Singaporeans are amazing, and i think in general, also quite shy. I love how #ThisisSG encourages to celebrate those who inspire and move us in some way. Today, as part of #ThisisSG, I want to share with you some people I know who have been spreading love and hope during this period! @karentan_flipflops making masks for Masks Sewn with Love, @dwaynelau telling stories to children, @franklymydear creating a safe space for women to tell their stories, @caroleneruth getting so many people together to send love to the behind the scenes people in the theatre, @kittytude is now answering Covid related enquiries as a call centre agent!!! There was waay too much to fit into the caption so i’ve put it in the photos! There are MANY who have been doing stuff, I cldn’t fit them all in! Lots of people in the industry are putting their creativity to good use; setting up little businesses, offering their transferrable skills to other industries, staying connected and looking out for each other. Venues moving quickly to gather information on how to work out processes and measures to keep everyone safe when they enter, arts companies brainstorming how to engage communities n create work tt comforts, distracts us, makes us laugh, makes us feel n connects us to one another.
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If you know someone who captures this essence of #ThisisSG, do share about them! It’s been so apparent tt all of us can make a difference.
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ps. Abt a year ago in another post, I had said, a hope I had for Singapore, was tt pursuing a career in the arts wldn’t just be seen as someone “daring to pursue their passion”, but as something tt is as essential to society as, say, a career in science. I’ve been watching Selling Sunset, Glow Up, a few of the theatre-company-made shows for online offerings like Murder at Mandai Camp by @sightlinesent, Two Songs and a Story by @checkpointtheatre, The Pitch by @pangdemoniumtheatre @singaporerepertorytheatre n @wildricesg switching between Friends and Phua Chu Kang reruns (w intro!! 😂), n I still have that hope! I also hope tt we will continue to see the importance of all our essential workers n medical workers n protect them through n after all this! 🇸🇬
#sp
同時也有1部Youtube影片,追蹤數超過4萬的網紅LT VLOG,也在其Youtube影片中提到,Before the start of our trip around the world, it is time to pack up our belongings and move them from Tokyo to Aichi Prefecture. We used a Japanese m...
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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
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share
i like to move it moving company 在 蘇浩 Anthony So Facebook 的最佳解答
網上又有「藍能否變黃」的第N回討論。其實當然有成功例子啦。
被催淚彈殻射到爆缸仍記掛著翌日能否帶女友和未來外母去旅行。這是個可歌可泣的愛情故事。
Crowdfunding for the project《Wounds of Hong Kong 港傷》https://bit.ly/2WuNqw2
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*for English please scroll down
雄仔(化名) 護士 31歲
2019年11月8日深夜,雄仔與女朋友路過旺角惠豐中心,遇上市民與防暴警對峙。他倆看見警察有異動,正想離開現場,但警方已開始發射催淚彈。彈殻擦過雄仔的頭部,即時血流如注,留下3cm的縫針疤痕。
「講起就激氣(光火),在前線受傷我反而開心。」當時旺角街頭有防暴警察列陣,市民向他們叫罵,「都係『撚狗』(調侃警察)。」然而「撚狗」會令警察暴怒,繼而報復,「現在他們把催淚彈當子彈用啦。」雄仔褂彩,同為護士的女朋友嚇得哭了,但他仍然冷靜,心想:「仆街了(靠)!明天還能飛嗎?」
因為參與抗爭,加上工時長,雄仔自6月以來都沒有好好陪伴女朋友,「她也是黃絲,覺得不應該拿這些事來詐型(發難),藏在心裏,但你會感受到她的不滿。」計劃已久的小旅行算是補償,還要帶著未來外母同遊,「始終是女孩,需要陪伴、關心,要有拍拖活動。」他去醫院縫針後,翌日按計劃出發。
雄仔的女友和家人知道他有上街遊行,卻不知道他是「家長」,助養了9名只有10幾歲的「子女」。8月18日的大型遊行,他到達終點後轉入夏愨道,看看有何事發生,「有人呼召社工,有個小朋友在哭、嚷著要自殺,因為屋企是藍絲。我想,我應該可以幫忙。」雄仔就此成為「家長」。子女又介紹其他子女,漸漸膝下承歡。
除了提供情緒支援,雄仔也為子女提供零用錢,「『文具』 好貴,我常叫他們以安全為先,有事就棄裝,再買過。」「仔女都好生性。要把塞錢偷偷攝入gear(抗爭裝備),怕他們不肯要。」「文具」就是防毒面具和濾罐,每套大約1000港元,「我有工作,可以撐住,只是花了積蓄,對不起女友啦。」至今他已花了6、7萬元在子女身上,「她知道我花了1000元都肉赤到死(心疼得要死),怎敢跟她說?」
需要接濟的少年很多來自建制家庭,因為政見而被斷糧草、甚至斷六親。 若雄仔晚生十幾年,他很可能是其中之一,「我爸是紅底。自細他就跟我說票投民建聯(親北京政黨),不然就脫離父子關係。」2016年立法會新界東補選,他仍是投民建聯的周浩鼎,2014年雨傘運動當然沒有參與,「之前的抗爭關於政制,可能我未感受到對人生自由有重大威脅。實行雙普選需要時間,香港社會始終未成熟。」直到政府強推《逃犯條例》修訂,他才感到刀刃在脖子上,「明明是一國兩制, 可以引渡逃犯,就會造成破窗。事事都要跟大陸接軌,要引入計分制(社會信用評分制度)嗎?」怕中港區隔蕩然無存。
在2019年11月的區議會選舉,雄仔首次「倒戈」,「大氣候是分顏色(政治立場)投票。我也不相信泛民主派,不信有救世主,但我就是要建制派輸。雖然我仍然覺以地區事務而言,建制派做到的比反對派多。」因為官僚樂於賣人情予建制派。雄仔有個親戚曾購買私煙,遇著海關放蛇,因為數量頗多,有轉售的嫌疑,房屋署以從事非法勾當為理由,想收回他的公屋單位。後來由建制派區議員出面求情,才得以過關,「如果找泛民議員幫手,房署不會給他面子。」
雄仔與家人住在狹小的公屋單位,因為要收藏大量「文具」,近月已搬到朋友家中。他與女友關係穩定,卻未想過同居,「租金貴,如果可以搬出來,就可以結婚啦。」「我女友很依賴、很需要照顧。待這件事(抗爭)完結再談吧,不然應付不了。她去旅行連目的地都不知道,帶行李去機場就是了。我計劃好行程,她便跟著我走。」
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Hung(alias) 31 years old Nurse
In the middle of the night of November 8th, 2019, Hung and his girlfriend passed by Wai Fung Plaza in Mongkok and stumbled upon a confrontation between citizens and the riot police. The police fired tear gas bombs when the two started to leave. Hung was hit by a bullet case on his head, leaving a three-centimeter long scar.
“I get so mad every time I talk about this incident. It would have been worthwhile if I was injured at the frontline in a protest,” said Hung. At the time, there were riot police on the streets of Mong Kok. The public was yelling and having arguments with them. That made the police angry, so they retaliated. “Nowadays, the riot police use tear gas bombs as bullets,” said Hung. Hung’s girlfriend, a nurse, was crying from fear when he was hit. However, Hung was calm, only worrying about if he would need to cancel their trip for the day after.
Because of his participation in protests and long working hours, Hung hadn’t spent much time with his girlfriend since June. “She is also a pro-democracy supporter so she understands and never complains, but I knew she was upset about me not spending enough time with her. The get-away trip we had planned was considered to be ‘compensation’ for her. We were also taking my future mother-in-law with us. As a girl, I understand she wants company, care, and time from her boyfriend,” said Hung. After getting stitches at the hospital for his wound, Hung went on the trip.
Hung’s girlfriend and his family know that he participates in protests, but they don’t know he is also a “parent” who helps “raise” 9 teenagers. On the protest on August 18th, he was at Harcourt Road after the end of the protest. He heard someone calling for a social worker. A kid was crying and saying he wanted to commit suicide because his parents are pro-establishment supporters. Hung thought he could do something to help. That’s how he became a “parent” and ended up helping more kids.
In addition to providing emotional support, Hung also helps them financially by giving them money. “ ‘Stationery’ is expensive. I always remind them that safety is the first priority. They should leave their gear behind if they need to run. They can always repurchase their gear. These are good kids, and they don’t always accept my offers, so I need to secretly hide money into their gear for them,” said Hung. The ‘stationery’ is actually protective gear like gas masks and filter canisters. Each set costs approximately HK$1,000. “I have a job, so I can afford them. I spent my savings, so it made me feel bad for my girlfriend, as I didn’t tell her exactly how much I had spent on the kids,” said Hung. Until now, Hung had already spent over HK$60,000 to HK$70,000.
Most of the kids Hung helps are from pro-establishment families. Having different political views, these kids don’t get support from their families and are left with no money and no place to stay. Hung thinks if he were born ten years later, he could have been one of these kids. “My father is an extreme Beijing-backed establishment supporter. He has told me to vote for Democratic Alliance for the Betterment (DAB), a pro-Beijing party since I was a kid. Otherwise, he would disown me,” said Hung. Up until the 2016 New Territories East by-election in the Legislative Council, he still voted for DAB’s Chow Ho-ding, Holden. Of course, he didn’t participate in the Umbrella Movement in 2014. He said the previous protests were about the political system, so he might not have felt a major threat to his freedom then. “It took time to implement universal suffrage, and Hong Kong wasn’t ready.” It wasn’t until the government forced the revision of the “Fugitive Offenders Ordinance” that he finally realized, “If the one country two systems could extradite the fugitives, this change would become a breaking point, with everything in line with the mainland China.”
In the November 2019 District Council election, it was Hung’s first time he didn’t vote for the DAB, “Voters voted based on their political stance. I don’t believe the pan-democrats but I don’t want the pro-establishment parties to win either. Although I still feel that in terms of local affairs, the pro-establishment parties had done more,” said Hung, since the bureaucrats are willing to give favors to the pro-establishment parties. For example, a relative of Hung was caught buying illegal cigarettes, he was suspected of reselling them. The Housing Department wanted to take back his public housing unit on the grounds of engaging in illegal activities. Later, it was the district councilor of the pro-establishment party that helped resolve the issue.
Hung and his family live in a tiny public housing unit, which doesn’t allow him to keep all the ‘stationery’ there, so he moved in with his friend. But he never thought about moving in with his girlfriend. “Rent is expensive. If we could afford to move out, we would get married. She is very dependent and needs to be taken care of. We will wait and talk about marriage later until the civil rights protests are over,” said Hung.
攝 photo:高仲明 Ko Chung Ming
文 text:蔡慧敏 Choi Wai Man
譯 translate:Joanna Ng
i like to move it moving company 在 LT VLOG Youtube 的精選貼文
Before the start of our trip around the world, it is time to pack up our belongings and move them from Tokyo to Aichi Prefecture. We used a Japanese moving company for the move and filmed our experience.
If you always wanted to know how a Japanese moving company works and what it is like to move in Japan you will learn a lot from this video.
The company we used is called Art Corporation and you can find more information on their website. Unfortunately, it seems to be Japanese only:
https://www.the0123.com/
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