關於 as discussed on the last call ，我們在網路上蒐集到這些相關的討論、資訊與評價

【同學投稿】《深夜cert case的二三事》

午夜時分，電話響起。
「你好，medical houseman。」
「要麻煩你certify個COVID positive case，屋企人係隔離啊。」

到隔離病房後，我在護士站裡粗略看了一下病人的病歷。
「唔係話屋企人黎左咩？我頭先係出面見唔到有人喔。」
「佢老婆同個仔都positive，而家係同一個cubicle裡面啊。」

我穿起保護裝束，走進隔離病房。
「你好，我係今晚當值醫生，而家要同伯伯做啲檢查。」
「醫生係咪黎certify我爸爸啊？」
「要做埋檢查先話得到你知，或者先生可以同媽媽睇住電視先，我做完檢查仔同你傾好冇？」

於是我硬着頭皮，第一次在家屬的注目下為病人進行檢查。（註：一般來說，certify case前，醫生會請家屬到病房外等候，待完成檢查後再與家屬交待。）
「伯伯，而家同你做少少檢查啦。」

進行檢查的同時，病人的兒子低聲安慰坐在輪椅上的媽媽。
「阿媽你要堅強啲啊，阿爸走左我得番你架咋，要堅強啲啊知唔知到啊⋯⋯」

完成檢查後，我移步到家人跟前。
「啱啱完成檢查，證實做伯伯已經走左，死亡時間係⋯⋯。其實伯伯本身都年紀大，加上原本肺功能差，之前主診醫生都有同你地傾過，如果插喉嘅話，伯伯會辛苦之餘，對佢都未必有幫助。你地自己屋企人傾過之後，都想伯伯可以舒服啲。我諗伯伯有兩位陪住，都算走得安詳。之後伯伯遺體嘅安排會有護士同你地交代，希望先生同太太節哀順變。」
「唔該醫生。多謝你啊。」

我想該說謝謝的是我。謝謝這位兒子兼病人在悲痛之時，仍能理解父親去世並非醫護不努力，仍能堅強地安撫和鼓勵一同患病的媽媽，仍保持對醫護的尊重和支持。

大家常云要支持醫護，現實卻是：當血庫告急社會賢達卻無動於衷（可詳閱前六）、當疫情擴散防疫政策卻朝令夕改、當醫護壓力爆煲有關當局卻宣佈凍薪⋯⋯

到頭來還是不及病人的一句「多謝醫生」來得合時。是該哭還是該笑呢？

Around midnight, my dect phone rang.
“Hello, medical houseman.”
“Hi, there’s a COVID positive case needs you to certify him. His family are here as well.”

When I arrived at the isolation ward, I took a brief look through his medical history at the nursing station.
“Didn’t you say his family were here? I didn’t anyone out there in the lobby.”
“Oh. Both his wife and his son are positive for COVID as well. So they’re now staying in the same cubicle.”

I put on my full PPE and went into the cubicle. For the first time ever, I certified a patient in front of his family. (Usually in our daily practice, we ask family members to wait at the corridor while the doctor is doing the physical examination for the patient.)
“Good evening, Sir. I’m tonight’s on call doctor. I’ll examine your father in a minute. Meanwhile, may I ask for your help to accompany your mother while I’m doing the examinations.”

The son was gently comforting his wheelchair-bound mother while I was certifying the father.
“Mom, please stay strong. Now that dad’s passed away, I’ve only got you with me, so please hold on.”

It was hard not to tear up listening to his soft but desperate words. And after performing all the necessary examinations, I approached the son and the wife.
“I’m sorry to notify you that Mr X was certified at ...... His premorbid conditions weren’t that great, and now COVID has taken its toll on him. Previously, the case doctor had discussed with you that intubation wasn’t our first option, in view of his advanced age and poor premorbid lung functions. And the rest of the family also agreed that comfort care was a better option. I believed that Mr X has had his last hours well spent with you and Mrs X on his sides. The nurse will help you with the upcoming arrangements. I’m really sorry for your loss and all that your family has gone through.”

The son replied in the most sincere tone, “Thank you doctor. Thank you for being here.”

In fact, I think it’s me who should say thank you to this gentleman. Thank you for believing in our efforts, despite we’ve lost our patient. Thank you for comforting his mother, despite he too had just lost his father. Thank you for being supportive, despite he too was a patient.

How ironic it is when government propaganda stressed so much on supporting medical staff, few supportive acts has been done. When our blood banks were in such great shortage that not even patients with a platelet count of 1 could be transfused, none of those in power cared to encourage blood donations. When the the third wave of COVID epidemic was taking away lives, the government policies were slow and confusing, not to mention effective. When medical staffs were on the verge of breakdown, the government just announced a pay freeze.

In the very end, nothing was more supportive than a sincere “thank you” from the already suffering patients. And I’m not sure if this is really something to be thankful for.

【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
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Has Hong Kong Returned? (Lee Yee)

Last week I mentioned a visit by a wise young man, who posed several questions surrounding the time since the anti-ELAB movement. I answered one question in “The Silent Revolution”, now let me get to the rest.

Question: Would you use the word “Return” to describe the 1997 transfer of sovereignty?

In my articles, I usually refer to that as “transfer of sovereignty” and not “return” for the change in Hong Kong in 1997.

A country has three essential components: land, people, and sovereignty. Before 1997, Hong Kong was not a country, it was a British colony; land and sovereignty belonged to Britain, but the people could neither settle nor work in Britain. They did not have the same rights as British citizens. If Hong Kong was holistically “returned” to China in 1997, then land, people, and sovereignty should have all been returned; but the Basic Law stipulated that land is owned by the country only in the name, and the actual management, use, lease, and grant of land are all managed by the Hong Kong Special Administrative Region, whose government takes income generated by the land, and therefore essentially owns the land. Moreover, the border delineating the lands of Hong Kong and China continues to exist after 1997, and entering and exiting form people on both sides would require identification. All this shows that the land has not been returned. As for the people, in these 23 years, China has always said that in Hong Kong, “people’s hearts have not returned”. The meaning of “people’s hearts have not returned” is that Hongkongers are still not accepting the fact that sovereignty is now controlled by China. China, on the other hand, also did not give Hongkongers any status as Chinese citizens including rights and duties. Therefore, while Hongkongers’ hearts have not returned, China has also not treated Hongkongers as Chinese people. The fact that the people have not returned is mutual.

Say, if two of the three elements of land, people, and sovereignty possessed by a political entity have not returned, then Hong Kong cannot be said to have returned. We can only call it “transfer of sovereignty”.

Western democracies believe in the notion that a country’s sovereignty rests with the people. In ancient China, the notion that “people are the foundation of the country, when the foundation is solid, the country is peaceful” and “the people at of the utmost importance, the state is secondary, and least is the ruler himself”. Both China and the world regarded the opinions and hearts of the people as the country’s priorities. Therefore the return of the heart of the people should be the most important element in a return; the people’s hearts have not returned, so it can only be a transfer of governance. As the ultimate crucial element of importance, the hearts still waver.

Question: Do you agree that Hong Kong independence is the only way out?

Not the “only”, but this is a proposition that can be discussed within the scope of freedom of speech. Over the years, I have been advocating that “Hongkongers have the freedom of speech to discuss Hong Kong’s independence or any way out.” I have written articles for over 60 years, and the most precious to me is freedom, especially freedom of speech. Historian Chen Yinke’s words on the tombstone of Wang Guowei have been my North Star for many years. The inscription reads: “A scholar learns and studies to break away from the shackles of the Conventional Truth, such that the Ultimate Truth can be carried forward. If there is no freedom of thought, one might as well be dead.” “Teacher’s writings may sometimes be incomprehensible; teacher’s teachings may sometimes be debatable; but the spirit of independence, the freedom of thoughts, is the most sacred of all and illuminates like the Three Lights.”

The Conventional Truth (Sammuti Sacca) is the law of secular change in the Buddhist scriptures, which is different from the fixed Ultimate Truth (Paramattha Sacca); the “Three Lights” refers to the sun, the moon, and the stars.

“If there is no freedom of thought, one might as well be dead” means that even living, one would be like the walking dead. Freedom of thought is rooted in the spirit of independence. What is freedom? Hu Shi said, “freedom is relative to external restraints. If you get freedom but not independence, you are still a slave. Independence does not mean blindly following, not to be deceived, not to rely on status, not to rely on others. This is the spirit of independence.” Independent, its antonym is not unification, but dependent.

Political independence, under the one-party dictatorship of the “one country” full governance, its chances of success is nil, but the chance of being gifted democracy under the one-party dictatorship is probably minus one. Regardless of the political model, we learned over these years that the highest common factor for a way out for Hong Kong is autonomy. If the word “independence” is too sensitive for China, how about “non-dependence” or “autonomy” as the biggest aspirations of Hongkongers.

To equate self-determination with independence is conceptual befuddlement. Independence is a goal, self-determination is only a right stipulated in human rights conventions. Self-determination can lead to a variety of outcome, why must it be independence and not an ultimate unification under “One Country, One System? How uncanny!

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Amazon: http://www.amazon.com/Dan-Lok/e/B002BLXW1K

Discover about the #1 Secret No One Told You About Productivity.

★☆★BONUS FOR A LIMITED TIME★☆★
You can download Dan Lok's best-selling book F.U. Money for FREE: http://secretaboutproductivity.danlok.link

Today I thought you’d appreciate hearing about some of the topics discussed during the last couple days of meetings with a mastermind group I created - Dan Lok Inner Circle. http://danlokinnercircle.com

They are all 6, 7, and 8 figure entrepreneurs. I think what you’ll appreciate the issues we discussed are not unique to the size of business or a specific market/industry.

They are challenges ALL entrepreneurs face at every level of their growth and evolution.

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http://bit.ly/DanLokSubscribe
Dan Lok, a.k.a. The King of High-Ticket Sales, is one of the highest-paid and most respected consultants in the luxury and “high-ticket” space.

Dan is the creator of High-Ticket Millions Methodology™, the world's most advanced system for getting high-end clients and commanding high fees with no resistance.

Dan is one of the rare keynote speakers and business consultants that actually owns a portfolio of highly profitable business ventures.

Not only he is a two times Tedx opening speaker, he's also an international best-selling author of over 12 books and the host of Shoulders of Titans show.

Dan's availability is extremely limited. As such, he's very selective and he is not cheap.

But if you think you or your brand might benefit from one-on-one interaction with Dan, visit http://danlok.com

Or consider becoming a member of his high-level mastermind:
http://www.danlokinnercircle.com
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Request a call with Dan:
https://clarity.fm/danlok

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Blog: http://www.danlok.com/blog/
Podcast: http://www.shouldersoftitans.com/
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Twitter: https://twitter.com/danthemanlok
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YouTube: https://www.youtube.com/user/vanentrepreneurgroup
Linkedin: https://www.linkedin.com/in/danlok
Meetup: http://www.meetup.com/Vancouver-Entrepreneurs-Group-Business-Network/
Amazon: http://www.amazon.com/Dan-Lok/e/B002BLXW1K