關於 head over feet cover ，我們在網路上蒐集到這些相關的討論、資訊與評價

今日教大家
📌 豉油雞
📌白灼牛肩胛
📌 砵仔糕

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和牛凍肉資料👉https://bit.ly/3adssZ3
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$1000送開合式矽膠隔熱墊
$2000再送可調適量匙

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豉油雞
材料: 光雞一隻，薑.蔥.乾蔥頭.老抽二湯匙，片糖半塊，半碗紹興酒或一至二湯匙玫瑰露，細半碗生抽
香料:桂皮.香葉.一粒八角。
做法:
1 洗淨雞放滾水中淥一淥後即放冷水中過冷河(雞身較爽)
2索乾雞身內外水份用2大湯匙老抽內外塗勻雞身，將二片薑及蔥放雞肚內
3薑.乾蔥頭.桂皮.香葉八角放鑊中爆香加半碗紹興酒及細半碗生抽加半塊片糖煮溶
4將汁料倒入電飯煲雞胸向下放煲中，
每10分鐘轉雞身一次，共30分鐘
English Version
Soya Sauce Chicken in a Rice Cooker
(YouTube video starts at 4:30 )
Ingredients:
Whole chicken - 1
Shallots
Ginger slices
Cinnamon stick
Bay leaf
Star anise - 1
Garlic, optional
Green onion - 2 bunches (1 bunch for the cavity of chicken. 1 bunch to put in the rice cooker inner pot.)
Seasonings:
Dark soya sauce - 2 tbsp
Shaoxing wine - ½ a bowl (or you can use Chinese rose wine but only use 1 – 2 tbsp due to the strong taste)
Light soya sauce - ½ a bowl
Chinese brown sugar - ½ a slab (or you can use Chinese rock sugar but less richer in flavour)
Methods:
1. In a pot of boiling water, grab the whole chicken by the neck and dip it into the boiling water a couple of times and lastly submerge the chicken head into the boiling water. With a pair of chopsticks, secure the chicken neck and transfer to pot of ice-cold water or flush cold water in the sink to stop the cooking process.
This step will result in firm skin texture, to prevent the chicken skin from breaking, and to better absorb the color from the dark soya sauce.
2. Gently pat dry the whole interior and exterior of the chicken with paper towel.
3. Chop both chicken feet to prevent them from sticking out from the rice cooker. Set aside.
4. In a bowl, add in the whole chicken and coat the exterior and interior of the chicken with dark soya sauce. Stuff a bunch of green onion and two big slices of ginger into the cavity of the chicken. Set aside.
5. In a heated wok, add in less than a tbsp of oil, shallots, ginger slices, cinnamon stick, bay leaf, and fry until fragrant and slightly charred then transfer to the rice cooker inner pot.
6. Add the chicken feet and the whole dark soya sauce coated chicken into the rice cooker inner pot with the chicken breast facing down. Add in Shaoxing wine, light soya sauce, 1 bunch of green onion, and Chinese brown sugar. This step is done or you can take an extra step to heat up the sauce in a pan. Pour all the sauce out from the rice cooker inner pot into a pan and bring to boil then return the sauce to the rice cooker inner pot.
7. Put it in the rice cooker and cook for 10 minutes, after 10 minutes flip the whole chicken over on its side and cook for further 5 minutes for each side for a total of 10 minutes. After 10 minutes, TURN OFF the heat and let the chicken sit in the rice cooker for further 10 minutes. Total cooking time 30 minutes.
8. Let the chicken cool for 20 to 30 minutes before cutting into pieces. Pour the liquid from the rice cooker to a cooking pot and bring to a boil and let it reduce to a thick sauce. Drizzle sauce over chicken. Serve.
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📌白灼牛肩胛
材料
📌 牛肩胛一碟（按照自己份量需要）
📌 薑一至兩片
📌 葱兩至三棵
📌 辣椒適量
📌 鼓油半碗
📌 麻油一茶匙
📌 生粉少許
📌 酒一湯匙
📌 清水
做法
1. 薑片切條再切粒。
2. 開火煲滾熱水，把薑粒和酒放入煲內，煮滾。
3. 牛肩胛一片片分開，加入生粉撈均。
4. 葱切絲用水稍浸，之後瀝乾。辣椒切片或粒，之後和葱撈均。
5. 用碗把鼓油，麻油和少許步驟4的葱和辣椒，撈均。
6. 準備一隻碟，放入步驟4剩餘大半的葱和辣椒鋪底，備用。
7. 牛肩胛一片片放入煲中，灼大約10-15秒。
8. 把牛肩胛放在已鋪底的碟上，之後再次鋪上步驟4餘下的葱和辣椒在面。
9. 最後倒入已調味的鼓油（步驟5），即成。
English Version
Poached Beef Chuck Slices
(YouTube video starts at 30:15)
Ingredients:
Beef chunk slices
Ginger - diced
Shaoxing wine - 1 tbsp
Cornstarch
Spring onion - wash, soak in water and rinse well
Fresh red chilli
Dipping sauce ingredients:
Light soya sauce
Fresh red chilli
Sesame oil
Green onion
Methods:
1. On a plate, separate the beef chuck slices and mix thoroughly with corn starch. This is to make the meat more tender.
2. In a dipping bow, add in light soya sauce, sesame oil, fresh red chilli, green onion, and mix well. Set aside.
3. In a cooking pot, add in water, diced ginger, Shaoxing wine, and bring to a boil. Add in the beef chuck slices and poach them briefly and transfer them to a serving plate covered with green onion and red chilli pieces. Garnish with more green onion and serve with dipping sauce or drizzle dipping over the plate. Serve.
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📌砵仔糕
材料：
70 g 粘米粉
一湯匙粟粉
85 ml水
椰糖一塊
片糖1/4塊
150ml 水
紅豆(早一晚浸過夜，然後用水浸過紅豆煲滾至熟,不要開蓋，焗一個鐘, 盛起紅豆備用)
做法：
1) 先把小碗輕輕掃油，蒸熱
2) 粘米粉，粟粉放在碗來,先放入1/3的85ml水入碗內，用手把水搓入粉內，再加入1/3的水、將水搓入粉內至成團，再加入餘下的水，搓均，放一旁備用
3) 切碎棷糖及片糖，放入煲內，加入150ml 水，煲至糖完全溶解
4) 糖水大滾後，先再拌勻粉漿，然後分三次把已煑滾糖水撞入粉漿，邊撞，邊攪拌至糖水完全加入
4) 把紅豆分入已蒸熱的小碗內，然後倒入粉漿
5) 用保鮮紙包蓋著小碗
6)大火蒸15至20分鐘至熟
Red Bean Pudding (“Put Chai Ko”)
(YouTube video starts at 14:08)
Ingredients:
Rice flour - 70g
Corn starch/flour - 1 tbsp
Water - 85ml
Red bean - 50g – 60g (soak overnight, cook till tender and leave the lid on to cook further without the heat. This will preserve their shapes and still tender inside.)
Sugar mixture ingredients:
Palm sugar &/or Chinese brown sugar - 60g a small piece (crush into tiny pieces)
Water - 150ml
Water - 1 tsp, optional (larger pieces of sugar will take longer to melt so add an additional 1 tsp of water to the melted mixture to make up for the evaporated water.)
Methods:
1. In a heat-proof mixing bowl, add in rice flour, and corn starch. Slowly add in a bit of water and knead well to let the rice flour absorb the water and MUST form a dough like texture then add a bit more water and continue to knead until the rice flour has absorbed the water and becomes dough like texture again. Continue with this process until the water is finished. Set aside.
This kneading process will give a firm, bouncy texture to the pudding whereas simple mixing all the ingredients together without this kneading process will be soft and sticky.
2. Prepare 6 small bowls. Brush each with a bit of oil and steam them. Steamed bowls will cook batter evenly.
3. In a cooking pot, add in palm sugar, Chinese brown sugar, water, and cook until sugar has melted. Optional to add 1 tsp of water if sugar takes longer to melt and more water has evaporated. Bring to a boil.
4. Add boiling melted sugar mixture into Step 1 rice flour mixture and mix well. Set aside.
5. To assemble, add the red bean first to the 6 small steamed bowls. With a ladle, add and divide mixture from Step 4 evenly among the 6 small bowls. Make sure to keep stirring the mixture each time you add to the small bowl to avoid the sugar and rice flour mixture from separating.
6. Cover the bowls with plastic wrap and steam 20 minutes.
7. Let puddings cool before removing the bowls. Insert skewers into the sides of the puddings. Serve.

GOOD INFO...
Laa ni baru tau... Huhu

PETUA MENARIK .. MEH BACA!
...Continue ReadingGood info...
Now I know... Huhu

INTERESTING TIPS.. COME READ IT!

* Credit: Shairy Hanapiah

Listerine is among the mandatory things I will buy and put in the toilet at home. I've always been listering with Listerine to keep my mouth fragrant. I taught my 9 year old to do the same thing and it's really good for the teeth of kids who love to eat sweet things.

Apart from being used for garment, Listerine also has some other good and effective uses that you never knew. Let me share 10 ways of other Listerine uses that you can practice.

1. Removes bad smell on armpits
Pour some Listerine into cotton balls or white cloth and scrub your armpits. Listerine will remove your bad smell and give you a fresh smell. Then your wife likes to be hugged always.

2. Removes itchiness due to bug bites
Apply some Listerine to areas that are bitten by bugs like an ant or mosquitoes. It helps to relieve itchiness and prevent bite effects from becoming bruised. If you're itchy to marry differently, this way is not effective.

3. Killed germs in toilet bowl
Listerine not only can exterminate the germs in the mouth, but also in your toilet bowl. Pour some Listerine and scrub the toilet bowl with a brush. Germs die, your toilet bowl smells good too. Don't you get excited to kiss the toilet bowl later, naya.

4. Helps to remove dandruff
Wash your hair with some water, then pour Listerine and taste on it. Massage and swipe the Listerine all over the hair until it feels cold. It's fun. Wrap head with towel for 20 minutes. After that, rinse your hair again. More savings than you pay treatment for scalp at the salon.

5. Removes fleas in animal hair
Many cat fans are having flea issues in their pet hair. Can mix Listerine with water and spray into the cat's hair. In addition, it can also be mixed with bath shampoo to use while bathing the cat. Confirmed to run the flea run later defeat Usain Bolt.

6. Cleaning acne face
If you've bought all sorts of expensive facial cleansers but your pimples don't disappear, don't scrub them with the sand paper Try to use Listerine. Apply a little all over the face every morning and night. Those stubborn acne will shrink and disappear. Now you look different from the road.

7. Slaying germs in brush teeth
You guys always brush your teeth to remove dirt and germs in your teeth, but what if the brush you use is a gummer? Put some Listerine into a glass and soak your toothbrush for 2-3 hours to kill all the germs. Then you can use it without being waisted.

8. Clean up tv screen or computer monitor
Spray some Listerine on the cloth and apply it on your TV screen or computer monitor. Guaranteed that all dust and fingerprint effects will be lost in a blink of an eye. CSI Las Vegas won't make it to any case.

9. Removes bad odor in the trash can.
If you're really lazy to wash the garbage bin in the house and you don't like the bad smell of trash, take the cloth that is not used and soak with some Listerine. Then cover the barrel by putting the cloth on it. The listerine was going to absorb the smell.

10. Relieve your leg problems
Pour Listerine into the tub and mix some water and white vinegar. Soak your feet for 30 minutes into the tub. All the fungi and germs that cause your feet to smell bad and stinky will disappear. Even the leg skin will be prettier and healthier. Then you'll deserve to wear Adidas NMD shoes.

These are some other ways of using Listerine. You guys can try. If you're not diligent to try, buy the Listerine for age.

#shareinfodarisebelah
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【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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⬇️⬇️English recipe follows⬇️⬇️
上湯龍蝦伊麪

材料：
龍蝦1隻
伊麪3個
清雞湯1升
牛油2粒

處理：
1. 龍蝦，先放尿，用牙籤從尾部中間戮一下，放出尿液，打直1開2。
2. 龍蝦頭部，除去腸及鰓。
3. 龍蝦腳，用剪刀剪去。
4. 龍蝦，開住水喉，沖洗乾淨，放碟上。
5. 撲少許生粉在龍蝦肉上。
6. 清雞湯內加入雞粉1茶匙。

烹調：
1. 大火在鑊中燒熱油3湯匙。
2. 放龍蝦，生粉面向下，開始炸。
3. 加入牛油增加香味，繼續炸。
4. 另一邊，大火煲滾1鑊水，準備淥伊麪。
5. 龍蝦，一面已炸至金黃色，反轉繼續炸。
6. 龍蝦已炸好，倒去鑊中的油。
7. 加入雞湯700毫升在龍蝦中，冚蓋煮滾。
8. 另一邊，水已煮滾，放伊麪煮至軟身，擎乾水，放入龍蝦的鑊內，龍蝦放在伊麪上，煮2分鐘，讓麪吸收湯汁。
9. 完成，上碟，可享用。

Lobster E~fu noodles in chicken broth

Ingredients:
Lobster 1 No.
E~fu noodles 3 Nos.
Clear chicken broth 1L
Butter 2 Nos.

Preparation:
1. Lobster, release its urine. Use a toothpick pinching vertically at the middle of its tail to release the urine. Divide it vertically into 2 shares.
2. In the head of lobster, remove its intestines and gills.
3. Feet of Lobster, cut by a pair of scissors.
4. Lobster, rinse thoroughly under running tap. Put on plate.
5. Put little tapioca starch on the flesh of lobster.
6. Put chicken powder 1 tsp in the clear chicken broth.

Steps:
1. Heat up oil 3 tbsp at high flame in wok.
2. Put lobster, side of tapioca starch faces down, start deep~frying.
3. Put butter to enrich flavor. Continue deep~frying.
4. On the other side, heat up a wok of water at high flame. Get ready to cook the noodles.
5. Lobster, one side has been deep~fried into golden yellow, flip over to continue deep~frying.
6. Lobster, has been deep~fried well, pour away oil in wok.
7. Add chicken broth 700ml into the lobster, cover up the wok and wait for boiling up.
8. On the other side, water boils up. Soak the noodles until it turns soft. Hang dry. Put it in the lobster. The lobster is to be put on top of noodles. Cook for 2 minutes, so the noodles can absorb the flavor of soup.
9. Complete. Put on plate. Serve.

清蒸?魚咀?https://youtu.be/PpgWf-CkKcs

蒸急凍魚?
https://youtu.be/ELwNIrzBz9k

急凍石斑柳?蒸魚
?youtube熱爆影片?https://youtu.be/HpvyluPK92g

超級市場?急凍鰈魚?蒸https://youtu.be/AZWddOO8xmo

蒸/煎 比目魚?https://youtu.be/lMBb_Ngu9DQ


龍蝦芝士脆麵https://youtu.be/CgJYJFFlqwk

大蝦球芝士脆麵https://youtu.be/fcCRBNVxpXs

?海鮮??( 系列)播放清單
https://www.youtube.com/playlist?list=PLkU_SdeTtB_Q4NYniB9x0-Foi8weCFg61
?這系列全部影片都有中英文翻譯

Lobster Noodles? How to Prep Lobsters?How to Avoid Soggy E-Fu Noodles ❗
龍蝦麵?怎樣處理龍蝦?怎樣防止伊麵過淋❗


Lobster Noodles