吴宇森

John Woo's ages, river lake friendship day, the day is big and ruthlessness because of having a Chow Young Fat Leslie Cheung Tony Leung Jacky Cheung's many red-blooded brotherses together life and death, drawing on juniority of we have a boiling passion, taking a carton revolver to pull out in the home every day into pull out, study of the idea had no not to say, think on every occasion at family in addition to suddenly and violently Anne is good, having no place to let out youth hormone, see a parents' elder brother bad egg perhaps rebel, toward their Hey Hey sneer to throw down classic stage dialogue:"This world is so a hideous mess, having greatly to rob greatly, small is small to rob, if start malicious, the ants all can kill elephant!"

吴宇森时代，江湖情义天，天大的残酷因为有周润发张国荣梁朝伟张学友一众热血兄弟同生死，吸引了年少的我们热血沸腾，天天在家里拿个纸板手枪拔进拔出，学习的心思没有了不说，动不动就想在家门口除暴安良，没地方发泄青春荷尔蒙，就把父母兄长看成坏蛋或者叛徒，对着他们嘿嘿冷笑丢下经典台词："这个世界是这么乱七八糟，大有大抢，小有小抢，要是发起狠来，蚂蚁都能杀大象！"

With "Red Cliff," Woo shows he's still a masterful director to be reckoned with.

通过《赤壁》一片，吴宇森证明了他仍然是个可以信赖的大师级导演。

Before taking license plate, the film that Wu Yusen is filming " Chibi " square prevue ever put production in 6 rooms to undertake trying, this is before be based on, 6 rooms roll out " Lin Zhiling knocks gently accept interview " video, accumulative total is close many 800 click a foundation to go up, although a few days short inside " Chibi " acquire the astonishing number that browse on 6 rooms, win many audience support and review, but square angle still is withheld somewhat and hesitate from production, because " Chibi " the beginning that video official net initiated movie industry and video to share a website to cooperate in the line on 6 rooms, there is video website before this with " share interactive " means, cross similar collaboration around the motion picture is big circumjacent open, the consideration of consequence and effect is stemmed from before, the tradition is great production just is general net settle entirely in portal website.

在拿到牌照前，吴宇森正在拍摄的影片《赤壁》制片方的预告片曾放在六间房进行尝试，这是基于之前六间房推出的"林志玲戛纳访谈"视频，累计近800多万次的点击基础上的，虽然短短几天内《赤壁》就在六间房上取得惊人的浏览数，并获得大量观众支持和评论，但从制片方的角度还是有所保留和犹豫的，因为《赤壁》视频官网在六间房上线开创了电影行业和视频分享网站合作的先河，此前没有视频网站以"分享互动"的方式，围绕电影大片的周边开启过类似合作，之前出于影响力和效果的考虑，传统大片制片方全部都是将官网落户在门户网站。

Are you and Woo the De Niro and Scorsese of Hong Kong gangster movies?

您和吴宇森是不是香港的罗伯特德华尼和马丁斯科塞斯？

John Woo's "风语者" is used in Hollywood's resources, the location shooting is a large World War II, the whole film seems very popular, but in fact the audience can see only a gun battle in Hong Kong World War II film version of it, experience the film in the blank so that after 10 minutes into the battle as long as 30 minutes of garbage time.

吴宇森的《风语者》用的虽然是好莱坞的资源，拍摄的定位却是一部二战大片，全片总体来说给人的感觉相当火爆，可是实际上观众所看到的只是一部香港枪战片的二战版而已，经验上的空白让电影在激战10分钟后便进入了长达30分钟的垃圾时间。

Similarly, in Wu Yusen "Chibi" inside, is not any fight scene has warhorse's actor's pay.

同样，在吴宇森的《赤壁》里面，并不是任何一个战斗场面都有战马的戏份。

Also John Woo ' s name was mentioned at one point in the game.

同时，吴宇森的名字在游戏的一处中被提及。

Simply the second half of an almost five-hour movie rather than a self-contained pic in its own right, John Woo's costume actioner "Red Cliff II" delivers in spades for auds left hungry for more by last summer's first seg.

只是一部将近五个小时的电影的第二部分，吴宇森的古装动作片&赤壁2&给上个夏天看了第一部分之后非常渴望的观众一个很好的交代。

The pivotal Zhu-ge and Zhou have been apocryphally depicted as rivals, but Woo's decision to follow history and turn them into potential soul mates weakens dramatic power.

关键人物瑜亮曾被虚构为敌手，但吴宇森尊重历史令两位私下成为知音的编写削弱了戏剧性效果。

The pivotal Zhu-ge and Zhou have been apocryphally depicted as rivals, but Woos decision to follow history and turn them into potential soul mates weakens dramatic power.

关键人物瑜亮曾被虚构为敌手，但吴宇森敬重历史令两位私下成为知音的编写减弱了戏剧性效果。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。