An almost perfect portrait of a family comedy
Bill Massey: As a man, there's only one thing you need to know about a woman.::George Devereaux: What's that?::Bill Massey: They're never the right temperature.::George Devereaux: No?::Bill Massey: Something to do with their plumbing. Reproduction. Whatever reason, most of the time... they're either too hot or too cold. Mostly too cold. So what you have to do... is carry a sweater or a jacket or something with you at all times. Something you can keep in the trunk of your car... or in your closet at work... for when their thermostat gets messed up.::George Devereaux: What else?::Bill Massey: That's it. Once you've got that covered... there's nothing else you need to know about a woman.
Paula: Have you ever seen breasts?::George Devereaux: Sure... one.::Paula: You saw one breast?::George Devereaux: No, I meant once. I saw some once.::Paula: Some?::George Devereaux: Two. I saw two, once...::Paula: You wanna see mine?::George Devereaux: Who? Me? Now?::Paula: Ready?::George Devereaux: Okay. Sure, yeah.::Paula: How do they look?::George Devereaux: Alright! Good, fine. Of course I don't have much to compare them to...
Plot
Meet Dave Bertman, a tightly wound 37 year-old father of one. Bertman's "higher" education begins when medical marijuana activists wielding "loaded" weapons interrupt a planned reunion barbecue with college debate chums. When his teenage daughter Gina Marie unexpectedly arrives with a joint found in her pocket, Bertman assumes the worst. Only after he faces his own hypocrisies, can he have the open and honest discussion needed for father and daughter to understand each other and reconnect. Meanwhile, Bertman's fellow debaters shed their inhibitions and make their own self-discoveries. Tired of seeing her grass-roots campaigns sabotaged by corporations opposing legalization, pro-pot advocate, Dr. Willa Peterson decides the kid gloves are coming off. By convincing the Fun-0nion snack food empire their sales would skyrocket if marijuana was legal, Peterson enlists their corporate might to back her cause. It will take a radical marketing campaign to change the way America thinks about marijuana, and PR guru, Arturo Goldman, of the famous PR firm Goldman, Goldberg, Goldstein, and Goldman comes up with one. "If they can use terrorists to convince people out of smoking pot, then we can use homosexuality to scare them back into it." The romp that follows leaves paranoid Bible thumpers scrambling to get their kids high to inhibit perceived homosexual tendencies. "Totally Baked" takes a satirical look at marijuana's stereotypes and mythologies using a compilation of "Man on the Street" true documentary style interviews, humorous insights by live stand-up comedians, and a series of interconnected vignettes spoofing both sides of the political debate over the legalization of marijuana.
Keywords: 420, educational-film, marijuana, national-lampoon-series, pot-smoking, pot-u-mentary, religion, stand-up, stand-up-comedy
Should the Weed be Freed?
Totally Baked: A pot-u-mentary.
A comedy film that explores the truth about marijuana.
A comedy exploring the truth of marijuana.
Should the weed be freed?
420 The day the world laughs as one.
Plot
Within the Delhi based English theater group, a crisis in the personal and professional relationships of the actors is doomed to make a mockery of their attempts to stage Othello. Shakespeare's central motifs of jealousy in love, and prejudice due to cultural differences, closely resemble what is happening among the cast and the play starts to amplify and precipitate their problems towards a tragic conclusion. Yet is it in fact the spirit of the play that is doing this?
Keywords: based-on-play, character-name-in-title, shakespeare's-othello, tragedy
Plot
After the terrifying events in LA, John McClane (Willis) is about to go through it all again. A team of terrorists, led by Col. Stuart (Sadler) is holding the entire airport hostage. The terrorists are planning to rescue a drug lord from justice. In order to do so, they have seized control of all electrical equipment affecting all planes. With no runway lights available, all aircraft have to remain in the air, with fuel running low, McClane will need to be fast.
Keywords: 1990s, 555-phone-number, accident, action-hero, air-traffic-control, airplane, airplane-accident, airplane-crash, airplane-runway, airport
Die Harder.
They say lightning never strikes twice... They were wrong
John McClane is back in the wrong place at the wrong time!
Last time, it blew you through the back wall of the theatre. This time, it will blow you sky high!
Yippee Ki Yay, All over again!
John McClane: [to Al Powell] Take the Twinkie out of your mouth and grab a pencil, will ya?
Morgue Worker: [John McClane is taking a dead guy's fingerprints] Hey. You're supposed to do that at the morgue.::John McClane: Not anymore. Got a new SOP for DOA's from the FAA.
John McClane: Yippie-kai-yay, motherfucker.
Carmine Lorenzo: You are in my little pond now, and I am the big fish that runs it.
John McClane: [during the fight with Col.Stuart] Motherfuckin' motherfucker!
Trudeau: Alright, we've got a body in the morgue that seems to have died twice. Assuming it's not a computer error, what do we assume?::John McClane: That somebody's about to seriously fuck with this airport.::Trudeau: What the hell is that supposed to mean? I mean, I know we're dummies up here, McClane, so give us a little taste of your brilliant genius! I mean, you talking about a hijacking, a robbery or what?::John McClane: Look, I'm not sure. All I know, is...::Carmine Lorenzo: Oh, he's not sure! Well, I'm stunned! I gotta lie down!::John McClane: The only people that go to this much trouble are professionals, not luggage thieves and not punks!::Chief Engineer Leslie Barnes: Professional at what?::John McClane: [holding up the fax] What the fuck do you this is, huh? The safety patrol, here? This is the resume of a professional mercenary! You got the world's biggest drug dealer on his way here, now. What, do you need, a slide rule to figure this out? Or maybe another body in a zipper bag before you start asking questions?::Carmine Lorenzo: Hey, pal, you're the one that gave us that fuckin' body, remember that.::John McClane: Yeah, I remember that.
John McClane: That punk pulled a Glock 7 on me. You know what that is? It's a porcelain gun made in Germany. Dosen't show up on your airport X-ray machines, here, and it cost more than you make in a month.::Carmine Lorenzo: You'd be a surprised what I make in a month.::John McClane: If it's more than a dollar ninety-eight I'd be very surprised.
Al Powell: What's this about?::John McClane: Oh, just a feeling I have.::Al Powell: Ouch. When you get those feelings, insurance companies start to go bankrupt.
John McClane: Hey, Carmine, let me ask you something. What sets off the metal detectors first? The lead in your ass or the shit in your brains? [under his breath] Fat fuck.
John McClane: [McClane is forced to crawl through yet another ventilation system] Just once, I'd like a regular, normal Christmas. Eggnog, a fuckin' Christmas tree, a little turkey. But, no. I gotta crawl around in this motherfuckin' tin can.
Director may refer to:
Wonder Woman is a fictional character, a DC Comics superheroine created by William Moulton Marston. She first appeared in All Star Comics #8 (December 1941). The Wonder Woman title has been published by DC Comics almost continuously except for a brief hiatus in 1986.
Wonder Woman is a warrior Princess of the Amazons (based on the Amazons of Greek mythology) and was created by Marston, an American, as a "distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to a world torn by the hatred of men." Known in her homeland as Diana of Themyscira, her powers include superhuman strength, flight (even though the original Wonder Woman did not have this ability), super-speed, super-stamina, and super-agility. She is highly proficient in hand-to-hand combat and in the art of tactical warfare. She also possesses animal-like cunning skills and a natural rapport with animals, which has been presented as an actual ability to communicate with the animal kingdom. She uses her Lasso of Truth, which forces those bound by it to tell the truth, a pair of indestructible bracelets, a tiara which serves as a projectile, and, in some stories, an invisible airplane.
William James "Bill" Murray (born September 21, 1950) is an American actor, comedian and golfer. He first gained national exposure on Saturday Night Live in which he earned an Emmy Award and later went on to star in a number of critically and commercially successful comedic films, including Caddyshack (1980), Ghostbusters (1984), and Groundhog Day (1993). Murray gained additional critical acclaim later in his career, starring in Lost in Translation (2003), that earned him an Academy Award for Best Actor nomination, and a series of films directed by Wes Anderson, including Rushmore (1998), The Royal Tenenbaums (2001), The Life Aquatic with Steve Zissou (2004) and Moonrise Kingdom (2012).
Murray was born and raised in Wilmette, Illinois, a northern suburb of Chicago, the son of Lucille (née Collins), a mail room clerk, and Edward Joseph Murray II, a lumber salesman. Murray's father died in 1967 from complications of diabetes when Bill was 17 years old. Murray, along with his eight siblings, was raised in an Irish American family. Three of his siblings are actors: John Murray, Joel Murray and Brian Doyle-Murray. A sister, Nancy, is an Adrian Dominican nun in Michigan, who has traveled the United States in a one-woman programme, portraying St. Catherine of Siena.
Jennifer Shrader Lawrence (born August 15, 1990) is an American film and television actress. She had lead roles in TBS's The Bill Engvall Show and in the independent films The Burning Plain and Winter's Bone, for which she received nominations for the Academy Award, Golden Globe Award, Satellite Award, and the Screen Actors Guild Award. At age 20, she was the second youngest actress ever to be nominated for the Academy Award for Best Actress. She is also known for playing Mystique in X-Men: First Class. In 2012, Lawrence achieved wider recognition starring as the heroine Katniss Everdeen in The Hunger Games, an adaptation of Suzanne Collins' best-selling novel of the same name. Her performance in the film garnered her notable critical praise and marked her as the highest grossing action heroine of all time. Lawrence's performances thus far have prompted Rolling Stone to define her as "the most talented young actress in America."
Lawrence was born and raised in Louisville, Kentucky, and has two older brothers. Her parents are Karen (née Koch), who runs a children's camp, and Gary Lawrence, who once owned a concrete construction firm, Lawrence & Associates. She acted in local theater and, by the age of 14, had decided to pursue an acting career, persuading her parents to take her to New York City to find a talent agent. Prior to finding success in Hollywood, Lawrence attended Kammerer Middle School. She graduated from high school two years early with a 3.9 average in order to begin a career in acting. While growing up and in between acting, Lawrence served as an assistant nurse at the children's summer day camp that her mother ran.
Bradley Charles Cooper (born January 5, 1975) is an American film, theater, and television actor. He is known for his roles in the films The Hangover, The A-Team, Wedding Crashers, and Limitless. In 2011, People magazine named Cooper "Sexiest Man Alive".
Cooper was born in Philadelphia, Pennsylvania, and grew up in nearby Jenkintown, Pennsylvania. His mother, Gloria (née Campano), is Italian-American, and his father, Charles J. Cooper, was Irish-American and worked as a stockbroker for Merrill Lynch. He has one sister named Holly. Cooper was raised Catholic. While attending Germantown Academy, Cooper worked at the Philadelphia Daily News. After graduating from Germantown Academy in 1993, he attended Villanova University for his freshman year, then transferred to Georgetown University, from which he graduated with an honors BA in English in 1997. Cooper became fluent in French at Georgetown and spent six months as an exchange student in Aix-en-Provence, France. Later, in 2000, he received an MFA in acting from Actors Studio Drama School at The New School in New York City.
Baby, lock the door
(I'm about to make you the star of the show)
Let your emotions soar
(Off to a place you ain't never been before)
Like in Monster's Ball
(I'm willing to portray the role)
Make me feel good
(That's all I wanna hear when I take control)
(Cut)
The scene is off the chain
(Yes)
I love it when you call my name
(Wait)
You're driving me out of my mind
I wanna do it one more time
(But)
The scene is off the chain
(Yes)
I love it when you call my name
(Wait)
Now that you're nice and warm
Stick to the script, girl, let's move on
I'm your director
(Yeah)
It's getting deep
(Oh, baby)
We don't need to rent nothing
We'll make our own movies
(Me and you)
I'm your director
(Yeah)
It's getting deep
(Oh, girl)
We don't need a video tape or a camera
To make this ghetto love scene
I'm your director
(Oh)
It's getting deep
(My, baby)
We don't need to rent nothing
We'll make our own movies
(I got you)
I'm your director
(Right here)
It's getting deep
(Tonight)
We don't need a video tape or a camera
To make this ghetto love scene
(I want you)
Look in the mirror
(Like we watching something on the TV screen)
I can see your body
(Rolling up and down on top of me)
You deserve a Oscar for the way you perform
(Best supporting actress)
In this mattress pad flick
(Cut)
The scene is off the chain
(Yes)
I love it when you call my name
(Wait)
It's driving me out of my mind
I wanna do it one more time
(Cut)
The scene is off the chain
(Yes)
I love it when you call my name
(Wait)
And now that you're nice and warm
Stick to the script, girl, let's move on
I'm your director
(Please)
It's getting deep
(Baby, listen to me)
We don't need to rent nothing, we'll make our own movies
(I wanna show you everything that I've learned)
I'm your director
(Over the years)
It's getting deep
(Let me)
We don't need a video tape or a camera
To make this ghetto love scene
(Love scene)
I'm your director
(I will be)
It's getting deep
(Tonight)
We don't need to rent nothing, we'll make our own movies
(We don't need nothing but me and you in this room)
I'm your director
(Please, believe it)
It's getting deep
We don't need a video tape or a camera
To make this ghetto love scene
It's almost over, baby, but it's not yet
'Cause I can feel it, this is the climax
We've been all over the place
Making progress
(But, I'm not done with ya)
Until I get a motion picture, baby
(I am)
I'm your director
(All yours)
It's getting deep
(Tonight)
We don't need to rent nothing, we'll make our own movies
(Oh, baby, stay right there)
I'm your director
(Let me)
It's getting deep
(Rub your body)
We don't need a video tape or a camera
To make this ghetto love scene
(Oh, oh, let me)
I'm your director
(Hold you, baby)
It's getting deep
(Right here)
We don't need to rent nothing, we'll make our own movies
(In my arms)
I'm your director
(Oh baby, I am)
It's getting deep
(Yours)
We don't need a video tape or a camera
To make this ghetto love scene
(I'm your director)
Feel me, baby, let me feel you
We can, yes, we will
(I'm your director)
Always to make this ghetto love scene
(Cut)
I'm your director
(Cut)
She's the kind of girl you know,
Who likes to keep account of what she owes,
And I would try to let her out,
But I can hear her when she's not around.
And she's saying things about my hair,
She's saying things about my hair.
She's wondering why the guys don't know
Why she's afraid of what she owes.
She is only learning of
A different kind of love.
He's the only man you love,
He's the only man you're thinking of.
You'd never try to make a deal,
The kind of love that you don't have to feel.
But she's leaving him, now she's grown,
She's leaving him, now she's grown.
And I'm saying all the right things,
I'm saying all the right things.
She's feeling like she'll owe her man
A wilfull taste of all she is.
She thinks she's only learning of
A different kind of love.
So maybe she can be the man,
Get the money any way she can.
I'll wait in the house alone,
Give her what she needs when she comes home.
But I'm just as blind as the rest,
I'm just as blind as the rest.
Cause she's saying things about my hair,
She's saying things about my hair.
She's feeling like she'll owe the world,
To anyone who'll take her in.
She thinks she's only learning of
A different kind of love.
She's wondering why the guys don't know
Why she's afraid of what she owes
She is only learning of
I'm tired of sitting round the house,
I'm tried of doing well without,
I want to reconnect with you
I'm tracing patterns on the wall,
Where I'm projecting a phone call,
That I had yesterday with you
And I forget just what I ment,
When I said whatever I said,
That wasn't me, that was just talking
And I'll addmit that from the start,
I was alone, you stole my heart,
That was as far as I could see
Sweet talking gets me of the hook,
Returns the liberties I took,
And all you have to say is "fine"
And I'll continue as I do,
I'll look to everything but you,
I am asuming you are mine
My memory's playing round the clock,
Your voice is telling me to stop,
My hands are working by themselfs
My brain is dead,
My heart is cold,
I'm shaking,
Fear is taking hold,
But I am felling something else
There's something running down my face,
My things are lying round the place,
I want to reconnect with you
I'm tracing pictures on the wall,
I wonder why you haven't called,
I want to reconnect with you
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you,
I only realise now,
She was drunk both times.
Is she the kind of girl
To whom it don't mean a thing?
Am I to understand that's the way you are?
Am I to understand we'll only get so far?
Am I so happy now,
It's all I thought it would be,
For the moment little brown eyes open for me.
No, I don't remember the last one.
No, I won't remember you.
I only realise now,
That it's not my fault.
If it's the kind of world
In which it don't mean a thing.
And I don't think that I
Will get dressed tonight.
It's just a sense that I
Finally have it right.
Am I so happy now,
It's all I thought it would be,
For the moment little brown eyes open for me.
No, I don't remember the last one.
You don't like the pressure of my calls,
It comes so easy to me, easy to me.
And you don't like to see your heroes fall,
It comes so easy to me, easy to me.
Make me drop my number, let me know
If you're uneasy with me, easy with me.
Cause you don't like the pressure of my calls,
It comes so easy to me, easy to me.
So leave it alone, leave it alone and say tonight,
My baby decides.
Make me drop my number, let me know
If you're un-
You don't like the pressure of my calls,
It comes so-
You don't like the pressure of my calls,
I'm tired of sitting round the house,
I'm tried of doing well without,
I want to reconnect with you
I'm tracing patterns on the wall,
Where I'm projecting a phone call,
That I had yesterday with you
And I forget just what I ment,
When I said whatever I said,
That wasn't me, that was just talking
And I'll addmit that from the start,
I was alone, you stole my heart,
That was as far as I could see
Sweet talking gets me of the hook,
Returns the liberties I took,
And all you have to say is "fine"
And I'll continue as I do,
I'll look to everything but you,
I am asuming you are mine
My memory's playing round the clock,
Your voice is telling me to stop,
My hands are working by themselfs
My brain is dead,
My heart is cold,
I'm shaking,
Fear is taking hold,
But I am felling something else
There's something running down my face,
My things are lying round the place,
I want to reconnect with you
I'm tracing pictures on the wall,
I wonder why you haven't called,
I want to reconnect with you
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you,
I want to reconnect with you...
[Yeah....Reezy baby!!!]
-Verse 1:
Girl tonight you're my superstar [oh]
See I'm loving the way you move [I'm loving the way you move]
Go ahead and lock up the door [oh]
Cause tonight we're making a movie
And I'mma be your
Bridge
Lemme be your, lemme be your [director]
Babygirl you're turning me on, turning me on
Lemme be your, lemme be your [director]
That sexy move do it again, do it again
Lemme be your, lemme be your [director]
Baby let me turn on the camera
Lemme be your, lemme be your [director]
Ooh are you ready?
Chorus
7x (Let's make a movie uh, let's do it do it yeah)
-Verse 2:
As we're switching positions the temperature's rising [oh]
Are you ready for the next scene baby? [are you ready]
Turn around babygirl for the final take [oh]
Drop dem clothes
And then you come closer
To my lense
Bridge
Lemme be your, lemme be your [director]
Babygirl you're turning me on, turning me on
Lemme be your, lemme be your [director]
That sexy move do it again, do it again
Lemme be your, lemme be your [director]
Baby let me turn on the camera
Lemme be your, lemme be your [director]
Ooh are you ready?
Chorus
Hanging on, once again
I don't know, I don't know
Infection of, affectionnal
I don't know, I don't know
Anywhere I go, I will run to you, hold my hand
Believe me when I speak the deepest thoughts I get
It's my direction... calm
The clouds around are black
I never felt this shit for so long
Tell me that you care
I'll pretend to dare, my pain
Anywhere I go, I will run to you, hold my hand
Believe me when I speak the deepest thoughts I get
I'm the director
Have enough of gray, have enough of me