Word: hand
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Dates: during 1960-1969
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...took turns cutting the ears off three of the dead enemy soldiers. At his court-martial, Pawlaczyk testified that Smith offered him a knife. "I attempted to cut the dead man's ear," Pawlaczyk said, "being careful not to look at his face and trying to keep my hand from shaking. Since the knife was dull, I decided to stop. I did not feel very good and gave the whole thing...
Hayes is unfazed, however. He thinks that his loopholes are well knitted, and he cites Judge Learned Hand's 1934 finding: "Anyone may so arrange his affairs that his taxes shall be as low as possible; he is not bound to choose that pattern which best pays the Treasury. Everyone does it, rich and poor alike, and all do right; for nobody owes any public duty to pay more than the law demands." Hayes does not believe that the law demands the exclusion of an ABC-style foundation...
...know anything about making films" said Beatle Paul. "We realized years ago you don't need knowledge in this world to do anything. All you need is sense, whatever that is." Trouble was, the Beatles carried this theory to the point of nonsense by taking turns operating the hand-held cameras. If there was anything worth shooting, it was often hard to tell, because the film was so shaky and out of focus...
...belongs to Octavian, a fat, well-placed government official who loves his wife Kate (despite an occasional lapse involving his secretary), and cheerfully allows her to take in a widow with son, a divorcee with twins, a Dachau survivor and Latinist, and Octavian's brother, a failed India hand. The couple's dear friend, John Ducane, is a constant visitor, a wealthy bachelor lawyer who is so far gone in his infatuation for Kate that stolen kisses in the woods and furtive fleshly pressures can no longer keep him docile...
...Griffith, Hawks, Ford, and Hitchcock, for example) leads us to the conclusion that great films come instinctively to their makers, that thematic depth is rarely the product of an analytical intellect working deliberately toward that end behind the camera. The elements in Bonnie and Clyde, on the other hand, have been chosen with some care; each shot has a function largely conceived at a planning stage, and Arthur Penn can give us a reason for any given angle, lens, or shadow. Following in the Ford tradition ("When the fact becomes legend, print the legend"--The Man Who Shot Liberty Valance...