A talk to relatives and guests, and a testimony to God.
茂叔在女兒婚禮後,對親友的講話;給神一點榮耀。
Good afternoon, Malcohm and Valerie, relatives and friends. I am happy to meet the guests here and say something at the marriage of Phoebe and Clinton.
午安,親家老爺和奶奶,各位親戚朋友, ,我很高興在這裡見到各位。
We are a Christian family. Our first pastor told us, God did not look at passports when He accepted Christians. Well, God might have been foretelling us that our children-in-law would be different from us.
我們全家信奉基督。我們的第一位牧師也曾教導,當上帝接受信徒時,不用檢視護照。當時,上帝可能已經預告,我們的女婿會來自其他地方。
A Chinese parent calls the daughter ‘the Pearl on the Palm”. Phoebe is precious and special. She is always motivated. She shone in studies, and I joke that even my proud self do not want to sit for the same professional examination alongside her. My wife demonstrated the utmost capacities of a mother. She taught Phoebe languages which she herself did not speak, brought Phoebe to dancing although she knew little dancing, coached Phoebe swimming, but she still does not swim well; and she learned martial art to mastery levels to keep our children company. I am sure that our daughter will excel both hardworking Papa and clever Mama in the coming years.
中國人稱女兒為“掌上明珠”。嘉儀既珍貴又特別。她永遠上進,成績優異,我曾開玩笑,即使我也不想和她考同場考試。我的妻子教育子女時,展現偉大的能力。她自己只會說中英文, 但她教嘉儀多種語言。雖然她不懂舞蹈,卻帶嘉儀跳舞。不精於水性,但教嘉儀游泳。習武精通,以陪伴孩子學習。我相信,我們的女兒,未來將比勤奮的爸爸和聰明的媽媽,更加出色。
Yes, Phoebe is a pearl in our family. And I heard that some fathers-in-law are difficult to be satisfied with the sons-in-law. I am different because I believe in my daughter. Clinton can charm Phoebe. So, Clinton is a Prince worthy of Phoebe.
嘉儀是我家的明珠。有人更說,岳父很容易覺得女婿不達標。我有點不同,因為我信任女兒。既然堅信可以吸引嘉儀,他自然是嘉儀的王子。
The Bible preaches that good children make parents proud. We knew how good our daughter is, but we were also concerned when she found Mr Right. My wife had prayed night after night that Phoebe met her good Christian prince before a certain age. When the calendar simply went beyond it, Karen kept praying. Later, when we learned that Phoebe was dating, we found that Phoebe and Clinton knew each other BEFORE the age for which Karen prayed. My friends, this is a good testimony on prayer. God knows what to do at the right time.
聖經說,好孩子使父母感到驕傲。我們知道我們的女兒出眾,但我們也很擔心,那時候她才找到另一半。我的妻子夜夜祈禱,嘉儀在一定年齡之前遇到了信靠基督的好王子,縱然日子過去,太太仍然繼續祈禱。後來,我們發現嘉儀在我的太所祈禱的年齡之前,就認識堅信。朋友,這是禱告的一個良好見證。上帝知道在正確的時間做什麼。
Now the bride and the groom leave nests of the parents to start your new family, as God so commanded. I would not try to lecture on the art of marriage. But I may share my promises to my wife when I proposed to her. I promised to treat her family well. I promised to listen to her. I promised to apologize to her for ANY ARGUMENT when we ever fall into one, whatever the logic or even facts are. I have kept the promises, and I am a happy man.
現在,新娘和新郎按照上帝的命令離開父母,開始新家庭。現在我不想冗長講解婚姻藝術,但卻會分享求婚時,我對女友的諾言。我答應好好對待她的家人。我答應聽她的話。我承諾,無論邏輯或事實如何,只要有任何爭論,我都會向她道歉。我一直信守諾言,而快樂常伴著我。
Clinton, please take good care of Phoebe. I am certain that you will congratulate yourself of so doing, based simply on my experience. Phoebe, please take good care of Clinton and his family. I am sure you will do so even without my reminder, as God commands us to love one another and especially the parents.
堅信,請照顧嘉儀。以我的經驗,我敢肯定,您將來一定因此而開心。嘉儀,好好照顧堅信和他的家人。我相信即使在沒有我的提醒,您也會這樣做,因為上帝命令我們彼此相愛,尤其是父母。
I started my private practice when Phoebe was 5 years old. It was extremely difficult. The tough exercise strengthened the bond between me and my wife. The trust in us was at a level way above that in families without hardship. Clinton and Phoebe, while stress is training sent from God, apparently smooth and affluent life may be a powerful temptation from Satan. God may not be particular about the form of tests He sends to us, but He watches our response. The 2 of you please treasure both difficult and good times and stand hand-in-hand together.
嘉儀五歲那年,我開始私人執業。日子非常困難。艱苦的生活,鍛煉我和我妻子之間的聯繫,提高我們的信任。堅信和嘉儀,壓力可能是是上帝的訓練,但生活順利富裕,卻可能是撒但的強大誘惑。上帝可能會隨意發出測試的形式,但他永遠著緊我們的回應。你們兩個人要同様珍惜困難和美好時光,並肩站在一起。
While Asia is thousands of miles physically away from England, we are a call or a click away. Families of the parents on both sides are always ready to help you. Karen and I pray for your new family, and we are sure that God will continue to guide you in the way ahead.
儘管亞洲與英國相距數千英里,但只是一個電話或一個點擊即可達到我們。雙方父母和家人隨時準備幫助你們。太太和我為您的家庭祈禱,我們確信上帝會繼續引導您前進。
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Sudah tentu ramai rakan-rakan yang masih rasa tak selamat dan rela duduk rumah time pandemik ni. Banyak faktor, antaranya kesihatan diri sendiri, lagi-lagi tidak ingin membawa risiko kepada ahli keluarga terutamanya yang ada isu kesihatan.
Berjanji dengan bini tersayang supaya kurangkan masa di luar, hanya untuk urusan penting sahaja. Kalo tak, mati I kena bebel. (Yes I tahu bebel sebab sayang. Lap you wife). Masalahnya makin banyak time di rumah, makin banyak time habis main phone. Selalu marah anak-anak mata melekat kat Ipad, phone, rupanya sendiri sama juga, lagi teruk kadang-kadang. Tapi, sekarang kan dunia IT, larang anak-anak main gadget mmg tak logic. Cikgu-cikgu sekolah pun dah start ajar pakai gadget. Memang challenging nak ejas kasi balance. (Bukan mcm bapa dia, first time main computer kat cybercafé. CounterStrike punya pasal)
I rasa ramai yg sama dilemma mcm saya. Mau anak pandai IT, tapi geram tengok dia layan gadget lama-lama. Seronok tengok derang main lumpur main bola, tapi risau pulak ada Covid. Itulah sebab I amat berbangga apabila diminta jadi duta jenama Aisportz yang mencipta pelantar menggabungkan kemodenan IT serta boleh membantu dalam keadaan pandemik sekarang.
Layanilah www.aisportz.com dan daftar secara percuma. Anda berkemungkinan memenangi Raket Edisi Terhad yang ditandatangani saya. Tempoh tamat 4hb August!
************************************
“Kingston, stop playing your IPad already! You will be addicted!“ “Terence, put down papa’s phone and go read your books now!” Both little ninjas would then put on the most sour faces as if I owe them money. I believe these are common headaches faced by modern parents now. Having said that, I believe we still need to expose them to gadgets. Just limit their screen time to say an hour max a day. Otherwise, our children could be left behind in this IT-charged world. (It’s a shame their dad’s first exposure to IT was when he was seventeen, playing CounterStrike in a cybercafé!)
Especially during the previous MCO period, gadget usage became more prominent. Education and leisure mostly took place in the form of gadgets. Like in my previous post, even Taekwondo was taught via online.
So I’m really happy when Aisportz wants me to be their brand ambassador. It is a platform optimizing modern gadget functionality, solving current pandemic problem.
Log on now to www.aisportz.com and register for free. You may stand a chance to win Limited Edition Badminton Racquet with my signature. Lucky draw ends 4th of August!
以前我们的父辈只需要扮演好爸爸的角色,现在我们要当孩子的朋友当他们的bro,又要当爸爸引导他们,所以说现在的父母不容易啊!MCO期间就遇上了一个情况,要他们别玩手机,自己却又机不离手;要他们别玩电子产品,却又担心他们会跟不上时代;CMCO他们想要外出运动,又担心Covid-19,真矛盾。
我有份参与的Aisportz的《线上跑》一系列活动,正好解决了这个问题,让你即可以挂在网上又可以运动,一举两得;你可以预先到 www.aisportz.com 注册,除了可以获取活动最新消息,只要register就有机会赢取我的限量版签名羽球拍。🏸(截止日期8月4日)
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【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
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vocal 五塊錢
guitar 王建中
錄音介面:Roland UA-55
Camera:fuji XT2 / XF 10-24mm F4 R OIS
MIC:RODE NT-1 / Audio-Technica AT2020
使用軟體:Final Cut Pro / Logic Pro
錄音/剪輯/攝影:王建中
Ed Sheeran
Castle On The Hill
When I was six years old I broke my leg
I was running from my brother and his friends
And tasted the sweet perfume of the mountain grass I rolled down
I was younger then, take me back to when I
Found my heart and broke it here
Made friends and lost them through the years
And I've not seen the roaring fields in so long, I know I've grown
But I can't wait to go home
I'm on my way
Driving at 90 down those country lanes
Singing to 'Tiny Dancer'
And I miss the way you make me feel, and it's real
We watched the sunset over the castle on the hill
One friend left to sell clothes
One works down by the coast
One had two kids but lives alone
One's brother over dosed
One's already on his second wife
One's just barely getting by
These people raised me
can't wait to go home
I'm on my way,
Driving down 90 down those
country lanes Singing to 'Tiny Dancer'
And I miss the way you make me feel, it's real
We watched the sunset over the castle on the hill
We watched the sunset
Over the castle on the hill
We watched the sunset
Over the castle on the hill
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