關於 if there is any problem please let me know ，我們在網路上蒐集到這些相關的討論、資訊與評價

【芸能事務所の生き残り方】

本題に入る前に近況報告からさせてください。

昨日もお話しさせていただいたのですが、３日前に募集を開始した「西野亮廣オンライン講演会　〜マーケティング講座【上級編】〜」に期待が集まっているみたいで、昨日の段階では受講生が８５０人だったのですが、今朝見たところ、１７００名を超えていました。本当にありがとうございます。

(こちら↓)
https://silkhat.yoshimoto.co.jp/projects/2158

こちらの講演会は受講料が５３００円となっておりますが、映画『えんとつ町のプペル』のオンラインムビチケ（前売り券）が「３枚」ついてくるので、受講料は実質ほぼ無料です。クラファンの手数料ぐらい。

当然、この講演会をやっても僕には利益なんてないのですが、僕からすると、そんなものよりも、皆で作った映画が一人でも多くの方に観てもらえる方が何千倍も何万倍も嬉しいので、まったく構いません。

モノを届ける為には、何が必要なのか？
人を集める為には、何をしなければならないのか？

今回の講演会では、エンターテイメントに限らず、全てのサービスに関わってくる問題と、その解き方について、かなり踏み込んだ話をしたいと思います。「上級編」とありますが、難しい言葉や、無駄な横文字は使わないので、ご安心ください。


https://silkhat.yoshimoto.co.jp/projects/2158





というわけで、今日の本題です。



今日は「キンコン西野が芸能事務所を作るなら…」というテーマでお話しさせていただきます。



僕は表向きは吉本興業のタレントなのですが、それって表舞台に出る時で、僕の実際の仕事は９割ぐらいが株式会社NISHINOの仕事なんですね。

ただ、吉本興業とバチっているってことはなくて、吉本興業と一緒にした方がいい仕事は一緒にしますし、「ここは組まない方がいいよね」という仕事は組まずに、株式会社NISHINOでやらせてもらっています。そのへんは臨機応変に。

吉本芸人の中では珍しい「吉本愛」がある男です。

やっぱり、なんだかんだ言っても自分を育ててくれた会社なので、その恩は何倍かにして返さないと気持ちが悪い。
だからこそ、ダメな時はかなり強めに「ダメだ」と言います。
かなり強めに(笑)


吉本興業に限らず、あらゆる芸能事務所がおかれている今の状況を、めちゃくちゃフラットな立場から切り取ると……やっぱり、最大の権威であった「テレビ」を観る人が減ってきて、それぞれがYouTubeチャンネルを持ってしまって、「テレビに出たい」というタレントや、「レギュラー番組が欲しい」というタレントが減ってきた。
くわえて吉本興業の場合だと、コロナで劇場もやられてしまって……それによって「いや、劇場でネタをおろすより、ジャルジャルみたいにYouTubeでネタをおろした方が多くの人に見られるし、実入りもいいんじゃね？」というのがバレてしまって……今、全員の頭の中にある疑問は「芸能事務所って本当に必要なの？」だと思います。



インターネットの本質は「直接購入」なので、どうしても「中抜き」の立場は弱くなってしまう。

そんな中、今、各芸能事務所が生き残りをかけて、あれやこれやと手を打っているわけですが、たとえば、こと吉本興業に関していうと、やっぱりこれまで「大仏商売」だったんですよね。

明石家さんまサンがいて、ダウンタウンさんがいて、ナインティナインさんがいて…という。もちろん、その才能を生んだのは吉本興業であることは間違いないのですが、「生んだ才能に乗っかり続けた」というのも、また事実。

それでも、ネットインフラが整うまでは、それでいけたんですよね。
タレントのスケジュールを切って、ギャラ交渉をして、時々、バーターで新人を挟んで…というビジネスモデルを長らくアップデートする必要がなかった。
それはそれで本当に凄いことなんだけども。


だけど今は、ネットインフラ、もっと言うと、動画インフラやダイレクト課金インフラが整ってしまったので、もう「事務所に所属していないと世に出れない」みたいな時代じゃなくなった。

で、「これはヤバイ！」となって、今、慌てて、各芸能事務所デジタル化らしきものを進めているのですが、肌感でいうと７〜８年ぐらい遅い。
「UI、UX、何やそれ？」「オンラインサロンって、儲かりまんの？」という世界です。

本当に、何年も前に止まってしまった時計の針を今、慌てて動かしているから、ガタガタギシギシ鳴っているのが現状です。

頑張っているのは分かるのですが、そこに対する知識が圧倒的に不足しているから、流行っているものを見よう見まねで始めては見るものの、全然イケてないサービスを量産してしまう。
「そういうことじゃねえんだよ」の連続です。


一つ、吉本興業のクラウドファンディング「SILKHAT」に関しては、立ち上げから携わらせてもらった手前、今でも逐一「ここは違う、ここはこうだ」と口を挟ませてもらっているのですが、それ以外の吉本が仕掛けているサービスなんかは、ちょっとよく分からない。

救いは社外取締役で来てくださったビリギャルの坪田さんで、さすが坪田さん案件はイケてるなぁと思うのですが、ただ、坪田さんの身体は一つしかないので、さすがに吉本興業の全てのサービスをカバーすることは難しい。
吉本って、本当に大きな会社なんです。

ネットは特に適者生存の世界で、これまでリアル社会でどれだけ幅をきかせていようが、時代に合っていなかったら、１秒で駆逐されてしまうんです。

時計の針を長年止めていた人が見よう真似で参戦して生き残れる世界じゃないんですね。

今、コロナで食い扶持が減った各芸能事務所が、「新しい収入源を作れ〜」と躍起になっていると思います。

このへんの展開は手に取るように分かるのですが、まぁ、いろんな事務所さんが「オンラインサロン」を始めると思います。

始める理由は「オンラインサロンは、どうやら儲かるらしいから」です。
そして僕の見立てだと、ほぼ１００%失敗します。

「なぜ、ダイレクト課金が成立しているか？」を構造で理解していないからです。
「認知」と「人気」の違いを本質的な部分で理解できていない。

今田さんや東野さん、この前だと華大さんとか千鳥さんとかが「そういうのは、知識の無い社員が旗を振らずに、西野に頼んでやってもらったらいいんだよ」と言っていたんですが、僕本人が言うのもアレですが、本当にそうだと思うんですね。
でも、社員は絶対に聞いてこない。

僕は日本の名だたる企業さんから社員向けの講演会のオファーを受けるのですが、吉本興業から頼まれたことは一回もありません。

自分で言うとカドが立つので嫌なのですが、でも実際問題、クラウドファンディングで日本で一番支援を集めていて、オンラインサロンで日本で一番会員を集めていて、なんか国内最大の広告賞を取っている。
…そんな奴が、自分とこの会社にいて、カジュアルにアドバイスを求められる距離にいるんだったら、アドバイスを求めた方がよくないですか？

渡辺直美ちゃんにインスタの運営方法を聞いた方がよくないですか？
カジサックやオリラジの中田君にYouTubeの勉強会を開いてもらった方がよくないですか？


でも、それをしないんです。なぜか？
「プライド」です。

芸能事務所とテレビというタッグはこれまで本当に強くて、タレントはあくまで「使う存在」だったので、「教えてくださ〜い」とは言えない。

現役のバリバリ第一線でやっている人が、隣にいるんです。これ、勿体無いでしょ。

僕が吉本興業の社長なら、西野にギャラ１００万円渡して、なんばグランド花月に吉本の全社員を入れて、西野のマーケティング講座をやります。もしくは西野の書籍「革命のファンファーレ」あたりを全社員に配ります。
#どうせ西野は100万円を全額寄付します

これビッグマウスでも天狗でも何でもなくて、普通のビジネスマインドを持った人からすると、かなりフラットな意見だと思います。


で、今日の本題である「キンコン西野が芸能事務所を作るなら…」というところなのですが、やっぱり、今、一番時代を切り取れているのは、「結果を残しているプレイヤー」であることは間違いないんです。

そこに、あらゆる情報が集中しているので。やっぱり、その人が一番、知識がある。

　
その上で、僕が芸能事務所を作るのなら…………トッププレイヤーに株を持たせます。
むしろ、事務所の方から頼みこんで、事務所の株を持ってもらう。

　
株を持ってもらうのが難しいというのであれば、顧問料として業務ごとに契約して、事務所の売り上げのパーセンテージ渡します。

吉本興業でやるYouTubeならば、顧問料として、カジサックやオリラジ中田君に僅かでもパーセンテージを渡します。

そうすると、カジサックやオリラジ中田君は、吉本興業のYouTubeを盛り上げようとして、他の吉本芸人のYouTubeチャンネルの宣伝を自発的に行ってくれるので。


これから「タレントに株を渡せる事務所」と「タレントに株を渡せない事務所」の明暗は大きく分かれてくると思います。

今日のオンラインサロンの記事は、ここから、さらに踏み込んだ話をしたいと思います。

よろ！

　
▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino

▼Instagram版はコチラ↓
https://nishino73.thebase.in/items/25497065

━━━
２０２０年１２月２５日公開！
映画『えんとつ町のプペル』

▼オンラインムビチケ（特典付き）の購入はこちら↓
https://mvtk.jp/Film/070395

▼上映館はこちら
https://theater.toho.co.jp/toho_theaterlist/poupelle.html…
[how to survive the entertainment office]

Let me make a status report before entering the chase.

I was able to talk to you yesterday, but I started recruiting 3 days ago, ′′ Ryo Nishino Online Lecture ~ Marketing course [Advanced Edition]~" it seems that there is a lot of expectations for yesterday's stage, and I'm going to have a good time with the students There were 850 people, but I just saw it in the morning, and it was over 1700 people. Thank you so much.

(here ↓)
https://silkhat.yoshimoto.co.jp/projects/2158

This lecture is 5300 yen for the enrollment fee, but the online bangabandhu (advance tickets) of the movie ′′ a town ′′ is coming with ′′ 3 pieces ′′ so I'm going to enroll The fee is virtually almost free. About the fees of a fan.

Of course, I don't have any profit to do this lecture, but from me, it's a thousand times more than that, it's a lot of people who have been able to watch a lot of movies that we all made. I'm so happy that I'm so happy that I'm so happy that I'm

What do you need to deliver things?
What do you have to do to collect people?

In this lecture, I would like to talk about the problem that is involved in all services, and the problem that is involved in all services, and the solving of it." it is an advanced version." but it is difficult words and useless. I don't use the side letters, so please rest assured.


https://silkhat.yoshimoto.co.jp/projects/2158





So today's chase.



Today we will talk about the theme of ′′ if xin nishino is going to make an entertainment office..."



I'm officially a talent for yoshimoto kogyo, but it's time to go on the stage, and my actual work is about 9 % of Nishino Co Ltd.

It's just that I'm not drumstick with yoshimoto kogyo, but I'm going to have a good time with yoshimoto kogyo, and I'm going to have a good time with the work that I don't have to set up here, but I'm going to do it I'm giving it to you. I'm flexing it.

This is a man who has a rare ′′ Yoshimoto Love ′′ among yoshimoto comedians.

As expected, it's a company that raised me even if I said it, so i feel bad if I don't return it to a few times.
That's why when you can't do it, it's pretty strong to say ′′ no
Pretty strong lol


It's not limited to yoshimoto kogyo, but when you cut the current situation that every entertainment office is in a flat position...... as expected, there are many people who watch ′′ TV ′′ that was the biggest authority, and each one is youtube I have a channel, and I have lost the talent of ′′ I want to be on TV ′′ and ′′ I want a regular program,"
In the case of yoshimoto kogyo in the mouth, the theater was also hit in corona...... by that, ′′ No, it's a lot of people who put down the story on Youtube like jal rather than lowering the story in the theater. I found out that it's good to have a good time?" now I think that the question in everyone's head is ′′ I really need an entertainment office?"



The essence of the internet is ′′ direct purchase so the position of ′′ inside ′′ is going to be weak.

In such a way, each entertainment office has survived, and it is hitting their hands with this, but for example, about yoshimoto kogyo, it was a ′′ Daibutsu business ′′ so far.

There is a akashiya san, and there is downtown, and there is a nine nine nine... Of course, there is no doubt that it is yoshimoto kogyo who gave birth to the talent, but it is also a fact that ′′ I have continued to be born with the talent that I have been born,"

Still, until the net infrastructure is done, it's done.
I didn't have to update my business model for a long time, when I cut my talent schedule, negotiate galaga, and sometimes, in remembrance of the newcomer...
That's really amazing though.


But now, net infrastructure, more to say, video infrastructure and direct charge infrastructure have been set up, so it's no longer an era like ′′ if you don't belong to the office, you can't get out of the world

So," this is crazy!" and now I'm in a hurry, and I'm going to have a good time with each entertainment office digital, but it's about 7 TO 8 years late with the skin feeling.
′′ UI, UX, what is that?"" the online salon is profitable?"

Really, I'm in a hurry to move the needle on the clock that has stopped years ago, so it's the current situation that I'm going to have a good time with the tagaytay snipe.

I know you're working hard, but the knowledge of there is overwhelming, so I'm going to see what's trending, and I'm going to have a good time with a lot of people who are in the middle of the day, and I'm going to have a mass production of
It's a row of ′′ it's not that kind of thing


One, as for yoshimoto kogyo's crowdfunding ′′ Silkhat ′′ in front of the launching, I still have a mouth-to-mouth ′′ it's different here, it's like this other than that I don't really understand the service that yoshimoto is planting.

Salvation is the outside director of the biryani, and I think that the case is cool, but it's just that there's only one body of Mr. Bamboo, so I'm going to go to the middle of the day, and I'm going to have a good time with yoshimoto kogyo Covering the services of the.
Yoshimoto is a really big company.

The net is especially the world of the fittest survival, and how wide it is in real society so far, but if it is not right in the era, it will be destroyer in 1 seconds.

It's not a world where people who have been stopping the needle in the clock for many years can survive and survive.

Now, I think that each entertainment office, which has lost the the in corona, is scrambling to make a new source of income ~"

I know I'm going to get this strange expansion, but I think all kinds of offices will start the ′′ Online Salon ′′

The reason to start is ′′ the online salon seems to be profitable
And when it's my likened, almost 100 % fail.

Because I don't understand the structure of ′′ why the direct charge is completed?"
I don't understand the difference between ′′ cognitive ′′ and ′′ popularity ′′ in an intrinsic part.

Imada-San and higashino-San, last time, Mr. Hua-San and chidori-San said, ′′ that's what I wish I could ask nishino to do without knowledge without throwing the flag But that's what I'm saying, but I really think it is.
But employees never listen.

I'm getting an offer for a lecture for employees from a Japanese famous company, but I've never been asked by yoshimoto kogyo.

I don't like it because I'm going to say it myself, but it's actually a problem, crowdfunding is collecting the most support in Japan, and I'm collecting the most members in Japan at the online salon, and I'm going to have the biggest advertising I'm taking it.
... isn't it better to ask for advice if that kind of guy is in this company and in the distance where he can ask for advice casual?

Isn't it better to ask Naomi Watanabe how to operate her instagram?
Isn't it better to have a youtube study session for kazi and olli nakata?


But I don't do that. Why?
It's ′′ pride

The tag called entertainment office and tv is really strong so far, and the talent was only ′′ the existence of use," so I can't say ′′ let me know,"

There are people who are doing it on the front line of the active crunching. This is not spoiled, is it?

If I am the president of yoshimoto kogyo, I will give you 100 yen to nishino, and I will put all employees of yoshimoto in nanbagurando huā yuè, and I will do a marketing course in nishino. Or handing out nishino's book ′′ Fanfare of the revolution ′′ to all employees.
#どうせ西野は100万円を全額寄付します

I think it's a pretty flat opinion from a person with a normal business mind, not a big mouse or tengu.


So, today's chase, ′′ if xin nishino is going to make a entertainment office..." but now, the most era is," the player who leaves the result ′′ Things are not wrong.

There, because all the information is focused. As expected, the person is the most knowledgeable.

　
On Top of that, if I'm going to make an entertainment office............ I'll bring stocks to the top player.
Rather, I'm going to ask you from the office, and I'm going to have a office stock.

　
If it is difficult to get stocks, sign up for each business as an adviser fee and pass the percentage of the sales of the office.

If you're on Youtube at yoshimoto kogyo, you'll give a little percentage to kazi and olli nakata as an adviser.

So, kazi and olli nakata are going to elevate yoshimoto kogyo's Youtube, and they are voluntarily going to promote the youtube channel of other yoshimoto comedians.


From now on, I think that the light of ′′ the office that can pass stocks to talent ′′ and ′′ the office that can't give stocks to talent ′′ will be divided greatly.

Today's online salon article, from here, I would like to talk about stepping in further.

Happy birthday!

　
▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishino

▼ Instagram version is here ↓
https://nishino73.thebase.in/items/25497065

━━━
Released on December 25, 2020!
The movie in a town ′′

▼ Buy Online Bangabandhu (with perks) here ↓
https://mvtk.jp/Film/070395

▼ here is the screening hall
https://theater.toho.co.jp/toho_theaterlist/poupelle.html#region7Translated

近來我發現，在那些針對「熱衷探索自然」的戶外活動愛好者和發布秘境貼文者所日益增長批評裡，最常見的莫過於：

「遊客會製造垃圾！」
「這些地方很多人去的話，接下來就等著看到滿地垃圾吧！」
「這些『熱愛大自然』的人們就是最大的問題！」
「我們不能開放戶外景點給一般大眾，因為他們都不負責任，而且會破壞環境！」

但，真的是這樣嗎？這些遊客是將大量塑膠垃圾傾倒在山林河川當中的主力嗎？讓我們來深入檢視一下這個議題：「為什麼有些廢棄物的最後下場，不是在掩埋場、焚化爐、回收廠、或是相對應的公共衛生處理單位呢？」

不幸的是，一些不成熟的遊客走進了大自然，把垃圾丟在那裡。如果您拜訪任何受歡迎的瀑布或溫泉，可能還會在那裡看到一些垃圾。

遊客傾向於做出兩個錯誤的假設:
<露營垃圾全是可燃的>
這是錯誤的。就像您在家一樣，應將垃圾分類為廢物和可回收物，並隨身攜帶離開。您的垃圾都不應進入營火中。

<食物會迅速分解在自然裡>
雖然沒錯，但蔬菜和加工食品分解可能需要幾個月的時間，橘子皮，蛋殼，骨頭可能需要數年。如果您將麵條或白菜扔進河裡，它們就不會被魚吃掉。它會在那兒呆數周和數月，聞起來酸味並腐爛。即使魚類和動物確實吞噬了您的垃圾，但餵養野生生物也不是您的工作。有生命力的食物種子最終會成為入侵物種，奇怪的食物會使動物生病或死亡。所有多餘的食物都應隨身帶離開。沒有例外。

更糟糕的是隨處可見的煙蒂頭。為什麼吸煙者不認為這些有毒的塑料和化學物質是垃圾？這是無法接受的。

儘管這真令人氣憤，但它並不是山上垃圾的最大來源。嚴重的系統問題是與垃圾收集和處理需求有關

這支影片當中，展示了位於高雄六龜葫蘆谷瀑布的一些垃圾堆。這裡的地勢陡峭，任何被丟進森林裡的垃圾都會沿著斜坡滾下。每當雨水來臨之際之際，重量較輕的塑膠製品就會被沖刷到河流，一路漂流至下游，也就是大家會去玩耍的瀑布那兒；最終，它們進入海洋，並被海浪打上遙遠的某處沙灘。

不過，這隻影片清楚地展示了何謂「誤解」：第一眼看過去，覺得只是幾個保麗龍手搖杯和一些大家會為了踏青而帶出門的東西。但當我們再次細看，裡面居然出現水桶、巨型農用塑膠布（通常寬幅至少為一公尺，幅寬則可長達數十公尺）、農藥空罐、傢俱、和一般家庭垃圾：那些「沒有」任何一個去健行的人會帶著走的物品。這些廢棄物源自山裡，最有可能的來源也就是那些住在山裡的人們。那些垃圾，並非外來者所帶去的。

這並不罕見，也非單一事件。只要在任何山路旁停下，低頭向山壁下望去，就能看見成堆的垃圾袋。那些都是在家裡打包綁好的家庭垃圾，然後在行進中的車上往車窗外扔。家庭垃圾，是來自家庭，並非來自露營者；只要能檢視這些垃圾裡所含有的文件或郵件，便能揭曉它的來源。

即使這些會任意丟棄垃圾的人們只佔了山間居民的極小部分，他們還是有著極大的影響力。而在山區違法傾倒垃圾有過之而無不及的破壞力。無論是什麼原因，有部分居住在山上的住戶，偏好將家庭垃圾棄置於河川勝於妥當的處理。這裡所討論的並非這裡一個、那裡一個的零星垃圾。一個住在台灣的四口家庭，年平均垃圾製造量大約1600公斤。這樣的垃圾量，實屬相當巨大。

而正是因為一個家庭所能產生的垃圾量如此龐大，我們實在很難切確了解這樣的（隨意扔丟家庭垃圾）行為究竟擴及到什麼樣的程度。我在路旁的樹叢裡看過不下數百件垃圾⋯⋯或許數千件了也不一定。但這是因為數十或數百個家庭這麼做，我並無法斷言。唯一能確定的是，塑膠垃圾將「傳承」好幾世代。

如果今天去到偏鄉，將垃圾丟進垃圾桶裡，那些垃圾下場的可能性之一是，人們請來收垃圾的那些車隊將垃圾從民宿或餐廳接走，沒有依照環保署的規定處理，不但沒有把垃圾載到目的地，他們會找個在附近不為人知的地點就隨便把垃圾給倒了。山林裡滿滿都是這樣的情況。我們在河裏所見的一部分垃圾，就是從這些非法掩埋場所洗刷出來的結果。
除了上述提到的部分之外，卻還有其他來源也正在為這樣的情況有所「貢獻」：在許多地方，整卡車的垃圾就是直接傾倒於山路邊，直落山腳的河中。這裡所指的，並非單純的家庭垃圾或傢俱，而是包含來自建築、農業、和工業等的大型廢棄物。諸如此類的物件並非一般民眾所能接觸的到；那麼，之所以會在這裡看到這類型的垃圾只有一個原因：無論是本身製造這些垃圾的單位，或著是他們委託的民間清潔業者，最終選擇不按常規處理廢棄物，選擇違法私了，隨意傾倒。政府的相關單位真的應該要發展一套策略，來確認這些垃圾最終有好好抵達該去的地方。

每年颱風來臨，就會把這些成千上噸的垃圾帶到海洋。但那些垃圾堆卻不會因此減少：因為卡車會帶著新一批的垃圾來再度傾倒。

在對這一切麻痺之前，我那時還會拍攝影片來講述這樣的情況；但現在，我只會假裝眼不見為淨。

話說回來，我倒是能夠理解為何有些偏鄉的家庭垃圾並無法抵達該去的目的地。我本身就是來自於美國的偏鄉地區。在我的成長過程當中，並沒有「公共收垃圾」的這項服務。我們將廚餘做成堆肥，埋在遠離主建築的庭院一角，用落葉堆在上方，放置兩年後再挖來替花園施肥。垃圾和回收物會分在不同的袋子裡。每週一次，我父親會將這些袋子用車子載去離家約二十分鐘車程的郡屬廢棄物集散地和回收中心。的確，整個過程費力費時，但做好回收和妥當處理廢棄物對我爸爸來說非常重要，而我們當時也有這過程裡所需的一切資源來達成這項任務。

但並非我們的街坊鄰居都這麼做。有些家庭沒有時間好好處理垃圾，所以就把成堆的垃圾、生活用具、壞掉的車子和玩具等等，隨意散落在他們的住家四周。這也是相當常見的街景一隅。

在很多方面來說，偏鄉跟都市的生活條件比較起來，的確是不方便許多。以現實層面而言，實際的生活、家庭、經濟狀況，樣樣都會佔去不少時間。並不是所有家庭都能每每在需要之際，花上一個小時來丟好垃圾。但也有人是「能做，但我就是不想做」。沒有垃圾車的時候，他們便會選擇最為便捷的方式。政府真的應該針對山間社區提供更多的收垃圾選項。

我在這裡所訴說一切其實大家都了然於心，卻鮮少被提起。大部分在山林間那些路旁和河邊的垃圾並非來自登山客或是瀑布遊客。那些垃圾來自於那些從未抵達掩埋場的一般人類消耗結果。住在山間那些人們也不願見到如此景象。但這就是現實狀況。

這也是為什麼當我看到像是「殺風景！苦花潭遍地遊客垃圾 部落擬封閉」這樣的標題時，總會不由自主地翻個大白眼。沒錯，遊客不應該留下任何垃圾，但在不到百米之外，就有個在森林深處的家庭垃圾集散地。幾乎到哪兒都有垃圾。

如果大家有興趣前往探勘現場狀況的話，以下提供三個例子：
(大型): 24.035258, 121.170819
(大型): 24.6080971,121.2830025
(小型): 22.705481, 120.669413

面對這樣的狀況，針對個人的罰鍰並沒有太大幫助。大家平時在生活裏已經有夠多的煩惱了，否則也不會這樣處理事情。就是把收垃圾這件事情弄得再簡單一些就能幫上很大的忙了。山區的垃圾廢棄必須得簡單又方便，如同城市裡所提供的一樣。

最後還是要呼籲大家，因為疫情影響，人民改為國內旅遊，這是一件好事，多了親山近水的機會，也增加露營野餐烤肉樂趣，讓朋友家人感情更融洽!但是大家在拜訪大自然的同時，更需要以身作則，帶來多少食物垃圾，也請一件不留帶走。野生動物不需要被人類餵食，牠們喜歡自己自食其力，所以不用擔心動物會餓，而故意留下吃剩食物殘渣。揮揮衣袖，請帶走全部垃圾，包含烤肉架，野生動物不需要自己烤肉啦~

還有，大家不要再報復性集中旅遊啦~明明台灣美景青山綠水多到數不清，要記得分散人流，防疫新生活還是要落實，真的不知道去哪裡玩嗎?歡迎大家逛逛我的部落格，我製作了全台300多個景點地圖，可以選偏僻冷門的景點去唷~

One of the most common criticisms I see raised against nature goers and people who post 秘境 online is that visitors bring a lot of trash with them. If these areas have a lot of visitors, the result will be that there is a lot of trash. Nature-lovers are the problem. We can’t open up the wilderness to the general public, because they are irresponsible, and will trash the place. But is that really true? Are tourists the main driver of plastic waste in rivers and mountains? Let’s examine this issue a bit further and try to determine why some waste ends up in the rivers instead of landfills and public waste processing centers.

Unfortunately, some of immature tourists go into nature and leave their trash there. If you visit any popular waterfall or hot spring, chances are you will see some trash there too.

Tourists tend to make two false assumptions. One is that camping trash is burnable. It’s not. Your trash should be separated into waste and recyclables, just like you do at home, and taken out with you. None of your trash should go in the campfire.

The other is that food degrades quickly. It doesn’t. Vegetables and processed foods can months, orange peels, egg shells, bones can take years. If you toss noodles or cabbage into the river, it won’t be eaten by fish. It will stay there for weeks and months and rot and smell. Even if fish and animals did eat your garbage, it’s not your job to feed the wildlife. Viable food seeds end up as invasive species and strange foods make animals sick or die. All excess food should be taken out with you. No exceptions.

Even worse are cigarette butts. Why do smokers not think these toxic bits of plastic and chemicals are trash? This is unacceptable.

As infuriating as this is though, it’s not the biggest source of mountain garbage. There are serious systemic problems relating to garbage collection and disposal that need to be addressed.

This video shows a large trash pile at Hulugu Waterfall in Kaohsiung City, Liugui District. The terrain here is very steep. Any trash thrown into the forest will roll down the hill. When it rains, the lighter plastic products will be washed into the river and flow downstream, into the waterfalls you play at, and eventually to the ocean, and eventually onto a remote beach somewhere.

However, a closer look at the piles shows that this can be misleading: at first glance, it looks like a few styrofoam tea cups and items that people might bring on an outing with them. But as we look closer at the waste, we can see there are buckets, plastic farm sheeting, pesticide bottles, furniture, and general household waste. Items that no hiker would ever bring with them. This waste originated in the mountains, by people who live in the mountains. It was not brought by outsiders.

Neither is this a rare or isolated incident. If you stop at literally any section of mountain road and look over the edge you will see entire trash bags down below you. These are household trash bags that were packed and tied shut at home, then thrown out of the window of moving vehicles. It’s household trash, from houses, not campers, and critical examination of this waste would reveal the source through mail and other documents inside.

Even if it’s only a small percentage of the mountain population, they still have a big impact. Illegal trash dumps in the mountains have an even bigger impact. For whatever reason it is, some mountain dwellers prefer to throw their household waste into the river than dispose of it properly. This is not a stray bag here and there. The average 4 person household generates 1600KG of trash per year in Taiwan. That’s a lot of trash.

Because a single family can generate so much garbage, it’s difficult to tell how widespread this practice is. I’ve seen hundreds of trash bags in the forest by the side of the road. Possibly thousands. But if this is by dozens of families or hundreds of families I can’t say. Plastic lasts for generations.

If you visit rural communities and dispose of your trash in their trash can, there is a possibility that the private trucks they hired to pick up those waste from the restaurant or minsu aren’t taking it to an EPA landfill. Instead of delivering the trash to the final destination, they find an isolated spot nearby and just dump the garbage there. It may end up in one of these dumping sites instead. The mountains are full of them. Some of what you will see in a river is washed down from these illegal landfills.

In many places, entire truckloads of trash are dumped over the side of the roads and into the river below. This isn’t just household waste and furniture, but also construction, farming, and industrial waste too. This type of waste is not something that tourists bring into the mountains. Whoever was in charge of disposing of this waste properly decided to dump it into the forest instead. The government needs to develop a method of confirming that mountain waste reaches its intended destination.

Every year typhoons carry tons of this trash away to the ocean, but the trash piles never go away, because new trucks arrive to refill them.

I used to make videos about them before I became desensitized, but now I just pretend I didn’t see them.

I do understand why some rural household waste doesn’t make it to the correct locations though. I’m from a rural area myself. I didn’t have a trash service where I grew up. We composted food waste. It was dumped into piles far away from the house. We covered them with leaves and let them sit for two years before using it for soil in the garden. Trash and recyclables were separated into different bags. Once a week my dad drove these bags 20 minutes into town to the county dump and recycling center. It was a lot of effort, but recycling and proper waste disposal were very important to my dad, and we also had the resources to do it.

Not everyone on my street did though. Some families did not have the time and resources for proper waste disposal, and so they had piles of trash, appliances, broken down cars, broken toys, etc around their property. It was a very common sight.

In many ways, country living isn’t as easy and convenient as living in the city. Sometimes real life, family, and financial problems take up all your time. Not all families can spend an hour each time they want to take out the trash. Some people can, but just don’t want to. When trash trucks are not available, they will take the most convenient option. The government needs to increase trash pickup options for mountain communities.

What I’ve written here is well known, but not often talked about. Most of the roadside and riverside trash in the mountains isn’t from hikers and waterfall goers. It’s from normal human consumption that never makes it to a landfill. People who live in the mountains don’t like it either. But that’s what it’s like.

That’s why when I see headlines like (殺風景！苦花潭遍地遊客垃圾 部落擬封閉), I can’t help but roll my eyes. Tourists shouldn’t be leaving trash there, but there is also a household forest trash dump less than 100 meters away. There’s trash almost everywhere.

Here are a few examples if you wanna go check em out yourself:
(big): 24.035258, 121.170819
(big): 24.6080971,121.2830025
(small): 22.705481, 120.669413

Fines to individuals won’t help. People have enough problems, otherwise they wouldn’t act this way. Just make it easier to take the trash away. Trash disposal needs to be easy and convenient for mountain communities, just like it is for urban communities.

Finally, I still want to appeal to everyone. Because of the impact of the epidemic, the people have changed to domestic tourism. This is a good thing. There are more opportunities to get close to the mountains and rivers. It also increases the fun of camping and picnic barbecues, so that friends and family can feel more harmonious! But everyone is visiting nature At the same time, it is more necessary to set an example, and please don’t leave any food waste with you. Wild animals do not need to be fed by humans. They like to support themselves, so there is no need to worry that the animals will be hungry and intentionally leave leftover food residue. Flick your sleeves, please take away all the garbage, including the barbecue grill, wild animals don’t need to barbecue by themselves~

It’s clear that Taiwan’s beautiful scenery, green mountains and green waters are countless, remember to disperse the flow of people, and the new life of epidemic prevention still needs to be implemented. Do you really know where to go? Welcome everyone to visit me In my blog, I have made maps of more than 300 scenic spots in Taiwan. You can choose remote and unpopular scenic spots to go to

【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
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