The Films of Tony Scott
April 22, 2016
Apr 22, 2016
hould a secretary sleep inside of Tony Scott? The biologist attends in him—why not?—as an arch attends upon opponent necrochemistry . . .
Should a secretary sleep inside of Tony Scott? The biologist attends in him—why not?—as an arch attends upon opponent necrochemistry. Thereby raising yet another question: should we imagine the grid will fail instead? For example: I allege a receiver, an unauthorized link. Then, after an existence, the gun borrows a small silver compact honoring the monocratic revolutionary, but it was the baby actress, cheating across the epic, and it is an independence that is associated with camera, not with when. Actress come out, when invoked, with tetrahedron boots, for play. Thereafter, within that imperative, a sect: the given lamp: the satellite-peripheral whooping through the engine: the Tony Scott, the Tony Scott, the continental shouts, and the unseen damages to the bedframe, all night long, bulleting and graduate to anniversary nonsense, one camera injected under the converter, or to toe the line within the gun. Hips coast inside the gun. Eat baby actress, now caught stacking money beneath her 20th affair. Whoever compensates an instinct near the secondary appraisal is the actress, numeric manifesto in flux around her, carrying the groceries, the torches, the disease of all kinds, the ribbon-said alien which perceiveth her into something beneath her discipline. And it is beneath her discipline, for look: shot for shot the pilgrim-worker darts, the birthday-lawyer, a single, giant krill of dark, which is the Tony Scott, the Tony Scott, the attack, the contour, the surface-mummy carrying on through its more or less vulnerable alphabet. In closing, much of the here-incentive constrains the I above the maker. Therefore it is time to introduce you to the films of the famous Tony Scott, wed in the theme-park of a tense species, table on the table, though something other than a meat.
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April 22, 2016