莱昂纳多的经典话语
莱昂纳多的经典话语篇一：全蚀狂爱(莱昂纳多主演心之全蚀)对白台词(上)Total Eclipse
Total Eclipse
Total Eclipse of the Heart
Turn around,
Every now and then I get a little bit lonely and you’re never coming round.
Turn around,
Every now and then I get a little bit tired of listening to the sound of my tears.
Turn around,
Every now and then I get a little bit nervous that the best of all the years have gone by. Turn around,
Every now and then I get a little bit terrified and then I see the look in your eyes.
Turn around, bright eyes.
Every now and then I fall apart.
Turn around,
Every now and then I get a little bit restless and I dream of something wild.
Turn around,
Every now and then I get a little bit helpless and I’m lying like a child in your arms.
Turn around,
Every now and then I get a little bit angry and I know I’ve got to get out and cry.
Turn around,
Every now and then I get a little bit terrified and then I see the look in your eyes.
Turn around, bright eyes.
Every now and then I fall apart.
And I need you now tonight and I need you more than ever.
And if you only hold me tight we’ll be holding on forever.
And we’ll only be making it right cause we’ll never be wrong.
Together we can take it to the end of the line.
Your love is like a shadow on me all of the time.
I don’t know what to do and I’m always in the dark.
We’re living in a powder keg and giving off sparks.
I really need you tonight, forever’s gonna start tonight, forever’s gonna start tonight.
Once upon a time I was falling in love but now I’m only falling apart.
There’s nothing I can do, a total eclipse of the heart.
Once upon a time there was light in my life but now there’s only love in the dark.
Nothing I can say, a total eclipse of the heart.
Beginning:
Sometimes he speaks in a kind of tender dialect of the death which causes repentance of the unhappy man who certainly exist of painful tasks and heartrending departures.
In the hovels where we got drunk he wept looking at those who surrounded us a cattle of poverty.
He lifted drunks in the black streets. He had the pity a bad mother has for small children. He moved with the grace of a little girl at catechism. He pretended to know about everything, business, art, medicine. I followed him, I had to.
Waiter: Someone for you, sir. Over there.
W: Do I know her?
Waiter: she give me her card.
W: Please……Please sit down. Has Andre been looking after you? Can I get you something to drink?
伊莎贝尔: No, thank you.
W: P(转载于:www.hNNsCy.coM 博 文 学 习 网:莱昂纳多的经典话语)lease.
伊莎贝尔: It’s really a business matter I want to discuss with you, Mr. Verlaine. This was published a few months ago, an unauthorized selection of my brother’s poem. My mother and I are anxious to prevent anything like this from happening again. We thought you might be able to help us.
W: I? How?
伊莎贝尔: I understand you have a large number of my brother’s manuscripts.
W: I have some, yes.
伊莎贝尔: My mother and I would be very grateful if you wound return them.
W: I’ve always tries to use the utmost discretion in everything concerning your brother. I think I can say I’ve always defended his interests. Sometimes I wonder why, since in many ways they’re diametrically opposed to my own.
伊莎贝尔: I don’t see how.
W: It took many years for his work to be understood, but once his name began to be known it soon became clear that our ways were numbered. The music of old-fashioned verse was no longer enough. He swept us away. Not that I mind, you understand. I know I was once a good writer.
I: I didn’t know his name was so well-known.
W: Yes, the young understand his now. He’s the voice of the future. What matters to me most is that we did our best work together. Both of us.
Paris – 1871
R---- Rimbaud
V----Verlaine
M---- Mrs. Maute de Fleurville
Mrs.---- Mrs. Verlaine
F---- Mr. Maute de Fleurville
I---- Isabelle
Vi---- Vitalie
RM----Rimbaud’s mother
RB----Rimbaud’s brother
In Verlaine’s home
R: Morning. I’m looking for Paul Verlaine.
M: Are you Monsieur Rimbaud?
R: Yes.
M: Monsieur Verlaine is not with you, then?
R: No.
M: He went to the station to meet you.
R: He doesn’t know what I look like, does he?
M: I am Mrs. Maute de Fleurville, Monsieur Verlaine’s mother-in-law, and this is my daughter Mrs. Verlaine.
Mrs.: How did you get from the station?
R: Walked.
M: Perhaps you’d like a wash.
R: No.
M: You’re even younger than we imagined.
Mrs.: How old are you?
M: Darling, it’s not polite to ask people their ages.
R: I need a piss.
V: How old are you, if you don’t mind?
Mrs.: He does.
R: sixteen.
V: You did say in your letter you were twenty-one. I noticed you at the station but I didn’t think it could be you.
R: Likewise.
V: Those poems you sent me were remarkable for someone of twenty-one. For someone of sixteen, they’re unprecedented.
R: That’s why I told you I was twenty-one. I didn’t want you to feel patronizing before you’d read them.
V: Of course. I hope your mother isn’t too angry with me.
R: No. Once she’d found out you’d sent the fare she seemed quite happy.
M: You come from the Ardennes, don’t you, Monsieur Rimbaud?
R: Yes.
M: Pleasant town, Charleville, isn’t it?
R: Last place on God’s earth.
Mrs.: What does your father do?
R: Drinks mostly, I believe. We haven’t seen him for ten years.
Mrs.: I’m sorry.
R: No need. He’s very well out of it.
M: Perhaps you’d like to read something to us after dinner.
R: No, I don’t think so.
M: Why not?
R: I don’t want to. I never read out my poetry.
Mrs.: All the other posts do.
V: I don’t interested in what they do.
Mrs.: We have soirees.
V: Are you think poets can learn from one another?
R: Only if they’re bad poets.
In the bar
V: You know about this?
R: I know what is this.
V: It’s the poet’s third eye, melts glasses. What do you think of my wife?
R: I don’t know. What do you think of her?
V: She’s still only a child, of course.
R: So am I.
V: Absinthe, two.
At walk
V: You should do something about getting it published.
R: Why?
V: Because that’s what writers do.
R: I couldn’t care less about being published. The only thing that matters is the writing itself. Everything else is literature. Your last book wasn’t good enough.
V: You don’t think so?
R: Premarital garbage.
V: No, Love poems. A lot of people found them very beautiful.
R: But they’re all lies.
V: That’s not lies. I love her.
R: Love?
V: Yes.
R: No such thing.
V: What do you mean?
R: Whatever binds families and married couples together that’s not love. That’s stupidity or selfishness or fear. Love doesn’t exist.
V: You’re wrong.
R: Self-interest exists. Attachment based on personal gain exists. Complacency exists. But not love. Love has to be reinvented.
Why did he want so much to escape from reality? There never was a man with such an aim. Did he perhaps know secrets to change life?
In Verlaine’s home
V: “Sometimes I’ve seen what people think they’ve seen.”
Mrs.: He’s not how I imagined him.
V: “I’ve wept too many tears heartbreaking dawns.”
Mrs.: I prefer your poems. I don’t really understand that kind of thing.
V: No, this is something new. “I’ve wept too many tears heartbreaking dawns.”
V: What is it?
Mrs.: He’s kicking.
V: You see? There.
Mrs.: Don’t you think it would be more sensible to get one of your friends to put him up for a while?
V: People don’t understand him. I’m the only one who understand him.
Mrs.: Well, Daddy certainly won’t understand him.
V: We had a revolution this year which I supported. I could have been shot. If I hadn’t been thrown out of my job you think I would have accepted your father’s damn charity? For God’s sake, all I’m doing is helping a friend! Why must we go through all this? I’m your husband! Mrs.: I’m sorry, Paul.
V: Are you trying to annoy me?
Mrs.: No.
V: Well, don’t.
R: Evening! Everyone’s in bed, I’m afraid unless you’ve come to see the old boy.
F: The old boy?
R: Maute de Fleurville. A friend of his, are you?
F: No.
R: You wouldn’t like to buy a crucifix, would you? I can let you have this one on extremely reasonable terms. It’s made with real pearls, I think.
F: Who the hell are you?
R: I might ask you the same question except I’d be more polite.
F: I’m Maute de Fleurville.
R: Then this is your dog I just broke.
F: What? Why?
R: Dogs are all liberals.
F: Since when have you had the right to invite people into this house without my permission? V: If I can’t put up a guest in my own home I might as well live somewhere else.
F: If you weren’t so idle, you could afford to.
V: You know very well…
F: Any excuse.
V: I don’t notice you working your fingers to the bone.
F: When you next see that hooligan kindly ask him to return the objects he’s pilfered.
莱昂纳多的经典话语篇二：《荒野猎人》简介,《荒野猎人》经典台词
《荒野猎人》简介，《荒野猎人》经典台词
《荒野猎人》简介，《荒野猎人》经典台词
小李子在第88届奥斯卡颁奖典礼上，终于凭借影片《荒野猎人》为22年的陪跑生涯画上了圆满句号。
数度提名，塑造无数角色：1994年的《不一样的天空》、2005年的《飞行家》、2007年的《血钻》、2014的《华尔街之狼》，最终凭《荒野猎人》成为实至名归的影帝。据说，小李子为了拍这部戏，还生吃了牛肝，也是蛮拼的!
目前，奥斯卡影片《荒野猎人》内地定档3月18日!
电影《荒野猎人》【剧情简介】
《荒野猎人》是亚利桑德罗·冈萨雷斯·伊纳里多执导的剧情片，由莱昂纳多-迪卡普里奥、汤姆·哈迪、威尔·保尔特 、多姆纳尔·格利森、保罗·安德森等主演。
电影《荒野猎人》根据迈克尔·彭克同名长篇小说改编，故事讲述19世纪一名皮草猎人被熊所伤并被其他猎人抢走财物抛弃荒野，猎人经历痛苦奇迹存活后开始复仇的故事。
休·格拉斯(莱昂纳多·迪卡普里奥饰)是一名皮草猎人，在一次打猎途中被一头熊殴打成重伤后被同行的乘船船长安德鲁·亨利(多姆纳尔·格利森饰)救下，船长雇佣了两个
人约翰·菲茨杰拉德(汤姆·哈迪饰)和吉姆·布里杰(威尔·保尔特饰)来照顾他。约翰·菲茨杰拉德根本无心照顾格拉斯，一心只想着将格拉斯的财产占为己有，于是残忍的杀害
了格拉斯的儿子，并说服吉姆·布里杰将格拉斯抛弃在荒野等死。两人原以为格拉斯就会这样离世，但格拉斯凭借坚强的毅力在野性的蛮荒之地穿行了好几个月，终于回到了安全
地带并开始了复仇计划。
【经典台词】
1. As long as you can still grab a breath, you fight. You breathe... keep breathing.
只要一息尚存，就不得不战。深呼吸，不要间断，深呼吸。
2. I ain't afraid to die anymore. I'd done it already.
我不再畏惧死亡，因为我已经死过一次。
3. Revenge is in God's hands not mine.
复仇一事乃操之上帝，而不在于我。
4. God giveth, God taketh away.
上帝恩赐，上帝惩戒。
5. You came all this way just for your revenge, huh? Did you enjoy it, Glass?... 'Cause there ain'tnothin' gon' bring your boy back.
你一路走来，只是为了复仇?格拉斯，你乐在其中么?因为想换回你兄弟，已是于事无补。
6. Hikuc: My heart bleeds. But revenge is in the creator's hands.
我的心在滴血，但是，复仇一事乃操之上帝。
7.复仇在上帝的手中，不是我的。
莱昂纳多的经典话语篇三：张卫平经典语录
张卫平经典语录
1.这球finish得很精彩
2.费舍尔还真敢投，还真不进，嘿嘿
3.火箭队这场球篮板球不好，不过火箭队不care这个。。。。。。
4.哎呦，这球要玩，这个这个，打得还真耐心，你看他还真合理，就是不着急
5.这就是我们所说的transational offence，就是什么哪，就是攻防转换的球
6.我们看湖人队的spacing很好，各个球员之间拉得很开
7.这你别说，还真厉害，我就是投，还进了，嘿嘿
8.有了，有了
9.呦，这下犯规可不（大姚），没事儿，没事儿，姚明没几次，这没事儿。。。。哦。。。
四次了。。。。
10.看。。打得真耐心啊。。。这比赛有意思了啊。。
11.快给姚明,给啊 诶..给的好...
12.给丫~给···还是不给
13.哎，给姚明！给姚明！给啊！对了，哎，这球给晚了。。早传呀！对方又打了
一个反击，所以说呀。。。。。。。
14.要坚持内线，姚明要进去。。你看，又跑外头来了。。
15.这不是姚明的特长
16.要丢要丢
17.要坏要坏
18.今儿个真紧啊
19.邦邦邦乱突
20.追着屁股打
21. 霍霍，还真敢投。。。哎呦。。要坏。。还进了。
22.这球几乎被断了
23.我们常说的aggressive,就是打的要有侵略性
24.highlow，就是我们说的高低位
25.孙悦跳的是真高！
26.这球要不是孙悦就扣篮啦！
27.就是孙悦的三个大帽.让德国队必进的三个球没了
28.易建联还是只会抢几个篮板
29.易建联，你看，跟过木桩子似的
30.易建联这时候就不应该在外面接球，(易建联张手一个远距离命中）
31.你看，上来就是一个失误
32.陈江华这是瞎打乱打
33.于嘉：强突打2分。。。
张指导：（孙悦跳起来）。。没进。。。孙悦防的好。。（孙悦犯规）
于嘉：可是结果还是一样的
张指导：要不然是2+1啦..
于嘉：。。。
34.xxx表现不错。。。哎哟。。。给换下去了。。
35.孙正平：“张指导 请你简单评述一下火箭队上半场的表现。。。”
张指导：“火箭队上半场打的非常合理 内突外投 打的非常合理
INSIDE OUT 传出去打回来 传出去打回来 你突 他防 然后分 外线出手又有命
中率 这样的球队就很难防。。。。。。”
36.现在主要看教练怎么布置这最后10秒
双方现在斗智斗勇啊。。。。好看啊
37.有姚明和大郅,谁都能带中国打进16强
38.凡是姚明进球：这球打得很合理，体现了姚明 作为一个国际巨星及队内核心
的作用。
39.凡是姚明没进：好球！（哐~~~打铁声）唉呀，没进。这球稍 微 大了点，虽
然没进，但是这种球就很合理，火箭应该继续坚持这么打下去。
40.凡是其他队员进球：我们 看，这就是姚明的作用！姚明在篮下牵制住了对方
2到3名防守队员，让火箭的其他队员得到了轻松的空档出手 机会。
41.凡是其他队员没进：唉，你看，这球就非常不合理，这时候应该把球传给姚
明呀！
42.凡是不 给姚明 传球的：姚明在篮下要位，我们看，还是不传，再倒过来，
还是不传。火箭的后卫们太缺少传球意识了。
43.凡是给姚明传球的：好球，这球传的意识非常好！火箭后卫们就应该多些这
样的传球，多给姚明。
44.凡是传 球给姚明而姚明没接住的：唉，又一个失误。这球就传得极不合理，球速太快，传得又太高了，姚明 怎么能接得住 。应该直接把球传到姚明手里。
45.凡是姚明进攻犯规的：新赛季刚开始，姚明还不太适应新 规则，而且裁判 对
姚明也盯得很严。
46.凡是姚明防守犯规的：火箭的球员太没有协防意识了，这时候应该 有人去给
姚明补防 一下。
47.凡是火箭领先时：火箭今天应该来说打得不错，特别是姚明，火箭应该继续 这
么打下去，要多给 姚明球，多打内线，巩固防守，控制节奏。
48.凡是火箭落后时：火箭的外线今天发 挥的太差了，根本给不 了姚明有力的支持，导致姚明被包夹，命中率下降。火箭要想追回来，还得看姚明，必须 多
打姚明这个点。
49.凡是火箭赢球后：这场比赛火箭打得不错，尤其是姚明，在攻防两端都体现
出了他 作为一名国际巨星的价值。
50.凡是火箭输球后：火箭这场球虽然输了，但是我们可以看到，姚明的表现还 是可圈可点的，主要是其他 的角色球员发挥的太差了，没有给予姚明足够的帮助。 51张：哎呀，加索尔呀，真是身高臂长【过了一会普林斯抢到前场篮板补篮命
中】哎呀，普林斯呀，真是身高臂长！
52.张：我们看这球，纳瓦罗又是一记抛传，哎呀，被断了，唉，纳瓦罗1米92，如果他有孙悦2米多这个身高，视野肯定更加广阔，肯定会传的很到位！
53.孙：卢比奥突破基德，基德犯规，这个犯规是非常不值得的，卢比奥速度奇快，基德跟不上，而且卢比奥身高还占优势。。【老大，卢比奥，身高1米9，基
德身高1米93，谁占优势！】
54. 张，孙【齐声道】：有了【好球】
55. 俩人对说加索尔兄弟又是哥哥弟弟的 听了都烦，什么弟弟在篮下投篮不中，哥哥在场下干着急，什么弟弟接哥哥的妙传轻松得分，这兄弟俩真有默契呀！
56.张：霍~ 还真敢投（为啥不敢投呢？都不敢投不输定了吗）
57.孙：美国队已经四次犯规了 张：对 对 对 对
58.张easy basket!easy basket明白吗！easy basket就是我们常说的简单篮球！
59.孙大师每次他妈没话说了时候，就来句“张指导，就这段时间来说，您觉得xx队最需要解决的是什么？”之后张卫平手舞足蹈状“我觉得呢！xx队现在最需要解决的问题就是攻防转换问题！因为什么呢！你看对手哗哗哗，。。。。。邦邦邦。。。。。。。。轻易打出easy basket。。。。。timing。。。。spacing。。。energy。。。
60.或！西班牙真敢突 突了还真敢投"
61.安东尼还真敢投（MB 安东尼刚进NBA时就是三分神射手 人家当然自信了）
62. 跳球时孙大圣说：“跳球的是来自美国队的11号霍华德和立陶宛?”突然意
识到说错了就啥也没说了
63. 孙：神奇小子（第三声）卢比奥——神奇小紫??
64.詹姆斯的这个篮板球是真高啊
65.孙正平： 好球！ 美国队的十号科比一个妙传，底线的布莱恩特接球就是一
个上篮，配合的很有默契！ 张卫平：对！
66.孙正平：巴蒂尔6投8中 张卫平：对
67.张卫平：美国队就是靠个人能力。你看，JAMES拿球就往里打??孙正平半天不言语：好球，（这时JAMES分给了波什）。张指导：哎哟。这球分的。不错
啊。好看了啊。。
68.某节，李楠和姚明做了一个挡拆，李楠三分出手——张指导：“有了！”结果是个三不粘。 过一会，朱芳雨故技重施，三分出手——张指导：“有了！”结果
又是个三不粘....
69.孙正平：“张指导 请你简单评述一下上半场的表现。。。” 张指导：“上半场打
的非常合理 内突外投 打的非常合理 INSIDE OUT 传出去打回来 传出去打回来 你突 他防 然后分 外线出手又有命中率 这样的球队就很难防。。。。。。”
70.张：这段时间破联防破的不好 球一直在外边飘着 应该多往里打打 有身体 有力量 有爆发力 所以这球你要让他冲起来根本拦不住 跳的真高啊 ,美国队速度非常快 手快 脚快 今天这球好看了啊 哦``阿根廷把布泽尔上了 证明美国队
已经拿下这场比赛了
71.现在请 张指导 给一下 火箭队 意见 目前火箭已经落后20分啦。 张指导说。。。。。。 火箭要赢 只要2点 第一 自己多进球 第二 不让对手进球 孙政平
说。。。。。。 好， 张指导一针见血
72.一日比赛凯尔特人对魔术 孙：好球 ！！！ 这位队员是一号阿里扎（妈的阿里扎两周前在就换到湖人去了 刚才进球的是埃文斯） 然后孙就和张卫平把人家埃
文斯叫成阿里扎足足有48分钟！！！！
73.张经典的解说： “要丢要丢” “哎，给姚明！给姚明！给啊！对了，哎，
这球给晚了。。早传呀！对方又打了一个反击，所以说呀。。。。。。。 ”
74.“霍霍，还真敢投。。。哎呦。。要坏。。还进了。”
75.看看今天的全场比赛抽奖的结果，哦！是一位来自太原的！恭喜这位湖北的
朋友！
76好象加内特上场了，好象没上。。。又好象上了，上了！对，肯定是。。。好象
上了
77、骑士队陆续换上几位垃圾球员（当时骑士大比分领先马刺）
78、汉米尔顿上场比赛由于腿伤，失误数高达7次，比全队的总和还多1次 勇士队换上了一个新秀，叫艾利斯今天30岁（过了一会儿）艾利斯这个队员是
一个高中生球员
79、你看掘金的观众多好，落后那么多还没人离场，知道这说明什么吗？（沉默
片刻）说明当地的交通状况很好
80、今天姚明的表现真不错，已经投中了好几个球，这也和火箭队中锋实力太弱
有关
81、科比就是科比啊，面对对方两名防守队员的夹击。。。还是失误了
82、姚明得到篮板，哎呀！失误了，火箭的小个后卫把球从姚明手里偷走了
83、诺维斯基不是一个很出色的投手，但是他拿球还就真敢投，投了还真敢进
84、吉诺比利真是如有神助，现在比分差距是16分。。。对不起观众，是18分（当
时比分68：56）
85、斯台普肆球馆能容乃1万9千零几十人（。。。真精确）
86、因为马刺已经赢了2场，而活塞也赢了2场，我们可以说这场比赛打成2
比2平（分析真合理）
87、看看今天的全场比赛抽奖结果，哦，是一位来自太原的，恭喜这位湖北的朋
友，我们下次再见
88、小牛和灰熊我们不太熟悉，都不是超一流球队，也不是一流队，充其量是一
二流之间吧
89、我靠，卡特跳这么高啊！（解说扣篮大赛）
90、**号的上篮被热火的这名小将盖的飞出了场外（莫宁大叔，您反老还童了）
91、安德森在NBA征战了15个赛季，今年已经29岁了
92、巴里闪开空档再给巴里，上篮，球进了（传说中了分身术）
93、孙正平：巴帝尔6投8中！
张卫平：对！
94、一次犯规后，孙指导说：刚才麦迪没在场，火箭打的很流畅（刚犯规的就是
麦迪，过了一会儿）哦，麦迪上场了（麦迪一直在场上）
95、姚明两次触球，但是，都没摸到球
96、这个时候应该要换上穆大叔（镜头给到范甘迪）恩，好象麦迪要考虑考虑
97、火箭队投篮命中率比对方低，但是三分球命中率有50%啊，对方才33%。。。。。。
哦，火箭2投1中，对方9投3中