【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
同時也有5部Youtube影片,追蹤數超過1,000的網紅妍霓 Nia,也在其Youtube影片中提到,...
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0714紐約時報
*【冠狀病毒實時更新】
#隨著疾病席捲美國,創紀錄的540萬人失去了健康保險。一項新的分析顯示,在2月至5月之間,冠狀病毒大流行奪走了約540萬美國人的健康保險,在這一期間,因失業而失去醫療保險的成年人比一年中失去保險的成年人還多。
#佛羅里達州州長警告說:“我們還有很長的路要走。” 佛羅里達州的死亡人數呈上升趨勢,已達到大流行病的最高7天平均水平。佛羅里達州在周日增加的病例數超過任何州的記錄數(15,300),而在周一,它又報告了12,600多的病例,是單日記錄的第二高總數。
#在案件激增的情況下,加州對其重新開放計劃進行了全面收回。州長Gavin Newsom宣布,關閉全州範圍內的餐廳,酒廠,電影院,動物園,橋牌室及酒吧等設施。
#在兩個熱點之間,俄勒岡州現在看到新案件的增加。州長凱特•布朗說:“我們不是一個小島。”
#德州可能被迫回撤更多的重新開放計劃。
#洛杉磯服裝是最早的服裝零售商之一,可以在短缺時幫助生產急需的口罩,但在300多次確診感染和四人死亡之後,洛杉磯縣公共衛生部於7月10日下令將其關閉在其服裝工人中。
#由於該州的病毒病例持續激增,炸雞連鎖店肯德基週一關閉了其在佛羅里達州所有40家公司擁有的餐廳的飯廳。該公司鼓勵加盟商在佛羅里達州和亞利桑那州,加州和德州等病毒“熱點州”經營商店跟進。
#田納西州週一記錄了超過2500個新案件,為單日記錄。在華盛頓州,已經宣布了1,080多起案件,也是創紀錄的。
#堪薩斯州官員週一宣佈了880多個新病例,是該州單日最高總數。由於堪薩斯州的衛生部門每週在全州範圍內僅更新三次數據,這是該國最不頻繁的報告時間表,因此其每日總數差異很大。
#美國衛生部門通過一種明顯的美國拼湊程式來追蹤病毒的傳播:一個報告系統,其中一些測試結果通過平滑的數據源獲得,而其他測試結果通過電話,電子郵件,物理郵件甚至傳真機獲得。
#華爾街動盪,股票逆轉了早先的漲勢,這使標準普爾500指數在這一年短暫回升。在早些時候攀升超過1.5%之後,該指數到今天結束時下跌了近1%。交易量不穩定的原因是病毒案件數量持續上升,並且加州開始關閉更多的企業。
#美國有17個州與法律共同努力,封鎖一項取消外國學生參加虛擬課程簽證的規定。該訴訟指控政府違反《行政程式法》,稱新規出於政治意圖,旨在迫使大學在秋季開放校園。此前哈佛和麻省理工已對此提起訴訟。
#川普助手抹黑後,佛奇又再回到白宮。全美最大的傳染病專家佛奇博士週一回到白宮,他已有五週沒有與總統直接接觸,此前白宮幕僚一度刻意誤導並指責他。
#紐約州要求來自19個疫情熱點州的旅客進行隔離,並提供聯繫方式。該州州長古莫表示,收集旅客資訊的表格將在飛機上分發,也可通過電子方式填寫,如不遵守,將被傳喚並處以最高2000美元的罰款。據時報統計,全美近40個州的病例仍在上升。
#香港緊急行動應對新一波疫情。林鄭月娥宣佈了一系列將於週三生效的限制性措施,包括關閉健身房、影院,禁止超過四人的集會,餐廳自下午6時起禁止堂食,民眾乘坐公共交通需佩戴口罩等。華特迪士尼公司表示,香港迪士尼樂園將遵守政府命令,再次關閉。香港週一報告了52起新病例。
#墨西哥超過義大利,成為繼美國、巴西和英國後新冠死亡人數最高的國家。墨西哥已有超過3.5萬人死亡,近30萬人確診,但在這個拉美人口第二大的國家,疫情真實情況可能比官方數位更糟糕。
https://www.nytimes.com/2020/07/13/world/coronavirus-updates.html
*【洛杉磯和聖地牙哥的學校秋季僅上網上課】
加州兩個最大的公立學區表示,秋季可能只能進行在線教學,因其學校管理人員,趨向不想冒著,冠狀病毒未完全控制的情況下,把疫毒帶到教室的風險。
https://www.nytimes.com/2020/07/13/us/lausd-san-diego-school-reopening.html
*【美6月財政赤字飆至8640億美元 創歷史新高】
美國財政部公布,因新冠危機紓困方案的支出龐大,以及個人與企業稅收減少,美國6月聯邦財政赤字從去年同期的2位數飆升至8640億美元,創下單月歷史新高。隨著疫情激增,預示著經濟困境將長期持續。
https://www.nytimes.com/2020/07/13/us/politics/budget-deficit-coronavirus.html
*【海軍軍艦仍在燃燒,現在向一側傾斜】
數以百計的海軍水手繼續在聖地亞哥海軍基地與US Bon Bonmeme Richard進行搶救,這是有史以,美國軍艦最嚴重的火燒事件之一。海軍發言人說,到週一下午,有59人受傷,包括36名水手和23名民眾,他們進行了排熱和吸入性嗆傷的治療。現在外界關注船艦的命運,以及滾滾濃煙對海軍基地附近社區的影響。
https://www.nytimes.com/2020/07/13/us/naval-ship-fire-san-diego.html
*【經過激烈的波蘭總統大選,杜達贏得了第二個任期】
總統杜達以微弱優勢擊敗華沙市長恰斯科夫斯基,贏得連任。這是該國自1989年脫離共產政權以來選舉結果最為接近的一次大選,為波蘭政府繼續推行民族主義議程掃清了道路。但批評者擔心,這種議程正在破壞民主制度。
https://www.nytimes.com/2020/07/13/world/europe/poland-president-elections-Andrzej-Duda.html
*【美國稱中國在南海的大部分領土主張“完全不合法” 】
國務卿蓬佩奧做出的這一聲明是華盛頓對海牙法庭2016年南海仲裁案發出的最明確和最強烈的支持。此舉意味著,美國將採取更多軍事行動遏制中國在該地區的海上活動,並對中企實施制裁。
https://www.nytimes.com/2020/07/13/world/asia/south-china-sea-pompeo.html
*【中國與伊朗擬深化貿易軍事合作,挑戰美國】
根據擬達成的協議,中國將在25年內對伊朗投資4千億美元,換取低價石油供應。此舉將擴大中國在中東的影響力,破壞美國對伊制裁,進一步損害中美關係。
https://cn.nytimes.com/world/20200713/china-iran-trade-military-deal/
*【香港民主派初選投票率遠超預期,抗議領袖得票領先】
超過60萬選民無視新國安法威脅,向民主抗議活動中的領袖人物表達了支持。有選民認為他們肯定會被剝奪資格,但仍希望借此表達支持。也有選民指出,當抗議變得不再可能,投票成為僅剩的表達方式。
https://www.nytimes.com/2020/07/13/world/asia/hong-kong-elections-security.html
*【新國安法給香港帶來巨變】
為什麼北京選擇在這個時候對香港收緊控制?新國安法對這座城市的未來意味著什麼?時報音訊節目The Daily邀請駐香港記者王霜舟(Austin Ramzy)就這一轉折性的時刻展開探討,歡迎收聽。
https://www.nytimes.com/2020/07/13/podcasts/the-daily/hong-kong.html
*【北京對美國三名共和黨議員及一名外交官實施制裁】
此舉很大程度上是中國對川普政府譴責新疆政策的象徵性報復,川普政府上周對四名涉穆斯林拘禁營的新疆官員採取了類似的行動。
https://www.nytimes.com/2020/07/13/world/asia/china-sanctions-rubio-cruz.html
*【專欄:新冠病毒將把我們帶入“中國十年” 】
時報專欄作者Ross Douthat認為,在這個十年中,習近平政府會拿出最大的侵略性。如果美國表現出優柔寡斷和軟弱無力,北京將會繼續變本加厲,戰爭的風險將會增加。
https://cn.nytimes.com/opinion/20200713/china-coronavirus-power/
*【離開校園,哈佛的價值在哪裡?】
哈佛決定將全部課程轉為線上教授並收取全額學費。對於來自低收入家庭的學生來說,這顛覆了他們多年來多年來在課堂內外的努力。哈佛的精英教育和平等主義還有價值嗎?
https://cn.nytimes.com/education/20200713/harvard-students-coronavirus/
san diego sea world 在 Scholarship for Vietnamese students Facebook 的精選貼文
[Short Share] TÀI TRỢ TOÀN PHẦN KHÓA HỌC HÈ 3 TUẦN TẠI MỸ
2020 Hansen Leadership đang mở đơn cho khóa học hè 3 tuần tại University of San Diego. Đặc biệt, chương trình này còn nằm trong Top 10 Summer Fellowships trên toàn thế giới nên rất uy tín và chất lượng đó Schofans ơi. Khi tham gia, các em sẽ được:
- Đào tạo thực hành về xây dựng đội ngũ, public speaking, đàm phán, hòa giải và làm việc cùng nhau để giải quyết các vấn đề quốc tế.
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- Gặp gỡ các nhà lãnh đạo học thuật, chính trị và kinh doanh
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THỜI GIAN: 01-23/7/2020
ĐIỀU KIỆN:
- Sinh viên từ năm 2 trở lên tại các trường đại học
- Đam mê hoặc có chuyên môn trong lĩnh vực quan hệ quốc tế, ngoại giao, phát triển kinh tế quốc tế
LINK: https://bit.ly/2LghdUd
DEADLINE: 15/1/2020
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san diego sea world 在 BilingKids バイリンキッズーバイリンガルキッズ英語教育 Youtube 的最佳貼文
バイリンガル教育をしているバイリンガル家族のバイリンキッズです!シーワールドのパート2です!
アメリカのサンディエゴにある、シーワールドに旅行に行ってきました!サンディエゴは、水族館・遊園地が一緒になった、南カリフォルニアで大人気のテーマパークです。パート1がまだの方は是非パート1も見てくださいね!アメリカに旅行にいらっしゃる方のご参考になればうれしいです!
![post-title](https://i.ytimg.com/vi/A7ZmcbgBeJU/hqdefault.jpg)
san diego sea world 在 BilingKids バイリンキッズーバイリンガルキッズ英語教育 Youtube 的最佳解答
バイリンガル教育をしているバイリンガル家族のバイリンキッズです!アメリカのサンディエゴにある、シーワールドに旅行に行ってきました!サンディエゴは、水族館・遊園地が一緒になった、南カリフォルニアで大人気のテーマパークです。パート2も見てくださいね!
![post-title](https://i.ytimg.com/vi/Yo8mYww59hU/hqdefault.jpg)
san diego sea world 在 380 I Seaworld San Diego ideas - Pinterest 的推薦與評價
Sep 25, 2019 - I have been going to Sea World San Diego for a long time and I do support Sea World. See more ideas about seaworld san diego, sea world, ... ... <看更多>
san diego sea world 在 SeaWorld San Diego - Home | Facebook 的推薦與評價
SeaWorld San Diego is home to world-class animal shows, rides, presentations and exhibits, spread out on beautiful Mission Bay Park. ... <看更多>