- 4 months ago
تدور الحلقة حول المُخرج البريطاني ألفريد هيتشكوك الذي اعتمد طوال مسيرته السينمائية على خلق التشويق بأبسط الأدوات مثل المونتاج والتلاعب بالمُشاهد عبر حركة الكاميرا وطريقة السرد ليصنع سينما مُتفردة مهدت الطريق لمُخرجي هوليوود لخلق تُحفهم السينمائية
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00:00The End
00:04Don't you know I'm not
00:06I'm not sure I'm not sure
00:08I'm not sure I'm going to do that
00:10I'm not sure I'm going to be a bit more than the people here
00:12I'm Ahmed Mحمd Mحمud
00:14I'm very famous for my name
00:16But I'm not sure
00:18I'm the only person I love to have you with me
00:20I'm not sure how to do it
00:24I'm not sure how to do it
00:26I'm not sure how to do it
00:28Is the most recent attempt to be
00:30In 2007 in 2009
00:32When I'm talking to you
00:34I was 20 years old
00:36But I'm not sure how to do it
00:38If with that
00:40After 4 years ago
00:42I'm just putting the whole line of movement
00:44I'm not sure how to do it
00:46I'm telling you
00:48I'm not sure how to do this
00:50You must not make me that other people
00:52You are my own
00:54You have to identify the meaning
00:56You are not strong
00:58and it's called to let me take a look at this
01:01and I'm gonna get you a little more
01:02I'll take a look at it
01:03and I bet you guys are gonna get me
01:05But I'm going to make sure that the people in the first place
01:06hole wouldn't be able to trust me
01:08I'm not supposed to get you all these...
01:10I'm going to tell you the details
01:11You're looking for all this
01:13you're not supposed to trust me
01:14you're going to get my thoughts on top
01:15I think it's about to think about it
01:17but I'm going to put a lot of effort on it
01:20I said you're not going to get out of time
01:22You're going to get up on the TV
01:23I guess what I did on it
01:24You're going to do it
01:25I'm going to learn to you
01:26You're in the middle of the earth
01:28The earth is the first time of the earth
01:31You're in the middle of the earth
01:32Is it true?
01:33Do you want to go to the earth?
01:35I'm a small girl
01:37I'm a big fan
01:38I'm a big fan of the things that I have to do
01:40I'm not sure how to know it
01:41No, no, no, no
01:48You're in the middle of the night
01:50I'm in the middle of the night
01:52I'll become a little bit more
01:54I'm thinking
01:58No, no, no
02:00Wait until now
02:02I thought it was a big one
02:04You're in the middle of the night
02:06I'm not saying
02:08You're in the middle of the night
02:10I thought it was going to last
02:12What about the episode?
02:25I learned about this video from the broadcast of the show.
02:27Is it just like this?
02:28Buy it, Yola, buy it in 1960,
02:31and you can't leave it aside.
02:33It's not even alive!
02:34A few years ago, you can't live in your home,
02:36but you can't live anymore!
02:37In 1960, it is written in American American film Psycho,
02:39In the film, you know, if you don't know about the story of Alfred Hitchcock,
02:43if you want to make a story about the story of Alfred Hitchcock,
02:46you'll see the story of the volume of the 10, so you'll find it.
02:48You'll see the story of the story of the 10th century,
02:50that's the master of suspense!
02:52He did it!
02:54Let me tell you that the story of the master of suspense,
02:56this is the story of the catcher,
02:57it was the story of the cinema.
02:59The cinema was the only thing about Alfred Hitchcock,
03:02because every film that he did it,
03:03he did it in a way,
03:04with a way and a way that he did it.
03:06Hitchcock, you know,
03:06he'll start the suspense of the film Psycho,
03:08as soon as it comes,
03:10he'll put an idea of a card like this,
03:12and he'll put it as to her friends.
03:13The card says that someone will enter the film after the film,
03:16even if it had been an idea of the president,
03:18because he himself is the president of the Soviet Union.
03:19I guess it's true.
03:21You know, the card says that the card isсти창.
03:23You know, everyone will have the rights of the film,
03:25and that anyone can't afford it.
03:26You know, it is the commandment,
03:27because the card is物thub.
03:29People who have the camcorder,
03:30that are evidently,
03:32the film is American to focus on the film,
03:34and that's how the film will run away from the first to the last one and the last one.
03:35The first film is the first film,
03:37and the speed of them
03:39was thrown out, to get out a baby
03:41and the blood of her
03:42will allow it to only run in the direction of the camera
03:45How about her?
03:46Yes, I didn't Taipei
03:47or like any child who's a child
03:49isнит the money
03:50and after some thinking,
03:52he will have to give her money
03:53and that he has to bring her money
03:54she is taking these damages
03:56and finally begins to get the money
03:57and then she doesn't have to get away from that
03:59but suddenly, she is looking at a job
04:00and she is going to see a job
04:01and she doesn't have any more time
04:03or she's needing more than 45 seconds
04:05and she will solve the hunger
04:06Oh, what is themingles that you give to the film from the first film?
04:09I'll see you in this place.
04:10What is this?
04:10Is that themingles of the film from the first film?
04:12Wow.
04:13And it works?
04:17Horrible.
04:17They are looking for the film, and the film is gonna be back in the middle.
04:20Here we go, we're at the best with an Aussie.
04:23But I don't know whom people after that film muslim.
04:25They're gonna go and say all the qualities.
04:26They're going for live in 45 seconds.
04:29And the people who are sitting at these days,
04:30they don't know what to go to the car by one of them.
04:32And they're confident that they don't know what it is to get away.
04:35عزيزي أزيلك مش شعر بيت؟
04:36والله أبو أحمد أي حاجة مع الشاي
04:38قل لك النظر هو بقصوماتي يا عزيزي
04:39فيه إيه ما تركز بقى
04:41خلينا أحكي لك عن جانت لي
04:42جانت هي بطلة الفيلم ذات نفسها
04:44اللي قالت إنها بطلت تستخدم الدوش
04:46بقيت عزيزي تاخد حمامة في الباليو
04:47حسب النقاط ده لم يكن من جرد مشهد
04:50وإنما خمسة واربعين ثانية أحدوا من جديد تعريف الرعب
04:53طوروا شكل الرعب في السينما للأبد
04:55أحمد أنا أحس من أدائك وأسلوبك إن أنت في حالة أفوارة
04:58دي طريقة ما كرة هيتشو كوكية في الستوري تيليج
05:00أنا أقفشها كويس
05:01مستر أفسس بنسي يا رجل يا ضلالي
05:03كل ده عشان صور واحدة قتلت في الحمام
05:05هي من لس دي بعد سن
05:06ما شافتش أفلام رعب قبل كده ولا إياه
05:08هيا عزيزي إن ده اللي هيتشو كوك
05:09قالوا الرقابة إنه مشهد عادي ومفوش حاجة
05:12عشان الرقابة تعديه
05:13الرقابة يا عزيزي وقتها
05:14كان بتمنع أي مشهد فيه عري كامل للجسد
05:17بس كده اسمع دي
05:18أي مشاهد فيها دم أو عنف شديد
05:21كانت الرقابة الأمريكية بتمنعهم
05:23مهينا يا عزيزي هيتشو كوك هيعمل مشهد رعب
05:26في الحمام اللي واحدة بتستحمى
05:28بدون تعري وإيه؟
05:29بدون عنف
05:30معين المشهد في الأكشن إنها تتعرض لطعناط
05:33ليه يقولك يا عزيزي إن الدم اللي كان مستهدا في هذا المشهد
05:36كان شكلة سيرق
05:37يا أبوحمد معقولة اللي كان مسؤول عن الخدعة
05:39كان بلبن؟
05:40آه يا عزيزي بلبن
05:43يا فين عزيزي بجد؟
05:44أبوحمد ما تأخذنش لو قلت كلمة
05:46إعلامة تجارية فعملت لهم كده إعلان في برنامجك
05:49إعلان إيه عزيزي دماغس يفتحوا فرع في التلاجة
05:51الدم يا عزيزي اللي كان عالكاميرا
05:52كان شكلة سيرق
05:54سوش شكالاتة
05:54تسأل لي وتقول لي إزاي كان هناك تأثير صادم على الناس بسوش شكالاتة
05:58هنا عزيزي هعمل حركة درامية
06:00خلينا أخرج وارجع لك بالإجابة
06:03مبدأنا عزيزي أي ما أشهد نشوفه قدامك
06:05بيظهر كمجرد صور
06:06عالك هو المخرج بتاعه
06:08هو اللي بيخلق المعنى من كل صورة والتانية
06:10فيما يعرف بالكل يشوف إفكت
06:12هيتشكوك هيشرحوا لك باختبار بسيط
06:14في اللقطة دي فيه كلوسب على وش هيتشكوك
06:16بعد كده بنقطع على أم إحنا إينا بتلعب إبنها
06:19ونيرجع تاني نشوف بتسهمة هيتشكوك
06:21لو سألتك حكمك على الراجل ده إيه
06:23غير ما أنا هتقولي
06:23ده أنا موزك للقب الطيب
06:25لو حطينا بعد كده اللقطة دي
06:26ست جميلة ومغرية
06:28تدعينا ربنا النبوك بيدخلش عليك دلوقتي
06:30بعدها تعالنا نقطع تاني عن نفس الكلوز
06:31هنا الراجل الطيب تحول إلى عجوز بيبص بطريقة شهوانية لبنت حلوة
06:37وبا وبا وبا
06:38تعالي ده معناه يا عزيزي
06:39إحنا قدام نفس الصورة بنفس الكلوز
06:41الفارق هنا بس في ترتيب اللقطات قبلها وبعدها
06:45الترتيب ده هو اللي خلاك تحترم الشخص أو تحتخره
06:48ده يا عزيزي تعريف ببساطة المنتاج
06:51أو على حسب تعبير هيتشكوك
06:52لقطات بتتعرض بسرعة معينة وبترتيب معينة
06:55بحس إن انت تقدر تزرع فكرة في وجدان المتلقي
06:58توصل له معنا انت عايز تحكوله
07:00في مشهد سايكو هيتشكوك هياخد هذا الكونسب لليفل أصعب كتير
07:03وهيزرع في وجداننا فكرة مرحبة جداً
07:05لو سألتك يا عزيزي انت شفت كم جريمة قتل في الأفلام
07:08تقول لي من عشرة مثلاً عشرين
07:10لو انت من جمهور محمد سامي هترفع الرقم ده القس 16
07:13ولكن لو سألتك انت شفت كم جريمة قتل في الواقع
07:16فكتير مننا ما شفهاش
07:17واللي شافها بعد الشر عليه وعمر ما هينساها
07:19وجيز هذه الترومة تخليه يبعد عن أي مكان بيفكره بيها
07:23ده بالزبط اللي حصل في المشهد اللي كان في فيلم سايكو
07:26هيتشكوك ما عرضش جريمة على شي السينما
07:28وإنما ورت كل المتفرج عن طريق المنتاج
07:31ورته انه يعيش الجريمة كأنها لحظة واقعية
07:34المشاهد هنا هو القاتل وهو الضحية
07:36هو البطل الوحيد للحكاية
07:37وبكده المشاهد في عمره ما هينسى المشهد ده للأبد
07:40ولما هيخرب هيحاول زي الشخص الترومة تايز
07:43يتجنب الحاجات اللي بتفكروا بيها
07:45وفي الحالة بتاعتنا زي ايه؟
07:47زي الحمام
07:47تخيل لما بيت الراحة يبقى مصرح الجريمة
07:50يبقى بيت القلق وعدم الراحة
07:52خلينا نشهل 45 ثانية دول بالراحة
07:54أول خدعنا
07:55Ironically إنه ما فيش مزيكة
07:57في العادي المزيكة بتوجهك
07:59بتبقى الـ JBS بتاع مشاعرك
08:00يعني مثلا المزيكة ممكن تبقى
08:03مضحكة كوميدية مسلية
08:05فتأثر على المشهد بحس ان هو يبقى كمشهد مضحك
08:08المزيكة هي اللي بتخلينا نحس بالمشهد
08:10هي اللي بتوصل لنا الحالة بتاعت المشهد
08:12المزيكة ممكن تبقى تنس
08:14تاديكي إحساس بالتوتر
08:15ممكن تاديكي إحساس بالكوميديا
08:16إنها هيحصل مشهد كوميدي هنا
08:18and it might become a baseline situation that's like in the background
08:20like a background on the background
08:21so as soon as possible, they will be associated with it
08:24here, dear of you, in the inside of the head,
08:25Hitchcock's voice is able to complete the help of a photographer
08:27so that you can start putting forth on the head of the front
08:29from a far ball
08:30like that, that is the normal animal
08:32and the animal is able to keep on a lap
08:34there is no music that we see in the elevator
08:35is showing up after this, and then you can start thinking about Dulles
08:37and it's going on in the head of the head of the vehicle
08:39here, you can get into the head of the head of the head of the head
08:40It's not like there's a head of the head of the keyboard
08:41it's like a violin, it's a manga
08:43The manga is that the men who are always around
08:44Thanks to the Facebook Place, Asian, and the way you can find the awards will just be able to take part of it.
08:48That's one of the most important things that we can see,
08:51and we can see it in the same way like the girl who is sick, with a period of time,
08:54because we can see it in the same way.
08:56It's really something like an assessment of the character.
08:58The whole thing happens when it comes to your hair is fine.
09:01This is the problem that we know the part of its headshot that we can do on this
09:01is the concept of the position of being headshot,
09:03and the second part that we can do is to take care of our hair.
09:07I'll let you go.
09:08First of all, that's why I feel almost like a response.
09:11So it's called a distance distance.
09:13The other distance is the distance
09:15This is a bit more than what happened
09:17Hitchcock is making 3mm
09:183mm
09:193mm
09:203mm
09:214mm
09:224mm
09:234mm
09:244mm
09:254mm
09:264mm
09:275mm
09:295mm
09:305mm
09:325mm
09:335mm
09:345mm
09:365mm
09:375mm
09:385mm
09:395mm
09:406mm
09:417mm
09:426mm
09:436mm
09:447mm
09:457mm
09:468mm
09:478mm
09:489mm
09:499mm
09:509mm
09:5110mm
09:5210mm
09:539mm
09:5410mm
09:5511
09:5611
09:5711
09:5811
09:5912
10:0012
10:0112
10:0213
10:0314
10:0414
10:0514
10:0615
10:0715
10:0815
10:0916
10:1015
10:1114
10:1313
10:1415
10:1514
10:1715
10:1914
10:2015
10:2115
10:2215
10:2315
10:2415
10:2515
10:2616
10:2720
10:2820
10:2950
10:30Bug
10:3120
10:3220
10:3321
10:3421
10:3521
10:3622
10:3822
10:39and he'll be having a
10:44oh my dear, this is not a strategy
10:48ah, he or she will use 52
10:53in general, cut is a
10:55a tree
10:56my dear, is a
10:58boy the
10:59boy the
11:00boy the
11:00boy is a
11:01boy
11:01boy
11:02boy
11:03boy
11:04boy
11:05boy
11:06boy
11:07boy
11:08boy
11:09the
11:29explode
11:34FW
11:35FW
11:35energy
11:36FW
11:37FW
11:39FW
11:41FW
11:45FW
11:46FW
11:49Celfic
11:50FW
11:52FW
11:52FW
11:53FW
11:53memory
11:54FW
11:55FW
11:55FW
11:56FW
11:58E
11:58FW
11:59It's not the chance you can do it
12:00You can't get it
12:01and you want to touch it
12:02It's not the chance you can do it
12:03You can't want to get it
12:04I think you can do it
12:05Are you good?
12:06It's a good way
12:07Here Hitchcock are making contrast
12:09It's a good way to think
12:10that the place that has happened
12:11is the room
12:12It's a good place
12:13The room that you feel
12:15is kind of like hell
12:16Or was you feeling it
12:17You can see it
12:18That's why you can do it
12:19It's a good place
12:20Why?
12:21Because you can't be a hash
12:23It's a good place
12:24It's a good place
12:25You can feel it
12:26and you can feel it
12:28after that, it has to go into that
12:30first time, after that It was in the beginning
12:31and after that it was in the beginning
12:33and it was in the beginning to be the kill
12:35of the other people
12:35then it had to be a mess
12:36of the dead
12:37It's on the beginning
12:38It's on the beginning
12:39of the beginning
12:40and it was beginning to meet you
12:41Karylo Masha
12:41...
12:41because it's about to think
12:42that the case was this place
12:43that there was definitely a way to be
12:46this place
12:46that would be an easy place
12:47to communicate
12:48and that was not what it was
12:48about
12:50when you started thinking
12:51about it
12:51was just a secret
12:52because everything
12:53that doesn't make you
12:53completely
12:54it's even because
12:55it's back if you feel
12:56Why? To move the distance between you and you?
12:59Ah! You need help!
13:01Ah! You need help!
13:02But you're gonna die!
13:03Just like that, Azizia, we'll see the second thing that's going to do
13:06and it's going to be the same thing as it's going to happen.
13:08This is the real thing that's going to happen between the events and the events.
13:12The message is going to be on the same way,
13:13we'll return to the situation with a sound of a water bottle,
13:16a water bottle, and a water bottle, and a water bottle.
13:19And the water bottle is going to be a cold,
13:21but there's nothing that happened.
13:22We don't have anything to go against the water bottle.
13:24We're going to go to the water bottle.
13:25and still
13:34oh
13:36the
13:36what
13:37what
13:37is
13:45it
13:47is
13:47there
13:50your
13:53Close up on thericle which cover it with it
13:56with the brandy gold
13:57And it becomes a mystery
13:58From this character
13:59Zoom's white
14:00And it's not this character
14:02No one has a quality for it
14:03And it's not that it's easy to practice
14:04No one has a political criticism
14:05The character that you had to get
14:06And you had to get along with it
14:07And you gave it to the world
14:08And you gave it to the world
14:10So you developed it
14:11And you filled it with it
14:11And you did it
14:12And you also gave it
14:13You had to deal with it
14:14And you went to it
14:15And you went a little bit
14:16To it
14:17But it was also a tiny
14:18That's going to turn it
14:19And it was going to turn it
14:20So your sound is hard
14:21The music is the good
14:22The music the best
14:23You can't be prepared for it and you can't be prepared for it.
14:25You're the third person who's in the hospital.
14:27You can make you feel the battle and the battle.
14:30And all this stuff is like the water that had been planted with the blood.
14:33But the problem is that the blood was the one who had been planted.
14:37You can't say to me, you're not even a star or a star,
14:39or even a star in the world.
14:41But as I said, you just got to get out of your mind.
14:44You can't get out of this whole thing and you can't get out of it.
14:46You can't get out of it.
14:49Or by the way, the author of the book,
14:50It is what we thought we saw. Not what we saw.
14:53This is not what you saw, but what you saw, you saw it!
14:56Oh, I'm not sure.
14:58I'm not sure what you saw, I'm not sure what you saw.
14:59I'm not sure what you saw.
15:00I'm not sure what you saw.
15:02I'm not sure what you saw.
15:03I'm not sure what you saw.
15:06But I gave you a certain kind of experience.
15:08I can't remember what you saw with a person who was able to use this.
15:13If you saw this person in the front, this person from Regin Bull,
15:15the person who was working to the Lackmack in the house.
15:18You can find the person who was looking for a show by shot from the film Psycho.
15:22You can see how you see it in the image that's going to be in a spot
15:24Scorsese, that's the idea of the movie, is becoming a place of a battle
15:27He's going to be eating the bullet and eating it
15:29He's going to play the film from a scene that's going to be used to play
15:32And that's how we are going to play with the movie
15:33This will change the way we're going to play with the cinema in the past
15:37But he's asking why the cinema is on the screen
15:39And you don't always pay attention to the end of the movie
15:41He'll say that the theory's thought of her thinking in every movie
15:43It's a relationship between him and a character
15:43It's a relationship between him and a character
15:45Like the character of the movie
15:47This character is going to be put on a person that's quite a bit
15:49This character is going to change the life of this whole
15:51This was his wife and he had a role on his children's...
15:52This is why this is that he had a car he had to be treated well and he never had to clean her.
15:55Maybe his wife had to be able to put him in the body on it!
15:58Oh, yeah.
15:59You're going to get the baby!
16:00You're going to come to him with the baby, the baby with 60 children!
16:03He could be able to show his children.
16:05Y'know what's wrong with this would be the only thing about the child's children who were not allowed to become a child's children.
16:10He's this.
16:10What does it mean, they're going to meet him?
16:14So, he doesn't see anything about you, he was looking for the child.
16:16He was looking for Alfred, the child that comes from 5 years.
16:18He will give them a paper and he will go to her ahead and he will pass it to her
16:22He will go to her husband and he will pass it to her husband and he will tell her
16:24And he will not know what he has in the paper
16:26The VP will take the paper and then he will take it to her
16:28And then after it will pass it to her Alfred and then he will be in the paper
16:30It's because the paper was very easy to use
16:33The children who are able to use it for a few seconds to use it
16:35Hedgehog's in the paper, it will be 5 days only
16:37But the 5 days of those will change his life to be able
16:40The baby is a big thing, the adult
16:42If you have these 5 days in the paper, it will not have a bad idea
16:45But the coincidence that when the children have 5 years to use it
16:48Heachty عليه كإنه زمن طويل جداً
16:50أبدي
16:51Hechcock هيتخلق جواه رعب من السلطة
16:53سلطة زي سلطة البوليس
16:54أو سلطة زي سلطة الأبوان
16:56ها يجيله زعر من وفاجئات
16:57هيخاف ياسق في أي إنسان
16:59هيقول إن الخوف اللي في أفلامه هو الخوف اللي عاشه كطفل
17:02مشكلة إن الخوف Hechcock مش هيتهبس
17:04مفيش ذنزانة هتقدر تحبس خوفه
17:06الخوف ده هيخرج للعالم كله
17:08Hechcock بسم الله ما شاء الله
17:09هيقدر ياخد أي حاجة عشان يستعرض بيها الخوف
17:13If the fear of the fear of the fear of being, the fear of God,
17:16If the fear of the fear of God is the habit and the habit,
17:18It will tell you to come to you,
17:19I will be in trouble,
17:21If there is a fear of the fear,
17:22or if there is a fear of the fear,
17:23And there is a fear of looking at the fear of God.
17:26Give us, my beloved friend,
17:27to understand you the moment to reflect the light of the image.
17:31When you ask about the movie about the film,
17:33you say about it in a way.
17:35North by North West.
17:36I'm sorry, my friend,
17:37I'm going to have to go and tell you,
17:38Business man,
17:39I'm going to be a very good business man,
17:40he's going to do a lot.
17:41and in the middle of the day,
17:43this person is a real person
17:45he will move to a couple of years
17:47and he will say to the film
17:49I don't know anything else
17:51this film will be reproduced by one of the most important things
17:53and will be able to do it
17:55and will become a real person
17:57and will not know what he will do
17:59the film was a great film
18:01to make a new person in the world
18:03he will decide to make a new person
18:05to make a new person
18:07and he will not put it in a new person
18:09it refers to waller, and it alsopects
18:12attention to the
18:26because this is a
18:33or fingernail
18:38citizen!
18:39No, no stupidity!
18:40No, no Valentini!
18:41He's got a vih
18:46There's a hait.
18:47He's going to move with the Arabian
18:49and the Kurds are going to show us
18:51That the Kurds might be able to come the Arabian
18:53He may have to do it off
18:54He's going to move with the Arabian
18:55and heThe English
18:56He's also got a strong Uten
18:57The Arabian, the stark and the star
18:59The Arabian, the most powerful
18:59and one of them is a little
18:59Why the trying to get caught?
19:01Which would he tell us
19:02That's what he said
19:02He's going to be
19:04And he's going to be
19:05And he's going to be
19:06And he's going to need
19:07He's going to have you
19:08B.I.N.E.N.E.N.E.,
19:12A.C.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E.N.E. puˌ upostatel
19:16on
19:17Sekoudoud
19:19Micro
19:26wj Fore h
19:31This one's been on the rain, so the baby, and you get to move on to the other side.
19:34Then the baby, you get to move on to the other side.
19:35Like the baby with a child, you get to move on the opposite side of the badminton's side 6
19:38There you go, Azize, you get to a simple example between the other side
19:41and you get to look at the other side, the other side, the other side.
19:43You get to the subject of the driver behind this side
19:44and we can see if there is no action, it's a way to turn it on
19:48and we can see how to make a new driver.
19:52But the baby is still a good guy.
19:53But the baby is going to say that it's not easy to move on.
19:55This one is really good in the way it's a new driver,
19:56because it's a little driver in my own,
19:58it's not easy to move on to the side of our side,
20:01You can imagine that that person is ready!
20:03A little jazzy little man is rolling out the test case with a
20:05and it is getting the test case
20:07And the camera would focus on the letter
20:09I am shaking with the baby side of the camera
20:12Because it's obvious that the letter is not a dangerous
20:15But at the moment when the letter is allowed to get the push
20:16Because it seems to be a bad man
20:18And this is the next chapter
20:20I have seen you in this time
20:23If you see you there's any trace of action
20:24You can find that the one is bad
20:25You can see the tear from the beginning
20:27A regular driver is in front of you
20:29But it is still in front of you
20:30and it was too much like that
20:31not the computer, for example,
20:33so what is going on for someone who has hit that hit that hit
20:34so we have to look at it
20:35It's a good day
20:36It's a smart animal
20:36It's a good day
20:37It's not what I want to be afraid of
20:38it's another smart way
20:39and it's like something that's better
20:40and it will be like this
20:41This is what we're going to be afraid
20:41It's not anything we feed
20:42I mean it is a good day
20:43I'm scared of it
20:44So yeah, it's the same thing that happened to have got home
20:46I am not
20:46it's not just like any other son
20:48or any other son
20:49that the danger will come from his father
20:50I don't know why
20:50I am afraid of it
20:51I'm afraid of it
20:52I'm scared of it
20:52But not a lot of people
20:52Well, this is a
21:03.
21:07.
21:11.
21:13.
21:16.
21:22Anyway, it takes a chance with the fire.
21:24But the fear...
21:25... Whitel 생활 with it.
21:26At the same time you will find some way to get to.
21:28Every time the fire willруж it.
21:31We will return to the fire.
21:32We will be going to the fire.
21:34Now we will go home to the fire.
21:37We know how it can be a force.
21:40And we will be able to stay there for the last minute.
21:42But of course, we will be able to see each other the way.
21:45After that, the Arabian was possible to continue to break it.
21:47We will go back to the first time the fire.
21:49And now we have to go to a close list of these films
21:52The battle점 will take on us as it will be able to survive
21:55And here as it is, we will go with each now and we have to feel latin
21:59And we will be able to check you out
22:00And we will hope in which we will need to help you
22:02The battle on the next stage is to have come on
22:04After the end, the battle is come to our enemies
22:05And we will get into this
22:08So let's get away from the times of our franchise
22:09But it will be the way you will go to the Arab world
22:10But this is the way to account for example
22:12When the title is gone
22:13And now we have to throw a pick up
22:15But it is a situation over what you do
22:17But if you have an international experience
22:18I'll put myself and put it in the way I'm afraid
22:20This is the solution that happens here
22:23It's a way to be the only one
22:25If I thought of it, I would say that I didn't say anything about this
22:28I didn't say anything about the origin of the ship
22:29I didn't say anything about the ship
22:30I didn't say anything about the ship
22:32I didn't say anything about the ship
22:34It's not important as I said to him
22:36He's the same, he's not aware of it in a way
22:38But the same thing I did, it was the most important thing
22:40And it's the point that the ship was called the Magafen
22:42It's called the Magafen
22:44It's not important to me
22:46and not be important!
22:47or we know how to do it for a minute
22:48and we know that it is not important
22:49like the village of Hazzle Oom
22:50what's in it?
22:51what's in it?
22:52what's important thing to do
22:53but not to be important
22:54here's the one thing to say
22:56isn't important for a matter of fact
22:57what's happening?
22:58like for example
22:59if you look at the film
23:00you'll find such a piece of paper
23:01which was all the people that had to meet with her
23:03in the film Pulp Fiction
23:04all the people who had to meet her
23:05and didn't see what she had to meet her
23:06but it's the one who had to meet her
23:07and the other people had to meet her
23:08and they had to meet her
23:09but we can see what she had to meet her
23:10but we're as much as we had to see
23:11It's important that it's important, meaning that it's important to the film.
23:14So if it's important, in the film North by Northwest, the Magafin in our lives was about a microfilm.
23:19All people who have been able to do it for them, the microfilm is not important.
23:22And we know what we know about.
23:23The important thing here is the impact.
23:24The impact.
23:25And the most important thing is the impact.
23:26And the most important thing is the perception of the film.
23:28The mystery is the intellectual process.
23:30And the suspense is the emotional process.
23:32The policy is an action.
23:34And the action is an action.
23:36So that's how much it's going to be called?
23:39What do you call it?
23:40The Master of the Spence, not Master of Mystery,
23:43لأنه بيركز على المشاعر.
23:44أخبردك يا عزيزي أن احنا بس الناس فيلم زي 7 بيعمل تربيوتية لفيلم HD COKE.
23:49التربيوتية يا عزيزي هي تمسيت المخرجين على بعض في أفلامهم.
23:53سبعة الخير يا عام HD COKE.
23:54مساء الخير يا مستر سبيلبرج.
23:56حبيبي عمان هولن ما سيلي عليكم على نسيجك الزمني.
23:58المهم يا عزيزي التربيوتية في فيلم 7 جارت في المشهد الأخير لو تفتكر.
24:03When the film comes to the film, they give a shout out to the Hitchcock
24:06In the film, they will take the film to the film
24:08to the film to the Hitchcock
24:10At the end of the film, they will know that the film is not from the Hitchcock, but not from the Hitchcock
24:13but from a simple way, like the Hitchcock
24:16I'm not sure how to go to the film, so I'm going to show you the film
24:18so I'm going to show you the film
24:21I think that the topic is easy
24:23The entire thing is like Hitchcock
24:25There is a lot of people who have seen it
24:27who have seen it like Hitchcock
24:29For example, we will see a film like Rube
24:30and we will find that Hitchcock is in the middle
24:32So the film goes for the first issues in the film
24:33and realistic shows that the film will provide them for the film
24:35but the tweaky people will do it from the tournament
24:37and will be able to ques all theumen
24:37in the fourth interactions
24:37and will be able to better
24:38and will engage the other身 of Hitchcock
24:40And he will go to Hitchcock
24:41so they will take téléphone back
24:41so you know what's the base rapport
24:42and you will find it
24:44In a spot
24:44Hitchcock
24:44He will be sure you tell us
24:45about the war
24:46and it will only die on the first ones
24:46and the latter will be serious
24:47ava
24:47How did you make up the last event?
24:48So you can't tellアナ
24:49As far!
24:50In the film, if you see in the front office
24:51that's the film it comes back
24:53film one location
24:54jeath
24:55film、 when It happens
24:56When you look at any cinema cinema you know in the movie, someone is a fan of the rocker.
24:59What are you doing?
25:00That's the only one that has the rocker.
25:01And the rocker, as you see, is the another one that has the rocker.
25:04Because you can't see the rocker.
25:06And you can't wait to see when you have the rocker.
25:07You can't remember. I don't understand.
25:09That's how you look at it.
25:09You can't see it in the camera.
25:10You can see the camera.
25:11What happens?
25:12You can see it in the cinema, we call it the single take.
25:15And so, as you see, that this was a good time for you to be able to do it.
25:17Because of the film, it was 10 minutes to change.
25:19It's gonna have to get cut before 10 minutes to finish what happens.
25:21HeechCook, yeah, you are trying to get to get a bit of a disaster with the abtals,
25:24and you feel like the fear of them,
25:25without any one of the solutions that happened.
25:27You're also thinking about it.
25:28You know more than all the people.
25:30You know the way the people are and now are like what happened.
25:33You're also trying to get a problem with anyone else.
25:36Come here, HeechCook.
25:37You can't feel like it's a cutscene.
25:39Look at that camera.
25:40It's like a cutscene.
25:42It's like a cutscene.
25:43It's like it's a cutscene.
25:45Or here.
25:45We'll see the kill.
25:46And it's like the cutscene.
25:47It's like the cutscene.
25:49But it's like the cutscene.
25:50because Hitchcock will change the door to Natural Edit
25:54In the way, the way it is moving to the battle and theук of his heart
25:58By the way, Hitchcock will change from a place called the triangle
26:01and the wall to the left and the left and the left
26:03because the way it is happening is not the same as the left and the right.
26:05But the question is why Hitchcock did all this?
26:07Hitchcock said if it's with you, it's with you, it's with you.
26:10Then there's a coincidence.
26:11But if you know that you have to see you in the middle of the triangle
26:14the time that the characters have been eating with you
26:17without being eating with them, it's called the hell.
26:19This is his name?
26:20Suspense
26:22Shuiq
26:23That's why you know the information will happen
26:25against you
26:27But the personality's are on their backs
26:28They don't know anything
26:29They will be saying to them
26:30And they will say to them
26:31They will be asking them
26:32Hey, Azizi
26:33We can return to another film The Drop
26:34That's a good film
26:35Not the kill
26:36But the very simple thing
26:37The killer will speak about the right
26:38and the camera will not be a good one
26:39But at the same time
26:40There is a big thing that's going to happen
26:41because they are not very well
26:42The killer of the killer has a good end
26:44The killer of the killer
26:45That's a very similar one
26:47The killer of the killer
26:49The first thing about the
27:18We're as agtus, in order for that, but it should only happen to be in this music!
27:22Because if any of youisierung did not come to film!!
27:23The film came to act yesterday and Dave in fact.
27:25We were talking about it however we hate when we
27:30Wow!
27:31Perhaps it wasn't like a television family.
27:32Youoms are encouraged, not as a male student show.
27:34You're in fear of alguém and you'll listen to another one to get it out and try it out.
27:39Her love Sister, we are seeing this together.
27:40The hydrogen wave is aested person coming in, which is not ideal to be seen.
27:43And the recorder will be grMY.
27:44We have a camera camera.
27:46We're only seeing this which we can see
27:48The only ones you watch
27:49What do you think?
27:50Nope!
27:51Every film you watch the video
27:52And you start looking at a positive
27:53So that you've used long takes
27:54Long take
27:54Long take
27:55As for example, the film war
27:56?
27:56With 1917
27:57A film Birdman
27:58Or the film man
27:59Who will be the one who did he
28:01When he did he
28:02He can dance his obliterate
28:02All the things this will be possible
28:04This film was made to be an alternative
28:04is Alfred Hitchcock
28:05This film Robb
28:07It's been in 1961
28:09Still, the Italian
28:12of which turned on
28:13From California
28:14And from the last few years
28:15And from the last few years
28:16from the old men
28:16and by the young men
28:17It's going to end up and end up and end up and end up and end up.
28:20For example, the whole thing is that it's a nightmare.
28:23But it's going to be a film film Birds.
28:25By the way, it's going to be clear and clear and clear and clear and clear and clear.
28:30Like, for example,
28:31is it going to be released at the end?
28:33Is it going to be released at the end?
28:35Or is it going to be released at the end?
28:37There's no question.
28:38Say film Robb like this.
28:39We're going to kill you from the first time.
28:40We're not going to do this.
28:42This guy has a lot of different ways to do this.
28:44I'm going to show you from the end.
28:46I'm going to tell you.
28:47The people who are going to show you or are going to show you.
28:48I'm going to show you.
28:50By the way, Azizy, one of these from the end of this episode
28:52used to be released in a series of videos from the show.
28:54This episode of Chernobyl America.
28:56When we talked about the complete numbers of the U.S.
28:58that were on the U.S.
29:00We all know that there is no one at the U.S.
29:02which was on the U.S.
29:04but we let you know that the U.S.
29:05is what happened to you
29:07that you're going to be able to make sure you know
29:09the complete numbers that didn't happen to us.
29:10They were going to do it like this.
29:11We all know that there is no one at the U.S.
29:13When you let your U.S.
29:15you let me know if you want to ask the U.S.
29:16or not?
29:17You know what happened?
29:18It's not going to happen.
29:20I'll tell you, Azizy, it's not easy.
29:22Not easy, it's easy.
29:22I'm not a bad guy.
29:23I'm not a bad guy.
29:24It's too bad.
29:25Here, Azizy,
29:25Hitchcock will destroy an illegalitorial.
29:27Will destroy an attack of the U.S.
29:29Hitchcock will destroy the U.S.
29:30It's a normal way to the U.S.
29:32and when that's normal, it will come to the U.S.
29:34What happens when we see the things that we see every day
29:36and the U.S.
29:37what happens when we see it?
29:38What?
29:39What is the U!S.
29:39In the U.S.
29:39The U.S.
29:40We see the U.S.
29:40The U.S.
29:42And within them, the fives of the fives of the fives.
29:43The big thing, despite the fives of the fives, is that it is important in the fives of the fives of the fives of the fives.
29:47In the movie, it will be a gift of the fives of the fives of the fives in a secret and a different way to see the fives.
29:52To, what is wrong?
29:53To get rid of the fives of the fives of the fives!
29:54Yes, I have武 Uحمite.
29:54This is a very important thing in the humanism on the fives.
29:57It's a very important thing to think of.
29:59But the world is a very important thing.
30:01Yeah, I'm not talking about the cinema is important.
30:03No, no!
30:03It's a cinema.
30:04You can see the problem.
30:05You know what you're doing?
30:05that you can see in the movie.
30:07Well, that's the thing.
30:09That's the thing you know.
30:09I'm gonna talk to you.
30:10I told you, you're gonna talk about it.
30:12It's true.
30:13In the universe, we're going to talk about it.
30:14In the universe, we're going to talk about it.
30:16It's because of the things we've done with 60 years
30:17that we've done it,
30:18that's right, it's going to be a part of our world.
30:20It's a part of our world.
30:20It's hard to say, it's hard to say.
30:21So here, it's going to be a question,
30:22how does it spill your skin and your skin?
30:24It's not gonna have any more.
30:26There's no control.
30:26There's no control.
30:28There's no control.
30:30There's no control.
30:30In every way, we'll see a lot of things.
30:35Maybe he knows what they can do
30:38If he watches the picture, what havent achieved
30:42So how did the picture happen?
30:44To do that, this is to keep the picture
30:47This work has been supported by this picture
30:52The picture of the picture, the picture the picture is there
30:55This picture comes before it comes, where it is
30:57With a third and third one, when the picture appears
31:01Then this is where the picture appears, where the picture appears
31:03No! They are accustomed to the body
31:05What are they?
31:06..the92'...
31:08..the92みたい
31:08...the92みたい
31:08..the United States was able to go and live
31:09..and then they have any….
31:11..and the kids are really excited
31:12..and the kids in the league
31:14..so they will still come to their own
31:17Until they come to their home in the same way
31:19..they will have their own
31:20The camera will come here in the sky
31:21..and they will take it
31:22But in the past, they will be able to see the people
31:24..and the kids see it
31:24..and they will come and participate
31:25..and they will play it
31:27The fact is that it is founded in the future
31:28..to be able to film the cinema
31:29..this thing isętly
31:30..so to make it to the cinema
31:31..theis who are the characters in the other way
31:33You know you're ready to go now, you're ready to go.
31:36You're ready to go.
31:38You're ready to go.
31:40There's no way you're ready to go now.
31:41It's not like the fucinted.
31:44The last one isn't a war or a war,
31:46but you're not mistaken.
31:47But the last one is,
31:48is that it's a way to run through the run by the way it moves,
31:51and it's a way to run through.
31:53Ah, you can do it,
31:54you make, you know,
31:55a simple, simple,
31:56easy,
31:57and easy to get there.
32:00You can do it again from the other side.
32:02The problem starts to burn
32:06And there's one who turns out
32:07The abjord is coming in the usual
32:09I'm like this, I'm Vermont
32:11I'm not very vague
32:12At least here, bonfire
32:13If there's a good fight
32:15It's a good fight, there's a good fight
32:16That's a good fight
32:18Yeah, that film quite less
32:19The world is working on it
32:21On the channel
32:23And you get to it
32:24And you're going to read that
32:25And you're going to read it
32:26With you at least
32:27Don't believe this
32:28If the abjord
32:30You are working on it
32:31The但 화�er
32:31and the camera will give them and give them a look at the house
32:34in an example
32:35that's what the earth is being killed, not the sheep
32:37The Arabian will take the same way to the end
32:39and we will start making the story of the people
32:41The only thing is going to be a human in every film
32:43is that the film will start and end
32:45and I don't know why it's because of the story of the people
32:48I don't know if this is the whole thing is in the city of California
32:50or the people will go to the Arabian
32:52and will be able to see the world all over this
32:53He is actually the real thing
32:55The actual thing is now is going to be able to see
32:56why there are some of the people in California
32:58who didn't come from home to the house
33:00After a decade, this film made it possible to convert to a film
33:03that made this film all the time from a subject
33:05because it was a major thing from the daily film.
33:07Like, when we go into the playhouse
33:08and get to the gym to our friends with us
33:11and we're not expecting that they're in the same way
33:13during the past, we're going to be able to feel the beautiful and beautiful
33:15and beautiful
33:17This film is obsolete.
33:19No!
33:20We can't wait to get no better!
33:21The house that you go to the house,
33:23we're going to be making no better!
33:23Only the house who you go to the house
33:25can get one of those who会enn name you!
33:27Hitchcock, yeah, Azizy,
33:29he came to Hollywood in 1939
33:31with the beginning of the word in the word 2
33:33God bless you, God bless you.
33:35He said, yeah, Ahmed, this is a strange thing.
33:37I'm not sure.
33:38I feel like the world's famous for a long time.
33:41I mean, the world that I know is better than the world that I know is better than the world that I know is.
33:45Like, Azizy, the Englishman's Englishman's other than the world's famous.
33:47Alfred Hitchcock will be able to make the world's famous in America
33:50and will see that this is the British one who came to the world in the world.
33:54So, Azizy,
33:54that the Academy won't be able to make a film Hitchcock.
33:57and there's some reason why we make a film Hitchcock's Englishman's Englishman's favorite
34:13...as it can be done?
34:17Hadithsulmdena.
34:21Ahmed, it's done.
34:25Ahmed, you know what?
34:26We can continue the whole video to show you in the way,
34:28I can't communicate with you.
34:30This is gonna be an excellent question,
34:31from the film Letitigo.
34:32Letitigo mean it's emotional about the person's character in the family.
34:34And that's why it's not in particular.
34:35So it's a signal that the planet and the other planet is in the world.
34:37It's a car to the imagination.
34:38Because the planet is in the world's care.
34:39It's called Obsession.
34:40It feels like the planet's population around you is doing it.
34:43But it's a fun idea!
34:44It's a fun idea that you are living in it.
34:45Vertigo is a human being.
34:47The future is the body.
34:48And the future is the body.
34:49And the other two is asking about it.
34:51And they can't change it until the end.
34:53It's to the end of the month's days.
34:54Alfred Hitchcock
34:55Mلك الرعب
34:56Mلك suspense
34:57والأكشن
34:58وبيخوفك
34:59وبيقعدك
35:00وده يا عزيزي
35:01لأن البطل بتاعنا
35:02بيخاف من المرتفعات
35:04البطل يا عزيزي
35:05بيقع في حبه واحدة
35:06شبه حبيبته
35:07والهوس يا عزيزي
35:08يحولها لحبيبته
35:09في شكلها
35:10وليبسها وليون شعرها
35:11السؤال هنا
35:12إزاي مخرج يقدر يعبر
35:13بطريقة بصرية عن هوس
35:14الهوس ده حاجة مش مادية
35:16أعبر عنه إزاي
35:17أعبر عن أمه إزاي
35:18وذكرت فيها عزيزي
35:19هتجد أن احنا أمام حدوتة
35:20عاملة زي الدائرة
35:21ماضي بيتكرر
35:22وبيسجن البطل جواه
35:23اللي بيحاول يحول
35:24الحاضر للمستقبل لنسخة من الماضي
35:27دائرة مقفولة أو دوامة
35:28بتبلع صاحبها
35:29هشكك
35:30كان عارف أن الأهم من الحدوتة
35:31الإحساس
35:32وده اللي هيحاول يوصله لك
35:33من أول لحظة
35:34من التتر
35:35من أول ما بنشوف
35:36عم دورة
35:37بتخرج منها دوامة سبايرل
35:38وبيطلع عنوان الفيلم
35:39حتى عزيزي اللي بتسمعه
35:40عمر عن دوامة
35:41لذكر التتر
35:42نغمتين
35:43نغمة بتتصعد
35:44ونغمة بتنزل
35:45نوتات متكررة على بعد
35:46كأنها دوامة مقفولة
35:47لما شكل معين
35:48أو فكرة معينة
35:49بتتكرر جواه الفيلم
35:50بتسميها موتيف
35:51موتيف الدوامة ده
35:52ألفلد هتشكوك
35:53هيكرره في الفيلم كذا مرة
35:54فأبسط تفاصيل
35:55زي تسريحة شعر الممثلة
35:56أو حتى
35:57خراية الأماكن
35:58طول الوقت
35:59حاسس إن الفيلم عبارة عن جالسة تنويم مغناطيسي
36:02بيحبسك جوها دايرة
36:03بس زي بقى كمخرج تزود هذا الإحساس
36:05عن طريق الأحداث نفسها
36:07هيشكوك عزيزي
36:08هيعيد الفيلم حرفياً
36:09كل مشاهد البطل اللي بيرائب فيها
36:11حبيبته الأولنية
36:12هتتعجل هي هي
36:13بس هو بيعمل ايه؟
36:14بيرائب شبيهة حبيبته
36:15فكل حاجة حصلت
36:16هتتكرر قدامك
36:17هي هي
36:18كأن هيشكوك بيقولك
36:19بص يا ابني
36:20أنا عايشك حياة البطل بتاعي
36:22هخليك مهووس
36:23هحسسك بهذا التقرار اللي هو حاس بيه
36:25عشان تقدر تفهم هوسه
36:27في المشهد اللي هتحول حبيبته الجديدة
36:28بشكلها
36:29وصبغة شعرها
36:30لشكل حبيبته اللي ماتت
36:31هتلف الكاميرا حواليهم
36:32عشان تعرفك إن دا مش مشهد رومانسي
36:34لا
36:35ندايرة وتتعاد
36:36أكبر دليل على إننا محبوسين
36:37جوه وجدان بطل مهووس بفكرته
36:39في الوقت اللي الأحداث فيه هي هي
36:41تقنية الدوري زوم
36:42هتتحول بعد كده لأعلامة مسجلة
36:44باسم آفريد هيتشكوك
36:45بصوا عالسين معي على المشهد دا
36:47انت بتشوف مشهد عادي
36:48ولكن فجأة الخلفية بتبعد
36:49في الوقت اللي منظور الشخصية سابعت في مكانه
36:51فانت كمشاهد بتحس بدوخة
36:53مشكلة هنا مش في الكاميرا
36:54المشكلة في البطل اللي منظوره مش هوه
36:56بسبب هوسه
36:57مجالة سايت أن ساوند
36:58وصفت فيلم فيرتيجو
36:59بإنه أعظم فيلم في تاريخ السينما
37:01رحلة بصرية وصوتية في دماغ المهوس
37:04رحلة نفسية داخل عقل مضطرب
37:06كل الأفلام النفسية اتأثرت بفيرتو
37:08اللي سكرسيزي نفسه قال عليها
37:09ان كل ما بتشوفه
37:10كل ما بتعلم حاجة جديدة
37:11يخرب بيتو بعشا كادرت أمه
37:13مش ممكن مجنون
37:15ممكن يا عزيزي أن نلخص فلسفة هيتشكوك
37:17وتحديدا نظرته للمتفرق
37:19بفيلمه الأهم
37:20رير ويندو
37:21لا فيلم يا عزيزي
37:22ونقسم لك بالله داخل فيلمه في الحلقة إن شاء الله يعني
37:24بيدور حوالين راجل رجليه مكسورة
37:26ما بيقدرش يتحرك
37:27ووسيلة تسليطه الوحيدة هي مراقبة جيرانه
37:30البطل هنا يا عزيزي
37:31باز التعبير للمجازي الجميل
37:32هو زي المتفرج
37:33متحاصر في كرسي السينما
37:35عاجز عن التدخل في الأحداث
37:37وتغييرها
37:38زي المشاهد في السينما كده
37:39قاعد بيفرق وبيشاهد
37:41ولكنه عاجز عن إنقاذ البطل اللي محتاج لمساعدته
37:44البطل بيشوف العالم من مربع الشباك
37:46والمنتاج هنا هو حركة الجيران من قوضة للتانية
37:49والمتفرج بيشوف الفيلم من مربع الشاشة
37:51والكاميرا بتقطع من مشهد للتاني
37:53البطل مش قادر يقدم لك إجابة
37:55ولكن قادر يحسسك بالتشويق
37:56هو ده يا عزيزي هدف هيتشكوك
37:58انسى الإجابة
37:59حس بالتجربة وقلق معايا
38:00لنت هتفهم الصورة كاملة
38:02ولنت قادر تدخل في الأحداث
38:03هيتشكوك
38:04تاني يا عزيزي
38:05هيلخص مدرسته في السينما
38:06إنه لا يوجه ممثلين
38:08وإنما بيوجه متفرجين
38:10نقول تاني
38:11نقول تاني
38:12هيتشكوك
38:13لا يوجه ممثلين
38:14بل يوجه مشاهدين
38:16المشاهدين اللي وصف تلعبوا بيهم
38:18زي المزكاتي اللي بيلعب على آلة موسيقية
38:20وتحديدا على حسب وصفه
38:22يعني آلة اسمها الأرغد
38:23كأنه بيلعب بآلة موسيقية
38:25مصر عزيزي على أشهر مخرجين في سمنة الحالي
38:27كريستوفر نولان مثلا
38:28مخرج محبوب ومكروه
38:29لنفس السبب
38:30إنه عزيزي بيلعب بالمشاهد
38:32في فيلم انسبشن
38:33بيقدم لنا عالم موازي
38:34بين الحلم وبين الواقع
38:36كل حاجة ممكن تبعواها
38:37دي نفس اللعبة اللي هيتشكوك بيلعبها في فيرتجو
38:39البطل بيطارد الحب اللي ضيع منه
38:41وهيبدأ يشك في كل حاجة حواليه
38:43في انسبشن البطل برضو أسير للماضي
38:45بيطارد حبه القديم
38:46وبيعيش الدوامة نفسها
38:48حكايتنا يا عزيزي
38:49بدأت دمشهد مرعب في فيلم سايكو
38:51لو اعتبرنا هذه الحلقة كيف تصبح بمستر أوسر سبينس
38:54فدلوقتي أهدرك شفلك
38:55إن قاتل البطلة في الحمام
38:57هو نورمان بيتس
38:58الشاب الخجول الودود الوديع
39:00الوضيع
39:01اللي بيدير الموتيل بمنتهى الإجتهاد والدأب
39:04ولكن خليني أتويست البلو تويست
39:06وقولك الحقيقة
39:07إن نورمي مش هو اللي قتالها
39:08هو قتالها
39:09بس مش هو اللي قتالها
39:10ده زي الزاد ده يا أبي أحمد
39:11على أهوة جيرجع من وره
39:13هل إن يا عزيزي أشرح لك
39:14التويست البلو تويست
39:15يا جماعة عشان هي معمول فيها كده
39:17تعملوا فيها كده
39:18طبعاً عزيزي اللي بتده يحط إدي في هدانه
39:20وعمل كده هو
39:21أولاً الفيلم ده أكبر من أبوك
39:22فأنا ممكن أحرار لك الأحداث عادي
39:23يعني كان عندك من السبتينات
39:25ما شفتش الفيلم ليه
39:26الحقيقة عزيزي إن نورمان عنده إطراب هوية تفاركي
39:29عندما هو ماتت
39:30رفض يعترف
39:31إنها ماتت
39:32فضل ينكر واحتفظ بشخصيتها جواه
39:34في لحظة نورمان اتحول لوالدته
39:36كان شخصيتها وأفكارها بيتصرفوا من خلال جسمه
39:38فقررت الأم تقتل البطلة عشان تحمي ابنها
39:41اللي هو هو
39:42اللي هو نورمان
39:43حزيزي لعبة نفسها ممكن تلغبطك
39:45تخيل بقى معايا بمهور السينما
39:46وهم شايفين الكلام ده
39:47وبيتراعشوا من مشهد الحمام
39:49لسه بياخدوا نفسهم
39:50هو بيوقعوا في توسط منقل بستين مينة زي ده
39:52يا ناريسود يعني الودي المؤادة به هو اللي قتلها
39:54كل قتلة المخيفين اللي بيجمعوا بين الحضور الهادي والساحر والكارزما مع الوحشية والتعقيد النفسي
40:04من أول مايك المارس في سلسلة هالوين
40:06لهانب الليكتر في صمت الحملان
40:08سالام سوف لامس يا عزيزي للسير أنتوني هوبكنز صديقنا العزيز
40:11كل يا عزيزي الشخصيات المركبة دي خرجت من هباية نورمان بيتس
40:15يعني يا عزيزي كل فيلم بيعتمد على التشويق بطريقة أو بأخرى مدين إلى عامة هتش كوك
40:20مش بس التشويق هتش كوك علم السينمائيين أن الكاميرا طول بيحكوا من خلالها
40:24مش هاي اللي بتحركهم يقدروا بدولي زوم يشرحوا لنا حالة البطل النفسية
40:28بلعبة بسيطة في المنتاج يدخلونا جوا الحدوتة
40:31أو مثلا بإخفاء إيدة معين يحولوا مشاق متقطعة لمشاهد طويل محبوسين جواه
40:35سنة 1968 الاكاديمية هتكرم هتش كوك بأسكارز فخرية
40:40لأن الرجل ده تأثيره هيبقى أكبر بكتير من أنه ميتاجه له
40:44خلاص ألفة هتش كوك اسمه بقى محفور 53 فيلم يا عزيزي 53 فيلم
40:49في 50 سنة نص قرن غير بيهم تاريخ السينما
40:53برة السينما كلمة هتش كوك يان بقت مصطلح بيعبر عن التشويق والقلق والمتعة
40:57الحدوتة دي هتش كوكية الحلقة دي هتش كوكية
41:00سواء سمعت اللفظ ده في مطش كورة أو في أسلوب كاتب أو في تويستة جوا حدوتها
41:04هتش كوك هيقول المنطق عظيم نعم لايك
41:07ولكن المخيلة أعظم بكثير
41:10عشان كده مخيلة طفلة حبس خمس دقايق في الزنزانة
41:13افتكر الحبسة دي هتكمل على طول خلقت لنا عزيزي فنان عبقري
41:17قدر يحول مخاوفه ومخاوفنا لفن
41:20خمس دقايق من الرعب هيعمله فن يعيش للأبد
41:23بس كده يا عزيزي أخيرا ولايس أخيرا ما نستطيع شوف الحلقة اللفاتت
41:25شوف الحلقة الجاية نزل مصها مصادر
41:27ولو إحنا على اليوتيوب نشترك على القناة
41:29بس كده عزيزي مفيش أي إفة أو حركات أو أي حال
41:32تعرف يا عزيزي هشكوك لما بيروح المحمام بيعمل إيه؟
41:35بيخرج
41:59اشتركوا في القناة
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