關於 behind the frame twitter ，我們在網路上蒐集到這些相關的討論、資訊與評價

Korone也玩傾聽畫語，我跟Korone貼貼(x

【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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【《金融時報》深度長訪】

今年做過數百外媒訪問，若要說最能反映我思緒和想法的訪問，必然是《金融時報》的這一個，沒有之一。

在排山倒海的訪問裡，這位記者能在短短個半小時裡，刻畫得如此傳神，值得睇。

Joshua Wong plonks himself down on a plastic stool across from me. He is there for barely 10 seconds before he leaps up to greet two former high school classmates in the lunchtime tea house melee. He says hi and bye and then bounds back. Once again I am facing the young man in a black Chinese collared shirt and tan shorts who is proving such a headache for the authorities in Beijing.

So far, it’s been a fairly standard week for Wong. On a break from a globe-trotting, pro-democracy lobbying tour, he was grabbed off the streets of Hong Kong and bundled into a minivan. After being arrested, he appeared on the front pages of the world’s newspapers and was labelled a “traitor” by China’s foreign ministry.

He is very apologetic about being late for lunch.

Little about Wong, the face of Hong Kong’s democracy movement, can be described as ordinary: neither his Nobel Peace Prize nomination, nor his three stints in prison. Five years ago, his face was plastered on the cover of Time magazine; in 2017, he was the subject of a hit Netflix documentary, Joshua: Teenager vs Superpower. And he’s only 23.

We’re sitting inside a Cantonese teahouse in the narrow back streets near Hong Kong’s parliament, where he works for a pro-democracy lawmaker. It’s one of the most socially diverse parts of the city and has been at the heart of five months of unrest, which has turned into a battle for Hong Kong’s future. A few weekends earlier I covered clashes nearby as protesters threw Molotov cocktails at police, who fired back tear gas. Drunk expats looked on, as tourists rushed by dragging suitcases.

The lunch crowd pours into the fast-food joint, milling around as staff set up collapsible tables on the pavement. Construction workers sit side-by-side with men sweating in suits, chopsticks in one hand, phones in the other. I scan the menu: instant noodles with fried egg and luncheon meat, deep fried pork chops, beef brisket with radish. Wong barely glances at it before selecting the hometown fried rice and milk tea, a Hong Kong speciality with British colonial roots, made with black tea and evaporated or condensed milk.

“I always order this,” he beams, “I love this place, it’s the only Cantonese teahouse in the area that does cheap, high-quality milk tea.” I take my cue and settle for the veggie and egg fried rice and a lemon iced tea as the man sitting on the next table reaches over to shake Wong’s hand. Another pats him on the shoulder as he brushes by to pay the bill.

Wong has been a recognisable face in this city since he was 14, when he fought against a proposal from the Hong Kong government to introduce a national education curriculum that would teach that Chinese Communist party rule was “superior” to western-style democracy. The government eventually backed down after more than 100,000 people took to the streets. Two years later, Wong rose to global prominence when he became the poster boy for the Umbrella Movement, in which tens of thousands of students occupied central Hong Kong for 79 days to demand genuine universal suffrage.

That movement ended in failure. Many of its leaders were sent to jail, among them Wong. But the seeds of activism were planted in the generation of Hong Kongers who are now back on the streets, fighting for democracy against the world’s most powerful authoritarian state. The latest turmoil was sparked by a controversial extradition bill but has evolved into demands for true suffrage and a showdown with Beijing over the future of Hong Kong. The unrest in the former British colony, which was handed over to China in 1997, represents the biggest uprising on Chinese soil since the 1989 pro-democracy movement in Beijing. Its climax, of course, was the Tiananmen Square massacre, when hundreds, perhaps thousands, of people were killed.

“We learnt a lot of lessons from the Umbrella Movement: how to deal with conflict between the more moderate and progressive camps, how to be more organic, how to be less hesitant,” says Wong. “Five years ago the pro-democracy camp was far more cautious about seeking international support because they were afraid of pissing off Beijing.”

Wong doesn’t appear to be afraid of irking China. Over the past few months, he has lobbied on behalf of the Hong Kong protesters to governments around the world. In the US, he testified before Congress and urged lawmakers to pass an act in support of the Hong Kong protesters — subsequently approved by the House of Representatives with strong bipartisan support. In Germany, he made headlines when he suggested two baby pandas in the Berlin Zoo be named “Democracy” and “Freedom.” He has been previously barred from entering Malaysia and Thailand due to pressure from Beijing, and a Singaporean social worker was recently convicted and fined for organising an event at which Wong spoke via Skype.

The food arrives almost immediately. I struggle to tell our orders apart. Two mouthfuls into my egg and cabbage fried rice, I regret not ordering the instant noodles with luncheon meat.

In August, a Hong Kong newspaper controlled by the Chinese Communist party published a photo of Julie Eadeh, an American diplomat, meeting pro-democracy student leaders including Wong. The headline accused “foreign forces” of igniting a revolution in Hong Kong. “Beijing says I was trained by the CIA and the US marines and I am a CIA agent. [I find it] quite boring because they have made up these kinds of rumours for seven years [now],” he says, ignoring his incessantly pinging phone.

Another thing that bores him? The media. Although Wong’s messaging is always on point, his appraisal of journalists in response to my questions is piercing and cheeky. “In 15-minute interviews I know journalists just need soundbites that I’ve repeated lots of times before. So I’ll say things like ‘I have no hope [as regards] the regime but I have hope towards the people.’ Then the journalists will say ‘oh that’s so impressive!’ And I’ll say ‘yes, I’m a poet.’ ”

And what about this choice of restaurant? “Well, I knew I couldn’t pick a five-star hotel, even though the Financial Times is paying and I know you can afford it,” he says grinning. “It’s better to do this kind of interview in a Hong Kong-style restaurant. This is the place that I conducted my first interview after I left prison.” Wong has spent around 120 days in prison in total, including on charges of unlawful assembly.

“My fellow prisoners would tell me about how they joined the Umbrella Movement and how they agreed with our beliefs. I think prisoners are more aware of the importance of human rights,” he says, adding that even the prison wardens would share with him how they had joined protests.

“Even the triad members in prison support democracy. They complain how the tax on cigarettes is extremely high and the tax on red wine is extremely low; it just shows how the upper-class elite lives here,” he says, as a waiter strains to hear our conversation. Wong was most recently released from jail in June, the day after the largest protests in the history of Hong Kong, when an estimated 2m people — more than a quarter of the territory’s 7.5m population — took to the streets.

Raised in a deeply religious family, he used to travel to mainland China every two years with his family and church literally to spread the gospel. As with many Hong Kong Chinese who trace their roots to the mainland, he doesn’t know where his ancestral village is. His lasting memory of his trips across the border is of dirty toilets, he tells me, mid-bite. He turned to activism when he realised praying didn’t help much.

“The gift from God is to have independence of mind and critical thinking; to have our own will and to make our own personal judgments. I don’t link my religious beliefs with my political judgments. Even Carrie Lam is Catholic,” he trails off, in a reference to Hong Kong’s leader. Lam has the lowest approval rating of any chief executive in the history of the city, thanks to her botched handling of the crisis.

I ask whether Wong’s father, who is also involved in social activism, has been a big influence. Wrong question.

“The western media loves to frame Joshua Wong joining the fight because of reading the books of Nelson Mandela or Martin Luther King or because of how my parents raised me. In reality, I joined street activism not because of anyone book I read. Why do journalists always assume anyone who strives for a better society has a role model?” He glances down at his pinging phone and draws a breath, before continuing. “Can you really describe my dad as an activist? I support LGBTQ rights,” he says, with a fist pump. His father, Roger Wong, is a well-known anti-gay rights campaigner in Hong Kong.

I notice he has put down his spoon, with half a plate of fried rice untouched. I decide it would be a good idea to redirect our conversation by bonding over phone addictions. Wong, renowned for his laser focus and determination, replies to my emails and messages at all hours and has been described by his friends as “a robot.”

He scrolls through his Gmail, his inbox filled with unread emails, showing me how he categorises interview requests with country tags. His life is almost solely dedicated to activism. “My friends and I used to go to watch movies and play laser tag but now of course we don’t have time to play any more: we face real bullets every weekend.”

The protests — which have seen more than 3,300 people arrested — have been largely leaderless. “Do you ever question your relevance to the movement?” I venture, mid-spoonful of congealed fried rice.

“Never,” he replies with his mouth full. “We have a lot of facilitators in this movement and I’m one of them . . . it’s just like Wikipedia. You don’t know who the contributors are behind a Wikipedia page but you know there’s a lot of collaboration and crowdsourcing. Instead of just having a top-down command, we now have a bottom-up command hub which has allowed the movement to last far longer than Umbrella.

“With greater power comes greater responsibility, so the question is how, through my role, can I express the voices of the frontliners, of the street activism? For example, I defended the action of storming into the Legislative Council on July 1. I know I didn’t storm in myself . . . ” His phone pings twice. Finally he succumbs.

After tapping away for about 30 seconds, Wong launches back into our conversation, sounding genuinely sorry that he wasn’t there on the night when protesters destroyed symbols of the Chinese Communist party and briefly occupied the chamber.

“My job is to be the middleman to express, evaluate and reveal what is going on in the Hong Kong protests when the movement is about being faceless,” he says, adding that his Twitter storm of 29 tweets explaining the July 1 occupation reached at least four million people. I admit that I am overcome with exhaustion just scanning his Twitter account, which has more than 400,000 followers. “Well, that thread was actually written by Jeffrey Ngo from Demosisto,” he say, referring to the political activism group that he heads.

A network of Hong Kong activists studying abroad helps fuel his relentless public persona on social media and in the opinion pages of international newspapers. Within a week of his most recent arrest, he had published op-eds in The Economist, The New York Times, Quartz and the Apple Daily.

I wonder out loud if he ever feels overwhelmed at taking on the Chinese Communist party, a task daunting even for some of the world’s most formidable governments and companies. He peers at me over his wire-framed glasses. “It’s our responsibility; if we don’t do it, who will? At least we are not in Xinjiang or Tibet; we are in Hong Kong,” he says, referring to two regions on Chinese soil on the frontline of Beijing’s drive to develop a high-tech surveillance state. In Xinjiang, at least one million people are being held in internment camps. “Even though we’re directly under the rule of Beijing, we have a layer of protection because we’re recognised as a global city so [Beijing] is more hesitant to act.”

I hear the sound of the wok firing up in the kitchen and ask him the question on everyone’s minds in Hong Kong: what happens next? Like many people who are closely following the extraordinary situation in Hong Kong, he is hesitant to make firm predictions.

“Lots of think-tanks around the world say ‘Oh, we’re China experts. We’re born in western countries but we know how to read Chinese so we’re familiar with Chinese politics.’ They predicted the Communist party would collapse after the Tiananmen Square massacre and they’ve kept predicting this over the past three decades but hey, now it’s 2019 and we’re still under the rule of Beijing, ha ha,” he grins.

While we are prophesying, does Wong ever think he might become chief executive one day? “No local journalist in Hong Kong would really ask this question,” he admonishes. As our lunch has progressed, he has become bolder in dissecting my interview technique. The territory’s chief executive is currently selected by a group of 1,200, mostly Beijing loyalists, and he doubts the Chinese Communist party would ever allow him to run. A few weeks after we meet he announces his candidacy in the upcoming district council elections. He was eventually the only candidate disqualified from running — an order that, after our lunch, he tweeted had come from Beijing and was “clearly politically driven”.

We turn to the more ordinary stuff of 23-year-olds’ lives, as Wong slurps the remainder of his milk tea. “Before being jailed, the thing I was most worried about was that I wouldn’t be able to watch Avengers: Endgame,” he says.

“Luckily, it came out around early May so I watched it two weeks before I was locked up in prison.” He has already quoted Spider-Man twice during our lunch. I am unsurprised when Wong picks him as his favourite character.

“I think he’s more . . . ” He pauses, one of the few times in the interview. “Compared to having an unlimited superpower or unlimited power or unlimited talent just like Superman, I think Spider-Man is more human.” With that, our friendly neighbourhood activist dashes off to his next interview.

#Vtuber #台灣Vtuber #虛擬Youtuber

聽說是個很鬧的遊戲


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- 不要在其他直播過度提及杏仁ミル的名子
- 無視所有洗頻、無用留言
- 記得要開心看台

- 他の配信でむやみに名前を出さない
- 荒らし等はスルーでお願いします
- 楽しく配信を楽しむこと

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🌼ミルNEWS🌼

🌼LINE貼圖現正熱賣中: https://store.line.me/stickershop/product/7819626/🌼

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Twitter🌼 https://twitter.com/AnninMirudayo
Facebook🌼 https://www.facebook.com/AnninMirudayo/
Discord🌼 https://discord.com/invite/anninmiru

Support the stream: https://streamlabs.com/杏仁ミル

❒Special Thanks:
3Dmodel▶ネコアシさん
Design▶マカ猫さん
Logo▶柊涼さん
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#Vtuber #台灣Vtuber #虛擬Youtuber

SC感謝回! 這幾天沒有唸的SC會一起唸一唸
希望今天36萬不會來回反覆很多次w(握拳

　　　　　　／)
　　 　　　/イ⋈ノフ
　　　　　(◍•ω•◍)
- - - - - - - - - - - o- - - o- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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- 不要在其他直播過度提及杏仁ミル的名子
- 無視所有洗頻、無用留言
- 記得要開心看台

- 他の配信でむやみに名前を出さない
- 荒らし等はスルーでお願いします
- 楽しく配信を楽しむこと

∞*:;;;;;;:*∞*:;;;;;;:*∞*:;;;;;:*∞*:;;;;;:*∞*:;;;;;:*∞*:;;;;∞*:;;;;∞*:;;;;∞

🌼ミルNEWS🌼

🌼LINE貼圖現正熱賣中: https://store.line.me/stickershop/product/7819626/zh-Hant 🌼

∞*:;;;;;;:*∞*:;;;;;;:*∞*:;;;;;:*∞*:;;;;;:*∞*:;;;;;:*∞*:;;;;∞*:;;;;∞*:;;;;∞

Twitter🌼 https://twitter.com/AnninMirudayo
Facebook🌼 https://www.facebook.com/AnninMirudayo/
Discord🌼 https://discord.com/invite/anninmiru

Support the stream: https://streamlabs.com/杏仁ミル

❒Special Thanks:
3Dmodel▶ネコアシさん
Design▶マカ猫さん
Logo▶柊涼さん
∞*:;;;;;;:*∞*:;;;;;;:*∞*:;;;;;:*∞*:;;;;;:*∞*:;;;;;:*∞*:;;;;∞*:;;;;∞*:;;;;∞

明日お休みだし、お酒飲みながらのんびりやりましょ。
ネタばれ厳禁！

個人ゲームチャンネル「オボロゲームス」
https://www.youtube.com/channel/UCEdjO7DDlqTGCCTZM8DJupw
Twitter⇒https://twitter.com/shuji50

バンド「オボログラス」公式
youtube⇒https://www.youtube.com/channel/UCMuq8fxO9PiFkP6sFz_RFZw
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このチャンネルは「365日24時間いつでもゲーム実況の生放送を見られる」を目標にスタートしました。配信者ごとに個別に番組を持っています。

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↓LiCaStaのご紹介記事
http://ur2.link/NOyZ

実況プレイヤーとして参加ご希望の方は 、以下までご連絡ください。
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【配信中のコメントにおける注意事項】
LiCaStaメンバー及びコラボ中の方以外の動画・チャンネルの宣伝
他の視聴者様に対してSNSや他のwebサイトへ誘導する行為はお控えください。
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#オボログラス #謎解き #癒し