關於 work from home percentage ，我們在網路上蒐集到這些相關的討論、資訊與評價

【#每日跟讀單元 K139】英國人疫情中覺得在家上班工時較長

👉老師唸給你聽: https://15minsengcafe.pse.is/3j8z76

摘要:
Documenting the shift to remote work during the pandemic, the Office for National Statistics (ONS) said the number of people who did some work at home in 2020 rose by 9.4 percentage points from a year earlier to 35.9 percent of the workforce — representing more than 11 million employees.

英國一項官方研究顯示，封城期間在家上班的人花在工作上的時間更多，而獲晉升或請病假的可能性較小，但他們的薪水高於平均工資。

------------------------------
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【キンコン西野が全国の図書館3300館に絵本『えんとつ町のプペル』を寄贈】

まずは近況報告からさせていただきます。
２つあります。
まずは一つ目。

昨日、「スナック西野」の収録がありました。

「スナック西野」というのは、月に２度（ときどき３度）、僕の自宅に僕の友人をお招きして、呑みながらバッキバキに仕事の話をする僕がやっている月額５９０円のYouTubeチャンネルです。

　
【参加はコチラから↓】
https://m.youtube.com/sponsor_cha…/UCOy5sLcFLqYNqZ1iurp4dCg…

　
昨日は、メガネブランドのOWNDAYS代表の田中さんに来ていただいて、あれやこれやとお話しさせていただきました。

その中でも「どうしてOWNDAYSは実店舗がメインなのに、コロナ禍において、ダメージを受けるどころか、経営を加速させることができたのか？」という話がもうメチャクチャ面白くて、経済評論家のそれじゃなくて、現場の手触り感のある話なんですね。

コロナをどう捉え、どう立ち回るか、今回は世界中の経営者の手腕が試されたと思うのですが、昨日、聞いたOWNDAYS田中さんの捉え方、立ち回り方が僕個人的には圧倒的に正しいと思っていて、その部分は是非、観ていただきたいです。

「スナック西野」が隔週土曜日に放送されます。夕方に１０分の無料版が流れて、その夜に１時間の有料版が流れます。

次回のゲストはメガネブランドOWNDAYSの田中さん。その次は、おそらくSHOWROOMの前田さんです。

お楽しみに。

https://youtu.be/J_E_Vixvvj8

　

近況報告の二つ目です。



先日、公開された映画『えんとつ町のプペル』のメインビジュアル。こちらは映画館に貼り出されるポスターや、映画館にデーン！と出る看板に使われる、いわば「広告素材」なのですが、この出来がメチャクチャいいんです。

僕はスマホの待ち受けにもしています。

これ、普通に、額装して部屋に飾りたいよなぁと思ってですね、映画の公開日や声優さんの名前といった文字情報を全部抜いて、「アートポスター」として販売することになりました。

(コチラ)→https://silkhat.yoshimoto.co.jp/projects/2134

　
クラウドファンディングのリターンとして出しているのですが、一つ、条件があります。

ポスターって「配送」にしてしまうと、配送費が結構かかっちゃうんですね。

なので、１２月に六本木ヒルズで開催する『えんとつ町のプペル光る絵本展in六本木ヒルズ（入場無料）』での直接受け渡しを条件とさせていただきました。

会場まで受け取りに来られる方、限定です。

友達の分を代表で取りに来るのもオッケーですし、ポスターの転売も全然オッケーですので、勝手に商売を始めていただいても構いません。



あと、サラッと言っちゃいましたが、六本木ヒルズで個展を開催しようと思ったら、３０００万円ぐらいかかっちゃうのですが、それを「入場無料」というのは、そこそこ狂気の沙汰なんです。

これは、オンラインサロンの売り上げから個展の開催費用を捻出しているからできたわけで、オンラインサロンの売り上げというのは、こういうことに使わせていただいております。

エッフェル塔で開催した個展が入場無料だったのも、同じ理由です。



光る絵本展は入場無料ですので、是非、ご家族で遊びにいらしてください。
クリスマスに開催します。





というわけで、今日の本題です。



タイトルにありますとおり、この度、図書館協会の方とお話しさせていただいて、全国の図書館３３００館に絵本『えんとつ町のプペル』を寄贈させていただくことが決定しました。

よく、「支援とか寄贈とかばっかりしていますが、大丈夫なんですか？」と聞かれるので、ご説明させていただきと、まず大前提として僕は「いい人」だと思われたいというのがあります。なので偽善中の偽善です。

くわえて、利益や貯金を増やすことには僕は一切の興味がなくて、なので、働いていただいたお金はエンタメ投資か支援活動に回すことを決めています。そういうコンセプトで会社をやっているんです。

最悪、食いっぱぐれて食う物に困ったら、サロンメンバーさんの家を一軒一軒回って、晩飯をご馳走になることを勝手に決めているので、そのへんセーフティーネットはバッチリなんですね。



次に、「図書館で読めちゃったら絵本が売れなくなるのでは？」というご意見・ご心配に対してお答えすると、たしかに「もう読んだから要らない」と考える方もいらっしゃるとは思うのですが、その一方で、「図書館で読んだ絵本を自分用に持っておきたい」という新しい需要も生まれると思っていて、これは「どっちとも言えない」というところだと思います。

くわえて僕は、絵本が「売れる売れない」よりも、「知ってる知らない」の方を重要視した方がいいという考えで、もちろん活動を続けていく以上、「売れること」というのはとっても大事なのですが、それよりも遥かに「知ってもらうこと」の方が大事だと思っています。



当たり前の話ですが、知られなかったら売れないので。

順番としては「知られる」方が先なんですね。

全てのサービスのお客さんは「知らないから買わないお客さん」と「知ってて買うお客さん」と「知ってて買わないお客さん」の３つに分けられて、まずは、知ってもらう割合を増やすことが大事だと思います。

図書館で「えんとつ町のプペル」を読んだご家族が、「えんとつ町のプペル」を買わなかったとしても、「えんとつ町のプペル」の話を、まだ「えんとつ町のプペル」を知らない友達とかに話してくれたら、その友達が「買ってくれる候補」には入る。

あとは、絵本は買わないけど、「図書館で読んだ絵本の映画は観に行く」という選択肢もある。



ときどき、「販売している本をどんどん貸し出されてしまうと、売り上げに悪影響が出る」と図書館を敵視する出版社さんがいらっしゃいますが、さっきみたいな考えでいくと、図書館の意味ってメチャクチャあると思っていて、敵どころか、互いに好影響をもたらしながら共存できる関係です。

なので僕は本屋さんも応援しますし、図書館も応援します。



西野亮廣(キングコング)

　
　

▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino

▼Instagram版はコチラ↓
https://nishino73.thebase.in/items/25497065

━━━
２０２０年１２月２５日公開！
映画『えんとつ町のプペル』

▼オンラインムビチケ（特典付き）の購入はこちら↓
https://mvtk.jp/Film/070395

▼上映館はこちら
https://theater.toho.co.jp/toho_theaterlist/poupelle.html…
[Xin Nishino gives a picture book ′′ a no-in-town ′′ to the 3300th library across the country]

First of all, I'm going to have a status report.
There are 2
First one.

Yesterday, there was a recording of ′′ snack nishino,"

′′ snack nishino ′′ is 2 degrees a month (sometimes 3 degrees), I invite my friend to my home, and I'm going to talk about work to basher while drinking. I'm doing it It's a youtube channel for 590 yen per month.

　
[join here ↓]
https://m.youtube.com/sponsor_channel/UCOy5sLcFLqYNqZ1iurp4dCg?noapp=1

　
Yesterday, I came to Mr. Tanaka, representative of the glasses brand, and I was able to talk to this and this.

Even in the middle of the day, ′′ why is owndays the main store, but in the corona misfortune, it was able to accelerate the management?" it's already so interesting, and it's not the economic critic, It's a touch of the site, isn't it?

How to capture corona and how to fight, this time I think that the skills of the management of the world have been tested, but yesterday, I heard how to capture owndays tanaka, and how to fight, I personally think that it is overwhelmingly right. I'd like you to watch that part.

′′ snack nishino ′′ will be broadcast on Saturday. A 10-minute free version will be flowing in the evening and a 1-hour paid version will be flowing that night.

The next guest is Mr. Tanaka from glasses brand owndays. Next is probably maeda from showroom.

Look forward to it.

https://youtu.be/J_E_Vixvvj8

　

It's the second one of the status report.



The main visual of the movie ′′ a in town ′′ which was published the other day. This is a poster that will be pasted in the cinema and Dane in the cinema! It's a ′′ advertising material ′′ that is used for the sign that comes out, but this is so messed up.

I'm also waiting for my smartphone.

I think this is normally framed and decorated in my room, I'm going to pull out all the character information such as the public day of the movie and the name of the voice actor, and I'm going to sell it as an ′′ Art Poster,"

(here) -> https://silkhat.yoshimoto.co.jp/projects/2134

　
I'm putting it out as a return to crowdfunding, but there's one condition.

When the poster is ′′ shipping it takes a lot of shipping costs.

So, in December, we were able to take a direct delivery at the ′′ a picture book book in roppongi hills (FREE ENTRY)′′ held in roppongi hills.

It's limited to those who can come to the venue to pick it up.

It's okay to come to pick up a friend's minute, and the resale of the poster is totally okay, so you can start your business.



I said it was easy, but I thought I was going to hold a solo exhibition in roppongi hills, and it takes about 3000 Yen, but it's a pretty madness that ′′ free entry ′′ is a lot of madness.

This is what I was able to do because I was able to make the cost of the exhibition from the sales of the online salon, and the sales of the online salon are used to use this.

It's the same reason why the exhibition held at the Eiffel Tower was free admission.



The Glow painting book is free to enter, so please come and visit us in your family.
It will be held at Christmas.





So today's chase.



As in the title, I was able to talk to the Library Association, and I was able to give you a picture book ′′ a no-′′ to the 3300th library across the country.

I often ask," I'm all about support and donations, but is it okay?" so let me explain it, and first of all, I want to think that I'm a ′′ good person ′′ Yes. So it's hypocrisy in hypocrisy.

In my mouth, I don't have any interest in increasing profit and savings, so the money that I've been working on is deciding to turn into an entertainment investment or support activity. I'm doing a company with that kind of concept.

The worst, if you're in trouble with the things you eat, you'll be able to go around the salon member's house and have a treat for dinner, so the safety net is perfect.



Next," if you read it in the library, you won't be able to sell a picture book?" if you answer your opinion, you'll think that there are some people who think that ′′ I don't need it because I read it already," Meanwhile," I think I'm going to have a new demand that I want to have a picture book that I read at the library, and I think this is ′′ I can't say both of them

In my mouth, I think that the picture book is better to take a look at the ′′ I don't know ′′ than ′′ I can't sell it," and of course I continue to work," I'm going to sell it," It's very important, but I think it's more important to ′′ know ′′ than that.



It's an obvious story, but if you don't know, you won't

In order, ′′ known ′′ is first.

Every service customer is divided into one of the ′′ customers who don't buy because they don't know ′′ and ′′ customers who know and buy ′′ and ′′ customers who know and don't buy ′′ and first of all, I'll get it I think it's important to increase the percentage.

Even if the family who read ′′ a in the library ′′ didn't buy ′′ a in the town," the story of ′′ a in the town ′′ is still ′′ a ′′ If you talk to a friend who doesn't know the-in one town, that friend will enter the ′′ candidate to buy ′′

Later, I don't buy a picture book, but there is also an option that ′′ I'm going to see the movie of the picture book I read at the library,"



Sometimes there is a publisher who is enemy to the library, ′′ if you are getting more and more of the books that are selling, it will affect the sales," but when you think about it earlier, the meaning of the library is messed up. It's a relationship that can coexist with each other, not an enemy.

So I'm rooting for the bookstore, and I'm rooting for the library too.



Ryo Nishino (King Kong)

　
　

▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishino

▼ Instagram version is here ↓
https://nishino73.thebase.in/items/25497065

━━━
Released on December 25, 2020!
The movie in a town ′′

▼ Buy Online Bangabandhu (with perks) here ↓
https://mvtk.jp/Film/070395

▼ here is the screening hall
https://theater.toho.co.jp/toho_theaterlist/poupelle.html#region7Translated

【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.
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Allen Iverson doesn't expect his fractured right ring finger to feel better anytime soon.


Taking time off down the stretch, with the Denver Nuggets fighting for a playoff spot, simply isn't an option.

So, he's learned to accept the pain.

Not that the finger affected him Friday night. Iverson scored 28 points, going 9-of-12 from the floor, as the Nuggets blew out the Toronto Raptors 137-105 for their fifth straight win at home.

The Denver guard hit seven straight attempts before missing a 3-pointer early in the third quarter. He also made all 10 of his free throws.

"It felt OK before the game," Iverson said. "Now, it feels that much worse. It's throbbing like a heartbeat."

Iverson, who hurt his finger against San Antonio a week ago, slips on a brace after every game per doctors orders.

"If I didn't wear this brace to keep it straight after every game, there's a chance it will get worse and I'll have to get a pin," he said.

Yet he refuses to wear anything on the finger in a game.

"I'm just real superstitious," Iverson said.

Nuggets coach George Karl would like to get Iverson some rest, but there's no time, not with the Nuggets currently on the outside glancing into the playoffs. They trail Golden State for the last spot.

"I don't think we can lose a [player] because of an injury the rest of the way," Karl said. "It's the time of year where we have to play like it's a playoff circumstance. Everybody is hurting a little bit -- A.I. is probably at the top of the list."

The Nuggets' 137-point output is the second-most points the team has scored this season. They still have the NBA high mark for the season with a 138-point performance in a win at Seattle on Feb. 27.

But Iverson was more impressed with Denver's defensive performance on Friday. The Nuggets held the Raptors to just 3-of-12 shooting from 3-point range. Toronto came in with the top percentage in the league at 41 percent.

"If we come in and do what we what we got to do defensively, nine times out of 10 we're going to take care of business," Iverson said. "We weren't trying to beat them by 30, we just wanted to beat them convincingly."

The Nuggets got their point across.

"Last two games, we're not guarding anybody," said Sam Mitchell, whose team has now dropped three straight to start a five-game road trip. "We're not guarding anybody, and if you're not guarding anybody, you're going to come out of the game."

Carmelo Anthony finished with 22 points, and Marcus Camby had 17 points and 10 rebounds for his 24th double-double of the season.

Chucky Atkins came off the bench to finish with 17 points, including five 3-pointers. Atkins has missed a majority of the season after surgery to repair a right groin/abdominal strain. The Nuggets are trying to work him into the rotation.

"He's a pro," Karl said. "He knows how to play, has a sense for the game."

With a 30-point lead heading into final quarter, the starters were given the rest of the night off -- except Iverson. He played moments into the quarter before being subbed out.

The break would've been nice, but he doesn't think his finger will fully heal until this summer.

"It's going to continue to bother me," he said. "But I'm not going to make any excuses, whether I play good or bad. I won't blame it on the finger."

The Raptors were without Chris Bosh, who missed his eighth straight game because of a sore right knee. Anthony Parker scored 19 points and reserve Carlos Delfino added 16.

"We were nonexistent today and Denver did whatever they wanted offensively," Parker said.

The Nuggets scored 79 points in the first half, the most Toronto has allowed for a half in franchise history. The previous high was 78 which the Los Angeles Clippers scored on the Raptors in the second half on March 13, 1998.

The Raptors also allowed a team-record 44 points in the first quarter.

"This game was fun," said Camby, a former Raptors player. "You always want to beat your former teams, and the guys did a great job."

Game notes
The Nuggets are 13-2 against the Eastern Conference at the Pepsi Center this season. ... Before the game, Toronto announced it had filed a statement of claim against the Spanish Basketball Federation for nonpayment of insurance related Jorge Garbajosa's injury. Garbajosa underwent more surgery on his left leg and ankle on Dec. 11 in Baltimore.