Forst torrent

She's some clean towel that's never been used? My God, Dickie, you think you don't pay? How many times a week does Maria ask you for some money? Money, child, is a necessity, and don't you think that you don't work for it and pay for it. My God, what, what is this? He thinks I'm insulting you. I'm offering you. Hell, look, what's the matter? If I went to one of those fancy restaurants, I'd probably tip the headwaiter, the waiter, the busboy, and a hundred bucks goes flying down the drain--and I couldn't have any more fun than I could with Jeannie here. - Freddie What do you want to drink? - Richard Forst Well, whatever it is, I want it on the rocks, straight and dirty, because I feel very very bitchy tonight. - Maria Forst Well, I feel very, very bitchy too. That makes two of us. - Richard Forst There's a Bergman film in the neighborhood. - Maria Forst I don't feel like getting depressed tonight. - Richard Forst No place like home. - Richard Forst What? - Maria Forst I said, Have you ever been to Rome? - Richard Forst Why did the man throw, throw the clock out of the window, huh? He wanted to see time fly. - Richard Forst Trivia While filming a part on "Bob Hope Presents the Chrysler Theatre" (1963), John Cassavetes saw Steven Spielberg lurking around the set, as he was then in the habit of doing. Cassavetes approached Spielberg and asked what he wanted to be. When Spielberg replied he wanted to be a director, Cassavetes allowed the young man to direct him for the day. He later invited Spielberg to work on this film (Faces), Spielberg serving as an uncredited production assistant for two weeks. Notes --> Filmed on location in Los Angeles in 1966. Prerelease title: The Dynosaurs. Miscellaneous Notes Voted Best Screenplay of the Year by the 1968 National Society of Film Critics. Winner of four awards at the 1968 Venice Film Festival, including the Best Actor Prize (Marley). Released in United States 1968 Released in United States April 1989 Released in United States August 1968 Released in United States August 1997 Released in United States Fall November 24, 1968 Released in United States January 23, 1989 Released in United States July 11, 1990 Released in United States July 1989 Released in United States May 19, 1990 Released in United States May 29, 1991 Released in United States May 8, 1991 Released in United States on Video March 26, 1996 Released in United States September 22, 1968 Shown at Anthology Film Archives (John Cassavetes Retrospective) in New York City May 19, 1990. Shown at

Maurice McEndree, Al Ruban Production Design: Phedon PapamichaelMusic: Jack Ackerman, Charlie SmallsFilm Editing: John Cassavetes, Maurice McEndree, Al RubanCast: John Marley (Richard Forst), Gene Rowlands (Jeannie Rapp), Lynn Carlin (Maria Forst), Seymour Cassel (Chet), Fred Draper (Freddie), Val Avery (Jim McCarthy), Dorothy Gulliver (Florence). BW-130m. Letterboxed.by Jeff Stafford Faces There are many who consider John Cassavetes the father of the American independent film movement despite the fact there were many others before him - Morris Engel (Little Fugitive [1953]), Sidney Meyers (The Savage Eye [1960]), and even Stanley Kubrick (Killer's Kiss [1955] to name a few. But Cassavetes's debut feature, Shadows (1959), was the film that made the biggest impact upon its release and proved to be prophetic when it came to defining a new approach to filmmaking outside the Hollywood system. Cassavetes broke all the rules, inventing his own and then discarding them as he went along, improvising and experimenting with everything from the cinematography to the performances to the actual financing of the film; he mortgaged his own home numerous times to subsidize his movies over the years and took on acting jobs purely for monetary reasons. Yet Shadows, with its jerky, hand-held camerawork, vivid location shooting on New York City streets and edgy subject matter involving an interracial romance and conflicted characters living on the margins of society, was just a warm-up for Cassavetes's next film, Faces (1968). It not only confirmed Cassavetes's early promise as a director but set the tone and style for the rest of his film career, one in which he relentlessly probed the often dissatisfied lives of unglamorous, middle-class Americans. Faces was not the average filmgoer's idea of a good time at the movies but it earned widespread critical acclaim (and three Oscar® nominations) and was an inspiration to future filmmakers such as Martin Scorcese (Who's That Knocking at My Door? [1967]), Henry Jaglom (A Safe Place [1971]) and Sean Penn (The Indian Runner [1991]). Dispensing with a conventional plot structure, Faces is a cinema verite-like portrait of a marriage in turmoil, rendered in chunks of real time. The film begins at the point where Richard Forst (John Marley) and his wife Maria (Lynn Carlin) are already frustrated and resentful toward each other. Their constant quarreling and angry silences finally lead Richard to ask for a divorce. Then, in the presence of his wife, he calls Jeannie (Gena Rowlands), a prostitute he met recently, and makes a date. He walks out, leaving Maria in shock, but soon her female friends rally to her support and take her out for a night on the town. At a dance club on the Hollywood strip, she meets Chet (Seymour Cassel), a fun-loving, free spirit who

IF it always detects and remarks the END-IF correctlyCan't you use the same logic for this topic that I'm asking you?taking into account what I'm telling you ...Is it possible to make the change on the pspad?Options: Reply | Quote | Up ^#13 Re: PSPad unicode 5.0.7 (721) EnglishPosted by: pspad | Date: 2021-12-27 12:15 | IP: IP LoggedWhat about the forst case:IF F01 PERFORM HELP SET SCS-RIPETI TO TRUE.There is IF and PERFORM without END-IF or END-PERFORM with only one DOT.Edited 1 time(s). Last edit at 2021-12-27 13:17 by pspad.Options: Reply | Quote | Up ^#14 Re: PSPad unicode 5.0.7 (721) EnglishPosted by: pspad | Date: 2021-12-27 14:25 | IP: IP LoggedI will make some first version. Check it and we can continue to modify it.Options: Reply | Quote | Up ^#15 Re: PSPad unicode 5.0.7 (721) EnglishPosted by: Gabriel_ACE | Date: 2021-12-27 14:33 | IP: IP Loggedpspad: What about the forst case:IF F01 PERFORM HELP SET SCS-RIPETI TO TRUE.There is IF and PERFORM without END-IF or END-PERFORM with only one DOT.I am going to transcribe it in a clearer way so that it is understood*----------------------------------------------IF F01 ---------> is a boolean variable (true or false) PERFORM HELP SET SCS-RIPETI TO TRUE.STOP RUN*-----------------------------------------------HELP.*---- DO STUF.HELP-EXIT. EXIT.*------------------------------------------------F01 ----> boolean variable, if is truethen computer go perform HELP, do stuff, then RETURN and SET SCS-RIPETI TO TRUEanother way to write that sentences is:*----------------------------------------------IF F01 PERFORM HELP SET SCS-RIPETI TO TRUEEND-IFSTOP RUN*-----------------------------------------------HELP.*---- DO STUF.HELP-EXIT. EXIT.*------------------------------------------------If you need more help or explanations, I am

Sex is no longer in itself sufficient without violence, death, or neurosis as stimulants. The idea of love as a mysterious, undiscovered world has come to have no place in our innermost imagination. It is this confusing dilemma in which men find themselves trying to relate to a difficult life and their responsibilities in it that Faces attempts to explore." Producer: John Cassavetes, Maurice McEndree, Al RubanDirector: John CassavetesScreenplay: John CassavetesCinematography: Maurice McEndree, Al Ruban Production Design: Phedon PapamichaelMusic: Jack Ackerman, Charlie SmallsFilm Editing: John Cassavetes, Maurice McEndree, Al RubanCast: John Marley (Richard Forst), Gene Rowlands (Jeannie Rapp), Lynn Carlin (Maria Forst), Seymour Cassel (Chet), Fred Draper (Freddie), Val Avery (Jim McCarthy), Dorothy Gulliver (Florence). BW-130m. Letterboxed.by Jeff Stafford --> John Cassavetes: 5 Films on DVD One of the rare American independent mavericks in the 1960s more intent on provoking his viewers with emotional responses rather than extreme images, John Cassavetes paved a distinctly rough-hewn, New York-flavored method of filmmaking whose influence casually infiltrated the cinematic mainstream during the following two decades. Often working as an actor in Hollywood productions to finance his own personal projects, he created a series of true labors of love; even his later years as a director working for major studios produced wholly idiosyncratic works often wildly out of step with what one usually expected to find at a local movie theater.The early and most historically significant years of Cassavetes' directorial efforts are finally put into context with Criterion's eight-disc, five-film DVD omnibus. While these films were not terribly difficult to see before (in fact, most have been circulated on VHS and DVD under other banners in years past), the absence of any sort of context or filmic Rosetta stone to help viewers appreciate the words and images before them yielding only minimal appreciation for these often challenging works. Now placed in chronological order with hefty, highly accessible supplements, the first twenty years of his output finally clicks into place.The earliest and simplest of the set, 1959's Shadows offers a freeform rebuttal to the glossy Hollywood depictions of race relations found in films like Imitation of Life and the films of Stanley Kramer. The film centers on a struggling African-American trio of siblings in New York: washed-up jazz performer Hugh (Hugh Hurd), little sister Lelia (Lelia Goldoni), and young punk-in-the-making Bennie (Ben Carruthers). The latter two are distinctly light-skinned enough to pass for white, an opportunity the sexually awakening Lelia uses to date a white man, Tony (Anthony Ray). When Tony discovers his girlfriend's true racial identity, his urge to flee results in a series of hard self-evaluations for each brother and sister.A free-flowing and striking debut work, Shadows was widely misunderstood during early screenings.