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

20210411《韓曜日》歌單

16:00-16:30
Nulbarich｜Chain
Tendre｜PIECE
eill｜ここで息をして
I Don't Like Mondays.｜地上を夢見る魚
NiziU｜Take a Picture
Omoinotake｜By My Side
瑛人｜Piece of Cake

16:30-17:00
Aimyon｜Super Girl
yama｜一寸の赤
RADWIMPS｜あいたい
BTS｜Film Out
GreeeeN｜蕾
iri｜回る

17:00-17:30
Hoshi｜Spider
BAEKHYUN｜Bambi
WJSN｜UNNATURAL
STAYC｜ASAP
IU｜LILAC
KIMSEJEONG(김세정)｜Warning (Feat. lIlBOI)

17:30 - 18:00
Wendy｜Like Water
Park Bom Feat. CHANGMO｜Do Re Mi Fa Sol
Kang Seung Yoon｜IYAH
Kim Sung Kyu｜HUSH
Sorn｜Run
pH-1｜Antisocial (Prod. Mokyo)
ROSÉ｜Gone

【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

【台北電影節完整片單 Letterboxd分數大解密】
　
2020 第 22 屆 台北電影節 Taipei Film Festival 完整片單上線！受到友站 阿瑪珂德與童年放映室 啟發，特別統整了本屆影展所有影片的 Letterboxd 分數供參。
　
Letterboxd 為紐西蘭電影愛好者所開發的電影網站暨 App，除了頁面美觀、資料庫完整之外，也是非常受到「影展咖」喜愛的電影日記和評比工具。一般而言，#IMDb 的分數偏大眾、#爛蕃茄 反映主流媒體、#Metacritic 也是專業影評媒體取向，但又更為菁英學院派。#Letterboxd 則是以小眾死忠迷影（cinephiles）為主要受眾，對於喜愛影展或是藝文電影的迷影，其各片的分數和分佈往往有一定的參考價值。
　
評分分數為 0.5~5.0，評分樣本未達一定數量則不計算平均。因此尚未世界首映或是較新的台灣電影則沒有分數可採計。本統計也因此不納入『開幕片』、『特別放映』、『明日．台灣』，及部份『台北電影獎』單元的作品。
　
（完整 Letterboxd 片單可參： https://boxd.it/5ELlw ）
　
--
　
【依照單元排序】
　
＃新導演競賽
3.84 鳥是海與樹的孩子 The Metamorphosis of Birds
3.75 這不是一場葬禮 This Is Not a Burial, It's a Resurrection
3.59 我的好叔光 Uncle
3.50 無名之歌 Song Without a Name
3.40 她房間裡的雲 The Cloud in Her Room
3.35 誰是外來者 Exile
3.23 人魚祭 Scales
3.13 夢遊潛水艇 Window Boy Would Also Like to Have a Submarine
2.88 流離公路 Desterro
/ 阿伊努之森 Ainu Mosir
/ 破處 Leaving Virginia
/ 惡之畫 The Painting of Evil
　
＃台北電影獎
3.48 下半場 We Are Champions
3.45 返校 Detention
3.38 江湖無難事 The Gangs, the Oscars, and the Walking Dead
3.23 灼人秘密 Nina Wu
3.19 那個我最親愛的陌生人 Synapses
3.18 女鬼橋 The Bridge Curse
3.16 菠蘿蜜 Boluomi
　
＃未來之光
3.63 春江水暖 Dwelling in the Fuchun Mountains
3.59 下落 Identifying Features
3.48 拾魂 Valley of Souls
3.43 死神二十來敲門 You Will Die at Twenty
3.39 熱病幻夢 The Fever
3.26 天外奇機 Air Conditioner
3.06 琳恩與露西 Lynn ＋ Lucy
3.04 呼喊遺落天堂 Paradise Drifters
/ 愛你哞法度 Lessons of Love
/ 六十九歲 An Old Lady
　
＃亞洲稜鏡
3.71 密友禁地 Moonlit Winter
3.54 一日談 Nasir
3.52 不丹是教室 Lunana: A Yak in the Classroom
/ 記得雨，不記得你 Silent Rain
/ 想再聽見你 Voices in the Wind
/ 幻愛 Beyond the Dream
/ 原罪森林 Not in This World
　
＃當代精選
4.14 被遺忘的人生 The Invisible Life of Eurídice Gusmão
3.80 意外之後 Beware of Children
3.61 凝視蕾妮瑪莉佛森 Self Portrait
3.47 壞媽咪 Charter
3.42 她是我爸爸 A Perfectly Normal Family
3.35 我的G本教義 Minyan
3.28 1917迷走莫三比克 Mosquito
3.27 窒慾 Tench
3.26 非法跟監 Passed by Censor
3.18 禁身誘惑 Instinct
3.12 人工失格 The Trouble With Being Born
3.10 真心話太冒險 110% Honest
3.07 曼哈頓戀舞曲 Port Authority
　
＃怪奇物語
3.67 ㊣麥肯齊金總理秘史♂ The Twentieth Century
3.38 瑪莎莎蒂 The Planters
3.07 國王二度外出中 The Barefoot Emperor
2.87 我就蕩 Liberté
/ 駭錢怪物 Lucky Monster
　
＃異境真實
3.74 佩佩蛙：感覺不錯蛙 Feels Good Man
3.70 敬！咆哮二十 Bloody Nose, Empty Pockets
3.59 加泰隆尼亞之全民開講 The Year of the Discovery
3.16 愛寓春光 The House of Love
/ 我去遠方，不流浪 We Are From There
　
＃作者視角
3.89 後人類傳說 Last and First Men
3.79 鹽谷時日 The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
3.61 逃亡的女人 The Woman Who Ran
3.44 氣球 Balloon
3.12 暗夜啟示錄 Los Conductos
3.03 無邪 There Is No EviI
　
＃電影正發生：聲音設計
4.36 現代啟示錄 Apocalypse Now
4.08 艾蜜莉的異想世界 Amélie
3.96 樂來越愛你 La La Land
3.67 推拿 Blind Massage
3.56 湖 A Lake
3.53 過於寂靜的喧囂 The Tribe
3.42 10 ＋ 10
3.22 傷痕 The Scar
　
＃焦點影人大林宣彥
3.96 鬼怪屋 HOUSE
3.91 戰裡的野孩子 Bound for the Fields, the Mountains, and the Seacoast
3.58 轉校生 I Are You, You Am Me
3.58 傳說的午後・突然遇見德古拉 ÉMOTION
3.49 穿越時空的少女 The Little Girl Who Conquered Time
3.44 大林宣彥：電影藏寶盒 Labyrinth of Cinema
3.36 微熱的玻璃或踩著悲傷碎嘴華爾滋之葬列的散步路 Complexe
3.28 畫中的少女 The Girl in the Picture
3.09 噬者 An Eater
　
＃經典重現
4.34 光榮之路 Paths of Glory
3.90 突如其藍 Out of the Blue
3.86 不散 Goodbye, Dragon Inn
3.78 千面惡魔 Mephisto
/ 台北之晨 A Morning in Taipei
/ 台北發的早車 Early Train from Taipei
　　
＃閉幕
3.70 日子 Days

（ / = 查無資料）
　
　
— —
　
　
【整體排序】
　
4.36 現代啟示錄 Apocalypse Now
4.34 光榮之路 Paths of Glory
4.14 被遺忘的人生 The Invisible Life of Eurídice Gusmão
4.08 艾蜜莉的異想世界 Amélie
　
3.96 鬼怪屋 HOUSE
3.96 樂來越愛你 La La Land
3.91 戰裡的野孩子 Bound for the Fields, the Mountains, and the Seacoast
3.90 突如其藍 Out of the Blue
　
3.89 後人類傳說 Last and First Men
3.86 不散 Goodbye, Dragon Inn
3.84 鳥是海與樹的孩子 The Metamorphosis of Birds
3.80 意外之後 Beware of Children
　
3.79 鹽谷時日 The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
3.78 千面惡魔 Mephisto
3.75 這不是一場葬禮 This Is Not a Burial, It's a Resurrection
3.74 佩佩蛙：感覺不錯蛙 Feels Good Man
3.71 密友禁地 Moonlit Winter
3.70 日子 Days
3.70 敬！咆哮二十 Bloody Nose, Empty Pockets
　
3.67 ㊣麥肯齊金總理秘史♂ The Twentieth Century
3.67 推拿 Blind Massage
3.63 春江水暖 Dwelling in the Fuchun Mountains
3.61 逃亡的女人 The Woman Who Ran
3.61 凝視蕾妮瑪莉佛森 Self Portrait
　
3.59 我的好叔光 Uncle
3.59 加泰隆尼亞之全民開講 The Year of the Discovery
3.59 下落 Identifying Features
3.58 轉校生 I Are You, You Am Me
3.58 傳說的午後・突然遇見德古拉 ÉMOTION
3.56 湖 A Lake
3.54 一日談 Nasir
3.53 過於寂靜的喧囂 The Tribe
3.52 不丹是教室 Lunana: A Yak in the Classroom
3.50 無名之歌 Song Without a Name
　
3.49 穿越時空的少女 The Little Girl Who Conquered Time
3.48 拾魂 Valley of Souls
3.48 下半場 We Are Champions
3.47 壞媽咪 Charter
3.45 返校 Detention
3.44 氣球 Balloon
3.44 大林宣彥：電影藏寶盒 Labyrinth of Cinema
3.43 死神二十來敲門 You Will Die at Twenty
3.42 她是我爸爸 A Perfectly Normal Family
3.42 10 ＋ 10
3.40 她房間裡的雲 The Cloud in Her Room
　
3.39 熱病幻夢 The Fever
3.38 瑪莎莎蒂 The Planters
3.38 江湖無難事 The Gangs, the Oscars, and the Walking Dead
3.36 微熱的玻璃或踩著悲傷碎嘴華爾滋之葬列的散步路 Complexe
3.35 誰是外來者 Exile
3.35 我的G本教義 Minyan
　
3.28 畫中的少女 The Girl in the Picture
3.28 1917迷走莫三比克 Mosquito
3.27 窒慾 Tench
3.26 非法跟監 Passed by Censor
3.26 天外奇機 Air Conditioner
3.23 灼人秘密 Nina Wu
3.23 人魚祭 Scales
3.22 傷痕 The Scar
　
3.19 那個我最親愛的陌生人 Synapses
3.18 禁身誘惑 Instinct
3.18 女鬼橋 The Bridge Curse
3.16 菠蘿蜜 Boluomi
3.16 愛寓春光 The House of Love
3.13 夢遊潛水艇 Window Boy Would Also Like to Have a Submarine
3.12 暗夜啟示錄 Los Conductos
3.12 人工失格 The Trouble With Being Born
3.10 真心話太冒險 110% Honest
　
3.09 噬者 An Eater
3.07 曼哈頓戀舞曲 Port Authority
3.07 國王二度外出中 The Barefoot Emperor
3.06 琳恩與露西 Lynn ＋ Lucy
3.04 呼喊遺落天堂 Paradise Drifters
3.03 無邪 There Is No EviI
　
2.88 流離公路 Desterro
2.87 我就蕩 Liberté
　
--
　
▎場次表 https://www.taipeiff.taipei/schedule.aspx
▎單元介紹 https://www.taipeiff.taipei/Program.aspx
▎線上專刊 https://lihi3.com/0w9Cn
　
▎選片指南｜6.13
▎正式售票｜6.14（VR全浸界單元，6/15開賣）
　　
．2020 ＃台北電影節 6.25-7.11
（圖為台北電影節影展大使陳庭妮）

Sites like social blade are estimations. There are many factors when determining Youtube money Just google is "Social Blade Money accurate" and see for yourself. Think for yourself and don't believe one hater (with a history of hating on other more successful youtubers) with wrong and jealous intentions. I focus on making videos about my friends and Vietnamese people all over the world and my life. Use logic and make your own decision based off of how many great videos, all the people i've helped, , and inspired to visit their motherland through videos I've produced and the hundreds of good people I've featured on my channel and not some false accusations.

When people are jealous of you, they can find a million reasons to hate on you from a single word to your years of work. Don't be fooled by slander, lies, and exaggerations about Kyle Le and Yevato from people with agendas to grow their own channel. The depth, quality, and quantity of our current videos should paint a picture of who we are, not rumors and attempted hit pieces from people who never met us or don't even know us personally. It's easy to hate when you don't understand the whole picture and use only your own narrow bitterness and resentment of people better than you because they worked harder to make more and better content than you.

Kyle Le's story
I graduated with a degree in history and moved to Vietnam to teach high-school history because I've always had a passion to teach, wanted to explore the motherland, and to share a global language to my people. I only had 1,000 dollars and a ton of student debt to my name when I moved over right after graduating university. Fortunately, I met my friend and room mate John of many years who first allowed me to stay in his kitchen for three months. When I worked more I was able to afford my own place (with other roommates) After a year I was ready to go home, but then I met Yevato OldBoy who gave me an opportunity to work more. Then, I started working 14-15 hour days 6-7 days a week- sometimes going without a day off for months. (Videos were filmed during holidays and vacations and released months later. I grinded hard for years to have a better life for myself and kept making YouTube videos to share my experiences. When more opportunities came through YT, I decided to lessen my teaching load to focus more on videos. Everything I do is for YouTube. From shoes to walk to film, to new cameras to make better videos, to investing in a quiet and safe place to live to edit videos. If you think around 1500USD (earnings vary every month depending on ad views) is enough for Vietnam, you're not wrong, but it's not enough to produce content from all over VN and Asia. And not enough for a stable life . Traveling is expensive, Travel for videos is even more expensive. Videos do not make themselves. This is why there has never been another YouTube channel as in-depth as this one about Vietnam and Viet Kieu featuring Vietnamese people from all over the world. This is a business and I'm investing myself and my money into it. I have nice things because I worked for them. Also, Patreon has been helpful to the growth and quality of videos. More money = more travel = more videos.

Many years ago my mechanic hit a young girl who ran out into the streets. It was not his fault nor was it my fault. I was saving up money to buy a better bike for myself and I was upset that I had to pay almost 1000 dollars for something I had nothing to do with. I still paid even though I was worried about getting scammed. There was no cover up. I blogged about it. If I wanted to hide it, why would I publicly post it? I also blogged about helping them and paying for her medical bills just a few posts later and why wasn't that mentioned in the hit piece against me?

I was a very angry and bitter person when I was younger. I always looked at the world as if it was against me. My jokes and satire were immature and at times distasteful. But I evolved and grew up and spending more time with OldBoy and his family allowed me to become a more positive person. It improved my videos, my networking, and my life. The 22-25 year old me is not the 27 year old me. Actions, words, jokes, comments in the past don't reflect the current me or my views on Vietnamese people or Vietnamese women. That video was taken down quickly after it was uploaded because I realized my immaturity. It is no longer online or on my channel Again, my early views and ignorance new to Vietnam do not reflect who I am today.

SPECIAL THANKS TO OUR PATREON SUPPORTERS.
http://www.patreon.com/KyleLe
http://www.patreon.com/Yevato101

Where some donations, sponsorship, and Patreon go towards:

Vietnamese People Stuck in Cambodia:
https://www.youtube.com/watch?v=62Qzt...

Blind Village of Vinh Chau: https://youtu.be/G-Ovjz807fw

Long Lost Sister: https://www.youtube.com/watch?v=ZcwMD...

Fire in Saigon: https://www.youtube.com/watch?v=6bhmP...

北米最大のモール、ウェストエドモントンモールでサンタクロースと写真を撮ってきました。

We went to event "Photo with Santa" at West Edmonton Mall, the biggest mall in North America.

【チャンネル/Channel】
東京から2015年夏にCanadaに引っ越してきた男女の双子“KahoSei”のはじめての海外生活のあれやこれやをUPしていきます。「Kan & Aki's CHANNEL」「キッズライン♡Kids Line幼児チャンネル」「せんももあいチャンネル Sen, Momo & Ai Channel」「がっちゃんねる★TheGacchannel」などの有名Youtuber Kidsに憧れ、やりたいと言い出しました。そんな自称Youtuberな動画ブログです。
実際に動画を作ってみると大変であたふたしています。
観てくださってありがとうございます。

This is Youtube Channel about Japanese girl and boy twins KahoSei's life in Canada. On 2015 summer, Kahosei moved into Canada from Japan. It is our first time living abroad. This Channel started from Kaho's remark of 'I want to be like Kan & Akira (who is super Youtuber kids in Japan.)' KahoSei is not "super" Youtuber, but we are now Youtuber.
After started to update video, I noticed that it is very difficult and hard to make videos.
Thank you for watching our video! Sincerely.


【KahoSei from Canadaのおすすめ動画・Recommend Video】
誕生日プレゼント開封 Birthday Present Unboxing 5 years old 5歳 2015/11
https://youtu.be/wnJz1nPrl8I
絶景 カナディアンロッキーへ Amazing Views Canadian Rocky Trip to Lake Louise レイクルイーズ〚2015/11〛冬 Winter
https://youtu.be/A9CZ9dGbIyQ
Trick or Treat カナダではじめてのHalloween First Time in Canada お菓子いっぱいもらったよ
https://youtu.be/buQMG6CORlI
LEGO 10514 Jakes Pirate Ship Bucky レゴ ジェイクとネバーランドで遊んでみた
https://youtu.be/Lrve4okntJs


【KahoSei from Canada再生リスト・Playlists】
お出かけ・旅行 / Outing and Trip
https://www.youtube.com/playlist?list=PLbcyhrcCcVXBf2SlQNAheBRXUKLEnhJ_0
おもちゃレビュー/ Toy Reviews
https://www.youtube.com/playlist?list=PLbcyhrcCcVXDOI3GPg8kAdVopVoi7dXsK
季節のイベント/ Seasonal Event
https://www.youtube.com/playlist?list=PLbcyhrcCcVXCLyUB24fpQEYgl1yNhMrXQ
カナダの日常/Daily Life in Canada
https://www.youtube.com/playlist?list=PLbcyhrcCcVXBIRHNH6hY77WJhKujmFrDw
謎の行動/Silly Actions
https://www.youtube.com/playlist?list=PLbcyhrcCcVXBBKG9cDnhIUyfIAezM9AH6
カナダのお菓子を試してみた/ Canadian Snacks and Candies Review
https://www.youtube.com/playlist?list=PLbcyhrcCcVXDggCTVnlgCQ0anvL1wZFNp
英語習得記録/Record of their English Learning
https://www.youtube.com/playlist?list=PLbcyhrcCcVXDpWZUJ3d4tMRfZ35xalmLK

☆Twitter
https://twitter.com/KahoSei_Canada
☆タンブラーページtumblr
http://kahosei-from-canada.tumblr.com/

★☆★チャンネル登録・Subscribe★☆★
↓↓↓↓↓↓↓
https://www.youtube.com/c/KahoSeifromCanada?sub_confirmation=1

【KahoSei from Canada以外のおすすめ動画・Other Channels Recommend Videos】
USJ クリスマス サンタクロース にプレゼントをお願いしてきたよ♫ おでかけ family fun Theme Park Universal Studios Japan
作者: キッズライン♡Kids Line幼児チャンネル
https://www.youtube.com/watch?v=lRJMHEIdbJU
Santa Claus Visits Autoline for Photos, Milk, and Cookies!
作者: Autoline Preowned
https://www.youtube.com/watch?v=V15gWfS38fk
West Edmonton Mall - Canada`s Largest Biggest Mall Alberta Canada November 28 2013 HD
作者: YellowKnife NWT
https://www.youtube.com/watch?v=fi73gyqKW0I
Santa signing to child
作者: Mashup Mark
https://www.youtube.com/watch?v=RPcTB86aT0Y

SUBSCRIBE for more of the hottest Movies, Films, Music Videos, Machinimas, and Funny video as soon as they become available to the public xd

Directed and Edited by Mr.GTA5 MOD.
At Playstation4.

STAFF(PSN ID):
Main Girl / piko2000rea
Main Boy / goronta5600
And the other actors / kk7529, JOJO-DIO_SPW

►Other Movies of GTA V Film creators.
【E.D.G.E】 https://www.youtube.com/watch?v=eQOYR37qs4Y

【FAST & FURIOUS GTA】 https://www.youtube.com/watch?v=lWdLDFs2Yfw&list=PLqA0azSaUAejHLTNz2__qfDQAL7TNwwAa&index=3

【NO SCRUBS】 https://www.youtube.com/watch?v=SRcNWwvntW8&index=7&list=PLqA0azSaUAejHLTNz2__qfDQAL7TNwwAa

【WORLD SUPER AND HYPER CAR BATTLE】 https://www.youtube.com/watch?v=OGgQmlWmaQQ&index=8&list=PLqA0azSaUAejHLTNz2__qfDQAL7TNwwAa

【We Are The Black!! 】 https://www.youtube.com/watch?v=Esu3VkmkW5g&index=9&list=PLqA0azSaUAejHLTNz2__qfDQAL7TNwwAa

【Pharrell Williams / Happy Parody】 https://www.youtube.com/watch?v=brOCLxI1J7U&index=13&list=PLqA0azSaUAejHLTNz2__qfDQAL7TNwwAa

【THE CAR CHASE】 https://www.youtube.com/watch?v=j60mKyQj7Ws&list=PLqA0azSaUAejHLTNz2__qfDQAL7TNwwAa&index=1


tags: music song R&B rockstar games video movie film machinima editor snapmatic cinema picture love grand theft auto 5 playstation 4 next gen tamia officially missing you online camera 1080p crew cut parody lyrics 短編映画 ミュージックビデオ プロモーションビデオ 自主製作 習作 オリジナル パロディ