關於 well building standard ，我們在網路上蒐集到這些相關的討論、資訊與評價

Company Description
Trove Brands (formerly known as BlenderBottle) is a privately-held house of brands including BlenderBottle®, Owala™, Avana®, and Whiskware™. Our patented and best-selling products are designed to simplify and improve everyday life with leading-edge innovation, incomparable quality, and aspirational style.

A career at Trove Brands is not about punching the clock. It’s about embracing exciting and fast-paced opportunities that sharpen your skills, drive innovation, and play an integral role in growing our global reach. Your work will not only impact the company, it will impact the lives of millions of people around the world. When you step up to a career at Trove, you step up to cutting-edge excellence. You sign up for bold action and invigorating synergy. You agree to face—and break through—new challenges every single day.

Job Description
As a Warehouse Associate at Trove Brands, you will coordinate the receiving, preparation, and shipping of product. You’ll play an integral role in the efficiency of our inbound and outbound supply chain.

But that’s not all.

You’ll become part of the Trove Brands family, which means being a part of a fun, fast-paced, and team-focused work culture. We work hard, and we play just as hard. We have the facilities for it, too—like our state-of-the-art fitness center, yoga studio, basketball/pickleball/volleyball court, and golf simulator. We host fitness classes, team-building activities (think pickleball, volleyball, and dodgeball tournaments), wellness challenges, and more.

Once you’ve worked up an appetite working and working out, you’ll enjoy our onsite marketplace with subsidized food and drinks, monthly catered lunches, and company-wide birthday treats (and with a company of 180+ team members and growing, there are bound to be treats a few times each week.)

You’re sure to love the culture at Trove, where entrepreneurial thinking is encouraged and you and your colleagues share an eagerness to learn. Your hard work will be recognized and you’ll feel that your contributions matter. You’ll be surrounded by kind, creative, interesting people with a zest for life—which is perfect, since you’re one, too. At Trove, we’re big on creating lasting friendships and making work feel less like work and more like a great way to spend the day.

Career-wise, your role will be a starting point, with plenty of potential to learn and grow. We’ll support you with coaching, mentoring, personal development, cross training, and leadership opportunities. You’ll benefit from twice yearly pay increase reviews and structured career ladders. You’ll never be bored, because we have plenty to do and it’s certainly fast paced; you’ll also enjoy a reasonable work/life balance (unlike many warehouse jobs, our schedule is primarily M-F during standard business hours). We even offer some flexibility with student schedules.

Yes, you’ll find all that in an extremely clean, well-organized environment that’s flooded with natural light, and filled with team members dedicated to workplace safety.

Now that we’ve caught your attention, here’s a bit more about what this particular role entails.

As a Warehouse Associate, you’ll be expected to be a leader in all aspects of the Fulfillment Team's job duties. You’ll apply your relentless drive and strong work ethic to encourage solid production numbers from yourself, as well as from others. While every role at Trove Brands is critical to our successful functioning as a whole, your specific responsibilities will include:

• Direct the general fulfillment of orders by example
• Strategize inbound receiving procedures
• Lead varying warehouse team projects, ensuring maximum group efficiency
• Manage warehouse organization, general cleanliness, and safety procedures
• Verify outbound shipments and coordinate documents to guarantee vendor compliance

Qualifications
We’re looking for team members who are adept at contributing their personal expertise to a collaborative work environment. We want people who are ready, willing, and eager to jump into the working world, learn new skills and apply existing ones, and grow in their careers. For this role, we’re specifically looking for someone with the following skills and experience:

• General Warehousing experience
• Strong communication skills
• Enjoy working in a fast-paced environment, proactive and highly motivated
• Keen attention to detail

Additional Information
Our culture is passionate, entrepreneurial, and energetic. We value innovation through collaboration. And while we work smart and hard, we also connect and celebrate with equal gusto. We host team-building activities, athletic events, and seasonal celebrations to foster community and reward accomplishments. Bottom line? You’ll love it here.
Among the many benefits our team members enjoy are:

- Full indoor basketball/volleyball court
- Fully equipped fitness center and yoga studio
- Meditation/Nap Room
- And more!

Interview with A Founder: Conor McLaughlin (Co-founder of 99.co)

By David Wu (AppWorks Associate)

Conor McLaughlin was previously the Co-founder and CTO of 99.co, the real estate marketplace in Singapore and Indonesia. He spent six and a half years at the startup, whose backers include Sequoia Capital, 500 Startups, and Facebook co-founder Eduardo Saverin, helping to grow it into a $100 million company. As a member of AppWorks Accelerator #21, he is currently working on his next big project, a yet-to-be-named language learning startup.

【What advice do you have for first-time founders?】

First, you need to decide: do I want to run a sprint or a marathon? For a sprint, you may be open to acquisition from the beginning, delay non-startup aspects of your life, give yourself two years where you drop everything to test an idea, choose to raise more money earlier on and thus be more diluted, or do anything else that implies a shorter time horizon. Typically 1-5 years - this can lead to a major boon in a short period of time if executed well. If you decide you are in the sprinting business, you will most likely be pushed toward binary outcomes because of how many investors and employees you have on your cap table. As a first-time founder, you need to be clear with yourself on what you are willing to put on the line. As Reid Hoffman says, it’s like jumping off a cliff and building a plane on the way down… hopefully you build a plane in time.

If you are running a marathon, you are deciding that your competitive advantage is consistency over intensity. You are in this for 10, 15 years. With this time horizon, you will realize you need ways to metabolize stress and maintain emotional, spiritual, and mental health. You need to maintain relationships with friends, family, and romantic partners. When you are looking at this 10 year period, you realize the people around you can only put up with so much. Unfortunately, while work is something people can generally bounce back from, there are many things in life where you cannot - an example is your relationship with your partner. If you’re going to run a marathon, you need to be clear with yourself about what time you have for other aspects of your life and what time you have for your company. Eventually you need to learn what the right speed is where you can run as long as possible. It’s amazing how often it is that those people that keep going, assuming you have chosen the right problem to solve, eventually find daylight. Part of that is just lasting long enough.

Second, you need to revisit and continually ask yourself: should I still be running a sprint or a marathon? Circumstances change. Maybe you sprinted for the first two years to secure interesting results and funding; now it's time to transition to a marathon and clean up the life debt a bit. Or inversely, maybe you're finally leaving the trough of sorrow and it's time to sprint for a bit. Most founders will be in a long distance race with periodic sprinting. From my observation, founders most often stop because of two reasons: They either A) run out of money or B) run out of energy. There’s plenty of advice out there for scenario A (hint: don’t). But in my experience, scenario B is far more pernicious and dangerous to would-be successful founders. If you are in a marathon but fail to pace yourself and run it like one long sprint, you are unlikely to make it to the end.

Much founder advice speaks to this: Don’t let your startup make you fat. Exercise 5-10% of the time. Pick up a hobby outside of your startup. Go home for holidays. All of it leads back to one thing: You need to take care of yourself. Because injury will be far worse for your progress than being a little slower. “Slow is smooth, smooth is fast”, as the US Navy Seals say. This is surprisingly difficult advice for intrinsically motivated founders to follow, because in the event of failure, it makes them vulnerable to the thought, “Well, you didn’t work hard enough.” But for those that already have the hustle, your job is to avoid the moment of epiphany where you look in the mirror and think, “This isn’t worth it.”

All founders will have to sacrifice some things. The point is to not sacrifice everything. It will make you more resilient. Not less. It will give you the space to see situations more objectively and make better decisions. And most importantly, it will let you love what you do because it will remind you that the work isn’t just in service of yourself, it’s in the service of others. I do not think you can judge hard work over a day, or even a year, but I do think you can judge hard work over 5-10 years. Hard work is not just about the next 1-2 months. There will be times when you need to run as fast as possible, but if that is happening all the time you are probably not being smart about the situation. So don’t hurt yourself, be consistent, keep disciplined, and keep going.

Lastly, focus on your metaskills. Public speaking, reading, writing - skills applied in every aspect of your life. Generally what they reflect is learning how to think better. As a founder you need to think about - how can I think more clearly, be more creative, rigorous, analytical? As Warren Buffett and others have said: I have never seen a successful person that did not read as often as they could. Actual books and long form scare a lot of people. That’s your competitive advantage. Read blog posts from smart people, follow smart people on Twitter, listen to podcasts. Always be focused on how you can develop yourself to think better. Fostering the habit of improving your thinking will foster discipline in yourself. And discipline will let you turn that rigorous thinking into action.

【I imagine running the “race” has been especially tough this year. How have you gotten through 2020?】

I have leaned on routine and community. I’ve spent a lot of time trying to foster discipline in myself. I make my bed every morning, meditate every morning, make sure that I go to the gym 3-4 times a week. There’s so much uncertainty in both the world and the entrepreneurial space. Keeping certain things consistent gives me a spine to my life that I can fall back on. If I’m not feeling well, my discipline takes over and I’ll go to the gym. That helps me relieve stress - falling back to routine and having some mainstays of consistency and structure.

And community - it’s been the big mental health zeitgeist of this year. Everyone is recognizing that without the people around us, our mental health diminishes. Joining AppWorks was very intentional so I could surround myself with like-minded people who could question me, hold me accountable, and inspire me. And also just forming personal connections where I felt that I was still taking care of my mental health by connecting with others. Being a founder is an incredibly lonely journey. In the early days, there’s not a lot of people around. Later, when you do hire lots of people, you need to be the boss, the leader - for certain things, you can’t tell the employees everything, and even if you do, there will always be a bit of distance. You need people to relate to - people want to be seen for who they are, and appreciated for what they give. When you are a founder, sometimes it’s hard to feel that you are seen. So I intentionally put myself in situations where I can be inspired, be held accountable, and more importantly connect with others, and feel that I’m not alone. And that me and my co-founders are part of a communal journey with those around us.

【When you talk about how to run the race, I get the sense that you’re drawing from previous experiences and, perhaps, mistakes. What are the mistakes you’ve made in your founder journey and the takeaways?】

I think you could take a calendar, point to a random week, and we could list out all the mistakes from that week (laughs). I do subscribe to Steve Jobs’ philosophy: mistakes will happen, but mistakes happening means we are making decisions. Not making decisions is perhaps the biggest mistake. It’s often the reason for frustration, loss of speed, loss of momentum - so many of the issues you encounter in startups. Not making enough mistakes is probably the #1 mistake that I’ve made.

Second, going back to my advice to first-time founders, is not understanding what game I’m playing. Not understanding that all the money in the world is not going to be worth it if your spouse or partner decides to leave you because you have relegated them to a second-class citizen in your life. I think I forgot that at points. There is more to life than just the company.

Third, be careful about who you choose to work with. At minimum, if you’re doing a standard 8-9 hours at the office five times a week, that’s a lot of time with those people. You want to like the people that you work with - you want to know they’re high integrity, you want to respect their values, and you want to have common values. Choosing the right people that give you energy rather than take it away just makes running the marathon so much easier.

【We welcome all AI, Blockchain, or Southeast Asia founders to join AppWorks Accelerator: https://bit.ly/3r4lLR8 】

【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

Building history:
The original building of 1926 Heritage Hotel was built in 1926, the property once a home to British colonial immigration officers and local administrators of Penang.

Location:
1926 Heritage Hotel is conveniently located in the heart of the historic city of Georgetown, founded in 1786 by Captain Francis Light.
Listed as a UNESCO heritage city, Georgetown is a one of a kind melting pot of cultures, heritage, foods and festivals from diverse communities.

Exterior and interior
Located off Imigresen Road and Burma Road, 1926 Heritage Hotel occupies 24 heritage link houses beautifully restored to its former glory
In 1999 The State Government of Penang invested a significant amount of funds to refurbish this colonial property as a heritage hotel with most of its Anglo-Malay architectural essence still intact. Surrounded by spacious rooms, wooden interiors, long corridors, balmy balconies, beautiful Victorian windows as well as pictures of the old Penang, a sense of nostalgia can be felt throughout the property.

Amenities
The 1926 Heritage Hotel has just refurbished all the rooms and changed all furniture and bedding. The hotel also provides amenities such as LCD TVs, tea and coffee making and mini fridge. Free wi-fi is standard feature in all rooms and in the public areas. There is also a swimming pool and kids pool for guests to take a dip in sunny day.

Every second we spent in 1926 Heritage Hotel was filled with nostalgia of the British colonial era. We also loved the convenient location of the hotel as most of our favorite Penang street foods are well within reach.

#cuticutimalaysia #cuticutipenang #penangheritage

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เปิดตัว The new 2019 Honda Civic (ฮอนด้า ซีวิค) โฉมใหม่ล่าสุด รุ่นไมเนอร์เชนจ์ มีอะไรใหม่ให้มาบ้าง?

Honda เปิดตัว Civic ใหม่รุ่นปี 2019 ในอเมริกา ทั้งเวอร์ชั่นซีดานและคูเป้ โดย Civic เจนเนอเรชั่นที่ 10 รุ่นนี้ มาพร้อมรูปโฉมที่ได้รับการปรับเปลี่ยนใหม่ มีการเพิ่มรุ่น Sport เข้าไป เป็นอีกหนึ่งทางเลือก และติดตั้งระบบ Honda Sensing ในทุกรุ่นย่อย

ในอเมริกา Civic เป็นรถยนต์ที่ขายดีที่สุด 3 ปีซ้อน และเป็น compact car ที่ขายดีที่สุด 8 ปีติดต่อกัน รวมถึงการเป็นรถที่ได้รับความนิยมสูงสุด ของกลุ่มลูกค้าที่มีอายุต่ำกว่า 35 ปี ยาวนานถึง 8 จาก 9 ปีที่ผ่านมา

Building on the highly acclaimed 10th-generation Civic lineup and offering customers more of what they love about the model, the refreshed 2019 Honda Civic Sedan and Coupe include updated styling, a new Sport trim for both body styles and standard Honda Sensing® technology on all trims.

The updated Civic Sedan and Coupe are the latest salvos in the 10th-generation Civic's aggressive launch cadence that has averaged a new variant every four months over the past three years since the Civic Sedan launched in the fall of 2015.1Civic is targeting its third consecutive year as America's #1 retail-selling car and its 8th straight year as America's #1 retail-selling compact car2, as well as being the most popular car in America with under-35-year-olds for eight of the past nine years.

The 10th-gen Civic's aggressive and sporty design is one of the most liked attributes among Civic buyers3 and the Civic Coupe was the top ranked vehicle of its body type in the J.D. Power's 2017 APEAL study among compact cars. The 2019 Sedan and Coupe turn it up a notch with evolutionary styling updates, front and rear. Changes at the front further accentuate the model's low and wide athletic stance and sporty good looks with a new piano black upper fascia "wing," restyled lower fascia, bumper and lower grille, a full-width front splitter, chrome side pod accents, and updated halogen or LED headlights. A chrome accent on the lower rear bumper of the Sedan and new wheel designs for both models – including larger 18-inch rims on the Touring trim – round out the exterior styling updates on the returning trims.

The new Civic Sport trim, positioned between the LX and EX, offers the looks and features budget-conscious enthusiasts are looking for. Civic Sport's increased attitude comes from a piano black lower front fascia, side pod accents and, for Sedan, an added rear decklid spoiler, plus a splitter-style rear lower bumper incorporating a chrome polygonal exhaust finisher similar to Civic Si. Larger 18-inch (+1 inch) 10-spoke alloy wheels with Berlina Black finish complete the Sport's more aggressive look. The Sport trim features a high-revving 2.0-liter 16-valve DOHC i-VTEC® engine mated to either a smooth and efficient CVT with G-Shift Control or a slick-shifting 6-speed manual. Adding more tech to the Sport, the new trim receives the updated 7-inch Display Audio with Apple CarPlay™ and Android Auto™ integration and volume button.

Advancing Honda's commitment to make Honda Sensing® standard equipment on all vehicles by the 2022 model year, all trims of the 2019 Civic Sedan and Coupe from LX to Touring feature Honda Sensing® technology, which includes Collision Mitigation Braking System™ (CMBS™) with Forward Collision Warning; Road Departure Mitigation (RDM) incorporating Lane Departure Warning (LDW); Lane Keeping Assist System (LKAS); and Adaptive Cruise Control (ACC). For the 2019 model year, Honda Sensing® is standard or available equipment on all Honda car and light truck nameplates.

First introduced in the fall of 2015 in Sedan and later Coupe form, the 10th-generation Civic lineup includes the European-inspired Hatchback, the performance-focused Civic Si Coupe and Si Sedan and the world's fastest front-wheel-drive car, the Civic Type R. Cumulative sales of the 10th-generation Civic will surpass 1 million units this year. Since its introduction, the 10th-generation Civic has amassed dozens of major industry awards and accolades including the 2016 North American Car of the Year award, 2017 Kelley Blue Book Overall Best Buy of the Year, 2018 Car and Driver 10Best and 2018 AUTOMOBILE All-Stars award. All Civic Sedan and Coupe models sold in the U.S. are produced at Honda's plants in Greensburg, Indiana and Alliston, Ontario. The Civic's 1.5-liter Dual VTC Turbo and 2.0-liter i-VTEC® engines are produced in Anna, Ohio and Alliston, Ontario.

Sant’Agata Bolognese, 17 October 2017 – Automobili Lamborghini’s ongoing strategic investment programme, aligned with the launch of its new Super SUV the Urus, sees its production site now doubled with the creation of substantial new facilities and technologies at its factory headquarters in Sant’ Agata Bolognese, Italy.

As well as expanding the site from 80,000 to 160,000 m2, the Urus will also bring about a substantial increase in the company’s production capacity, doubling it to 7,000 units a year.

The new production facility houses a new assembly line dedicated to Urus, the new finishing department for all Lamborghini models, and a new office building with LEED Platinum certification: the highest standard in the world for energy and environmental certification in building design and construction. A new test track has also been built with thirteen different surfaces specific to SUVs, as well as a new logistics warehouse, a second trigeneration power plant, and the new energy hub for centralized production of all the energy carriers.

Ranieri Niccoli, Chief Manufacturing Officer, commented: “With our third model, we wanted to introduce the most innovative production technologies and smart factory concepts, supporting and complementing the activities of our workforce. Urus ushers in a new model of factory, which we call Manifattura Lamborghini, a new point of reference in the luxury automobile industry. The substantial resultant benefits include greater production flexibility, better information accessibility, and the interconnection of systems: strengthening the professionalism of craftsmanship that has always distinguished us and supporting the doubling of our production volumes.”

The creation of new buildings and the installation of innovative technologies involved more than 600 enterprises working on the project with a total of 3,600 external workers.

The factory expansion was completed in a record time of just 18 months, during which the company operated at full production capacity and achieved record sales in 2016 (+7% over the previous year). The project was achieved without neglecting Lamborghini’s commitment to environmental sustainability: the entire production facility in Sant’Agata Bolognese maintains the carbon neutral certification obtained in 2015.

Manifattura Lamborghini

The new Industry 4.0 assembly line, dedicated entirely to the Urus Super SUV, integrates new production technologies to support workers in assembly activities.

The super sports car maker expresses this approach as Manifattura Lamborghini, which is characterized by four basic principles:

Craftsmanship: preserving and optimizing craftsmanship with the integration of innovative technologies, increasing the potential for product customization on one hand, and guaranteeing the highest quality standards on the other.
Competencies and specialization: digitalization enables workers, via touchscreen devices, to access production information made available by easily-consulted interconnected systems.
Production process: AGVs (Automatic Guided Vehicles) are used as vehicle and material transport systems. Thanks to this system, the flexibility of the building layout is maintained.
Ergonomics and safety: collaborative robots assist the workers, to improve ergonomics and for repetitive operations that require high quality, such as window gluing, under-body screwing, and wheel assembly.