⭐️五月是美國亞太裔傳統月!美國亞太裔外交官在美國國務院扮演重要的角色,在AIT的運作上更是如此!在整個五月份,我們將為各位介紹AIT亞太裔官員的重要貢獻。今天要跟大家分享的是文化新聞組組長蘇戴娜真摯動人的成長故事。(照片中間那位笑容可掬的女孩就是蘇組長)
💞有人說:「只有當你有了自己的孩子,你才會真正了解父母的愛。」我的日籍母親和美籍父親為我們家三姊妹犧牲許多,但直到我有了自己的孩子,我才真正體會父母的犧牲奉獻。當我們離開日本時,我們對加州的一切感到新奇又困惑,同時也極力想要融入新的校園生活。我的母親每天都會幫我準備漂亮的便當帶去學校,但我都會求她改做花生果醬三明治,因為同學都會說我們「很奇怪」。家母理解我們的感受,也暫時放下了她自己的文化偏好。自此之後,我們開始吃牛奶麥片當早餐,而不是味噌湯,午餐則是花生果醬三明治。
但母親也總是告訴我們,別人覺得「奇怪」的地方,正是我們之所以獨特的原因:我們承襲了兩種文化,能說兩種語言,我們在童年看過的世界可能比許多人一輩子看到的還多。當其他小孩對我們不友善,或是取笑母親的口音時,母親告訴我們,他們會這麼做是因為害怕或無知,人們天生會恐懼新事物,但絕不能無知,因為每個人都有能力透過教育和學習來獲取知識。家父雖然出生於美國,但有時候在美國也覺得格格不入。家父年輕時本著冒險犯難的精神加入美國海軍,也擺脫了小鎮思維的侷限。當我收養女兒的那天,我把她抱在懷裡,心想現在的世界終於比較友善,有愈來愈多人覺得外國口音很有趣,而且帶便當盒是件很酷的事情。但我知道,作為一個亞裔女孩,在這個紛紛擾擾的世界也有她自己要面對的、不同的挑戰。我希望能夠盡我所能保護她,但我知道我能為她做的,就是讓她摒除無知的迷惑,擁抱生命的奇遇和燦爛。-- AIT文化新聞組組長蘇戴娜
#AsianAmericanandPacificIslanderHeritageMonth
⭐️It’s Asian-American and Pacific Islander Heritage Month! AAPI diplomats are a vital part of the State Department, and especially our AIT operation! All month, we look forward to featuring the important contributions of our AAPI colleagues. Today we are sharing the inspiring story of Public Diplomacy Section Chief Diane Sovereign with you. (Diane is the one in the middle of the picture)
💞Some say that “only when you have your own children can you truly understand the love of your parents.” My Japanese mother and American father made many sacrifices for me and my two sisters that I never fully appreciated until I had my own child. When we left Japan, we were confused by California but felt desperate to fit in at our new school. My mother made beautiful bento boxes for our lunches, but we begged her for peanut-butter and jelly sandwiches because kids called us “weird.” My mother understood and put aside her own cultural preferences. We started eating cold cereal instead of miso soup for breakfast, and yes – peanut butter for lunch.
But she always told us that what other people called “weird” is what made us so special: that we benefited from two cultures; that we could speak two languages; that we had seen more of the world as children than many people see in their whole lives. When kids were unkind to us or made fun of my mother’s accent, she told us that they did it because they were afraid, or ignorant. Fear of new things, she said, was natural. But ignorance was unacceptable-it was a condition each person had the power to cure through learning. My father was born in the U.S. but sometimes felt like a stranger. He joined the U.S. Navy at a young age to seek adventure and escape the limits of small-town thinking. When I held my own daughter in my arms on the day I adopted her, I was happy that we now live in a world where foreign accents are interesting and bento boxes are cool. But I know she faces her own, different challenges as an Asian girl growing up in a confusing world. I want to protect her from everything. But I know the best thing I can do for her is to live a life that welcomes adventure and rejects ignorance. -- AIT Public Diplomacy Section Chief Diane Sovereign
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share
The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
california accent 在 Nut Chordtabs FC Facebook 的最讚貼文
เพลงนะเป็นผมว่าเป็นครูสำหรับคนที่จะเริ่มฝึกสำเนียงดันสายเลยครับ ใครยังไม่เคยฝึก ลองฝึกกันดูครับ แล้วจะรู้ว่านิ้วแหกเป็นยังไง 🤣
หนึ่งในสุดยอดเพลงที่โซโล่สำเนียงยากมาก
มาแล้ว...คลิปสอนโซโล่ Hotel California เวอร์ชั่นกีตาร์ไฟฟ้า
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เป็นเพลงอมตะ ตั้งแต่สมัยรุ่นพ่อเลย
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กดแชร์เอาไว้ฝึกกันได้เลยครับ
One of the best songs that solo accent is very difficult.
Here it comes... Solo clip Hotel California electric guitar version.
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It's an immortal song since my father's generation.
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Press Share to practice.Translated
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