關於 anniversary background ，我們在網路上蒐集到這些相關的討論、資訊與評價

[ 10年感情的道别 | Goodbye My 10 Years Relationship ]
10年真的不短，很遗憾无法一起走到最后。

求婚了，却早已错过应该发生的时间点。
面对瓶颈考验的爱情在挽救期中感性被理性打败了，写下句号。
我们分了。我们都很不舍，但确实分了。

很抱歉，令所有期待的家人朋友失望了。
这10年里她对我很好，无可挑剔；而我做不好的我全都承认，是我的理所当然及舒适心态导致了今天的所有，我诚心道歉。

对于一直关心我俩的亲朋好友，感恩过去所有的祝福，也谢谢这些年的见证。
对于曾煽动我们分手的朋友们，抱歉拖了那么久，往后不需煽动了。

我特别要感谢彼此的家人、爱我们的家人们。这些年让大家心中累计的担忧及不满实在不应该，让大家操心了，诚恳地鞠躬致歉。谢谢这些年的爱与包容，打从心里的感恩，谢谢。

在这里，至这位10年前为我化妆而邂逅的，10年来风雨不改以我为先的，让我在爱情里一夜长大的她 – Mey ，谢谢你一切付出、包容、体谅及信任，完整了我生活许多的缺失区块，也为我生命彩出了鲜艳的色彩。谢谢你总无条件地支持我每个决定，即使以世界为敌你还是站在我身旁。谢谢你无限的精神鼓励，让我即使在烂透的状态下也努力撑过去，因为我知道至少还有你这位铁粉的守候。万语千言在心中说不尽，我想你知道的。谢谢你，真心真心地谢谢你。正如我十年前为你写的歌 – “美丽意外“里的歌词，至今，我仍觉得遇见你是个美丽的意外，真的。

容我忍泪再次公开说, Mey Ng , 我爱你。

面对10年感情的结束，难过是肯定的。
即使平时爱笑的我们，也为这次的句号流了好多公升的泪。但我们答应彼此会带着所有开心的记忆把对方放在心中一个特别的位置。换了身份，没了昵称，不管未来缘分如何，我们都会是彼此继续珍惜的那位。

最后，公开这首十年前写给她的歌，也是十年后我重新录制十周年版本向她求婚的作品。MV里记录了过去十年的精选画面，婚没求得成，但我们都认为这首歌是纪念这10年的最初；10年的最终，最佳的礼物，也要谢谢歌曲的幕后团队 ： Keon Chia 佳旺 (金马旺) 的 编曲 / 制作 / 录音 /配唱 , Isabell Jia Jia 沁嘉 的 合音编写 / 合音 ， Haw Vee 文浩 的混音。他们是少数知道我求婚计划也期待着好消息的朋友。。。可惜让你们失望了，谢谢你们的一切付出与耐心，我都真心感激。

爱情其实只有你和我，但考虑到彼此有太多共同朋友，为了避免揣测还是决定做个交代。谢谢大家这十年的祝福。当你看到这贴文时我俩的脸书感情状态应该已经更新。

是很意外，连我俩都为这样的今天感到意外，如果是注定意外，至少让它是个 [美丽意外]，好吗？

爱要及时，记得好好珍惜依然在你身边的那位，衷心祝福大家。
缘起缘灭感恩一切，合十。

10 years, regret that we couldn’t make it till the end.

I proposed, but had missed the right timing to do it right.
After went through the consideration period, rational beat sentimental, it ended.
Yes, we broke up. It’s really hard to accept, but yes, we broke up.

Truly regret to all friends and families’ members who had expectation on us. For the past 10 years, she’s perfect. For all the wrong which I made, I’ll take all the blame. I’m truly sorry, for the relationship which I care so much.

To all friends who care about both of us throughout these 10 years, thanks for witnessing us.
To those who didn’t expect good ending, sorry for the long waiting.

I would like to specially thank both of our family’s members. I can understand all the worries and dissatisfactions throughout the years. Really shouldn’t allow those to happen. I Sincerely apologize. Sorry.

Hereby, I would like to thank her, the girl I crushed into when she did make up for me 10 years ago, the girl who always put me as priority for the past 10 years, the girl who used 10 years’ time to grew me up in the world of love – Mey , Thank you for everything, you completed a lot of my missing part in life and had brighten up my days with different colours. Thanks for always standing by my side although when the world disagree on me. Thanks for your bottomless mental support which let me went through lots of down time as I always know there’ll at least be a super fans forever, it’s you. As of now, I still feel like knowing you is 1 of the most beautiful accident in life, and you able to calmed me down whenever and wherever you were around. It’s more than words, I’m sure you knew it, thank you so much, sincerely.

Allow me to hold my tears and say this 1 more time openly, Mey, I love you, as always.

10 years long run coming to an end, for sure it’s really hurt and sad.
But we’ll promise to bring along all happy memories and place each other at a special point in our heart. You will always be a person that I care about.

Lastly, sharing out the song I wrote for her 10 years ago, and it’s being re-produced again into a 10th year anniversary version for my proposal purpose. The MV are made by all key moments we been through together. Although my proposal failed, but we do think it’s a best way to conclude and remember those 10 years, from the beginning to the end. Thanks to the song production team : Keon Chia (Golden Horse Award Winner 2020) for Music Arrangement, Produce, Recording, Vocal Guide. Thanks to Isabell Jia Jia for the background Vocal & Background Vocal Arrangement. Thanks to Haw Vee for the Mixing. They were the few who knew my proposal plan and awaiting the good news …. However, sorry to let you all down. Thanks to all the effort, it’s my honor to have you guys in this important journey and I deeply appreciate it in heart.

Love actually is just you & me, but we decided to explain about this to avoid any assumptions as we got too many mutual friends. Thanks to all lovely wishes for the past 10 years. When you see this post, I believe our relationship status on FB had changed.

Yes it’s really an accident to our relationship, even to ourselves. If it’s meant to be an accident, at least let it be a “Beautiful Accident”.

Always express your LOVE before too late and appreciate he/her who still together with you. Best wishes to everyone.

With Love, Sorry and Thanks.

#美丽意外 #BeautifulAccident #ThanksForEverything #LOVE

Music Production Team
美丽意外 (2020十周年版）
OP :Musictoxin Productions
SP: Universal Music Publishing Sdn. Bhd.
词Lyrics : Dickson蔡迪伸
曲Composer : Dickson蔡迪伸
编Arranged by : Keon Chia谢佳旺 @Burger Music Studio
制作Produced by : Keon Chia谢佳旺 / Dickson蔡迪伸
混音 Mixed by : Haw Vee魏文浩 @musicHaws Production
和音编写Back up vocal arranged by : Isabell潘沁珈
和音Back up vocal by : Isabell潘沁珈
录音室Recording Studio : Tutti Studio
http://yt3.piee.pw/3aap6z

My better half, mine and her bias. Our anniversary photo will not be complete without Ravi in the background. Throwback to the time i brought her to see Ravi (Vixx) in Concert di London. I was so happy to see her sooo happy. I guess after all the trials and tribulations that we have gone through. I will do my best to give her a happy life In Shaa Allah . Happy 23rd anniversary my love! @chrisoro. Nanti dah ada vaccine we go again! @ravithecrackkidz @vixx_stargram

【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

hope u like this, I tried my best :)

If you’d like more remakes / covers, comment the songs below!

Background Piano from @Sing2Piano

*NEW MUSIC COMING SOON SO STREAM MY MUSIC NOW: https://fanlink.to/lovemyself/

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[ 10年感情的道别 | Goodbye My 10 Years Relationship ]
10年真的不短，很遗憾无法一起走到最后。

求婚了，却早已错过应该发生的时间点。
面对瓶颈考验的爱情在挽救期中感性被理性打败了，写下句号。
我们分了。我们都很不舍，但确实分了。

很抱歉，令所有期待的家人朋友失望了。
这10年里她对我很好，无可挑剔；而我做不好的我全都承认，是我的理所当然及舒适心态导致了今天的所有，我诚心道歉。

对于一直关心我俩的亲朋好友，感恩过去所有的祝福，也谢谢这些年的见证。
对于曾煽动我们分手的朋友们，抱歉拖了那么久，往后不需煽动了。

我特别要感谢彼此的家人、爱我们的家人们。这些年让大家心中累计的担忧及不满实在不应该，让大家操心了，诚恳地鞠躬致歉。谢谢这些年的爱与包容，打从心里的感恩，谢谢。

在这里，至这位10年前为我化妆而邂逅的，10年来风雨不改以我为先的，让我在爱情里一夜长大的她 – Mey ，谢谢你一切付出、包容、体谅及信任，完整了我生活许多的缺失区块，也为我生命彩出了鲜艳的色彩。谢谢你总无条件地支持我每个决定，即使以世界为敌你还是站在我身旁。谢谢你无限的精神鼓励，让我即使在烂透的状态下也努力撑过去，因为我知道至少还有你这位铁粉的守候。万语千言在心中说不尽，我想你知道的。谢谢你，真心真心地谢谢你。正如我十年前为你写的歌 – “美丽意外“里的歌词，至今，我仍觉得遇见你是个美丽的意外，真的。

容我忍泪再次公开说，Mey, 我爱你。

面对10年感情的结束，难过是肯定的。
即使平时爱笑的我们，也为这次的句号流了好多公升的泪。但我们答应彼此会带着所有开心的记忆把对方放在心中一个特别的位置。换了身份，没了昵称，不管未来缘分如何，我们都会是彼此继续珍惜的那位。

最后，公开这首十年前写给她的歌，也是十年后我重新录制十周年版本向她求婚的作品。MV里记录了过去十年的精选画面，婚没求得成，但我们都认为这首歌是纪念这10年的最初；10年的最终，最佳的礼物，也要谢谢歌曲的幕后团队 ：佳旺 (金马旺) 的 编曲 / 制作 / 录音 /配唱 ，沁嘉 的 合音编写 / 合音 ， 文浩 的混音。他们是少数知道我求婚计划也期待着好消息的朋友。。。可惜让你们失望了，谢谢你们的一切付出与耐心，我都真心感激。

爱情其实只有你和我，但考虑到彼此有太多共同朋友，为了避免揣测还是决定做个交代。谢谢大家这十年的祝福。当你看到这贴文时我俩的脸书感情状态应该已经更新。

是很意外，连我俩都为这样的今天感到意外，如果是注定意外，至少让它是个 [美丽意外]，好吗？

爱要及时，记得好好珍惜依然在你身边的那位，衷心祝福大家。
缘起缘灭感恩一切，合十。

10 years, regret that we couldn’t make it till the end.

I proposed, but had missed the right timing to do it right.
After went through the consideration period, rational beat sentimental, it ended.
Yes, we broke up. It’s really hard to accept, but yes, we broke up.

Truly regret to all friends and families’ members who had expectation on us.For the past 10 years, she’s perfect. For all the wrong which I made, I’ll take all the blame. I’m truly sorry, for the relationship which I care so much.

To all friends who care about both of us throughout these 10 years, thanks for witnessing us.
To those who didn’t expect good ending, sorry for the long waiting.

I would like to specially thank both of our family’s members. I can understand all the worries and dissatisfactions throughout the years. Really shouldn’t allow those to happen. I Sincerely apologize. Sorry.

Hereby, I would like to thank her, the girl I crushed into when she did make up for me 10 years ago, the girl who always put me as priority for the past 10 years, the girl who used 10 years’ time to grew me up in the world of love – Mey , Thank you for everything, you completed a lot of my missing part in life and had brighten up my days with different colours. Thanks for always standing by my side although when the world disagree on me. Thanks for your bottomless mental support which let me went through lots of down time as I always know there’ll at least be a super fans forever, it’s you. As of now, I still feel like knowing you is 1 of the most beautiful accident in life, and you able to calmed me down whenever and wherever you were around. It’s more than words, I’m sure you knew it, thank you so much, sincerely.

Allow me to hold my tears and say this 1 more time openly, Mey, I love you, as always.

10 years long run coming to an end, for sure it’s really hurt and sad.
But we’ll promise to bring along all happy memories and place each other at a special point in our heart. You will always be a person that I care about.

Lastly, sharing out the song I wrote for her 10 years ago, and it’s being re-produced again into a 10th year anniversary version for my proposal purpose. The MV are made by all key moments we been through together. Although my proposal failed, but we do think it’s a best way to conclude and remember those 10 years, from the beginning to the end. Thanks to the song production team : Keon Chia (Golden Horse Award Winner 2020) for Music Arrangement, Produce, Recording, Vocal Guide. Thanks to Isabell Jia Jia for the background Vocal & Background Vocal Arrangement. Thanks to Haw Vee for the Mixing. They were the few who knew my proposal plan and awaiting the good news …. However, sorry to let you all down. Thanks to all the effort, it’s my honor to have you guys in this important journey and I deeply appreciate it in heart.

Love actually is just you & me, but we decided to explain about this to avoid any assumptions as we got too many mutual friends. Thanks to all lovely wishes for the past 10 years. When you see this post, I believe our relationship status on FB had changed.

Yes it’s really an accident to our relationship, even to ourselves. If it’s meant to be an accident, at least let it be a “Beautiful Accident”.

Always express your LOVE before too late and appreciate he/her who still together with you. Best wishes to everyone.

With Love, Sorry and Thanks.

#美丽意外 #BeautifulAccident #ThanksForEverything #LOVE

Music Production Team
美丽意外 (2020十周年版）
OP :Musictoxin Productions
SP: Universal Music Publishing Sdn. Bhd.
词Lyrics : Dickson蔡迪伸
曲Composer : Dickson蔡迪伸
编Arranged by : Keon Chia谢佳旺 @Burger Music Studio
制作Produced by : Keon Chia谢佳旺 / Dickson蔡迪伸
混音 Mixed by : Haw Vee魏文浩 @musicHaws Production
和音编写Back up vocal arranged by : Isabell潘沁珈
和音Back up vocal by : Isabell潘沁珈
录音室Recording Studio : Tutti Studio

COLLECTION of SaGa FINAL FANTASY LEGEND is available to download now on Nintendo Switch! https://sqex.link/0cw

Celebrate the 30th Anniversary of SaGa with one epic collection including the three original Game Boy titles, now updated with new features for Nintendo Switch.

Experience the series’ origins. This collection includes the first three SaGa games, originally released as THE FINAL FANTASY LEGEND, FINAL FANTASY LEGEND II, and FINAL FANTASY LEGEND III in North America. This digital compilation is packed with brand new features to enhance the experience while maintaining the charm and wonder that made the pioneering original games so special.

Discover these classics brought to life with all-new features including speed boosts, a new retro display mode, and new commemorative music and art. Further, modify your play with adjustable screen magnification and game screen background customization. You can also take your collection on the go with handheld mode or revive the nostalgia of playing the originals by removing the Joy-Cons and turning your Nintendo Switch vertically for a retro Game Boy experience.

For more information visit https://sqex.link/0cw

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