You can count on me like 1..2..3 lil be there

yes i love that song

Explanation:

holy hamster \

Explanation:

You can count on me like one, two, three

I'll be there

And I know when I need it, I can count on you like four, three, two

And you'll be there

'Cause that's what friends are supposed to do, oh, yeah

Ooh-ooh-ooh-ooh

Ooh-ooh-ooh-ooh, ooh, yeah, yeah

If you tossin' and you're turnin' and you just can't fall asleep

I'll sing a song beside you

And if you ever forget how much you really mean to me

Every day I will remind you, oh

We'll find out what we're made of

When we are called to help our friends in need

sorry. my computer broke down and i had about 3 doctor's appointments. i'm just catching up now after reinstalling a router.

i think you best answer to this is d. some film directors were very picky about roles and lighting and and which side of the face the camera should catch. they were also picky about sound and background noise and chatter and music and all sorts of what we would consider trivial things. a stage director has to have all this ironed out before the curtain goes up. if he doesn't he better do it soon. if he doesn't notice, critics soon will, and they are not a very nice bunch.

e: both have the power to ask for rewrites. theater directors are always yammering about act 2.

c is true. both can ask for any number of things during rehearsals. the reason i wouldn't pick c is because a film director can make changes anytime during shooting, including when he thinks they ought to be done shooting.

b i didn't know what blocking was and i can't find a good description. if you have one and think b is true, go for it.

a a film director quite frequency chooses the leading lady or man. he may not have the final word, but he chooses. sometimes a theater director has no choice. a is generally not true.