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Travel data — actual maximum flotation depth, dangerous goods, destination, estimated arrival time for inland AIS — ENI ship number, organization data, dangerous goods, flotation depth, loading conditions, fairway lane, max.
But not all ships are committed to transmit all this amount of data. Small ships like sport boats usually have to transmit only the most important informations.
The MMSI number consists of 9 digit numbers, the first 3 digits give information about the nationality of the vessel. The last 6 numbers identify the individual vessel.
It makes it easy to get in contact with every other ship owner to prevent collisions. But why do ships use another radar system as airplanes or other means of transportation?
The marine traffic is a complete different system as the normal radar system. The AIS system is able to display all the data very detailed.
Just watch the Marine Traffic map and zoom out, then you can see all ships which are currently traveling. All different ships or vessels on the marine traffic map have different icons and colors.
Each icon and color has a different meaning. The arrow means that the ship is currently driving. The arrow also points to the direction the ship is going.
The round point means that the vessel is currently not moving or has anchored. Facing the prospect of life imprisonment for her husband and death threats against her child, Helena decides to step into Carl's underworld and looks into some of his contacts.
She then hires Francisco Flores to assassinate Eduardo Ruiz; knowing that killing Ruiz will effectively end the trial nolle prosequi.
Flores plants a car bomb on a DEA car in an assassination, but Ruiz tells the agents he wants to walk to the hotel instead of taking the car; Helena orders Flores to shoot Ruiz on the sidewalk.
As he goes to pull the trigger, Flores is shot by a cartel sniper for his cooperation with Javier and General Salazar, while the DEA guns him down in the confusion.
Amidst the chaos Agent Castro runs to retrieve the car and is killed instantly, but leaving Gordon and Ruiz unharmed. Ruiz dies in agony with Gordon helpless, effectively ending the trial and setting Ayala free.
During a phone conversation between Ayala and Metzger, Ayala deduces that it was Metzger who originally informed on Ruiz. As Ayala hangs up the phone, Metzger looks up to see two hitmen entering his office.
Suddenly, Gordon bursts into the Ayala home during his homecoming celebration. Bodyguards wrestle him to the ground, but Gordon is able to surreptitiously plant a listening bug under Ayala's desk.
Gordon is forced from the property, smiling to himself, knowing that there is now a new opportunity to trap Ayala and Helena. At one point in the film, an El Paso Intelligence Center agent tells Robert his position, official in charge of drug control, doesn't exist in Mexico.
As noted in the original script, a Director of the Instituto Nacional para el Combate a las Drogas was created by the Attorney General of Mexico in Steven Soderbergh had been interested in making a film about the drug wars for some time but did not want to make one about addicts.
Soderbergh, who had seen the mini-series in ,  started looking for a screenwriter to adapt it into a film. They read a script by Stephen Gaghan called Havoc , about upper-class white kids in Palisades High School doing drugs and getting involved with gangs.
Bickford and Soderbergh approached Zwick, who agreed to merge the two projects and come aboard as a producer. Traffic was originally going to be distributed by 20th Century Fox , but it was put into turnaround unless actor Harrison Ford agreed to star.
Soderbergh began shopping the film to other studios, but when Ford suddenly showed interest in Traffic , Fox's interest in the film was renewed, and the studio took it out of turnaround.
It went back into turnaround. They all turned him down because they were not confident in the prospects of a three-hour film about drugs, according to Gaghan.
Soderbergh had "conceptual discussions" with Gaghan while he was shooting The Limey in October , and they finished the outline before he went off to shoot Erin Brockovich.
Gaghan agreed to rework the role, adding several scenes that ended up in the finished film. On February 20, Ford turned down the role, and the filmmakers brought it back to Michael Douglas , who had turned down an earlier draft.
He liked the changes made and agreed to star, which helped greenlight the project. The filmmakers sent out letters to many politicians, both Democrat and Republican , asking them to make cameo appearances in the film.
Several of the scenes had already been shot using actors in these roles, but the filmmakers went back and re-shot those scenes when real politicians agreed to be in the film.
Senators Harry Reid , Barbara Boxer , Orrin Hatch , Charles Grassley , and Don Nickles , and Massachusetts governor Bill Weld , were filmed in a scene that was entirely improvised.
The project was obtained from Fox by Initial Entertainment Group, and was sold to USA Films by IEG for North American rights only.
Steven Soderbergh never approached USA Films, and the film was fully funded by Initial Entertainment Group. After Fox dropped the film in early and before USA Films expressed interest soon after, Soderbergh paid for pre-production with his own money.
Once the studio realized this, they suggested that his scenes be shot in both English and Spanish, but Soderbergh and del Toro rejected the suggestion.
Del Toro remembers, "Can you imagine? You do the whole movie, bust your butt to get it as realistic as possible, and someone dubs your voice?
I said, 'No way. Over my dead body. It's not gonna happen. The filmmakers went to the Drug Enforcement Administration DEA and U.
Customs early on with the script and told them that they were trying to present as detailed and accurate a picture of the current drug war as possible.
In addition, they gave the production team access to the border checkpoint to Mexico, as shown in the film during the scene in which Wakefield and his people talk with border officials.
Despite the assistance, the DEA did not try to influence the content of the script. He also spent time analyzing The Battle of Algiers and Z , which, according to the director, had the feeling that the footage was "caught" and not staged.
Pakula 's film All the President's Men because of its ability to tackle serious issues while being entertaining. Analyzing this film helped the director deal with the large cast and working in many different locations for Traffic.
Half of the first day's footage came out overexposed and unusable. The insurers made him agree that any further mishaps resulting in additional filming would come out of the director's own pocket.
Soderbergh remembers, "I noticed that there's a space that's inviolate, that if you get within something, you cross the edge into a more theatrical aesthetic as opposed to a documentary aesthetic".
For the hand-held camera footage, Soderbergh used Panavision Millennium XLs that were smaller and lighter than previous cameras and allowed him to move freely.
For Robert Wakefield's story, Soderbergh used tungsten film with no filter for a cold, monochrome blue feel.
For Javier Rodriguez's story, the director used tobacco filters and a degree shutter angle whenever possible to produce a strobe-like sharp feel.
Benicio del Toro had significant input into certain parts of the film; for example, he suggested a simpler, more concise way of depicting his character kidnapping Francisco Flores that Soderbergh ended up using.
After rehearsing this scene with the actors, he felt that the character would not do it; after consulting with Gaghan, the screenwriter agreed and the filmmakers cut the scene shortly before it was scheduled to be shot.
The first cut of Traffic ran three hours and ten minutes. Early on, there were concerns that the film might get an NC rating and he was prepared to release it with that rating, but the MPAA gave it an R.
The site's critical consensus reads, "Soderbergh successfully pulls off the highly ambitious Traffic , a movie with three different stories and a very large cast.
The issues of ethics are gray rather than black-and-white, with no clear-cut good guys. This quiet confidence is also a key part of one of the film's many underlying messages, namely a study in resourcefulness and where it gets us, particularly in Catherine Zeta-Jones' character, a trophy wife of a drug trafficker who is under arrest.
Resourceful as she is, it takes her down the darkest and lowest moral alleyways, and this can be compared to 'Erin Brockovich', where another stressed woman used a different kind of soul and fighting spirit to get results.
This time the daddy is the newly-instated drugs officer Michael Douglas fighting drugs on two fronts: the Mexican Border and his own home, as he struggles to keep his adolescent daughter on the straight and narrow.
The characters are all strong and well acted, I can't put my finger on a single bad performance, but Benicio Del Toro is by far the best on show and his Oscar was well deserved.
Michael Douglas proves again that he's a class act, as does Catherine Zeta-Jones and strength in depth is clear all round.
All in all, then, a great film, combining good acting, clever psychological undertones and classy direction, which particularly stands out.
Combining an ability to keep us interested with the snappy, modern style which he has brought to the movies today - this film is a gripping account and a very comprehensive display of Soderbergh's impressive arsenal of film knowledge, understanding and talent.
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User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Edit Cast Credited cast: Christine Aurel Lydia Henri Lambert Inspecteur Favereau Maritza Massa Helga Bepi Fontana Jo le Sicilien Francisca Sippernay La femme sadique Rest of cast listed alphabetically: France Berry Feodor Bogatyreff Frequently Asked Questions This FAQ is empty.
Add the first question. Edit Details Country: France. Language: French. Sound Mix: Mono.