front, which i bought.
the manager returns, the security guard said, "do you want me to XXX." the manager seemed annoyed and told the security guard that everything was taken care of. he left.
so a cop came, we did paperwork, while the rent-a-cop was finishing up his paperwork, the cop asked me if that sake was any good. i said i didn't know, that's why i wanted to try.
the cop then said to me, "you're going to jail."
i'm like, "for how long?"
"a couple of days."
"what's that like?"
"i don't know i've never been."
the security guard looked through my bag and found a tube of herbal hand sanitizer, he's like: is this from today?
i said it was used.
"yeah, like you didn't steal the wine."
(i never once denied taking the sake, that was the idea.)
i said, "yeah, i took the sake."
i think he thought he got a confession. he did it in front of the cop, he probably wants to be a real boy or something.
then i said to everyone in the room (and there were a bunch of people taking breaks and getting brainwashed in there,) "you guys sell the sake at a $2 mark up from Jug Shop." (in the upper Polk.)
we went outside to the cop car and i was put in "custody" in the cop car. after the paperwork was all finished, the cop told the security guard to go and he let me out, he was like:
"ooh, you got scared for a minute when i said you were going to jail."
the cop asked me why i steal,
"why do you steal?"
"why do they have to do a $2 mark up?"
"does that make it right for you to steal?"
"they ain't right and i ain't right, (but at least i'm not ripping off thousands of people, just them.)"
"you don't have to shop there if you don't like them."
"you're right about that."
i always make sure i pocket more than i pay them. is that shopping?
then the cop hit on me; the last thing he said to me was to show up for court or i'm going to jail.
The Red Shoes (Michael Powell/Emeric Pressburger, 1948)
Jack Cardiff: Oscar-winning cinematographer celebrated for his work with Powell and Pressburger
When I met Jack Cardiff on a film set at Elstree Studios, he was busy heaving spotlights around and nipping up a ladder to adjust them. The legendary cinematographer was then 84. Cardiff's career spanned the best part of film's first century; he worked with many of the art form's greatest practitioners and was famed for his pioneering mastery of Technicolor. But, whereas others might have been content to rest on their laurels, pottering around the occasional festival or sitting on the odd panel as emblems of nostalgia, he remained active and passionate about movies throughout his life. His last project was the television documentary mini-series The Other Side of the Screen (2007).
The set on which I met him was for a low-budget student short film The Dance Of Shiva (1998), which was, at the time, still awaiting completion finance. None the less, Cardiff was thoroughly in his element and eager to share his decades of experience. "I've been carrying the torch long enough," he told me. "You younger people should take it; you can run faster than I can. Whatever you know, don't waste it, pass it on."
Cardiff was the quintessential showbusiness babe. His parents were music hall comedians and hoofers (his father had played professionally for Watford football club): Jack was, metaphorically speaking, born in a trunk. He made his screen acting debut at the age of four, in a film called My Son, My Son, and went on to appear in other silent movies including Billy's Rose, The Loves of Mary, Queen of Scots and Tiptoes.
In the twilight days of music hall, the Cardiff family looked to the new, upcoming medium of cinema for employment. Aged 15, Jack landed a job as a production runner (essentially, a message boy) on The Informer (1929), where his principal task was to keep the German director, Dr Arthur Robison, supplied with Vichy water. He graduated to clapper boy or camera assistant on films including Alfred Hitchcock's The Skin Game (1931). By 1936, he had risen to the rank of camera operator at Denham Studios in London when the Technicolor Corporation arrived there seeking trainees to start using the process in Britain.
Cardiff had little expertise of Technicolor. But, in the course of his itinerant childhood, he had had the chance to visit art galleries in many cities and developed a deep love of painting (he became an accomplished painter in his own right). Consequently he finessed the job interview by praising the use of light in the work of Rembrandt, Vermeer and the other Old Masters and became the camera operator on the first Technicolor film made in Britain, the 1937 romantic drama Wings of the Morning, starring Henry Fonda.
When the Second World War began, Cardiff made public information films for the Crown Film Unit, at times under dangerous conditions. One of his most notable projects was Western Approaches (1944), a docu-drama about a Merchant Navy vessel struck by a German U-Boat torpedo which was shot, remarkably given the conditions, in full Technicolor.
The turning point in his career came while working on the second unit of Michael Powell and Emeric Pressburger's The Life and Death of Colonel Blimp (1943). They were impressed enough to hire him as their cinematographer on A Matter of Life and Death (1946). Cardiff's collaboration with this audacious directing-producing-writing team who revolutionised British cinema was a perfect marriage. As he was to recall, "I was always doing rather outrageous things. And that was Michael's entire way of working, so we got on famously."
Powell's first perverse idea for A Matter of Life and Death was to subvert audience expectations by shooting the sequences set on earth in colour and those set in heaven in black-and-white. But it was Cardiff who suggested shooting the heavenly scenes on Technicolor stock which, when processed as though it were black-and-white, gave them an eery, shimmering quality. For a celebrated early shot near the beginning, when the mist clears on a beach, Cardiff simply breathed on the camera lens, steaming it up for a couple of seconds.
Today, many of the guidelines of cinematography have been set in stone and – as Cardiff was often to bemoan – practitioners can rely on the lazy short cuts afforded by computer technology. He lived through a period when the thrilling possibilities of the technology were still being discovered. Many of his most memorable effects were achieved, not in post-production, but in-camera, through experiment, ingenuity and imagination.
Cardiff worked again with the team on Black Narcissus (1947), a torrid melodrama set in a convent in the high Himalayas but shot entirely at Pinewood studios in London. His ingenious use of painted glass backdrops and his fierily expressionistic deployment of colour won him an Oscar and a Golden Globe. His third and final film with Powell and Pre
SYNOPSIS: The hand is quicker than the eye in LA's underground gambling scene, hustlers getting hustled and fortunes ride on every deal. Three small time grifters devise with a plan to beat the ultimate card mechanic- The Dean. But a seat at The Dean's table doesn't come cheap. SINOPSIS: En los bajos fondos de Los Angeles, autenticas fortunas se ganan y pierden en partidas de poker ilegales, en las que las manos son mas rapidas que la mirada. En este ambiente sordido y peligroso, donde todo el mundo tiene algo que esconder, tres timadores, planean su golpe definitivo: montar una partida contra el gran rey del poker de la ciudad. Pero si quieren retarle, primero tendran que reunir mucho dinero. Empieza asi un peligroso juego de enganos y trampas en el que perder y morir pueden significar lo mismo..
little girl canopy beds
custom fabric shades
wood shutter parts
draperies for patio doors
best conservatory blinds
shutter strap hinges
duck hunting blinds for boats
canopy tent white
Post a comment
| HOME |