CouldnoT

pure art ?

Good one ?

Numele tău: CouldnoT Poziţia ta: I agree with wearing uniform to Children and Teenagers. Argument 1: For the simple reason that it keeps them in school mood and bring some seriousness to schooling activity because in general teenagers and kids are full of energy and sarcastic thus they cannot focus on their education and will feel free to mess and turn it into a Disney land. Aargument 2: I don't think the first argument applies to adults because they are serious enough to know what schooling is. In condition they wear formal. Alte precizări: -

Hello @D J C, 1. What do you mean by this opcode? I couldn't find such a thing in any documentary. else if 0039: 2@ == 1 This should work {$CLEO} thread "Service" repeat wait 0 until SAMP.Available() 0B63: "servicee" 0B34: "servicee" @Service WHILE TRUE WAIT 0 if 0B3C: samp is_dialog_responded id 1000 button 2@ list_item 3@ input_text 0 then if 0AB0: is_key_pressed 27 then 0B47: samp close_current_dialog_with_button 1@ else if and 3@ == 0 2@ == 1 then 0B3B: samp show_dialog id 1001 caption "Confirm" text "Do you agree to continue ?" button_1 "Confirm" button_2 "Exit" style 0 4@ = 2 end if and 3@ == 1 2@ == 1 then 0B3B: samp show_dialog id 1001 caption "Confirm" text "Do you agree to continue ?" button_1 "Confirm" button_2 "Exit" style 0 4@ = 3 end if and 3@ == 2 2@ == 1 then 0B3B: samp show_dialog id 1001 caption "Confirm" text "Do you agree to continue ?" button_1 "Confirm" button_2 "Exit" style 0 4@ = 4 end end end if 0B3C: samp is_dialog_responded id 1001 button 2@ list_item 0 input_text 0 then if 0AB0: is_key_pressed 27 then 0B47: samp close_current_dialog_with_button 1@ else if and 2@ == 1 4@ == 2 then say "First works well." end if and 2@ == 1 4@ == 3 then say "Second works well." end if and 4@ == 4 2@ == 1 then say "Third works well." end end end END :Service 0AC6: 31@ = label @Service_list offset 0B3B: samp show_dialog id 1000 caption "Menu" text 31@ button_1 "Call" button_2 "Exit" style 2 SAMP.CmdRet() :Service_list hex "First" A "Second" A "Third" 0 end ret 0 I have replaced all your $var with a normal int@ variable, because they will mess up with other mods having the same variable name. And corrected your conditional structures syntax, because you did close the WHILE loop at the first if structure. Make sure you understand the algorithm well.

I used to do it ?

Nu-mi judeca româna!

Pt ca pur si simplu îti împartasesti gândurile reale fara sa fii atent ca ar putea rani pe altcnv, dar eu nu ? Come on! Acest ideea nu este atât de rea ?

Nickname: CouldnoT Representation and meaning: A gorgeous view of the flag encountered with palms. Camera used: Apple phone Date and location: 18 November 2020, Tunisia ?? Photo: Other mentions: This picture is taken at school.

LMAOOO ???

You just need to work on a .dll plugin and rename it .asi and it will be loaded when starting the game if you have .asi loader. You don't have to deal with predefined opcodes from blasthack library. .dll can be compiled by every C++ compiler as the famous Microsoft Visual. I think that this video might be great for you :

That was good ??

Even as COVID-19 infections seem to reach new heights on a daily basis, theatrical grosses remained stable; the top 10 accounted for a little less than $11 million. By every other macrostatistic, however, the results remain unsustainable. Of the 3,000 complexes currently open, about half with eight or more auditoriums, the average weekend take is $5,000-$6,000. In normal times, the average would be around $50,000. Aggregate grosses are around 10 percent-15 percent of normal; this weekend last year saw a top 10 of $90,000. The disappointments this weekend start with “Freaky.” Trying to predict what the Universal and Blumhouse Productions horror comedy would do was an inexact science; in recent weeks, $4 million has been the ceiling for a wide release. The hope was a more mainstream entry like this one could see $6 million or better. At $3.7 million, it didn’t. Is it the increased resistance to going out? Awareness that it will be available on premium VOD in three weeks? Horror-film burnout? Lack of interest? Most likely, a combination of all four — but the net impact is an argument that it is suicidal to release a film in theaters unless it’s meant as a loss-leader strategy. That could be the case for “Freaky” as well as two other Universal titles that took #1 the last two weeks: “Let Him Go” and “Come Play,” both which also go PVOD soon. Those three titles provided about 60 percent of the total gross this weekend. Amid the disappointing numbers, “The War with Grandpa” stands out as a relative exception. It held on to the third spot, with the comedy only falling 12 percent and passing $15 million total. It has a shot at hitting $20 million, something three titles (led by “Tenet”) have achieved this year. Certainly, theatrical exposure will help it become a profitable release in difficult circumstances. Beyond that, there is no case to release films now. Whether they wait for better times or seek alternative platforms, either is disastrous; trade association NATO made it clear that theaters are on the brink of collapse and bankruptcy. Another view on the insensate marketplace lies in several key specialized releases. This weekend marked attempts by Neon, Sony Pictures Classics, and Netflix — all top providers of adult, awards-oriented films — to reach arthouse audiences and beyond. Despite generous press coverage, they met near-total disinterest. Per exhibition and distribution sources, all three new arthouse releases — David Fincher’s “Mank” (Netflix), “The Climb” (Sony Pictures Classics), and “Ammonite” (Neon) did similar business. This is not good news. “The Climb” went widest of the three, with 408 theaters, totaling $104,000. “Ammonite,” starring Kate Winslet and Saorise Ronan, was in 280, for $85,000 and a slightly higher per-theater average. Netflix, per usual, reported no grosses and blocked release of individual theater results. It played around 75 theaters, about half in Canada but none in New York or Los Angeles (the closest were Hoboken and Orange County, respectively). All were in the range of $300 per theater or less for the entire weekend. Wider-than-normal releases, and going nationwide the first week, diluted the totals. Under normal circumstances, they would likely have opened in four theaters in the two key markets, with per-theater averages over $30,000. In the case of “Ammonite,” there’s logic for a loss-leader strategy with its PVOD release December 4 (the same day “Mank” hits Netflix). “The Climb” hasn’t announced any such plans, but the precedent is three weeks is the now accepted window. Here’s what makes these results more concerning: The prestige-title debuts were outperformed by genre releases, some of which are several weeks old. Faith-based sequel “True to the Game 2” (Faith Media) grossed $289,000 in 281 theaters. “The Late Shift” (Sony) expanded to 135 locations for around $150,000. Children’s fantasy “Come Away” (Relativity) managed $108,000 in 475. “Fatman” (Saban) with Mel Gibson, going on VOD this Tuesday, did $108,000 in 259. “Mank,” “The Climb,” and “Ammonite” are canaries in the coal mine for near-term awards hopefuls. Attention certainly is being paid, and others may reassess the best way to release their top titles. Those studios that do stick with their release dates may be viewing theaters as a promotional tool for near-future PVOD and streaming availability. Even as the films feed starving theaters, that approach does not help their long-term viability. The Top Ten 1. Freaky (Universal) NEW $3,700,000 in 2,472 theaters; PTA: $1,497; Cumulative: $3,700,000 2. Let Him Go (Focus) Week 2; Last weekend #1 $1,800,000 (-55%) in 2,458 theaters (+4); PTA: $732; Cumulative: $7,000,000 3. The War With Grandpa (101) Week 6; Last weekend #3 $1,326,000 (-12%) in 2,145 theaters (-203); PTA: $618; Cumulative: $15,229,000 4. Come Play (Focus) Week 3; Last weekend #2 $1,100,000 (-39%) in 1,966 theaters (-217); PTA: $560; Cumulative: $9,290,000 5. Honest Thief (Open Road) Week 6; Last weekend #4 $800,000 (30-%) in 1,843 theaters (-374); PTA: $434; Cumulative: $12,382,000 6. Tenet (Warner Bros.) Week; Last weekend #5 1412 $735,000 (-21%) in 1,223 theaters (-189); PTA: $601; Cumulative: $56,300,000 7. Guardians of the Galaxy (Disney) REISSUE $406,000 in 1,560 theaters; PTA: $260; Cumulative: $(adj.) 363,400,000 8. True to the Game 2 (Faith Media) Week 2; Last weekend #8 $287,819 (+4%) in 281 theaters (+37); PTA: $1,024; Cumulative: $610,710 9. Toy Story (Disney) REISSUE; Last weekend #7 $222,000 (-58%) in 1,360 theaters (-642); PTA: $163; Cumulative: $(adj.) 223,900,000 10. Elf (Warner Bros.) REISSUE $(est.) 270,000 (-%) in 212 theaters; PTA: $1,274; Cumulative: $(adj.) 255,300,000 indiewire.com

Judd Apatow is developing a pandemic comedy for Netflix and will direct, produce and co-write the untitled project through his Apatow Productions. The film will follow a group of actors and actresses stuck inside a pandemic bubble at a hotel attempting to complete a film. Apatow will co-write the script with “South Park” writer Pam Brady. Apatow’s partner Barry Mendel will executive produce the project. Apatow’s directing credits include “The 40-Year-Old Virgin,” “Knocked Up,” “Funny People,” “Trainwreck, “The King of Staten Island” and HBO’s “The Zen Diaries Of Garry Shandling,” which won an Emmy in 2018. He also worked with Netflix on the series “Love,” which he co-created and executive produced. The comedic filmmaker also has extensive producing credits. He produced and developed the television series “Freaks and Geeks,” “Undeclared,” “Funny or Die Presents,” “Girls,” “Love” and “Crashing.” He also produced the feature films he directed along with “The Cable Guy,” “Anchorman: The Legend of Ron Burgundy,” “Talladega Nights: The Ballad of Ricky Bobby,” “Superbad,” “Pineapple Express,” “Forgetting Sarah Marshall,” “Get Him to the Greek,” “Bridesmaids,” “Anchorman 2: The Legend Continues” and “The Big Sick.” Apatow also announced in August that he was teaming up with HBO on a two-part documentary about the late comic legend George Carlin, who starred in numerous comedy specials and appeared on the “Tonight Show” more than 130 times. Apatow and Michael Bonfiglio will direct the project, which will include interviews with Carlin’s family and friends, as well as material from the comedian’s archives and clips from his TV appearances. Apatow and Brady are is repped by UTA, Mosaic and Ziffren Brittenham. Brady is represented by UTA, Mosaic and Sloane, Offer, Weber & Dern. The news was first reported by Deadline Hollywood. variety.com

Lynne Ramsay, the auteur behind “We Need to Talk About Kevin” and Joaquin Phoenix’s “You Were Never Really Here,” is set to direct an adaptation of a Stephen King novel, “The Girl Who Loved Tom Gordon,” an individual with knowledge of the project told TheWrap. The adaptation is set up at Village Roadshow Pictures. Ramsay also wrote the screenplay adaptation with Christy Hall, who created the Netflix series “I Am Not Okay With This.” “The Girl Who Loved Tom Gordon” is a psychological horror story about a nine-year-old girl who gets lost in the woods on a hiking trip with her family. After wandering alone and scared for days, she begins to hallucinate and imagines that she’s talking with her heartthrob, a baseball player named Tom Gordon. Only later does she begin to suspect that a supernatural beast is pursuing her as she tries to find her way back to civilization. Horror master George A. Romero was at one point attached to direct an adaptation of the novel, first published in 1999. The late Romero’s wife Christine Romero will now produce “The Girl Who Loved Tom Gordon,” as will “It” producer Roy Lee for his Vertigo Films banner. Ryan Silbert of Origin Story and Jon Berg of Stampede Ventures will also produce. Andrew Childs is executive producing “The Girl Who Loved Tom Gordon.” Village Roadshow Pictures’ executive VP of content, Jillian Apfelbaum, will oversee production for the studio. Production on the film aims to begin next year. Ramsay’s last feature was 2017’s “You Were Never Really Here,” and she directed a documentary short called “Brigitte” last year. In 2011, she won a British Independent Film Award for Best Director for her film “We Need to Talk About Kevin” starring Tilda Swinton and Ezra Miller. Ramsay is managed by Josh Varney at 42 and her lawyer is Greg Slewett at Ziffren Brittenham. thewrap.com

Director Quentin Tarantino will turn his Oscar-nominated film “Once Upon a Time in Hollywood” into a novel under a new book deal he signed with publisher HarperCollins, the company announced on Tuesday. Tarantino’s deal with Harper, an imprint of HarperCollins Publishers, is for two books. The “Once Upon a Time in Hollywood” novelization will mark Tarantino’s first work of fiction in print, and the book is set to be published in the summer of 2021. The book will not be a straight re-telling of the “Once Upon a Time in Hollywood” story with TV actor Rick Dalton and his stunt double Cliff Booth. The novel will “amplify” Tarantino’s original story and give a “fresh, playful and shocking departure from the film,” according to a HarperCollins press release. It will follow Dalton and Booth’s lives both forward and backward in time. Inspired by the classic movie novelizations that inspired Tarantino, the novel will first be published as a Harper Perennial mass market paperback book, along with ebook and digital audiobook versions. A deluxe hardcover edition will be published in the fall of 2021. “In the ’70s, movie novelizations were the first adult books I grew up reading,” Tarantino said in a statement. “And to this day I have a tremendous amount of affection for the genre. So as a movie-novelization aficionado, I’m proud to announce ‘Once Upon a Time in Hollywood’ as my contribution to this often marginalized, yet beloved sub-genre in literature. I’m also thrilled to further explore my characters and their world in a literary endeavor that can (hopefully) sit alongside its cinematic counterpart.” Tarantino’s second book will be a nonfiction novel titled “Cinema Speculation.” The book will be a deep dive into 1970s cinema and feature essays, reviews and personal writing from the director. “Quentin Tarantino’s literary talents have been in plain sight since his first scripts, but to see how skillfully he endows his characters with life on the page and how he constantly takes a reader by surprise, even one who knows the movie by heart, is to see a master storyteller trying on a new form and making it his own,” said HarperCollins’ Vice President and Executive Editor Noah Eaker. “Once Upon a Time in Hollywood” received 10 Academy Award nominations, including best picture, director and original screenplay. Leonardo DiCaprio, who played Dalton, earned a best actor nod, while Brad Pitt won for best supporting actor as Booth, his very first Oscar for acting. variety.com

They are functions from SAMPFUNCS indeed, and won't work unless you have sampfuncs.asi plugin installed. @Cartofar As far as I'm acknowledged they have basically the same instructions but they are written in a better syntax. I think they are used as metadata to some sampfuncs.asi functions written in C++.They just simplify the work with graphics and dialogs ..memory and RakNet (the network part), I usually find them in scripting tools in Sanny builder, since I didn't script in SCM for a while I guess they should be somewhere here : https://blast.hk/wiki/sampfuncs:start I inform you that this question is related to programming, thus, I'll forward your topic to the programming Question and answers. Thank you for using our section ?

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