關於 stage of construction ，我們在網路上蒐集到這些相關的討論、資訊與評價

Land market situation on Street 51 remains stagnant
December 18, 20200

Phnom Penh : The area that used to have great potential and popularity to buy and sell land on Street 51 so far and can continue until mid-2021 is still stagnant and prices will not increase .

Chailin Sear Realty Co., Ltd., CEO of Chailin Sear Realty Co., Ltd. The land on Street 51 is not as active as it was in 2019.

"Both large plots of land for industrial development, small blocks and small plots for separate residential projects are not as attractive for buying and selling activity, remaining as quiet as they were in mid-2020," he said. .

"Apart from the lack of buying and selling activities for land prices in some locations, there has also been a sharp decline compared to 2019, with some landowners in urgent need of money being put up for sale with discounts up to close," he said. "Fifty percent is there, but the important thing is that the seller has no buyer."

"We recognize that the land sector on Road 51 will have many development projects, especially the industrial sector, which will include the construction of warehouses, factories, etc., but due to the protracted Covid disease, some projects have not been able to catch up," he said. "Especially for projects of companies with foreigners such as Chinese as the capital."

The president of the Cambodian Association of Appraisers and Realtors, Chrek Soknim, said the Covid-19 crisis had led to a significant decline in real estate transactions in the real estate sector, whether in real estate, condominiums or other leases. Most of the housing construction on Street 51 is still under construction because the developers are local and the clients are local.

"For large-scale land demand, most of the development projects are from abroad, and at this stage and beyond for about a year, these trading activities can resume," he said.

Summary of the four major real estate market conditions in the third quarter
October 17, 2020

The property market in Phnom Penh in the third quarter of 2020 continues to be under pressure from the Covid-19 outbreak, but has seen a significant improvement, especially compared to neighboring countries.

CBRE Cambodia Real Estate Agent summarizes and analyzes the following four major real estate market conditions:

Condo
The supply of condominiums increased by 3.97% compared to the same quarter last year. This quarter, there is only one completed project that adds 828 units to the supply market. Separately, there are three new projects for sale: Urban Village 2, Arakawa Phase II and Yuetai Harbor Bay, which will add at least 2,000 units to the market after construction.

The selling price is reduced by 1% for high price condos, 1.4% for medium price condos and 1.2% for affordable condos. Rental prices, meanwhile, fell slightly by 2.88% for high-end condos and 1.71% for mid-range condos. This decline is due to the decline of foreigners in Cambodia.

The report also outlines a four-step strategy to revitalize the condo market, including 1) focusing on local buyers through new marketing strategies, 2) changing prices more appropriately and building to suit demand, 3) reshaping units. New and more innovative and 4) waiting for international buyers to come back.

Borey

Borey is the only sector that remains strong despite the Covid-19 crisis, seeing prices rise steadily. This quarter, 18 new projects were opened and 4 projects were completed.

Compared to the first quarter of 2020, sales prices increased from 3.4% to 12.5%, 5.4% for business houses and 9.2% for twin villas. In particular, although prices continue to rise, individual project owners are still rushing to market to attract customers.

In addition, CBRE also introduced recovery strategies for developers, including continuing to provide promotions, accelerate construction, and focus on developing affordable and affordable housing.

Office

The office market remains under pressure from the Covid-19 crisis, with supplies of more than 50,000 square meters postponed until 2021. There are no new sales openings this quarter, but three completed projects that add 30,000 square meters to the market. The three projects include TK Central, The Point and Sayon Phnom Penh.

Single-office office rental rates fell 8.9% compared to the same quarter in 2019. Rental prices decreased by 6.3% for urban locations and 9.4% for suburban locations.

Separately, the co-ownership office has two projects that have just been announced for sale: Duan Benrich Tower and Odom Tower.

Marketing strategies for project owners include flexible contracting with tenants, diversifying supply, modernizing market trends and improving the local environment. Office.

Retail market or supermarket

Supermarkets remain the hardest hit by the Covid-19 crisis. According to Google Mobility Tracker (February 17 to August 20), the current market situation is 11% below the base level. The vacancy rate was 10.97%, an increase of 0.77% compared to the same quarter last year.

Two new projects have been completed, 312 Quayside Mall in Daun Penh and The One Mall in Chamkarmon, in addition to the existing supply of more than 21,800 square meters, an increase of 6.1%. Rental prices, on the other hand, are stable or fall slightly depending on the type of market.

The strategy for restoring the market is to improve the marketing strategy at an early stage and increase new experiences and unique options for future customers after Covid-19 calms down.

【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

Dramaturgy - Eve Live Film

ドラマツルギー - Music Video
https://www.youtube.com/watch?v=jJzw1h5CR-I

inst：http://piapro.jp/evemaru

廻廻奇譚 - Eve MV(Live Film ver)
https://www.youtube.com/watch?v=ijXeGqSRNJc

All Produced by Eve

◆ドラマツルギー - Eve Live Film Staff
Planning & Produce : Genki Kawamura
Director : Yoshiharu Ota / Satoshi Tani
Director of Photography : Masashi Katsuta
Technical Director / Camera : Yuki Nakamura（Gonshiro）
Camera : Koji Matsuura / Hideyuki Terado / Yao Takeshi / Yujiro Tokushige / Taku Tatewaki
Grip : Daisuke Nanri / Kenta Watanabe（Grip Associate CO.,LTD）
Video Engineer : Kazuma Maeta（Gonshiro）/ Hou Yuten（Gonshiro）
Online-Editor : Masahiko Tsuruo / Takumi Yoneda（EIZO-TSUSHIN）
Production Producer : Hiroki Inui（TETRAPOT FILMS）/ Mayo Kinugawa（TETRAPOT FILMS）

Motion Graphic Director：Nobutaka Yoda (10 GAUGE)
Original Graphics：Mah

Stage Director : Takashi Masuda（HIPLAND MUSIC）/ Satoshi Kawano（BOATMAN）
Stage Construction : Kengo Ueda（NIHON STAGE Co.,Ltd）
Sound Engineer : Yasuhiro Nishi（Acoustic）
Lighting Operator : Takahito Yoshimaru（WILL LIGHTING DESIGN）
VTR Projector Operator : Isamu Hamanaka（TRANSWORK）
Instrumental Techician : Katsunori Haruna（Team Active）
Special Effects : Takumi Abe（BLAZE）
Stage Carpenter : Fumio Sato（Ryogoku glass）
Transport : Takayuki Wada（WEED'S ENTERPRISE）
Production Manager : Yasuhisa Matsuishi（AIR FLAG Inc）
Stylist : Hayato Takada
Hair & Make-up : Yuko Iitsuka / Kasumi Mukai

Eve
HP：http://eveofficial.com/
twitter：https://twitter.com/oO0Eve0Oo
youtube channel：https://goo.gl/jiNQkz

◆New EP『廻廻奇譚 / 蒼のワルツ』
2020.12.23 release!!

【呪術盤】【ジョゼ盤】【通常盤】の3形態による全7曲を収録。

▶️ Tie up
廻廻奇譚 / TVアニメ『呪術廻戦』オープニング主題歌
蒼のワルツ / アニメ映画『ジョゼと虎と魚たち』主題歌
心海 / アニメ映画『ジョゼと虎と魚たち』挿入歌

▼CD予約
https://tf.lnk.to/kaikaiwaltz_CD

◆Lyrics

ドラマツルギー

頭でわかっては嘆いた
転がってく様子を嗤った
寂しいとか愛とかわかんない
人間の形は投げだしたんだ

抱えきれない　言葉だらけの存在証明を

この小さな劇場から出らんない
気づいたら最後逃げ出したい
僕ら全員演じていたんだ
エンドロールに向かってゆくんだ

さあ皆必死に役を演じて傍観者なんていないのさ

"ワタシ"なんてないの
どこにだって居ないよ　
ずっと僕は 何者にもなれないで

僕ら今　さあさあ　喰らいあって
延長戦 サレンダーして
メーデー 淡い愛想
垂れ流し　言の愛憎

ドラマチックな展開をどっか期待してんだろう

君も YES YES　息を呑んで
采配は そこにあんだ
ヘッドショット 騒ぐ想いも
その心　撃ち抜いて さあ
まだ見ぬ糸を引いて 黒幕のお出ましさ
その目に映るのは

触れたら壊れてしまった
間違ってく様子を黙った
僕ら全員無垢でありました
いつのまにやら怪物になったんだ

その全てを肯定しないと前に進めないかい

『まあ君にきっと無理なんだ』
「だから君にはきっと無理なんだ」
いつのまにやら外野にいたんだ
そんなガヤばっかり飛ばしてきたんだ

皆必死に自分を守って救いの手を待ってるのさ

考えたくはないよ
馬鹿になっていたいもん
ずっと僕は 何者にもなれないで

だから今　前線上に立って
その旗は高く舞って
劣勢 頼る相棒
言葉すら必要ないよ

ドラマチックな展開はドットヒートしてくだろう

君も YES YES 息を呑んで
再会を誓いあって
ワンチャンスしかない僕の
一瞬をかけるのさ
クライマックスみたいな 手に汗を握るのさ
ぽつりと鳴いた

隠してきた真実はどこにもない
嗤ってきた奴らに居場所はない
思い出してぽいってして感情はない
流した涙　理由なんてない

優しさに温度も感じられない
差し伸べた手に疑いしかない
穴が空いて愛は垂れてしまいになったんだ
倒れそうな僕を覗き込んだんだ

諦めかけた人の前にアンタは
いつも嘲笑うようにおでましさ
君にはどんな風に見えてるんだい
呼吸を整えて　さあ　さあ

ずっと僕は 何者にもなれないで

僕ら今　さあさあ　喰らいあって
延長戦 サレンダーして
メーデー 淡い愛想
垂れ流し　言の愛憎

ドラマチックな展開をどっか期待してんだろう

君も YES YES　息を呑んで
采配は そこにあんだ
ヘッドショット 騒ぐ想いも
その心　撃ち抜いて さあ
まだ見ぬ糸を引いて 黒幕のお出ましさ

"その目に映るのは"

廻廻奇譚(kaikaikitan) - Eve Live Film

Streaming/DL：https://tf.lnk.to/kaikaikitan

Produced by Eve Music Video

◆廻廻奇譚 - Eve Live Film Staff
Planning & Produce : Genki Kawamura
Director : Yoshiharu Ota / Satoshi Tani
Director of Photography : Masashi Katsuta
Technical Director / Camera : Yuki Nakamura（Gonshiro）
Camera : Koji Matsuura / Hideyuki Terado / Yao Takeshi / Yujiro Tokushige / Taku Tatewaki
Grip : Daisuke Nanri / Kenta Watanabe（Grip Associate CO.,LTD）
Video Engineer : Kazuma Maeta（Gonshiro）/ Hou Yuten（Gonshiro）
Online-Editor : Masahiko Tsuruo / Takumi Yoneda（EIZO-TSUSHIN）
Production Producer : Hiroki Inui（TETRAPOT FILMS）/ Mayo Kinugawa（TETRAPOT FILMS）

Motion Graphic Director：Yuichiro Saeki
Motion Graphic Designer：Tetsuji Ono（UZURA）
Lyric Design：ZUMA

Stage Director : Takashi Masuda（HIPLAND MUSIC）/ Satoshi Kawano（BOATMAN）
Stage Construction : Kengo Ueda（NIHON STAGE Co.,Ltd）
Sound Engineer : Yasuhiro Nishi（Acoustic）
Lighting Operator : Takahito Yoshimaru（WILL LIGHTING DESIGN）
VTR Projector Operator : Isamu Hamanaka（TRANSWORK）
Instrumental Techician : Katsunori Haruna（Team Active）
Special Effects : Takumi Abe（BLAZE）
Stage Carpenter : Fumio Sato（Ryogoku glass）
Transport : Takayuki Wada（WEED'S ENTERPRISE）
Production Manager : Yasuhisa Matsuishi（AIR FLAG Inc）
Stylist : Hayato Takada
Hair & Make-up : Yuko Iitsuka / Kasumi Mukai

◆New EP『廻廻奇譚 / 蒼のワルツ』
2020.12.23 release!!

【呪術盤】【ジョゼ盤】【通常盤】の3形態による全7曲を収録。

01.廻廻奇譚
02.蒼のワルツ
03.心海
04.宵の明星
05.遊遊冥冥
06.約束
07.杪夏

☑️DVD(呪術盤)：胡乱な食卓 EXCLUSIVE LIVE 映像
☑️GOODS(ジョゼ盤)：蒼の蓄光キーホルダー
☑️早期予約(全形態)：「いのちの食べ方」 MV DVD＋ステッカー付(11/20迄)

▶️ Tie up
廻廻奇譚 / TVアニメ『呪術廻戦』オープニング主題歌
蒼のワルツ / アニメ映画『ジョゼと虎と魚たち』主題歌
心海 / アニメ映画『ジョゼと虎と魚たち』挿入歌

▼CD予約
https://tf.lnk.to/kaikaiwaltz_CD

▼特設サイト
https://eveofficial-kaikaiwarutsu.com

New EP "Kaikaikitan / Aonowarutsu" is now available on online store and Animate overseas shop.

▼Streaming
https://tf.lnk.to/kaikaikitan

▼CD Japan（Overseas)
https://www.cdjapan.co.jp/product/TFC...

▼TOWER RECORDS ONLINE（Overseas)
http://tower.jp/item/5121265
http://faq.tower.jp/category/show/25

▼Animate overseas shop
KOREA main store Honde,Taipei,Taichung,Bangkok

▼ANIMATE INTERNATIONAL（Overseas only・Access from Japan is not available）
https://www.animate.shop/

Lyrics/Music/Vocal：Eve
Arrangement：Numa

Drums : Masaki Hori
Drum Technician : Masuo Arimatsu
Beat Programming : Masaki Hori / TAKU INOUE

Recorded & Mixed by Masashi Uramoto (Soi Co.,Ltd)
Recorded at Aobadai Studio Inc.
Assisted by Miyuki Nakamura (Aobadai Studio Inc.)
Mixed at Soi Studio

Eve
HP：http://eveofficial.com/
twitter：https://twitter.com/oO0Eve0Oo
youtube channel：https://goo.gl/jiNQkz

◆inst
https://www.dropbox.com/s/c15hieqrwps...
(-3key)
https://www.dropbox.com/s/2tnskm0uh4r...


◆Lyrics

廻廻奇譚

有象無象 人の成り
虚勢 心象 人外 物の怪みたいだ

虚心坦懐 命宿し
あとはぱっぱらぱな中身なき人間

寄せる期待 不平等な人生
才能もない 大乗 非日常が

怨親平等に没個性
辿る記憶 僕に
居場所などないから

夢の狭間で泣いてないで
どんな顔すればいいか わかってる
だけどまだ応えてくれよ

闇を祓って 闇を祓って
夜の帳が下りたら合図だ
相対して 廻る環状戦
戯言などは 吐き捨ていけと

まだ止めないで まだ止めないで
誰よりも聡く在る 街に生まれしこの正体を
今はただ呪い呪われた僕の未来を創造して
走って 転んで 消えない痛み抱いては
世界が待ってる この一瞬を

抒情的 感情が 揺らいでいくバグ
従順に従った欠陥の罰
死守選択しかない愛に無常気　
声も出せないまま

傀儡な誓いのなき百鬼夜行
数珠繋ぎなこの果てまでも
極楽往生 現実蹴って 凪いで
命を投げ出さないで

内の脆さに浸って
どんな顔すればいいか わかんないよ
今はただ応えてくれよ

五常を解いて 五常を解いて
不確かな声を紡ぐイデア
相殺して 廻る感情線
その先に今 立ち上がる手を

ただ追いかけて ただ追いかけて
誰よりも強く在りたいと願う 君の運命すら
今はただ 仄暗い夜の底に
深く深く落ちこんで

不格好に見えたかい
これが今の僕なんだ
何者にも成れないだけの屍だ 嗤えよ

目の前の全てから 逃げることさえやめた
イメージを繰り返し
想像の先をいけと

闇を祓って 闇を祓って
夜の帳が下りたら合図だ
相対して 廻る環状戦
戯言などは 吐き捨ていけと

まだ止めないで まだ止めないで
誰よりも聡く在る 街に生まれしこの正体を
今はただ呪い呪われた僕の未来を創造して
走って 転んで 消えない痛み抱いては
世界が待ってる この一瞬を

#レアが開発、任天堂が発売した「スーパードンキーコング」(SFC/'94年)からのアレンジ移植作品。スーパードンキーコングの後日譚で、ステージはすべて新規のものとなりオリジナルの敵や仕掛けが多く登場する、外伝のような位置づけにあたる。SFC版同様の背景やキャラグラフィックの描きこみ、画面に対してコングのサイズがSFC版と同じな為敵に当たりやすい、高所からの落下で画面が追いつかずミスしやすい、新たな地形の追加、クリア方法の変更、エンガードとウインキー、コングファミリーが登場しない、等の特徴がある。

作・編曲者：デビッド・ワイズ氏、グレイム・ノルゲート氏

Manufacturer: 1995.07.27 nintendo / rare
Hardware: square wave generators(x2)/pcm 4-bit wave sample(x1)/noise generator(x1)
computer: game boy
Composer & Arranger: David Wise,Graeme Norgate
-----------------------------------------------------------------------------
00:00 01.Main Theme (タイトル画面＆エンティング)
02:19 02.Menu (データセレクト)
03:36 03.Map (マップ *原曲：Bonus Room Blitz)
06:48 04.Jungle (ジャングルステージ *原曲：Jungle Groove)
10:37 05.Snow (雪ステージ *原曲：Northern Hemispheres)
15:33 06.Ship (船ステージ *原曲：Gang-Plank Galleon)
19:48 07.Temple (遺跡ステージ *原曲：Voices of the Temple)
23:43 08.Submerged Ruins/Kremlantis (海底遺跡ステージ)
28:58 09.Waterworld (海ステージ *原曲：Aquatic Ambiance)
33:56 10.Cave (洞窟ステージ *原曲：Cave Dweller Concert)
38:27 11.Mountain (岩山ステージ)
43:16 12.Sky (雲ステージ)
46:57 13.Skyscraper (摩天楼ステージ)
50:52 14.Airship (飛行船ステージ)
55:14 15.Building (ビル)　
01:00:39 16.Construction Site (工事現場ステージ)
01:06:16 18.Boss (ボス戦 *ブラストドーザー(N64/'97年)でもアレンジ使用)
01:11:22 19.Last Boss (ラストボス *未使用 データ内には存在)
01:14:01 20.Stage Clear (ステージクリア)
01:14:09 21.Lose Life (ライフ減少)
-----------------------------------------------------------------------------