recwert英文電影

① 彼得·格林納威的格林那威電影作品一覽

《安息》（1956-62）
Death of Sentiment
關於殯葬的習俗、制度：墓碑，上面雕刻的東西，人們如何被埋葬，葬禮的方方面面等等。
《火車》（1966）
Train
最後一輛蒸汽列車駛進滑鐵盧車站，正好在情報中心處的後面，我花了幾天時間在房頂上把它們拍下來，然後組織進曼·雷（Man Ray）抽象的機械芭蕾，全部按具象音樂進行剪輯。
《樹》（1967）
Revoliution
美國使館前的那場反戰示威我在場--在英國，這是對越戰問題的轉折點。我正好有一架機器在手，於是就拍下了所有那些騷亂和人群，然後按甲殼蟲樂隊的《革命》編剪。
《遙寄自教會的五張明信片》（1967）
Five Postcards from Capital Cites
我開始在歐洲旅行，把我的短片帶到各大學電影協會；我帶著我自己的16毫米機器，在每個都城拍好多尺。
《區間》（1969）
Intervals
一部抽象作品，試圖拍一部無敘事的電影，用13這個數字、維瓦爾第曾在《四季》里用過的和聲結構。它是在妻尼斯拍成的，拼合的影像既有來自兩年一度的藝術節上的--體現了歐洲繪畫的高級文化--又有來自電影節上的，主要是威尼斯那些房間里的塗抹圖案（graffiti）。
《侵蝕》（1971）
Erosion
我有一月左右在愛爾蘭南部，被那裡的悠古景象迷住了。我想找到可拍進電影的地貌侵蝕跡象--海岸，岩表的粉末化--然後把它們編在一起，第一個鏡頭是最古老的岩石，最後一個鏡頭是最機關報近的岩石。這頗應合了六十年代土地藝術運動。
《H是房子》（1973，1978年重作編剪）
H Is for House
我結婚了，還有了個小孩，我們常常在瓦爾德度假；我們呆在一個朋友的一幢很漂亮的19世紀早期的房子里。這是最令人神往的地主，可以看到稱心如意的、羅曼蒂克的英國風景，頗令人發思西之悠情，遙想羅馬天主教史事；英國內戰時期各種殘虐悲劇都在那裡發生。這是一個封閉的鄉村，所以有一種濃濃的戲劇和羅曼史味道--為了不枉此番游歷，我拍了一系列片子，本片是其中的第一部。它整個兒陷入了命名事物的事兒里--就象在馬格里特（Magritte）的後期繪畫里，術語命名，為意義和辭語尋覓、確定期客體對象，混亂一團……我作了這份龐大的清單，列上了我能在國內鄉村找到的、以字母H打頭的每一個事物，當它們被並排在一起時，你會發現各種有趣的涵孩兒。我女兒漢娜正在學ABCD，她的聲音在聲帶上重復頭，而且念錯了--這是無知者的智慧。它還和天堂（Heaven）與地獄(Hell)的概念及它們如何可互換頗為有關……
《窗》（1975）
Windows
拍於同一地方。我頗驚詫於來自南非的統計資料--政治犯們被從窗戶中推出，而其愚蠢的藉口則說他們是踩了一塊肥皂失足滑下去的，說他們還以為那窗戶是門，等等。我把它弄成一個虛構的東西，想看看任何一個人會從一記扇窗戶掉下去的所有可能的理由，我把他壓到了3分半鍾，並把這駭人聽聞的事實置於一頗似田園風光的背景以便製造一種反諷和悖論。我覺得它概括集中了我以後所做的一切方面：它涉及了統計學，它是頗折衷性的，它對風光景色大膽使用，它涉及了死亡--四個特徵，此後一直伴隨著我。
《水》（1976）
Water
基本上是一部編輯練習片。在撒利斯白雷和謝夫茲白雷之間有五個湖泊，每一個都各有特點。令我吃驚的是英國歷史學家、人類學家莫蒂門·維勒（Mortimer Wheeler），他會在路旁找到一塊石頭並推演出它的歷史；他能為每一個給出的自然物構造一段歷史。這是對他那一套的諧謔模仿，我用它來說明一整片美麗的水域風光。本片約5分鍾左右，而且也是下一部片子的基礎。
《萊克茲水域》（19750）
Water Wrackets
該片出自於我對J. R. R. Tolkein的'Lord of Rings'的熱情。我為那塊叫萊克茲的地區虛構一幫早期居民。萊克茲是一睡沼澤地，馬里奧特人住在山裡，還有另一族群住在森林裡；我打算對這些神話人物進行一項虛構的、嚴肅的人類學一考古學研究。
《數字中的古爾鎮》（1976）
Goole by Numbers
我來到這座很單調的叫古爾的鎮上，它位於我妻子生長於斯的樂約克郡，我僅只記錄了我所能發現的所有數字，然而把它們頭尾相接地排成一行，爾後再編排進邁克爾·尼曼（Michael Nyman）專門創作的一個曲子里，邁克爾在《H是房子》里跟我首次合作。
《可愛的電話》（1977）
Dear Phone
說的是用電話和濫用電話，以及關於文學於何處駐步而電影於何處起步的那些問題。
《1-100》（1978）
頗類似於《數字中的古爾鎮》，但卻是根據歐洲城市來拍的，而且大大壓縮了。影像取自柏林、巴黎、羅馬、佛羅倫薩和布魯塞爾。
《漫步穿越天堂或地獄》（41分鍾；19780）
A Walk through H
我一直醉心於地圖和制圖。一張地圖告訴你去過什麼地方，你在哪兒，以及你將去向何方--某種意義上此乃時態之三而合一這也是一種驚人的表意符號，表達的是這樣一訊息，它非常有用，而且或許最恰當地說也毫無用場。我父親最近死了，影片的副標題是'一位鳥禽學家的再生'--我父親就是位鳥禽學家。他的一生已經積累了大量的鳥類研究的知識，我很清楚，隨著他的死去--就象隨著任何一種死亡一樣--大量很個人化的資料見聞隨之而去了，整個兒如潑水難收。本片說的是一個人在瀕臨之際踏上旅程，走向任何一個它終止的地方--H或是天堂（Heaven）或是地獄（Hell）。我設計了92張地圖來幫助那個人去往那裡。整部影片分五個部分，描寫了從城鎮到偏遠荒蕪之地的旅程，各種景象互為參照，蔚為大觀。
《重鑄地貌》（英國藝術聯合會，45分鍾 1978）
Wertical Features Remake
說的是對國內山川地貌的重新認識。在英國實際上每一塊草地都已被踩踏過上千遍；我們已沒有自然荒野或象一點兒自然荒野之類的東西。這大概是世界上被畫過最多、也被拍照攝影得最多的土地之一《重鑄地貌》說的主要就是這個意思。
《崩潰》（185分鍾，1975-78）
The Falls
這真是許許多多所有那些我從未拍成的影片--我或多或少未完成的92部影片--的一個大雜燴。某種意義上它說的是這個世界終結的92種不同的方式--當時一個非常滸的社會問題。這也涉及了鳥類知識，它制訂出了各種分類和協同關系--我想我受到了品清（pynchon）、卡爾維諾(Calvino)和加西亞·馬爾克斯的《百年孤獨》的影響--所有那些龐大宏的、網路全書式的東西。這是拍一部電影的92種不同方法。它包括很多流產的影片，那些我夢想的但又明白永遠不會拍成的影片，還有一些訪談和實際上我認識的每一個人的照片--所以它是我家庭關系的一份個人概述，是我既往的一切所作所為的一次總薈萃。我覺得這是我所做的事里最富創意的事；我想當時我並未認識到，可它頗為重要，因為我拍的下一部電影《畫家的合同》是一個新的起點。
《神力難違》（泰晤士電視台，35分鍾，1981）
Act of God
泰晤士，一家頗為保守的電視台，請我做一個半小時的節目，題目不限。由於我對分類學的舉和對資料住處分門別類的念頭，我尋找著我能想到的最不可歸類的事件或現象--人被閃電擊中。我在全國性報刊上登啟示徵集所有那些被閃電擊中而生還下來的人，請他們來接受采訪--這就是本片的內容。我本希望得到一引起極有宗教色彩的經歷，見到一些認為自己被上帝懲罰的人。他們的大部分回答都是些陳詞濫調，不過我們偶然也發現了一些很別的事情--一些姑娘們騎著胖母馬走在英國農村的小道上，突然失蹤了，路上所剩下的只是一堆母馬肉。我把這些事件都串起來，當然了，大家卻認為那些都是我編造的。
《贊德拉·羅茲》（信息中心處，15分鍾，1981）
Zandra Rhodes
她是一位頗有影響的60年代服裝設計師。我到那時已經離開住處中心很長時間，只是由於我聲名日長，他們請我回去拍一種人物專題片，反映她的情況和思想態度。對這位是一名服裝設計師又是一名廣為人知的人物，本片作了一次充滿感情的評說。
《畫師的合同》（英國電影學院，四台，108分鍾，1982）
The Draughtsman's Contract
它也許是更具有明星電影的慣有特徵。我想那特別的一段時光也隨《畫家的合同》真正結束了。
《四個美國作曲家》（四台，1983）
關於約翰·凱奇、羅伯特·艾思雷、菲力浦。格拉斯和麥瑞底斯·蒙克的紀錄片。
《水花盪漾》（四台，15分鍾，錄像；1984）
A TV Dante--Canto5
嘗試跟英國畫家湯姆·菲力浦斯合作的項目。他是一位了不起的但丁學者，暗自進行自己的譯解，還給他自己的譯文弄了個插圖本。《地獄篇》寫於1300年，但他要從一個後二戰的位置去譯解。隨年代之變遷天堂不斷在改頭換面，而地獄卻大致一直照舊。
《套間內--浴室》 （四台，25分鍾，錄像，1985）
Inside Rooms-The Bathroom
這是一個系列的開始，對英國人如何使用浴室，作一番不無譏誚意味的思考。最後會有一部半小時的關於起居室、卧室等等的片子。它從未兌現。這是對浴室設計頗帶感情的、反諷意味的批評審視--人們在浴室里放些什麼，人們在浴室里幹些什麼，浴室是房子里的隱秘之地，人們在那裡陷喻性地、也是實實在在地脫卸下一切而直顯原形。
《一個Z和兩個O》
（英國電影學院/第四影片公司/綜藝公司，112分鍾，1985）
A Zed and Two Noughts
《建築師之腹》
（考蘭德公司/絲里影片公司，105分鍾，1987）
The Belly of an Architect
《挨個兒淹死》
（第四影片公司/綜藝公司，118分鍾，1988） Drowning by Numbers
《廚師、竊賊、他的太太和她的情人》
（綜藝公司，120分鍾，1989）
The Cook,the Thief,His Wife and Her lover
《魔法聖嬰》（未定）
Love of Ruins
關於美狄亞（Medea）神話--殺死自己孩子的母親。我們現在正在紛紛嚷嚷辯論流產墮胎問題。美狄亞則有過之而無不及，因為她殺死孩子的時候那孩子只有兩歲半；我想澄明，一個獨立的女人出於一整套我想讓觀眾信服的理由而奪走她自己孩子的生命，是正當的。它在地中海一帶的十個外景地拍攝，其中還有一個次本文背景，即對遺跡廢墟的那種非常英國式的羅曼悠思。這個次本文中女人是一個考古學家。
《遇見了自己的人》（未定）
The Man Who Met Himself
簡直就是另一個古典神話--阿波羅和那喀索斯的改寫，神和為爭得自己是最好的音樂家而鬧個不可開交的人。神贏了，大肆復仇，扒了他的皮以一解心頭之恨。它反映出了我們所有人心中的阿波羅和狄奧尼索斯精神。我想獲得一些我在《一個Z和兩個O》里沒有討論充分的思想，涉及的是一個人在遇見自己時所發生的事。我們會對此作何感想？我們會驚恐萬分，喜出望外？我們會想去殺了他或擁抱他？這是一部魔幻的、玄學的影片。我所有的影片都是未必發生的，但沒有一部是不可能的。是之謂也。
《普洛斯貝羅書籍》（1991）
參加1991年夏納電影節，根據莎士比亞傳奇劇《暴風雨》改編。
《枕邊書》（1999）
《8又1/2女人》（2000）
《塔斯魯波的手提箱》（ The Tulse Luper Suitcases） 上 映： 2003年05月24日 ( 法國 )

② 電影《心花路放》中你最喜歡哪個角色

我個人最喜歡電影《心花路放》中黃渤飾演的二手音箱店老闆過氣歌手耿浩。黃渤的演技絕對是影帝級別的，尤其是之前出演的電影《心花路放》，把一個失戀人的丑態演繹的淋漓盡致。這部電影的導演寧浩。寧浩一直都被圈內人認為是最會調教演員的導演，

最好看的就是張麗了，而且張麗也是唯一一個不太討厭黃渤的，但是最後卻發現張麗是一個同性戀讓他們又再次上路，遇到了各種美女，不過最後這些美女都和徐崢好了，而黃渤還是保持單身。我個人非常喜歡黃渤，他是一位非常有實力的演員，每次出演的作品都能給我們帶來驚喜，喜歡他支持他。

③ 聖鬥士一共有幾部電影我看過 聖鬥士星矢：聖域傳說。還有嗎 不要動畫連續劇只要電影

1.黃金蘋果
2.神與神之戰
3.真紅少年的傳說
4.最終聖戰的戰士們
5.天界篇·序奏
6.CG電影《聖域傳說》

④ 關於80年代的美杜莎電影

《戰狼》《美杜莎的面具》很多餓

⑤ 羅密歐與朱麗葉現代版的電影英文台詞

那些台詞都取自莎士比亞的原著。

⑥ 一部美國的電影有3人騎著哈雷摩托 在路上的惹了另一夥騎摩托的人 然後輸掉了一輛摩托車

樓主你好

符合你描述的電影是

《荒野大飆客》電影中是四個人哦

有圖有真相求採納

http://ke..com/link?url=_

⑦ 求《羅密歐與朱麗葉》里羅密歐對朱麗葉表白的那段經典對白英文原版

這是我在1976年版的羅密歐與朱麗葉的電影里照抄的。是在化妝舞會上的對白。我試著也把你說的那段聽下來，但是裡面很多的古英文不是很容易聽，所以實在是搞不出來...這個湊活了吧，也挺經典的。

R: IF I PROFANE WITH MY UNWORTHIEST HAND THIS HOLY SHRINE THE GENTLE SIN IS THIS.
MY LIPS, TWO BLUSHING PILGRIMS, READY STAND TO SMOOTH THAT ROUGH TOUCH WITH A TENDER
KISS.

J:GOOD PILGRIM, YOU DO WRONG YOUR HAND TOO MUCH,WHICH MANNERLY DEVOTION SHOWS IN THIS
FOR SAINTS HAVE HANDS THAT PILGRIMS' HANDS DO TOUCH,AND PALM TO PALM IS HOLY PALMERS'KISS

R:HAVE NOT SAINTS LIPS, AND HOLY PALMERS TOO?

J:AY, PILGRIM, LIPS THAT THEY MUST USE IN PRAYER

R:WELL, THEN , DEAR SAINT, LET LIPS DO WHAT HANDS DO.THEY PRAY, GRANT THOU, LEST FAITH
TURN TO DESPAIR.

J:SAINTS DO NOT MOVE, THOUGH GRANT FOR PRAYERS' SAKE

R:THEN MOVE NOT, WHILE MY PRAYER'S EFFECT I TAKE. -- THUS FROM MY LIPS BY THINE, MY SIN IS
PURGED.

J:THEN HAVE MY LIPS THE SIN THAT THEY HAVE TOOK?

R:SIN FROM MY LIPS? O TRESPASS SWEETLY URGED! GIVE ME MY SIN AGAIN.

J:YOU KISS BY THE BOOK.

我昨天google查到的，是你要的，下面還有古文的註解：

But soft! What light through yonder window breaks?
It is the East, and Juliet is the sun!
Arise, fair sun, and kill the envious moon
Who is already sick and pale with grief
That (1) thou her maid (2) art far more fair than she.
Be not her maid, since she is envious.
Her vestal livery (3) is but sick and green, (4)
And none but fools do wear it. Cast it off. (5)
It is my lady! O, it is my love!
O, that she knew she were!
She speaks, yet she says nothing.
What of that? Her eye discourses; I will answer it.
I am too bold; 'tis not to me she speaks.
Two of the fairest stars in all the heaven
Having some business, do entreat her eyes
To twinkle in their spheres till they return. (6)
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET :
Ay me!
ROMEO:
She speaks.
O, speak again, bright angel, for thou art
As glorious to this night, being o'er my head,
As is a winged messenger of heaven
Unto the white-upturned wond'ring eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy puffing clouds
And sails upon the bosom of the air.
JULIET:
O Romeo, Romeo! Wherefore (7) art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
ROMEO [Aside.]:
Shall I hear more, or shall I speak at this?
JULIET:
'Tis but thy name that is my enemy.
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face. O, be some other name
Belonging to a man.
What's in a name? That which we call a rose
By any other word would smell as sweet.
So Romeo would, were he not Romeo called,
Retain that dear perfection which he owes (8)
Without that title. Romeo, doff (9) thy name;
And for thy name, (10) which is no part of thee,
Take all myself.
ROMEO:
I take thee at thy word.
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
JULIET:
What man art thou, that, thus bescreened in night,
So stumblest on my counsel? (11)
ROMEO:
By a name
I know not how to tell thee who I am.
My name, dear saint, is hateful to myself
Because it is an enemy to thee.
Had I it written, I would tear the word.
JULIET:
My ears have yet not drunk a hundred words
Of thy tongue's uttering, yet I know the sound.
Art thou not Romeo, and a Montague?
ROMEO:
Neither, fair maid, if either thee dislike. (12)
JULIET:
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO:
With love's light wings did I o'erperch (13) these walls;
For stony limits cannot hold love out,
And what love can do, that dares love attempt.
Therefore thy kinsmen are no stop (14) to me.
JULIET:
If they do see thee, they will murder thee.
ROMEO:
Alack, there lies more peril in thine eye
Than twenty of their swords! Look thou but sweet,
And I am proof against their enmity.
JULIET:
I would not for the world they saw thee here.
ROMEO:
I have night's cloak to hide me from their eyes;
And but (15) thou love me, let them find me here.
My life were better ended by their hate
Than death prorogued, wanting (16) of thy love.
JULIET:
By whose direction found'st thou out this place?
ROMEO:
By Love, that first did prompt me to inquire.
He lent me council, and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore washed with the farthest sea,
I should adventure for such merchandise.
JULIET:
Thou knowest the mask of night is on my face;
Else (17) would a maiden blush bepaint my cheek
For that which thou hast heard me speak tonight.
Fain (18) would I dwell on form (19)--fain, fain deny
What I have spoke; but farewell compliment!
Dost thou love me? I know thou wilt say "Ay;"
And I will take thy word. Yet, if thou swear'st,
Thou mayst prove false. At lovers' perjuries,
They say Jove laughs. (20) O gentle Romeo,
If thou dost love, pronounce it faithfully.
Or if thou thinkest I am too quickly won,
I'll frown and be perverse and say thee nay,
So thou wilt woo, but else, not for the world. (21)
In truth, fair Montague, I am too fond, (22)
And therefore thou mayst think my havior (23) light;
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange. (24)
I should have been more strange, I must confess,
But (25) that thou overheard'st, ere I was ware, (26)
My true love passion. Therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered. (27)
ROMEO:
Lady, by yonder blessed moon I vow,
That tips with silver all these fruit-tree tops--
JULIET:
O, swear not by the moon, th' inconstant moon,
That monthly changes in her circle orb,
Lest that thy love prove likewise variable.
ROMEO:
What shall I swear by?
JULIET:
Do not swear at all;
Or if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I'll believe thee.
ROMEO:
If my heart's dear love--
JULIET:
Well, do not swear. Although I joy in thee,
I have no joy of this contract tonight.
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say it lightens. Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flow'r when next we meet.
Good night, good night! As sweet repose and rest
Come to thy heart as that within my breast!
ROMEO:
O, wilt thou leave me so unsatisfied?
JULIET:
What satisfaction canst thou have to-night?
ROMEO:
The exchange of thy love's faithful vow for mine.
JULIET:
I gave thee mine before thou didst request it:
and yet I would it were to give again.
ROMEO:
Would'st thou withdraw it? for what purpose, love?
JULIET:
But to be frank (28) and give it thee again.
And yet I wish but for the thing I have.
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
I hear some noise within. Dear love, adieu!
[NURSE calls within.]
Anon, (29) good nurse! Sweet Montague, be true.
Stay but a little, I will come again. [Exit.]
ROMEO:
O blessed, blessed night! I am afeard,
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
[Enter JULIET again.]
JULIET:
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite;
And all my fortunes at thy foot I'll lay
And follow thee my lord throughout the world.
[NURSE within.]
Madam!
JULIET:
I come anon.--But if thou meanest not well,
I do beseech thee--
[NURSE within.]
Madam!
JULIET:
By and by I come.--
To cease thy strife and leave me to my grief
Tomorrow will I send.
ROMEO:
So thrive my soul--
JULIET:
A thousand times good night!
ROMEO:
A thousand times the worse, to want thy light!
Love goes toward love as schoolboys from their books
But love from love, toward school with heavy looks
[Enter JULIET again]
JULIET:
Hist! Romeo, hist! O for a falc'ner's voice
To lure this tassel gentle back again! (30)
Bondage is hoarse and may not speak aloud,
Else would I tear the cave where Echo lies
And make her airy tongue more hoarse than
With repetition of "My Romeo!"
ROMEO:
How silver-sweet sound lovers' tongues by night,
Like softest music to attending (31) ears!
JULIET:
Romeo!
ROMEO:
My sweet?
JULIET:
What o'clock tomorrow
Shall I send to thee?
ROMEO:
By the hour of nine.
JULIET:
I will not fail. 'Tis twenty years till then.
I have forgot why I did call thee back.
ROMEO:
Let me stand here till thou remember it.
JULIET:
I shall forget, to have thee still stand there,
Rememb'ring how I love thy company.
ROMEO:
And I'll still stay, to have thee still forget,
Forgetting any other home but this.
JULIET:
'Tis almost morning. I would have thee gone--
And yet no farther than a wanton's bird,
That lets it hop a little from his hand,
Like a poor prisoner in his twisted gyves, (32)
And with a silken thread plucks it back again
So loving-jealous of his liberty.
ROMEO:
I would I were thy bird.
JULIET:
Sweet, so would I.
Yet I should kill thee with much cherishing.
Good night, good night! Parting is such sweet sorrow
That I shall say good night till it be morrow. [Exit.]
ROMEO
Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest! (33)

--------------------------------------------------------------------------------
(1) Because.
(2) In classical mythology the moon is ruled by the virgin goddess Diana; hence the innocent Juliet is "her maid," but this maid is more beautiful than her mistress.

(3) Virginal, costume like that worn by the ancient Roman Vestal Virgins.

(4) Young women were said to suffer from "green-sickness" which could only be cured by lovemaking.

(5) That is, stop being a virgin (make love with me).

(6) Her eyes are so bright that it seems two stars have traded places with them.

(7) Why.

(8) Owns, possesses.

(9) Take off, get rid of.

(10) In exchange for your name.

(11) Talk.

(12) If you don't like either of those names.

(13) Climb over.

(14) Hindrance.

(15) Unless.

(16) Lacking.

(17) Otherwise.

(18) Willingly.

(19) Do things correctly, start over following the proper ways of becoming acquainted.

(20) Jove, or Jupiter, an infamously unfaithful husband, was said not to take seriously the failure of lovers to live up to their oaths.

(21) I'll resist you properly if you promise to keep courting me, but not otherwise.

(22) Foolish

(23) Behavior.

(24) Distant, standoffish.

(25) Except.

(26) Aware.

(27) Revealed.

(28) Generous.

(29) Right away.

(30) Oh for the voice of a falconer who can lure back his tercel-gentle (the male of the goshawk, trained to hunt and return at a master's call).

(31) Listening.

(32) Fetters.

(33) I wish I were sleep and peace so I could rest on your breast

⑧ Recwert 是什麼意思

沒什麼具體意義，就是個人名。

⑨ 誰可以告訴我在那在下載「和愛一起長大」這部電影

wert

⑩ 成龍電影<尖峰時刻>在開車聽的是什麼英文歌曲叫什麼名字

War Edwin Starr

你打開網路MP3。輸入。這個名字。有得聽。