關於 on this day twitter memories ，我們在網路上蒐集到這些相關的討論、資訊與評價

<脫口秀小訣竅中英翻譯-靈感篇>

文長注意!

之前小歐在脫口秀社團po了外國佛心大神脫口秀演員Gary Gulman，在twitter上連載的366個脫口秀小訣竅。

小妹就認領了靈感篇來翻譯。以下為22個小訣竅的中英文對照，若有翻的不盡理想的地方，請留言詳述，我會再看怎麼修改。原文和網誌版會放在留言處，方便大家查看。

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Ideas
靈感

Tip No. 41: You know those quirky little things you do and think? Collect them in a file or on paper. Even if you’re a storyteller, you can use these as details to add depth and distinction to your jokes.
你了解自己做或想的古怪小事嗎? 把他們記錄在紙上或檔案夾裡。即使你是講故事的人，也可以將這些內容作為細節，以增加笑話的深度和特色。

GARY'S FAVORITES
Gary(原作者)的最愛
Tip No. 45: Don’t Hoard Jokes
Don’t worry about “burning” material on a special or album. Hoarding jokes may signal to your brain that you’re out of ideas. “You can’t use up creativity. The more you use, the more you have.” — Maya Angelou.
不要囤積笑話。不要怕在演出或專場用光自己累積的材料。囤積笑話會對你的大腦發出信號，暗示你已經沒有想法。如同Maya Angelou所說:”你無法耗盡創意。 你使用的越多，你擁有的就越多。”

Gary’s thoughts on Tip No. 45: This attitude has been crucial to an unprecedented streak of creativity over the last two years. I’ve written four hours of material, which is almost as much as I wrote in my first 23 years of comedy. Most important has been my health, this idea may be second.
Gary對此建議的想法: 在過去兩年中，這種態度對我的前所未有的創造力，有著至關重要的影響。我已經寫了四個小時的素材，這幾乎與我前23年的喜劇寫作一樣多。最重要的是我的健康，這個想法則排名第二位。

Tip No. 62: Look for inspiration everywhere. Paintings, music, poetry, rap, novels, nonfiction, short stories, theater, philosophy, etc. can all provide a spark for creativity. Cross-pollinate your work with broad influences and watch your creativity grow.
在各處尋找靈感。繪畫、音樂、詩歌、饒舌、小說、非小說、短篇故事、戲劇、哲學..等，都可以為創造力提供火花。以廣泛的影響力對你的工作進行異花授粉(原文:cross pollination，藉由風或昆蟲從別的花獲得繁衍的花粉)，並觀察你的創造力增長。

Tip No. 63: Write it all down while the coffee is still telling you you’re mighty. Reread after you’ve turned back into Dr. Banner (yes he’s a genius, but not as self-confident in that condition). That buzz is so valuable but needs editing.
在咖啡發揮效果告訴你”你超棒”的時期，把所有想法寫下來。當你回復成原本的自我 (原文: Dr. Banner，也就是尚未變身成綠巨人浩克的班納博士，是個缺乏自信的天才)時，重讀一次剛才的寫作。思緒激昂(原文:buzz，也有微醺、很鏘的意思)很珍貴，但需要編輯。

GARY'S FAVORITES
Gary(原作者)的最愛
Tip No. 90: After a Good Set, Brainstorm
You just had a great set. Instead of celebrating, use that hour or so after when the synapses are still firing and your confidence is soaring to voice record or write down the ideas that pop up during that especially fertile creative time.
如果你剛完成一場精采的表演，不用太早慶祝，要在大腦突觸仍在觸發、信心爆發、靈感特別豐腴的創作時間裡，把突然出現的想法錄音或寫下，再多花一個小時左右的時間繼續創作吧。

Gary’s thoughts on Tip No. 90: Huge help in making jokes that work longer and coming up with tangents and inspired ideas.
Gary對此建議的想法: 這建議在創作笑話的過程中提供巨大幫助，並提供變化和啟發性的想法。

Tip No. 92: Notice where you do your best thinking. The shower? Running? Listening to music? Not listening to music? Driving? Walking? Make sure to put yourself in the places where you’re doing your best thinking as frequently as possible.
你有注意過你在哪個’場景最能好好思考嗎。沐浴時？跑步時？聽音樂時？不聽音樂時？開車時?走路時？請盡量把自己放在最適合思考的場域。

Tip No. 132: I think you can limit frustration and discouragement by writing just a page on a new premise before trying it out onstage. See if there’s anything there before you spend a day on a new joke. But if you’re truly excited by the new idea, keep going!
我認為你可以在上台試笑話之前，先寫一頁的新前提，這可以限制你的挫敗感和沮喪感。在你花一整天開發新笑話之前，先研究前提是否可挖掘。但是，如果你真心對這個新點子感到興奮，那就放手去做吧!

Tip No. 143: Listen to strangers’ conversations. (I tell myself it’s not impolite if they’re being super-loud.) I got “How Dottie is that?” when a supercilious woman named Jodi bragged “How Jodi is that?” “So Jodi,” her friend replied.
偷聽陌生人的對談(我都告訴自己偷聽並不是沒禮貌的行徑，是他們講話太大聲了)。我有一次聽到一個名叫Jodi的膚淺女人吹噓"How Jodi is that?"，她朋友回覆:"So Jodi"，我因此想出了我的 “How Dottie is that?” 笑話。

Tip No. 157: Need new joke ideas? Be sensitive. If you’re uncomfortable with that word, use “irritable” (or grow up). A lot of good comedy comes from reaction to injustice or discomfort large and small, which requires being hypersensitive to those feelings.
需要新的笑話創意嗎？保持敏感。如果你對這個詞不滿意，請使用“煩躁”(或成長)。 許多優秀喜劇源自於對不平等或不適的大大小小的反應，產生這些感覺都需要保持敏感。

Tip No. 217: “All art is autobiographical. The pearl is the oyster’s autobiography.” — Federico Fellini. Purposefully mine your personal history for your act. Your life is a wellspring. Dig deep.
Federico Fellini說過:“所有藝術都是自傳。珍珠是牡蠣的自傳。”有目的得挖掘你的個人經歷，以作為你的演出。你的生活是靈感之源。請深入挖掘。

Tip No. 241: Many of your favorite writers include the same themes/subjects/objects/interests repeatedly in their work. Don’t be afraid to return again and again to your passions and obsessions to explore and expound.
你最愛的許多作家，都會在他們的作品裡重複探討相同的主題/目標/對象/興趣。不要害怕在你的熱情和沉迷之處，一次又一次得重複探索和闡述。

Tip No. 285: Explore unusual angles in a joke. Example: Examine things from the POV of a child or an Expert. My man Jimmy P and I still laugh over his “Martian response to high school football practice: Why are the hard-heads (players) taking orders from the small soft-heads (coach)?”
在笑話中探索不尋常的觀點。例如：從孩子或專家的視角觀看事物。我和我的兄弟Jimmy P仍會為他的笑話大笑:“火星人對高中足球訓練的反應：為什麼硬頭(球員)會從小型軟頭(教練)那裡得到命令？”

Tip No. 297: One of the miracles of comedy is that you can get redemption for suffering, small and large, by making something funny with it. When you are ready, try to write something funny about your mistakes, setbacks, or even tragedies.
喜劇的奇蹟之一是，藉由使事情變得有趣，你可以從大大小小的苦難中得到救贖。 當你準備就緒時，請嘗試寫一些有關你的錯誤、挫折甚至悲劇的有趣訊息。

Tip No. 298: Skim your life for the unusual events and activities that you can’t believe you were a part of or that people can’t believe you were a part of. Then write about it! Back row No. 93 MULLET:
No. 93後衛MULLET: “瀏覽你一生經歷過的、你或別人不敢相信你參與其中的奇特事件和活動。然後把它寫下來吧!“

Tip No. 310: When it comes to solving the puzzles that are our jokes, draw on every area of knowledge, expertise, and talent. It’s so gratifying to use a fact, a lesson, or a memory from elementary school, high school, or elsewhere to fill in the joke.
在解決我們玩笑的難關時，請利用各個領域的常識、專業知識和才能。用小學、高中或其他地方的事實、課業或回憶來充實笑話，會非常令人滿足。

Tip No. 311: Some of your best ideas will come to you in the shower. There’s science behind why it happens. Get a shower notepad if you have trouble remembering your ideas. Don’t listen to music. Listen to your thoughts. Ruminate on tonight’s set or a new joke.
洗澡時，你可能想到一些最好的點子。這現象的發生原因有科學依據。如果你難以記住自己的想法，請準備淋浴記事本。不要聽音樂。聽你的想法。用今晚的場景或一個新的笑話來反思。

Tip No. 313: Try teaching or informing the audience about something through some of your jokes. We love to learn while being entertained and vice versa. You have knowledge? Put it in your act! Just make sure it’s funny.
試試看通過講笑話來教導或告知聽眾新知識吧。我們喜歡在娛樂的同時學習，反之亦然。你有新知識嗎？把它放在你的演出！只要確保它很有趣就行。

Tip No. 327: Going home for Thanksgiving? Take copious notes! Your family is unique. Being reminded of the dynamics and adding new memories will be great resources for your act. “Family isn’t a word. It’s a sentence.”
逢年過節你會回家和家人團聚嗎？做大量筆記！你的家人是獨一無二的。記住動態場景並添加新的記憶，這會是你表演的寶貴資源。“家庭不是一個詞。 而是一個句子。”

Tip No. 331: There are great stories from our lives that we’re not able to translate into stand-up. Don’t throw them out. Collect those stories in a file for radio and TV and other interview situations.
我們生活中有許多很棒的故事，但我們無法將其轉化為脫口秀。可是不要把它們丟掉。要將這些故事收集在資料夾裡，以後在進行廣播和電視或採訪時可能用的到。

Tip No. 340: Volunteer! Especially if you don’t have a day job. There are so many opportunities to help. You will do good and have something new to write about. In NYC we have New York Cares. One year we decorated an elementary school for Halloween.
如果你沒有正職工作，當志工吧！你會有很多機會能幫助別人。你會做得很好，並有新的事情能寫。在紐約，我們設有紐約關懷中心。今年我們為萬聖節裝飾了一所小學。

Tip No. 358: I have recently started audio recording all notes sessions (for projects), and next time I pitch jokes with a friend I will record that too. It’s very helpful. You will be surprised at what you forgot when you listen back. Ask permission first.
我最近開始錄製所有筆記會話(用於專案)的錄音檔，並且下次我與朋友開玩笑時，我也會錄音。這非常有幫助。當你回聽時，你會驚訝於你忘記了什麼。但錄音前請先徵得許可。

Tip No. 360: Spending holidays with kids? Pay attention to them. Listen to them. Take note and embrace their curiosity and enthusiasm within your writing. (Also avoid the “kids these days” writing. It’s lazy.) Merry Christmas from your second favorite long-haired Jew.
和孩子一起度假嗎？注意觀察他們。聽他們說話。寫下你觀察到的東西並注意，並在寫作中懷抱孩子們的好奇心和熱情。(不要流水帳的寫“現在的小屁孩都如何如何”。這很懶。)你第二喜歡的長髮猶太叔叔在此祝你聖誕快樂(註，原作Gary是猶太人)。

【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

今日はあいみょんの「マリーゴールド」を英語で歌ってみました。Enjoy♪

Today's cover is an English version of "Marigold" by Japanese singer-songwriter Aimyon. Enjoy!

～♪～♪～♪～♪～♪～
リンク / LINKS
～♪～♪～♪～♪～♪～

■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

Thinking of your hair blowing in the wind
How it filled me with a bit too much emotion
I miss how you gazed at me
Your serious expression

Lately I do nothing but tumble forward
‘Til I get to feeling sorry for myself
And I start to get so lazy
But a light of hope still dwells

In front of me constantly
Shining ever brilliantly
I am happy now

Straw hat on your head, smiling with a sun-kissed glow
It makes you look just like a swaying marigold
That was back in summer when the sky stayed blue above forever
So in love, we laughed at memories good and bad we made together

When you look at me with teary eyes
And fiercely beg me not to leave you all alone this time
I will hold you just as gently as the fluffy clouds in the sky
I will hold you tight, hold you tight and never let you go

I am not strong enough that I can just
Say everything I feel and put it all out there
But it’s strange, no matter where I look
I see no traces of despair

I adore the silhouette
That is always reflected
Deep within my eyes

Side by side with you, your soft skin pressed close to mine
Out in the chilly air that has just a bit too much bite
As we walk along reflecting on such silly things together
Like what to name the day so we’ll remember it forever

Ah, you say that words are not enough
Instead you press a kiss to my lips to show me your love
Well, the shadows of the two of us are still cast by the clouds above
So we’ll always stay, we will stay this way forever more

Even when we are far from one another
I want to stay connected
I hope that you want the same thing
And that we’ll both always feel the same way

麦わらの帽子の君が
mugiwara no boushi no kimi ga
揺れたマリーゴールドに似てる
yureta mariigoorudo ni nite'ru
あれは空がまだ青い夏のこと
are wa sora ga mada aoi natsu no koto
懐かしいと笑えたあの日の恋
natsukashii no waraeta ano hi no koi

「もう離れないで」と
"mou hanare-naide" to
泣きそうな目で見つめる君を
nakisou na me de mitsumeru kimi wo
雲のような優しさで そっとぎゅっと
kumo no you na yasashisa de sotto gyutto
抱きしめて 離さない
dakishimete hanasanai

ああ アイラブユーの言葉じゃ
aa ai rabu yuu no kotoba ja
足りないからとキスして
tarinai kara to kisu shite
雲がまだ2人の影を残すから
kumo ga mada futari no kage wo nokosu kara
いつまでも いつまでも このまま
itsu made mo itsu made mo kono mama

離さない
hanasanai
ああ いつまでも いつまでも
aa itsu made mo itsu made mo
離さない
hanasanai

https://youtu.be/fGBW_2kF3S8

Listen and download on your favorite platform♡
https://lol-JP.lnk.to/honoka-futureID

Honoka is a member of the Japanese dance and vocal group“lol -エルオーエル-”.
This song was produced by KM, one of the most talented producers in Japan today.
The song is about love that hasn’t been erased from memories yet.
This piece is about an important love and the feelings that you can’t forget even though you know that you have to move on because it’s for you and your future.
This work carries a message that only a woman can send to the worldview of Alternative Pop.

◆Official web site
http://avex.jp/lol/

◆YouTube
lol -エルオーエル-Official Channel：https://www.youtube.com/channel/UCTAs...
Playlist：https://www.youtube.com/playlist?list...

◆Twitter
honoka：https://twitter.com/lol_honoka
lol-エルオーエル-：https://twitter.com/lol_avex

◆Instagram
lol-エルオーエル-：https://www.instagram.com/lol_official/
honoka：https://www.instagram.com/honoka_lol/

◆TikTok
https://www.tiktok.com/@lol_avex


Produced by KM
Music & Lyrics : KM & Lil'Leise But Gold

Music Video Credits
Director : Nickey Rourke
Producer : Kento Shinozaki
Production : 蔵屋
Stylist : Keita Uchida
Costume : SUPPLIER
@supplier_official
https://www.supplier-tokyo.com



Lyrics♡

Now remember, Falling Falling is inevitable
Going Going I wanna start walking
Never ever stop, a big 1step
Future is mine
I remember you
Sorry
I didn’t hear that
Lonely, I want to forget just that day, big 1step
Future is mine

1.2.3 call, not answering my phone
4.5.6 move out from your room, change into a dress, redraw the rouge, pressing down my temples
Narrowing my eyes. Do you like pure girls wearing fur? Unfortunately, I don’t have it in me to balance the scales of Love & Money. After I lose and realize, I can’t do anything about it later.

Memories still stacked not erasable
I miss you but I can’t hate you. You are my special. Frustrated feelings
I’m in love, I still hear you

Now remember, falling falling is inevitable
Going Going I wanna start walking
Never ever stop, a big 1step
Future is mine
I remember you
Sorry
I didn’t hear that
Lonely, I want to forget just that day, big 1step
Future is mine

A sunny sky
Wobbly and
Soft determination, cloudy vision, dragging an umbrella that I don’t even use.
The heart flies away. Thoughts of that day, pretend to not know. Falling tears thinking that I might have forgotten something.
One after another, memories become glorified, I hear voice from the heavens saying, stop doing that.
A gulf that cannot be filled even if I pick up all the love and open doors. Sadness is transparent, I feel like I’ve lost my smile. I can’t go back to that place.
I’m sure someday, the memories of my feelings will melt, far and far away.
Soar high, I’m letting the wind carry my body and mind
Memories still stacked not erasable
I miss you but I can’t hate you. You are my special, frustrated feelings
I’m in love, I still hear you

Now remember, falling falling is inevitable
Going Going I wanna start walking
Never ever stop, a big 1step
Future is mine
I remember you
Sorry
I didn’t hear that
Lonely, I want to forget just that day, big 1step
Future is mine

The thought of taking my children solo on holiday used to make me so sad and scared. After a beautiful day at the seaside, I am no longer afraid. I know when the world opens up again, the kids and I will have a blast visiting different places and continue to make beautiful memories.

Hello hello guys! How are you? I know I've been a bit slow with vlogs lately. I've been enjoying life and it's pace. I've been taking lots of walks with the dogs and although I always bring my camera with me (have been for over a decade), I am learning to be more present in the moment. I know you guys understand. Sending you so much love and light from us. xo




Music by Singto Conley - Iced Coffee - https://thmatc.co/?l=2FB01C86
Music by Laura Zocca - This Side Of Love - https://thmatc.co/?l=5519301F
Music by Nico Anuch - Another Day - https://thmatc.co/?l=513AE9FC




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◆【５分漬けるだけ】料理人の父が遺してくれた我が家の神レシピ『超やべぇ野菜漬け』
Recipe⇒https://youtu.be/RKDGG9w9GWg

◆こっタソ動物園チャンネル
新しいチャンネルです！こちらもおヒマな時にどぞ。
⇒https://www.youtube.com/c/こっタソ動物園-kottasoanimals

ご視聴ありがとうございます。
Thank you for watching
I want to deliver delicious Japanese-food recipes to the world

【材料】（保存期間：冷蔵で約4日、冷凍で約1か月）
●中華麺（ご飯、冷凍うどん、そうめん、パスタ何でも合うよ♪）
●豚ひき肉：約400~500g
●えのき：1パック（椎茸でも美味しいよ♪）
●ニラ：5本くらい（好きな方はもっと多くてももちろんOK）
●卵：人数分
●にんにく：2片（チューブタイプでも大丈夫なんですけど香りが全然違うので出来れば生がオススメ）
●生姜：にんにくと同量くらい
●紹興酒：大さじ2（普通のお酒でもOK）
●みりん：大さじ2
●醤油：大さじ2
●赤味噌：大さじ2（普通のお味噌でもOK）
●オイスターソース：大さじ1
●砂糖：大さじ1
●甜面醤：大さじ1
●豆板醤：小さじ1（コチュジャンでもOK）
●創味シャンタン：小さじ1/2〜1（鶏ガラスープの素、ウェイパーでもOK）
●花椒油（胡麻油でもOK）
●ごま油
●ブラックペッパー
●お好みで花椒、ラー油、きゅうり、メンマ
※お使いの味噌によって塩分が変わってくるのでまずは大さじ2入れて味見をしてから足してみてね♪
※砂糖も甜面醤を使わない場合やお使いの味噌によって変わるので味見をしてからお好み量入れて下さい。
-------------------------------------------------------
前回本当に沢山の方に作って頂けて沢山の方に大好評だった
父が遺してくれた我が家の神レシピ！(父ちゃんもきっと喜んでます)
今回はその第二弾という事で
『超やべぇ肉ニラえのき』作らせて頂きました。
お店に負けないような本格的な味をご家庭でも簡単に作れるよう
父ちゃんが考えてくれたものです。（暑い時期になると必ず作ります♪）
香ばしい味噌の風味、きのこの旨味や色んな出汁を吸った豚肉が、本当に味わい深く、最高にやみつきな美味しさなんです(*^^*)
しかも香りまで最高に美味しく仕上がってます。
(昔、家近くでこの香りがするとダッシュで家に帰った良い思い出がありますｗ)
お客様第一で病気になってからもお店を休む事は一回も無かったくらい、料理で美味しいと言ってくれるお客様の笑顔が大好きな父ちゃんだったので、コロナ禍で本当に大変な世の中ですが、前回同様、このレシピで少しでも多くのご家庭の食卓で笑顔が作れたら、天国にいる父ちゃんも喜んでくれると思います。
これからの季節、冷やしたラーメン、うどん、素麺にも最高だと思いますし、
あとはやっぱご飯！！!(^^)!
ほっかほかのご飯にこの『超やべぇ肉ニラ』を乗せて卵乗せて食べたら、ウマすぎて最高に幸せな気持ちになれます♪
ダイエットや糖質制限されている方は、きゅうり、大根、人参をスティックにしてディップして食べても良いですし、豆腐や、今回みたいに茄子やズッキーニの上にチーズと一緒に乗せて焼いても最高に美味しいです。
カレーに乗せたり、パスタに和えたり、グラタンの具材にしたり、春巻きで巻いてもマジで旨いですよ♪
今回も作り方は炒めるだけ！おつまみに関しては乗せて焼くだけ！（オマケまで見てくれた皆さんありがとう♪）
どちらも本当に簡単ですけど、とにかく味と香りが最高に美味しいです。
ご家庭で簡単に作れるお店の味を是非皆さん作ってみて下さい。
あと花椒を食べた事がない方は今回の料理は花椒抑えめなので、これを機に一度使ってみて下さい。少しピリッとした痺れる辛味や香りが本当にやみつきになりますよ♪

[Ingredients] (Preservation period: about 4 days refrigerated, about 1 month frozen)
● Chinese noodles (Go well with rice, frozen udon, somen, pasta as well ♪)
● Minced pork: about 400~500g
● Enoki mushrooms: 1 pack (Shiitake mushrooms are also good)
● Chives: about 5 chives
● Eggs: enough for several people
● Garlic: 2 cloves
● Ginger: about the same amount as the garlic
● Shoko-shu: 2 tablespoons (Normal sake is fine too)
● Mirin: 2 tablespoons
● Soy sauce: 2 tablespoons
● Red miso paste: 2 tablespoons (You can use regular miso too)
● Oyster sauce: 1 tablespoon
● Sugar: 1 tablespoon
● Tian men jiang: 1 tablespoon
● Dou ban jiang (or gochujang): 1 tablespoon
● SOMI shantung: 1/2 to 1 teaspoon (or chicken broth or Weipa)
● Huājiāo oil (Sesame oil is fine too)
● Sesame oil
● Black pepper
● Huājiāo, Ra-yu, cucumber, pickled bamboo shoots as you like
※ The salt content will vary depending on the miso you use, so try
adding 2 tablespoons and taste before adding more.
※ If you don't use sugar or Tian men jiang, or depending on the miso
you use, the taste will vary, so taste it before adding the desired
amount.
-------------------------------------------------------
The last time I shared the recipe my father left to me, I had a lot of people make it and it was a big hit.
(I'm sure my dad would be happy to hear that.)
This time, I made the second version, "Amazingly Yummy Pork, Chinese Chives & Enoki with Miso Topping"
My dad came up with this recipe so that you can easily make it at home with the same authentic taste of a restaurant. (I always make it when the weather is hot ♪)
The fragrant miso flavor, the mushroom flavor, and the pork that has absorbed the various broths are really flavorful and addictive (*^^*)
Moreover, the aroma of the pork is also very delicious.
(I have good memories of dashing home when I smelled this aroma near my house in the past.)
Even after he got sick, he never took a day off from work.
He loved to see the smiles on his customers' faces when they said how delicious his food was.
I think my father in heaven would be pleased if you give it try.
It would be great with chilled ramen, udon, or somen in the coming season.
And then there is rice! (^^)!
If you put this "Amazingly Yummy meat sauce" on a bed of rice and top it with an egg, it will be too good to eat and you will be very happy.
Again, all you have to do is stir-fry them!
And as for snacks, just put them on top and bake them! (Thanks to everyone who took the time to look at the extras ♪)
It's really easy to make, but the flavor and aroma are just amazing.

●Instagram
⇒https://www.instagram.com/kossarishuntaso/
●twitter
⇒https://twitter.com/kottaso_recipe
●連絡先
⇒kossarisyuntaso@gmail.com

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