關於 old traffic lights ，我們在網路上蒐集到這些相關的討論、資訊與評價

One Song a Day - Ice-cream Van (雪糕車). Translation and Song link in the bottom.
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A song about the thriving Hong Kong public housing estate life in the 70’s and 80’s, reflecting how kids grew up in a big city from the bottom. When you’re busy meeting ends, you know how to appreciate little things in life. Thankfully it is still the little things that can make my day.
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Ice-cream Van
(Chet Lam)
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Carrying an overweight school bag
Browsing new pencil cases in the store
Couldn’t wait for Spacecraft (TV show) to take offat 4:30
A family of seven in 300 square feet
Everyone had his own awesome corner
Soap operas triumphed every night
Listen, some chunky melody downstairs is coming close, calling all the kids to come down
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Feeling joy instantly whenever the ice-cream van approaching
Even homework would melt away
We played traffic light, jumping aero planes,
Paper scissors stones
Nobody cared about win or lose
We just kept laughing
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Focus shifted to my hair
I did’t care about the chilly weather
I would rather check out my cool self in the mirror
Wandering around, I didn’t want to go home
The night was falling, but loneliness was scarier
The gate key at home was chaining my heart
Loved it, hated it, sometimes I couldn’t even tell
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Feeling puzzled, Youth was not a laughing matter
Everyday I was on the telephone until late
We held hands for a few seconds when crossing the traffic lights
While the ice-cream van far away was not needed anymore, it’s too old
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Times have changed, Relationships thinned away
Not used to the new things yet they already got old
We go forward, scenery goes backward
The nuances are turning into a paper crane hidden in the memory
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Furnitures and plastic bags loaded up the truck
Boxes fillied with memories
When I moved away that day, I would rather go slow
When the truck passed through the ice-cream van
The old man’s business didn’t look so good
Then the van vanished in sight
Days gone by I was so busy trying to live through the chaos
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Too busy, I started forgetting how to smile
Car loan, home mortgage, utilities all added up heavy
We’re competing with traffic lights
When you had credit cards, I had money, he had a mountain of cheques to cash
We finally parted
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Things advance too fast
Transitions too speedy
Some senses degenerate
We always need to take off before we settle in
Been there done that
New things become old
We cannot recall certain things after too many farewells
Suddenly, some chunky melody is getting closer
And my heart feels a deep strike
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I almost have forgotten some simple laughters
Whenever I heard the ice-cream van approaching I would just melt away
I stop for a moment, see a little kid holding the cone contently
That happiness...
Nothing is more important than that
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在沒有選擇之下開心選擇，能夠練就情緒智商（EQ）；在沒有資源的環境長大，能夠加倍享受生命給你的一點一點驚喜；我的童年並沒有「快樂」這個概念，只是一個永遠不會被佛格華茲取錄的麻瓜學生，但簡單如差勁音響傳來的雪糕車音樂聲，竟然能給我一點點希望。其實，我從來都不喜歡那些軟雪糕，小時候也沒有閒錢去買那些零食，我嚮往的，只是外面的世界；現在我還是嚮往外面的世界，但我希望在有能力選擇生活時，仍然可以為微小的事情而滿足。
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雪糕車
（曲詞：林一峰）
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背上過重書包放學 看看店裡新到筆盒
穿梭機快快四點開
一家七口三百呎內 各有各繽紛一角
電視劇晚晚都精彩
叮叮噹樓下笨重音響漸大催促小子快下來
迷住了 頃刻開心了
每當聽到雪糕車靠近 功課也溶掉
紅綠燈 飛機一起跳 你出包我出剪他有'Dub'
輸贏繼續笑
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心思開始遷到髮上 再冷我也不怕著涼
穿新裝對鏡子欣賞
到處逛逛公園坐下 轉轉轉也不想歸家
天黑黑寂寞更可怕
鐵閘門匙就像一把心鎖 愛恨參半知多少
迷住了 青春不可笑
每天都與聽筒多接近 偶爾到天曉
紅綠燈 拖手的幾秒
遠處的雪糕車不再被需要 太舊了
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時代換了 人情淡了
還未習慣新的都已變舊了
沿途風景漸後退
餘音漸幻化藏在記憶裡一隻紙飛鳥
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傢俬膠袋充塞貨櫃 載滿了記憶的箱子
搬走當天確有點依依
車子駛經村口發現
老伯伯雪糕車生意不怎麼好 轉角已不見
一天天過去混亂中忙著應戰
忙極了 開始不懂笑
要供車要供樓水與電差餉也不少
紅綠燈街中爭分
你有卡我有錢他有疊支票 告別了
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進化太快高速過度 退化了一些感覺
未及著地又要起飛
看過聽過新的變舊 再見說了多次以後
一些感觸再也想不起
街角傳來笨重音響剎那間
一種騷動直搗心深處
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差點忘掉了 簡單的歡笑
只需聽到雪糕車靠近 便完全溶化掉
停住了 看著小伙子
滿足握著雪糕筒那幸福感
沒比這更重要
la...la...la...la...la...
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https://instabio.cc/ChetLamIceCreamVan

🇻🇳 HOTEL REVIEW ~ VIETNAM TOUR IN HANOI FOR CENTRALTIQUE HOMESTAY & TRAVEL 🇻🇳
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On my birthday month December, my beloved daughter, Carmen took mommy for our memorable 'Mother-Daughter Trip' together, ready to explore Hanoi & Saigon or Ho Chi Minh City for 2 weeks. 🇻🇳🇻🇳🇻🇳
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She had everything planned from A to Z - from where to stay, places to visit, explore and most importantly is the places to eat! We shall be on a fun foodie adventure, seeking out & exploring Vietnam's best food for a wide array of tasty treats in this holidays of ours. 😍😍😍
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Stay tuned to my coming blog posts as I shall be posting all the amazing places I had tried & tested throughout my entire food tripping eating all the way from city to city from Hanoi to Saigon Ho Chi Minh City! 😋😋😋
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Read my DAY 1 at Centraltique Homestay and Travel as we were delighted to be greeted with a lovely 100 years old, 7 rooms Boutique Hotel on the blog now! 🤩🤩🤩
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Blogged >> http://bit.ly/HOTELReviewCentraltiqueHomestayTravel
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Centraltique Living and Travel
CENTRALTIQUE HOMESTAY & TRAVEL
32 Hang Bo, Hoan Kiem
100000 Hanoi
Vietnam
Tel: +84 97 745 61 68
WEBSITE Centraltique Homestay and Travel
RESERVATIONS www.booking.com
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#FollowMeToEatLa #AuntieLillyTravels #FollowMeToEatLaInVietnam #AuntieLillyInVietnam #ChristmasHolidays #MommyDaughterTrip #TourTheWorldWithCarmen #CentraltiqueHomestayAndTravel

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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.