關於 rush never fake ，我們在網路上蒐集到這些相關的討論、資訊與評價

Public and Private Success

“This is a faithful saying: if a man seeks the office of an overseer, he desires a good work. The overseer therefore must be without reproach, the husband of one wife, temperate, sensible, modest, hospitable, good at teaching; not a drinker, not violent, not greedy for money, but gentle, not quarrelsome, not covetous; one who rules his own house well, having children in subjection with all reverence; (but if a man doesn’t know how to rule his own house, how will he take care of the assembly of God?) not a new convert, lest being puffed up he fall into the same condemnation as the devil. Moreover he must have good testimony from those who are outside, to avoid falling into reproach and the snare of the devil.” (1 Timothy‬ ‭3:1-7‬ ‭WEB‬‬)

Whether or not you get to be an overseer in the church in this lifetime, you can choose to live as though you are one, with the same moral excellence displayed both publicly and privately. This is not to impress man, but to live in a way that pleases and glorifies God.

How do all these good qualities in the passage above happen? You cannot fake them, if not your actions may seem holy but your mind and heart will be a cesspool of evil.

The transformation has to happen from the inside out through receiving God’s word. It takes time for God to work on you. As you consistently receive His word, He will transform you, making your soul more Christ-like, in actions, emotions and thoughts.

It starts with wanting to be transformed. Do you want to be even more sanctified in your walk with the Lord, or are you okay with just being like the world?

“Likewise, you younger ones, be subject to the elder. Yes, all of you clothe yourselves with humility, to subject yourselves to one another; for “God resists the proud, but gives grace to the humble.” Humble yourselves therefore under the mighty hand of God, that he may exalt you in due time; casting all your worries on him, because he cares for you.” (1 Peter‬ ‭5:5-7‬ ‭WEB‬‬)

Subject yourselves to those who are found worthy as overseers and humbly learn from them. When you are ready, God will promote you. There should be no rush in this matter because our eyes are on the Lord and not on the glory of the leadership roles.

This year, may we be found worthy as children of God who have the spirit of an overseer, blameless in God’s sight, by His grace alone!

Even if you never get the honor of serving as a leader in church in this lifetime, Jesus still has important roles for you in the Millennium and beyond. These are His rewards for faithful service—eternal rewards that will stand the test of time. Jesus’ return draws ever closer, so learn all about His rewards: http://bit.ly/sandcastlesdontlastforever

Here's something I wanna share with you guys.

Yesterday, I went to the supermarket with the prudence dictated by the new normal. Mask, Safe entry and safety distance.

I then started to get the things that were on my short list, and when I was lining up to pay, between taking the money and storing the phone, the RM50 note I had to pay fell on the floor, and the man who was in front of me finishing paying his purchases slowly bent down and picked up my note.

Woww, How much education and kindness in these pandemic times - I thought. I held out my hand, waiting for him to give me back my money, trying to stay away, so that he would feel safe, while preparing to thank him for the gesture.

But suddenly, what he told me was shocking - What's on the floor belongs to whoever finds it! - and just like that, he left ... naturally, as if he hadn't done anything wrong.

I looked at the lady behind me and the people next to me and they all looked at me in shock and disbelief, whispering things between them.

For a moment there, I was trying to evaluate myself. I wanted to do justice on my own ... I left my purchases, because I had no way to pay (I forgot to bring my credit card), and went after him to the carpark, to have my RM50 returned.

However, I realized that the people closest to the line came after me, curious to know what was going to happen ...

I spoke to him demanding my money but he just looked at me with contempt and acted like I was invisible.

When he got to the car, he slowly put his four shopping bags on the floor to take the key out of his pocket and open the trunk, and I thought - It's now or never!

I took the four bags and told him the same thing he had said to me - What is on the floor belongs to those who find it! - and I started running towards the exit, between fright and laughter, proud of my revenge.

The spectators started to applaud and I saw that the “smart guy” had been irritated after all, as he left the parking lot dropping security cones in his path.

I swear I felt a rush of adrenaline, fright and nervousness, but then I cried with laughter.

When I got home I opened the bags and found:
- 2 kg XL prawn
- 1 kg of salmon
- 2 box of Aachi biryani masala
- 1 jar of Nuttela
- 5 tube Cŕeam cheese
- 10 kg of basmathi rice
- 1 jar of mayonnaise

I had never made so many purchases with only RM50.

And now here I am ... Having a glass of hot milo, eating and thinking as I write - am I a vigilante or a vindictive person?

HAVE YOU READ THIS UNTIL HERE?
This obviously did not happen to me. It's just a campaign to promote reading!

Reading stimulates the mind and imagination, makes us travel to other places and even helps communication.

If you want to copy and paste and produce a smile from your friends.

Please go ahead, stimulate someone else's mind 🤣

Reading an entire article also prevents you from becoming a victim of click bait and fake news 👍

#copyandpaste

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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.