關於 making movies music ，我們在網路上蒐集到這些相關的討論、資訊與評價

翻轉視界 18 Changing Perspective

There's not just one road to the destination, but many roads. You just need to take the little step that’s right in front of you, and then the next one, and a few years down the track, they will seem like massive achievements.

通往目的地的路不止一條，有很多路可走。你只需要邁出眼前這一小步，然後再邁出下一步，幾年下來，將會成為巨大成就。

文章來自於New Humans of Australia (有取得授權)

★★★★★★★★★★★★

I didn’t meet my father until I was 6 years old. My parents had a comfortable, middle-class life in Shanghai, or as close as you could get under communism. But they always wanted to live overseas, and just before I was born, my dad came to Sydney to set things up. I don’t know why, but in the end, my mother and I didn’t join him until I was 6.

•a middle-class life 中產階級生活
•set things up 打點一切
•live overseas 往海外生活
•in the end 最後 (表達在經過一段時間或一連串事件之後的結果)

直到六歲前我都未曾見過父親。我的雙親在上海過著舒適的中產階級生活，或著說，在共產階級下所能得到的最接近的生活。他們一直響往海外生活，就在我出生前，我父親來到雪梨打點一切。但不知何故，直到六歲那年我與母親才終於與父親團聚。

★★★★★★★★★★★★

Unfortunately, half a year after we arrived, he left us. That was a huge shock. Our transition had already been quite difficult, as we both didn't speak English. Also, as Shanghai was such a big bustling city, Sydney felt a bit like the countryside, especially on the weekends, as no shops were open back then!

•shock 令人震驚的事件（或經歷）；驚愕，震驚 (come as a great shock 讓人倍感震驚)
•transition 轉變；過渡
•a bustling city 繁華都會

不幸的是，就在我跟母親抵達半年後，父親離開了我們。這是個巨大的打擊，因爲我們不會說英文，在適應過渡期本就已過得相當艱辛。此外，不同於上海的繁華都會，雪梨更像鄉下，尤其在週末，那時連商店都不開門。

★★★★★★★★★★★★

We were very much reliant on my dad, not only financially, but also as a conduit into the wider community. So to have that broken was quite distressing. I remember Mum crying a lot. As we had become socially isolated, we didn’t find out anything about Centrelink, so we survived on her savings for a while, and then got some help from her family back in China.

•be reliant on… 依賴...
•a conduit into 進入...的渠道
•distressing (adj.) 令人苦惱的,令人擔憂的
•become socially isolated 變得孤立於社會
•survive on her savings 僅靠的她積蓄過日子

我們相當依賴我父親，不僅是經濟，他也是我們進入更廣泛社區的渠道。因此，當局面被打破時令人相當痛苦，我還記得母親時常哭泣。由於我們孤立於社會，所以我們並不知道澳洲社會福利聯絡中心 （Centrelink）的任何資訊，僅靠母親的積蓄支撐了一段時間，然後從母親在中國的娘家得到一些幫助。

★★★★★★★★★★★★

Eventually, Mum moved us down to Melbourne, where we were able to make some new networks and family friendships. But I was bullied a bit at school about things like my food and clothing! Whenever someone bullied me, I would defend myself, but because I didn’t have the language skills to explain to the teacher why, I got in trouble quite a bit. I ended up having to move school 3 times before I came to Balwyn Primary School, which was relatively multicultural.

•be able to 能夠
•make new networks 建立新的人脈，關係網
•be bullied 被霸凌
•language skills 語言能力
•get in trouble 惹上麻煩
•end up 最後處於；最後成爲；以…告終
•relatively 相對地
•multicultural 多元文化的

最後，母親帶著我搬遷到墨爾本，在那我們能夠建立起新的網絡與家庭情誼。然而。我在學校飽受霸凌，例如我的食物及衣物。每當有人霸凌我，我會自我防衛，但我的語言技巧不足以向老師解釋事發原因，因此常常陷入麻煩。後來我不得不再三轉學，直到就讀相對多元文化的博文小學（Balwyn Primary School）。

★★★★★★★★★★★★

After that, I did alright. Music featured very prominently in my life. I had started learning the violin from the age of 2.5 years old and even with all the troubles that were going on in my life, had somehow still kept up with it. As a result, I got a music scholarship to Trinity Grammar School. But even there I used to get into quite a lot of mischief, and would often skip school to go to the movies.

•do alight 過得不錯，做的不錯
•feature (v.) 以…為特色；給…以顯著的地位
•prominently 重要地；著名地；突出地，顯眼地

之後，我便過得不錯。音樂在我生活中佔有重要的一席之地，我從兩歲半開始學習小提琴，儘管生活中事事不如意，我依然堅持不輟。因此，我獲得三一文法學校（ Trinity Grammar School）的音樂獎學金。但即使在那，我也常惡作劇、逃學看電影。

★★★★★★★★★★★★

By the end of year 11, I was told I would have to either repeat the year, or consider going to another school, which was quite humiliating for my mum. I decided to move school and surprisingly, I ended up doing quite well in year 12! As a result, I ended up getting into a double degree in Law and Music at Monash.

•repeat the year 留級 ; 重唸一年
•humiliating 令人感到恥辱的，丟臉的

11年級結束時，我被告知要麽被留級，要麼考慮轉學，這對我母親來說相當丟人。我決定轉學，而令人驚訝的是，我在12年級的時候表現優異，最後錄取蒙納士大學法律與音樂雙學位。

★★★★★★★★★★★★

When I started, my first thought was that I didn’t belong because I had done so badly in school up to year 11 and everyone else seemed so smart. But I put my head down, got through it, and ended up getting a job in the legal department of a major manufacturing company, which was a different approach to what most law students do.

•do not belong 不屬於這
•put my head down 埋頭苦幹
•the legal department of ...的法律部門
•a different approach 不同途徑
•approach （思考問題的）方式，方法，態度

當我開始進入大學，最初的想法是我不屬於這，因為我在11年級前都表現不佳，而這裡的人似乎都聰明絕頂。但我埋頭苦幹，咬牙撐過，最後在一家大型製造公司的法律部門找到工作，這與多數法律系學生的途徑不同。

★★★★★★★★★★★★

I really enjoyed it. It was hard work, but I learned a lot of foundational business, legal and corporate communication skills. After that I worked in corporate governance in RMIT, then started to moonlight as a lecturer in the Law Faculty. Eventually, they asked me if I wanted to do a PhD and I blindly said yes! I next worked at Swinburne University, and then was head-hunted to lead the corporate legal team at the Commercial Passenger Vehicles Commission.

•foundational 基礎的
•communication skills 溝通技巧
•corporate governance
•moonlight (v.) （尤指瞞著僱主）從事第二職業，兼職
•headhunt (v.) 物色（人才）； 挖角
•legal team 法律團隊

我非常喜歡這份工作，這是份辛苦的工作，但我學習了很多基礎商業、法律以及公司溝通技巧。之後我在皇家墨爾本理工大學（ RMIT）從事公司治理工作，並開始兼職擔任法律系講師。後來他們問我是否想要讀博士，我便盲目地答應了。接下來，我在斯威本大學（Swinburne University）工作，再被挖角到商用小客車委員會領導法律團隊。

★★★★★★★★★★★★

I had a good life, but after a while, I realised I wanted a different kind of job. I could see my seniors were making a lot of money but that their family life was not that good. And looking at my own upbringing, I wanted to be the kind of father who could be present in my own kids’ lives. So I decided on dentistry. It would not only allow me to use the hand skills that I had developed from playing the violin, but also the analytical and reasoning skills that I'd developed in law. Plus it would be flexible, and offer me a stable income and the chance to meet different people every day!

•upbringing 教養
•decide on sth 決定某事或東西
•analytical and reasoning skills 分析和推理能力
•offer a stable income 提供穩定收入

我的生活很不錯，但一段時間後，我意識到自己想要一份不同的工作。我知道前輩們賺了很多錢，但他們的家庭生活並不美滿。看著自己的成長經歷，我想要成為可以在孩子生活中出席的父親，所以我決定改行當牙醫。這項職業能讓我使用從拉小提琴中發展出的手部技巧，也能運用我在法律中發展出的分析與推理技能。此外，這個職業相當靈活，能為我提供穩定收入，並有機會每天與不同的人見面。

★★★★★★★★★★★★

My now fiancée, who was my girlfriend at the time, was also applying for further study, and coincidentally we both got into university in South Australia, so we moved to Adelaide together a few years ago.

•fiancée 未婚妻
•at the time 當時
•apply for 申請
•further study 繼續教育，進修；進一步研究；深造
•coincidentally 碰巧地；巧合地

我的未婚妻，當時的女友，也申請繼續深造，巧的是我們都考上南澳大學（University of South Australia)，所以幾年前一起搬到阿得雷德（ Adelaide）。

★★★★★★★★★★★★

I was lucky to get a university job at Flinders University. Initially, I started out as a casual lecturer in the law school, but I’ve since transitioned into teaching health law and research, and I’m currently writing a few books on the intersection between law and medicine. And also, obviously, trying to finish my dentistry degree!

•start out as… 起初擔任...
•transition into… 轉變到...

我很幸運的在福林德斯大學（Flinders University）找到工作，起初我在法學院擔任臨時講師，但我後來轉換到醫事法教學及研究。目前我正撰寫幾本關於法律與醫學相接的書籍，並努力完成我的牙醫學位。

★★★★★★★★★★★★

Mum eventually retrained as a Chinese high school teacher, and she’s still teaching to this day. Like most first generation migrants, she struggled quite a lot, and invested heavily in my success. After we’re married, my fiancée and I are planning to have children, and I’m sure they will have it much easier than I did.

•retrain 重新培養；再培訓；再訓練
•to this day 至今
•first generation migrants 第一代移民
•struggle a lot 掙扎奮鬥許久
•have it much easier 過的比較輕鬆

我的母親最終重新接受培訓，成為一名中文高中老師並執教至今。如同大多數第一代移民，她掙扎奮鬥許久，並為我的成功投資甚多。我與未婚妻打算婚後生孩子，我確信孩子會過的比我輕鬆得多。

★★★★★★★★★★★★

Still, a lot of the failures that I’ve had in my life have really informed a lot of my successes. Looking back, I wouldn't really want to change that to have a smoother life.

•inform [正式] 影響某人的態度或意見
https://www.ldoceonline.com/dictionary/inform

•have a smoother life 有一個更順遂的人生

我的生活中的種種失敗確實為我的成功提供借鑑。回首過去，我不會想要改變那些坎坷經歷去擁有一個更順遂的人生。

★★★★★★★★★★★★

Over the years, I've learned that perseverance is very important. I hope that through telling my story, I can be an example to others who might be in a similar position as I was: to show that there's not just one road to the destination, but many roads. You just need to take the little step that’s right in front of you, and then the next one, and a few years down the track, they will seem like massive achievements.

•over the years 多年來
•perseverance 不屈不撓，堅持不懈
•be an example 成為榜樣
•be in a similar position 處於相似的處境
•down the road/line/track 將來(的路)

多年來，我學到堅持不懈是至關重要的。我希望透過講述自己的故事，能成為其他可能與我有相似處境的人的榜樣：向他們展示通往目的地的路不止一條，有很多路可走。你只需要邁出眼前這一小步，然後再邁出下一步，幾年下來，將會成為巨大成就。

有興趣的同學可以支持New Humans of Australia

www.patreon.com/newhumansofaustralia

Photographer: Paul Heinrich instagram.com/paulfheinrich

文章與圖片出處: https://bit.ly/2XJsciq

★★★★★★★★★★★★

翻轉視界: http://bit.ly/3fPvKUs

批判性思考問題大全: http://bit.ly/34rdtJ7

Never been to Istanbul, but now I would like to visit even more. It's such a blessing to be recognized by different countries with different cultures for our creativity in music and film-making.
https://www.youtube.com/watch?v=X6DY6tcz0xM
Thank you @goldenbridgeistanbulshortfilmfestival @sanyeeyuan
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#film #movie #actorslife #hollywood #theatre #movies #love #filmmaker #singer #covid19awareness #filmfestival #istanbul #music #songwriter #musician #singersongwriter #artist #motivation #strength #dedication #frontlineworkers #hostpitals #doctors #hope#chinese #culture #nurse

【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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Hey lovelies, it's actually been a very tough couple of weeks, i've felt unmotivated, sad, down, discomfort in my own body, and here are my attempts to make those days a bit better. Changed up the furniture layout of my apartment, and got an iherb haul. if you guys have any iherb favs please lemme know, i get so overwhelmed with online shopping sometimes, i don't even know what to search
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