關於 major film studios ，我們在網路上蒐集到這些相關的討論、資訊與評價

「如果我晚生20年，我就能掌管一間電影公司。」

．
美國製片人瑪西婭．納薩提爾（Marcia Nasatir）辭世，享耆壽95歲。她是第一個在美國主要電影公司（Major Film Studios）擔任副總裁的的女性，在她任職於聯藝電影期間，促成了《洛基 Rocky》（1976）等作的發行，但卻拒絕了《星際大戰 Star Wars》。也曾擔任《大寒 The Big Chill》（1983）、《巔峰極限 Vertical Limit》（2000）等片的執行製作。

．
瑪西婭．納薩提爾出生於德州大城聖安東尼奧，在50年代，她以一個單親媽媽的身分進入一間廣告公司任職秘書，之後轉任戴爾圖書公司擔任秘書，她的工作是調查那些正在被拍成電影的書，然後將這些書籍搭配電影上映進行促銷。接著她轉進班坦圖書公司擔任編輯，但卻很快遭到解聘。不過這段經歷促使她走向了好萊塢，為知名小說家、編劇羅柏．湯恩（Robert Towne）與威廉．高德曼（William Goldman）擔任經紀人。

．
1974年，當時麥克．梅道佛（Mike Medavoy）看準她豐富的經驗，決定將他挖角至聯藝擔任製片主管。不過納薩提爾不願屈居於小主管職位，表示唯有任命她為副總裁，她才願意接受（雖然她後來說自己只是開玩笑的）。

．
當時聯藝的負責人亞瑟．克里姆（Arthur Krim）的太太瑪蒂爾德．克琳（Mathilde Krim）正好是一名優秀的生物學家，她遊說丈夫答應這項任命。基於納薩提爾對文學與電影的豐厚造詣以及過人的領導者氣息，聯藝高層同意了。梅道佛形容她的個性是既能隨和，但該強硬時也非常強硬。

．
就此，納薩提爾爬上了一向以男性為主的電影產業頂端，成為所有高層會議當中唯一的女性（除了秘書之外），她回憶當時男人們罵髒話之後還會跟她道歉，她卻老神在在地回道：「聽著，哥兒們，這些話我都聽過的。」

．
在她監督與許可之下，一系列經典之作得以開拍，除了原本不被看好的《洛基》之外，還包括《飛越杜鵑窩 One Flew Over The Cuckoo's Nest》（1975）、《魔女嘉莉 Carrie》（1976）與《蠻牛 Raging Bull》（1980）等作。

．
在中間還有一個小插曲。在1975年，她一度支持聯藝製作喬治．盧卡斯（George Lucas）的《星際大戰》，指出這個故事絕對足以發展成一個精彩的科幻片，只是她在備忘錄卻也註明這部作品不像《2001：太空漫遊 2001: A Space Odyssey》（1968）提供了形而上的訊息，也沒有為年輕人提供面對未來的解方。最後她基於成本考量，決定拒絕這項投資。後世學者分析，如果她當時決定支持，聯藝電影便不會在1980年代後走向衰退。

．
1978年，納薩提爾轉赴獵戶座影業（Orion Pictures）發展，不過她沒有被列為合夥人，在獵戶座影業的角色有些遭到邊緣化，納薩提爾認為自己是因為性別而遭到排除在外，為此感到憤慨。後期她以獨立製片人身分投入了《漢堡高地 Hamburger Hill》（1987）、《紫苑草 Ironweed》（1987）等片的製作

．
在90年代，她與梅道佛再續前緣，聯手製作了米洛斯．福曼（Miloš Forman）的《情色風暴1997 The People vs. Larry Flynt》（1996）。與她長期合作的製片人丹．盧波維茨（Dan Lupovitz）形容納薩提爾之所以在男人堆裡能夠如魚得水，在於她非常了解如何在潛規則的束縛之下找到破口。

．
在21世紀，雖然她也曾參與製作《魔幻奇緣 Death Defying Acts》（2007），甚至在《神鬼傳奇3 The Mummy: Tomb of the Dragon Emperor》（2008）客串演出一名俄國公主。但她的重心逐漸轉向YouTube節目，她與編劇朋友小羅倫佐．山普（Lorenzo Semple Jr.）創立了《Reel Geezers》，以評論角度分析電影。2014年，一部關於她的生平的作品《A Classy Broad》問世。

．
在1980年代開始，福斯與哥倫比亞影業都相繼有女性坐上高管位置。雖然瑪西婭．納薩提爾未能坐上好萊塢最高位階，但她依然被視為好萊塢的先行者。在2013年接受訪問時，她表示：「如果我晚生20年，我就能掌管一間電影公司，這也是我想要的。但我對我後來的發展也感到很滿意，也很樂見有其他女性將火炬傳向更遠。」

．
瑪西婭．納薩提爾在2021年8月3日於加州洛杉磯的伍德蘭山辭世。

．
．
（圖為瑪西婭．納薩提。）
#MarciaNasatir

粉紅電影（ピンク映画, Pinku eiga ）是指含有裸露或性內容的軟性情色片。由於在日本大銀幕上不能展露生殖器官，情色導演想盡各式各樣的精緻道具或拍攝方法，務求讓演員的「工作部位」不會在性愛戲中顯露。

1960年，粉紅電影異常流行。在東京有數千家播放粉紅電影的戲院，每周更會不停轉畫。1970年代，粉紅電影幾乎是某幾家主要影視公司唯一的收入來源。

粉紅電影有一系列嚴格的製作指引：影片必須每5分鐘左右有一場性愛戲。片長至少一小時，並要用16mm或35mm菲林在一星期內拍好，剪接一周內完成。種種的挑戰、快速的調度和有限的預算，都讓粉紅電影成為培育很多年輕導演的完美訓練場。

然而，粉紅電影在今天經已沒落。不久之前向人打聽，在粉紅影圈堅持不懈的導演只餘下3人。所以我能被邀請掌鏡首部粉紅音樂劇電影《河童之戀》實在與有榮焉。

根據製作指引，我們用35mm菲林拍攝，花了4日半時間，完成了這部90分鐘的作品。我們不單止每5分鐘有一場（很輕柔的）性愛戲，還要不是每次在性愛戲之後，每7分鐘加插到一首歌曲﹗

能夠在如此緊絀的時間和預算內完成這作品，基本上全靠 一take過拍攝每幕戲和歌曲。還記得拍到最後一日，需要拍攝最後一幕戲和一首歌，因為我們的進度比預期中快很多，也沒有超出預算，歌曲又很盞鬼，最終拍了三次合剪成現在這個版本。

Pink film(ピンク映画, Pinku eiga ) are from of soft-core theatrical films that include nudity or deal with sexual content. But since genitals are banned from Japanese screens, film-makers have come up with all sorts of ingenious props and techniques to make sure that the actors “ working parts “ are not revealed during any sex scenes.

Pink films became extremely popular in the 1960. There were thousands of Pink cinemas in Tokyo alone, all changing programme every week. In the 1970’s, they are said to have been the only way that the major studios survived.

Pink films have strict production rules: The film must have a sex scene every five minutes or so. The film must be approximately one hour in duration. It must be filmed on 16 mm or 35 mm film within one week, and edited the following week. These challenges, the quick turnaround, and limited budgets made Pink films an ideal training ground for many talented young film makers.

But the genre is dying. There were only three dedicated directors in Pink Cinemas last time I asked, so I was proud to be invited to make the first Pink musical film Underwater Love.

As per the rules we shot on 35mm film. We finished the whole ( 90 minute ) film in four and a half days . And not only did we have a ( very soft ) sex scene every five minutes, we also had a song every seven minutes or so, as often as not after the sex !

The only way to get all done in the little time and with the budget we had was basically to shoot one take of each set up, even the songs. On the last day and for the last song / scene we were far enough ahead of schedule and under budget enough and the song was so much fun that we allowed ourselves three whole takes which are edited into this clip.

影片來源Video:《河童之戀》“Underwater Love” (2011)

#河童之戀 #今岡信治 #性與電影
#UnderwaterLove #ShinjiImaoka #sexandcinema

【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

#TheMalaysianSong

Now available on Spotify, Apple Music and all major music platforms.

LINKS TO FOLLOW:

http://www.facebook.com/thesaladshow
http://instagram.com/saladshow

For business enquiries, contact us at: saladshowproduction@gmail.com

STALK THE TEAM:
Jiven Sekar: @jivensekar
Shaianne: @shaiannedelaney
Gabriel: @gabrielnoelpountney
Tamra: @tamra_jaksha
Divya: @divyasekar
--------------------------------------------------------------------------------------------------------------
Credits

Music Produced and Arranged by Darren Ashley
Chorus Vocals by Darren Ashley
Lyrics by Vix Chandra and Jiven Sekar
Performed by Jiven Sekar

Crew
Jiven Sekar
Tamra Jaksha
Shaianne Delaney Sarut
Divya Sekar
Tiara Anchant
Ian Steven Ong
Vishnu

Location By
Kayu Nasi Kandar Taipan
Anwar Maju Usj Heights

Choreography
Kenneth Koshy

Dancers
Kenneth Koshy
Tasha Chitty

Special Appearance
Jinnyboy(JinnyboyTV)
Ryan Matjeraie
Jonathan Toh (CjWorks Production)
Ta Ta (Tata Studios)
Harvinth Skin (SkinTv)
Joshua Micheal
DJPri2 (PrithuVlogs)
Talitha Tan (TaLiThAbE)
Tiara Anchant
Gabriel Noel Pountney
Mathubalan (BawahPokokFilms/Visual Narratives)
Tanesh (Taneshh/Taneshh Vlogs)
Vishnu (Soya n Cincau)

Extras
Sateshraj
Gajen Mahendran
Noor Mohamed
Davina Prabagaran
Haroon Faleel
Anand Raj
Shania Perkins
Jacqueline Ng
Magdalene Faye
Kevan Brian
Sean Jeremiah William
Trisha Savina Devakaran
Phraveen Arikiah
Baven Kumar
Adrianna Silvarajah
Amy Teo
Jonathan Louis
Aghilan
Divyarhuben
Gerald Poo Jian Chen
Angel Wong

Special Thanks
Cheng Wei Lim (FILM WAY)
Vikarworld
3Dots Distribution for Black Magic Camera

Huge thanks to all our friends and fans who appeared in the video!
_______________________________________________________________

Lyrics :
VERSE #1
I dunno where to start la boss, I’m just a macha in the house,
Our mamak super clean,
You won't see no freakin’ mouse.
The real question is, Macha, what do you like?
Lu mau itu roti, or lu mau itu rice?
We are the chef of all chefs, semua pun boleh buat,
Gordon Ramsay punya skill pun tak cukup kuat,
Our food ada kick, everybody know we good,
If food is the cinema, we are Bollywood!

You don’t want pedas also got, you want pedas also got,
You want to makan sikit-sikit, kenyang-kenyang also got,
You want goreng also got, you want soup also got,
You want sayur, takmau sayur, vegetarian also got,
You want manis also got, kurang manis also got,
Makan pagi tea time, makan petang also got,
You want dinner also got, you want supper also got,
Ini mee, itu mee, apa mee also got.

Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How

CHORUS
Saya suka my Mamak, suka my Mamak,
Love for your mee, roti, and nasi lemak,
Suka my mamak, suka my mamak,
College days, broke days, he’s your macha.
Suka your Mamak,
Suka your Mamak,
Love for your mee, roti, and nasi lemak,
Suka your Mamak,
Suka your Mamak,
College days, broke days, he’s your macha

BRIDGE #1
I got ikan kari, koli kari, mutton kari, campur kari,
Go with puri, go with thosai,
All kinds of different roti,
Roti canai, roti sardine, roti bom, roti planta,
Roti garing, roti stim, roti telur, roti bakar,
Maggi goreng, mee goreng, bihun goreng also can,
Indo mee, maggi soup, kari soup, what’s the plan?
Nasi goreng macam macam macam macam got macha,
Goreng kampung, goreng Cina, nasi goreng Pattaya,
Burger ayam, burger daging, burger special double cheese,
Ada bawang, ada mayo, ada sauce, ada ghee,
If you want a custom burger,
Ramli can also do, takmau daging, only telur?
Dei, that’s egg benjo!
Want to thani? I got thani – all kinds very nice,
Teh tarik, teh halia, teh o panas, teh o ais,
Ada Cola, ada Milo, ada sirap, limau suam,
Anything you order, confirm all very ngam!

CHORUS
Saya suka my Mamak, suka my Mamak,
Love for your mee, roti, and nasi lemak,
Suka my mamak, suka my mamak,
College days, broke days, he’s your macha.
Suka your Mamak,
Suka your Mamak,
Love for your mee, roti, and nasi lemak,
Suka your Mamak,
Suka your Mamak,
College days, broke days, he’s your macha

BRIDGE #2
Ikan kari, koli kari, mutton kari, campur kari,
Go with thosai, go with puri,
All kinds of different roti,
Roti canai, roti sardine, roti bom, roti planta,
Roti garing, roti stim, roti telur, roti bakar,
Maggi goreng, mee goreng, ayam goreng, Indo mee,
Burger ayam, burger daging, burger special double cheese,
Ada bawang, ada mayo, ada sauce, ada ghee,
Mamak raps with the flow,
Yeah, we make it banjir!

Phê Phim News: JOKER - Khán giả Việt NHẬN XÉT GÌ? | Ai là người hùng trong THƯƠNG VỤ SPIDER-MAN?

FOLLOW/LIÊN HỆ CHÚNG MÌNH TẠI:
FACEBOOK ► https://www.facebook.com/phephim/
INSTAGRAM ► https://www.instagram.com/phe.phim
Email ► contact@pheteam.vn
________________________

Nội dung: Ngân, Linh, Dương
Giọng đọc: Linh, Ngân
Dẫn: Linh
Editor: Nhân
___________

Tin 1: Vì sao Người Nhện trở lại MCU?
https://www.hollywoodreporter.com/heat-vision/tom-hollands-last-minute-appeal-helped-seal-a-spider-man-deal-1244688?fbclid=IwAR1Dk47-ggy0U7dC0LwymXm1SehHnOh3oQxmElejimsTVhrx-FuTUFWC8Y8
https://www.hollywoodreporter.com/live-feed/bob-iger-dishes-tom-hollands-spider-man-return-new-memoir-1245393

___________

Tin 2: James Franco và cáo buộc lạm dụng tình dục
https://variety.com/2019/film/news/james-franco-acting-school-sexual-exploitation-1203357890/

___________

Tin 3: “Trời Sáng Rồi Ta Ngủ Đi Thôi” và lời kêu cứu của phim độc lập Việt
___________

Tin 4: Offline “Joker", những khán giả đầu tiên nói gì?

___________

Điểm tin
1. Tiền truyện Kingsman sẽ nghiêm túc hơn, nhưng “không hề nhàm chán”
https://www.etonline.com/the-kings-man-cast-says-wwi-prequel-is-more-serious-but-promise-its-not-boring-exclusive-133709?fbclid=IwAR0bqUjVw_h3xH2wQwESv3r6lnaBu0i4tS05SHRK1ENmtbVyk0lADEO0owY
2. DC công bố ngày ra mắt hoạt hình về Harley Quinn
https://ew.com/tv/2019/10/03/dc-universe-harley-quinn-animated-series-premiere-date/
3. Các franchise thập kỷ 80 đang dần mất bản quyền
https://www.hollywoodreporter.com/thr-esq/real-life-terminator-major-studios-face-sweeping-loss-iconic-80s-film-franchise-rights-1244737?utm_source=Sailthru&utm_medium=email&utm_campaign=THR%20Breaking%20News_now_2019-10-02%2011:40:30_ehayden&utm_term=hollywoodreporter_breakingnews
4. Robert Downey Jr. sẽ không tham dự Oscar
https://collider.com/avengers-endgame-oscar-campaign-robert-downey-jr/


#PhêPhimNews #Số102 #JokerCóReviewTốiNay

My brand new first release of 2017! Been recently playing around with many different genre's and here is a track i made based on trap/hip-hop.

Check it out on Spotify!


Hope you guys enjoyed it as much as i enjoyed making it.

Download this remix on Soundcloud - https://soundcloud.com/chrischewmusic/JMP

Me!
(https://www.instagram.com/chrischew_)
(https://www.twitter.com/chrischew_)
(https://www.facebook.com/chrischewofficial)


--------------------------------------------------------------

Subscribe to me!
(https://www.youtube.com/chrisproductionsstudio)

Spotify
(https://open.spotify.com/artist/57CUC4ht9iJnxHAyzC7uIc)

Snapchat: thechrischew

Check out my new clothing company!
(https://www.instagram.com/vibeclothing.co)
(https://www.facebook.com/vibeclothing.co)

For any enquiries email me at christopherchewcc@gmail.com

www.thechrischew.com