And so it was essential to get that relationship between them both settled in those scenes if you see what I mean? So that was key really, in terms of their relationship. And of course she's on the journey, you know what I mean? She loses her father. So there are a couple of very early scenes up front which had to establish that because things happen very fast after that. He being the father, she the daughter, or being an adopted daughter, and that was absolutely key. And that was obviously between her and Sam Jackson. Well, the rare thing is that it had an emotional spine in the story, which I thought worked great. Can you speak about that and how it became sort of the driving force of the film? Jackson's character, the father daughter dynamic of it all. Yeah, there is a great central dynamic between Maggie Q's character and Samuel L. And I think that's probably what did it for her. So there was a lot more to it than just kicking butt basically. The relationship with Michael Keaton, the relationship with Sam Jackson and so forth. I think she felt it was, you know, there was a lot more beyond the action in this film. And I took her on her acting alone, just her performance. I had no clue about the fact she was an action, you know, she had done a lot of action. I mean to be honest, I'd seen a clip of her just acting, not the action. Did you have a part in convincing her to take on the role? So I spoke with Maggie a couple weeks ago, and she told me that she was not keen on returning to the action genre before she changed her mind to do The Protégé. That's always - it was always written like that. So was it always the intention to have the female lead of this film be someone from the Asian continent?īecause obviously with Maggie Q on board, it would take place largely in Vietnam. So when that happened, we sat down and I did some work on the script and then it went from there. But then we set to work, did some rewrites, just updated it because as you say with Gong Li, it'd been a little while before we'd done that and Richard didn't want to do any rewriting until he knew the film was going to be shot. But anyway, to cut a long story short, it didn't happen with her and it was finally, one of the producers, Arthur Sarkissian, took it to Avi Lerner at Millennium, and he said he would do it. God, I can't even remember when that was. When Gong Li was involved, that was way back. Well, Richard did quite a lot of rewriting. What did the script originally look like and how did it change in the years since? You can run the queries directly in Protégé, but the recommended way of doing so is by using a standalone SPARQL processor.So you boarded this film back when it was titled Ana and starred Gong Li. The results of each query are in the screenshots/ folder. This is used to exemplify how someone can query the ontology (and also as an introduction to SPARQL). In this TXT file, we have 10 sample queries written in SPARQL, to our ontology. Our ontology can them be opened on Protégé, and be converted to different formats other than RDF. This automate the process of adding new information to our ontology. This program open the full json files, filter them, and outputs the filtered json. that we specifically want, and then build the ontollogy on top of that. Since the iMDb files are too big, we can first filter the rows which relate to actors/actresses, director, movie title, etc. In this parser, we used a lot of Regexpr to filter valid movies to our ontology, so the code can be a little hard to read. list files, in python 3.6, and the parsed dictionaries are saved using the pickle library in.
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