【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
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อ่านๆ
เอาล่ะ ผมเลิกกวนตีนและเขียนอะไรจริงจังสักครั้ง
หลังสงกรานต์ปี 59 หลังจากที่ผมโดนทหารถือ M16 มาหน้าบ้าน แล้วจับผมใส่รถ คลุมถุงดำเข้าค่ายทหาร
ผมโดนเอาไปนั่งอยู่บนโต๊ะตัวหนึ่ง มีเจ้าหน้าที่สามชุด เวียนกันสอบสวน
เอารูปคนนั้นคนนี้มาให้ดู ถามว่ารู้จักมั้ย แล้วก็ถามอะไรที่แบบ ผมไม่แน่ใจว่าเป็นเทคนิคถามแรงๆเยอะๆ ก่อนให้กลัวหรือเปล่า
แต่จริงๆ เนื้อหาการถามผมคือ "อาวุธสงครามอยู่ที่ไหน กองกำลังที่มึงฝึกอยู่ที่ลาวมีเท่าไหร่"
"มึงส่งเงินให้นักศึกษายังไง ใครเป็นคนสั่งการ"
เอาภาพเพื่อนที่หน้าโหดๆในเฟสมาถามว่า "คนนี้ใคร มือปืนมึงหรือเปล่า" เอาแชทที่พวกผมนัดกันย่างหมูกระทะที่บ้านมาเปิดถามว่าเตรียมของนี้หมายถึงอะไร
เอาเฟรนด์ในเฟส ซึ่งจริงๆมันเป็นเพื่อนมัธยมของผม ที่แม่งไม่ได้คุยกันมาหลายปี ตอนนี้ไปเป็นโปรแกรมเมอร์ มาถามว่า "นี่แฮ็คเกอร์สังกัดพวกมึงใช่มั้ย"
แล้วก็มีรูปคนนู้นคนนี้เต็มไปหมด จากเฟรนด์ลิสม์ผม ภาพทหาร ตำรวจ ข้าราชการ ที่เป็นเพื่อนในเฟรนด์ลิสม์ผม มาหมดทุกคน
บางคนผมพึ่งรู้ด้วยซ้ำว่ามันทำมาหากินอะไร เกี่ยวกับหน่วยราชการยังไง
แล้วแบบ ผมจบรัฐศาสตร์ ธรรมศาสตร์ เพื่อนของเพื่อนผมในเฟรนด์ มันก็ต้องโยงไปถึงโรม จ่านิว พวกดาวดิน มีหน้าห้องกระทรวงนั้นนี้ จนถึงพวกลูกหลานนักการเมืองได้ปะวะ
ผมโมโหชิบหาย คือแต่ละคนเนี่ย เข้าใจมั้ยว่าแชทคืออะไร เฟรนด์ลิสต์คืออะไร ผมมีเฟรนด์ในเฟสนี้ ผมอาจจะไม่รู้จักมันก็ได้เว้ย แค่มันแอดมาผมกดรับ
แล้วที่ผมโกรธอีกอย่างคือแกหาว่าผมเป็นคอมมิวนิสต์ คือผมนี่โคตรจะทุนนิยม การหาว่าผมเป็นคอมมิวนิสต์นี่คือไม่เข้าใจอะไรเลย
บอกตามตรงว่า วันนั้นพี่แกพูดอะไรมา ผมคิดว่าล้อเล่น นึกว่าด่าไปเรื่อยเปื่อย คือนึกว่าเป็นเทคนิคแบบเอาหนักๆ ขู่ๆ ไว้ก่อน เผื่อผมมีข้อมูลแล้วหลุดที่เบากว่า
แต่สัส แม่งเชื่อจริง ฟ้องจริง
สิ่งที่อยากจะเล่าคือ มีเจ้าหน้าทีแก่ๆคนหนึ่ง ที่น่าจะรับบทโหดมา แกไม่ยอมบอกว่าอยู่หน่วยไหน แต่แกด่าผมชิบหาย จนผมโมโห
มันมีประโยคหนึ่งที่ผมจำได้ดีคือ "มึงคิดว่ากูโง่เหรอ คิดว่ากูเนี่ยแก่จะลงโลงแล้วใช่มั้ยล่ะ? อีกไม่นานกูก็จะตายแล้ว?"
ผมได้ยินแล้วหายโกรธเลย
เพราะตอนนั้นผมเข้าใจแล้วว่าทำไมพวกเขาถึงทำแบบนั้น
เพราะพวกเขากลัว
ย้ำอีกทีว่า เพราะพวกเขากลัว
เพราะพวกเขามีชุดความดีแบบหนึ่ง ซึ่งพวกเขาใช้เวลาทั้งชีวิต 40-50 ปี ต่อสู้เพื่อสร้างมัน ต่อสู้เพื่อปกป้องมันมาตลอด
ผมนึกได้ว่า เออ คนที่นั่งอยู่ตรงหน้านี่ เพื่อนเขาคงเคยไปแฝงตัวในหมู่คอมมิวนิสต์ แล้วโดนจับไปฆ่าจริงๆ
เคยเจอพวกคอมมิวนิสต์ขนอาวุธจากโซเวียต ส่งผ่านลาว มาแถวๆ ขอนแก่น กาฬสินธ์จริงๆ แล้วเขายังใช้ชีวิตอยู่ในชุดความคิดนั้น
แล้วจู่ๆโลกมันก็เปลี่ยนแบบกลับหัวกลับหาง
ชุดความดีทั้งหมดที่เขามีถูกบอกว่ามันผิด
เขาไม่มีทางออก ไม่รู้จะไปไหน
วิธีแก้ปัญหาของเขาคือ การทำแบบเดิมที่มันเคยเวิร์ค คือไปหาคอมมิวนิสต์มาสอบสวน
เขาพยายามเค้นเอาให้ได้ว่า ผมเนี่ยสั่งทำภาพการ์ตูนล้อรัฐบาล ผมเนี่ยมีเครือข่ายมากมาย "ถ้ามึงไม่สั่ง ถ้าไม่มีคนจ่ายเงิน แล้วภาพด่ารัฐบาลมันมาจากไหน"
คือแบบ... ผมอยากรู้มากว่า รัฐบาลทหารเนี่ย มันโดนเอเจนซี่หลอกเอาค่าทำภาพเชียร์รัฐบาลไปภาพละเท่าไหร่ งบเพจละล้านหรือเปล่า
จากนั้นผมพยายามนะ พยายามอธิบายว่า เนี่ยนะ พวกการ์ตูนต่างๆนี่ ใครมันก็ทำได้ แค่เขามีความคิด มีไอเดีย เขาก็ทำออกมาตามความคิดเขา คนชอบมันก็แชร์ไปเอง
เจ้าหน้าที่ไม่เข้าใจจริงๆ คือไม่เข้าใจเลย
เขาเชื่อมากว่ามันต้องมีเสธสักคน ใครสอนมึง ทหารนอกราชการเหรอ หรือว่าพัลลพ หรือคนนั้น คนนี้ ซึ่งผมไม่รู้จักชื่อสักคน
เขาคิดว่ายังไงก็ต้องมีคนวางแผน มีคนเขียนบท มีคนวาด มีเครือข่ายกระจายคอนเทนท์ และทั้งหมดต้องใช้เงิน
การชุมนุมคัดค้านรัฐประหารหรือประชามติก็เช่นกัน เขาคิดว่าต้องมีโครงสร้างเช่นนั้น
ดังนั้นหน่วยความมั่นคงจึงเป็นเหมือนการมองหา ศูนย์กลางของมหาสมุทร ซึ่งมันไม่มีไง น้ำมันแค่ไหลมารวมกัน
แล้วแม่งพูดกันไม่รู้เรื่อง ผมพยายามอธิบายแบบนี้แหละ แม่งก็ตวาด บอกว่าผมพูดนอกเรื่อง มึงสารภาพมาว่ามึงจ่ายเงินยังไง
เอ้าสัส!
ผมสารภาพว่า หนึ่งวันในค่ายทหาร ผมเศร้ามากกว่ากลัว
คือเหมือนไปพยายามสอนคนแก่เล่นไอแพท
ทุกอย่างมันเกือบจะดี จนเจ้าหน้าที่บอกว่า "นี่ มึงสารภาพมาเถอะ นายกูโกรธแล้ว ถ้ามึงยังปากแข็งแบบนี้นะ นายกูบอกให้หาอะไรที่ยัดมึงได้ ให้ฟ้องเลย"
ผมนึกว่าขู่ไปงั้นล่ะ แม่งไม่มีหรอก
สรุป แม่งฟ้องจริงๆ
เรื่องแบบ ฟ้องๆไปงั้น ให้ไปปฏิเสธเอาในชั้นศาลก็ฟ้องมา
แล้วมันเหี้ย ไอ้คำว่า ฟ้องๆไปก่อน ค่อยไปปฏิเสธในศาลเอา คือการสูญเสียทุกสิ่งที่เคยมี
เงินประกัน 7 แสน ธุรกิจเจ๊ง ความสัมพันธ์เพื่อนทั้งหมดพังทลาย ญาติตัดขาด
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รู้มั้ยผลเป็นยังไง
ผมโกรธ
ผมปฏิญาณกับตัวเองว่า "ได้ ลุงกลัวใช่มั้ย ผมจะทำให้มันเป็นจริง"
"จากนี้ผมจะมีชีวิตอยู่เพื่อให้ ลูกหลานของลุงมีชีวิตที่ดีกว่าสมัยของลุง แล้วต่อว่าบอกว่า แม่งเอ้ย ทำไมคนรุ่นพ่อ รุ่นตาของกู ถึงทำอะไรเหี้ยๆแบบนั้น ทิ้วไว้ให้กูต้องมาเช็ดล้าง แม่งห่วยชิบหาย"
"ลุงจะไม่ได้ถูกสรรเสริญในประวัติศาสตร์ แต่ถูกก่นด่า ลูกหลานของลุงจะต้องอับอายที่มีบรรพบุรุษเช่นนี้"
"ผมจะแสดงให้เห็นว่า แนวทางที่ไม่ใช่ของลุงมันดีกว่า มันสว่างไสวกว่า มันมีอนาคตกว่า"
มีคนถามผมตอนออกมาว่า "ทำไมมึงไม่ฟ้องมันกลับ มึงไม่โกรธมันเหรอ"
คำตอบของผมคือ "กูโกรธ แต่กูไม่ได้โกรธใครคนใดคนหนึ่ง กูไม่ได้คิดจะแก้แค้นใครคนใดคนหนึ่ง"
วิธีการแก้แค้นที่ต้องทำคือ "ทำลายโลกเก่าๆให้มันพินาจไป และสร้างโลกใหม่ที่ดีกว่าขึ้นมา"
ตอนปีแรกๆ แทบทุกคืนผมนอนไม่หลับ คือโกรธ ตอนกลางคืนมันจะโกรธขึ้นมา แม่งไม่ยุติธรรม ทำได้คือมานั่งอธิษฐาน
บางโมเมนท์มันแบบ สัส อยากได้ระเบิดสักลูก ไประเบิดตายๆไปกับแม่ง
มันเป็นโมเมนท์ที่ God only knows จริงๆ only God can save your soul จริงๆ
สิ่งที่เราทำได้คือ เอาความโกรธนี้เปลี่ยนให้ไปในทิศทางที่ดี และสร้างสิ่งดีๆขึ้นเพื่อทำลายสิ่งเก่า
แล้วผมรู้ว่าเวลาอยู่ข้างเรา
ไม่มีใครต้านทานเวลาได้
คนรุ่นใหม่ๆต่างเก่งกว่าคนรุ่นผมทั้งนั้น
โลกมันจะไปทางนั้น มันเป็นศึกที่ยังไงก็ชนะ อยู่แค่ว่าช้าหรือเร็ว
ถ้าพรุ่งนี้ไม่ชนะก็ยังมีต่อ มะรืน ปีหน้า 10 ปีข้างหน้า 20 ปีข้างหน้า เรายังสู้ได้อีกหลายสิบปี
เอาดิ ก็มาดิ
แต่ลุงอ่ะ จะเหลือเวลาเท่าไหร่?
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เชื่อมั้ย ว่าทุกวันนี้ก็ยังคิดอยู่ว่า ด้อมฟ้า futurista หรือกระแสพื้นที่ของเพื่อไทย อะไรนี่ มีคนวางแผนอยู่ มีคนจัดตั้ง จ่ายเงิน
เออ ก็แพ้ไปพร้อมกับยังคิดแบบนั้นอยู่ละกัน
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ท้ายสุดนี้ผมขอตอบคำถามว่า "มึงคิดว่ากูโง่เหรอ คิดว่ากูเนี่ยแก่จะลงโลงแล้วใช่มั้ยล่ะ? อีกไม่นานกูก็จะตายแล้ว?"
ในวันที่ 24 มีนาคม นี้ ในคูหาเลือกตั้ง
ผมทนมาตลอด ทนมาเพื่อรอวันเลือกตั้งนี้
ผมหวังว่าลุงจะยังไม่ตาย รอดูทุกสิ่งของลุงมันพังทลายลงมากับตาเสียก่อน
Well I quit bugging and write something serious for once
After Songkran 59, after I was held by a soldier in front of my house and put me in a car and covered a black bag to the barracks.
I was sitting on a table. Three officers were interrogated.
I showed this person's picture. Ask if I know or not. Then ask something like me. I'm not sure if it's a lot of technique. Ask me to ask me to
But in fact, the content of asking me is " where are the war weapons, how many forces you train in Laos
"how do you send money to students? Who orders"
I took a picture of my friend on Facebook to ask, " is this person who is your shooter let's chat that we made an appointment to grill pork at home to ask what I prepare this stuff means.
I took a friend on Facebook, who is my high school friend who hasn't talked to in years. Now I'm a programmer to ask, " is this hacker for you guys
And there are plenty of pictures of people from my friend list. Military, police, civil servants who are all my friends in my friends.
Some people I just know what they earn about government agencies.
And like I finished political science, thammasat. My friend's friend in friend has to connect to Rome. Sergeant New. the din has a front of this ministry room until the children of politicians.
I'm angry. Do you understand what a friend list is? I have friends on this facebook. I may not know it. Just add me.
And what I'm angry. Besides, you say that I'm a communist. I'm capitalism. Finding out that I'm a communist. I don't understand anything.
Honestly, what did your brother say that day? I thought I was kidding. I thought it was cursing. I thought it was a heavy technique. Threaten first. I had information and fell off lighter.
But the cuddle s. I really believe it. I really sue.
What I want to say is that there is an old officer who should have played a brutal role. She wouldn't tell me which unit he was in, but she scold me so bad that I was angry.
There is one sentence that I remember is, " do you think I'm stupid? Do you think I'm old. I'm going to get into the coffin? Soon I will die?"
I heard it. I'm angry.
Because then I understand why they did that
Because they are afraid.
Repeat because they are scared
Because they have a kind of good set that they spent 40-50 years fighting to build it fighting to protect it all along.
I realized, uh, the guy sitting in front of his friend must have been undercover among communists and actually killed.
I met a Soviet armed communist through laos around khon kaen kalasin. He actually lives in that mind set.
And suddenly the world turned upside down
All the good deeds he had was told it was wrong.
He has no way out. I don't know where to
His solution is to do the same way it used to work is to find communists to investigate.
He's trying to get that I ordered comics. I have a lot of networks. "if you don't order, if there is no one to pay, where did they scold the government"
It's like... I want to know how much the military government is being fooled by an agency. How much is the government support? Is the budget for a million baht per page?
Then I tried to explain that these comics can do it. Only they have ideas. They make it out according to his thoughts. People like it.
Officials really don't understand. I don't understand.
He believes that there must be a denial. Who taught you an outside government soldier or is this person who I don't know the name?
He thinks someone has to plan, someone wrote the script, someone draws, has a network, distribution of containers, and all takes money.
The Congregation opposed coup or referendum too. He thinks there must be structured.
So security is like looking for the center of the ocean, where there is no oil just flows together.
And you don't know how to talk. I tried to explain this. Fuck you said I said I was out of your story. Confess how you paid.
Oh my God. Cuddle S!
I confess one day in the barracks I'm more sad than scared
Well, it's like trying to teach old people to play ipat.
Everything is almost good that the officer says, " Hey, you confess. I'm angry. If you still have a hard mouth like this, I told you to find something that can put you, Sue me
I thought it was a threat. Damn no such thing.
In conclusion, it's really suing.
The story of suing. So let's say no. Take it in court and Sue me.
And it's fuckin '. The Word Sue first, then go to deny it in court is losing everything I ever had.
Insurance for 7 hundred thousand. Business is broken. All friends relationships fall apart. Relatives cut off.
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Do you know what the result is?
I'm angry.
I swore to myself, " are you afraid? I will make it true
" from now on, I will live so that your children have a better life than uncle's days and say damn why would my generation do something like that. Leave me to wipe it. Fuck. Fuck. Fuck. Lost "
" Uncle will not be praised in history, but scolded. Uncle's children shall be ashamed to have such ancestors
"I will show that the way that is not uncle is better. It's brighter than it has a future"
Someone asked me when I came out, " why didn't you sue him back. Aren't you mad at him
My answer is " I'm angry but I'm not angry with someone. I don't want to take revenge on anyone
The way to revenge is to " destroy the old world, let it go and create a better world
In the first year, almost every night, I can't sleep. I'm angry at night. It will be angry. It's not fair. I can
Some moments are like cuddle s. I want to explode to explode and die with me.
It's really God only knows moment only God can save your soul
All we can do is take this anger in a good direction and build good things to destroy the old.
And I know when we are on our side.
No one can resist time
New Generation is better than my generation.
The world will go that way. It's a battle that I win. Just slow or fast.
If you don't win tomorrow, we still have the day after tomorrow. Next year, 10 years ahead, we can still fight for dozens of years.
Let's do it. Come on.
But how much time will uncle have left?
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Can you believe that these days, I still think about dye fa futurista or the trend of Thai area. There are people planning. There are people who set up to pay.
Well I lost and still think so
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Finally, I answer the question, " do you think I'm stupid? Do you think I'm old. I'm going to get into the coffin? Soon I will die?"
On March 24th in the polling place
I have endured this time. I have endured this election day.
I hope uncle is still alive. Waiting to see everything of uncle. It's falling apart. Cuddle baht.Translated
ocean apart day after day 在 Cindy Yang Art Facebook 的精選貼文
Flash課堂作業以蘭嶼食物為主題,製作了Google首頁上的Google doodle。好想回去玩啊😢
This is a small assignment from flash class – the theme is food, and I decided to do something from my own experience.
Last summer I went on a holiday work trip in Taiwan for two months (working for hostels in exchange for food and accommodation). I spent one month in Lanyu (also known as Orchid Island) – an island besides Taiwan with aboriginal people called Tao living on it. The Tao people grows millet, taro, and sweet potato as their main food source. They also fish once in a while – during the Alibangbang (fish with wings) festival, usually from March till July. After the festival, they dry the fishes and bake, store them in the houses just built for making smoking the fishes. Black hair pigs are also their meat source – they are cute, but meant for eaten in special occasions.
I want to make the food source here into a google doodle is because of Tao’s fading culture. There are six tribes on the island in total – although they all lived on the island together for a long time, they still have different tribe names and traditions cause the high mountains on the island separates them apart. Lanyu’s soil has a lot of volcano eruption fragments, which is the main reason why there are so many unique species of plants/animals only exist on this island. Because of all the nutrition came from the land, the ocean life in Lanyu is as beautiful as the land. I had the chance to dive underwater and see the corral reef while I worked there – and it’s just breathtaking. The Tao’s tradition of catching the fishes is still going on, but it’s been different since the concept of money came into the island. They always respect the nature, so they can only catch certain amount of fish during a period of time. But the tradition is fading away rapidly ever since convenience store comes in – they start drinking a lot, doing nothing all day cause they can just make money from tourists so easy these days (They also get compensations from having nuclear waste storage facility). The old generation is still trying to hold on to their tradition, but the young generation is starting to lose their own language. So I want to spread out the word of how unique this place is before the tradition dies out completely. If you’re interested,I strongly suggest you look up the information about the Island.