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Old 09-02-10, 20:15   #41
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tako je, o zvijezdo Istoka
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Old 09-02-10, 20:15   #42
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IzNoGud
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Old 09-02-10, 21:02   #43
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Quote:
Originally Posted by Watchman View Post
@Rako,meni ti je Oskar,nešto kao izbor za mis ili evrovizija
a meni kao ekonomisti najbolji mogući instrument unapređenja prodaje (filma)
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Old 05-03-10, 08:46   #44
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dobar text!

And the Oscar goes…u kokošarnik
05. mart 2010.

U noći između 7. i 8. marta gledaćemo ceremoniju dodjele Oskara, najprestižnije nagrade u svijetu filmske umjetnosti. Nema glumca ili reditelja koji o njoj ne mašta, od 1929. godine, kada je prvi put dodijeljena, naovamo. A oni koji je osvoje, često je drže na potpuno neočekivanim mjestima



Gledamo te famozne statue svake godine, kako sijaju u rukama dobitnika na podijumu Kodak Teatra u Los Anđelesu. Stiskaju ih čvrsto dok izgovaraju riječi zahvalnosti, tresući se od treme i od uzbuđenja. Ali, kad se fešta završi, gdje završe te toliko željene figure?Pitanje je postavila i sama Američka filmska akademija koja nagradu dodjeljuje - ne samo iz radoznalosti, već i u težnji da nekako zaštiti imidž same statue . Figura je urađena od metala obloženog 24-karatnim zlatom. Visoka je 35 cm, a tržišna vrijednost joj je 295 dolara. Po pravilu uvedenom 1950. godine, ne može biti prodana, jedino može biti vraćena istoj Akademiji. Pa, gdje je dobitnici drže?

Kupatilo je svakako jedno od najbizarnijih mjesta, ali i najčešćih!

Oskar u kupatilu: Oskara u toaletu drže Elizabet Tejlor, Suzan Sarandon, Lajonel Riči, Šon Koneri, Gabrijele Salvatore. “Imam svjetlo koje ga osvjetljava veoma dobro, a dobro se slaže sa bočicama za parfem”, kaže Salvatore. Džodi Foster se kaje što je svoja dva Oskara držala u kupatilu. “Držala sam ih tamo prilično dugo. Dobro su se uklapali sa slavinama. Ali, onda su počeli da rđaju i premjestila sam ih u dnevnu sobu.” Rđa je, pored ostalog, jedan od motiva zbog kojih Akademija dozvoljava da se dobijeni Oskar može zamijeniti drugom stauom, kao što je uradio Džek Lemon.

Stimulans za kokoške: Rasel Krou svoju statuu osvojenu 2001. godine za ulogu u filmu “Gladijator” drži trenutno u kokošarniku na njegovom ranču u Australiji. Prema riječima zvijezde, blizina statue stimuliše kokoške da nose veća jaja od običnih. (valjalo bi jedan donijet u vinograde Plantaža)
Oskar Timoti Hatona kojeg je osvojio 1981. giodine za ulogu u filmu “Običan svijet”, zadnjih nekoliko godina se nalazi u njegovom frižideru. “Za vrijeme jedne žurke, moja sestra ga je tamo stavila iz šale. Od tada ga više nisam otuda micao. Zabavlja me reakcija ljudi kad ga ugledaju pošto otvore frižider da uzmu flašu piva”, kaže glumac. Naravno, dosta je i onih koji stave svoj trofej na dobro uočljivo mjesto. Morgan Friman, koja ga je osvojila za ulogu u filmu “Milion dolars bejbi”, drži ga u dnevnoj sobi, na jednoj polici od biblioteke.

Vidoviti majstor: “Kada sam renovirala kuću 1988. godine, jedan od radnika je pokazao posljednju, najvišu policu biblioteke i kazao mi da je ona za Oskara kada ga jednom budem osvojila. Tako sam i uradila.” Neki više vole da ga drže daleko od očiju. Ana Pakin, koja ga je osvojila za “Lekcije klavira” 1994. godine, kada je imala samo 11 godina, držala ga je dobro zaključanog, u strahu da bi je njeni prijatelji mogli gledati drugačijim očima. Šeli Vinters, koja je Oskara dobila za ulogu u filmu “Dnevnik Ane Frank” 1960. godine, poklonila je statuu Muzeju Ane Frank u Amsterdamu.

Čuven je gest Marlona Branda, koji je odbio da preuzme Oskara dobijenog za ulogu u filmu “Kum” iz protesta zbog načina na koji se u filmovima prikazuju Indijanci. U svojoj autobiografiji napisao je da pojma nema gdje mu je drugi, koji je osvojio za film “Na dokovima Njujorka“ 1955. godine.

I “Mami” iz filma “Prohujalo sa vihorom”, glumica Heti MekDaniel je svog Oskara osvojenog 1940. godine, izgubila. Statuu je poklonila Univerzitetu Hauard iz Vašingtiona, ali je nestala 1960. godine, tokom nekih studentskih nemira. Kad već govorimo o roditeljima i djeci - Džejms Stjuart je svoga Oskara osvojenog 1941. godine za ulogu u filmu “Skandal u Filadelfiji” poslao svome ocu. Ovaj ga je cijelih 25 godina držao u izlogu svoje radnje u Pensilvaniji.


(La Repubblica, prevod G. B.)
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Old 05-03-10, 18:41   #45
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Morgan Friman, koja ga je osvojila za ulogu u filmu “Milion dolars bejbi”, drži ga u dnevnoj sobi, na jednoj polici od biblioteke.

Vidoviti majstor: “Kada sam renovirala kuću 1988. godine, jedan od radnika je pokazao posljednju, najvišu policu biblioteke i kazao mi da je ona za Oskara kada ga jednom budem osvojila. Tako sam i uradila.” Neki više vole da ga drže daleko od očiju.
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Old 06-03-10, 05:31   #46
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prevod koji od kuratog morgana frimana napravi damu je do jaja, nije ni cudo da se evropljani nijesu mogli snac sa tajnim odgovorima koje su im preveli nasi prevodioci.
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Old 07-03-10, 13:30   #47
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Old 07-03-10, 15:40   #48
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dodje i taj dan/vece. pa da vidimo ko je sto pogodio
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Old 08-03-10, 07:51   #49
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pa nijesam bio loš, ovako sam glasao četvrtog februara, a za Bulokovu i Volca , baš zato što svi bjehu za, odigrah na lišu
Quote:
Originally Posted by Rakoon View Post
Nominacije u najpopularnijim kategorijama su:
(moje predikcije boldovane)
Za najbolji film:

“Avatar”
“The Hurt Locker”
“Precious: Based on the novel ‘Push’ by Sapphire”
“Up in the Air”
“Inglourious Basterds”
“Up”
“The Blind Side”
“District 9″
“An Education”
“A Serious Man”

Za najboljeg reditelja:

Kventin Tarantino, “Inglourious Basterds”
Ketrin Bigelou, “The Hurt Locker”
Džejms Kamerun, “Avatar”
Li Denijels, “Precious: Based on the novel ‘Push’ by Sapphire”
Jejson Ritman, “Up in the Air”

Za najboljeg glumca u glavnoj ulozi:

Džordž Kluni, “Up in the Air”
Džef Bridžis, “Crazy Heart”
Kolin Firt, “A Single Man”
Morgan Frimen, “Invictus”
Džeremi Rener, “The Hurt Locker”

Za najbolju glumicu u glavnoj ulozi:

Meril Strip, “Julie & Julia”
Sandra Bulok, “The Blind Side”
Gabouri Sidibi, “Precious: Based on the novel ‘Push’ by Sapphire”
Helen Miren, “The Last Station”
Keri Muligan, “An Education”

Za najboljeg glumca u sporednoj ulozi:

Met Dejmon, “Invictus”
Vudi Harleson, “The Messenger”
Kristofer Plamer, “The Last Station”
Stenli Tuci, “The Lovely Bones”
Kristofer Valc, “Inglourious Basterds”

Za najbolju glumicu u sporednoj ulozi:

Vera Farmiga, “Up in the Air”
Mo’Nik, “Precious”
Ana Kendrik, “Up in the Air”
Penelopa Kruz, “Nine”
Megi Gilenhal, “Crazy Heart”

Za najbolji originalni scenario:

“The Hurt Locker”
“Inglourious Basterds”
“The Messenger”
“A Serious Man”
“Up”

Za najbolju adaptirani scenario:

“District 9″
“An Education”
“In the Loop”
“Precious”
“Up in the Air”

Za najbolji film van engleskog govornog područja:

“Ajami” (Izrael)
“Das weisse Band – Eine deutsche Kindergeschichte” (Nemačka)
“El secreto de sus ojos” (Argentina)
“Un prophčte” (Francuska)
“La teta asustada” (Peru)

Svečana dodela Oskara zakazana je za 7. mart.


za glumice ne smijem ništa pretpostavit, a za glumce moradoh dvojicu ( sporedna rola milsim da će ipak Mesendžerov aš proć, uz sav rispekt za Volca).
"Precious" je strong contender iz drugog plana. Nijesam boldovao Up jer mislim da uzima bodove u kategoriji animiranih filmova, a ne bih se začudio da uzme oba glavna oskara. kriterijum izbora-strogo navijački
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Old 08-03-10, 07:52   #50
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a ovako Majstor izvještava:

No pain for Bigelow, "Hurt Locker"


BY ROGER EBERT / March 7, 2010

HOLLYWOOD — “The Hurt Locker,” a film that was made with little cash but limitless willpower, defeated the highest-grossing film in history and won the best picture Oscar here Sunday night. The director of the spine-chilling war drama, Kathryn Bigelow, became the first woman to ever win the best director Oscar. James Cameron, director of “Avatar” — and her former husband — cried all the way to the bank.

In what was expected to be a close race, “The Hurt Locker” took an early 4-3 lead and then pounded home with the best director and picture Oscars for a total of six. Its best film editing award correctly predicted the best picture winner, as it historically does.

The three wins for “Avatar” came in the technical categories, as expected, including cinematography — not expected, since so much of the film was created inside computers. The final totals included two apiece for “Precious,” “Crazy Heart” and “Up.”

In presenting the historic award to Bigelow, actress Barbra Streisand, an Oscar-nominated director herself, said, “Well, the time has come,” after opening the envelope.

Bigelow did it, I believe, because she quite simply made the best film: The tension generated by the film was extraordinary. Yes, situations involving defusing bombs are common enough, but somehow Bigelow made the bomb scenes human, not technical. Perhaps that was the woman in her?

Bigelow thanked writer Mark Boal “for risking his life” in researching the script. Only 29 when she started, Bigelow has been a masterful action director from the get-go, with “The Loveless,” “Near Dark,” “Blue Steel” and “Point Break” between 1982 and 1991. Ever since, her career has been a triumph over preconceptions.

Sandra Bullock, an A-list star recently found in B-list roles, won the best actress Oscar for “The Blind Side.” She teared up in thanking her late mother because “she was right for not letting me ride in cars with boys before I was 18, because she was afraid of what I might do, and I would have done.”

It was a busy weekend for Bullock, who Saturday night accepted the Razzie Award as the year's worst actress for “All About Steve.”

Jeff Bridges raised a yell from the audience when he won as best actor for “Crazy Heart.” Thirty-eight years ago, he was nominated for his first major feature role for “The Last Picture Show” (1972). Sunday night, he collected on the fifth. He saluted to his parents, especially father Lloyd, “who taught me the basics of acting. Thank you, Mom and Dad, for turning me on to such a groovy profession.”

The movie came out of nowhere in December to pick up all the major critics groups' awards and then steamrolled over early favorite George Clooney (“Up in the Air”) to win. Somehow this was the time for Bridges, once described in a New York Times cover story as “the best unknown star in Hollywood.”

A mighty roar went up when Mo'Nique was named best supporting actress. She played the crude, abusive mother in “Precious.” She thanked the academy for proving “it can be about the performance and not about the politics.” And she also thanked Hattie McDaniel, the first black Oscar winner (for “Gone With the Wind”), “for enduring all she had to, so that I would not have to.” At that time, the Oscars were announced at an academy dinner, and McDaniel was required to sit at a table by herself.

Mo'Nique's win was almost universally expected, but popular because this was her first major role and she stunned audiences with her power. Portrayed throughout as a vile monster, she has a monologue in which she haltingly explains herself, and we realize we are looking at a victim of exactly the abuse she was passing on to her daughter.

Christoph Waltz was gobsmacked when he won best actor at Cannes in May 2009, and he was still astonished here when he won the supporting actor Oscar. It is his performance, more than any other, that distinguishes Quentin Tarantino's “Inglourious Basterds,” and in effect, he's the leading man.

“Quentin with his unorthodox methods of navigation, this fearless explorer, took this ship across and brought it in with flying colors, and that's why I'm here,” Waltz said. “This is your welcoming embrace, and there's no way I can ever thank you enough.”

“The Hurt Locker” began its successful evening with its Oscar for Boal's original script. Its construction was indeed original, depending as much on external suspense as on our tension about what the hero, the bomb disposal expert James, was capable of.

The adapted script Oscar went to Geoffrey Fletcher for “Precious,” in an upset, since Jason Reitman's “Up in the Air” was thought to be the front runner. In a highly emotional speech, Fletcher dedicated the Oscar, as the film was also dedicated, to “precious girls and boys everywhere.”

“Up,” a film so good it was also nominated for best picture, won for best animated film. Director Pete Docter of Pixar spread the credit in his acceptance speech, but he led the charge to change perceptions of animated films, and “Up” transcended categories to reach adults without kids as escorts.

“The Cove,” produced by actor and Chicago native Fisher Stevens, won the best documentary Oscar. A thriller in the documentary format, it was about a dangerous attempt to film Japanese fishermen as they lured, entrapped and murdered dolphins.

From their opening monologue, co-hosts Steve Martin and Alec Baldwin were surprisingly unfunny. Their opening lines would have been funny delivered by one emcee, but having them do alternate reads from the prompter was a mistake. Nor did either one seem to really be speaking in the first person. One major drawback of having 10 BP nominees is that 10 film intros robbed us of five best song performances. There was an impressive live-and-film tribute to musical scores, on the big silver Art Deco stage of the Kodak Theatre.

Director John Hughes was too great a legend to be simply included in the traditional “In Memoriam” tribute. The special clip package of his work stirred desires to see his films again. They seemed good at the time, and in these dreary days, they seem miraculous. As the stars he made — his “children” —strode forward, it became one of the greatest moments in Academy Award history.

The traditional memorial montage was well accompanied by pop-music veteran James Taylor. Every year they forget someone. This year it was a very big someone: Farrah Fawcett.

“Crazy Heart” won for best song, to nobody's surprise. It's a rare song written for a movie that actually sounds as if it could have been a big hit years ago in the hero's career. T Bone Burnett, a tall drink of water in dark shades, strode on stage with co-writer Ryan Bingham, but to general disappointment, I suspect, didn't say anything. A guy named T Bone wins an Oscar, you wanna hear him talk.

In the craft categories, “Avatar” won for its art direction and production design, which was only right, since its designers essentially designed a new world and everything in it. “James Cameron,” co-winner Rick Carter said, “this Oscar sees you.” Cameron oversaw the exhaustive detail work on the creation and even the biology of that world.

“Avatar” also won for visual effects — a foregone conclusion —over “District 9” and “Star Trek.” The category also encompassed the film's 3-D presentation, which was central to its success.

Lastly, “Avatar” won for cinematography, a choice I'm conflicted about. Wasn't much of the image creation done inside computers with CGI? Yes, the cinematographer had to fill needless scenes of actors before green screens, but the cinematography in “Inglourious Basterds” and “The White Ribbon” was so much more impressive.

“Star Trek” won for makeup, in a category that also included only “The Young Victoria” and “Il Divo” — the latter a film in which you weren't supposed to notice the actor's makeup.

Sandy Powell won her third costume design Oscar, after “The Aviator” and “Shakespeare in Love,” for “The Young Victoria.” She dedicated it to the costume designers of contemporary or low-budget films that are “not about monarchs.”

At the evening's end, there was joy that “The Hurt Locker” won, but it was sort of a letdown because the ceremony lacked excitement. The choice of hosts Baldwin and Martin, which struck me as inspired, turned out to be a miscalculation. In years past, did co-hosts alternate lines? Comic timing depends on one person's delivery, unless we're talking about a seasoned comedy team. The two never felt like a team, and apparently didn't have their lines memorized, which led to tiny but fatal delays.

So much went as predicted. I correctly chose 15 of the top 17 winners, was wrong in both script categories and can hardly be faulted for thinking “Coco Before Chanel” would win for costume design. I have a feeling Vegas cleaned up from people believing this year couldn't be that easy to predict.
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Old 08-03-10, 08:01   #51
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evo linka za faktografiju:
http://en.wikipedia.org/wiki/82nd_Academy_Awards
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Old 08-03-10, 08:28   #52
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dobro si pogađao. jedino što se odma vidi da nisi Prokletnike gledao, jer je toliko očigledno kako je maestralno Volc odigrao, a i kvota na njega je bila 1.05.
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Old 08-03-10, 08:40   #53
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što jes-jes
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Old 08-03-10, 09:05   #54
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zašto me ne čudi što Messenger nije ništa dobio? (čak ni nominacije koje bi trebao)

precijenjen HL. mada očekivano. bukvalno nije bilo šanse da dobije neko drugi u par kategorija. Kada pogledate Avatar vidite nešto što niste gledali do sada, a komentari HL su obično- dobar, sjajna je priča i režija. pa jeste ali po meni sve ostalo mnogo bolje kod Avatara. (jedino što me oni plavci asociraju na neke loše likove )
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Old 08-03-10, 09:12   #55
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Watchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čekaWatchman briljantna budućnost ga čeka
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Edit:Znam da će ga dat` Sandri Bulok...
Kao što rekoh
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Old 08-03-10, 18:43   #56
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laufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čeka
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protestvujem!!
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Old 08-03-10, 19:19   #57
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odbijeno! Prešesa si odbačio ka šuplju kantu! a znaš dobro onu staru narodnu "da si mala crnac Bantu"
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Old 08-03-10, 20:11   #58
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u svijetlu ovoga (što kome znači nagrada Oskar)
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a meni kao ekonomisti najbolji mogući instrument unapređenja prodaje (filma)
Vočmene, pogledaj sad kako će se razvijati (propagandna kampanja) situacija sa Hurt Locker-om: prvi spin -"prvi oskar za ženu reditelja"-trajaće još koji dan.
drugi spin je onaj iz mojih voda-"ovo je film godine koji je do sada najmanje novca zaradio".
dakle, koštao je 15 miliona, a od prošlog ljeta je u bioskopima uzeo svega 14.2 miliona. treba li reći koliki je prostor neosvojen?

dakle, sada income i u bioskopu i na DVD ide x nekoliko puta
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Old 08-03-10, 23:27   #59
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laufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čeka
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odbijeno! Prešesa si odbačio ka šuplju kantu! a znaš dobro onu staru narodnu "da si mala crnac Bantu"
ne shvati me pogresno, ali preses je sranje. u stvari i nije, to je dobar primjer kuda ide crnogorsko drustvo sa kopiranjem svega i svacega, pa se nagledajte do mile volje i zacrtajte kako i kuda u svijetlu!

protestvovacu dok god budem mogao cukat!!!
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Old 08-03-10, 23:29   #60
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laufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čekalaufer briljantna budućnost ga čeka
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u svijetlu ovoga

pogledaj sad kako će se razvijati (propagandna kampanja) situacija sa Hurt Locker-om: prvi spin -"prvi oskar za ženu reditelja"-trajaće još koji dan.
drugi spin je onaj iz mojih voda-"ovo je film godine koji je do sada najmanje novca zaradio".
dakle, koštao je 15 miliona, a od prošlog ljeta je u bioskopima uzeo svega 14.2 miliona. treba li reći koliki je prostor neosvojen?

dakle, sada income i u bioskopu i na DVD ide x nekoliko puta
zasluzio je triput toliko, kad vidi covjek kave limunade i splacine zaradjuju stotine miliona.
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