The Clock 2010 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

After midnight, characters go to bars and drink. Some seek intimacy while others are angry to have been awakened by the phone. In the early hours, characters are generally alone or sleeping. Several dream sequences occur between 3 a.m. and 5 a.m. At around 7 a.m., characters are shown waking up. From 9 a.m. to noon, they eat breakfast and have wake-up sex. As noon approaches, a sequence of action scenes build up to bells ringing in High Noon. The video's pace immediately slows once noon passes.

Between 4 p.m. and 5 p.m., transportation becomes important as characters travel on planes, trains, and automobiles. At 6 p.m., characters eat dinner and have shootouts. In the evening, they attend parties. Around 8 p.m., orchestras and theaters begin their shows. As midnight approaches, the characters become more frantic, throwing tantrums and requesting stays of execution. Screeching violins from multiple clips build up to the moment. At midnight Orson Welles is impaled on a clock tower in The Stranger, and Big Ben, a common sight in The Clock, explodes in V for Vendetta.

Conception

The Clock was conceived in 2005 while Marclay was working on the video score Screen Play. He realised that he needed a way for musicians to synchronise with film footage. An assistant at the Eyebeam Art and Technology Center brought him footage of clocks, and Marclay began wondering if it was possible to find footage of every minute of the day. He kept the idea secret for several years, concerned that someone else would poach his idea. After his partner Lydia Yee accepted a position at the Barbican Centre, Marclay moved from New York to London in mid 2007. There he proposed the film to the White Cube gallery, unsure of the project's feasibility. He received a budget of over US$100,000, covered in part by the Paula Cooper Gallery.

Development

The first several months of production were intended to show that Marclay would be able to find enough material to achieve his vision. White Cube helped him assemble a team of six people to watch DVDs and copy scenes with clocks or time. Marclay himself was often unfamiliar with the source works. They used a Google Spreadsheet to record and search through clips. As the number of scenes available increased, Marclay was able to start working on transitions between scenes. Working in Final Cut Pro, he edited clips together, standardising the video formats and smoothing the audio. He cited Bruce Conner's "odd transitions" as an influence on his editing. Marclay wanted to include more outlandish, melodramatic clips but worried that it would be exhausting over a long period. He instead focused on incidental moments; his head assistant Paul Anton Smith explained that Marclay wanted to show scenes that were "banal and plain but visually interesting." One assistant who focused heavily on scenes of violence was fired, and the remaining assistants began to specialise in individual film genres.

After six months, Marclay presented White Cube with several extended sequences, confident that he would eventually be able to finish the project. The footage began taking up too much capacity, so he worked on two Power Mac G5s with footage split by time of day. Marclay organised files by hour, which became like chapters for him. Each folder suggested different themes to him, allowing him to form loose narratives. He spent three years editing scenes together. Some of the scenes not selected for The Clock became a part of his 2012 performance piece Everyday.

In mid 2010, Marclay recruited Quentin Chiappetta, a sound designer with whom he had worked before, to work on the audio for The Clock. He saved files to disc and sent them to Chiappetta so that the films' soundtracks could be equalised. By September Marclay realised that hundreds of the audio transitions were lacking, with White Cube set to premiere The Clock the following month. Because of his background as a DJ, he did not want to use simple fades between clips. He went to Chiappetta's MediaNoise studio in Williamsburg, Brooklyn, where the two worked on the soundtrack using Pro Tools. In some cases, they created completely new audio for the scenes. During the first week of The Clock's exhibition, Marclay continued fixing continuity errors and working on the audio. The final product used around 12,000 clips. Because of its size, Marclay enlisted professor Mick Grierson to create a program that plays the separate audio and video tracks, synchronised with the current time. The program continues running while a museum is closed so that it remains synchronised.

Marclay made six editions of The Clock, plus two artist's proofs. Five copies were designated to be sold to institutions for US$467,500 each under the condition that The Clock can't be played in more than one location at the same time. The last copy was sold to hedge fund manager Steven A. Cohen for an undisclosed amount. Within a day of premiering The Clock, White Cube received a host of offers from museums, some of which purchased copies jointly. The sale became one of the largest purchases of video art and one of the highest purchases to happen on the primary market. The work owned by the New York collectors Jill and Peter Kraus, is a promised gift to the Museum of Modern Art. In 2011, Steve Tisch pledged the money needed to buy the work for the Los Angeles County Museum of Art. One month later, the National Gallery of Canada and the Boston Museum of Fine Arts, announced the acquisition of another copy. In February 2012, yet another version was acquired jointly by the Tate in London, the Centre Pompidou in Paris, and the Israel Museum in Jerusalem.

Exhibition

Marclay originally considered making The Clock as a public art piece. Ho