關於 three production kevin ，我們在網路上蒐集到這些相關的討論、資訊與評價

[翻轉視界] 孤軍奮戰的正義律師: 羅伯‧比洛特

Have you seen the film Dark Waters?

你看過電影《黑水風暴》嗎？

The film is based on the 2016 New York Times Magazine article "The Lawyer Who Became DuPont's Worst Nightmare," which describes Robert Bilott's case against the chemical manufacturing corporation DuPont after they contaminated a town with unregulated chemicals.

這部電影改編自紐約時報2016年的文章《成為杜邦最糟糕的噩夢的律師》，講述律師羅伯‧比洛特對抗化學製造廠「杜邦」的故事，該廠以未被規範的化學物質污染了一個小鎮。

Robert Bilott put his career, his family, everything on the line to win justice for tens of thousands if not millions of people. It is because of people like him, people who continue to speak out and take action against injustice, that our society continues to improve. Thank you, Mr. Bilott.

羅伯‧比洛特壓上一切，包括自己的事業、家庭，與為數達到萬人、甚至數百萬的民眾捍衛正義。正因有像他這樣的人持續為對抗不公不義發聲與採取行動，我們的社會才能不斷進步。謝謝你，比洛特先生。

Here’s a Times article that describes both the film and its portray of Mr. Bilott’s struggle to bring justice. I highly recommend the film.

以下是《Time 時代雜誌》的文章，介紹了這部電影並描繪了比洛特先生伸張正義所做的努力；我強烈推薦《黑水風暴》。

新聞報導: https://youtu.be/Tkkuil-U6qQ

★★★★★★★★★★★★

Rob Bilott, a corporate lawyer-turned-environmental crusader, doesn’t much care if he’s made enemies over the years. "I’ve been dealing with this for almost three decades," he says. "I can’t really worry about if the people on the other side like me or not."

•a corporate lawyer 企業律師
•environmental crusader 環境鬥士
•make enemies 樹敵、建立敵人

羅伯‧比洛特是位由企業律師轉變而成的環境鬥士，對自己多年來是否樹敵並不在意。「我已處理這問題近三十年了，」他說，「我根本不在意立場相對的人是否喜歡我」。

★★★★★★★★★★★★

Bilott used to be on the other side. The Todd Haynes-directed movie Dark Waters, tells the story of how the lawyer switched allegiances. As happened in real life, the movie depicts Ruffalo’s Bilott as a lawyer who defends large chemical companies before he is approached for help in 1998 by Wilbur Tennant, a West Virginia farmer whose land was contaminated by chemical giant DuPont. Inflamed by that injustice, and the complicity of local authorities, the lawyer risks his career as he embarks on a decades-long legal siege of one of America’s most powerful corporations.

•switch allegiances 轉換陣營
•depict 描述
•complicity 共謀；串通；共犯
•DuPont 杜邦（世界排名第二大的美國化工公司）

比洛特曾站在企業那一邊。由陶德·海恩斯導演的《黑水風暴》講述這位律師如何轉換陣營：正如真實生活中發生的，該電影描述馬克·魯法洛所扮演的比洛特是一名任職大型化學企業的律師。1998年，一位土地被化學製造巨頭杜邦所污染的西維吉尼亞州農民威爾伯·坦納特，向他尋求幫助。不公義及地方當局的共謀激怒了這名律師；冒著斷送職涯的風險，他開始對美國最有權力的公司之一杜邦，進行長達數十年的法律圍攻。

★★★★★★★★★★★★

He works, at first, on Tennant’s behalf, then pursues a class action suit representing around 70,000 people living near a chemical plant that allegedly contaminated drinking water with PFOA, a toxic chemical used in the production of Teflon. In recent years, studies have correlated long-term exposure to PFOA with a number of illnesses, including some types of cancer.

•on behalf of sb/in behalf of sb; on sb's behalf/in sb's behalf 代表～；作為～的代表；代替～ ; 因為，為了～的利益
•a chemical plant 化學工廠
•allegedly 宣稱地；據傳地
•contaminate drinking water 污染飲用水
•perfluorooctanoic acid (PFOA) 全氟辛酸銨

他一開始先代表威爾伯·坦納特進行訴訟，之後代表約七萬名居住在化學工廠附近的居民進行訴訟，據稱該工廠以全氟辛酸（PFOA）污染了飲用水。PFOA是一種用於製造鐵氟龍的有毒化學物質；近幾年有研究表明，長期暴露於PFOA與許多疾病相關，其中包括某些癌症。

★★★★★★★★★★★★

In 2017, Bilott won a $671 million settlement on behalf of more than 3,500 plaintiffs. Those people claimed they had contracted diseases, among them kidney cancer and testicular cancer, from chemicals DuPont allegedly knew may have been dangerous for decades, and allowed to contaminate their drinking water anyway.

•settlement 協議；和解（金）；定居；支付
•plaintiff 原告
•contract a disease 患病、染病
•kidney cancer 腎臟癌

2017年，比洛特代表超過3500名原告贏得了6.71億美金的和解金。這些原告聲稱他們患病，其中包括腎臟癌與睪丸癌，是由於那些杜邦疑似早在數十年前就知道危險、卻仍然放任污染飲用水的化學物質。

★★★★★★★★★★★★

In Dark Waters, Haynes emphasizes the seemingly endless fight taken up by Bilott, as DuPont brings its considerable resources to bear to defend itself over the course of two decades. According to one analyst, the film’s potential to raise awareness about these issues could have a serious effect on some chemical companies’ bottom lines. But for the real Rob Bilott, the work of taking the industry to court is far from over. In October 2018, the lawyer filed a new lawsuit against several companies, including 3M, Arkema, and Chemours, a manufacturer spun off from DuPont in 2015. That ongoing case is seeking class action status, and was initially brought on behalf of Kevin Hardwick, a firefighting veteran of 40 years who used fire-suppression foams and firefighting equipment containing a class of chemicals known as PFAS, or polyfluoroalkyl substances (PFOA is one type of PFAS chemical).

•seemingly endless fight 看似永無止境的鬥爭
•considerable resources 為數可觀、相當多的資源
•raise awareness about… 激發對～的警覺
•far from over 遠遠不夠
•file a lawsuit 提起新訴訟
•seek class action status 尋求集體訴訟（派一方代表訴訟）地位
•polyfluoroalkyl substances (PFAS) 全氟烷基物質（廣泛被用來作為表面塗料，不易分解、會產生污染）

在《黑水風暴》中，海恩斯強調那些比洛特所參與的看似是個永無止盡的鬥爭，因為杜邦二十多年來動用可觀的資源來為自身辯護。根據一位分析師，本電影可能激發大眾對此類議題的警覺，或是將對一些化學公司的利潤帶來嚴重影響。但對真正的羅伯‧比洛特而言，僅將杜邦送上法庭遠遠不夠。2018年10月，這位律師針對好幾家公司提起新訴訟，對象包括3M、阿科瑪與2015年從杜邦拆分出來的製造公司科慕。這起進行中的訴訟案正尋求集體訴訟地位，而該案件初始是為凱文．哈德沃克提起的，一位有40年經驗的消防員，他長期使用一種含全氟烷基物質（PFAS）或多氟烷基（polyfluoroalkyl）物質的滅火泡沫與消防器材。（註：PFOA是一種 PFAS化學物。）

★★★★★★★★★★★★

PFAS chemicals are used in products ranging from waterproof jackets to shaving cream, and they can leach into water supplies in areas where they are disposed of or used in fire suppression (in particular on military bases, where they have been used for years). According to Bilott’s complaint, studies currently suggest that PFAS is present in the blood of around 99% of Americans. The class of chemicals has broadly been linked to immune system disruption, while PFOA specifically has been found to be associated with cancers and other diseases. Bilott’s newest lawsuit, as with his prior cases, alleges that these companies knew for decades that PFAS chemicals, specifically PFOA, could be linked to serious health problems, and that they still assured the Environmental Protection Agency (EPA) and other U.S. government regulators that PFAS exposures were harmless.

•range from…to… 從～到～
•leach into 過濾、滲入
•water supply 供水，給水
•be linked to 與～有關
•be associated with 與～相關
•assure 保證
•government regulators 政府監管、立法單位
•exposure (n.) 暴露

PFAS化學物質應用廣泛，從防水夾克到刮鬍泡，而他們可以滲入可能或被用於滅火的地區的供水之中（尤其在軍中，這種物質被使用多年）。據比洛特控訴，目前研究顯示，約99%的美國人血液中有PFAS存在。這種化學物質與免疫系統遭破壞有關，而PFOA則被發現跟癌症與其他疾病相關。比洛特最新的訴訟一如先前的案件，宣稱這些公司數十年來都知道PFAS化學物質，尤其是PFOA可能與重大健康問題相關，但他們仍舊向環保局與其他美國政府監管單位保證，說 PFAS的暴露是無害的。

★★★★★★★★★★★★

"What we’re hearing once again from those companies that put those chemicals out there, knowing that they would get into the environment and into our blood, is that there’s insufficient evidence to show that they present risks to humans who are exposed," explains Bilott. "These companies are going to sit back and say, we’re entitled to…use you as guinea pigs, yet those of you who are exposed are somehow the ones who are going to have to prove what these 'chemicals' do to you."

•insufficient evidence 證據不足
•present risks 存在危險
•a guinea pig（通常用於測試藥效的）實驗對象，供做實驗的人 ; 豚鼠，天竺鼠

「我們又再次耳聞這些公司，明知那些化學製品會流入環境並進入我們的血液，卻仍將其暴露在環境裡，並宣稱沒有足夠證據證明暴露的化學物質將置人類於風險之中，」比洛特解釋道，「這些公司坐視不理並說，他們有權將人們當成實驗對象，而你們這些暴露在化學物質中的人，卻將證實那些化學物質會對造成什麼影響。」

★★★★★★★★★★★★

"If we can’t get where we need to go to protect people through our regulatory channels, through our legislative process, then unfortunately what we have left is our legal process," says Bilott. "If that’s what it takes to get people the information they need and to protect people, we’re willing to do it."

•regulatory channels 管制途徑
•legislative process 立法程序

「如果我們無法透過管制途徑、立法程序來保護人們，那麼不幸的是，我們只剩下法律程序，」比洛特表示，「如果這就是讓人們得到所需要的資訊、保護人們所要付出的努力，我們願意這樣做。」

★★★★★★★★★★★★

Robert Bilott is a true hero.

羅伯‧比洛特是真正的英雄。

文章來自於《Time 時代雜誌》 : https://time.com/5737451/dark-waters-true-story-rob-bilott/

圖片出處: Cincinnati Enquirer

★★★★★★★★★★★★

翻轉視界: http://bit.ly/3fPvKUs

【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

24小時的馬拉松音樂直播

We’re coming to you from New York City today, tonight and tomorrow for the inaugural ‘Music Never Sleeps NYC’ 24-Hour Music Video Livestream Marathon |

Organized by cellist Jan Vogler, the complete 24-hours of artist- produced performances in support of the 'Local 802 Musicians' Emergency Relief Fund' and the 'NYC COVID-19 Response & Impact

6-8pm
Alessio Bax
Joshua Bell
Lucille Chung
Zlatomir Fung
Nathan Meltzer Violin
Colin Jacobsen
Eric Jacobsen
The Knights
Larisa Martínez- Soprano
Aoife O'Donovan
Tiffany Poon
Nina Totenberg

8-10pm
Aizuri Quartet
Misha Amory
Benjamin Beilman
Hsin-Yun Huang
Sarah Jarosz
Jeffrey Kahane
Pablo Sainz Villegas
Abigel Kralik
Time for Three
Charles Yang Music

10pm-12am
Anthony Roth Costanzo
Jeremy Denk
Emi Ferguson
The Knights
Yevgeny Kutik Violinist
Nico Muhly
David Robertson
Orli Shaham
Ted Sperling
Nina Totenberg
Jan Vogler
Kevin Zhu

12-2am
Rieko Aizawa
Edward Arron
Adele Anthony
Carter Brey
Bridget Kibbey
Matthew Lipman
Jesse Mills
Jeewon Park
Sandbox Percussion
Gil Shaham

2-4am
Timo Andres
Steve Beck
Béla Fleck
Akira Eguchi
Paul Huang, Violinist
Ljova
Eri Kang
Laura Melnicoff
Midori
Grace Park, violin
Valeriya Sholokhova
Alex Sopp
Danbi Um, Violinist
Austin Wulliman

4-6am
Benjamin Beilman
Brooklyn Rider
Michael Brown
Colin Jacobsen
Eric Jacobsen
Jennifer Koh
Tessa Lark
Kerry McDermott
Paul Neubauer
Todd Palmer
Arnaud Sussmann
Chris Thile
Michael Thurber
Nina Totenberg
Jan Vogler
Mira Wang

6-8am
Alessio Bax
Joshua Bell
Lucille Chung
Zlatomir Fung
Nathan Meltzer
Colin Jacobsen
Eric Jacobsen
The Knights
Larisa Martinez
Aoife O'Donovan
Tiffany Poon
Nina Totenberg

8-10am
Aizuri Quartet
Misha Amory
Benjamin Beilman
Hsin-Yun Huang
Sarah Jarosz
Jeffrey Kahane
Pablo Sáinz Villegas
Abigel Kralik
Time for Three
Charles Yang

10am-12pm
Anthony Roth Costanzo
Jeremy Denk
Emi Ferguson
The Knights
Kerry McDermott
Nico Muhly
Paul Neubauer
David Robertson
Orli Shaham
Ted Sperling
Jan Vogler

12-2pm
Rieko Aizawa
Edward Arron
Adele Anthony
Carter Brey
Bridget Kibbey
Matthew Lipman
Jesse Mills
Jeewon Park
Sandbox Percussion
Gil Shaham

2-4pm
Timo Andres
Inon Barnatan
Steve Beck
Bela Fleck
Akira Eguchi
Paul Huang
Ljova and the Kontraband
Eri Kang
Grace Park
Valeriya Sholokhova
Alex Sopp
Danbi Um
Austin Wulliman

4-6pm
Benjamin Beilman
Brooklyn Rider
Michael Brown
Colin Jacobsen
Eric Jacobsen
Jennifer Koh
Kerry McDermott
Midori
Paul Neubauer
Todd Palmer
Arnaud Sussmann
Chris Thile
Nina Totenberg
Jan Vogler
Mira Wang

Livestreamed with the support of video production partner Kiswe Mobile."

?SHEET MUSIC & Mp3 ▸ http://www.makhonkit.com
?LEARN MY SONGS ▸ https://tinyurl.com/RayMak-flowkey
?Listen on Spotify ▸ https://sptfy.com/raymak
?Listen on Apple Music ▸ https://music.apple.com/sg/artist/ray-mak/1498802526
?Full Song List ▸ http://www.redefiningpiano.com

Talk to me :
? Instagram ▸ http://instagram.com/makhonkit
? Facebook ▸ http://facebook.com/raymakpiano
? Twitter ▸ http://twitter.com/makhonkit

@ThreeeProduction ft @Priscilla Abby 蔡恩雨 - EYE LOVE YOU Piano by Ray Mak

Composed by Super Talented @Gaston Pong @碰碰PongPong

Congratulations on 300K Bros!

#EyeLoveYou​ #PriscillaAbby蔡恩雨​ #3P

#300k #Q&A #3P
等了100年才300k pui

‘Eye Love You' OFFICIAL MV
https://youtu.be/hLuNlhsyioQ

• Facebook •
ThreeeP : https://www.facebook.com/threeeproduction/

• TikTok •
ID : 3p_official

• Instagram •
ThreeeP : https://www.instagram.com/threeeproduction
Kevin Ong : https://www.instagram.com/kevinong__
Danny Lee : https://www.instagram.com/dannyleeyuxin
Caven Tang : https://www.instagram.com/caventang

Because 3P is fun!

#3P幫你SETTLE #碰碰 #PongPong
這兩姐弟很親密一下吼

‘Eye Love You' OFFICIAL MV
https://youtu.be/hLuNlhsyioQ

• Facebook •
ThreeeP : https://www.facebook.com/threeeproduction/

• TikTok •
ID : 3p_official

• Instagram •
ThreeeP : https://www.instagram.com/threeeproduction
Kevin Ong : https://www.instagram.com/kevinong__
Danny Lee : https://www.instagram.com/dannyleeyuxin
Caven Tang : https://www.instagram.com/caventang

Because 3P is fun!