關於 the bad guys box office ，我們在網路上蒐集到這些相關的討論、資訊與評價

嗨大家好！我很久沒發文跟大家互動了！
我的最新聯展即將發生嘍！這次跟了好多
藝術家一同展出！

這次展出了一系列新作品，把神奇寶貝結合香奈兒的服裝畫進畫中，從來就不是走優雅路線！

邀請大家8 / 7來誠品畫廊免費入場參觀！

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＊策展：趙琍、賴盈成、顏寧志

＊參展藝術家：
GRAFFLEX、U-die、牛木匡憲、王宗欣、卡沃、低級失誤、李承道、李奕諠、松浦浩之、林俊良、花臂老王、洪添賢、桑拿大可、堀越達人、張育嘉、張嘉穎、陳純虹、陳普、塗鴉阿諾、葉長青、鄒駿昇、廖堉安、劉正堃、鬍子大叔、蘇志成

＊入場方式：2021年8月7日開展首日免票入場，8月10日至9月4日憑票入場

＊票價：NTD100

＊購票網址：https://www.accupass.com/event/2107171006196097145330

誠品畫廊將於8月7日至9月4日推出展覽「動漫未來」，邀請5國共25位藝術家參展，展出100餘件作品，包含油畫、版畫、雕塑、水彩、膠彩、絹印、動畫等多種形式，展覽將以藝術沙龍的方式，全面呈現藝術家們所帶來的精彩作品。

在疫情的天空下，病毒限制了人類的行動力，卻限制不住想像力。2020年末《鬼滅之刃：無限列車篇》在台、日兩地皆創下可觀的票房。現實世界的阻礙，反而助長我們在二次元世界馳聘的動力，幻想不死，隨時隨地都能復活再戰鬥。在社群網路推波助瀾下，ACGIT（Animation、Comic、Game、Illustration、Toy）產業持續進化，在與藝術、美學混血之後，逕自開出一片奇幻花園。

誠品畫廊自2007年首次舉辦日本動漫藝術家松浦浩之（Hiroyuki MATSUURA）Ultra New Visions個展，即長期關注動漫美學。2021年，誠品畫廊持續探尋動漫美學更多可能，我們邀集全亞洲具動漫基因的青年創作者，於後疫情時代的台北松菸誠品畫廊展出。

＊Curators: Emily CHAO, Eric LAI, Andy YEN

＊Artists:
Abei LIU, ANO9S, CHANG Chia-Ying, Chen-Dao LEE, Cowper WANG, Croter HUNG, Eszter CHEN, Grafflex, Hiroyuki MATSUURA, HORIKOSHI Tatsuhito, Kawo a.k.a Sushijojo, LAOWANG1102, LIAO Yu-An, LIN Jun Liang, Masanori USHIKI, Page TSOU, Pu CHEN, Saitemiss, Sangna Take, Tony SUEZ, U-die, Uncle Tommy, YEH Chang-Ching, Yi-Shuan LEE, Yu Chia CHANG

＊Admission: Free entry on opening day (August 7, 2021); ticket admission from August 10 to September 14, 2021.

＊Admission fees: NTD100

＊Ticketing: https://www.accupass.com/event/2107171006196097145330

ESLITE GALLERY is delighted to present Animamix Flux from August 7 to September 14, 2021. Inviting 25 artists from 5 countries and featuring more than 100 works, the exhibition includes artworks as variegated as oil paintings, prints, sculptures, watercolors, eastern gouache, silkscreens and animations. Curated in the form of an art salon, it showcases these wonderful works in all their glory.

The pandemic reality has limited our physical mobility, but not our imaginative creativity. Anime film Demon Slayer: Mugen Train was a box office hit in both Taiwan and Japan as 2020 drew to an end. The obstacles in the real world are fueling our dream to roam in the two-dimensional world, where fantasy is immortal and we can come back to life to fight the bad guys over and over again. Driven by the power of social networks, ACGIT (Animation, Comic, Game, Illustration and Toy) industry continues to evolve and grow. It has organically opened up a fantasy garden after hybridizing with art and aesthetics.

Since ESLITE GALLERY staged Ultra New Visions, a solo exhibition of Japanese artist Hiroyuki MATSUURA, for the first time in 2007, we have been keenly following the aesthetics of anime and manga. In 2021, ESLITE GALLERY intends to explore the boundless possibilities of anime aesthetics. We are inviting young artists empowered with anime and manga DNA from countries in Asia to put on a group exhibition in August in post-COVID Taipei.

【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

Belum sempat cerita ni dikeluarkan, Box Office dah pecah (ada penyamun masuk ofis dan pecahkan power box). Takpe. Nantikan saja tayangan perdana “BAD BOYS: THE MELAYU” di pawagam seluruh dunia pada 1 April nanti. (Cuma kita tak sure kat negeri mana) Watch this page guys for updates. Like & Share! #tunggu1April

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Where Are The Asian Borders?: https://youtu.be/vPupwlZlNMY
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'Asian Eyes' Are More Common Than You Think: https://youtu.be/WxTnVWgOGLc
10 REASONS Why Asians Don't Get FAT: https://youtu.be/xIqJR6xfMro

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10 MOST INFLUENTIAL ASIAN SUPERHEROES FROM MARVEL & DC

There are a lot of comic book fans out there, and many of them are Asian. Yet historically, superheroes of Asian descent have been a rare thing in the Marvel & DC universes.

With movies like Captain America Civil War, Batman vs Superman and Deadpool already having broken several box office records this year, superhero movies are only getting more popular.

And you know, you have the first female solo superhero film in quite some time coming out in 2017 with DC’s Wonder Woman, and the first black solo superhero film in some time coming out in 2018 with Marvel’s Black Panther. Makes me wonder when we’ll see the first Asian solo superhero film on the big screen.

But we’re a long ways off because first, we actually need a successful and popular Asian superhero in the comics, and thus far, it’s not clear if we even have one.

Well you be the judge.

1. Jubilee (Marvel)
- arguably the most well-known Asian superhero
- a Chinese-American girl born in LA
- X-Men’s youngest member in the early 1990s

2. Shang Chi (Marvel)
- created in the 1970s, a period in time where people were crazy for Bruce Lee and anything Kung Fu related
- the premiere Asian character of the 70s
- born in China
- son & nemesis of the infamous, wealthy international Chinese crime lord Fu Manchu.
- has no superpowers, but is an expert in all forms of martial arts
- unfortunately as stereotypically Asian as you can get

3. Sunfire (Marvel)
- Japan’s premiere superhero
- just like Shang Chi, an Asian character of overt Asian symbolisms.
- real name, Shiro Yoshida
- born to a mother who suffered radiation poisoning (Hiroshima atomic bomb)
- became a mutant possessing solar radiation powers

4. Atom (DC)
- real name, Ryan Choi
- super smart & gets good grades
- can be quite the ladies’ man
- from Hong Kong
- protege of original Atom, Ray Palmer
- the Atom is a super hero who can shrink to a subatomic size (like Ant-Man)
- pretty noteworthy because first time an Asian guy took over the mantle of an existing superhero with an already established fan base
- too bad he only appeared in 78 issues before being killed off by the assassin, Deathstroke
- his death became the subject of racial controversy as he had been one of the few high profile Asian characters in the DC Universe

5. Batgirl (DC)
- real name, Cassandra Cain
- she’s a halfie, with a white dad and a Chinese mom
- adopted by Bruce Wayne, aka Batman.
- under Batman’s watch, she became Batgirl
- some refer to her as the Asian Batgirl

6. Psylocke (Marvel)
- real name is Elizabeth “Betsy” Braddock, originally a blonde haired girl from Essex, Great Britain
- a mutant with vast telepathic and telekinetic powers and a long time X-Man.
- had her soul transferred into the body of a Japanese female ninja
- in X-Men: Apocalypse movie she is played by Olivia Munn (Is this another example of whitewashing in Hollywood?)

7. Ms. Marvel (Marvel)
- real name, Kamala Khan, the second Ms. Marvel who made her debut in 2013
- a Pakistani Muslim teenage girl living in New Jersey from a very traditional Pakistani family.
- is an inhuman (a race of superhumans)
- her power makes her able to stretch her body in unimaginable ways

8. Silk (Marvel)
- real name Cindy Moon, a Korean American girl.
- Spiderman was bitten by a radioactive spider but what we didn’t know was, so did another student

9. Hulk (Marvel)
- in 2015 we were introduced to a Korean Hulk.
- real name, Amadeus Cho, a Korean American
- this new Hulk fights gamma monsters while traveling cross country with his sister Maddy

10. Superman
- DC one upped Marvel by making one of, if not, the most iconic superhero of all time Asian.
- Superman is now Chinese!
- a 17 year old kid from Shanghai named Kenan Kong
- you can imagine the outrage this has caused as ‘superman is supposed to be white’ and American

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ABOUT
We do videos on interesting 'Asiany' topics - Asian stereotypes, Asian pop culture, Asian issues, Asian history, AMWF, and things you just didn't know about Asia!

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Today's Vlog:
TMI,
When a dog can dance better than you,
I get dumped by Lee Min Ho =D,
Tim likes his taller nose,
Dressed like those couples you want to punch,
Who's the bad doggie?


Ps. Hehehe who needs a Lee Min Ho when I get a Tim Ng? ^_~


Vlogs might not be as frequent for the next month guys! Mega busy schedule to come but we shall try our best!

Have a great week!

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