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

Working from home abit too much lately? That's why it's great to take a break mid-day even from home!

Choosing quality moments over quantity is important and it's even more important now to stay safe and stay home, gratefully I can enjoy a good cuppa BLACK by Aik Cheong Coffee drips that I've ordered online on Shopee or you can also get it at Lazada.

Watch my video at IG https://www.instagram.com/p/CK1wSf9pohw/ on how to enjoy a good cup of coffee anyday anytime with @blackbyacc

#SibehPro #BlackPhD #ProsHandyDrip #KitaSupportLokal Aik Cheong Coffee 益昌咖啡 #AikLikeAPro #DrinkLikeAPro #BlackToBasic #rexer

【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

น้องสาวคนหนึ่งเล่าให้ฟังว่า ก่อนทำงานประจำเธอเป็นคนชอบออกกำลังกายและรู้สึกดีที่ได้เข้าฟิตเนส แต่พอทำงานในบริษัทที่เข้างานสิบโมงเช้า เลิกงานสองทุ่มทำให้เวลาในการออกกำลังกายหายไป ซึ่งมีผลต่อจิตใจด้วย แต่ไม่รู้จะทำยังไงเพราะไม่มีเวลาออกกำลังกายเลย

ผมแนะนำน้องเท่าที่คิดออก บอกให้ลองเปลี่ยนรูปแบบการออกกำลังกายจากแบบเดิมที่อาจต้องเต็มรูปแบบ เข้าฟิตเนส อาจลองมาใช้ 'เวลาเล็กๆ' เท่าที่พอจะมีมาใช้ในการออกกำลังกายในแบบที่เป็นไปได้

เช่น ตอนเช้าอาจมาที่ออฟฟิศเร็วกว่าปกติเสียหน่อย สักครึ่งชั่วโมง แล้วใช้เวลาช่วงนี้ออกกำลังกายในแบบที่พอทำได้ ดัมเบล บอดี้เวท หรือจะเดินขึ้นออฟฟิศ กระทั่งเดินสักหนึ่งสถานีรถไฟฟ้าก็อาจเป็นทางเลือกได้เช่นกัน ถ้าผลลัพธ์ที่เราอยากได้คือการเคลื่อนไหวร่างกายให้หัวใจสูบฉีดเลือดลมสักหน่อย หรือตอนกลางวันจะลองเดินลงบันไดไปกินข้าวเที่ยง อะไรแบบนั้น

ผมคิดว่าบางครั้งเราตั้งโจทย์ยากกับตัวเอง เมื่อชีวิตเปลี่ยนแต่เรายังอยากได้ 'รูปแบบ' เดิม หรือ 'ปริมาณ' เดิมอยู่ ทำให้รู้สึกว่าทำไม่ได้ ไม่มีเวลา ไม่เฉพาะการออกกำลังกายเท่านั้น แต่สำหรับบางคนคือการได้อ่านหนังสือ วาดรูป เล่นดนตรี หรือฝึกทักษะอะไรที่ตัวเองสนใจ

พอมองว่าต้องมีเวลา 'ก้อนใหญ่' เราอาจหายาก แต่ถ้าเปลี่ยนโจทย์ว่าในเวลา 'ก้อนเล็กๆ' เราพอจะทำอะไรได้บ้าง เช่น อ่านหนังสือช่วงสั้นๆ สักสิบหน้าก็ดีกว่าไม่ได้อ่านเลย สิบหน้า x สิบวันก็ 100 หน้าแล้ว เดือนหนึ่งก็จบเล่ม

นอกจากนั้น เราอาจต้องใช้เวลาเสาร์-อาทิตย์ และก่อนหรือหลังเลิกงานให้มีคุณภาพมากขึ้น คือใช้มันไปกับสิ่งที่จำเป็นต่อจิตใจ เช่น ถ้าการออกกำลังกายสำคัญกับเราจริงๆ ก็ให้เวลากับมันจริงจัง ไม่เผลอไปกับสิ่งที่เราเคยชินแต่ไม่สำคัญ เช่น การเล่นมือถือ

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อีกคำแนะนำที่คนจัดการเวลาเก่งๆ ใช้กันก็คือ ไม่เชื่อว่าไม่มีเวลา และไม่พยายาม 'หาเวลา' ให้กิจกรรมที่อยากทำด้วย แต่ 'สร้างเวลา' ขึ้นมาให้กิจกรรมนั้น

ทุกคนมี 24 ชั่วโมงเท่ากัน มีคนที่ภาระหน้าที่มากกว่าเรามากมายในโลกนี้ ผู้บริหาร คนที่ต้องรับผิดชอบอะไรเยอะๆ คนเหล่านี้กลับสามารถที่จะทำนู่นนี่ได้มากมายเพราะเขา 'สร้างเวลา' ให้กับสิ่งจำเป็น

การสร้างเวลาคือการกำหนด 'ช่วงเวลาของฉัน' ขึ้นมา ไม่ให้คนอื่นกำหนด โดยใช้เวลาว่างที่ไม่ใช่เวลางานมาสร้างเวลานี้ เช่น ถ้าเข้างานสิบโมง นั่นแปลว่าตั้งแต่ตีห้าถึงสิบโมงเป็นเวลาที่เรากำหนดได้ เช่นกันกับหลังเลิกงาน หรือกระทั่งพักกลางวัน ในช่วงเวลาเหล่านี้ ถ้าจะมีใครชวนไปไหน นัดทำอะไร เราต้องมั่นคงกับตัวเองและยืนยันกับคนอื่นว่าไม่สามารถไปทำในสิ่งเหล่านั้นได้ เพราะมีเรื่องสำคัญกว่าต้องทำ

งานอดิเรกบางอย่างนั้นสำคัญไม่แพ้การงาน ความฝัน การฝึกฝน หรือกระทั่งการพักผ่อน ถ้ามันสำคัญกับเราก็ต้อง 'กันเวลา' หรือ 'สร้างเวลา' ให้สิ่งนั้น เพราะสิ่งนี้อาจทำให้เรามีเรี่ยวแรง อยากตื่นมา อยากหายใจต่อไป

'กันเวลา' ให้ชัดๆ ยืนยันว่าช่วงเวลานี้จะไม่ให้คนอื่นมาดึงเวลาไป ผมเคยได้ยินนักวิ่งอัลตร้ามาราธอนระยะ 100 ไมล์ซึ่งทำงานออฟฟิศ ไม่มีเวลาซ้อม เขาใช้เวลาช่วงพักกลางวันไปเข้ายิมเพื่อเพาะกล้ามเนื้อให้พร้อมแข่ง เพราะสิ่งนี้คือคุณค่าของชีวิตเขา เขาอยากทำ ทำแล้วมีความสุข เมื่อเลือกแบบนี้ก็ทำให้เขา 'มีเวลา' สำหรับสิ่งที่ชอบ

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ถ้าเราไม่สร้างเวลาให้สิ่งที่เราชอบ สุดท้ายแล้วชีวิตจะกลายเป็นตารางเวลาของคนอื่น ใครอยากให้เราทำอะไร ไปที่ไหน เรียกตัวเมื่อไหร่ก็ดูเหมือนได้ตลอดเวลา แล้วเราเองจะรู้สึกว่าทำไมฉันไม่มีเวลาทำในสิ่งที่อยากทำเลย นานเข้าจะรู้สึกเบื่อๆ เซ็งๆ กับชีวิตตัวเอง

การสร้างเวลาที่ว่านี้ไม่ได้หมายความว่าเราจะไม่มีเวลาให้เพื่อน คนรัก ครอบครัว หรือใครที่ขอความช่วยเหลือ เรายังคงมีให้ (อาจมากขึ้นด้วยซ้ำ) เพียงแค่มันอาจไม่ใช่เวลาที่เขาขอทุกครั้ง เพียงแค่พูดคุยต่อรองกันเพื่อ 'เปลี่ยนเวลา' เช่น เขาอาจขอเวลาเราตอนเช้า เราขอเปลี่ยนเป็นเย็นแทนได้ไหม ในหลายกรณีเปลี่ยนเวลาได้ ไม่มีอะไรเสียหาย แค่เราเอ่ยปากบอก แล้วก็บอกเขาตรงไปตรงมาได้ว่า พอดีเวลานี้เราต้องทำสิ่งที่สำคัญกับเรา ถ้าเขารู้จักเราดีพอ ถ้าเขารักเราก็ย่อมเข้าใจ

ผมนึกถึงคำถาม น้ำเสียง และแววตาของน้องผู้ชอบออกกำลังกายเจ้าของคำถามแล้วเห็นว่าเธอต้องรีบสร้างเวลาให้สิ่งสำคัญสำหรับจิตใจในเร็ววัน เพราะผมเองก็เคยผ่านช่วงเวลาที่ไม่ได้ทำในสิ่งที่ชอบสะสมนานวันกระทั่งรู้สึกหมดเรี่ยวแรงพลังใจ

ไม่จำเป็นต้อง 'เต็มรูปแบบ' แต่ 'สะสมแต้ม' เล็กๆ น้อยๆ ก็ดีกว่าไม่ได้ทำเลย และ 'สร้างเวลา' ให้กับสิ่งสำคัญของหัวใจ

ถ้ามีสิ่งที่อยากทำ อย่า 'หาเวลา' ให้มัน เพราะอาจหาไม่เจอ แต่ลอง 'สร้างเวลา' ขึ้นมาให้สิ่งนั้น แล้วอาจพบว่าเราควบคุมชีวิตได้ดีขึ้นบางส่วน

เรามักจะรักชีวิตมากขึ้นเมื่อควบคุมมันได้

เรามักรักตัวเองเมื่อได้ทำในสิ่งที่รัก

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ป.ล. เพื่อนๆ อาจแนะนำวิธีออกกำลังกายง่ายๆ ใช้เวลาน้อยกันได้นะครับ ✌😊
One sister told me that before working full time, she was a workout and it felt good to get into fitness. But when working in a company that worked out at ten o'clock, I finished my workout time. It's affecting my mind, but I didn't know what to Because I don't have time to exercise

I recommend the younger sister, as you can think, try to change your exercise style from the same way that you need to be full. Fitness may try to use 'small time' as much as you can to exercise in the possible way.

Morning may come to the office a little earlier than usual for half an hour and spend these days exercising the same way you can. Dumbbell Bodyweight or walk up your office until one walk. The sky train station may also be optional if you want to take a result. All we need is a body movement, a heart pumping, a little wind, or a lunch time, to walk down the stairs to eat lunch.

I think sometimes we set our own hard work when life changes, but we still want the same ' pattern ' or ' quantity '. It feels like we don't have time, not only exercise, but for someone, it's reading, drawing, playing music, or practicing skills. What I care about.

When we think that we have ' big chunk ' time, we may be rare. But if we change the question that in a ' small chunk ' time, we can do something like reading a book for a short period of ten pages. It's better than not reading at all. Ten pages, x ten days x ten Face and one month is finished.

In addition, we may have to spend our Saturday-Sunday and before or after work to be more quality, spend it with mental essentials. If exercise really matters to us, give us some serious time. Not accidentally going to the things we're used to. It's not important like playing mobile phone.

...

Another advice that people who have good time and use is that they don't believe that they don't have time and don't try to ' find time ' for the event that they want to do with

Everyone has 24 hours. There are more obligations than many of us in this world. Executive, responsible for many things. These people are able to do a lot of things because they 'make time' for the essentials.

Making time is defining ' my moment ', not defining others by using free time, not working time. This means am to pm, it's time we can designate as well after work. Or even taking a lunch break during these times. If someone wants to go somewhere, make an appointment to do something, we have to be confident with ourselves and confirm to others that we can't do them because there is something more important to do.

Some hobbies are important not to lose to a job, dream, training or even resting. If it matters to us, we have to be ' time ' or ' make time ' for that because this may make us strong. We want to wake up and breathe.

' Time ' clearly confirms that this time won't allow other people to go. I've heard of ultra marathon runners 100 miles of office running, no time to practice. He takes lunch break to the gym to muscle. Be ready to compete because this is the value of his life. He wants to do it and be happy. When he chooses this, he makes him 'time' for his favorite things.

...

If we don't make time for what we like, eventually life will become someone else's schedule. Who wants us to do something, where we call ourselves, whenever we seem to be all the time. Why don't we have time to do what we want to do? It's been Bored and bored with my own life.

Making this time doesn't mean we don't have time for friends, lovers, family, or anyone who asks for help. We still have it (maybe even more). It may not be the time he asks for every time. Just negotiates to change the time ' like he may ask for time. In the morning, we can change to the evening. In many cases, we can change the time. There is nothing wrong. We say that we can tell and tell him that it's frank to us. We need to do what matters to us. If he knows us well, we will understand.

I thought of the question of the voice and eye of the exercise-lover of the question, and saw that she must make time for the important soul soon. Because I have been through the moment I didn't do the accumulated things for a long time, days when I felt lost energy. My heart.

It's not necessarily ' full ', but a little ' accumulation ' is better than not doing at all and ' making time ' for matters of heart.

If you have something you want to do, don't ' make time ' for it because you may not find it, but try ' make time ' for it. You may find that you have better control of life.

We always love life more when it's in control

We always love ourselves when we do what we love.

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P.O. L. L. Friends may suggest you to exercise easily. You can spend less time together. ✌😊Translated

ご覧いただきありがとうございます！

今日は「煮ない煮たまご」。
https://www.instagram.com/p/B4Ko3wGALTD/

半熟の目玉焼きをアレンジして作る「似ない煮たまご」の作り方を紹介します。電子レンジで簡単に作れるレシピもたくさんありますが、今回はフライパンだけで作れるレシピです！さっと作ることができて、簡単に和食の朝ごはんが作れるのでおすすめです。

味付けや卵の固さ(固めがいい、半熟がいい)、両面焼きたいなどは、ぜひ自身で一番美味しい状態まで調整してみてくださいね！簡単にできる煮卵なので、お弁当のご飯の上にのせたり、食パンにのせたりしてもいいかもしれませんよ＾＾


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簡単に作れて美味しいくて人気レシピを紹介しています！
料理動画で作り方を確認できるので、初心者の方でも
安心して美味しい料理を作ることができますよ〜！

朝ごはん/昼ごはん/晩ごはんお好きな時に作ってみてくださいね！
作り置きにしてお弁当の具材にしてもいいですね！
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【材料】

調理時間：10分
材料：2人前
難易度：★☆☆

卵…2個
しょうゆ、みりん…各大さじ1
※少し濃い目なので加減してね
青ねぎ（小口切り）…適量
お好みで七味…適量



【作り方】

1, フライパンを熱して、卵を割り入れる。黄身のところに塩を（分量外）少し。
2, 少し周りに火が入ってきたところでしょうゆ、みりんを入れ弱めの中火でじっくりと。くつくつしてきたら取り出す。
3, 皿に盛り、青ねぎ、お好みで七味をふる。

ポイント
・焦がさないように火加減は弱めにね。
・味付けは加減してね。減らした分水を加えても


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【Ingredients】

Cooking time: 10 minutes
Ingredients: 2 servings
Level: ★☆☆


Eggs… 2
Soy sauce, mirin ... 1 tbsp
※ It's a bit darker so please adjust
Green onion
Shichimi if you like ... appropriate amount


【Instructions】

1, Heat the frying pan and break the eggs. A little salt (out of quantity) on yolk.
2, The fire may have come in a little around, add mirin and slowly over medium heat. Take it out when you're comfortable.
3, Serve on a plate, green onions, and sprinkle with seven flavors if you like.

Point
・ Decrease the heat to avoid burning.
・ Please adjust the seasoning. Even if you add reduced water


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