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同時也有5部Youtube影片,追蹤數超過361萬的網紅Dan Lok,也在其Youtube影片中提到,Want To Get All The Details On Dan's Life Other Than His Love Of Jet Li from Once Upon A Time In China? Click Here To Get His Book, F.U. Money For Fre...
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【キンコン西野、HYDE愛を語る】
今日は大切なお知らせが二つございます。
まず一つ目ですが、映画『えんとつ町のプペル』のオンラインムビチケの発売が開始しました。
コチラ→https://mvtk.jp/Film/070395
前売価格なので、若干お買い得になっていて、一般が1500円。子供が800円です。
でもって、オンラインムビチケ(前売券)の購入特典として、「特製スマホ壁紙」がプレゼントされます。
こちらは、初公開となる映画『えんとつ町のプペル』のメインビジュアルです。
個人的にメチャクチャお気に入りの一枚で、今日は、この絵のことを少しだけ説明させていただきます。
主人公のプペルとルビッチが煙突の上に座って、上を向いているのですが、「上を向く」というのが今作のテーマでもあるんですね。
劇中、高いところが苦手な煙突掃除屋の少年のルビッチ君が、ハシゴを登る時に下を見ちゃうシーンがあります。
下を見ると、体重が後ろにかかるもんですから、立てかけてあるハシゴが揺れるんですね。
それに対して、下で見守っていたルビッチ君のお父さんの「ブルーノ」さんが、「下を見るから揺れるんだ。上を見ろ」とアドバイスするわけですが、これはハシゴに引っ掛けた世の理で、僕らは上を向いている時は体力的に少々大変でも頑張れる。
それこそコロナなんて「来月終わります」と言ってもらえたら、その希望をオカズに1ヶ月ぐらいの貧乏は我慢できる。
だけど、コロナの場合は「いつ終わるか分からない」という、「希望が取り除かれた状態」だから、精神的にかなりグラついてしまう。ともすれば鬱っぽくなる。
そう考えると、「希望」というのは、僕らが生きていく上で必要なもので、「上を見る理由」を提供することは僕ら表現者の仕事の一つでもあるなぁと思いました。
映画『えんとつ町のプペル』は来年公開に延期する話も上がったのですが、「いやいや、今年公開しよう!」とワガママを言いました。
大変なのは百も承知で、だけど、だからこそ、皆と同じように大変な中で頑張って、頑張って頑張って結果を出す。
その姿を見せることができたら、「ああ、こんな中でも死ぬ気で努力すれば活路が見いだせるんだな」と思ってもらえて、誰かの規模になることができるなぁと思って、今年公開に踏み切りました。
メインビジュアルは、そういう気持ちを全部込めて、「煙に覆われて、なかなか星が見つからない町の中で、それでも上を見続ける主人公達の横顔」にして見ました。
この絵が頑張る人のお守りになると嬉しいです。
オンラインムビチケをご購入いただけると、特典で付いてきますので、是非!
https://mvtk.jp/Film/070395
んでもって、大切なお知らせの二つ目です。
昨夜、YouTubeの生配信で喋ったのですが、HYDEさん愛が爆発してしまって1時間近く喋っちゃったので、あたらめて短くまとめます。
映画『えんとつ町のプペル』のオープニング主題歌「ハロウィンパーティ プペルver.」の配信が開始されました。
コチラ→https://hyde.lnk.to/hppoupelleTP
HYDEさんが子供達と歌っているのですが、これ、本当にビックリするぐらいカッコイイので、一度聴いてください。
僕は昨夜から、かれこれ20回ぐらい聴いています。
こちらの楽曲は、もともと2012年頃に発表されていたんです。
それが、もう、とっても素敵で……まもなく、日本にもハロウィンが一つの文化として根付いて、その後、様々なハロウィンソングが世に出てきたのですが、僕個人的には、この楽曲を超える「ハロウィンソング」には出会わなかったんですね。
やっぱりブッちぎりだったんです。
映画『えんとつ町のプペル』のオープニングシーンの脚本を書くときも、後ろにずっとこの曲を流していて、この曲に引っ張られるようにオープニングを書いたんですね。
で、いよいよ「オープニング曲の制作をしよう」という段階に差し掛かった時に、「いや、ちょっと待てよ」と。
2012年から、HYDEさんの「ハロウィンパーティ」を超える曲が出てこなくて、んでもって、そもそも「ハロウィンパーティー」を流しながら、この曲に合うように本を書いてしまっている。
この条件で、「ハロウィンパーティーを超える曲なんて作れるんだっけ?」と思ったんですね。
というわけで、「一旦、ダメ元で、HYDEさんに、この曲を使わせていただけるか、お願いしてみよう」と。で、「ダメだったら、頑張って作ろう」ということで、話がまとまったんです。
やっぱり、「イイものはイイ」ので。
変にエゴをこじらせて、何でもかんでも「自分でやる」とするのではなくて、素晴らしいものにあやかれるのなら、あやかった方がイイ。
それが製作総指揮の仕事だなぁと思ったんです。
で、ダメ元で、HYDEさんにお願いしたところ、これが本当に本当にありがたいことに、なんとHYDEさんが、そもそも『えんとつ町のプペル』のファンでいてくださって、快く「オッケー」をくださったんです。
こんなにありがたいことはありません。
そして、もっとありがたいのはここからです。
ここから僕のHYDE愛が爆発するのですが……映画館で流すとなると規格も変わりますし、さらには前後の音楽とのバランスもあって、今回、「ハロウィンパーティー」を映画用にアレンジする必要があったんですね。
そこからのHYDEさんが本当に最高すぎたのですが、HYDEさんったら、楽曲を提供して終わりじゃないんです。
「えんとつ町」には、こういう音は鳴らない」とか「煙の中から聴こえてくる音は、こっちだ」といった感じで、映画用のアレンジを本当にトコトン付き合ってくださったんです。
テレビのインタビューだと「オッケー、オッケー」といった軽い感じで受けて、サクッとやりました感が出ていますが、どっこい、皆さんが思われている「トコトン付き合う」の5倍ぐらいトコトン付き合ってくださった。
歌詞も若干変わってるんです。
もともと歌詞の中に、「月明かり」というワードがあったのですが、「えんとつ町」は煙に覆われて空を知らない町なので、月も知らないので、「月明かり」が「薄明かり」になっていたり、その他にも、えんとつ町にあるハズがないものは歌詞から省いて、えんとつ町仕様に変えてくださったんです。
んで、また、子供の声との相性が抜群!
ロックミュージシャンと子供が、メチャクチャイイ感じに融合している。
一言でいうと、「HYDEさんが好きだ」ということです。
学生時代、僕はアルバイトで、ラルク・アン・シエルさんのコンサートスタッフをさせていただいたんです。
スタッフはステージに背を向けて、お客さんの方を見なきゃいけないのですが、両耳は全部ステージの方を向いていて、実は、その時のライブに、まだ出会う前の梶原君も来ていて、僕はスタッフとして、梶原君はお客さんとして、ラルクさんのライブに参加させていただいたんです。
ときどき梶原君と、その話になるのですが、あの日、あのライブを観て、ステージ上のラルクさんを観て感じたことは、僕も梶原君も全く同じで、僕らが目指したのは「お笑い」だったのですが、もうちょっと大きな枠として捉えた時に、「いつか、あっち側に行ってみたいな」と思ったんです。
なんか、本当にキラキラしていた。
コンサートの撤収でパイプ椅子とかを片付けながら、「あっち側に行きたい」と、ずっと思っていました。
なので、今回、こういった形でご一緒させていただくことになったのは、あの日の自分の希望でしかなくて、もしタイムマシン的なものがあれば、あの日に戻って「お前、メチャクチャ頑張ったら、いけるぞ」と彼に言ってやりたいです。
まぁ、とにかく、HYDEさんが映画『えんとつ町のプペル』用に作り直してくださった「ハロウィンパーティー」が本当に、本当に最高なので、是非、聴いてみてください。
あと、とはいえ「いただきっぱなし」は気持ちが悪いので、今回、お力を貸してくださったHYDEさんに対して、また、HYDEさんをずっと支えてくださったファンの皆様、スタッフの皆様に対して、僕なりの恩返しはさせていただきます。
そちらは11月上旬に発表します。
そのアクションでもって、「あの日の僕の胸を熱くさせてくれたHYDEさんって、こんなにカッコイイだぜ」ということを、あらためて、世の中にお伝えします。
お楽しみに。
西野亮廣(キングコング)
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https://nishino73.thebase.in/items/25497065
[Xin Nishino, Hyde talks about love]
We have two important news today.
It's the first one, but the movie ′′ a no-′′ online bangabandhu is now on sale.
Here → https://mvtk.jp/Film/070395
It's an early bird price, so it's a bit of a bargain, and the general is 1500 yen. The child is 800 yen.
′′ Special Smartphone Wallpaper ′′ will be present as a special gift for the purchase of online bangabandhu (early bird tickets).
This is the main visual of the first movie ′′ a in town ′′ (in Japanese)
One of my personal favorites, and today, I'm going to explain a little bit about this painting.
The protagonist," and Ruby are sitting on the chimney, and they are on their way up, but it is also the theme of the creation of the creation.
In the play, there is a scene where the chimney cleaner boy, who is not good at high, is looking down when climbing the ladder.
When you look down, the weight is behind, so the propped ladders are swaying.
On the other hand, Levitch's father, Bruno, who was watching downstairs," is swaying because he looks down. Look up I advise you, but this is the understanding of the world that hook up to the ladders, and when we are on the way, we can do our best to be a bit hard.
If you say corona is ′′ it will end next month you can resist the poor for about 1 months in the wank.
But in the case of Corona, ′′ I don't know when it's going to end," it's a state of hope removed," so it's mentally quite a bit of a I feel depressed.
If you think so, ′′ hope ′′ is what we need to live, so I thought that providing ′′ the reason to see above ′′ is also one of the work of our expressions. I'm sorry.
The movie ′′ a town ′′ has risen to the public next year, but," no, no, let's publish this year!" I was selfish.
I know it's hard, but that's why I'm going to do my best in the middle of the day, and I'm going to do my best, and I'm going to do my
If you can show the appearance," oh, if you try to die in this way, you'll find a find," and you'll be able to become someone's scale, and you'll be able to publish this year. I went to the crossing.
The main visual is all about that feeling," I saw it in a town where I can't find a star, and I still keep looking up,"
I would be happy if this painting would be the amulet of the person who works hard.
If you can buy online bangabandhu, you'll be able to follow it with special benefits, so come on!
https://mvtk.jp/Film/070395
And it's the second one of the important announcement.
Last night, I talked about a live broadcast on Youtube, but Hyde's love exploded, and I talked about it for almost 1 hours, so I'm going to have a short summary of it.
The opening theme song ′′ Halloween party persie ver." for the movie ′′ a ′′ has started.
Here → https://hyde.lnk.to/hppoupelleTP
Hyde is singing with the kids, but this is really cool to be surprised, so please listen to it once.
I've been listening to it about 20 times since last night.
This song was originally announced around 2012
It's already very nice...... soon, Halloween will be rooted as one culture in Japan, and after that, various Halloween songs came out in the world, but I personally, over this song ′′ You didn't meet the Halloween song.
I knew it was a prude.
Even when I wrote the script of the opening scene of the movie ′′ a in town ′′ I've been playing this song for a long time, and I wrote the opening to be pulled by this song.
So, when I finally got to the stage of ′′ Let's make an opening song," no, wait a minute,"
Since 2012, I didn't have a song over Hyde's ′′ Halloween party ′′ and I wrote a book to fit this song while playing ′′ Halloween party ′′ in the first place.
In this condition," I thought I could make a song over Halloween party?"
So," I'm going to ask Hyde to use this song once," So," if you don't do it, let's make it hard," the story was organised.
As expected," good things are good,"
It's better to be able to take a look at the ego, not to ′′ do it yourself ′′ but if you're going to be aya by something wonderful.
I thought it was the work of the production general command.
So, I asked Hyde for a bad time, and this is really a blessing, and Hyde was a fan of ′′ a town ′′ in the first place, and I was delighted to give you ′′ okay ′′
There's never been such a blessing.
And more thankful is from here.
My Hyde love is exploding from here, but...... when it comes to the movie theater, the standard changes, and even more, there is also a balance with the music before and after, and this time, I'm going to have a ′′ Halloween party ′′ for the movie You needed to arrange it.
Hyde from there was really the best, but Hyde-San, it's not the end of offering songs.
′′ a town ′′ doesn't sound like this or ′′ the sound of listening from the smoke is this way it's really a ton of place for the movie.
In a TV interview, I received a light feeling like ′′ okay, okay I feel like I'm going to have a quick time, but I'm going to have a good time, but I'm going to have a good time with the ′′ place dating ′′ that everyone is thinking about. Thank you for dating me.
The lyrics are slightly different.
There was originally a word ′′ Moonlight ′′ in the lyrics, but ′′ a town ′′ is a town that is covered in smoke and does not know the sky, so I don't even know the moon, so the ′′ Moonlight ′′ is ′′ thin ′′ It's been a light, and other things that are not in a town, I left it from the lyrics and changed it to a town specification.
And also great compatibility with children's voice!
Rock musician and kids are fused with a mess.
In One Word, it means ′′ I like Hyde,"
In my school days, I was a part-time job, and I was able to do a concert staff of ral ann.
The staff has to turn back on the stage and see the customer, but both ears are all looking for the stage, and actually, the live of the time, and the sugawara-kun before he still met. And I was a staff, and sugawara-kun was a customer, and I was able to participate in the live of Mr. Ral.
Sometimes it's going to be a story with sugawara-kun, but that day, I saw that live, and I saw Mr. Ral on stage, and I was also the same as sugawara-kun, and we aim for it ′′ It was a comedy, but when I captured it as a little bigger frame, I thought, ′′ someday, I'd like to go to the other side,"
It was really sparkling.
I've always thought that I want to go to the other side while cleaning up the pipe chair at the evacuation of the concert.
So, this time, I'm going to be with you in this form, and I'm going to have a good time with my hope that day, and if there's a time machine, I'll go back to that day ′′ you're so messed up I want to tell him that if you do your best, you'll be able to do it
Well, anyway, the ′′ Halloween party ′′ that Hyde recreated for the movie ′′ a no-in-town ′′ is really the best, so please listen to it.
Later, ′′ I'm left ′′ is disgusting, so I'm going to have a good time with Hyde, and I'm going to have a good time with Hyde, and I'm going to have a good time with all the fans who have been able to support Hyde for a long time, and I'm going to I will give back.
We will announce it in early November.
With the action, I will tell the world that Hyde, who made my chest hot that day, is so cool,"
Look forward to it.
Ryo Nishino (King Kong)
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https://salon.jp/nishino
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https://nishino73.thebase.in/items/25497065Translated
best action movie of all time 在 半瓶醋 Facebook 的精選貼文
【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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best action movie of all time 在 Dan Lok Youtube 的精選貼文
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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.
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Dan's availability is extremely limited. As such, he's very selective and he is expensive (although it will be FAR less expensive than staying where you are).
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This video is about Disney's Live Action Movie "MULAN" Found It's Star
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★☆★ Special Credit Mention ★☆★
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This video was filmed at http://www.gerrygionco.com
This video is about How to Punch HARDER & Throw Execute a Knockout Punch Correctly
https://youtu.be/1pFF_7jECZY
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