關於 new york state population ，我們在網路上蒐集到這些相關的討論、資訊與評價

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#EducationUSA #留學美國 #scholarship #留美獎學金

【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

0331紐約時報

*紐約市死亡人數已經達到914人，確診病例為38000人
https://www.nytimes.com/2020/03/30/nyregion/coronavirus-new-york-update.html?smid=nytcore-ios-share

* 紐約州死亡人數1218，星期日一天之內死亡253人，紐約州長在美國東岸星期一記者會中表示病毒最糟的時刻尚未來臨。美國海軍艦隊改造的醫療船已經抵達紐約港口。
Governor Cuomo said that 1,218 people had died in New York, up from 965 on Sunday morning.

Gov. Andrew M. Cuomo, briefing reporters on Monday, said that the worst of the coronavirus outbreak was yet to come, even as another 253 people died in the state in a 24-hour period.

“If you wait to prepare for a storm to hit, it is too late,” the governor said. “You have to prepare before the storm hits. And in this case the storm is when you hit that high point, when you hit that apex. How do you know when you’re going to get there? You don’t.”

The governor spoke at the Javits Center, a convention hall in Manhattan that was quickly turned into a 1,000-bed emergency hospital. His remarks came shortly after a Navy hospital ship arrived in the city.

The setting for Mr. Cuomo’s briefing underscored New York’s urgent efforts to prepare its health care system for the wave of sick people that is expected to further overwhelm hospitals in just a few weeks.

Here are other developments from Monday:

New York reported almost 7,000 new cases of the virus, bringing the total to nearly 66,500. Most of the cases were in New York City, where, officials reported later on Monday, 38,087 people had been infected.

The number of virus-related deaths in New York City rose to 914 Monday afternoon, up 138 from around the same time Sunday, officials said.

Gov. Philip D. Murphy of New Jersey announced 3,347 new positive coronavirus cases in the state, bringing the total to 16,636. There were 37 new deaths, for a total of 198.

Gov. Ned Lamont of Connecticut announced 578 new coronavirus cases in the state, bringing the total to 2,571. There were two new deaths, for a total of 36 in the state.

In New York, the number of people hospitalized was 9,517, up 12 percent from yesterday. Of those, 2,352 are in ventilator-equipped intensive care rooms.

In a hopeful note, Mr. Cuomo said that while the number of hospitalizations continues to grow, the rate which it is growing was tapering off. “We had a doubling of cases every two days, then a doubling every three days and a doubling every four days, then every five,” Mr. Cuomo said. “We now have a doubling of cases every six days. So while the overall number is going up, the rate of doubling is actually down.”

More than 4,200 people have been discharged from hospitals.

New York has tested more than 186,000 people in March, about one percent of the state’s population. But while New York’s testing capacity far outpaces that of other states, it has not reached the critical-mass level public health experts say is necessary to more precisely identify the spread of the virus.

*【冠狀病毒實時更新】
*儘管很少有證據表明這種藥物能有效對抗這種病毒，但美國食品藥品監督管理局於本週末獲得了緊急批准，允許使用兩種長期使用的瘧疾藥物來治療接受冠狀病毒住院的患者。
*奧地利將從本週開始購買雜貨時，要求所有居民都戴口罩，但越來越多的專家對現行指南提出質疑，即健康人不需要戴口罩。
*世界各地的領導者都在極小的阻力下調用全面執行權。
https://www.nytimes.com/2020/03/30/world/coronavirus-live-news-updates.html

*【美國護士死亡，醫生病倒，病毒前線引起恐慌】
由於冠狀病毒的人數繼續上升，醫院和醫護人員累垮，經濟受損，使更多的城市面臨致命病毒突襲，國會議員和川普政府把注意力轉向新的措施，新規劃包含後果。
https://www.nytimes.com/2020/03/30/nyregion/ny-coronavirus-doctors-sick.html

*【“監獄是培養皿”：病毒在獄中傳播時，美國當局釋放囚犯】
冠狀病毒正在美國的監獄和監獄中迅速傳播，在那裡不可能與社會保持距離，並且廣泛禁止使用消毒劑，促使全國各地的當局在最近幾週釋放了數千名囚犯，以試圖減慢感染速度，挽救生命並保存醫療資源。
https://www.nytimes.com/2020/03/30/us/coronavirus-prisons-jails.html

*【川普認為冠狀病毒測試不再是問題，但各州長們不同意】
川普總統在電話會議上告訴各州州長，“他幾週以來都沒有聽說過檢測”，這表明長期缺乏用於檢測人冠狀病毒的試劑盒不再是問題。但是州長們並沒有表示支持。有州長表示“從字面上看，如果沒有CDC的測試套件，我們將無法進行測試。”
https://www.nytimes.com/2020/03/30/us/politics/trump-governors-coronavirus-testing.html

*【美國死亡人數超三千，考慮採取更多緊急措施】
據約翰•霍普金斯大學統計資料，全球確診患者已超過78萬，其中美國位居首位，確診數字已達16萬，死亡人數超三千。過去一天美國共新增確診病例兩萬餘，目前病死率最高的地區仍屬紐約。
https://coronavirus.jhu.edu/map.html

*【福特汽車和通用電氣將生產50,000台呼吸機】
知情人士說，由於死亡人數激增，案件激增，兩家公司已緊急採取行動尋找零件，下訂單和部署工人。通常需要數週或數月才能完成的任務已在幾天之內完成。兩家公司預計將在三週內開始生產，第一批呼吸機將在四月底之前交付。https://www.nytimes.com/2020/03/30/business/gm-ventilators-coronavirus-trump.html

*【加強檢測，失業和冠狀病毒計劃常見問題】
川普總統已經簽署了一項兩黨制的2兆美元經濟救濟計劃，為受冠狀病毒大流行影響的數千萬美國家庭提供援助。其組成部分包括對個人的刺激性支付，擴大的失業覆蓋面，學生貸款，不同的退休帳戶規則等等。
https://www.nytimes.com/article/coronavirus-stimulus-package-questions-answers.html

*【紐約最新】
*州長Cuomo說，紐約有1,218人死亡，高於週日早晨的965人。
*一名男子被指控對聯邦調查局幹員咳嗽，並說他感染了病毒。
“Rickers Island災難的恐懼越來越嚴重。
*紐澤西州的國民警衛隊員死於新冠病毒這是美軍首例。
*隨著病毒鬥爭的日益激烈，紐約的醫院面臨著4億美元的削減。
https://www.nytimes.com/2020/03/30/nyregion/coronavirus-new-york-update.html

*【產業最新】
*週一華爾街股市上漲，因為投資者競購了醫療保健公司的股票，報告有助于冠狀病毒爆發的產品的進展。
標普500指數攀升超過3％，上週表現強勁。標準普爾500指數在連續三天創下自1933年以來的最高水平後，上週上漲了10％
*週一獲勝者包括強生公司，該公司表示已確定該病毒疫苗的主要候選藥物，併計劃擴大生產和臨床測試。雅培（Abbott Laboratories）揚升的報導稱，該公司已宣布一種新的檢測方法可在五分鐘內檢測到該病毒，已被食品和藥物管理局批准使用。
*在過去兩天裡，Facebook和Twitter撤下了以巴西總統Jair Bolsonaro相關的發文，此前他發布的誤導性冠狀病毒視頻。
*梅西百貨公司（Macy's）同時擁有Bloomingdale's和Bluemercury，該公司週一表示，損失了“大部分”財務，將關閉百貨公司。
*紐約總檢察長對Zoom的隱私和安全性有疑問
*Instacart購物者正在就安全問題進行罷工。
https://www.nytimes.com/2020/03/30/business/stock-market-today-coronavirus.html

*【中國傳染病預警系統為何失靈】
SARS之後，中國建立了國家傳染病直報系統，旨在快速、全面地上報早期病例。然而，在武漢去年12月出現不明原因肺炎患者時，這個系統沒有生效。一個旨在保護醫療專業知識不受政治幹預的系統是如何屈從的？在中國的政治等級制度下，醫生理論上的確可以直接上報病例，但醫院不願也無力與地方領導人對抗。而武漢官員正是出於政治上對透露壞消息的反感，令醫院在上報系統中隱瞞了資訊。即便在北京介入之後，他們仍固步自封，使醫院束手束腳。
https://cn.nytimes.com/china/20200330/coronavirus-china/

*【中國全力生產防疫物資，但如何確保品質？】
為了抗擊全球冠狀病毒大流行，中國龐大的製造機器已經開始超速運轉，為國內外提供口罩、檢測試劑盒、呼吸面罩以及其他設備。但矛盾也逐漸顯現出來：在工廠重組生產線、新企業湧入的情況下，市場上出現了大量假冒偽劣產品。如何在鼓勵生產的同時，杜絕不良和未經認證的產品？
https://cn.nytimes.com/business/20200330/china-coronavirus-masks-tests/

*【東京夏季奧運會將於2021年7月23日開幕】
東京奧運會將延遲至2021年7月23日開幕。國際奧會和東京奧組委30日聯合宣佈，推遲後的東京奧運會將於2021年7月23日至8月8日舉行。
https://www.nytimes.com/2020/03/30/sports/olympics/tokyo-olympics-date-coronavirus.html

*【病毒在以色列猶太人中激增，但許多人藐視以色列的規定】
以色列極端正統派猶太教區病毒傳播速度比其他地區快八倍，官員正在考慮封鎖整個社區，以保護更多人。專家們將病毒在該地區的迅速傳播此歸因於極端正統派猶太教徒家庭龐大、對國家權威高度不信任、宗教領袖對健康風險的無知、對電子和世俗媒體的厭惡，以及人們對以社區活動為中心的生活方式的虔誠。
https://www.nytimes.com/2020/03/30/world/middleeast/coronavirus-israel-cases-orthodox.html