關於 never meant to hurt you ，我們在網路上蒐集到這些相關的討論、資訊與評價

The year of 2012...
I graduated from Norco college, didn’t know what to do with my career. I fear, fear that I will starve being an artist.

I came back to taiwan and work with my dad. The family member I always felt distance to as a child.

My dad gave me the little of Manager. He wanted me to do whatever my vision was and always trusted me. He trusted me to interviewed people, design logo, manage website outlet, go to trade shows, etc.

I know deep down he wants to pass down the knowledge and business. More importantly, he wants me to get to know his life since he’ve always been a mystery the family.

But, when I worked with him, I saw his sorrow and the true intention behind arming up his kind heart with superficiality like nice car, nice motorbike, nice food, etc. ( I can go on and on but TMI...)

Anyway, eventually I left. I went to New York and got scholarship from @thecollectivenyc to pursue what was best for me at that moment.

I went on my own exploration path, worked at Wall Street, using my street knowledge, and some abstract business talk with him. I sometimes think of how he’s doing? But I never really ask much... Even though we don’t talk much& have difficulty express our love for each other’s, but we always want the best for each other.

I always remember his last couple sentences when he came to the 桃園airport to pick me up. He told me, 飛得越遠越好 一路好走 (Fly to the furtherest, leave us! )

I was a bit confused and kind of hurt, and mad at him, because I just came back to taiwan to visit family and that’s what his response was?!

Years after, I internalized and rethink what he meant. It’s beautiful! He just want me to enjoy life with no 掛礙 worries about family

Thanks to dad always looking after, and tries his best to take care of us. Even though 家家有本難唸的經( Family dynamics always has its own complication)

I can truly said you’ve planted a seed in me.

A free spirited, abstract, kind, and creative force, that won’t stop spreading until the body collapses itself.

I no longer fear of who I am, and doing things I am passionate about.

Thank you& I love you.
Forever& ever.

一路好走, 走得越遠越好!

R.I.P
#RIP #dad #storytelling

【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

"My Nasty Daughter", he said with a smile on his face.
he has always been impressed on how bad-ass of a person his daughter he had and how similar they both were.

they did not have the luxury of living under the same roof, the luxury of him cuddling her and being there for her if she ever wakes up from her nightmare and telling her it's all okay.

but they did manage to spend his last couple of years together,

In that short span,

he managed to get her hooked on tying knots and having fun with ropes just because he finds it fun and needed someone to like it as much as him,

he made sure she learned how to coach people to swim,

he made sure the mini-fridge of his is always stocked up with soy milk and her milo, because unlike him she does not like coffee,

he made sure he irritates her every single day, someday he shoots her from across the pool with toy guns, some days he just grabs her thighs super hard knowing she just did her legs-day in the gym,

he made sure he'd slide in some random life lessons hinting the daughter to change,

he made sure she knew that she was his life, even though he wasn't there for a big chunk of it,

he made sure people knew how beautiful his daughter is by printing out her pictures and pasting it in his pool counter so everybody can see how proud he was of his daughter,

he made sure his daughter will always have something to do in the pool by constantly messing up his tables and telling his daughter it's just 'organised mess',

he made sure that she knew that she was the most important thing to him in his whole life.

I have the weirdest yet coolest dad,
he was away from my life most of the time but yet he knows me the best,
he knew all my looks and what all of them meant,
he knew what I wanted in life and he never said no or discourage me no matter how absurd my dreams were,
he sure laughs at how pity my students are going to be when i told him I'm going to be a teacher,
he made sure he warns any guy that tries to hit on me,
he made sure he scares the shit out of any random guys who are interested with his baby girl,
he made sure people know if they hurt his daughter, they will have him to deal with,
he tells me random stories all the time, so random it would be how he decided to pour detergent powder in a public fountain and walked away just to cause chaos,
he loves his knives and his toy guns or shall i say he loves his toys because he would spend hours playing with them,
he is so random he likes to blast music right on my face just to give me a scare.

he made sure i go after what i want in life,
he made sure i wasn't too scared to live after knowing i was once involved in an abusive relationship,
he made sure i stepped up for myself,
he made sure i knew i was never the problem if i came out from relationships, he would simply say, nobody can handle my super intimidating daughter, i think Malaysians aren't up to your standards, expand your search, get a white boyfie !

he always giggles and calls me his nasty daughter and i call him satan for he is the main culprit for my nasty genes.

he always knew what to say to me even though i never mentioned my problems to him, he just knew.

I could not felt anymore broken when i was told he left me, he left the world.
knowing that nobody would ever know me as well as he would,
knowing that nobody would give up everything instantly for me as he would,
knowing that nobody would give up his life protecting me from ever getting hurt again.

I will always remember how happy you were walking around with that nonsense goggles i've gotten you and the high pitched scream when you got a skull-shaped wooden container.

i miss you papa.
i really do.
but i know you're here with me, protecting me whilst holding some big ass knife ;)

(Lyrics)
I just wanna hold you tight tonight
Baby, don't ask for reasons why
I promise I'll love you till I die
And shine, you're so bright

Your eyes, your lips, your everything I see
I don't wanna miss this moment

Just stay by my side
I don't wanna lose you cause I'm all yours

Oh, girl, you opened my heart
My love is never gonna change
I'm a lucky guy, you know it
Don't be afraid, I'm here for you

Life is long
We're good to go
You're not alone
It's time to dance

Kiss me now
I'll tell you how
Let's make out all through the night
Don't mess around
I'm serious, your beauty knocked me out
Falling in love again

Just stay by my side
I don't wanna lose you cause I'm all yours

Oh, girl, you opened my heart
My love is never gonna change
I'm a lucky guy, you know it
Don't be afraid, I'm here for you

This road is for us
In love with my angel
Dreaming of you
Want you to know who you are
My love will show us our way

Baby, you're my superstar
Let me love you more

And I know we're meant to be together
Believe me, nothing will hurt you forever
You're the only one who makes me happy everyday
Baby, just don't cry
I'm here for you

=================================================
Executive Producer and Lead Vocalist:
George

Backing Vocalist:
Ryoji Takarabe
https://www.youtube.com/user/0607RJ

Composer & Arranger
/ All Instruments played by:
DAIKI_AWSM.
https://www.instagram.com/daiki_awsm/?igshid=1pv2u1a0ub86v

Lyrics Director:
Shown
https://www.youtube.com/channel/UCuy8vwB079eI6ubhzlMBdxw

Hair & makeup artist:
Takeuchi(P's)
https://www.instagram.com/shiny629/

Director & Cinematographer & Editor:
O-LuHA
https://twitter.com/o_luha

【世田谷お兄さんズ】サブチャンです↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓
https://www.youtube.com/channel/UCMWnUxQIOeMRFkKzaJzkADg

【いいね！JJコンビ】オンラインコミュニティです↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓
https://community.camp-fire.jp/projects/view/227750

新しいチャレンジは「ダメ」ではなく「イイネ」という言葉とマインドから始まる。学生、就活生、社会人、どんな人でも、どんなに小さいと思われる夢でもメンバーも応援しあえるコミュニテイ！
【ツイッター】
ジロー
https://twitter.com/jiroisjiro
ジョージ
https://twitter.com/CB_george12
【インスタグラム】
ジロー
https://www.instagram.com/jiroisjiro7/
ジョージ
https://www.instagram.com/cb_george12/

【デザイン/撮影　フミタカ】
インスタグラム
https://www.instagram.com/fumitakasan/
ツイッター
https://twitter.com/fumitakasan

チャンネル登録よろしくお願いします！！

hi ! back with another cover :) hope u guys liked it because I love LAUV's new album! tell me what u guys think ! btw, I'm probably gonna release some of my original stuff soon. haha I took this chance to practice my writing, recording and mixing skills, so please please look forward to it, guess? ok bye. take care guys !

Thank you for watching

lyrics:
When we met
I wasn't me
I was so numb
Yeah, I was so lonely

Out on the run
I wasn't free
And you came along
But you couldn't save me

My hesitation and holding my breath
I led you in to the garden of my loneliness
Wish that you left
Before it all burned down

Oh, Julia
I'm sorry what I do to you
I push and pull and mess with your head
Then get in your bed 'cause I'm weak, deep down
Oh, Julia
I wish I never lied to you
I never meant to hurt you like that
And if I could go back I'd leave you alone

FIND ME ON :
Instagram: instagram.com/yiwentyw (@yiwentyw)

印象中聽起來總是輕盈甜蜜，這次翻唱時才發現它在敘述第三者（亦或被劈腿的第二者）矛盾糾結甚至我解讀為病態的三角戀心境．因此，我試圖詮釋一個略為歇斯底里的版本．有愛有情慾，有痛有怨又帶有憐憫．
相信大家比較熟知的都是frente純吉他版，他們選擇用最清澈純真的方式去詮釋如此複雜的本體．但我發現還有歡樂Disco電音原曲New Order：https://goo.gl/meAC3X；還有搖滾嘶吼版The Speak：https://goo.gl/Z8qwi8；不妨聽聽看，這兩個版本都具備誇張的反差．
最後，歌詞好美，我附上引自部落客randle（一個窮學生的音樂部落格）的中譯版，細細觀察的話，就會發現每個前後句都存在矛盾的意識．所以如果要為這首歌下一個註解，我會說，就是『矛盾』．而矛盾是世上再沈重不過的事情，凌駕於事外，存在於不可控的潛意識中．是心魔．
Bizarre Love Triangle 錐心紛歧的三角戀
中譯引自：https://goo.gl/GJsfU9
Every time I think of you
每次我一想到你
I get a shot right through into a bolt of blue
我就像被閃電打中心房，重重地跌入憂鬱
It's no problem of mine but it's a problem I find
那不是我本來的困擾，卻是我自找的煩惱
Living a life that I can't leave behind
於是我就這麼生活著，再也無法逃離
There's no sense in telling me
你無須告訴我
The wisdom of a fool won't set you free
並不值得為了他這麼做啊
But that's the way that it goes
那就是我生活的去向啊
And it's what nobody knows
那是旁人無法明瞭的生活
And every day my confusion grows
即使每一天，我仍處在無止盡的困惑裡
Every time I see you falling
每一次我見到你的沉淪混亂
I get down on my knees and pray
我會跪下在你身邊祈禱
I'm waiting for that final moment
我總是等著終有一刻
You'll say the words that I can't say
你會說出我開不了口的話
I feel fine and I feel good
對於這樣的決定，我覺得很好很愉快
I feel like I never should
但我認為我不應該覺得好
Whenever I get this way, I just don't know what to say
因為每當見到你，就不知道該說些什麼
Why can't we be ourselves like we were yesterday
為什麼我們再也無法像從前
I'm not sure what this could mean
我無法確定這樣的你代表了什麼
I don't think you're what you seem
我甚至不認為這是真實的你
I do admit to myself
我只能對自己承諾
That if I hurt someone else
假如我的傷害了任何人
Then we'd never see just what we're meant to be
那麼我會選擇離開一切，不再繼續下去

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