【現代の若手社員が背負っているリスク】
本題に入る前に、近況報告を2つほどさせてください。
一つ目は、昨日もテレビ朝日さんの番組に出させていただいたのですが、ここから映画『えんとつ町のプペル』の公開までの間、キンコン西野にしては結構テレビに出ます。
https://youtu.be/1g6Ca_UjOrs
べつに芸能界を引退したではないのですが、「作品を作って届ける」というのは、時間を要する作業でして……なかなか、出役として表に出れないんですね。
「出役としての才能もそんなに無い」という理由もありますが(涙)
なので、基本的に僕のスケジュールは、アトリエに籠るか、公園を散歩しながら一人でブツブツ言ってるヤバいオッサンをやるか……で、おそらく御近所さんからは、「あいつは仕事があるのか?」という心配をされています。
一応、働いていると思うんですけど、表に出てないと、そうなっちゃうんです。
ただ、今回は、結構いろんな番組に出させていただくので、御近所さんも安心させられるんじゃないかと思っております。
また、オンエア情報が出次第、逐一、ご報告させていただきます。
次に、二つ目の近況報告です。
僕はイイ人と思われたくて、支援活動めいたものを結構積極的にやっているのですが、そんなことをしていたら「僕も、私も、協力したい」という神様のような方が出てきてくださって、その結果、「えんとつ町のプペル『こどもギフト』」というプロジェクトが立ち上がったんです。
【こどもギフト】
https://salon.jp/child_gift
これは、「世界中の子供達に絵本を毎月1冊の絵本を贈る」という「支援のサブスク」で、ご自身のお小遣いの中から、会社の売り上げの中から、毎月2000円を支援してくださる方が、今現在、846名もいます。
つまり毎月846冊の絵本が子供達に届くわけですね。毎月です。
これが成立しているのって本当に凄いことで、どこかでキチンと取り上げた方がいいテーマだなぁと思っております。
そんなこんなで先日は沖縄の「兼原小学校」と「赤道小学校」の1年生〜3年生まで全員に絵本をプレゼントしてまいりました。
その時の模様は「えんとつ町のプペル『こどもギフト』」の支援者グループの方に活動報告として出させていただいております。
『こどもギフト』は需要があるかぎり、生涯続けていこうかなぁと思っている活動ですので、興味がある方は是非、のぞいてみてください。
さて、そんなこんなで今日の本題です。
労働基準法の改正ってチョコチョコおこなわれていて、今年の4月にも改正されて、たしか時間外労働の上限が「月に45時間・年間360時間」とかなんです。
それを超えると罰則があるんです。
ちなみに、一般的な労働時間は1日8時間。
これを僕におきかえた時に、僕、大体、一日18時間〜20時間ぐらい働いているんですね。
仮に18時間だとしたら、労働基準に照らし合わせると、僕の1日の時間外労働が10時間。
月に300時間。
年間にすると3600時間です。
でも、労働基準法の上限は、月に45時間。年間360時間じゃないですか?
ちゃんと働いている人は、時間外労働でいうと、僕の1/10の時間しか働いていないわけです。
もちろん「働いている時間が長ければ、いい結果になる」という話じゃありませんが、よっぽど時間の使い方が上手い人じゃないかぎり、仕事の結果というのは労働時間に概ね比例すると思います。
「いやいや、仕事の時間を削って、家族との時間を作りたいんだ」というのであれば話は別です。
それは幸せの一つの形ですし、他人がどうこう言えるものじゃありません。
そうじゃなくて、シンプルに「成り上がりたい」と思っている人に対して、労働基準法というのは、なかなか厄介なハードルだなぁと思っております。
それともう一つ。
昨日、ウチの田村Pが、オンラインサロン内で、ウチの若手スタッフに対して、一言で言うと「お前ら、ナメなよ」という記事を投稿したんですね。
【西野亮廣エンタメ研究所】
https://salon.jp/nishino
ちょっと説明がややこしいんですけど……今、「全国の子供達に映画『えんとつ町のプペル』をプレゼントしたい!」というクラウドファンディングを実施していて、クラウドファンディング上で、「映画『えんとつ町のプペル』をプレゼントして欲しい」という子供施設と、「映画『えんとつ町のプペル』をプレゼントしたい」という大人をマッチングしているんです。
ちなみに、もし、期間中にマッチングしなければ、僕が自腹で子供施設にプレゼントさせていただくので、手を挙げてくださった子供施設には100%、映画『えんとつ町のプペル』の前売り券がプレゼントされます。
で、例えば、愛知県の○○幼稚園から手が挙がれば、すぐに「○○幼稚園に支援できる権」というものを、クラウドファンディングのリターンで出して、かつ、「新しいリターンが出ましたよ」ということをご報告する為に、僕がそのリターンをスクショして、画像を整えて、支援先のリンクを貼って、サロン内にある各県人会に投げていたんです。
愛知の幼稚園から手が挙がれば、「愛知県人会」の投稿に、「○○幼稚園から手が挙がりました〜」というご報告を。
やっぱり、「地元を応援したい」という気持ちがあると思うので。
で、僕は、映画やら何やらを作っている合間を見つけて、その作業をずっとやっていたのですが……その作業を僕がやっていることはウチの若手スタッフは全員知っているんですね。
それに対して、田村Pから雷が落ちまして……まぁ、要するに「なんで、西野亮廣に事務作業をやらせとんねん」です。
「西野亮廣が今、どれだけ大変な思いをして映画を作っているかお前ら知ってるやろ。制作に集中させてあげるべきやし、休ませてあげろや。お前らは事務作業をしている西野亮廣をなんで見て見ぬフリをしとんねんっ!」という大雷が落ちました(笑)
ウチの会社は「社内で起きていることは全部ネタにする」をモットーに、業務連絡ですらサロンの記事でおこなっていたりするのですが、今回は雷が落ちました。
田村Pは株式会社NISHINOの社員じゃないので、「外野の意見」として、それが言えたわけですね。
【田村サロン】
https://salon.jp/tamura
こういうのって、今「パワハラ」みたいに扱われてしまうので、なかなか言えないじゃないですか。
ただ、若手の未来を思うと、「とびっきりの愛を持って叱る」というのは絶対に大事で、僕も先輩に山ほどしごかれたクチなんですけど、今は感謝しかないんですね。
あそこで、しごかれないまま40才になっていたことを思うと、ちょっとゾッとします。
ウチの若手はタフなので、「田村Pに怒られたことをネタにして喋る会」というイベントを開催するらしいのです(最高!)
そろそろ話をまとめますね。
今、20代の方は労働基準法の改正や、「パワハラ」と言える権利を持ったことで、かなり守られている反面(これはとても素晴らしいことだと思います!!)、「労働時間による下克上を起こしにくくなっている」ということと、「しごかれなくなっている」という大きすぎるリスクを背負っていることは、把握しておいた方がいいと思います。
これらは安全とトレードオフの関係なので、そこは上手にやりくりしてみてください。
超絶応援しています。
▼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
[the risk of modern young employees carrying]
Before you enter the chase, let me have about 2 status reports.
The first one was also on tv asahi's program yesterday, but from here to the release of the movie ′′ a town ′′ I'm going to go to the tv for xin nishino.
https://youtu.be/1g6Ca_UjOrs
I haven't retired from showbiz, but it's a work that takes time to make a piece and deliver...... it's quite a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of
There is also a reason why ′′ there is no talent as a role ′′ (tears)
So, basically, my schedule is going to go to the atelier, or I'm going to do a crazy old man who is mumbling alone while walking around the park...... and probably from the neighbor," he's a job I'm worried that there is?"
I think I'm working in case, but if you don't get on the table, it's going to be.
It's just that this time, I'm going to be on a lot of shows, so I'm thinking that the neighbors will be able to feel relieved too.
Also, as soon as the air information comes out, we will report it.
Next is the second status report.
I want to be a good person, and I'm doing a lot of support activities, but if I'm doing that, I'm going to have a good time with God, ′′ I want to cooperate too ′′ Please come, the result," the project called ′′ Children's gift ′′ in a town has stood up.
[Children's gift]
https://salon.jp/child_gift
This is the ′′ Sub-Sook of support ′′ called ′′ giving a picture book to children around the world," from your own pocket money, from the sales of the company, every month 2000 There are now 846 people who support the yen.
In other words, 846 picture books each month will reach the children. It's every month.
It's really amazing that this is being completed, and I think it's better to be featured somewhere.
This is how the other day, I present a picture book to all of you from the 1th grade to the 3th grade of the ′′ and elementary school ′′ in Okinawa.
The pattern of the time is to be issued as an activity report to the supporters group of ′′ Children's gift ′′ in a town.
′′ Children's gift ′′ is an activity that you think you should continue for life as long as there is a demand, so if you are interested, please try it.
Well, that's how today's chase.
The revision of the labor standards law has been held in chocolate chocolate, and it has been revised this April, and the limit of the outside labor is ′′ 360 hours a month ′′
Beyond it, there is penalties.
By the way, general working hours are 8 hours a day.
When I get this to me, I'm mostly working about 18 HOURS TO 20 hours a day.
If it'S 18 hours, in light of the labor standards, my 1th time outside labor is 10 hours.
300 hours a month.
It's 3600 hours in a year.
But the limit of the labor standards law is 45 hours a month. Isn't it 360 hours a year?
People who work properly are only working for my 1/10 hours in time outside labor.
Of course, it's not a story that ′′ if you have time to work, it will be a good result but as long as it's not a person who is good at using time, I think that the result of the work is generally proportional to the labor time.
′′ No no, I want to sharpening my work time and make time with my family if you say, it's different from the story.
It's one form of happiness, and it's not what others can say.
It's not so much, I think that the labor standards law is quite a messy hurdle for people who think it's simple to ′′ want to upstart ′′
Or another one.
Yesterday, our tamura p posted an article called ′′ you guys don't disrespecting ′′ in the online salon.
[Ryo Nishino Institute of entertainment]
https://salon.jp/nishino
It's a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of So, I'm matching an adult called ′′ I want you to present the movie ′′ a in the town ′′ and ′′ I want to present the movie ′′ a in the town,"
By the way, if you don't match during the period, I'll give you a present to the children's facility with a streamline, so I'm going to have a 100-Year-old child facility that raised my hand %, movie ′′ a town ′′ Advance tickets will be present.
So, for example, if you get your hands from the ○○ Kindergarten in Aichi Prefecture, you will soon be able to put out the ′′ right to support kindergarten ′′ on the return of crowdfunding, and," new return Is out to report that I sook the return, made the image, put on the link of the support, and throw it to each prefecture meeting in the salon.
If you have a hand from aichi's kindergarten, you will be able to post the ′′ Aichi Prefecture Association ′′," ○○ I got a hand from kindergarten ~"
I think I have a feeling that I want to support my hometown.
So, I found the middle of making movies and things, and I've been doing the work for a long time...... I know all my young staff who are doing the work.
On the other hand, the thunder fell from tamura p...... well, in short, ′′ why don't you let ryo nishino do clerical work......
′′ I know how hard ryo nishino is making a movie right now. Let me focus on the production, let me rest. Why don't you guys pretend not to look at ryo nishino, who is working on clerical work!" the big thunder has fallen (lol)
My company is the motto of ′′ everything happening in the company is a story even in business contact, it's a salon article, but this time the thunder has fallen.
Tamura p is not an employee of Nishino Co Ltd. So it was said as a ′′ outfield opinion,"
[Tamura Salon]
https://salon.jp/tamura
This kind of thing is now treated like ′′ power harassment so you can't quite say it.
It's just that when I think of the future of young people, it's absolutely important to say ′′ I'm going to spell with a kickin ' love," and I'm also a lot of people who have been able to do a lot of things to do with my senior, but now I'm I'm sorry.
It's a bit grossed out when I think that I was 40 years old without being there.
My young man is tough, so I'm going to hold an event called ′′ a meeting to talk about being angry by tamura p," (the best! ()
I'm about to put together a story.
Now, the 20 s are pretty protected by the revision of the labor standards law and the right to say ′′ power harassment ′′ (I think this is such a great thing!!)," I think it's better to figure out that it's hard to wake up the gekokujo by labor time, and it's too big to be a risk of ′′ being a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit
These are safety and trade-off relationships, so try to make it well there.
I'm really rooting for you.
▼ 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/070395Translated
「big picture production company」的推薦目錄:
big picture production company 在 鴨頭 嘉人 Facebook 的精選貼文
【だからキミは負けるんだ】
今日は、仕事のノウハウみたいなではなくて、僕が今、一番熱を入れている映画『えんとつ町のプペル』のお話をしたいと思います。
僕は、もともと漫才師としてスタートして、漫才を書いていて、自分を育ててくれた師匠と呼べる人が「後藤ひろひと」という劇作家ですから、舞台の脚本も書いていて……
そこから絵本作家に転職して、絵を描いて、ストーリーを描いて、で、絵本の曲も作るんですね。
あの「♪ハロハロハロハロウィン」って曲を作った人です。
https://youtu.be/Rihe2JOyLQA
劇場の楽屋に小道具のギターがあるもんですから、空き時間に触っているうちに、ギターが弾けるようになりました。
ちなみに、次々回作の絵本『夢幻鉄道』のテーマソングもいいのが作れたので、YouTubeで検索してみてください。
https://youtu.be/PkoCXybjrrw
そんな感じで仕事をしているので、映画『えんとつ町のプペル』における僕の役割は、「原作・脚本・製作総指揮・宣伝・作詞作曲」という忙しいことになっています。
このことを受けて、時々、「ゴーストライターがいるんでしょ!」と時々言われるんです(笑)
これに関しては、「西野がこんなに素晴らしいものを作れるハズがない」という意味なので、褒め言葉でしかないのですが、残念ながら、僕、ゴーストライターなんていないんです。
分業している場合は、「分業しています」と公表しています。
その方がいいんですよ。
いろんなクリエイターさんに「西野の仕事に参加したい」と思ってもらった方が得なので、絶対に、その人の名前を出す。
出さない場合もありますが、それは出すべきではない場合です。
たとえば、三日前にYouTubeチャンネルにアップした『えんとつ町のプペル』の動画の備考欄には、歌詞の他に、「歌、作詞作曲、編曲、振付」のスタッフの名前しか入っていません。
照明さんや美術さんや衣装さんの名前は入っていないんですね。
あくまで、あそこは音楽に関する情報を載せる場所として位置付けているので。
関わったスタッフの名前を全員書いてしまったら、80人ぐらいになっちゃう。
ああいった、いわば「CM」の場合は、基本、スタッフの名前は載せません。
テレビCMの最後に「ディレクター=○○」と出ないのと同じです。
ただ、ストーリーを書いたり、音楽を作ったりする場合、僕には「ゴーストライター」と呼ばれる人はいません。
珍しいパターンだと思いますが、こと「ビジネス書」においても、僕はライターを雇っていません。
自分で書いた方が圧倒的に早くて、自分の仕事が減るからです。
パフォーマンスでも何でもなくて、5万部売れるビジネス書でよければ、5〜6時間で書けます。
すでに自分の中にある体験と考察を文字起こしするだけなので。
「キー!」となるかもしれませんが、「ゴーストライターだろ!」と言っちゃたり、思っちゃったりする人が、コンパしたり、ナンパしたり、家族旅行に行ったり、ワイドショーを観てタレントの不倫にとやかく言ったり、何も考えずにボケーっと受験勉強している間、僕は、一つでも踏み誤ると死んでしまう戦場でずっと戦ってきました。
かれこれ20年ほど、平均労働時間は19時間です。
でもって、この20年というのは、「勝ちパターンを捨て続けた20年」で、コツを掴んだ職は、どんどん捨てて、新しい領域に挑戦し続けた20年です。
なもんで、能力と知識量に圧倒的な差が生まれるのは当たり前の話で、僕は「努力は報われる」ということを言っていきたいので、ここは隠したくありません。
反則技を使っているわけでも何でもなくて、「キミの1000倍努力してるから、キミの1000倍の結果を出しているんだよ」というだけの話だと思っています。
そして、この現実を受け入れず、「いやいや、ドーピング的な…何か特別な力が働いているに違いない」という思ってしまっているうちは、一生始まらないまま人生が終わっちゃうので、それが嫌なら受け入れてください。
「僕、こんな努力をしてますよ」と自分から言う奴、なかなかいないと思うのですが、いい機会なので言っておきます。
今日も映画『えんとつ町のプペル』のアフレコがあるわけですが、そこでは、声優さんから質問があったり、「ここは、こんな感じでお願いします」と指示を出さなきゃいけない。
なので、家で「指示を出す練習」をしていくんです。
自分も、実際にやれるようにしておく。
たとえば…
「えんとつ町は煙突だらけ。
そこかしこから煙が上がり、頭の上はモックモク、黒い煙でモックモク。
朝から晩までモックモク。
えんとつ町に住む人は黒い煙に閉じ込められて、青い空を知りやしない。輝く星を知りやしない。
見上げることを捨てた街で、一人の男が上を見た。
町を覆った黒い煙に、男が想いを馳せたのは、酒場で出会ったお喋りモグラが聞かせてくれた夢物語。
煙の向こうの世界の話。光り輝く世界の話。
ありやしないと思ったが、全くないとも言い切れない。
なぜなら誰も行っていない。答えは誰も持っていない。
それから男は日ごと夜ごと、煙の向こうの世界の話を、何度も何度も叫んだが、バカだバカだと囃されて、ホラ吹きものだと切り捨てられた。
男が一体、何をした。
男が誰を傷つけた?
そこに理由はありゃしない。
見上げることを捨てた町では、『目立たぬように』の大合唱。
見上げることを捨てた町では、夢を語れば笑われて、行動すれば叩かれる。
黒い煙は町を飲み込み、一縷の光も許さない。
黒い煙は人を飲み込み、あらゆる勇気を認めない。
それでも男は声をあげ、震える膝をひた隠し、船に乗り込み海にでた。
暗くて怖い海にでた。
誰もいない海にでた」
これは主人公の少年の父親が、自作の紙芝居を披露するシーンのセリフなのですが、今、僕は何かを見ながら書いたわけではなくて、これぐらいは暗記してるんです。
指示を出す人間として、これぐらいは。
これって、「何回もやっているうちに覚えた」という類のものなので、才能とかセンスじゃないじゃないですか。
これがプロです。
もし良かったら、一度、僕の会社のインターン生にでもなって、僕の近くで、僕の仕事を見てみてください。
たぶん、絶望すると思います(笑)
先ほども申し上げましたが、「努力がモノを言う」というところを伝えていきたいので、今後も、この部分は包み隠さず、積極的に頑張ったアピールをしていきたいと思います。
そうそう。
映画公開は12月25日なのですが、12月25日の夜に、YouTubeの生配信をして、映画をご覧になられた方に向けて、「あそこのシーン、実は○○なんだよ」という話をしたいので、映画は初日に観に行ってください。
今のうちに、12月25日のスケジュールに印を入れておいてね。
それでは、映画『えんとつ町のプペル』のアフレコに行ってきます。
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That's why you lose.
Today, it's not like work know-how, but I would like to talk about the movie ′′ a in the town ′′ that I'm in the middle of the day, and I'm going to have a good time.
I was originally a manzai teacher, writing a manzai, and a master who raised me is a playwright called ′′ goto hiroto...... so I also wrote the script of the stage......
I'm going to change my job to a picture book writer, draw a picture, draw a story, and make a picture book song too.
This is the one who made the song. Hallo Halloween ′′
https://youtu.be/Rihe2JOyLQA
There's a prop guitar in the theater dressing room, so I can play guitar while I'm touching the free time.
By the way, I was able to make a theme song for the picture book ′′ Phantom Railway ′′ which was made one after another, so please search for it on Youtube.
https://youtu.be/PkoCXybjrrw
I'm working like that, so my role in the movie ′′ a in the town ′′ is going to be busy called ′′ Original Script Production General command promotion lyrics,"
Sometimes it's said that sometimes," there's a ghost writer!" lol
As for this, it means ′′ Nishino can't make such a wonderful thing," so it's only a compliment, but unfortunately, I don't have a ghost writer.
If you are in the middle of labor, you are publishing ′′ division of labor,"
It's better to be.
It's better to have a lot of creators think ′′ I want to participate in nishino's work so I'll definitely name the person.
Sometimes you don't put it out, but it's if you shouldn't put it out.
For example, in the notes section of the video of ′′ a no-′′ that I uploaded to the youtube channel three days ago, besides the lyrics, there is only the name of the staff of ′′ songs, lyrics, arrangement, choreography ′′ I'm sorry.
There is no name of lighting, art, or costumes.
It's just that it's a place to put information on music.
If you write all the names of the staff involved, it will be about 80 people.
Oh well, so in case of ′′ cm I don't put the name of the basic, staff.
At the end of the tv commercial, ′′ it's the same as not going out with director.
It's just that if you write a story or make music, I don't have anyone called ′′ Ghost writer
I think it's a rare pattern, but even in the ′′ business book I don't hire a writer.
It's more overwhelming to write yourself, because my work is reduced.
If you don't have a performance or anything, you can write it in 5 TO 6 hours if you don't mind a business book that sells 5 million
I'm just going to make a character of my experience and thoughts already in my own.
It may be ′′ key!" but," it's a ghost writer, and people who think about it, are compound, flirting, family trip, and watch the shows. I've been fighting for a battlefield where I'm going to die when I'm talking about talent adultery, and I'm studying the exam without thinking about anything.
It's been about 20 years, average working time is 19 hours.
So, this 20 is," 20 years that I've been throwing away the winning pattern," and the job that grabbed the trick is more and more throwing away, and it's been 20 years since I've been trying to challenge the new area I'm sorry.
So, it's obvious that the overwhelming difference in the ability and knowledge is born, and I want to say that ′′ effort is rewarded so I don't want to hide it here.
I'm not using a foul trick, but I'm just saying that I'm trying twice as hard as you, so I'm going to have 1000 times the results of you," I'm sorry.
And I don't accept this reality," no no, it's doping... I think something special is working... my life is over without starting for a lifetime. So accept it if you don't like it.
I don't think there's a person who says ′′ I'm doing this kind of effort but I'm going to say it because it's a good opportunity.
There is also a recording of the movie ′′ a in the town ′′ today, but there is a question from the voice actor, and I have to give instructions that ′′ I'm going to have a good time here,"
So I'm going to do ′′ practice to instruct ′′ at home.
I will actually be able to do it.
For example...
′′ A town is full of chimney.
Smoke from there, moc mok on my head, black smoke and moc mok.
Moc. from morning to night.
People who live in a town are trapped in black smoke and don't know the blue sky. I don't know the shining stars.
In a city that abandoned looking up, one man looked up.
The Black smoke that covered the town, the man made his thoughts on the dream that the heyyy mole I met at the bar told me.
The story of the world across the smoke. The story of the shining world.
I thought it wouldn't be, but I can't say it at all.
Because no one has gone. No one has the answer.
Then the man shouted over and over again, day and night, the story of the world across the smoke, but he was told that he was stupid, and he was cut off as a hola.
What the hell did a man do?
Who did the man hurt?
There is no reason there.
In the town that abandoned looking up, a big choir of ′′ conspicuous,"
In a town that abandoned looking up, if you speak your dreams, you will be laughed, and if you act, you will be slapped.
Black smoke swallows the town and doesn't allow the light of all times.
Black smoke swallows people and doesn't acknowledge every courage.
And yet the man gave a voice, trembling his knees, and he got into the ship and went to the sea.
It was in a dark and scary sea.
I was in the sea with no one ′′
This is the line of the scene of the protagonist boy's father showing off his own kamishibai, but now I didn't write it while watching something, and I'm memorizing this much.
As a person who gives instructions, this is so much.
This is the kind of thing that ′′ I remembered while I've been doing it many times," so it's not talent or sense.
This is the professional.
If you'd like, once you'd like to be my company intern student, near me, take a look at my work.
I think I'm probably going to despair lol
I said it earlier, but I want to tell you that ′′ effort is saying things," and in the future, I would like to make an appeal that I have been actively working hard.
That's right.
The movie is on December 25th, but on the night of December 25th, I'm going to have a live broadcast on Youtube, and I'm going to have a good time with the movie," the scene over there, actually ○○ I want to talk about ′′ what is it so go see the movie on the first day.
While you're in the middle of the day, mark your schedule for December 25th.
Well, I'm going to go to the recording of the movie ′′ a in town ′′
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big picture production company 在 半瓶醋 Facebook 的最佳貼文
【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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