recwert英文电影

① 彼得·格林纳威的格林那威电影作品一览

《安息》（1956-62）
Death of Sentiment
关于殡葬的习俗、制度：墓碑，上面雕刻的东西，人们如何被埋葬，葬礼的方方面面等等。
《火车》（1966）
Train
最后一辆蒸汽列车驶进滑铁卢车站，正好在情报中心处的后面，我花了几天时间在房顶上把它们拍下来，然后组织进曼·雷（Man Ray）抽象的机械芭蕾，全部按具象音乐进行剪辑。
《树》（1967）
Revoliution
美国使馆前的那场反战示威我在场--在英国，这是对越战问题的转折点。我正好有一架机器在手，于是就拍下了所有那些骚乱和人群，然后按甲壳虫乐队的《革命》编剪。
《遥寄自教会的五张明信片》（1967）
Five Postcards from Capital Cites
我开始在欧洲旅行，把我的短片带到各大学电影协会；我带着我自己的16毫米机器，在每个都城拍好多尺。
《区间》（1969）
Intervals
一部抽象作品，试图拍一部无叙事的电影，用13这个数字、维瓦尔第曾在《四季》里用过的和声结构。它是在妻尼斯拍成的，拼合的影像既有来自两年一度的艺术节上的--体现了欧洲绘画的高级文化--又有来自电影节上的，主要是威尼斯那些房间里的涂抹图案（graffiti）。
《侵蚀》（1971）
Erosion
我有一月左右在爱尔兰南部，被那里的悠古景象迷住了。我想找到可拍进电影的地貌侵蚀迹象--海岸，岩表的粉末化--然后把它们编在一起，第一个镜头是最古老的岩石，最后一个镜头是最机关报近的岩石。这颇应合了六十年代土地艺术运动。
《H是房子》（1973，1978年重作编剪）
H Is for House
我结婚了，还有了个小孩，我们常常在瓦尔德度假；我们呆在一个朋友的一幢很漂亮的19世纪早期的房子里。这是最令人神往的地主，可以看到称心如意的、罗曼蒂克的英国风景，颇令人发思西之悠情，遥想罗马天主教史事；英国内战时期各种残虐悲剧都在那里发生。这是一个封闭的乡村，所以有一种浓浓的戏剧和罗曼史味道--为了不枉此番游历，我拍了一系列片子，本片是其中的第一部。它整个儿陷入了命名事物的事儿里--就象在马格里特（Magritte）的后期绘画里，术语命名，为意义和辞语寻觅、确定期客体对象，混乱一团……我作了这份庞大的清单，列上了我能在国内乡村找到的、以字母H打头的每一个事物，当它们被并排在一起时，你会发现各种有趣的涵孩儿。我女儿汉娜正在学ABCD，她的声音在声带上重复头，而且念错了--这是无知者的智慧。它还和天堂（Heaven）与地狱(Hell)的概念及它们如何可互换颇为有关……
《窗》（1975）
Windows
拍于同一地方。我颇惊诧于来自南非的统计资料--政治犯们被从窗户中推出，而其愚蠢的藉口则说他们是踩了一块肥皂失足滑下去的，说他们还以为那窗户是门，等等。我把它弄成一个虚构的东西，想看看任何一个人会从一记扇窗户掉下去的所有可能的理由，我把他压到了3分半钟，并把这骇人听闻的事实置于一颇似田园风光的背景以便制造一种反讽和悖论。我觉得它概括集中了我以后所做的一切方面：它涉及了统计学，它是颇折衷性的，它对风光景色大胆使用，它涉及了死亡--四个特征，此后一直伴随着我。
《水》（1976）
Water
基本上是一部编辑练习片。在撒利斯白雷和谢夫兹白雷之间有五个湖泊，每一个都各有特点。令我吃惊的是英国历史学家、人类学家莫蒂门·维勒（Mortimer Wheeler），他会在路旁找到一块石头并推演出它的历史；他能为每一个给出的自然物构造一段历史。这是对他那一套的谐谑模仿，我用它来说明一整片美丽的水域风光。本片约5分钟左右，而且也是下一部片子的基础。
《莱克兹水域》（19750）
Water Wrackets
该片出自于我对J. R. R. Tolkein的'Lord of Rings'的热情。我为那块叫莱克兹的地区虚构一帮早期居民。莱克兹是一睡沼泽地，马里奥特人住在山里，还有另一族群住在森林里；我打算对这些神话人物进行一项虚构的、严肃的人类学一考古学研究。
《数字中的古尔镇》（1976）
Goole by Numbers
我来到这座很单调的叫古尔的镇上，它位于我妻子生长于斯的乐约克郡，我仅只记录了我所能发现的所有数字，然而把它们头尾相接地排成一行，尔后再编排进迈克尔·尼曼（Michael Nyman）专门创作的一个曲子里，迈克尔在《H是房子》里跟我首次合作。
《可爱的电话》（1977）
Dear Phone
说的是用电话和滥用电话，以及关于文学于何处驻步而电影于何处起步的那些问题。
《1-100》（1978）
颇类似于《数字中的古尔镇》，但却是根据欧洲城市来拍的，而且大大压缩了。影像取自柏林、巴黎、罗马、佛罗伦萨和布鲁塞尔。
《漫步穿越天堂或地狱》（41分钟；19780）
A Walk through H
我一直醉心于地图和制图。一张地图告诉你去过什么地方，你在哪儿，以及你将去向何方--某种意义上此乃时态之三而合一这也是一种惊人的表意符号，表达的是这样一讯息，它非常有用，而且或许最恰当地说也毫无用场。我父亲最近死了，影片的副标题是'一位鸟禽学家的再生'--我父亲就是位鸟禽学家。他的一生已经积累了大量的鸟类研究的知识，我很清楚，随着他的死去--就象随着任何一种死亡一样--大量很个人化的资料见闻随之而去了，整个儿如泼水难收。本片说的是一个人在濒临之际踏上旅程，走向任何一个它终止的地方--H或是天堂（Heaven）或是地狱（Hell）。我设计了92张地图来帮助那个人去往那里。整部影片分五个部分，描写了从城镇到偏远荒芜之地的旅程，各种景象互为参照，蔚为大观。
《重铸地貌》（英国艺术联合会，45分钟 1978）
Wertical Features Remake
说的是对国内山川地貌的重新认识。在英国实际上每一块草地都已被踩踏过上千遍；我们已没有自然荒野或象一点儿自然荒野之类的东西。这大概是世界上被画过最多、也被拍照摄影得最多的土地之一《重铸地貌》说的主要就是这个意思。
《崩溃》（185分钟，1975-78）
The Falls
这真是许许多多所有那些我从未拍成的影片--我或多或少未完成的92部影片--的一个大杂烩。某种意义上它说的是这个世界终结的92种不同的方式--当时一个非常浒的社会问题。这也涉及了鸟类知识，它制订出了各种分类和协同关系--我想我受到了品清（pynchon）、卡尔维诺(Calvino)和加西亚·马尔克斯的《百年孤独》的影响--所有那些庞大宏的、网络全书式的东西。这是拍一部电影的92种不同方法。它包括很多流产的影片，那些我梦想的但又明白永远不会拍成的影片，还有一些访谈和实际上我认识的每一个人的照片--所以它是我家庭关系的一份个人概述，是我既往的一切所作所为的一次总荟萃。我觉得这是我所做的事里最富创意的事；我想当时我并未认识到，可它颇为重要，因为我拍的下一部电影《画家的合同》是一个新的起点。
《神力难违》（泰晤士电视台，35分钟，1981）
Act of God
泰晤士，一家颇为保守的电视台，请我做一个半小时的节目，题目不限。由于我对分类学的举和对资料住处分门别类的念头，我寻找着我能想到的最不可归类的事件或现象--人被闪电击中。我在全国性报刊上登启示征集所有那些被闪电击中而生还下来的人，请他们来接受采访--这就是本片的内容。我本希望得到一引起极有宗教色彩的经历，见到一些认为自己被上帝惩罚的人。他们的大部分回答都是些陈词滥调，不过我们偶然也发现了一些很别的事情--一些姑娘们骑着胖母马走在英国农村的小道上，突然失踪了，路上所剩下的只是一堆母马肉。我把这些事件都串起来，当然了，大家却认为那些都是我编造的。
《赞德拉·罗兹》（信息中心处，15分钟，1981）
Zandra Rhodes
她是一位颇有影响的60年代服装设计师。我到那时已经离开住处中心很长时间，只是由于我声名日长，他们请我回去拍一种人物专题片，反映她的情况和思想态度。对这位是一名服装设计师又是一名广为人知的人物，本片作了一次充满感情的评说。
《画师的合同》（英国电影学院，四台，108分钟，1982）
The Draughtsman's Contract
它也许是更具有明星电影的惯有特征。我想那特别的一段时光也随《画家的合同》真正结束了。
《四个美国作曲家》（四台，1983）
关于约翰·凯奇、罗伯特·艾思雷、菲力浦。格拉斯和麦瑞底斯·蒙克的纪录片。
《水花荡漾》（四台，15分钟，录像；1984）
A TV Dante--Canto5
尝试跟英国画家汤姆·菲力浦斯合作的项目。他是一位了不起的但丁学者，暗自进行自己的译解，还给他自己的译文弄了个插图本。《地狱篇》写于1300年，但他要从一个后二战的位置去译解。随年代之变迁天堂不断在改头换面，而地狱却大致一直照旧。
《套间内--浴室》 （四台，25分钟，录像，1985）
Inside Rooms-The Bathroom
这是一个系列的开始，对英国人如何使用浴室，作一番不无讥诮意味的思考。最后会有一部半小时的关于起居室、卧室等等的片子。它从未兑现。这是对浴室设计颇带感情的、反讽意味的批评审视--人们在浴室里放些什么，人们在浴室里干些什么，浴室是房子里的隐秘之地，人们在那里陷喻性地、也是实实在在地脱卸下一切而直显原形。
《一个Z和两个O》
（英国电影学院/第四影片公司/综艺公司，112分钟，1985）
A Zed and Two Noughts
《建筑师之腹》
（考兰德公司/丝里影片公司，105分钟，1987）
The Belly of an Architect
《挨个儿淹死》
（第四影片公司/综艺公司，118分钟，1988） Drowning by Numbers
《厨师、窃贼、他的太太和她的情人》
（综艺公司，120分钟，1989）
The Cook,the Thief,His Wife and Her lover
《魔法圣婴》（未定）
Love of Ruins
关于美狄亚（Medea）神话--杀死自己孩子的母亲。我们现在正在纷纷嚷嚷辩论流产堕胎问题。美狄亚则有过之而无不及，因为她杀死孩子的时候那孩子只有两岁半；我想澄明，一个独立的女人出于一整套我想让观众信服的理由而夺走她自己孩子的生命，是正当的。它在地中海一带的十个外景地拍摄，其中还有一个次本文背景，即对遗迹废墟的那种非常英国式的罗曼悠思。这个次本文中女人是一个考古学家。
《遇见了自己的人》（未定）
The Man Who Met Himself
简直就是另一个古典神话--阿波罗和那喀索斯的改写，神和为争得自己是最好的音乐家而闹个不可开交的人。神赢了，大肆复仇，扒了他的皮以一解心头之恨。它反映出了我们所有人心中的阿波罗和狄奥尼索斯精神。我想获得一些我在《一个Z和两个O》里没有讨论充分的思想，涉及的是一个人在遇见自己时所发生的事。我们会对此作何感想？我们会惊恐万分，喜出望外？我们会想去杀了他或拥抱他？这是一部魔幻的、玄学的影片。我所有的影片都是未必发生的，但没有一部是不可能的。是之谓也。
《普洛斯贝罗书籍》（1991）
参加1991年夏纳电影节，根据莎士比亚传奇剧《暴风雨》改编。
《枕边书》（1999）
《8又1/2女人》（2000）
《塔斯鲁波的手提箱》（ The Tulse Luper Suitcases） 上 映： 2003年05月24日 ( 法国 )

② 电影《心花路放》中你最喜欢哪个角色

我个人最喜欢电影《心花路放》中黄渤饰演的二手音箱店老板过气歌手耿浩。黄渤的演技绝对是影帝级别的，尤其是之前出演的电影《心花路放》，把一个失恋人的丑态演绎的淋漓尽致。这部电影的导演宁浩。宁浩一直都被圈内人认为是最会调教演员的导演，

最好看的就是张丽了，而且张丽也是唯一一个不太讨厌黄渤的，但是最后却发现张丽是一个同性恋让他们又再次上路，遇到了各种美女，不过最后这些美女都和徐峥好了，而黄渤还是保持单身。我个人非常喜欢黄渤，他是一位非常有实力的演员，每次出演的作品都能给我们带来惊喜，喜欢他支持他。

③ 圣斗士一共有几部电影我看过 圣斗士星矢：圣域传说。还有吗 不要动画连续剧只要电影

1.黄金苹果
2.神与神之战
3.真红少年的传说
4.最终圣战的战士们
5.天界篇·序奏
6.CG电影《圣域传说》

④ 关于80年代的美杜莎电影

《战狼》《美杜莎的面具》很多饿

⑤ 罗密欧与朱丽叶现代版的电影英文台词

那些台词都取自莎士比亚的原著。

⑥ 一部美国的电影有3人骑着哈雷摩托 在路上的惹了另一伙骑摩托的人 然后输掉了一辆摩托车

楼主你好

符合你描述的电影是

《荒野大飙客》电影中是四个人哦

有图有真相求采纳

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

⑦ 求《罗密欧与朱丽叶》里罗密欧对朱丽叶表白的那段经典对白英文原版

这是我在1976年版的罗密欧与朱丽叶的电影里照抄的。是在化妆舞会上的对白。我试着也把你说的那段听下来，但是里面很多的古英文不是很容易听，所以实在是搞不出来...这个凑活了吧，也挺经典的。

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，下面还有古文的注解：

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 是什么意思

没什么具体意义，就是个人名。

⑨ 谁可以告诉我在那在下载“和爱一起长大”这部电影

wert

⑩ 成龙电影<尖峰时刻>在开车听的是什么英文歌曲叫什么名字

War Edwin Starr

你打开网络MP3。输入。这个名字。有得听。