關於 below deck ，我們在網路上蒐集到這些相關的討論、資訊與評價

👉 Our 3 MINDS: Conscious, Subconscious, Unconscious that make us who we are.

🔸 Your CONSCIOUS MIND is a bit like the CAPTAIN of a ship standing on the bridge giving out orders. In reality it’s the crew in the engine room below deck (the subconscious and the deeper unconscious) that carry out the orders.

The captain may be in charge of the ship and give the orders but its the crew that actually guides the ship, all according to what training they had been given over the years to best do so.

The conscious mind communicates to the outside world and the inner self through speech, pictures, writing, physical movement, and thought.

🔸 The SUBCONSCIOUS MIND , on the other hand, is in charge of our recent memories, and is in continuous contact with the resources of the unconscious mind.

🔸The UNCONSCIOUS MIND is the STOREHOUSE of all memories and past experiences, both those that have been repressed through trauma and those that have simply been consciously forgotten and no longer important to us. It’s from THESE memories and experiences that our beliefs, habits, and behaviors are formed.

The unconscious constantly communicates with the conscious mind via our subconscious, and is what provides us with the MEANING to all our interactions with the WORLD, as filtered through your beliefs and habits. It communicates through feelings, emotions, imagination, sensations, and dreams.

Thank you for visiting my profile. Sending you Lots of my love 💚 daily.

🟧 Join my 👉 FREE online live sessions to learn more about:

▪️Brain Fitness,
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▪️Emotional healing 💗

🟧 To know more you may drop me a text or please refer to my site mentioned in here 👉 @doctors.bulletin

____

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
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經典電影《怒海潛將》主角原型：卡爾·布拉西爾(Carl Brashear)，美國海軍高階潛水員，1954年他成為首位非裔潛水員，在1966年為了尋找遺失在西班牙海域的B-28核彈，在打撈上岸的同時一次纜繩斷裂意外，掃到他的左腿而斷肢，為保住他的性命必須被迫截肢，但經過兩年多的復健努力，1968年重新認證為美國海軍的截肢潛水員，經9年服役後退役，2006年因心臟衰竭辭世，安葬於維吉尼亞州的伍德朗紀念花園

"It's not a sin to be knocked down. It's a sin to stay down.”
- Carl Brashear, US Navy Master Diver and subject of the 2000 movie, "Men of Honor"

On February 25, 1948, at the age of 17, Carl M. Brashear enlisted in the Navy. Twenty-two years later, after losing a leg during a bomb retrieval, he became the first African-American to earn the title of U.S. Navy Master Diver.

The son of Kentucky sharecroppers, Brashear quit school after seventh grade, worked in his parents' fields and at a local gas station, and in 1948, determined to make a name for himself and see the world, joined the Navy.

He served on the USS Tripoli (CVE-64) during the Korean War and in 1954, despite being constantly taunted and even threatened with his life, graduated from salvage dive school.

By 1964, Brashear had become a deep-sea diver, the first African-American to earn the title. The 33-year-old who had always told his family and friends, “I ain’t gonna let nobody steal my dream,” had made history.

But on March 23, 1966, tragedy struck.

After recovering a bomb in heavy seas off the coast of Spain, a tow-line on his vessel snapped, sending a steel pipe flying towards him and his men.

"I was trying to get my sailors out of the way, and I ran back down to grab a sailor, just manhandling him out of the way,” he explained in an interview for the US Naval Institute.

"That pipe flew across the deck and struck my leg below the knee. I was way up in the air just turning flips. I jumped up and started to run and fell over. That's when I knew how bad my leg was,” he said.

For his heroic actions Chief Brashear was awarded the Navy and Marine Corps Medal. His left leg was later amputated, but Brashear, determined to continue serving his country, refused to leave the Navy.

He spent the next two years in rehabilitation, pushing himself physically and mentally to meet the rigorous requirements necessary to return to diving.

"Sometimes I would come back from a run and my artificial leg would have a puddle of blood from my stump,” Brashear later recalled.

"I wouldn't go to sick bay. If I had . . . they would have written me up. I'd hide and soak my leg in a bucket of hot water with salt in it. Then I'd get up the next morning and run again.”

In April 1968, Brashear became the first amputee to be re-certified as a U.S. Navy diver.

Two years later, in a final testament to his courage and perseverance, Brashear became the first African-American to earn the coveted title of U.S. Navy Master Diver.

Postscript:
Master Chief Petty Officer Brashear retired from the US Navy in 1979 after 31 years of service. He died on July 25, 2006, at the age of 75, from heart failure.

Brashear was the subject of the 2000 Hollywood blockbuster “Men of Honor,” in which Cuba Gooding Jr. played the hard-charging Navy pioneer.

“My father overcame five barriers in his lifetime,” said his son Phillip, who served in the military for 38 years, including a combat tour in Iraq flying Chinook helicopters.

"He overcame racism and poverty . . . he overcame illiteracy. He lost the bottom part of his leg and was physically disabled. He overcame his alcoholism, and in 1979 retired with honors.”

"He was the best of the best of what was truly American,” retired Master Diver J. Lamont King said at Brashear’s funeral.

Today we pay tribute to Carl Brashear, his family, and all US Navy divers past and present. We salute you!

Merry Christmas from Singapore! How is a foreigner spending Christmas in Singapore and what are some of the differences between Japan? I am taking you with me today to answer these questions.

I am appearing as a cohost on Stacked Home's NEW YouTube channel! Check out the 1st video from the link below.
https://youtu.be/zG2CwiPIfjI

Singapore's Christmas is:
- hot
- humid
- a holiday (it's not in Japan!)

Hope you all had a great Christmas! I will be uploading a few more videos before 2020 ends. See you in the next vlog!

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Deck the Halls B by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/

Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100368

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遊戲購買連結: https://www.ruten.com.tw/item/show?22042658513851

歡迎再度來到桌遊秀!這次要來玩的是Among Us太空狼人殺的桌遊版 The Menace Among Us!
我們究竟能不能在達成目標的情況下存活呢? 快來看看吧!


Among Us》是一款多人電子遊戲，由美國]遊戲工作室InnerSloth開發並於2018年6月15日發布。遊戲以太空為主題，玩家將扮演船員（Crewmate）或入侵者（Impostor）之一。船員的目標找出入侵者並完成任務，而入侵者的目標是殺死所有船員而不被發現。雖然遊戲於2018年發布，但鮮有問津，直到2020年因為眾多Twitch實況主和YouTuber遊玩才流行起來。為回應遊戲的熱度，遊戲開發者於2020年8月宣布將開發續作《Among Us 2》，但是一個月後（9月）宣布取消續作的開發，將重點轉移到改進原版遊戲上
The Menace Among Us is a semi-cooperative game of intrigue and survival in deep space. Adrift and powerless, your crippled vessel is bleeding oxygen. As you effect repairs, every breath you take brings you one step closer to death. You must work together to restore power before the air runs out — but hidden among you, as loyal friends and crew members, are imposters who have infiltrated security and continue to sabotage the ship. Their only goal is to avoid detection and kill the crew, by force or by asphyxiation. Can you identify them in time and eliminate the threat? Or will succumb to the menace among us?

The Menace Among Us is a 40 to 60-minute, asymmetrical card game for 4-8 players. Each player chooses an Agenda at random, either a loyal Crew member, a deadly Menace or the Coward, who’ll take any side just to survive. Your Agenda card sets a Team Goal and an Individual Goal, as well as outlines any special abilities and the card composition of your individual 13-card deck. Then, knowing your Agenda and Goals, you choose a Character who you believe will best help you achieve them or mask your true identity. Characters add 7 new cards to your deck, shuffle-building a unique combination of cards, as well as provide you two specialized Above Deck Actions.

In this hidden traitor game, how you play your cards and abilities is far more important than the meta game aspects of accusations and denials. Cards are played face down and shuffled together as “Below Deck Actions.” Here, Menace players secretly sabotage the ship’s systems and attack crew members, who are trying to save the ship with their cards. If too few crew members risk going below deck to effect repairs, the ship’s Emergency Maintenance Assistant (EmMA) adds cards to the pile to help. However, the system has also been compromised and occasionally places damaging cards into the mix, providing plausible deniability to the Menace players. In contrast, Above Deck Actions are conducted in full view of the crew. Most of these abilities have costs, either in Energy or Oxygen, both resources the crew is trying to increase. So, while The Doctor has the ability to heal a crew member and remove a debilitating effect, a Menace player, who may be secretly in control of The Doctor, cares far more that it costs 2 Oxygen to perform the healing.

At some point, someone’s behavior will raise suspicion. But, did they do so because they are trying to fulfill an Individual Goal – or are they a Menace? You can call a vote to expose their true nature. But if they are a loyal Crew member, you’ve just blown precious Oxygen in the effort to detain them. For that matter, was it a Menace player calling the vote in hopes of wasting the air on purpose?

If the Crew can find and eliminate the Menace players – and raise the Energy to a safe threshold before the air runs out, they win. If the Menace can prevent this or kill the crew outright, their mission succeeds. Special commendations are awarded for surviving and for achieving your Individual Goal.


娛樂百分百
凹鳴狼人殺

TanBa Playing Cards タンバデックのレビューです。

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