🎉🎉🎉“Samsara Ep1.” Puts Taiwan On the Map! New Media Artist Hsin-Chien Huang Wins the Top Awards of SXSW🏆🏆🏆🥳
The awards ceremony of the American international film festival, South by Southwest Film Festival (SXSW), will be held in the morning on March 20, 2021. The latest VR production created by artist Hsin-Chien Huang has taken the festival by storm and bring home the prestigious “Jury Awards” in the virtual cinema competition category. “Samsara Ep. 1” is the first VR production from Taiwan to receive such honor and has put the creativity of Taiwan on the map!
In the acceptance speech, Huang mentioned that he would like to thank the jury of SXSW for the recognition and encouragement. It was absolutely his honor to win this award. He’d also like to thank the full support from the Ministry of Culture of Taiwan 文化部, the Taiwan Creative Content Agency 文化內容策進院 Taiwan Creative Content Agency , and Kaohsiung Film Archive 高雄市電影館 VR 體感劇院 VR FILM LAB to make it possible to complete the work. Finally, he thanked all the crew members of the production for letting the world see how amazing the VR production from Taiwan.
The story background of “Samsara” is set as a timeline when humans completely destroyed the environment on earth and begin to go on a quest through space for hundreds of years. People try to immigrant to a new planet, so they redesign the DNA to adapt to a new environment and evolve into a new life form. However, after so many years, people gradually realize that it is never possible to find a new planet to settle. They merely keep returning to the original earth they have damaged in a different era, in a different life form, as an endless circle of reincarnation.
The plot involves many different social issues, including ecology, technology, natural resource, and war, and calls on viewers to reflect themselves with a profound philosophical perspective. Moreover, several concepts of embodied cognition are used in the story to make viewers transform into different animals, including Taiwan’s indigenous species, such as Taiwan Blue Magpie and Formosan Black Bear, to interact with the scenes. “Samsara Ep.1” also features the latest somatosensory technology, including the 4Dviews shooting techniques by the Industrial Technology Research Institute and Taiwan Creative Content Agency, with 48 4DV-EX-Z cameras and a digital shooting system composed of a high-sensitivity 4 million-pixel full-color CCD sensor. “Samsara Ep.1” is able to be taken from an omnidirectional view without blind spots and be shot without any blind spots to create the ultimate immersive experience.
The first SXSW was held in Austin, Texas in 1987. This long-standing international event is held around March every year ever since. The festival features various themes, such as films, music, VR/AR, art and games, etc. The SXSW is the world’s largest event for creative content. Many creators and brand owners in the fields will not miss out on the festival. Therefore, the festival has become a trial balloon, attracting hundreds of bands and film crews to participate, estimated over 400,000 people joining the event. This year, the festival has changed the event to an online form for the first time since the pandemic is raging as before. All screening events, industry matchmaking, seminars will be carried out via its own online platform, SXSW Online, without difficulty. It has made it possible for all the artists, creators, and professionals to break down the physical borders and participate in this magnificent annual event together.
There are nine productions in total nominated in the Virtual Cinema Competition category this year, with teams from the US, Canada, the UK, France, Germany, Poland, Australia, South Korea, and so on. This is the first time that “Samsara Ep.1” has competed in the international film festival and has achieved a great result with much international recognition. This is also the first time for Taiwanese production to receive an award from the SXSW competition. The full version of “Samsara” is expected to start the global tour in the second half of the year. Huang said that “Samsara” would return to Taiwan for its Asian premiere and ask the fans in Taiwan to stay tuned!
✔️SXSW website: https://www.sxsw.com/festivals/film-awards/
✔️SXSW YouTube: https://www.youtube.com/watch?v=T9G_7NZh_Oo&feature=emb_logo
#黃心健 #HsinChienHuang #輪迴 #Samsara #Virtualcinemacompetition
#Juryaward
#VR #台灣VR #TaiwanVR
#SXSWFilm #SXSW #2021SXSW #SXSWOnline
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「how to break into the music industry」的推薦目錄:
- 關於how to break into the music industry 在 黃心健 Hsin-Chien Huang Facebook 的最讚貼文
- 關於how to break into the music industry 在 半瓶醋 Facebook 的最佳解答
- 關於how to break into the music industry 在 柳俊江 Lauyeah Facebook 的最佳貼文
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how to break into the music industry 在 半瓶醋 Facebook 的最佳解答
【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
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how to break into the music industry 在 柳俊江 Lauyeah Facebook 的最佳貼文
Stand up. Respect ✊
(Update: 中文繹版連結:https://www.facebook.com/329728177143445/posts/1800273350088913/)
“An open letter to Eric Kwok, and for everyone re homophobia, discrimination and bullying”
Dear Eric,
Imagine this. You are one of the contestants on a TV talent show. You are sitting in a room with other hopefuls and one of the judges walks into the room and demanded this: “Raise your hand if you are not homophobic.”
I’m very sure you will raise your hand.
You don’t have to answer me whether or not you really are homophobic. But stay with the feeling inside your mind. How do you feel?
Your feelings are most likely the same as the feelings of your contestants when you walked into a room and asked them to raise their hands to declare their sexual orientation publicly. Because in this day and age, homophobia is just as “controversial” as homosexuality, if not more.
The reason why I’m writing this open letter to you is because after reading your apology, I want to take the opportunity to address to you, and everyone out there, the need for proper etiquette regarding LGBT issues, and to address the forms of micro-aggression, bullying and discrimination the LGBT community faces everyday especially in the workplace.
I’m taking this incident seriously because from my personal experience, this is not just a one-time slip-up for you.
I remember long time ago I was so looking forward to meeting and working with you because you are, after all, Eric Kwok the great songwriter.
You were very friendly when we talked privately. Then I started to notice how once there were audiences, media or other people around and when the cameras were turned on, you would start making insinuating and demeaning gay jokes about me and in front of me. Jokes and comments even my closest friends wouldn’t dare to make in public.
At first, I didn’t really pay too much attention. I just brushed it off as juvenile and trivial. In fact, I had been so used to these jokes since growing up that I learned not to react much.
However, as time progressed and we worked on more occasions, the same thing would happen repeatedly. The teasing and the stereotypical gay jokes continued and you would make sure that the spotlight would fall on me afterwards. The jokes no longer felt light. They felt hostile, even vindictive.
In fact, it felt like bullying.
One of these incidents was well documented in tabloids back then and you can still look it up yourself on the internet.
I came to the realization that it was not just a one-time thing. I don’t know if it’s intentional or unintentional but it’s definitely a habit and a pattern.
So many questions would be in my mind every time after working with you. Why does Eric do that every time? Is he picking on me? Does he hate me? Is he homophobic? Does he think homosexuality is something funny? Does he do this to other people too? Did I do something that pissed him off? I remember I was nothing but courteous. So why do I deserve this?
I had no answers for all of these questions. All I knew was I became fearful of working with you, dreading what words would fall out of your mouth to put me in an awkwardly embarassing position. But still I tried to give you the benefit of the doubt. You’re from California you shouldn’t be homophobic. I even defended you in my head by telling myself to loosen up.
But it’s not just you. Throughout my years in the entertainment industry, I have encountered and endured so many chauvinistic “tough guys” who like to use homosexuality as a laughing stock or source of bad comedy which were all discriminating and demeaning, yet not funny.
It’s not only me. I’m sure many people of the LGBT community face this everyday in their workplace. People around them would claim their intentions were harmless but we all knew deep down that these “jokes” have the power to put people someone in an embarrassing, inferior and even threatening positions.
We kept quiet and tolerated. Sometimes we even felt obligated to laugh along just so we couldn’t afford to look “petty” or “stiff”, especially in front of people of higher authority and stature.
So Eric I want to ask you.
Why have you been so obsessed with my sexuality all these years?
Why are you so fascinated by other people’s sexuality?
Why is being gay such a huge issue to you even to this day that you had to make it the first thing you asked your contestants?
Why you also had to specifically make a post on social media about that fact you questioned people about their sexuality?
Why do you take so much pride publicly in your ability to guess who are the gay contestants even when they weren’t ready to share that information?
And most of all why do you find all this to be so funny?
To begin with one’s sexual orientation is a very personal thing which others have no right to intrude, even in the entertainment industry where you are supposed to be fine with “controversy”.
This is for you and everyone out there: using your power and authority to demand someone to declare his or her sexual orientation, especially in a work environment, is ancient, barbaric and unacceptable.
Kicking someone out of the closet is just pure evil.
The fact you did what you did, especially with your stature and on broadcast TV, is not only wrong, but also you are telling the Hong Kong audience that it’s alright to continue this form of intrusion and micro aggression that the LGBT community wants to see gone.
You’re leading a very poor example by giving Hong Kong audience the impression that being gay is still a taboo.
How are your contestants, who are boys of young age, going to offer new perspectives to the Hong Kong audience under your guidance if you perpetuate stereotyping and demonstrate to them that being gay is still an issue?
I feel sorry for any contestants who are in fact gay sitting in that room that day too. They must have been traumatized seeing the way you forced your inquisition. The impression you left them with is that the entertainment industry is still a very unfriendly place for gays. Is that what you want them to think?
But most of all, it’s the attitude, tone and manner with which you shared about this incident on social media, giving people the impression that any matter regarding sexual orientation is still something shameful and laughable, which is on top of list the thing that the LGBT community fights hard everyday to change.
When you said in your apology you “have great respect for gay people, especially their hard fight for equality” I became baffled as what you did, in the past to me or in that room to the boys, is the exact thing that makes the LGBT community’s ongoing fight for equality so difficult.
Putting people down, perpetuate stereotypes, heckling and ridiculing yet making it look OK is anything but liberal and respectful, or Californian. I don’t see any “entertainment values” that are of good taste if they are made up at the expense of other people’s struggle.
If this incident happened in America, where you grew up, you would’ve gotten yourself in such hot waters that you probably can’t get out of.
I just want you and everyone out there to know that it’s not okay. And it never was. Never will be.
Being “as liberal as it gets” is great. Having gay friends is great too. Having dinner with your gay friends is absolutely fabulous! Playing all these cards to avoid being labelled as “homophobic” is very convenient. But having class, empathy, kindness and authentic respect is a completely different territory. These don’t come automatically with backgrounds.
At this point you don’t owe me an apology. I just hope that after this incident you can really start working and living with the essences of a truly liberal and creative individual. Inspire changes and end stereotypes. Start new trends and break old patterns. Embrace and not segregate. Do the work.
I had been away from Hong Kong and the industry for a few years now. It breaks me heart that I have to write this sort of open letter when it’s already 2018. I want to make this industry a safer, nicer and more accepting place to work in when I return. I want members of the LGBT community in Hong Kong, who have been so supportive of me and my music, to also have safer and nicer working environment in their respective lives.
I don’t mind coming off as an over-reacting petty bitch with no sense of humour if my message finally comes through and everyone, including you, “gets it”. I rather have no sense of humour than a bad one.
To all the contestants of the show. If anyone ever asks you if you are gay and you are not ready to discuss, it’s OK to stand up for yourself and say this: “It’s a rude question to begin with. You have no right to get an answer from me to begin with. And it doesn’t matter. It SHOULDN’T matter. It’s 2018. I hope one day I can use my craft to inspire the world and to make this become a non-issue.”
But if you are ready to be open, you have my complete support and love.
Let’s hope that through acceptance, learning and effort, one day there will no longer be any “controversial questions”. Wouldn’t we like that Eric?
Yours truly,
Pong
#LGBT
#homophobia
#safeworkplace
#中文版稍後會有
Eric Kwok 郭偉亮
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Step 1: Pick 5 exercises out of 10
Step 2: Do each exercise for 20-30 seconds (use this timer APP: https://bit.ly/trainwithjordanapp)
Step 3: Take 10-15 seconds rest time to move on to the next exercise (use this timer APP: https://bit.ly/trainwithjordanapp)
Step 4: Take 2-3 minutes break after completed 5 exercises
Step 5: Aim for 3-5 rounds!
Training & Coaching App: https://bit.ly/trainwithjordanapp
▷Connect with Me
Instagram: https://www.instagram.com/jordanyeohfitness
Facebook: http://facebook.com/jordanyeohfitness
Music by Revealed Recordings and Epidemic Studio
DISCLAIMER
The exercises and workouts provided in this video are for educational purposes only and are not to be interpreted as a recommendation for a specific treatment plan, product, or course of action.
Before beginning this or any exercise program, please consult a physician for appropriate exercise prescription and safety precautions.
The exercise instruction and advice presented are in no way intended as a substitute for medical consultation. As with any exercise program,
if at any point during your workout you begin to feel faint, dizzy or have physical discomfort,
you should stop immediately and consult a physician.
#fitness #workout #weightloss #shorts
how to break into the music industry 在 Aimee Cheng-Bradshaw Youtube 的精選貼文
Hey guys!! Now that our lockdown is nearing its end, it’s time to get moving with applying to agencies if you want to break into the modelling industry! It’s always better to stay ahead of the curve rather than wait until things get busy, so this video outlines 7 MISTAKES TO AVOID WHEN APPLYING TO AGENCIES after this lockdown! Hope you guys find this helpful! Good luck! xx
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