關於 france open live ，我們在網路上蒐集到這些相關的討論、資訊與評價

1202紐約時報

*【美國總統政權交接】
美國司法部長表示，沒有找到可能挑戰大選結果的舞弊證據
威廉•巴爾在接受媒體採訪時發表了上述言論，這是對川普大選舞弊說的直接否定。與此同時，川普的另一位盟友、參議院多數党領袖麥康奈也在討論2021年的經濟刺激方案時提到“新政府”，暗示他已準備好繼續前進。
#喬治亞州高級選舉官員Gabriel Sterling在亞特蘭大州議會大廈的講台上，憤怒地譴責針對從事選務工作人員暴力威脅和騷擾，敦促川普總統必須公開譴責這一群人。
#拜登在發表復甦戰略時，同時公布其經濟團隊的成員。
#兩黨組成的溫和派參議員團體公佈一項9000億美元的折衷方案，旨在打破國會因提供新一輪疫情紓困的僵局。但是參議院共和黨領導人迅速削弱了該計劃。
#美聯準會主席鮑威爾點出疫苗速度和分配方面的持續不確定性，病毒案件激增的經濟危險以及嚴峻的現實，而財政部努勤看法則相反，，他描繪了經濟復甦的樂觀形象，強調國家和地方封鎖是經濟增長的主要威脅。
#前川普競選團隊經理Brad Parscale在周二晚的福斯新聞採訪中聲稱，如果川普總統對冠狀病毒大流行表示更多的同情，他將輕鬆贏得大選。
#OECD說，即使有了疫苗，全球經濟復甦也將緩慢。經合組織在《全球經濟展望》中預測，全球經濟明年將增長4.2%，而到明年年底，中國的經濟增長率將達到10%左右；除中國外，大多數國家的經濟回暖都將緩慢行進，西方國家的復甦很可能仍然脆弱。
https://www.nytimes.com/2020/12/01/business/even-with-vaccines-a-global-recovery-will-be-slow-the-oecd-says.html

*【川普擬將提前赦免三子與朱利安尼】
川普總統已經與顧問們商討是否應給予其子女，和私人律師朱利安尼赦免權，川普透露，擔心拜登司法部可能會針對他三個孩子，包括唐納德.艾瑞克和伊凡卡及她的丈夫庫許納追究刑責。朱利安尼潛在的犯罪問題尚不清楚，但在今年夏天，曼哈頓聯邦檢察官調查，他在烏克蘭的商業往來以及對於撤回美國大使上擔任何種角色都是調查重點。
https://www.nytimes.com/2020/12/01/us/politics/rudy-giuliani-pardon.html?action=click&module=Top%20Stories&pgtype=Homepage

*【Covid-19 實時更新】
#CDC專家組說，長期護理人員和防疫衛生工作人員應首先接種疫苗。
#多家疫苗生產商向歐盟申請應用許可。輝瑞和BioNTech週二表示，已向歐盟衛生監管機構提交批准使用其疫苗的最終申請，若初步許可，疫苗可能年底前發放。此前一天，莫德納也表示，已提交歐洲衞生主管申請。
#白宮召集FDA負責人解釋為何輝瑞疫苗未獲得批准。通常認為美國FDA的疫苗批准程序比英國更為嚴格，因為疫苗生產商需要提交原始數據以供審核。專家說，英國監管機構和歐洲一些監管機構一樣，在很大程度上依賴於公司對數據的分析，儘管他們保留核實這些報告準確性的權力。
#當官員警告醫院面臨的危險時，紐約市敦促老年人和健康弱勢群體留在家中。
#聯合國報告指，冠毒疫情使得2.35億人將需要在2021年的援助，同比增長40％，比去年同期。全世界需要援助的人比例從去年的每45人中增加到了三分之一。聯合國說，在為飢荒，貧困和疾病做鬥爭的同時，為兒童提供疫苗接種和在校學習，將需要351億美元的資金，是2020年籌集的創紀錄的170億美元的兩倍多。
https://www.nytimes.com/live/2020/12/01/world/covid-19-coronavirus?_ga=2.9028597.1383158184.1606789824-450868151.1527222781#pfizer-vaccine-submitted-for-eu-approval-which-could-come-by-dec-29

*【嫦娥五號成功在月球著陸，中國太空計畫再進一步】
該探測器定於12月中旬返回地球，如果成功完成任務，中國將成為第三個將月球樣本帶回的國家。中國此次一反常態公開了嫦娥五號的發射全過程，表明中共對本國太空計畫信心增強。
https://cn.nytimes.com/science/20201202/china-moon-landing/

*【新聞分析：面對中國鉗制，澳洲在反擊與忍耐中徘徊】
在中澳關係因一條推文加劇緊張之際，莫里森發出了最高級別的外交憤怒，但他也呼籲與北京調整關係，實現“兩個夥伴的愉快共存”。這種矛盾表明了澳洲的不安與焦慮：中國影響力愈發強大，而美國變得衰落和冷漠，在砝碼有限的情況下，莫里森不得不小心行事。
https://www.nytimes.com/2020/12/01/world/australia/china-australia-morrison-tweet.html

* 【北約開會研究如何應對中俄挑戰】
北約成員國外長本周舉行會議討論一份深度報告，呼籲制定全新戰略，以適應與俄羅斯和中國的戰略對抗時代。面對中國崛起帶來的挑戰，該報告建議設立一個機構來協調西方的對華政策，並與對北京野心感到擔憂的亞洲盟友展開接觸。
https://www.nytimes.com/2020/11/30/world/europe/nato-2030-russia-china.html

*【越南宣佈暫停商業航班】
此前該國于周日報告了89天來的首宗確診病例。週二，胡志明市又報告了兩起與空服人員有關的病例。當局正在追蹤接觸者，越南總理阮春福敦促公眾保持警惕，採取預防措施。
https://www.nytimes.com/2020/12/01/world/france-has-kept-schools-open-without-driving-up-infections-and-other-news-from-around-the-world.html

*【未婚夫爭議不斷，日本真子公主童話婚禮短期難成真】
兩人原計劃2018年成婚，但由於小室圭的家庭財務問題推遲婚期。相關報導導致外界對小室的結婚意圖產生質疑。此前真子公主發表聲明稱兩人仍忠於對方，但未披露婚期。
https://cn.nytimes.com/asia-pacific/20201201/japan-princess-mako-wedding/

Bonjour tout le monde!

This has been an unprecedented period of intense anxiety and disruption across all industries, and the arts especially had taken a heavy toll. Hence, I am elated to lend my voice to vOilah! France Singapore Festival 2020, and to be a part of this cultural heritage exchange that thrives between our two countries. Although grand festival events and red carpet may no longer be possible, but nothing should stop us from sharing the charm and finesse of French culture and arts.

I currently reside in Paris, having moved here three years ago. We too experienced a two months country-wide confinement from March to May this year, during which only essential shops were allowed to remain open, namely, supermarkets and boulangeries. A week into the lockdown, President Macron announced that not only was food for the body important to the people, food for the soul was equally critical to a civilization. What followed was that bookshops were given the permission to resume business, as long as rules of social distancing were observed. This was what struck me the most, that when life is stripped to the bare minimum, bread and books are all we need. After all, “culture is what remains, when everything else is forgotten” French statesman Edouard Herriot once wrote. Indeed, in the most robust economy, the market provides everyone with everything, except the power to determine what people should value. It is thus heartening to see culture held at such high regards, especially in times of crisis.

Back in our literary and philosophical past, only a small percentage of people had the privilege to be exposed to great traditions of arts and intellect. Now we are fortunate to live in a world where the cultural divide is no longer as deep, where global communities come together on creative platforms, where thinkers reunite for meaningful dialogues. Culture should travel, even when we can’t.

De gustibus non est disputandum. I look forward to the calendar of great works in this year’s vOilah! Festival, and meeting all of you through the upcoming online activities.

Let’s safeguard the future of our arts and innovation together.

Mes meilleurs sentiments,
Sharon Au

【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
https://www.facebook.com/groups/crewstories/?ref=share

Filmed in December
Subscribe Now for MORE Videos: https://goo.gl/tMnTmX
New T Shirts are here: http://www.kyleledotnet.zibbet.com
Help me keep making videos: http://www.patreon.com/kylele

Sign Up for Exclusive Content and to Keep in touch with me! https://madmimi.com/signups/172747/join

Growing up, I didn't know my grandfather at all. The first time I met him was the summer before 10th grade. I instantly had a lot of things in common with him and thought that he had a very modern approach to life and his perception through his belief of science and against superstitions. He also was very liberal and open minded, yet he remained very Vietnamese in other aspects. Many years later I returned to Vietnam to live and had more time spent with him, though looking back I wish I had spent even more time or called him more often. It was tough because we didn't always agree on everything. After his passing I was given a box full of photographs and postcards of his time spent in France. As a way to honor his memory and his passion for French things, I visited Paris to see why he loved the city and country so much. More videos of France to come. Thank you and please talk to your elders and document their stories!

--------------------------------------------------------------------------------------
About Me: I'm Kyle Le and I used to live, travel, and eat in Vietnam and many Asian countries. I'm passionate about making videos and sharing modern Asia to the world. I've traveled everywhere in Vietnam, from Hanoi to Saigon - Far North, Central Highlands, Islands, and Deep Mekong Delta - I've visited there. In addition to 15+ countries from Indonesia to Thailand to Singapore, you'll find all of my food, tourist attractions, and daily life experiences discovering my roots in the motherland on this amazing journey right on this channel. So be sure to subscribe- there's new videos all the time and connect with me on social media below so you don't miss any adventures.
----------------------------------------­-----------------------
More Info: http://www.KyleLe.net
Like: Facebook: http://www.fb.com/KyleLe.net
Follow: Instagram and Snapchat @KyleLeDotNet

Help me make more videos:
Buy a T shirt: http://www.kyleledotnet.zibbet.com
Paypal Donation: https://paypal.me/KyleLe

Original Music by Antti Luode.
Filmed with a Panasonic G7 14-140mm. 15mm
Audio from a Shure VP38F

I produce, film, and edit all videos myself, so I welcome any help Visit:
http://www.kylele.net/support
to see how you can ensure more videos to come.