【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
同時也有2部Youtube影片,追蹤數超過26萬的網紅Food Adventure,也在其Youtube影片中提到,#Giant #bluefin #tuna #Cutting #Sashimi #Sushi Blufin tuna: The tuna are most plentiful April to June every year. Practically every part of the fish ...
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A rising tide lifts all boats.
This couldn't be more apparent, especially at @yumiactive's recent Glow with YUMI Active Party where we ladies got to mingle and talk about our ideas, discuss potential collaboration opportunities, create our own scents with @utamaspice.sg, enjoy refreshing teas by @tilytea and even worked on our bodies with a motivational pilates session by @pilatesandprints.
I was very honoured to be in the same room as these inspiring entrepreneurs, mothers and influencers.
Good news! International Women's Day may be over but we can still support our fellow women by purchasing @utamaspice.sg's Sweet Dreams Gift Sets! @utamaspice.sg will be donating 20% of all sales to support BABES, the only organisation in Singapore that supports pregnant teenagers in crisis. The Sweet Dreams Gift Sets contain a lavender pillow spray and eye mask that help you de-stress, relax and enjoy better sleep naturally after a long stressful day.
Psst! Quote
Have fun and keep sparkling, belles and beaus!
#internationalwomensday @ Yumi Active
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✨🛳 ล่องเรือไหว้พระวัดดังเมืองนนท์ ด้วยงบแค่ 20 บาท !
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“นนทบุรี” จังหวัดที่อยู่ใกล้กรุงเทพฯ มากๆ ใกล้เสียจนบางครั้งเราก็หลงลืมว่า เมืองนนท์เนี่ยก็มีแหล่งท่องเที่ยวที่น่าสนใจมากมายทั้งทางประวัติศาสตร์และวัฒนธรรมมาอย่างยาวนาน ไม่แพ้จังหวัดไหนๆ เลยทีเดียว
ทริปนี้เป็นโอกาสที่ดีที่เราจะได้ไปเที่ยวเมืองนน์กันแบบเจาะลึก โดยทาง ททท.สำนักงานกรุงเทพฯ ร่วมกับเทศบาลนครนนทบุรี และธนาคารเพื่อการเกษตรและสหกรณ์ (ธกส.) จัดโครงการส่งเสริมกิจกรรมการท่องเที่ยวเชิงอนุรักษ์วัฒนธรรมประจำปี 2561 ภายใต้แนวคิด “ท่องเที่ยววิถีนนท์ ที่คนยังไม่รู้”
กิจกรรมนี้จะจัดทุกวันอาทิตย์ โดยเริ่มตั้งแต่วันอาทิตย์ที่ 11 / 18 / 25 กุมภาพันธ์ และ 4 มีนาคม รวมทั้งสิ้น 4 สัปดาห์
ไปล่องเรือไหว้พระ ไหว้เจ้าในวัดดังริมน้ำของนนทบุรี ด้วยงบแค่ 20 บาทเท่านั้น ถูกมากกกกก ถ้าไปเที่ยวเองยังไงก็เกินแน่นอน
ยิ่งไปกว่านั้น เฉพาะผู้ที่มีบัตรสวัสดิการแห่งรัฐ และผู้ที่แต่งกายด้วยชุดผ้าไทยมาร่วมกิจกรรมล่องเรือ ไม่ต้องเสียค่าใช้จ่าย ฟรีไปเลย ว้าววววว
เพียงแค่มาลงทะเบียนที่บริเวณริมเขื่อนท่าน้ำนนท์ ตั้งแต่เวลา 6.30 – 9.00 น. ของทั้ง 4 อาทิตย์ แต่ละวันจัดเรือไว้ให้มากถึง 15 ลำ รองรับคนได้นับพันคนเลยล่ะ
เรือจะพาเราไปเที่ยวที่ไหนบ้าง มาดูกันๆ ^_^
1⃣ ศาลเจ้าแม่ทับทิม
2⃣ ศาลหลักเมือง (เดิม)
3⃣ วัดโตนด
4⃣ วัดบางระโหง
5⃣ วัดท้ายเมือง
6⃣ วัดกลางบางซื่อ
7⃣ วัดแคนอก
8⃣ พุทธสถานเชิงท่า – หน้าโบสถ์
9⃣ วัดฉิมพลีสุทธาวาส
🔟วัดปรมัยยิกาวาสวรวิหาร
แต่ละวัดก็จะมีชาวบ้านในชุมชนใกล้ๆ มาขายของกินต่างๆ ในราคาย่อมเยา มีการแสดงจากเด็กนักเรียน มีมัคคุเทศก์น้อยน่ารักๆ คอยให้ความรู้ประจำในแต่ละจุดด้วย
เกือบลืมบอกไปว่า ที่วัดโตนด วัดแคนอก และที่วัดปรมัยยิกาวาส สามวัดนี้มีตลาดด้วยนะ มีของมาขายเพียบเลย เดินช็อปปิ้งกันได้ ฟินๆ
ที่บอกว่างบ 20 บาทนั้น ยังไม่รวมส่วนของอาหารนะ ใครกินมากก็จ่ายมาก กินน้อยก็จ่ายน้อย แต่บอกเลยว่า ของอร่อยๆ เพียบเลยจ้า
☎ สอบถามรายละเอียดเพิ่มเติม โทร. 0 2589 0500 กด 0
#ท่องเที่ยววิถีนนท์ที่คนยังไม่รู้
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"ไปกิน ไปเที่ยวกับเราได้ทุกวัน" 🙏 🙏 🙏
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✨🛳 sail to pay homage to wat dang mueang non with a budget of only 20 baht!
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"Nonthaburi" a province near Bangkok. It's so close that sometimes we forget that non city has many interesting attractions in history and cultural and culture. Not allergic to any province.
This trip is a great opportunity for us to visit the city in a deep way by tat. Bangkok office with nonthaburi municipality and bank for agriculture and cooperative (Dec. ) organizing a project to promote cultural conservation tourism activities for 2561 under the concept of "Non-non travel that people don't know"
This event will be held every sunday starting from Sunday 11 / 18 February 25 and 4 March. Total of 4 weeks.
Go on a cruise to pay homage to monks in the famous temple of nonthaburi with a budget of only 20 baht. Very Cheap. If you go to travel by yourself, it will be more than
Moreover, only those who have cuddle state welfare cards and those who dress with Thai fabric. Join the cruise event. No need to cost free. Wow.
Just register at merengue non dam area from 6.30 am-9.00 pm. All 4 weeks. Each day, we have 15 boats. Support thousands of people.
Where will the boat take us to travel? Let's see ^_^
1 ⃣ Ruby Goddess Shrine
2 ⃣ Main Court (Original)
3 ⃣ WAT TOD
4 ⃣ bang raho temple
5 ⃣ Temple at the end of the city.
6 ⃣ Wat Klang Bang Sue
7 ⃣ wat khae outside
8 ⃣ phutthastan - in front of the church.
9 ⃣ wat chimpli sutthawat
Wat pramai yikawa sawan wihan
Each temple will have villagers in the community nearby to sell food at affordable price. There is a performance from students. Cuddle memes. Cute little people keep educating at each point.
I almost forgot to tell you that at wat tonad, khae nk temple and at wat pramai ikawat. There is a market too. There are plenty of items for sale. We can walk shopping. So happy.
The reason I said that the budget of 20 baht does not include food. Anyone who eats a lot, pay a lot. Eat less and pay less. But I can tell you that there are plenty of delicious
☎ for more information, please call. 0 2589 0500 Press 0
#ท่องเที่ยววิถีนนท์ที่คนยังไม่รู้
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"go eat and hang out with us every day" 🙏 🙏 🙏
Website: http://www.triptravelgang.com
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boats for sale 在 Food Adventure Youtube 的最佳貼文
#Giant #bluefin #tuna #Cutting #Sashimi #Sushi
Blufin tuna:
The tuna are most plentiful April to June every year. Practically every part of the fish is good to eat. The meat from the belly is perfect for sashimi and melts in the mouth. The meat from the back has a texture like Kobe beef after it is fried; the lower jaw is good roasted and the head can be used to make soup or steamed. Tuna can swim at speeds of up to 160 kmh. The blood vessels all over its body make its meat red. Its blood is rich in iron and its meat rich in EPA, DHA, nucleic acids vitamins. Toro is regarded by the Japanese as a treasure of the sea and is even more valuable than “black gold” mullet roe.
The bigger a tuna is, the better,It has a higher fat content, which makes it more valuable.
The Japanese, who in the mid-1970s started buying up any fresh bluefin caught off Pingtung ,Taiwan. Their insatiable demand for bluefin and the high prices they were willing to pay allowed Pingtung fishermen to make enough profit to outfit themselves with better equipped boats, and they increasingly began to trawl for the lucrative bluefin.
The auction itself is a noisy affair and creates a spectacle worth watching, sellers and buyers negotiating the sale with body movements only those familiar with their business understand. If you can attract the attention of a seller you can even try your hand at buying a fish.
boats for sale 在 DELISH KITCHEN - デリッシュキッチン Youtube 的精選貼文
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メイン料理の他ににあと一品欲しい時・・・
ぱぱっと簡単に作れる秋の副菜3種をご紹介します!
ちょっとの工夫で食卓も華やかに変身!
材料
(きのこのポテサラ)
・じゃがいも 2個
・しめじ 1/4パック
・エリンギ 1本
・ベーコン 3枚
・オリーブオイル 大さじ1
・塩こしょう 少々
・酢 大さじ2
・オリーブオイル 大さじ1
・塩 ふたつまみ
・砂糖 小さじ1/2
(柿のナムル)
・柿 1個
・にんじん 1/2本
・きゅうり 1本
・ごま油 大さじ1
・コチュジャン 大さじ1
・砂糖 小さじ1/2
・生姜チューブ 小さじ1
・白いりごま ひとつかみ
(フライド長芋)
・長芋 200g
・青のり粉 適量
・塩 適量
・揚げ油 適量手順
(きのこ)
1. じゃがいもは皮をむいて1cm角に切り、水に5分さらす
2. 水気を切ったじゃがいもを600wの電子レンジで4分加熱する
3. しめじ、エリンギは石づきを除いて、食べやすい大きさに切る
4. ベーコンは1センチ幅に切る
5. フライパンにオリーブオイルを熱し、ベーコン、きのこを入れて炒める
6. しんなりしてきたら2を加えて、塩こしょうで味をととのえる
7. 酢、オリーブオイル、塩、砂糖、こしょうを合わせてよく混ぜ、6を加えて和える
(柿)
1. 柿、にんじん、きゅうりは千切りにする
2. 1をボウルに入れ、ごま油、コチュジャン、砂糖、生姜を加えてよく和える
3. 全体になじんだら、白ごまを加えてよくまぜる
(長芋)
1. 長芋は洗って皮付きのまま5cm程度長さ、1cm角の棒状に切る
2. サラダ油を熱し、長芋を入れてこんがりとするまで揚げる
3. 熱いうちに青のり、塩をまぶす
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