關於 if you have any difficulties please let me know ，我們在網路上蒐集到這些相關的討論、資訊與評價

Hi everyone! Tomorrow's my BIRTHDAY! And I have TWO BIRTHDAY WISHES. Can you help?

1) I am helping to set-up my adopted family's new house. I have been looking after them for the past 10 years. This beautiful family consists of 3 beautiful boys (13, 16 and 18 year olds respectively), 1 girl (19 years old - the sole breadwinner), and their parents. It a small bare house. No furnitures whatsoever. We will be starting from scratch with the house set-up.

If any of you have furnitures, house appliances, dining table, beds, mattresses, study table, paint anything that you would like to giveaway, please do let me know? Anything that would be useful for their new home. Or if you would like to maybe get one for them, let me know too? I will document the process of our house set-up ❤

2) I am looking for used laptops, desktops, CPU that any of you may have and would possibly be giving away. There are many teenagers in our school who will be enrolling into college soon but are not able to afford one due to financial difficulties. Almost all of the families I deal with are from low-income backgrounds and are genuinely in need of these items. If you do have one, let me know please?

These are both my BIRTHDAY WISHES. I am grateful for what I have and there is nothing else I would ask for. Your endless love and support have helped me to aid so many people and we are doing so much together.

This year, I can only think of fulfilling wishes of those who are really in need.

- to those of you who would like to help by funding a little contribution, it would also be great! I could use them to purchase some of the needed items.

Arwind Kumar - Maybank - 114067208613

Thank you!
Lots of love,
Arwind Kumar

【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

撐

張秀賢傘運九子案罪成之陳情書
（隨後附上英文版本 Please scroll down for the English version.）

法官閣下：

「也許很多老練的人會說我們只有理想，不求實際，但假若學生也變得世故，又有誰可以單純的為著理想，努力為社會帶來改變？」

「我們相信，堅持真普選，建設公平政制，是這時代賦予我們的責任。我們避無可避，亦退無可退。面對時代的挑戰，我們選擇毅然面對。」

在此刻，又回想起2014年九月，我在中大開學禮時向中大同學所說的開學辭。在庭上出席審訊的四星期，看到控方和其他辯方代表所播放的片段，又令人憶起五年前的種種。

參與緣起
當年三月，內閣「澄」獲得3431票，即近八成信任票當選第四十四屆中大學生會幹事會。當年參選，我們向中大同學提出政綱：只接受沒有篩選和只有合理門檻的選舉設計。我們也承諾，假如最終政改方案不符合基本標準，任內會全力推動、宣揚、積極參與和協助籌辦佔中運動。後來種種，其實都是實踐競選學生會時候，對中大同學的莊嚴承諾。

雨傘運動以「罷課不罷學」作為前奏，我們不上課，但一直學習民主理論；那星期以重奪公民廣場作結，學生縱身躍進公民廣場，換來卻是警察圍堵與多條罪名。當晚，抗爭者除了渴望爭取民主，更多人卻是高呼「保護學生」，只因為學生單純為理想而行，冀盼爭取更好的將來。

其實，香港人在爭取民主的路上跟學生一樣，在跌跌碰碰中學習，卻又單純不為自身利益。傘運初期，參與者買物資，自行分類垃圾，甚至設立自修室供學生溫習。大家總是守望相助，不計回報，畫面都在腦海揮之不去，令人感動。

分歧迷失
79天的雨傘運動，估計超過一百萬港人參與，成為歷來最大規模的民主抗爭。我們堅持和平、非暴力原則，堅守行動底線爭取民主政制。可是，香港政府無視民意，北京政府堅持 不義的「八三一方案」，最終使整場運動無功而還。

雖然在運動當中，我們看到許多觸動人心的片段，但抗爭曠日持久，矛盾積累就使分歧變成參與者之間的一道道裂縫。到佔領後期，或許我們都感到迷失、不安，不知運動未來如何是好。因為分歧，所以互相猜疑；因為誤解，所以互不信任；因為敵視，所以衝突漸生。昨天的因，今天的果，部分佔領者不滿我們的決策，出現「拆大台」等事件，溝通問題為日後更大的政治路線紛爭埋下伏線，延續至今。

雨傘運動落幕，民主普選尚未實現，我們卻為了政治路線的分野而互相仇視，甚至成為出言傷害，使人與人之間的傷口更難癒合。候選人和議員被DQ、旺角案，大家面對政權打壓，參選、投票、行動無用，無力感蓋過一切。幾乎所有人都感到迷失，不知道可以做甚麼才可以改變當下。

回歸初心

人非聖人，不可能所有人都心無仇恨。此刻說要放下過往分歧，不再爭吵，同樣並沒可能。我只希望當初走在同一條路上的人，不要越走越遠；未來的日子也許難捱，但讓我們記得最初無私奉獻的美好，努力修補彼此關係，理解各自想法與難處；唯有用寬容、溝通取代排斥、仇恨，回歸初心，我們才能走得更遠。

我還記得當天開學辭的這句：「我們所享受的，正正是前人選擇抗爭的成果；香港未來命運，在乎我們的選擇。」

當日的學生，今日都已長大成人，有人可能變得世故；然而，我知道大家仍舊記得初衷：共同決定自己的未來。即使我在五年前已知道，今天將會身處法庭的被告欄，為了這小城的未來，我還是會堅持最初的信念。跟戰友一起參與雨傘運動，我與有榮焉；縱使面對罪成刑責，我也會不亢不卑。

面對判決，大家可以傷心，可以難過。可是悲痛過後，大家仍要努力自強，化成推動力守護初心，帶著社會繼續前行。

－－－－－－－－－－－－－－－－－－－－

Your Honour,

“Perhaps pragmatists will say that we only talk about ideals and never rationalise on them. But if students were all worldly and tactful, who would be left to wholeheartedly pursue ideals and strive to bring changes to our society?”

“We believe we have to deal with the problems our historical moment proposes – the burden of our time. The burden that our time confers upon us is to insist on the implementation of genuine universal suffrage and to build a fair and just political system. It is impossible for us to escape or retreat from such attendant responsibility. We choose to face up to these challenges of our time.”

At this moment, I yet again recall the inauguration speech I gave to my fellow students at the Chinese University of Hong Kong Inauguration Ceremony back in September 2014. During the 4-week trial in Court, the recordings played by both the Prosecution and the Defence also sent me down the memory lane of everything that has happened 5 years ago.

The Beginning
In March 2014, our Cabinet “Claritas” received a total of 3431 votes, which was equivalent to almost 80% of the total number of votes of confidence, and was officially elected as the 44th Executive Committee of the Student Union of the Chinese University of Hong Kong.

When we were campaigning for the election, we published our political platform for our fellow students: we would only accept a form of universal suffrage that had a reasonable threshold and not one that precluded any screening of candidates. We also promised that, if the final constitutional reform proposal did not meet these basic standards, we would during our term of office exert all efforts to promote, propagate, actively participate and facilitate the organisation of the Occupy Central Movement. The subsequent events all took place in fulfillment of these solemn promises we had made to our fellow CUHK students during our Student Union election campaign.

“Boycott Classes, Not Education” was the precursor of the Umbrella Movement. Although we did not attend classes, we learned and educated ourselves on democratic theories. That week ended with the recapture of the Civic Square. Students leaped faithfully into the Civic Square, but what they had exchanged in return were a siege by policemen and numerous criminal charges. That night, protestors not only desired to fight for democracy, many more times they were calling upon authorities to “protect the students”, because students were simply acting upon their idealistic pursuits, hoping to secure a better future for all.

All Hong Kong citizens and students are actually just birds of the same feather on this tortuous road to democracy – we have to learn from our bumps and battle scars, yet our motives are pure and selfless. At the early stages of the Umbrella Movement, participants generously distribute resources, tidily sort their rubbish and even set up self-study areas for students to revise. They were always reaching out and helping those around them without expecting anything in return – these touching scenes have persisted in my mind ever since.

Divided and Lost
It was estimated that over one million people in Hong Kong participated in the 79-day Umbrella Movement, making it the largest scale democratic protest in this city’s history. We insisted to uphold the peaceful and non-violent principle, standing firm on the bottom line of our action in our quest for democracy. Nevertheless, the Hong Kong Government completely disregarded the clear calls of the public, while the Beijing Government hung onto the unjust “831 Proposal”, eventually leading to the ineffectuality of the Movement.

Although I have witnessed countless heart-warming moments throughout the Movement, as our protest became protracted, conflicts accumulated and turned participants’ differences into splits. Towards the end of the Occupy Movement, some of us perhaps felt lost, uneasy and uncertain about the Movement’s fate. As there were divided views, there were doubts. As there were misunderstandings, there were mistrusts. As there was hostility, confrontations gradually emerged. The fruits of today are the seeds of yesterday – since some participants were discontented with our decisions, incidents such as “tearing down the big stage” occurred. Communication problems paved the way for more serious disagreements regarding our city’s political road map, which persisted until this day.

The curtains of the Umbrella Movement have been long drawn. We have yet to attain genuine universal suffrage. Yet, we harbour animosity towards each other due to divergence in political stances; we even vocally attack each other, making the wounds among us even more difficult to heal. In the face of recent events such as the disqualification of Legislative Council members and candidates, the Mong Kok Case and different kinds of political oppression, our sense of helplessness took over. Actions aiming to bring about systematic changes, including participation in elections, voting and engagement in the political discourse, were reduced to futile efforts. Pretty much everyone feels lost and unsure of what he could do to effect meaningful changes in this day and age.

Tracing Back to the Original Intention
Human beings are no saints. It is impossible that we do not feel any antipathy towards others. It is just as impossible to tell people to let go of their differences and to not fight each other anymore. My only wish is that people who started on the same path will not grow any further apart. The days to come may be very difficult, but let us not forget about the beauty of our selfless sacrifice at the start. We should work hard on repairing relationships with each other and understanding each other’s thoughts and difficulties. We can only go further if we replace rejection and antipathy with tolerance and communication. We can only go further if we hold true to our original intention.

I still remember this phrase from my inauguration speech: “what we get to enjoy today are the outcomes from our forebears’ choice to protest; the future of Hong Kong depends on our very own choice.”

The students then are now all grown up. Some of them might have become more seasoned and tactful. Nonetheless, I know that we all remember our original intention: together we choose our own destiny. I knew as early as five years ago that I would eventually find myself at the defendant’s dock today, but for our small yet precious city’s future, I remain true to my originally intention. I am incredibly honoured and privilege to be able to participate in the Umbrella Movement with my fellow comrades. In spite of criminal sanctions, I will remain neither condescending nor servile.

With the impending sentence, I know many of you would feel sorrowful and miserable. But when it is all over, I hope that you will all remain resilient, harness your feelings and transmute that energy into a positive force that safeguards our originally intention. I count on you to continue leading our society forward.

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6個 留學生害怕的事情 新加坡版｜6 things that most international students are afraid of Singapore version

Hello 大家好！我是叉叉！

不知不觉已经在新加坡留学8年了～目前在新加坡的一家大学读书.
在网络上看到好多关于欧洲留学的讯息，关于cultural shock 之类的讯息也很多，可是关于新加坡留学的讯息缺好少～

虽然一样是亚洲国家，但是新加坡的文化，环境还有本地人的生活习惯
都跟中国大大不一样哦！

我记得我刚到新加坡留学的时候就遇到过好多让我感到害怕的事情，也遇到很多问题。虽然新加坡不像其他国家想日本和韩国那样在文化上与中国有超级大的不同，但是在新加坡的前几年我也经常遇到一些普通留学生都会遇到的问题~

这次特地做了这个影片，总结了6件在我印象中让我感到害怕的和做起来很困难的事情。

希望这个影片在娱乐大家的同时也提供了关于留学生活的一些讯息哦！

Hello everyone， I am chacha.

Time really flies and I have been studying in Singapore for 8 years.

I am currently studying in a local university in Singapore.

I have been searching study abroad information online and a lot of them are about study abroad in European countries. Many of them have discussed the potential problems/challenges that you may face if you choose to study abroad, such as cultural shock.

Although I am studying in an Asian country, and you may t

To sum up, it is really a great experience to study in Singapore. If you want to know any specific stuff related to Singapore, or you want more sharing on study abroad, please do let me know and comment.

I will see you very soon!!

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Keywords: 留學生活， 海外，讀書，為什麼， 理由，好處，經驗，新加坡，中國留學生，學校，語言，文化，study abraod, overseas, experience, reasons, why, tips, university, culture, languages.