關於 turn the ship around ，我們在網路上蒐集到這些相關的討論、資訊與評價

Good Read!

Every morning, the CEO of a large bank in New York walks to the corner where a shoe shine is always located. He sits on the couch, examines the Wall Street Journal, and the shoe shine gives his shoes a shiny, excellent look.

One morning the shoeshine asks the Executive Director:
- What do you think about the situation in the stock market?

The Director asks in turn arrogantly:
- Why are you so interested in that? Do you have money to invest?

"I have a million dollars in your bank," the shoeshine says, "and I'm considering investing some of the money in the capital market."

- What's your name? –Asks the Director.
John Smith

The Director arrives at the bank and asks the Manager of the Customer Service:
- Do we have a client named John Smith.?

- Certainly answers the Customer Service Manager, he is a highly esteemed customer. He has a million dollars in his account.

The Director comes out, approaches the shoeshine, and says:

- Mr. Smith, I ask you this coming Monday to be the guest of honor at our board meeting and tell us the story of your life. I am sure we will have something to learn from you.

At the board meeting, the Executive Director introduces him to the board members:

- We all know Mr. Smith, who makes our shoes shine in the corner; But Mr. Smith is also our esteemed customer with a million dollars in his account. I invited him to tell us the story of his life. I am sure we can learn from him.

Mr. Smith began his story:

- I came to this country fifty years ago as a young immigrant from Europe with an unpronounceable name. I got off the ship without a penny. The first thing I did was change my name to Smith. I was hungry and exhausted. I started wandering around looking for a job but to no avail.

Suddenly I found a coin on the sidewalk. I bought an apple. I had two options: eat the apple and quench my hunger or start a business. I sold the apple for two dollars and bought two apples with the money I also sold them and continued in business. When I started accumulating dollars, I was able to buy a set of used brushes and shoe polish and started polishing shoes.

I didn't spend a penny on entertainment or clothing, I just bought bread and some cheese to survive. I saved penny by penny and after a while, I bought a new set of shoe brushes and ointments in different shades and expanded my clientele. I lived like a monk and saved penny by penny. After a while I was able to buy an armchair so that my clients could sit comfortably while cleaning their shoes, and that brought me more clients. I did not spend a penny on the joys of life. I kept saving every penny. A few years ago, when the previous shoe shine on the corner decided to retire, I had already saved enough money to buy his shoeshine location at this great place.

Finally, three months ago, my sister, who was a hooker in Chicago, passed away and left me a million dollars from her Life Insurance. 😆❤️

【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

When Americans are determined (Lee Yee)

There are many things in the world that ordinary people find impossible to accomplish, yet if some put their heart into it, things may not turn out to be all that impossible.

I saw an essay on a mainland site two months ago that was titled “The World’s Most Powerful Parents, Two Against a Country”. It was quickly deleted, but relevant information could be found on overseas sites.

The parents here were the parents of Otto Frederick Warmbier, a college student who was imprisoned and tortured to death by North Korea more than four years ago. Otto went to North Korea on a short trip in December 2015. As he was leaving, he was accused of attempting to steal a political propaganda poster from a hotel in Pyongyang, and was sentenced to 15 years of hard labor. On June 13, 2017, North Korea suddenly released him on “humanitarian grounds”, he turned to the US in a vegetative coma. A week later, he died.

Otto’s father, Fred Warmbier, described the state of his son on his return to the US, and was determined that Otto was severely injured from being tortured in North Korea. His mother, Cindy, said that North Korea only released him because “they did not want him to die on their land”.

Otto’s parents filed a lawsuit in the US courts and demanded compensation from North Korea. The family ran a large-scale metal processing company that was on Forbes’ list in 2015. They were not short of money, and only wanted a revenge with the ask for compensation. In the US legal system, suing a country will be blocked by sovereign immunity, except when the country is classified as a terrorist country by the US. At that time, North Korea was not on the list. So the couple went onto media platforms, again and again, to speak about their son’s death, and the huge blow it was to their family. In the US where family values are cherished, they received great sympathy from the civilians, to the Congress, and to the White House. In November 2017, Trump added North Korea to the list of terrorist countries. In April 2018, the court accepted the lawsuit. On December 24 of the same year, the US Federal Court ruled that North Korea owed Otto Warmbier’s parents US$510.13 million.

This was great, but did it do anything? Would a rogue nation like North Korea acknowledge it? Many felt that this is an unenforceable ruling that was no different from a sheet of scratch paper.

However, the Warmbiers launched an operation to trace North Korea’s global assets. The media called it “the crusade of the Warmbiers”. The first installment of the compensation arrived soon enough. In April 2018, a cargo ship that belonged to North Korea was detained in Indonesia for violating the UN sanctions on the transportation of coal. In the year after, M/V Wise Honest, the second-largest single-hull bulk carrier registered in North Korea, was forfeited in the US, sold in September 2019 on orders of a US federal judge to compensate the Warmbiers.

On May 11, 2020, the US Federal Court ordered all relevant US banks to provide the parents with detailed information, including North Korea’s account number and holder’s address. While it is unclear the total amount of North Korea’s hidden overseas assets, what was discovered was that within the US alone was US$74.36 million.

The couple started a bank investigation into the deposits of senior North Korean officials in the US, and actually found three North Korean funds totaling US$23.89 million from three banks. The money will no doubt go to the Warmbiers.

Though a closed country, the Kim regime still has large deposits overseas. After all, North Korea still needs certain necessities imported from overseas.

It is highly doubtful that North Korea’s overseas assets would exceed US$510.13 million, but the couple persists and would not give up. Three years in, their determination for revenge has not diminished. They even make use of the global Jewish network to search for secret North Korean funds hidden around the world. “Our goal is to make North Korea pay for our son’s death,” the couple said.

One couple to bring this much headache to the whole country of North Korea. This is bigger than money, this is the dissemination of bad reputation.

The moral of this story is that if Americans are determined to pursue their trace for accountability, they would give it all and never surrender. If a country is listed as a terrorist country or criminal group, there will be no sovereign immunity for the country to be prosecuted; if any person is added to the US sanction list, tough luck to you. Some things that may seem unlikely, as long as one is determined, success may not be out of the question. Although justice is often no match for absolute powers, justice must be upheld, just like the Warmbiers.

? Liên hệ mua khóa học Online + sách: https://www.facebook.com/DungGuitarUkulele
Hoặc gọi hotline 0966668804

? Bạn cần mua đàn thì liên hệ Shop mình theo link này nha: https://www.facebook.com/DungGuitarUkulele
Địa chỉ: số 81 đường Cộng Hòa, P.4, Q.Tân Bình, TP.HCM (SHIP HÀNG TOÀN QUỐC)

? Đăng ký học trực tiếp tại: https://www.facebook.com/ukulelesocola

? Fb cá nhân: https://www.facebook.com/Socola512
--------

[C] I'm going under and this [G] time I fear there's no one to [Am] save me [F]
[C] This all or nothing really [G] got a way of driving me [Am] crazy 
[F] I need somebody to [C] heal, somebody to [G] know,
somebody to [Am] have, somebody to [F] hold
It's easy to [C] say, but it's never the [G] same
I guess I kinda [Am] liked the way you numbed all the [F] pain
Chorus:
Now the day [C] bleeds into [G] nightfall
And you're not [Am] here to get me through it [F] all
I let my guard [C] down, and then you pulled the [G] rug
I was getting kinda [Am] used to being someone you [F] loved
[Verse 2:
[C] I'm going under and this [G] time I fear there's no one to [Am] turn [F] to
[C] This all or nothing way of [G] lovin' got me sleepin' [Am] without [F] you
Now, I need somebody to [C] know, somebody to [G] heal,
somebody to [Am] have, just to know how it [F] feels
It's easy to [C] say, but it's never the [G] same
I guess I kinda [Am] liked the way you helped me [F] escape
Chorus]
Now, the day [C] bleeds into [G] nightfall
And you're not [Am] here to get me through it [F] all
I let my guard [C] down, and then you pulled the [G] rug
I was getting kinda [Am] used to being someone you [F] loved
Bridge:
And [Dm] I tend to [Am] close my eyes but it [G] hurts sometimes
I fall [Am] into your [Dm] arms
I'll be [Am] safe in your sound 'til I [G] come back around
Chorus
For now the day [C] bleeds into [G] nightfall
And you're not [Am] here to get me through it [F] all
I let my guard [C] down, and then you pulled the [G] rug
I was getting kinda [Am] used to being someone you [F] loved
But now the day [C] bleeds into [G] nightfall
And you're not [Am] here to get me through it [F] all
I let my guard [C] down, and then you pulled the [G] rug
I was getting kinda [Am] used to being someone you [F] loved
Outro
I let my guard [C] down, and then you pulled the [G] rug
I was getting kinda [Am] used to being someone you [F] loved [C]




------
❤ Nếu bạn muốn ủng hộ video của Dung, bạn có thể thưởng cho Dung qua STK dưới đây nha, dù là bao nhiêu Dung cũng vô cùng cảm ơn và chân quý.
❤ Chúc những điều tốt đẹp nhất sẽ đến với bạn.

1. Lê Thị Phương Dung  0531002516238 Vietcombank

2. Ví Momo
Tên : Le Thi Phuong Dung
Số điện thoại : 0937 549 703

? Liên hệ mua trọn bộ video khóa học Online + sách: https://www.facebook.com/DungGuitarUkulele
Hoặc gọi hotline 0966668804

? Bạn cần mua đàn thì liên hệ Shop mình theo link này nha: https://www.facebook.com/DungGuitarUkulele
Địa chỉ: số 81 đường Cộng Hòa, P.4, Q.Tân Bình, TP.HCM (SHIP HÀNG TOÀN QUỐC)

? Đăng ký học trực tiếp tại: https://www.facebook.com/ukulelesocola

? Fb cá nhân: https://www.facebook.com/Socola512
--------
[D] I'm going under and this [A] time I fear there's no one to [Bm7] save me [G]
[D] This all or nothing really [A] got a way of driving me [Bm7] crazy
[G] I need somebody to [D] heal, somebody to [A]know, somebody to [Bm7] have, somebody to [G] hold
It's easy to [D] say but it's never the [A] same
I guess I kinda [Bm7] liked the way you numbed all the [G] pain
Chorus:
Now the day [D] bleeds into [A] nightfall
And you're not [Bm7] here to get me through it [G] all
I let my guard [D] down and then you pulled the [A] rug
I was getting kinda [Bm7] used to being someone you [G] loved
 
Verse 2:
[D] I'm going under and this [A] time I fear there's no one to turn[Bm7] to [G]
[D] This all or nothing way of [A] loving got me sleeping without [Bm7]  you
[G] Now I need somebody to [D] know, somebody to [A] heal, somebody to [Bm7]have, just to know how it [G] feels
It's easy to [D] say but it's never the [A]same
I guess I kinda [Bm7] liked the way you helped me [G] escape
Chorus:
Now the day [D] bleeds into [A] nightfall
And you're not [Bm7] here to get me through it [G] all
I let my guard [D] down and then you pulled the [A] rug
I was getting kinda [Bm7] used to being someone you [G] loved
Bridge:
And [Em] I tend to [Bm7] close my eyes but it [A] hurts sometimes
I fall [Bm7] into your [Em] arms
I'll be [Bm7] safe in your sound 'til I [A] come back around


-------
❤ Nếu bạn muốn ủng hộ video của Dung, bạn có thể thưởng cho Dung qua STK dưới đây nha, dù là bao nhiêu Dung cũng vô cùng cảm ơn và chân quý.
❤ Chúc những điều tốt đẹp nhất sẽ đến với bạn.

1. Lê Thị Phương Dung  0531002516238 Vietcombank

2. Ví Momo
Tên : Le Thi Phuong Dung
Số điện thoại : 0937 549 703

Dreaming 'bout Jamaica, to live on the beach
Exploring surroundings, utopia is in our reach
We've been too long where we are
Let's follow our instincts, we'll make it
It's not that far

If anything goes wrong, there's no crisis
Cause if anything goes wrong we can turn this ship around
If anything goes wrong, there's no crisis
Cause if anything goes wrong we can turn this ship around

We can all go west tomorrow, no need for plans today
We won't hit the speed of light anyway
So let's care when trouble face us, not a minute before
Today we celebrate and hit the floor