导演

When asked about the biggest personal challenge, director Andrew Adamson (the director of Shrek and Shrek 2) said: For me, the film I am working on at the moment is a book that was very important to me as a child and it's another movie that comes with a lot of expectations, because it's a book that a lot of people enjoyed as children.

当被问到最大的个人挑战时，导演安德鲁·亚当森（《史莱克》《史莱克2》的导演）说道：对于我来说，我现在正在制作的电影是关于一本童年时期对我影响很大的书，它又是一部人们满怀期待的电影，因为很多人孩提时就已经很喜欢它。

On productions at the National Theatre, Skini and Nea Skini theatres, Aplo Theatro, Epochi theatre, Amphitheatro, etc., of plays by Shakespeare, Goldoni, Griboyedof, Turgenief, Chekhof, Gorki, O'Neill, Tennessee Williams, Arthur Miller, Pinter, Mammet, Orton, Aristophanes, Hourmouzis, Loula Anagnostaki, G.Dialegmenos, Euripides etc.At the cinema: Since 1983 she has been a permanent collaborator with Theo Angelopoulos, composing music for his films Voyage to Cythera, The beekeeper, Landscape in the Mist, The Suspended Step of the Stork, Ulysses' Gaze and the Cannes Festival Golden Palm award-winning film, Eternity and a Day. She has also composed music for films by Dimitris Mavrikios, Takis Kanelopoulos, Tonia Marketaki, Christoforos Christofis (Wandering / Rosa), Lefteris Xanthopoulos, Giorgos Koras Margarethe von Trotta (L' Africana), etc.

然后她回到雅典，上电台，办民族音乐试验室，1979年被她视为命运的转折点，她开启了电影作曲的职业生涯，合作者是希腊诗人兼新电影流派的导演Chistoforo Chillstofis，1982年Eleni Karaindrou因前者的影片"芳名罗莎"在塞瑟隆尼基电影节上获得原创音乐奖，颁奖人正是评审团主席Theo Angelopoulos，他们的合作也由此开始，以后的九年可谓硕果累累，两个人物以类聚，谁都没有辜负了彼此间的厚望。80年代安氏创作了他的"漂泊"三部曲，当首篇"塞瑟岛之旅"告竣之后，安氏在访谈录中称赞Eleni正是他所需要的那种博采众长且深具古典音乐实力的最佳搭档，Eleni不仅创作电影音乐，而且也涉足希腊的先锋戏剧，她的第二个丈夫就是一位戏剧导演，Eleni迄今已为35部剧本谱写了音乐。

Other New Wave directors and the cinema in general seemed to act as the agitprop arm of the revolution.

导演让-吕克戈达尔和他的电影是这股社会旋流的中心，其他的新浪潮导演大部分也都担当起革命的宣传喉舌的作用。

These future film-makers believed that true auteur both writes and directs his films.

这些未来的电影制片人认为一个真正的性格导演既要创作也要导演他的电影。

Directors believe in the auteur theory but not many actors do.

导演们崇奉导演第一论，不过很多演员不这么认为。

From art-house auteur Zhang Yimou has transformed into the director of Beijing-sanctioned spectacles including the ceremonies of the Beijing Olympics.

从上世纪90年代一位独居艺术风格的导演到北京奥运会开幕式导演，张艺谋经历了谭剧性的变化。

"October Rising" 2009 Chinese film made the strongest. 2,"Shinjuku Incident" reflects the real Chinese people smuggling syndicate in Japans life, the director depicts scenes between men, friend and brother, is inspiring. 3,"Banlieue 2: Ultimate" smooth continuation of the first Parkour action style, fast-paced, music is a lot of highlights. 4,"Hurricane rescue" retired agents thousands of miles to save women, clear-cut action style, the audience hooked. 5,"Ye ask," the best in recent years, the Hong Kong kung fu movies. 6,"race situation" sense of speed super "car action movie." 7,"accident" opening a surprising and exciting plot, the unique way the film temperament and camera work. 8,"the Rye" is no heroism, replaced by nothing, anxiety and loss, it is no longer a clear distinction between good and evil battle of good and evil, but at the edge of the good sorts of people and more poor people struggle. 9,"the prequel Underworld: wolf came again," a simple plot, gorgeous fight, perfect visual impact on viewers eye. 10,"Vengeance": a quiet burst of violence under the screen, slow-paced narrative images and game-like life and death among men, affection, Hong Kong director for the French meal on an Oriental.

《十月围城》2009华语影坛最强制作。2、《新宿事件》真实的反应了偷渡到日本涉黑中国人的生活，导演刻画出的一幕幕男人间情义，令人动容。3、《暴力街区2：终极》延续第一部流畅的跑酷动作风格，节奏明快，配乐也是很大的亮点。4、《飓风营救》退休老特工千里救女，干净利落的动作风格，让观众大呼过瘾。5、《叶问》近年来最好的香港功夫电影。6、《赛车风云》速度感超强的"汽车动作片"。7、《意外》开场惊艳，情节精彩，独特的电影气质与运镜手法。8、《守望者》它没有了英雄主义，取而代之的是虚无、焦虑与失落，它不再是正邪分明的善恶大战，而是处在边缘，勉强称得上好人的人与更糟糕的人的斗争。9、《黑夜传说前传：狼族再起》单纯的情节，绚烂的打斗，完美的视觉效果冲击观众眼球。10、《复仇》：安静画面下的暴力迸发，慢节奏的叙事画面和男人间游戏般的生死情意，香港导演为法国人上的一道东方大餐。

If we can rechage the large point of view about attitude of helplessness of the Nanjing Battue , the long-term development of China-Japanese relations , avoid the recurrence of the tragedy of war , we will realize the care and thought, of course, the intention is not necessarily effective, but the director's starting point is good .

如果大家能从现在日本对南京大屠杀的态度的无奈、中日关系长远发展需要、避免战争悲剧再次发生等大的角度，就能深切体会导演的良苦用心，当然这个用心不一定收效，但导演的出发点是好的。

As the representative of the second-generation director, Hou Xiaoxian is creative in his treatment of the film preamble, making it the best footnote to a film. This footnote either expresses the dream about harmonious nature, or becomes a plot metaphor with striking meta-narrative feature, or forms a hologram construction of scatter perspective, etc. Li An, a representative of the third-generation directors, once lived in the U.S. and influenced by Hollywood films, attaches great importance to plot and rhythm in his treatment of film preambles, and favors classical narration. All this is clearly manifested in his "father" trilogy. Cai Mingliang, another famous third generation director, sticks to the artistic philosophy of modernism and displays an arbitrary style.

作为第二代导演代表，侯孝贤创造性地处理片头，使之成为影片的最佳注脚：或传达和谐的自然理想，或成为一个情节隐喻而颇具&元叙事&特征，或构建散点透视的全息式结构；第三代导演的李安因置身异域文化，借助好莱坞电影在中产阶级中的优势，对片头进行了一种重情节、重节奏的剪辑处理，积极靠近古典叙事，这在他的&父亲三部曲&中尤为明显；同为第三代导演的蔡明亮执着于现代主义的艺术理念，透露出个人专断的风格。

The film has also been screened in 40 international festivals, including Pusan, Toronto and Tokyo Filmex where it won the Jury Special Award. It also won Jury's Special Mention in Bratislava, Best Actor in Moscow and Special Award at the Abadan Festival.

二十岁开始投身电影行业，先后替多位国际级伊朗导演当副导，包括《樱桃的滋味》的导演阿巴斯·基亚鲁斯达米和《镜》的导演约化·巴纳希。2000年叶塔潘拿推出首部自编自导电影《追寻爱情的异乡客》，即在法国康城影展中夺得&金摄影机奖&，随后又获东京Filmex电影节的评委特别奖，莫斯科电影节最佳演员奖，以及伊朗Abadan电影节的特别大奖。

Means the parent directory, so this command means to execute "toolchain.sh," which is in the current directory.

代表父目录，所以这个命令就是执行当前目录下的"toolchain.sh"。

Yes,In fact,I'm on our city ream.

是的。事实上我是我们市队的。