㈠ 珍娜·詹姆森 的电影
作为导演珍娜·詹姆森 Jenna Jameson的电影作品(数量：5)Jenna's Provocateur ------- (2006)
Krystal Method ------- (2004)
Bella Loves Jenna ------- (2004)
I Dream of Jenna 2 ------- (2003)
I Dream of Jenna ------- (2002)
作为演员珍娜·詹姆森 Jenna Jameson的电影作品(数量：140)僵尸脱衣舞娘 Zombie Strippers ------- (2008)
Horrorween ------- (2008)
Sin-Jin Smyth ------- (2007)
Jesse Factor ------- (2006)
Jenna Depraved ------- (2006)
Forever Asia ------- (2006)
Janine Loves Jenna ------- (2006)
Award Winning Sex Stars 2 ------- (2006)
Jenna Loves Justin ------- (2006)
Jenna's Star Power ------- (2005)
Sophia Syndrome ------- (2005)
Dasha: Like a Geyser ------- (2005)
Alt Video News Awards 2005 ------- (2005)
The Devil in Miss Jones ------- (2005)
Jenna Does Carmen ------- (2005)
Jenna Loves Pain ------- (2005)
The Passion of the Christies ------- (2005)
G-Phoria 2004 ------- (2004)
“Retrosexual: The 80's"”------- (2004)
Thinking XXX ------- (2004)
Shock Video 2004: Too Hot for the Box ------- (2004)
“Pornucopia: Going Down in the Valley"”------- (2004)
Alt Video News Awards 2004 ------- (2004)
A Weekend with Jenna ------- (2004)
女按摩师 The Masseuse ------- (2004)
Last Girl Standing ------- (2004)
Jenna Uncut & Uncensored ------- (2004)
Krystal Method ------- (2004)
Bella Loves Jenna ------- (2004)
Award Winning Sex Stars ------- (2004)
Necrophagia: Nightmare Scenerios ------- (2004)
Wicked Anthology: Volume 2 ------- (2004)
AVN Award Show ------- (2004)
Wicked Anthology 3 ------- (2004)
“Porno Valley” ------- (2004)
Spike TV VGA Video Game Awards ------- (2003)
Jenna Loves Kobe ------- (2003)
Alt Video News Awards 2003 ------- (2003)
Hard Trip ------- (2003)
I Dream of Jenna 2 ------- (2003)
Young Felecia ------- (2003)
Cruisin Jennaville ------- (2003)
Fluffy Cumsalot, Porn Star ------- (2003)
G-Phoria ------- (2003)
Wicked Anthology: Volume One ------- (2003)
"Mister Sterling" ------- (2003)
Where the Boys Aren't 17 ------- (2003)
Evil Breed: The Legend of Samhain ------- (2003)
Where the Boys Aren't 16: Dark Angels ------- (2003)
Stripper's Ball (Jenna Jameson) ------- (2003)
Young Dyanna Lauren ------- (2002)
Porn 'n Chicken ------- (2002)
Up Close & Personal: Ashlyn Gere ------- (2002)
I Dream of Jenna ------- (2002)
Alt Video News Awards 2002 ------- (2002)
Jenna's Playhouse ------- (2002)
Alt Video News Awards 2001 ------- (2001)
My Plaything: Jenna Jameson ------- (2001)
Where the Boys Aren't 14 ------- (2001)
Where the Boys Aren't 15 ------- (2001)
Wrong Way to Sundance ------- (2001)
Briana Loves Jenna ------- (2001)
I Love Lesbians 10 ------- (2001)
Porn Star: The Legend of Ron Jeremy ------- (2001)
Playboy: Sizzling Sex Stars ------- (2001)
Best of the Vivid Girls #30 ------- (2000)
"Da Ali G Show" ------- (2000)
Please Cum Inside Me ------- (2000)
Ali G, Aiii ------- (2000)
European Blue Review Uncut ------- (2000)
Rated X: A Journey Through Porn ------- (2000)
Dreamquest ------- (2000)
Hell on Heels ------- (1999)
Blown Away ------- (1999)
Word's Worth ------- (1999)
Virtual Sex with Jenna Jameson ------- (1999)
Dirt Merchant ------- (1999)
Super Sexy Too ------- (1999)
The Other Hollywood ------- (1999)
The Girl Next Door ------- (1999)
"Unzipped" ------- (1999)
"The Man Show" ------- (1999)
ECW Living Dangerously ------- (1998)
Flashpoint ------- (1998)
Couples ------- (1998)
Dangerous Tides ------- (1998)
All American Superstars ------- (1998)
Alt Video News Awards 1998 ------- (1998)
Wicked Weapon ------- (1998)
Satyr ------- (1998)
Philmore Butts Taking Care of Business ------- (1997)
隐私部分 Private Parts ------- (1997)
Paradise ------- (1997)
ECW Hardcore Heaven ------- (1997)
Conquest ------- (1997)
Dirty Bob's Xcellent Adventures 35 ------- (1997)
Convention Cuties ------- (1997)
Betrayed ------- (1997)
Alt Video News Awards 1997 ------- (1997)
Jenna's Built for Speed ------- (1997)
Jenna Loves Rocco ------- (1996)
Jenna Ink ------- (1996)
Silver Screen Confidential ------- (1996)
Hard Evidence ------- (1996)
Pure ------- (1996)
The F-Zone ------- (1996)
Precious Metal Volume 1 ------- (1996)
Cybersex ------- (1996)
Once in a Lifetime ------- (1996)
Cum One, Cum All ------- (1996)
Jinx ------- (1996)
Alt Video News Awards 1996 ------- (1996)
Jenna's Revenge ------- (1996)
Cover to Cover ------- (1995)
Photoplay ------- (1995)
Up and Cummers 20 ------- (1995)
Phantasm ------- (1995)
Up and Cummers 17 ------- (1995)
On Her Back ------- (1995)
Starting Over ------- (1995)
Lip Service ------- (1995)
Smells Like... Sex ------- (1995)
Blue Movie ------- (1995)
The Kiss ------- (1995)
Silk Stockings: The Black Widow ------- (1995)
Wicked One ------- (1995)
I Love Lesbians ------- (1995)
Priceless ------- (1995)
Where the Boys Aren't 7 ------- (1995)
Exposure ------- (1995)
Picture Perfect ------- (1995)
Virtual Reality 69 ------- (1995)
Ms. Behaved ------- (1994)
Fantasy Women ------- (1994)
Elements of Desire ------- (1994)
Cherry Pie ------- (1994)
The Dinner Party ------- (1994)
Baby Doll ------- (1994)
Up and Cummers 11 ------- (1994)
Up and Cummers 10 ------- (1994)
作为编剧珍娜·詹姆森 Jenna Jameson的电影作品(数量：1) Pure ------- (1996)
作为制片人珍娜·詹姆森 Jenna Jameson的电影作品(数量：4)Jenna's Provocateur ------- (2006)
Bella Loves Jenna ------- (2004)
I Dream of Jenna ------- (2002)
Briana Loves Jenna ------- (2001)
㈡ 珍娜·詹姆森的电影
1. Samhain (2005)
2. 琼斯小姐内心的新魔鬼 The New Devil in Miss Jones (2005)
3. "Retrosexual: The 80's" (2004)
4. G-Phoria 2004 (2004)
5. 老大靠边闪2 Analyze That (2002)
6. 艳星传奇 Porn Star: The Legend of Ron Jeremy (2001)
7. Flashpoint (1998)
8. 隐私部分 Private Parts (1997)
9. 宴会 The Dinner Party (1994)
㈢ 急急急！！十分钟！电影各种信息（电影的起源等）要英文的 简短的
History of Motion Pictures
I INTRODUCTION
History of Motion Pictures, historical development of the visual medium known as motion pictures, film, cinema, or the movies. This article covers the medium’s history as a technology, as a business, as an art form, and as a means of delivering entertainment and information to audiences in theaters and at home. It discusses major filmmakers and their films, principal fiction and nonfiction genres, and film instries in the United States and throughout the world. For more information on the technical aspects involved in creating a film, see Motion Picture.
II ORIGINS
In the early 19th century scientists took note of a visual phenomenon: A sequence of indivial still pictures, when set in motion, can give the illusion of movement. These scientists attributed this experience to what they called persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The eye’s retention of a visual image, now known as positive afterimage, has long been considered a founding principle of motion pictures, even though its relationship to the perception of motion is still not well understood.
A Early Experiments
The persistence of vision concept stimulated experimentation with motion-picture devices throughout the 19th century. Among the first such devices was a slotted disk with a sequence of drawings around its perimeter. When a person spun the disk in front of a mirror and looked through the slots, the drawings appeared to move. The zoetrope, a device developed in the 1830s, was a hollow drum with a strip of pictures around its inner surface. When spun, it proced the same effect. In the 1870s French inventor Émile Reynaud improved on this idea by placing mirrors at the center of the drum. A few years later he developed a projecting version, using a reflector and a lens to enlarge the moving images. In 1892 he began holding public screenings in Paris at his Théâtre Optique, with hundreds of drawings on a reel that he wound through his apparatus to construct moving images that continued for 15 minutes.
Inventors began to conceive of combining the principles of these moving-image devices with the photographic recording of actual movement soon after the development of still photography in the 1830s. The most famous experiment occurred in the 1870s in California, where railroad tycoon Leland Stanford hired British photographer Eadweard Muybridge to settle a bet on whether a galloping horse ever had all four feet off the ground. Muybridge set up 12 cameras along a racetrack and spread threads across the track with a contact to each camera’s shutter. Moving along the track, the horse broke the threads and caused a sequence of photographs to be taken. The photos showed the horse with all four feet off the ground, and Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope.
Muybridge’s endeavors stimulated French scientist Étienne-Jules Marey to devise equipment for recording and analyzing animal and human movement. He built what he called a chronophotographic camera that could take multiple images superimposed on one another. His work was aided in turn by developments in photographic materials. In 1885 American inventor George Eastman introced sensitized paper roll “film” in place of the indivial glass plates then in use. In 1889 Eastman replaced the paper roll with celluloid, a synthetic plastic material coated with a gelatin emulsion.
B Thomas Alva Edison and William K. L. Dickson
Legendary American inventor Thomas Alva Edison drew upon the work of Muybridge, Marey, and Eastman when he turned his attention to motion pictures in the late 1880s. In his laboratories in West Orange, New Jersey, Edison assigned to a British employee, William K. L. Dickson, the task of constructing a machine for recording actual movement on film and another machine for viewing the resulting images. By 1891 Dickson had proced a motion-picture camera, called the Kinetograph, and a viewing machine, bbed the Kinetoscope.
The Kinetograph was operated by an electric motor that moved the celluloid film roll past the camera lens. Motor-driven cameras, which were bulky and stationary, were soon replaced by movable hand-cranked cameras. Dickson’s key contribution was a sprocket mechanism linked to the camera’s shutter, which momentarily stopped the film roll for each exposure. These separate still photographic images came to be called frames. Early cameras used a number of different speeds for exposing frames, but by the advent of sound film in the late 1920s the standard had become 24 frames per second.
In early 1893 Edison constructed a motion-picture studio on his laboratory grounds, bbed the Black Maria by his staff who thought it resembled police patrol wagons known by that nickname. On May 9, 1893, he held the first public exhibition of films shot using the Kinetograph in the Black Maria. But only one person at a time could use his viewing machine, the Kinetoscope. This boxlike structure contained a motor-and-shutter mechanism similar to the camera’s. It ran a loop of positive film past an electric light source, illuminating a tiny image, which the viewer observed through a small window. Kinetoscope viewing parlors containing many machines for indivial viewing began to open in cities in 1894. Edison and Dickson apparently gave little thought to a single machine that could project moving images to a large audience, something Reynaud had achieved in his Théâtre Optique. Reynaud, however, had displayed drawings rather than images photographed by a motion-picture camera.
C The Lumière Brothers
In France, the brothers Auguste and Louis Lumière, who ran a factory in Lyons that manufactured photographic equipment, sought to improve on Edison’s accomplishment. By 1895 they developed a lightweight, hand-held camera that used a claw mechanism to advance the film roll. They named it the Cinématographe, and they soon discovered that it could also be used to show large images on a screen, when linked with projecting equipment. Throughout 1895 they shot films and projected them for select groups. Their first screening for the general public was held in Paris in December 1895.
Elsewhere other inventors were also busy. In Germany, the brothers Emil and Max Skladanowsky devised an apparatus and projected films in Berlin in November 1895. In Britain, a machine developed by Birt Acres and Robert W. Paul was used to project films in London in January 1896. In the United States, a projector called the Vitascope was constructed around the same time by Charles Francis Jenkins and Thomas Armat. Armat then entered into a commercial alliance with Edison to manufacture the Vitascope, and the device exhibited projected motion pictures in New York City in April 1896.
The Lumière brothers held a unique place among all these simultaneous efforts, since they were innovative filmmakers as well as inventors and manufacturers. The many films they made ring 1895 and 1896, though very short, are considered pivotal in the history of motion pictures. Arroseur et arrosé (Waterer and Watered, 1896), a brief comedy drawn from a newspaper cartoon, shows a gardener getting drenched with a hose as the result of a boy’s prank. La sortie de l’usine Lumière à Lyon (Workers Leaving the Lumiere Factory, 1895) and Arrivée d’un train en gare (Arrival of a Train at La Ciotat, 1896), which shows a train coming to a station and passengers getting off, were among the so-called actuality films—films that depicted actual events rather than a story told by actors—for which the Lumières became noted.
III ONE-REELERS
During the decade following the advent of projected motion pictures, films were shown as part of vaudeville or variety programs, at carnivals and fairgrounds, in lecture halls and churches, and graally in spaces converted for the exclusive exhibition of movies. Most films ran no longer than 10 to 12 minutes, which reflected the amount of film that could be wound on a standard reel for projection (hence the term one-reelers). Many were comedies or actualities, following the Lumière brothers’ example. Their purpose was spectacle—to show something astounding, unusual, titillating, or perhaps newsworthy. But filmmakers also struck out in new directions, especially toward fantasy and narrative.
French magician and filmmaker Georges Méliès was the outstanding creator of fantasy films in early cinema. Méliès exploited the new medium to enhance his magic acts through techniques such as stop-motion photography—interrupting the camera’s action and moving or substituting people and objects—so that, for example, a woman appeared to turn into a skeleton. He created elaborate backdrops with multiple scenes and costume changes for these so-called trick films that were widely emulated by other filmmakers. Of the hundreds of works he made between 1896 and 1912, perhaps the best-known is Le voyage dans la lune (A Trip to the Moon, 1902), which in one scene features the animated human face of the moon being struck in the eye by a rocket.
In the United States, a former projectionist and traveling exhibitor, Edwin S. Porter, took charge of motion-picture proction at Edison’s company in 1901 and began making longer films that told a story. As with Méliès’s films, these required multiple shots that could be edited into a narrative sequence. Porter’s most notable film—and the most famous work of early cinema—was The Great Train Robbery (1903), which is credited with establishing movies as a commercial entertainment medium. With its rapid shifts of location, including action on a moving train, this film offered spectators a breadth and immediacy of vision that became hallmarks of the cinema experience.
Spurred by The Great Train Robbery and subsequent story films, film exhibition greatly expanded in the United States around 1905. One phenomenon was the proliferation of nickelodeon theaters, converted storefronts in instrial cities that charged 5 cents for admission and attracted working-class audiences. Demand from these theaters increased the volume of film proction and the profits for procers, but it also brought forth criticism from reformers concerning unsanitary or unsafe conditions in theaters and immoral subject matter in films. In 1908 Edison took the lead in establishing the Motion Picture Patents Company (MPPC), a consortium of procers with common goals: controlling proction and distribution so as to eliminate cheap theaters, raising admission prices, cooperating with censorship bodies, and preventing film stock from getting into the hands of nonmember procers. However, the independent procers excluded from the MPPC continued to obtain materials and make the most popular films. They also led the way toward multireel, feature-length films. By 1915 the MPPC was under attack by the U.S. government as an illegal monopoly (although an ineffectual one), and the independents were combining into the companies that would dominate American filmmaking for decades to come.
IV SILENT MOVIES
With a few experimental exceptions, motion pictures from their earliest days until the late 1920s lacked synchronous sound (sound that matches the action). But silent movies were rarely silent. Early films almost always were projected with piano or organ accompaniment, and sometimes also with a narrator or live actors behind the screen. As feature-length films (four reels, with a running time of 40 to 50 minutes or more) became the norm in the 1910s, live orchestras began to play in larger theaters, frequently using music written specifically for the film.
Until World War I (1914-1918) European filmmakers dominated the world film market. France was considered the leading film-procing country, though Italy, Denmark, and other countries also played a significant role. However, the war, fought on European soil, disrupted commercial filmmaking there. With a sudden drop in European film exports, some regions, such as Latin America, experienced a brief surge in film proction. But U.S. companies soon took over markets overseas, using the same tactics of high-volume proction and lower prices that the Europeans had. By the 1920s some three-quarters of films screened around the world came from the United States.
A American Silent Movies
Even before the war, the United States had made its mark on the world filmmaking scene with epics and comedies. Moreover, U.S. moviemakers had begun to congregate in southern California in the Los Angeles suburb of Hollywood (see The Move to Hollywood, below), creating a film community apart from older urban centers of politics and the arts, and a magical new symbol for popular entertainment and glamour.
A1 D. W. Griffith
The work of D. W. Griffith exemplifies the transformation of motion pictures from the early days of one-reelers to an era of Hollywood’s worldwide dominance. Starting out as an actor in films directed by Edwin S. Porter, Griffith in 1908 became a director at the American Mutoscope and Biograph Company in New York City. He was initially responsible for turning out two one-reel films a week, and between 1908 and 1913 he directed nearly 500 films. Amidst this breakneck schele, he and his co-workers developed many of the cinema’s basic storytelling conventions: moving the camera close to the action, using many separate shots, and editing the shots to cut back and forth among different actions. All these techniques served to shape a narrative, rather than present a spectacle as earlier films had tended to do. Griffith also nurtured performers such as Mary Pickford and Lillian Gish and emphasized an intimate, restrained style of acting suitable for camera close-ups.
Leaving Biograph in 1913 to make full-length features, Griffith planned a historical epic of the American Civil War (1861-1865). The Birth of a Nation (1915), three hours in length, stunned audiences with its dazzling spectacle of a still-recent event and established motion pictures as an art form for cultured spectators. Yet the film’s racist presumptions—specifically, its defense of white supremacy to protect racial purity—was controversial in its own time and remains repugnant decades later. Griffith made another epic, Intolerance (1916), which intertwined four stories about victims of prejudice, and continued to work as an independent filmmaker into the 1920s. Eventually, financial pressures forced him to become a director at a Hollywood studio, and he made his last film in 1931.
字数限制，没办法全发给你，如需要请留言。
㈣ 求一段三人的英文电影对白。
冰河世纪三的对白可以吗？有文本·你可以看着电影学···答案太长留不上···
00:03:23,450 --> 00:03:25,710
-要出生啦 -让开点
- It's coming, it's coming. - Watch it!
12
00:03:25,710 --> 00:03:26,720
我要有宝宝啦
I'm having a baby!
13
00:03:26,720 --> 00:03:29,920
-小蓝警报 -或者小粉 要是个女孩的话
- Code-blue! Code-blue! - Or a pink, if it's a girl.
14
00:03:30,050 --> 00:03:32,190
终于有孩子啦 我来啦 艾莉
Having a baby, having a baby. I'm coming! Ellie!
15
00:03:33,280 --> 00:03:34,550
看我们来接
We got it!
16
00:03:47,470 --> 00:03:52,160
艾莉 你在哪 我晕菜了
Ellie! Ellie! Where are you? Where am I?
17
00:03:52,160 --> 00:03:58,310
曼尼 我告诉你了 只是踢了一下
Manny? I told you, it was just a kick.
18
00:03:59,080 --> 00:04:02,960
哦是啊
Oh! Right, right. Ooh, Woww.
19
00:04:03,030 --> 00:04:07,660
你真是吓了爹地一大跳跳
You really gave daddy a scare. Dad got silly
20
00:04:07,730 --> 00:04:10,980
爹地从山崖上掉下来啦 然后就叮叮咣咣
Daddy fell down a cliff and got BOOM BOOM BOOM BOOM..
21
00:04:11,110 --> 00:04:14,700
哈哈 呆呆爹地
Ha, silly daddy. Yeah..
22
00:04:17,760 --> 00:04:22,560
抱歉啦大家 诈胎 踢了一下而已
Sorry, folks. False alarm. It was just a kick.
23
00:04:22,560 --> 00:04:26,240
-你知道我想踢谁吗 -这礼拜都第三次了
- Do you know who I like to kick? - That's the third false alarm this week!
24
00:04:26,240 --> 00:04:29,220
好啦 演出结束 散了吧散了吧
Alright, show's over. Break it up, break it up.
25
00:04:29,580 --> 00:04:35,520
-哟嗬 某人肚肚里也有宝宝啦 -我没怀孕
- Ah, I see someone else has a buddy in the oven? - I am not pregnant!
26
00:04:35,860 --> 00:04:39,750
太可惜了 你本会是个好妈妈的
It's too bad, you could make a wonderful mother.
27
00:04:39,860 --> 00:04:42,880
曼尼 我知道你很激动 我也是
Manny I know you are excited, I am too.
28
00:04:42,880 --> 00:04:44,630
但是你这激动的过头了
But you get a little carried away.
29
00:04:44,800 --> 00:04:50,080
知道啦 天 我听起来像迭戈
Okay, Okay. Oh boy, I'm starting to sound like Diego.
30
00:04:50,340 --> 00:04:54,800
等等 迭戈去哪了
Wait a second... Where is Diego?
31
00:05:45,850 --> 00:05:49,580
我的蹄子好烫啊
My hooves are burning baby, they are burning!
32
00:05:49,700 --> 00:05:55,280
欣赏我的脚趾舞吧 吃些灰 你这野狗
Look at this, I got a tip-toe! I got a tip-toe! Eat my st, dingo!
33
00:05:56,830 --> 00:06:01,250
-能看了吗 -别急嘛 别惊着咱孩子
- Now? Get out now? - Easy.. Don't freak out the baby.
34
00:06:01,440 --> 00:06:05,290
孩子很好 但是你这慌张爸爸让我担心
The baby is fine. It's the freaked-out daddy I'm worried about.
35
00:06:05,390 --> 00:06:08,420
呀呀不许偷看呐
Ahh ahh! No peeking.
36
00:06:09,390 --> 00:06:13,420
这是给象宝宝的乐园
A playground for the junior.
37
00:06:20,590 --> 00:06:24,670
太不可思议了
It is amazing.
38
00:06:33,820 --> 00:06:39,790
-曼尼 -我做的 咱们一家子
- Manny... - I made it myself. Our family.
39
00:06:43,970 --> 00:06:46,930
我怎么不在那上面
Why are I up there?
40
00:06:47,520 --> 00:06:50,020
你可以来我们这里 正好放下
You can be on ours. You fit right in.
41
00:06:50,020 --> 00:06:51,440
谢了
Thanks!
42
00:06:52,170 --> 00:06:56,420
这还在建设中 这这那那都需要修修
Of course, it is still in working progress. A few reforges. Here and there.
43
00:06:56,730 --> 00:07:00,020
我不敢相信 你居然这么细心 担心树扎着宝宝
I don't believe it, you try to baby proof nature.
44
00:07:00,020 --> 00:07:02,280
我细心 别逗了
Baby proof nature? Get out of here!
45
00:07:02,430 --> 00:07:06,470
简直国际玩笑
That's ridiculous.
46
00:07:07,230 --> 00:07:10,250
曼尼 咱们的孩子只能成长在现实世界里
Manny, this is the world our baby's gonna grow up in,
47
00:07:10,250 --> 00:07:11,690
你不能永远护着她
You can't change that.
48
00:07:11,790 --> 00:07:14,800
当然可以 我是世界上最大的生物
Of course I can, I am the biggest thing on earth.
49
00:07:14,860 --> 00:07:16,130
行啊 万能老爸
Okay, big daddy,
㈤ 老电影 彗星之夜 片尾曲
歌名：Learn to Love Again
作词：Chris Farren
演唱：Chris Farren，Amy Holland
歌词：
You think that it's over
But you can't explain why
Waiting on, waiting for the phone to ring
But your spirits are dragging and you wander endlessly
Trying to, forget about, how happy we used to be
Cause if it's right, please don't try to fight it baby
Whoa, and if it's wrong, we can let it slip away
Cause we got a lot of love for giving
We got a lot of life worth living
We're gonna find that sometimes baby
We can learn to love again.
When love isn't magic
And you're not sure how to feel
But if you can, touch it then, it has to be real
I know it's tragic, to give up so easily
So now I'm giving everything, just to make you see
If it's right, don't try to fight it
And if it's wrong, we can let it slip away
Cause we got a lot of love for giving
We got a lot of life worth living
We're gonna find that sometimes baby
We can learn to love again.
Listen to your heart, if you can't make up your mind
A moment can be lost so easily
Whoa! Now's the time to start if you're looking for mine
Hopefully, you will see
Endlessly, it's you and me
Cause we got a lot of love for giving
We got a lot of life worth living
We're gonna find our place among the stars
Hey, hey, hey
I know this dream is far from over
Starting tonight, gonna start all over
We're gonna find that sometimes
I know that
We can learn to love again
Cause we got a lot of love for giving
We got a lot of life worth living
We're gonna find our place among the stars
I know this dream is far from over
Starting tonight, gonna start it all over
We're gonna find that sometimes...
㈥ 求一个乐园追放快片尾大叔唱的歌的罗马音注音，拜托啦
EONIAN -イオニアン-『剧场版「乐园追放」ED主题曲』
作词：六ツ见纯代
作曲：Mish-Mosh
编曲：前口渉
演唱：ELISA
涙がいくつあ子れただろう
namida gaikutsua ko retadarou
痛みを何度感じただろう
itami wo nando kanji tadarou
言叶を持たずに纺ぐ诗(うた)
kotoba wo mota zuni tsumugu shi ( uta )
记忆に眠る心のレゾナンス
kioku ni nemuru kokoro no rezonansu
青空之地平线
aozora yuki chiheisen
荒野に咲いた望みの花
kouya ni sai ta nozomi no hana
受け入れてく苦しみが
ukeire teku kurushi miga
目覚めさせる强さ
mezame saseru tsuyosa
いにしえから吹く风に
inishiekara fuku kaze ni
背中を押されたなら
senaka wo osa retanara
満ちてく未知へ之
michi teku michi he yuki
さあ、旅立之う
saa , tabi ritsu yuki u
It's so far away
It's so far away
描きたいよ
egaki taiyo
终わりのない物语の続きを
owari nonai monogatari no tsuzuki wo
暗闇を仿徨っても
kurayami wo i kou ttemo
この愿いは光を抱きしめられる
kono negai ha hikari wo daki shimerareru
时を越えここから
toki wo koe kokokara
爱しさ繋ぐ
itoshi sa tsunagu
永远(之わ)に…
eien ( yuki wa ) ni ...
足迹刻んで行く理由
sokuseki kizan de iku riyuu
あれからずっ之追いかけ求めてる
arekarazutsu yuki oi kake motome teru
夺いあい伤つけあう
u ai kizutsu keau
愚かなる日には还らない
oroka naru nichi niha kan ranai
胸の奥に大切な
mune no oku ni taisetsu na
笑颜があればいい
egao gaarei
途切れたパ儿ス読み之って
togireru ta pa ji su yomi yuki tte
ノイズの向こうにいる
noizu no mukou niiru
自分之逢うまで
jibun yuki au made
もう、迷わない
mou , mayowa nai
Starting over
Starting over
传えたいよ
tsutae taiyo
立ち止まらず生まれ変わる未来へ
tachi toma razu umare kawa ru mirai he
运命に负けたくない
unmei ni make takunai
追忆から聴こえる确かな鼓动
tsuioku kara kiko eru tashika na kodou
响きあう场所には
hibiki au basho niha
奇迹が宿る
kiseki ga yadoru
永远(之わ)に…
eien ( yuki wa ) ni ...
几千もの瞳が见上げた
ikusen mono hitomi ga miage ta
月之星座が
gatsu yuki seiza ga
㈦ 日本女子组合SPEED的5首冠军单曲分别是什么
星路历程:
1995年
10月趁着在电视节目上定期演出的机会，开始这队四人组合活动，而"SPEED"这个组合名字亦由该节目所举办的公开募集而决定。
1996年
8月5日，以首张细碟作品BODY＆SOUL成功出道，初上ORICON细碟榜占第18位，最高攀上第4位置。由于出道成绩优异，吸引了不少业界内外的注意。
11月18日，推出第二张细碟，初上ORICON细碟榜占第2位。
12月6日在第29届日本有线大赏中获颁受I最佳新人奖」。
12月31日在第38届日本唱片大赏中获颁受"最佳新人奖"。
1997年
3月3日在第34届金箭赏中获颁受"最佳音乐新人奖" \
3月5日在第11届日本金唱片大赏中获颁受"BESTFIVENEWARTIST奖",正式成立fanclub"SPEEDSPIRITS"。
3月26日推出第三张细碟《GO！GO！HEAVEN》，初上ORICON细碟榜迅即占据冠军位置。
4月25日处女写真集SPEED出版。
5月21日推出首张大碟StartingOver，初上ORICON大碟榜亦迅即占据冠军位置。之后，推出第四张细碟WakeMeUP！，初上ORICON细碟挤占第2位。
10月15日推出第五张细碟WhiteLove，初上ORICON细碟榜迅即占据冠军位置。之后，推出首张演唱会VIDEO"SPEEDFIRSTLIVE，STARTINGOVERFROMODAIBAO"。
12月初次出席红白歌唱大赛。
补充说明：
1995年10月，趁着在电视节目上定期演出的机会，开始了hiroko，eriko，takako，hiteo四人的组合活动，而"SPEED"这个名字亦由该节目所举办的公开募集而决定。1996年，SPEED以首张细碟作品「Body & Soul」成功出道，吸引了不少业界内外的注意。
1997年到1999年间，SPEED以锐不可挡的气势征服了日本乐坛。3张冠军专辑，5张冠军单曲，1200万张的CD销量，100亿日元销售额的傲人成绩，让所有人见识到少女团体在演艺圈的无限潜能，也为少女团体的历史写下精彩的一页。除了音乐上，SPEED在电影、电视、广告上，都有出色表现。值得一提的是，SPEED的唯一一部电影「Andromedia」也得到了大家的肯定。
SPEED的星路一帆风顺，动感的音乐和跳跃的舞蹈，让她们立刻成为当时日本最受欢迎的第一女子组合。然而正值事业顶峰之际，却风云突变。1999年10月5日下午，SPEED召开记者会宣布，将于2000年3月解散。此消息一经发布，立刻引起轩然大波，她们的官方网站更是一天之内突破100万的客流量，大量歌迷询问相关的消息，甚至为此失声痛哭。11月3日，SPEED正式发表她们的告别作「Long way home」，歌曲一改以往热情奔放的风格，该走R&B路线。11月20起，SPEED分别在名古屋，东京，大阪，福冈等地举行一连串的告别演唱会。门票在短短3小时之内就全部销售完，观看演唱会的人数总计高达25万人次
http://lib.verycd.com/2005/12/07/0000078447.html
没怎么听过她们的歌,感觉一般吧
㈧ 电影杀手47中的那个杀手叫什么 他还演过什么电影没呀！
蒂莫西·奥利芬特 Timothy Olyphant
1.《虎胆龙威4：虚拟危机》Live Free or Die Hard AS …… Greg (2007)
2.《捉与放》Catch and Release AS …… Fritz (2006)
3.Deadwood The Catbird Seat AS …… Seth Bullock (2006)
4.Making 'Deadwood': Season Two AS …… Himself (as Tim Olyphant) (2005)
5.Deadwood Amalgamation and Capital AS …… Seth Bullock (2005)
6.Deadwood Advances, None Miraculous AS …… Seth Bullock (2005)
7.《死木》"Deadwood" AS …… Seth Bullock (2004)
8.《邻家女孩》The Girl Next Door AS …… Kelly (2004)
9.Making 'Deadwood': The Show Behind the Show AS …… Himself (2004)
10.《单刀直入》A Man Apart AS …… Hollywood Jack (2003)
11.《劫梦惊魂》Dreamcatcher AS …… Pete Moore (2003)
12.Coastlines AS …… Sonny (2002)
13.Shadow Realm AS …… Eli West (2002)
14.《拜物有理》The Safety of Objects AS …… Randy (2001)
15.《摇滚巨星》Rock Star AS …… Rob - Guitarist, Blood Pollution (2001)
16.《神魂颠倒》Head Over Heels AS …… Michael (2001)
17.Doppelganger AS …… Brian (2001)
18.《弄假成真》Auggie Rose AS …… Roy Mason (2000)
19.《极速60秒》Gone in Sixty Seconds AS …… Det. Drycoff (2000)
20.《前进》Go AS …… Todd Gaines (1999)
21.No Vacancy AS …… Luke (1999)
22.Advice from a Caterpillar AS …… Brat (1999)
23.《雷霆战将》When Trumpets Fade AS …… Lt. Lukas (1998)
24.1999 AS …… Hooks (1998)
25.《惊声尖叫2》Scream 2 AS …… Mickey Altieri (1997)
26.《天使爱情鸟笼伴》A Life Less Ordinary AS …… Hiker (1997)
27.Ellen Foster AS …… Roy Hobbs (1997)
28.《前妻俱乐部》The First Wives Club AS …… Brett Artounian (1996)
29.Film-Fest DVD: Issue 2 - Cannes (1999) AS …… Himself
㈨ 求一段威尔史密斯英文简介，包括他的经典电影和奖项，2分钟左右
Willard Christopher "Will" Smith, Jr. (born September 25, 1968) is a Golden Globe and a two time Academy Award-nominated American actor, and a multiple Grammy Award-winning hip hop artist. He is one o...( read more )f a small group of people who have enjoyed success in three major entertainment media in the United States: feature films, television, and the music instry. Newsweek has named him the most powerful actor on the planet.
Smith's most notable television role was that of "Will" Smith in The Fresh Prince of Bel-Air. In his film work, his notable roles include Agent J in Men in Black and Men in Black II, Muhammad Ali in Ali, as well as his role in the blockbuster Independence Day and more recently as Chris Gardner in The Pursuit of Happyness with his son Jaden Smith.
Will Smith was born and raised in Philadelphia, Pennsylvania. His charming and sly demeanor in school resulted in the nickname "Prince" which eventually turned into the "Fresh Prince." While still in his teens, Smith began rapping and eventually began collaborating with Jeff Townes (a.k.a. D.J. Jazzy Jeff) whom he met at a party. He attended Overbrook High School in West Philadelphia. D.J. Jazzy Jeff & The Fresh Prince was born with Smith handling the rhymes and Townes overseeing the mastery of mixing and scratching — the combination were a pop and hip-hop hit ring the '80s and early '90s.
While it is widely reported that Smith turned down a scholarship to attend Massachusetts Institute of Technology (MIT), Smith denied this in a Reader's Digest interview stating, "My mother, who worked for the School Board of Philadelphia, had a friend who was the admissions officer at MIT. I had pretty high SAT scores and they needed black kids, so I probably could have gotten in. But I had no intention of going to college." This is corroborated in a Wired interview where he states he never applied to MIT.
Despite the above, when Smith appeared on Inside the Actors Studio, he stated that he was admitted to the "pre-engineering program" at MIT.
Smith started as the MC of the hip-hop o DJ Jazzy Jeff & the Fresh Prince, with his childhood friend Jeffrey "DJ Jazzy Jeff" Townes as turntablist and procer as well as Ready Rock C (Clarence Holmes) as the human beat box. The trio was known for performing humorous, radio-friendly songs, most notably "Parents Just Don't Understand" and "Summertime." They gained critical acclaim for winning the first ever Grammy in the Rap category (1988). He had a line in "Voices That Care", a 1991 Gulf War song by a celebrity group.
Smith was nearing bankruptcy when in 1990, the NBC television network signed him to a contract and built a sitcom, The Fresh Prince of Bel-Air, around him. The show was successful and launched his acting career. Although he made a notable dramatic film debut in Six Degrees of Separation (in which he played against type as a gay con man) while still appearing in The Fresh Prince of Bel-Air, Smith's film career took off with his role in the buddy cop action film Bad Boys (1995) along with co-star Martin Lawrence.
Will Smith at 45th Emmy Awards in 1993 After The Fresh Prince of Bel-Air ended in 1996, Smith began a successful solo music career while simultaneously starring in a series of films. The first two films were hugely successful summer blockbusters: Independence Day (1996), in which he played a fearless and confident fighter pilot, and Men in Black (1997), where he played the comic and confident Agent J against Tommy Lee Jones's deadpan Agent K. Smith's acting in Men in Black won critical praise. He originally rejected the lead role in Men in Black, but wife Jada Pinkett Smith coaxed him into acceptance. The two films established Smith's commercial reputation as a bankable star whose appeal across age, race, and gender lines could "open" a film at the box office. Smith turned down the role of Neo in The Matrix in favor of Wild Wild West. After the failure of Wild Wild West and watching Keanu Reeves' performance, he suggests that he would not have been the appropriate actor for the role at the time, but still considers passing on The Matrix as a big mistake. He then gained lead roles in several box office successes including Men in Black II, Bad Boys II, Hitch, and I, Robot.
Smith is one of only two hip-hop artists to receive an Oscar nomination in an acting category (Best Actor, Ali, 2001), for his portrayal of the boxer Muhammad Ali, formerly known as Cassius Clay, in the biopic. He was also nominated for the Best Actor Oscar for his role in another true-life movie, The Pursuit of Happyness where he played Chris Gardner in his rags to riches story.
Smith appeared as himself in Jersey Girl delivering the Silent Bob speech that appears in nearly all Kevin Smith movies. The lead character's situation is e to the claim, "Will Smith is just a rapper".
Smith also released a string of hit singles, often associated with his most recent film, throughout the late 1990s. The most notable of these were his #1 hit theme song "Men in Black," the #1 hit "Gettin' Jiggy Wit It" (which made jiggy a catchphrase for a while in 1998), and a cover of "Just the Two of Us," an affectionate message to his young son. His first two solo albums went platinum, but his third, on Columbia Records, was a sales disappointment compared to his past efforts, and after a quick Greatest Hits release that was almost not advertised at all, he was dropped by the label. He signed a recording contract with Interscope Records and released the successful Lost & Found in 2005. The album was propelled solely on the smash hit single, "Switch", which appealed to the mainstream a la "Summertime". The single stayed atop the charts for months and returned Smith to the forefront of Hip Hop.
Smith appeared at Nickelodeon Kid's Choice awards in 2005 performing "Switch", as well as the Black Entertainment Television awards in 2005. He appeared in the second game of the NBA Finals (San Antonio vs. Detroit) performing "Switch" in 2005. Smith also made a special appearance in the reality talent contest show "Indian Idol", when he visited India.
Smith was considered for the role of John Smith in the movie Mr. and Mrs. Smith; Brad Pitt eventually received the role. He was also considered for the role of Willy Wonka in the remake of the film Charlie and the Chocolate Factory. He has planned to star in a feature film remake of the television series It Takes a Thief.
Smith can be found most recently starring in The Pursuit of Happyness with his son Jaden Smith; he received his second Academy Award nomination for the role for Best Actor but lost to Forest Whitaker.
Smith's next film will be I Am Legend in 2007, based on the novel of the same name. In the film, Smith will play the last man on Earth.
Smith married Sheree Zampino in 1992. They had a son, Willard Christopher III, also known as "Trey", but divorced in 1995. Trey appeared in his father's music video for the 1997 single, "Just The Two Of Us." Smith married actress Jada Pinkett in 1997. Together they have had two children: Jaden Christopher Syre (born 1998), his co-star in The Pursuit of Happyness, and Willow Camille Reign (born 2000). Along with his brother, Harry Smith, he owns Treyball Development Inc., a Beverly Hills-based company named after his first son. He has been consistently listed in Fortune Magazine's "Richest 40" list of the forty wealthiest Americans under the age of 40. Smith and his family reside on Star Island (Florida) in Miami, Florida, Los Angeles, Stockholm, Sweden and in Philadelphia. He helped the community by giving money to Katrina victims.
On July 2, 2005, Smith served as host for the Live 8 concert in his native Philadelphia in front of an enormous crowd, and later performed a set with DJ Jazzy Jeff.
Smith also proced All of Us, a program loosely based on his love, life, and family in 2005.
Smith is an enthusiast for the games of chess, bingo and rummoli. He is also quite fond of video games.
Once every year Will takes his mother to Canyon Ranch spa in Tucson, Arizona for a week.
Smith remains good friends with Tatyana Ali, former co-star on Fresh Prince of Bel Air. Will was the one that mainly convinced her to enter the field of music, e to her singing shown on some episodes of the show. He also has taken credited for kick starting the career of Sam Phillips in the film business.
Will Smith and his wife Jada Pinkett Smith are good friends of Tom Cruise and Katie Holmes, which has lead to Will Smith rumored to be a believer in Scientology. He has denied that he has joined the Church of Scientology but has said:
I just think a lot of the ideas in Scientology are brilliant and revolutionary and non-religious
唱片专辑：
1997年《Big Willie Style》
1993年《Code Red》
1991年《Home Base》
1989年《And In This Corner》
1988年《He's the D.J., I'm the Rapper》
1987年《Rock the House》
主要影视作品：
2009年 《蜜蜂的秘密生活》(The Secret Life of Bees)未上映
2008年 (Seven Pounds)未上映
2008年 (Time Share)未上映
2008年《全民超人》(Hancock)未上映
2007年《我是传奇》(I Am Legend)
2006年 《当幸福来敲门》(The Pursuit of Happyness)
2005年 《全民情敌》(Hitch)
2004年 《我，机器人》(I, Robot)
2004年 《泽西女孩》(Jersey Girl)
2004年 《鲨鱼故事》(Shark Tale)
2003年 《绝地战警2》(Bad Boys 2)
2002年《黑衣人2》(“Men in Black 2”)
2001年《拳王阿里》(“Ali”)
2000年 《重返荣耀》(The Legend of Bagger Vance)
1999年《西部狂野》(“Wild Wild West”)
1998年《国家的敌人》(“Enemy of the State”)
1998年《Welcome to Hollywood》
1997年《黑衣人》(“Men in Black”)
1996年《独立日》(“Independence Day”)
1995年《Happily Ever After: Fairy Tales for Every Child》(电视)
1995年《绝地战警》(“Bad Boys”)
1993年《六级分裂》(“Six Degrees of Separation”)
1993年《美国制造》(“Made in America”)
1992年《你在哪里过了一天》(“Where the Day Takes You”)
1990年《贝莱尔的新鲜王子》(“The Fresh Prince of Bel-Air”，电视)
㈩ 雷神2黑暗之神片尾曲是什么
《雷神2黑暗之神》的片尾曲是《Walk》。
歌名：《Walk》
歌手：Foo Fighters
语言：英语
所属专辑：Wasting Light
发行时间：2011-04-12
歌词：
A million miles away
Your signal in the distance
To whom it may concern
I think I lost my way
Getting good at starting over
Every time that I return
I'm learning to walk again
I believe I've waited long enough
Where do I begin
I'm learning to talk again
Can't you see I've waited long enough
Where do I begin
Do you remember the day
We built these paper mountains
And sat and watched them burn
I think I found my place
Can't you feel it growing stronger
Little conquerors
I'm learning to walk again
I believe I've waited long enough
Where do I begin
I'm learning to talk again
I believe I've waited long enough
Where do I begin
For the very first time
Now
Don't you pay no mind
Set me free again
You keep alive a moment at a time
But still inside a whisper to a liar
The sacrifice
The knowing to survive
That first decline
Another state of mind
I'm on my knees I'm praying for a sign
Forever whenever
I never wanna die
I never wanna die
I'm on my knees
I never wanna die
I'm dancing on my grave
I'm running through the fire
Forever whenever
I never wanna die
I never wanna leave
I'll never say goodbye
Forever whenever
I'm learning to walk again
I believe I've waited long enough
Where do I begin
I'm learning to talk again
Can't you see I've waited long enough
Where do I begin
I'm learning to walk again
I believe I've waited long enough
I'm learning to talk again
Can't you see I've waited long enough