關於 swept the floor with them ，我們在網路上蒐集到這些相關的討論、資訊與評價

Setiap hari bangun pagi,
Aku buka lampu, dia tutup aircond.
Aku masuk tandas, dia ironkan baju.
Aku solat subuh, dia sediakan sarapan.
Aku sarapan, dia masuk tandas dan solat subuh.

Masuk kereta,
Aku drive, dia bukakan makanan dan air,
Aku buka bluetooth, dia bukakan lagu,
Aku tengok kanan nak lintas, dia tengokkan kiri,
Aku menguap ngantuk, dia urutkan bahu.

Ada extra gaji,
Aku belikan hadiah utk dia,
Dia dapat job, ajak makan Seoul Garden.
Pergi ambil exam takaful, dia teman.
Pergi jalan TAR cari barang, aku teman.
Aku short duit, dia topup kan.
Aku buat investment, dia execute kan.

Dekat rumah,
Dia masak, aku potongkan bawang.
Aku masakkan maggi, dia buatkan ayam masak lemak.
Aku sapu lantai, dia mop kan lantai,
Aku belikan makanan kucing, dia mandikan kucing.
Aku ambilkan keropok, dia buatkan kopi.
Aku basuhkan baju, dia lipatkan baju.

Bila sakit,
Aku accident motor, dia bersihkan luka.
Dia operate apendiks, aku pimpin tangan ke tandas.
Aku demam, dia sediakan ubat.
Dia demam, aku sediakan kain basah dahi.
Aku sakit kepala, dia bawakan panadol.
Dia sakit gastrik, aku bawakan minyak panas.

Yang sebenarnya, dia boleh je buat semua benda sendiri, but of course bila dah kahwin ada give and take. Teammates macam Keluang Man dengan Tiong Man, Batman dengan Robin, Tom dengan Jerry. To have someone who got your back.

Bukannya dia tak boleh buat semua tu, tahun 2020 ni, Perdana Menteri perempuan pun byk dah ada cuma setelah selesai akad nikah, walaupun suami masih ada tanggungjawab lain-lain, tapi untuk seorang isteri, tanggungjawab kpd suami adalah segala-galanya untuk dia, hidup dia.

Lets just appreciate them and give them more & more setiap hari. Beri masa, perhatian, kasih sayang walaupun dah bertitle pengantin tua/veteran/lama. Because they deserved it, and we owe them that.

Sebab kalau bukan kita, siapa lagi?

Thank you Watiey Abdullah for the love and everything ❤️

Kredit: farhad hassan
Everyday wake up early,
I turn off the lights, but they turn off the air conditioner.
I entered the toilet, she ironed the shirt.
I pray for dawn prayers, he prepares breakfast.
I had breakfast, he entered the toilet and dawn prayers.

Get in the train,
I drive, she opens food and water,
I'm open bluetooth, he opens the song,
I look at the right to cross, he looks left,
I yawn sleepy he sorted his shoulder

There is extra salary,
I bought him a gift,
He got a job, asked to eat Seoul Garden.
Went to take the takaful exam, he accompanied me.
Going for TAR to find stuff, I'm a friend.
I'm short of money, but it's top up.
I made an investment, he executed.

Near home,
He cooks, I cut the onions.
I cooked maggi, she made chicken with fat.
I swept the floor, he moped the floor,
I bought cat food, she bathed the cat.
I got a cracker, he made a coffee.
I put my clothes on, she folds clothes.

When sick,
I was a motorcycle accident, he cleaned the wound.
He operates the appendix, I lead my hand to the toilet.
I'm down with fever, he's preparing medicine.
She's down with fever, I've got a wet forehead.
I have a headache he brought panadol
She's gastric pain, I bring her hot oil.

The truth is, he can do everything himself, but of course when married there is a give and take. Teammates like Simmer Man with Tiong Man, Batman with Robin, Tom with Jerry. To have someone who got your back.

It's not that he can't do all that, this year 2020, the female Prime Minister is already around just after finishing the wedding ceremony, although the husband still has other responsibilities, but for a wife, the responsibility of the husband is everything for him , live her life.

Let's just appreciate them and give them more & more everyday. Give time, attention, love even though the old bride / veteran / long time ago. Because they deserve it, and we owe them that.

Because if it wasn't us, who else?

Thank you Watiey Abdullah for the love and everything ❤️

Credit: Farhad HassanTranslated

【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

As you start your week again, a love reminder on why the hard heart work matters.

You got this, mama.

"This was my hallway last Wednesday.

Broken. Sharp. Treacherous.

This was my hallway.

It was my son who did this.

Sometimes, often really, things break - irreparably. And it takes your breath away ... straight away.

It took my breath away when my son stormed into the bathroom, frustrated, angry, fed-up for his very own, very significant to him, reasons. And when he chose to SLAM the bathroom door, causing the heavy mirror mounted to the front to slip out of the hardware holding it in place and crash onto the floor - a million, BROKEN pieces were left reflecting the afternoon light.

I was quiet. I surveyed the damage and took a deep breath. Put the dog outside so he wouldn't cut his feet, put the cat in the basement for the same reason.

I walked into the backyard and felt the hot tears streaming down my face. It's amazing how alone you can feel as a single parent in moments like these. I realized how scared and disappointed I felt. Did this really just happen? Yes. This was real.

And as I stood and considered whether or not this was an indication of his developing character, I heard his tears through the window above me, coming from inside the bathroom.

His soul hurt. This was not what he expected either. Hello, Anger - I don't remember inviting you into my house.

Scary.

Terrified.

Ashamed.

Worried.

Scared.

Deep breath, #MamaWarrior. Deep breath. That small, fragile soul needs you right now. He needs your very best. Your biggest compassion. Your most gentle and firm mama love and reassurance. More deep breaths. Go Mama.

Go. Go now. Go open the front door, tiptoe through the broken glass, hear him hearing you coming, watch the bathroom door crack open, see the face you love most in the world red with worry and wet with tears, his voice is suddenly so small: "Mama, I'll never do it again, I am SO sorry." More tears. More weeping. Such uncertainty on his sweet face.

Go Mama. Get him. Go now. Scoop him into your lap. Yup, you're crying too. Damn this was big. Hold him tight. Watch how he curls into a ball in your arms so quickly. See how eager he is to be loved by you. To be reassured by you. See how small he still is. See how fragile that spirit is.

I love you.

You are safe.

I am right here.

The worst part is over now.

I've got you.

I'm here.

I love you.

Go Mama. Tell him about Anger. Tell him now. Anger is a really powerful feeling. You have a right to your Anger. Anger burns hot. It can purify. It can also destroy. He nods. He feels it. He's met Anger now.

There's a better way to show your big feelings.

We'll work on it together .... tomorrow.

I'm here to help you.

You are safe.

You are never alone in your anger.

You are never alone in your fears.

I'm here. We're here together.

Now we will clean together.

And we cleaned up the broken pieces. We swept and we vacuumed. It was quiet work. It was careful work. It was thoughtful work.

Sometimes things break. Sometimes we break them. It's not the breaking that matters, the how or why. What matters is how we choose to respond to the broken-ness. Does it kill us? Does it throw us into a downward spiral of blame and punishment?

OR

Does it help us remember how to love deepest? Does it push us towards compassion and over the hurdle of "rightness" and "wrongness" into LOVENESS?

Yes. LOVENESS.

Go Mama. Go now. Get that baby of yours. Teach that. Show that. Live that. It's called LOVENESS. Go. Now."

For our best love stories, subscribe to our free email newsletter: http://bit.ly/29l733Q

#LoveWhatMatters

Submitted by Kathleen Fleming & Majestic Unicorn

After getting beaten physically and on the scoreboard in Orlando in Game 2, the Philadelphia 76ers talked about sending a message to the Magic that they did not intend to be intimidated by what they considered Gestapo tactics.

Message delivered.

The Sixers played their own brand of "basketbrawl" Thursday night, roughing up the Magic physically early, then abusing them on the scoreboard the rest of the night en route to a rousing 97-85 victory in Game 3 of the best-of-5, first-round NBA playoff series.

Philly, up 2-1, can capture the series with a victory Saturday at home (12:30 p.m., NBC-TV).

The sellout crowd of 20,874 at the First Union Center was pumped even before the game --the first NBA playoff game held in Philly since May 12, 1991 -- began. The fans got louder during the pyrotechnics-infused introductions, were in a frenzy when the large replay screens showed a cartoon of Rocky punching Mickey Mouse (which read, "Yo, Orlando, Get set for a real Rocky welcome") backed by the "Rocky" soundtrack, and they were downright deafening early in the contest as their Sixers quickly showed that nobody, but nobody, could come into their house and push them around.

Sixer Matt Geiger got into a couple of glaring, shouting and shoving matches with Magic players early and the Philly defense forced five turnovers and held Orlando to 1-for-5 shooting from the field while jumping out to an 11-2 lead.

That set the tone for the entire night.

Orlando set floor records for turnovers in the first quarter (11) and in a half (20) and finished with 26.

The Sixers led by as many as 23 points before running out of steam late, allowing Orlando to close to within 11.

"It was them. We were kinda in a tidal wave and got swept out to sea," said Orlando Head Coach Chuck Daly. "They're much quicker and we don't have quite the ballhandling we need. It wasn't pleasant."

Riding the wave on both ends of the floor was Sixer guard Allen Iverson.

The league's scoring leader shrugged off a 13-point, 4-for-15 shooting effort in Game 2 and surfed his way to 33 points (an NBA Playoff high this season) Thursday night on 14-for-28 shooting from the field. Several of his buckets came via highlight-material plays.

Just as importantly, Iverson set a playoff record with 10 steals and helped derail the Orlando offense. The 10 thefts also set a tam record.

"I tried to set the tone on defense early in the game by pressing (Darrell) Armstrong up the court. The big guys did a good job trapping and I was able to pick up some loose balls," said Iverson, who also had five assists and five rebounds.

Daly agreed. "They came after us big time," he said. "We anticipated they'd do some sort of pressure. We just didn't react to it well.

"It's what happens at home when you're mad."

Sixer rookie Larry Hughes provided a huge spark off the bench on both ends of the floor. He finished with 13 points, eight rebounds and two blocks.

"He made some plays you just kinda marvel at, especially when you consider that he's 20 and his coach limits his opportunities to play," said proud Sixers Head Coach Larry Brown.

George Lynch (17 points, eight rebounds), Eric Snow (13 points, eight assists) and Tyrone Hill (11 points, nine boards) compensated for the lack of production out of Geiger and Theo Ratliff (four points, seven rebounds), who earlier in the day had been named second-team All-NBA defense.

For Orlando, Hardaway finished with 18 points. But most of those were meaningless. He had just two first-half points and was 0-for-2 from the field with four turnovers as his team went into intermission trailing 46-31.

Hardaway, who sparked the Magic in Game 2 with 22 meaningful points, did not make his first field-goal until the 7-minute mark of the third quarter.

He finished 6-for-12 from the field, including 4-for-6 from 3-point range, to go with five assists, three steals and five turnovers.

"I have to put the ball up like 20-25 times," said Hardaway. "Normally, I don't because we have other guys that can score. But they're not stepping up and scoring so I don't think we can win if I don't take more than two shots in a half."

Hardaway pointed to how the Sixers run their offense through Iverson and it has been successful.

"If we run some plays to get me more shots, maybe we could do the same," he said

Geiger wasn't a factor offensively (four points, one rebound) but played a big part in setting the tone. Early on, he did much of the trapping and didn't care if he bumped a few people along the way. His aggressive play got him into scraps with Armstrong and then Daly and the Orlando bench

"We tried to send a message to them that we were going to play just as physical as they did in Orlando and our big guys did a great job," said Iverson.

The Philadelphia 76ers are tired after playing six games in eight days. Thanks to Allen Iverson, they had more than enough energy to beat the Memphis Grizzlies.

Iverson scored 33 points as Philadelphia beat Memphis 95-88 Wednesday night, keeping the Grizzlies the NBA's only winless team with their 12th straight loss.

Philadelphia coach Larry Brown wasn't worried about becoming the
first team to lose to the Grizzlies this season.

"I was really impressed with them. I knew it would be a hard game,'' he said. "I just wanted to figure out a way we could hang on. We had some tired guys out there. Allen stepped up, and we had some tremendous defensive stops, and we got a win.''

The 76ers won for only the second time in six road games this
season and got a measure of revenge against Memphis, which swept
last season's two-game series. They lead the all-time series 11-3.

Todd MacCulloch had 15 points and 13 rebounds for Philadelphia.
Eric Snow added 14 points, Aaron McKie 12 and Keith Van Horn 10.

Stromile Swift set a Memphis record by blocking eight shots, and he also had 12 points and 16 rebounds. Rookie Drew Gooden led the Grizzlies with 21 points, Pau Gasol had 14 and Wesley Person added 12 off the bench.

Van Horn called it an ugly game but said the 76ers felt
fortunate to pull out a victory against a team desperate to win. He
said they didn't want to be the first club to lose to Memphis.

"It's definitely on your mind. It's almost like a fear not to be the first to lose,'' he said.

Philadelphia trailed only once, 24-22 in the first quarter, before Brian Skinner hit a pair of free throws and a layup for the lead. The 76ers led by as much as 13 twice, the last time at 54-41 on MacCulloch's layup off an assist by Iverson just before halftime.

The Grizzlies, playing their fourth game in six days and hoping
to give new coach Hubie Brown a victory, pulled to 67-63 when Earl
Watson capped an 8-0 run with a jumper with 1:54 left in the third.

But Iverson, scoreless in the quarter until then, answered with
a pair of 3-pointers. McKie added a jumper for a 75-63 lead after
three.

Gooden scored with 43.4 seconds left to pull the Grizzlies to
92-86, but that was as close as they would get.

Hubie Brown pointed out that he and his assistant coaches have been with the Grizzlies only eight days, playing three of four games against teams that went to the playoffs last season. He is using these games to evaluate his players.

"Are we happy tonight? Absolutely not. We're not happy at all,'' Hubie Brown said. "Give Iverson his due. He made two spectacular shots. I thought he had a rifle instead of his hand. It was just great, great pressure shots.''

Iverson started slowly after scoring a season-high 38 points Tuesday night in a loss to New Orleans. He missed five of his first six shots, turned the ball over three times and had just three points in the first quarter.

The 76ers opened the game with a 9-2 run, but Gooden scored six
points to help the Grizzlies rally. Mike Batiste's layup gave them
a two-point lead late in the first.

Then Iverson warmed up, scoring 13 in the second quarter as he
went 7-of-8 at the free-throw line.

Memphis seemed sluggish after losing 110-106 in overtime at Minnesota on Tuesday night. The Grizzlies shot just 6-of-24 from the floor in the second quarter and finished shooting 39 percent (33-of-84).

Game notes
Swift had seven blocks in the first half. The team record for blocks had been shared by Gasol, who had seven twice last season as a rookie, and Bryant Reeves. ... Derrick Coleman, in just his second game this season, had just one point in 14 minutes for Philadelphia. ... Memphis guard Jason Williams sprained his left foot with 4 minutes left as he landed on Eric Snow's foot after tossing up a 3-point attempt. Williams walked off the court on his
own, but had to be helped to the locker room. X-rays were planned for Thursday.

Since my pennyccwnba is suspended with no reasons. I will sometimes upload some great NBA games here in this site.

As chants of "M-V-P" filled the electrified air, LeBron James locked his thumbs under his maroon jersey and made it pop off his chest.

The Cavaliers had beaten the NBA champions again, and James soaked in every second.
"This," he said, "is what I live for."
Cleveland showed its Christmas Day win over Los Angeles was no gift as James scored 37 points, including 12 straight down the stretch, and the Cavs, playing their first game without injured Mo Williams, beat Kobe Bryant and the Lakers 93-87 on Thursday night.
J.J. Hickson grabbed a career-high 14 rebounds and Anderson Varejao made three free throws in the final 20 seconds as Cleveland swept the season series between the league's top two teams. That could give the Cavs home-court advantage if they meet the Lakers in June's finals.

A lot can happen between now and then, but the win gave Cleveland confidence it might be able to survive despite losing Williams, their All-Star point guard, who will miss at least one month with a shoulder sprain. Williams scored a team-high 28 in Cleveland's Dec. 25 win at Staples Center.
Williams will be missed. But with James around, the Cavs have little to fear.
"He willed this win for us," Cavs coach Mike Brown said of his star. "He has been doing that for us down the stretch, no matter who our opponent is."
Bryant finished with 31 points but was only 4-of-15 in the second half as the Lakers lost the opener of an eight-game road trip. Pau Gasol scored 13 for Los Angeles, which shot just 33 percent in the final three quarters.
Bryant surpassed 25,000 career points, but he was unable to match James in the fourth quarter as both teams turned to their superstars. Earlier, Bryant was looking forward to a physical game and was eager to see how the Lakers would respond to playing "smashmouth" basketball against Eastern Conference squads like Cleveland and Boston.
Afterward, he wasn't so sure the Lakers are rough enough.
"The mentality has to change a little bit playing against these teams," Bryant said. "These teams are physical, tough-minded, hard-nosed types of teams. That's not part of our DNA. We have to step up and match that and still play skillful basketball."
James was careful not to put too much stock into Cleveland's win. He knows the regular-season sweep will mean nothing if the Cavs can't win it all.
"You don't want to look too far into beating one team twice," he said. "The championship still goes through L.A. It doesn't matter if you beat the team four times, you still have to beat them in the finals to take that trophy away from them."
With the score tied 80-all, James hit a 3-pointer from the left side, and after a miss by Bryant, James dropped another jumper to put Cleveland ahead by five. James then hit an 18-foot jumper to make it 87-80 with 2:48 left and the Cavs looked to be in control.
But Ron Artest hit a big 3 for the Lakers and Bryant made two free throws and a quick jumper to tie it 87-87 with 1:32 remaining.
James then blasted down the left side for a layup with 40.5 seconds to go, sending the raucous Quicken Loans crowd into a frenzy. After Gasol missed two free throws that would have tied it, James was fouled and missed the second of two free throws. But the ever-hustling Varejao was fouled by Artest as they battled in the key for the loose ball. Varejao, a 66 percent shooter from the line, made both attempts for a 92-87 Cavs lead with 20.7 seconds left.
"I'm glad he's on my side," James said of his frenetic teammate. "I have no idea how he does it at the right time."
Lakers coach Phil Jackson didn't agree with the call against Artest.
"I didn't like that," he said. "I thought it was Varejao's foul. When he blew the whistle, I thought he was going to call Varejao for coming over the back. But they called the foul on Ron for grabbing him. A rebound situation foul like that at the end of the game, to make that call is kind of weird."
Bryant then misfired on an off-balance 3-point attempt and James saved the long rebound, flying into Cleveland's bench after swatting the ball back.
"It's a huge win," James said. "I can't sit here and say it's just a normal game because it's not."
Bryant went just 11 of 25 from the floor, not much of an improvement from his 11 of 33 effort against Cleveland last month. He was guarded in the fourth by Delonte West, who started in place of Williams.
Shaquille O'Neal scored 13 and Hickson, who had just two points in the first meeting with L.A., had 11 and was the difference inside as he outworked Gasol and Andrew Bynum.
While media members, fans and even the league have pushed to portray the Cavaliers and Lakers as a budding rivalry, Bryant isn't buying it -- not yet anyway.
"No," he said coldly when asked if the team's were adversaries before the game. "Not at all."
He may now be warming up to the idea.