關於 no wave film ，我們在網路上蒐集到這些相關的討論、資訊與評價

【 18/7 04:00最新消息 】
【 第74屆康城影展／香港作品勇奪短片金棕櫚獎 】

現於法國舉行的「第74屆康城影展」（The 74th annual Cannes Film Festival）（現場直播連結：https://bit.ly/3kvyHOP） ，繼日前突然以「特別放映」名義播放周冠威執導的2019年反修例紀錄片《時代革命》（Revolution of Our Times）之後（https://bit.ly/3Bcs9KZ） ，再一次成為港人焦點，剛於當地時間周六（17/7）晚上（即香港時間周日凌晨）公布的得獎名單之中，代表香港參展的導演 Sister TangYi 唐藝 短片作品《天下烏鴉》，勇奪短片組別的金棕櫚獎（Palme D’or - Short Film）。

早於上月中，康城公布入圍名單時，曾經入圍「第15屆鮮浪潮國際短片節」本地競賽短片的《天下烏鴉》，成功於3,739部短片作品中脫穎而出，與來自中國、法國、巴西、丹麥、伊朗和葡萄牙等地的短片爭取金棕櫚獎殊榮，最終唐藝的作品勝出，她有現身頒獎禮現場，並上台領獎，她事後以流利英語接受訪問時，直言今次獲獎是「喜出望外」（Overjoyed）。

《天下烏鴉》片長15分鐘，全片於中國大陸城市廣西省南寧市取景，由陳宣宇、薛寶鶴、黃淑君與吳戈主演，整個故事以黑色幽默手法，諷刺色慾橫流的社會。參考鮮浪潮官方網站的資料，《天下烏鴉》講述女高中生趙勝男，某天被表姐邀請參加神秘聚會，聚會上除了她與表姐之外，其餘皆為渾身銅臭、惡俗不堪的中年男人，統統財大氣粗，光怪陸離，唯獨有一位與眾不同，他是架起眼鏡，舉止溫文而內斂的王建國。後來，趙勝男決定與王建國離開沉悶的飯局，踏上一段意想不到的旅程，看穿人「性」真貌。短片早前獲「鮮浪潮」大會頒發最佳編劇

唐藝於香港中文大學專業會計學系畢業，之後入讀紐約大學電影學院，並視電影為事業重心。

《天下烏鴉》預告：https://bit.ly/3rhdpWI

「第74屆康城影展」（正式競賽、榮譽金棕櫚獎）足本得獎名單：
＊金棕櫚獎（Palme D’or）：《Titane》Julia Ducournau執導
＊評審團大獎（Grand Prix）：《Ghahreman》（A Hero）Asghar Farhadi執導
＊評審團大獎（Grand Prix）：《Hytti Nro 6》（Compartment No. 6）Juho Kuosmanen執導
＊最佳導演（Award for Best Director）：Leos Carax《Annette》
＊最佳劇本（Award for Best Screenplay）：濱口龍介、大江崇允《Drive My Car》
＊評審團獎（Jury Prize）：《Memoria》阿比查邦．韋拉斯塔古（Apichatpong Weerasethakul）執導
＊評審團獎（Jury Prize）：《Ha’Berech》（Ahed’s Knee）Nadav Lapid執導
＊最佳女主角（Award for Best Actress）：Renate Reinsve《Verdens Verste Menneske》（The Worst Person in the World）
＊最佳男主角（Award for Best Actor）：Caleb Landry Jones《Nitram》
＊金攝影機獎（Caméra d'Or／新人獎）：《Murina》Antoneta Alamat Kusijanović執導
＊榮譽金棕櫚獎（Honorary Palme D’or）：茱迪科士打（Jodie Foster）、Marco Bellocchio

緊貼「游大東影視筆記」最新資訊：
▇ facebook專頁：游大東【鴻鵠志－影視筆記】
▇ instagram： instagram.com/yautaitung
▇ MeWe專頁： mewe.com/p/yautaitung
▇ Telegram：https://t.me/yautaitung
▇ Medium：https://yautaitung.medium.com/

（18072021）
＃游大東 ＃游大東影視筆記 ＃康城影展 ＃天下烏鴉 ＃唐藝 Fresh Wave International Short Film Festival The Culturist 文化者 午夜翻牆 誌 hk.feature #ApichatpongWeerasethakul #濱口龍介 #drivemycar #村上春樹 ＃茱迪科士打 娛壹 眾新聞 ＃周冠威 ＃時代革命 電影基層勞工

#葉郎每日讀報 #一週大事版
──────────────
「這將會是一個不可逆的過程，
如果我們坐視電影院關門，
我們很可能會永久失去電影院」
—— Patty Jenkins
──────────────
新冠病毒疫情正在終結一個百年王朝的統治，並促成一個新王朝在千萬個家庭的客廳正前方拔地而起。

線索就在關於電視機和沙發的出貨量統計數據裡.......
　　
　　
客廳王朝的原力覺醒
￣￣￣￣￣￣￣￣￣
「這是史無前例的狀況。我的帳本從來沒有這麼漂亮過。這已經不是景氣好，而是瘋狂地大好......從解封復工之後銷售量就一路狂飆攀升。」

這是跟影視娛樂產業完全無關的一家沙發製造商在昨天一則新聞中的說法。

英國媒體衛報發現疫情以來傢俱市場突然變得沸騰。雖然餐廳和酒吧等營業用的傢俱陷入空前低潮，但這都抵消不了來自一般民眾客廳的巨量傢俱需求。受訪的英國沙發製造商表示，如果這個週末之後才下單的消費者恐怕年底聖誕節前已經等不到沙發可坐。

這個沙發熱必須搭配另一則新聞服用才容易顯示出意義：市場研究機構 TrendForce 上週發表的報告發現上一季全球電視機的出貨量比去年同期增加12.9%，甚至跟再上一季相比是暴增了38.8%，總數來到6205萬台的歷史新高。分析師特別指出北美疫情難以降溫而更使該市場對電視機的需求變得異常強勁。

疫情使多數人受困在家中，即便疫情趨緩的國家已陸續解封，我們停留在家中的時間也比以往顯著增加。這樣的行為改變正在重組娛樂工業，並將影音串流業者拱上客廳前方的王座之上，讓坐在新沙發上頭的信徒們虔誠膜拜。

市場研究機構 Pivotal Research 上週將 Netflix 的目標價格從每股600美元上調為650元，並在一天內就讓 Netflix 股價大漲 6%。分析師認為 Netflix 正處在人人稱羨的正向循環上頭，因為新的訂戶湧入使他們得以投資更多的新內容，而這些新內容又可以吸引更多新的訂戶。

然而 Netflix 的宮廷裡也不是完全無風無浪。去年底原本已經獲得 Netflix 續訂第四季（也是最後一季）的《GLOW 華麗女子摔角聯盟》節目上週突然被宣佈腰斬。該節目今年初已經開始進行第四季的製作，但沒多久隨即因為疫情而停擺。因為節目情節所需，拍攝過程會有大量近身搏鬥的群戲，是難以在疫情中復工的最主要因素。這是 Netflix 第二波夭折於疫情的節目，上一波同樣原本被續訂又被臨時腰斬的節目包括《The Society 新社會》和《I Am Not Okay With This 這樣不OK》。連串節目被迫喊卡顯示了連 Netflix 都躲不了整個影視產業面臨的節目取消壓力。

《Star Trek: Discovery 星際爭霸戰：發現號》製作人 Alex Kurtzman 日前受訪時就估計未來光劇組中的防疫設備花費就會替每一集的成本增加30~50萬美元之間。原本很有經濟效益的節目很可能就因此變得不敷成本。

值得繼續觀察的是：Netflix 先前一直強調他們內容供應充足，不像其他今年新進場的串流服務會因為停拍而有節目荒的問題。然而各種復工困難加上製作成本暴增的狀況仍然不分平台地平均降落在每個劇組的頭頂上。目前穩坐客廳王座的 Netflix 的內容供應鏈是否能繼續保住這天時、地利各種條件加乘之下的新王朝？


電影院的諸神黃昏
￣￣￣￣￣￣￣￣
旗下擁有美國第二大和英國第一大連鎖電影院品牌的 Cineworld 執行長 Mooky Greidinger 說當一個多禮拜前 MGM 的窗口打電話告訴他《No Time To Die 007：生死交戰》將延後上映的消息時，她完全無心聽對方解釋：「老實說因為實在來得太令人措手不及，我心裡著急的是等等我得馬上打的三十通電話。」

措手不及的理由是MGM才在兩天前向全世界的電影院經營者打包票說龐德絕對會如期上工，沒想到兩天後就情事變更。

雖然不是打電話，隨後立即傳出 Greidinger 寫了一封信向英國首相 Boris Johnson 求援，希望爭取延長英國的無薪假紓困方案。英國政府的無薪假紓困方案到這個月將正式落日，下個月起改以就業支持方案代替。新的方案要求受僱者必須至少上到原先工時的三分之一才能拿到補貼，這個新條件會使因無片可放映而斷然停業的 Cineworld 電影院所僱用的員工陷入無補貼可申請的困局。

太平洋的另一端，NATO 美國電影院經營者協會 John Fithian 認為這一切災難都起於某個人：紐約州州長 Andrew Cuomo。他指控全是紐約州政府堅持讓電影院一直維持停業，才造成發行商不敢發行新片。他同時預測如果紐約電影院繼續停業，今年剩下的電影將會全數延期。因為紐約不只是大票倉，也是整個電影文化運作的核心。多數影評人都在紐約活動，如果紐約人沒有電影可以看，就難以形成文化上的聲量讓電影被注意到。

另外一家英國連鎖電影院品牌 Vue（同時在歐洲多國擁有電影院，也是台灣星橋國際影城的母公司）的創辦人 Tim Richards 則怪罪好萊塢片廠完全以美國為中心來思考問題的偏頗判斷，導致全球電影院沒有電影可以演。他指出美國以外的世界各國已經有75%電影院已經恢復營業，並以《Tenet 天能》在英國票房已經有《Interstellar 星際效應》近八、九成來佐證他的觀點。

《Wonder Woman 神力女超人》導演 Patty Jenkins 也在接受路透社專訪時警告：「這將會是一個不可逆的過程，如果我們坐視電影院關門，我們很可能會永久失去電影院」。她以音樂產業曾發生的慘劇為例，說電影產業最終可能會因為失去營利來源而搞垮整個產業。附帶一提，她自己的作品《Wonder Woman 1984 神力女超人1984》已經在疫情中連續三次延後在電影院上映的檔期。

英國 Screen Daily 的影評人 Fionnuala Halligan 則在專欄中強調電影產業鏈的各個部門必須團結起來才能共渡難關，獨善其身已經完全不足夠。她說發行商現在拋棄電影院，明年終究仍需要同一個電影院吸引同一群的觀眾；影展部門也無法袖手旁觀，因為沒有電影這個產品或是沒有放映的通路，影展的存在也沒有意義；而持續讓大家分心的串流大戰也無益於面對眼前的疫情。電影產業的上下游必須共同撐起一把傘來庇護傘底下的每一個部門。

市佔率分居第一和第三的 AMC 和 Cinemark 雖然表示沒有停業打算、會繼續開門迎客，但他們的財務狀況能不能挺過 2021年還是一個大問號。財務報表顯示 AMC 在今年上半年已經雖失了27億美元，Cinemax 也有2.3億的損失。即便他們下半年不退出市場，兩家一起分食這塊突然縮水的小餅，也難以彌補已經發生的鉅額損失。目前兩家的現金都還能撐到明年的某時某刻，但眼前還有另一個巨大挑戰是和房東談判，因為薪水可以不發（無薪假）、食材可以拿去丟掉（玉米？），但無論你今天放不放電影房東都會來收租。

有產業分析師認為房東也有自己的現金壓力，總有一天會對欠租的電影院失去耐性。電影院能不能存活的關鍵可能在於疫苗問世的時間。券商 Wedbush Securities 的分析師 Michael Pachter 說：「如果疫苗是現在開始的一年之後才問世，我想現在檯面上的連鎖電影院經營者可能都會有變數。如果是未來三個月問世，他們就有機會全數撐下去。即便是十個月後疫苗出來，我想房東也許還會願意和連鎖電影院一起坐下來解決問題而不強迫他們搬走。」

金融時報估計停業後的 Cineworld 要撐到明年春天開始有大片替他們帶來收入之時，恐怕還需要3億美元左右的資金挹注。另一方面，全世界最大的連鎖電影院 AMC 目前的負債也有高達55億美元，這數字大約是他們股票市值的八倍。所以接下來會發生什麼事？

一如先前的其他媒體報導，金融時報也預測未來串流會取代電影院成為主要發行管道，某些中大型規模電影也許還有機會上電影院放映個幾週並隨即上架串流，但過去長達數個月的空窗期肯定會絕跡。問題在於負債累累（而且最近都借了成本超高的資金）的現有電影院經營者怎麼找台階下？Disney、Warner、Universal 或 Netflix 到底會不會伸出援手收購？報導中某個和片廠有關係的人士給了一個極為殘忍的答案：

「片廠肯定會耐心等電影院自己破產，這樣才能變成一個沒有任何債務負擔的健康資產。」


電影大風吹背後的算盤
￣￣￣￣￣￣￣￣￣￣
《Tenet 天能》的美國票房欠佳引發的骨牌效應，繼續讓更多電影工業的上下游應聲倒地。

繼《Black Widow 黑寡婦》延期、《007：生死交戰》延期以及連帶使英國第一大、美國第二大連鎖電影院 Cineworld / Regal 宣佈全面停業之後，上週又傳出年底的《Dune 沙丘》將大幅延後到明年10月。此外曾因男主角確診而延誤拍攝的《The Batman 蝙蝠俠》則讓出明年10月檔期，直接延後至後年年3月。

在此同時，將替 MGM 發行《007：生死交戰》的Universal，為了把明年4月的檔期讓給該片，也把自家的《F9 玩命關頭9》再往後微調2個月，延至6月上映。

《天能》這堂課讓 Warner 和其他好萊塢片廠學會用時間換取機會。然而英國影評人 Guy Lodge 也在近日的衛報專欄指出：時間並不是無限的資源。也許等某一天每家片廠都終於覺得可以放心發行電影的時候，這世界上可能已經沒有電影院了。

檔期被延後的電影至少還有機會在電影院上映，有些電影則直接取消上映：

在上一波檔期大風吹時被獨留在檔期表上、沒有延後上映的 Pixar 動畫《Soul 靈魂急轉彎》上週終於確定將在美國直接上架串流服務 Disney+，不過在電影院仍正常營業的市場將維持電影院發行。這是今年第二部受到疫情影響的 Pixar 電影。年初的《Onward 1/2的魔法》也在上映後不久隨即打破空窗期上架 Disney+。不同的是，《靈魂急轉彎》在美國市場將直接跳過電影院發行，連放映幾天的機會都沒有。此外，和早先也在多國直接上架 Disney+ 的《Mulan 花木蘭》不同的是，Disney+ 的既有訂戶將可免費觀賞，而不用額外付出費用。

《靈魂急轉彎》已經是接下來2020年僅存的好萊塢大片，如果連電影院體驗的聖盃騎士 Christopher Nolan的《天能》都挺不住振興電影院的大業，讓一部 Pixar 動畫片來承擔這個重則會更不合理。而且適合闔家觀賞的親子電影向來在網路隨選市場非常吃香，上網賣顯得名正言順。

問題在於 Disney 為什麼不再設付費門檻？為什麼不敢複製《花木蘭》模式？

IndieWire 的分析認為不管《花木蘭》模式成不成功，Disney理所當然不會選擇像競爭對手 Universal 那樣繼續把PVOD的餅做大。因為PVOD是串流的直接競爭產品，而 Disney 自己已經在串流上花了數十億美元的投資，沒有必要搬石頭來砸自己的腳。

Disney 的另外一個算盤則對準了聖誕節檔的主要對手：Universal 的《Croods: A New Age 古魯家族2》。雖然該片目前還留在檔期表上，估計 Universal 遲早也會宣佈直接上架 PVOD。

成本超過1.5億美元的《靈魂急轉彎》將成為 Disney+ 的聖誕節主打強檔（或是當成慶祝 Disney+ 一週年的生日禮物），扮演青黃不接的內容荒之後的救援投手。而《古魯家族2》如果比照先前《Trolls World Tour 魔髮精靈唱遊世界》的定價19.99美元可以看48小時，將會在整個聖誕節假期中被6.99美元可以看一整個月海量節目加《靈魂急轉彎》的 Disney+ 給狠狠壓制在地。

巧妙的是，正好也快滿一週歲的 Apple TV+ 近日突然決定再送出大禮，在11月、12月和明年1月各致贈4.99美元點數（正好等於月租費）給一年前被送免費一年份 Apple TV+ 的 Apple 用戶，讓這些用戶約滿之後將可以延畢三個月。這個時間點似乎不是巧合，正好留住這些客戶直到聖誕長假之後。

所以 Apple 是打算防止他們在聖誕連假轉台去 Disney+ 看 Pixar 的《靈魂急轉彎》或是 Universal 的《古魯家族2》嗎？還是 Apple TV+ 終於製作出重量級節目準備在這三個月征服家家戶戶的客廳，說服他們付費續訂？


｜新聞出處｜

Netflix Price Target at Wall Street High on 'Virtuous Cycle'（https://bit.ly/3nETkaK）

Global TV shipments hit record high last quarter, report says（https://bit.ly/33GkTIz）

Comment: The film industry needs to pull together if it is to survive this pandemic（https://bit.ly/3d0WRLr）

Theater Owners Chief Blames ‘No Time to Die’ Delay on Gov. Cuomo（https://bit.ly/3d0Xnt5）

Cineworld Chief Asks U.K. Government to Reinstate Furlough as Staff Seek Clarity on Pay（https://bit.ly/3lw9hy9）

Odeon to open weekends-only at some cinemas(https://bbc.in/2SuPXF0）

As movies slip and Regal shuts doors again, many theaters may not survive the maelstrom（https://bit.ly/3diB8it）

Why Hollywood studios pulled the plug on cinemas（https://on.ft.com/33ItFpI）

Patty Jenkins Warns Theater Shutdowns ‘Will Not Be a Reversible Process（https://bit.ly/2FjTEu1）

Dune delayed to October 1st, 2021（https://bit.ly/2I2SCnh）

‘GLOW’ Season 4 Canceled Due to COVID-19 Pandemic（https://bit.ly/34rJKPv）

Making Sense of TV's Wave of "Un-Renewals"（https://bit.ly/33Qcnae）

'It’s crazy good': Covid boom leaves UK furniture firms sitting pretty（https://bit.ly/3dkc22k）

Is Pixar's Soul Free On Disney+?（https://bit.ly/34GrLVz）

Apple is extending some Apple TV+ subs through February 2021 for free（https://tcrn.ch/3iL7xPq）

Why Disney+ Made Sense for ‘Soul’ and ‘The Croods’ Could Be Next to Move（https://bit.ly/3dhQF1F）

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

[Click CC for Subtitles]

🩸👁️ Marz23 首張專輯 《23》 正式發行
🎧 https://marz23.lnk.to/23NewAlbumAY

🔪🍪

戴著有色眼鏡 得到的真相太少
距離沒-30公分 體會的觸感太少
就算不是一位聖人
但也絕對不是你想的那種人

「我不是你想像中的那種人」
一位男子的吶喊，在求愛的同時
被深深的誤解，憤而高歌。
我們得知事情的原貌前，常常先給人定罪
風往哪吹就往哪倒，缺乏柯南精神

全曲遊走在復古浪潮與情緒搖滾之間
反覆著真誠與性暗示的節奏
讓深處的吶喊別有一番趣味。

-
📍Marz23專輯首發演唱會【23】

日期｜Date：2020.08.23（日）
時間｜Time：18:30 入場 19:30 開演
地點｜Venue：Legacy Taipei 音樂展演空間
地址｜Address：台北市中正區八德路一段1號華山創意文化園區
票價｜Price：預售票 NTD 1200 / 限量雙人套票 NTD 2200
/ 現場票 NTD 1500 / 身障票 NTD 600
購票｜https://Marz23.lnk.to/CONCERT23AY

#Marz23 #那種人

Lyrics :

有色的眼鏡
在妳面前我像沒良心的魔鬼
還沒到前戲
已經被妳分類在危險的種類
不讓我解釋
表現得一副妳比誰都要厭世
If you could ride with me
I gon show you how
I rock this Taipei sin city

或許我沒資格成為聖人
就跟妳一樣敢愛也敢恨No
別傻了我們都不純真 But

我不是妳想像的那種人
壞人的外表心還算天真
如果距離負了三十公分
就怕妳也會愛我愛很深
不是故意要嚇到妳那些朋友
是他們還不懂我這種溫柔
Just let me love you
Baby let me love you x2

對我來說那些傳言都不太重要
沒試過怎能判定我無可救藥
隨便的帶動唱 隨便的拜頭香
隨便的風吹來就隨便誰給帶風向

Fall into your eyes
Swimming in your lies
I can’t feel the time
You know I can’t deny
你的美不應該
需要人好好愛
氣跨買妳丟災

或許我沒資格成為聖人
就跟妳一樣敢愛也敢恨No
別傻了我們都不純真But

我不是妳想像的那種人
壞人的外表心還算天真
如果距離負了三十公分
就怕妳也會愛我愛很深
不是故意要嚇到妳那些朋友
是他們還不懂我這種溫柔
Just let me love you
Baby let me love you x2

I see the pain etched on your face
Just gimme one more day
And I know I made mistakes
Just gimme one more day
So come with me we’ll run away
Just gimme one more day
But baby hear me when I say

我不是妳想像的那種人
壞人的外表心還算是蠻天真
如果 如果我們能負三十公分
相信妳會愛我 愛得很深

我不是妳想像的那種人
壞人的外表心還算天真
如果距離負了三十公分
就怕妳也會愛我愛很深
不是故意要嚇到妳那些朋友
是他們還不懂我這種溫柔
Just let me love you
Baby let me love you x2

-
詞曲 Lyrics&Composer：Marz23 / Deven
製作 Producer：W.LIN
製作執行 Producer Assistant：whyx 于修
編曲 Arrangement ：W.LIN
吉他 Guitar：凌享
混音 Mixing：W.LIN / whyx于修 / Andy Lin (DMI studio)
母帶後期 Mastering：Andy Lin (DMI studio)
-
製作公司Production Company｜GJ94 Film Studio
導演Director｜JIZO AICHEN
導演助理Assistant to Director｜柒
製片統籌Producer ｜AICHEN
執行製片Line Producer ｜屁屁 PIPI ZHAN
生活製片Line Producer ｜AB LEIAN CHEN
外聯製片Location Manager｜小柒
製片助理Production Assiatant｜ I.An
攝影師DOP｜BORU
攝影大助｜蔡宗諺
攝影助理Assistant Camera｜馬崇智 林易群 黃信淵
平面攝影 photographer｜謙暉
燈光師Gaffer｜陳又銘
燈光大助 Best Boy｜陳譯閎
燈光助理 Best Boy｜林晏均 江冠陞
美術指導Production Designer｜鄭又滋Cheng Yu Tzu
美術執行Art Director｜黃芊蓉Huang Cian Rong
美術助理Assistant Art Designer｜黃歆 Hsin Huang
美術場務Set Coordinator｜廖秦慶 Liao Qin Qing
造型指導 Costume Designer｜Andrew Chen
造型師Makeup Artist｜小斐
造型助理｜ZOE 孫梓軒
李優經紀團隊
經紀人｜隆隆Henry
經紀公司｜時娛樂hr entertainment
MAX Cast｜李優
Asiaboy 禁藥王 & Lizi 栗子經紀團隊
經紀人｜沈蔓妮 Vivi
經紀公司｜奇洱文創 Chill Entertainment
MAX Cast｜Asiaboy 禁藥王 & Lizi 栗子
餐廳臨演｜西佛 李柏岑 羅忠文 神童Ellis 柳杰希 林鈺堯
女孩們｜Eli DaDa 香予 熊羚
小男孩｜李沂珈
特效｜Jyun-Yi Guo
標準字設計｜于薇

攝影器材公司 鏡頭銀行Lensbank
燈光器材公司 貞寶企業社
場地｜Everywhere burger
-
化妝 Make up｜Nash Chen
化妝助理 Assistant Make up｜Guo Jieen
髮型 Hair stylist｜立柔
-
■ 更多 Marz23 消息：
Marz23 Facebook：https://www.facebook.com/Marrrz23/
Marz23 Instagram：https://www.instagram.com/marrrz23/
華納官方 Facebook：https://www.facebook.com/WarnerMusicTaiwan
華納音樂 Instagram：https://www.instagram.com/warnermusictw/

大門弥生(YAYOI DAIMON)「Lonely Night」Official Video
Available on https://linkco.re/A5BvpsPX
Instagram https://www.instagram.com/yayoidaimon/
Twitter https://twitter.com/DaimonYayoi

Apple Music
https://music.apple.com/jp/artist/%E5%A4%A7%E9%96%80%E5%BC%A5%E7%94%9F/852940309

Spotify
https://open.spotify.com/album/48ExWX...

Instagram @yayoidaimon

Booking info. (info@schwaza.jp)

Film Director：武藤眞志

Beat Maker : The BK sound

Label : Schwaza Records (schwaza.jp)

A&R：KOSUKE KURASEKO

#LOVESONG #REGGAE #恋愛 #恋人

English lyric：
Tonight is lonely, lonely lonely night

Still dont wanna wake from this dream

I wanna be with you

I wanna be with you

Tonight is lonely, lonely lonely night

Still wanna feel my lingering thoughts

I wanna be with you

I wanna be with you

After the party

Hoping this time right now

Lasts forever

That kind of cliche quote that fits this situation

Roll up please one more roll up (No)

Sometimes sober is nice too (Yes)

Dont let the wave control you

Tell me the words of love for me

Pour it up our up absorbed in focus

Dont even know the time

If we love then more the love

I cant bare the pain in my gap

So promise me here

Let me hear it multiple time

You say “I love you”

You say “I love you”

Tonight is lonely, lonely lonely night

Still dont wanna wake from this dream

I wanna be with you

I wanna be with you



Tonight is lonely, lonely lonely night

Still dont wanna wake from this dream

I wanna be with you

I wanna be with you

Ta ta talk we a talk

Forget about time go with the flow

An An from the morning gosh

Cant see you for about 2 hours



Lone nights are lonely but

I wont forget keep trynna going up

My feelings of trust are for real

Im a Don skills are above above above .....





Tonight is lonely, lonely lonely night

Still dont wanna wake from this dream

I wanna be with you

I wanna be with you



Tonight is lonely, lonely lonely night

Still wanna feel my lingering thoughts

I wanna be with you

I wanna be with you





Its a love that just started

The kind where Im fine if this is my last

You’re the one I like

I feel stupid

I say things out of spurt

Like always

Hug me gently

Pilled up timings

The start was that days wine

My darling I wont give to anybody



Tonight is lonely, lonely lonely night

Still dont wanna wake from this dream

I wanna be with you

I wanna be with you



Tonight is lonely, lonely lonely night

Still wanna feel my lingering thoughts

I wanna be with you

I wanna be with you



Roll up roll up

Roll up miss my babe

Todays a lonely night

Lonely smokin’ Friday



It's our perfect love

詞：廖建至（KEN-G）、戴岑樺（NEOSO）
曲：廖建至（KEN-G）、戴岑樺（NEOSO）
製作人：戴岑樺（NEOSO）
MV導演：曾子淮 Jackson Tseng

MV製作公司：影人影像製作Shadowman film studio
導演Director：曾子淮Jackson Tseng
攝影Camera Operator：曾子淮 Jackson Tseng
攝大助/跟焦手Focus Puller：黃茂傑
燈光師Gaffer：鄭翔鴻

特別感謝：
小琉球【輪廓莊園】民宿
小琉球珊瑚假期民宿（人很好的老闆）
Wave Bar 冰郎小酒館（人很好也很黑的老闆）

------------------------------------------------------------------------
🔍玖壹壹Facebook專頁：https://www.facebook.com/JiuYiYi/
🔍玖壹壹Instagram ID：911_nineoneone
🔍混血兒娛樂Facebook專頁：https://www.facebook.com/ainokoinc/
------------------------------------------------------------------------
🔈數位音樂線上收聽🔈
🎵 iTunes → https://goo.gl/L795zM
🎵 Spotify → https://goo.gl/c1KXKq
🎵 KKBOX → https://goo.gl/Vr4grT
🎵 MyMusic → https://goo.gl/ujY9Sa
🎵 friDay音樂 → https://goo.gl/EY3sGR
🎵 虾米音乐 → https://goo.gl/uZn76u
🎵 百度千千音乐 → https://goo.gl/rPjgks
------------------------------------------------------------------------

OH BABY
I KNOW WHAT YOU WANT TO DO
讓我對你溫柔的觸摸
I KNOW WHAT YOU WANT TO DO
到一個只有我跟你的地方
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的

WE DRINK ALL NIGHT LIKE THIS
WE GONNA GET DRUNK LIKE THIS
這樣的夜晚當沒有你我不完美
當沒有了你我做什麼都不對
YOU GET IT 每個MINUTE
HIGH的FEELING
我待在酒吧裡等你蒞臨
我調了一杯酒為你命名

GOD DAMN 我有點暈船
你唇蜜的顏色讓我覺得你不平凡
像杯甜酒我決定把你喝乾
你是NO.1 列入我的清單
那些想趁虛而入的海雅還不夠格
招蜂引蝶 我是蜜蜂讓你一碟
不管你怎麼喝 我都會在這
每天讓你BLIN BLIN LIKE BAN BALLER

OH BABY
I KNOW WHAT YOU WANT TO DO
讓我對你溫柔的觸摸
I KNOW WHAT YOU WANT TO DO
到一個只有我跟你的地方
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的

開著車不想到盡頭
只想要這樣跟你一直走
雖然我們才認識不久
但是他就像是一杯就會醉的高級甜酒
美的真的讓我沈醉
其他婊子可能心碎
把你帶走後
今晚你想怎麼過

MAYBE I CAN BE A SAVAGE
你想要做什麼壞事我都帶你去
SAY THE I CAN HAVE IT(YES)
讓我今晚帶你見識我的BENZ
你的味道現在讓我無法抗拒
甜的味道讓我現在有點反應
此時此刻我是你的 IT’S UP TO YOU
保持這種感覺 感受你的喘息
我現在就要你跟我走
事不宜遲我知道你也不想再拖
我實在是抵擋不住你散發出來的誘惑
你的壞不只是你的外表而是你的小動作

OH BABY
I KNOW WHAT YOU WANT TO DO
讓我對你溫柔的觸摸
I KNOW WHAT YOU WANT TO DO
到一個只有我跟你的地方
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的

當我開啟門在清早
喝的不少但卻剛好
滿腦子裡都是他的味道
不想回去只想要往回跑
一個人在這街裡
我們達成過協議
明天過後再去見你
他的冷冰刺到我的心裡
這是真愛我不會錯
我曾經失去再也不錯過
飛到古巴 或是新加坡
也要帶你回到我的窩
MOJITO GIVE ME ONE MORE
把今晚發生過的事情全部都往腦裡記好
你不會只是個妃子 永遠都是皇后
今晚入住你的宮 你說太好

OH BABY
I KNOW WHAT YOU WANT TO DO
讓我對你溫柔的觸摸
I KNOW WHAT YOU WANT TO DO
到一個只有我跟你的地方
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的
YOU KNOW WHY YOU KNOW WHY YOU KNOW WHY
整個晚上我都是你的