關於 most expensive movie ，我們在網路上蒐集到這些相關的討論、資訊與評價

【お金を使う時に持っておいた方がいい判断基準】

　

３日ほど前、映画『えんとつ町のプペル』のムービーチケットを応募者全員にプレゼントするキャンペーンをスタートさせて、すでに4万名を超える応募があったんです。

これを受けて、「電通すごい」とか「東宝ヤバイ」とか「吉本本気」といった声がチョイチョイあるのですが、西野の名誉の為に言わせていただくと、これ、別に、電通さんや東宝さんや吉本興業といった大きな会社が推し進めている企画ではなくて、【西野亮廣】が個人でやっているんです。

忘れられないように、もう一度言いますが、これは「西野の自腹」なんです。

その自腹が、現時点で「チケット代×40000人」です。
適当に計算してみてください。

ちなみに今日もまだ募集しているので(ヤケクソ！)、ここから、まだ増えると思うのですが、個人で払うには結構な額だと思います。

　
応募はコチラまで→https://poupelle.com/

　
　
今日は、この買い物が「高い」か「安い」かを考えたいと思います。

　
僕はこんな仕事をしているので、必ず予算の問題がつきまとうんですね。

個展をする時なんかは、基本、当初の予算を二周りぐらい上回るので、よく会社が死にかけているんですけど、そんな活動をずっとしていると見えてくるお金のルールがあります。

それは……

「お金は上手に使うと、動かせる額が大きくなる」

ということです。

　
なので、プロジェクトを受け持っている後輩（つまり予算内でプロジェクトを遂行しなけれないけない立場にある人間）には、「お金を貯めるな。積極的に上手く使え」といっています。

ゴールは彼らが取り扱うプロジェクトが大きくなって、彼らが大きな影響力を手にいれて、彼らがたくさんの人を楽しませて、たくさんの人を助けることなので動かせる予算は大きい方がいい。

そんなことを踏まえて、今回の炎の自腹企画「映画『えんとつ町のプペル』のムービーチケットを応募者全員にプレゼントするキャンペーン」が高かったか安かったか……というところなんですけども、「ちょっと分からない」です。

ぶっちゃけ、まだ分からない（笑）

高い買い物になるかもしれないし、安い買い物になるかもしれないし、「どっちにでも転ぶなぁ」といったところです。

一つ確かなことは、「どっちかには転ぶ」というところですね。

これが凄い大事だと思っていて、「どっちにも転ばない買い物」ってあるじゃないですか？
現代において、これが一番無駄遣いだと思っています。

ここにきて、ようやくクラウドファンディングが一般化しました。
#毎度おせーよ

　
要するに、「心意気」みたいなものが買われやすくなった。
世の中の為にとか、皆を楽しませる為に、「バーン！」とお金を出して、「死んだ〜！」とチャーミングに言えたら、「もう、しょうがねぇな」みたいな感じで助け舟を出してくれる人が出てくる。
出てきやすくなった。

もちろんチャーミングでコーティングするというのが大前提ですが、派手に転ぶと、ここの関係が買えるので、その買い物はそこまで高くない。

一方で、どっちにも転ばない選択って、安全策のようで、まわりが助け舟を出す機会を切り落としているので、ちょっと高い。

　

ここから少し本質的な話になるんですが、基本的に「教育」というのはコケないようにアテンドしていくじゃないですか。
「自立できる人間が正解」みたいなノリで。

実は、それって今の時代、結構なリスクだなぁと思っていて、今、どう考えたって、一人で戦う人間よりも、まわりが助けたくなる人間の方が強い。

予算も集まるし、知識も知恵も集まる。
「教育」というものに、オンライン互助の仕組みが組み込まれていないのは、結構、致命的だと思っています。

仕事柄いろんな人と会いますが、一人で生きている人の知識量って絶望的です。

自分の脳ミソに情報を入れてくれる人が自分一人しかいないのは、かなり分が悪い。
知識だけじゃなくて、お金の問題もそうなのですが、やっぱ「助け舟を出したくなるヤツ」が、今、圧倒的に強い。

　
話を戻します。そして、一言でまとめます。

お金を使う時の判断基準として、「高い」「安い」以外に、「この使い方は、助け舟を出したくなるのか否か」という基準を持っておいた方がいいと思います。

西野亮廣(キングコング)

▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino
[the judgement standards that you should have when you use money]

　

About 3 days ago, I started a campaign to present the movie ticket of the movie ′′ a in town ′′ to all the applicants, and there was already over 4 million applications.

With This, there is a voice that says ′′ Dentsu amazing ′′ and ′′ Toho crazy ′′ and ′′ Yoshimoto serious," but if you let me say it for the honor of nishino, it's not dentsu-San and toho-San It's not a plan that a big company such as yoshimoto kogyo is pushing, but ′′ Ryo Nishino ′′ is doing it personally.

I'll say it again so I can't forget, but this is ′′ Nishino's streamline

The Streamline is ′′ ticket teenager x 40000 people ′′ at the moment.
Try to calculate it properly.

By the way, I'm still hiring today, so (desperation! ), I think it's still going to increase from here, but I think it's a pretty good amount to pay personally.

　
APPLY HERE → https://poupelle.com/

　
　
Today, I would like to think about whether this shopping is ′′ expensive ′′ or ′′ cheap

　
I'm working like this, so I'm sure to have a budget problem.

When you do a solo exhibition, the basics, the first budget is about two around the corner, so the company is often dying, but there is a rule of money that you see that you are going to be able to do such an activity.

It's......

′′ when you use money well, the amount you can move will be bigger ′′

That's what it means.

　
So, for juniors who have a project (that is, people who are in position to have to perform a project in the budget)," don't save money. I'm going to use it positively

The goal is that the project they handle is bigger, and they have a big influence, and they make fun of a lot of people, and help a lot of people, so the budget that can move is better.

Based on such a thing, this time's flame streamline project ′′ the campaign to present the movie ticket of the movie ′′ a town ′′ to all the applicants ′′ was expensive or cheap...... but," I don't know a bit

I still don't know what to do lol

It might be a high shopping, and it might be a cheap shopping, and it's about to fall in both of them,"

One thing for sure is," it's going to fall in either way,"

I think this is really important, isn't it ′′ shopping that doesn't fall in either,"
In Modern times, I think this is the most waste.

Here we come, crowdfunding has finally become general.
#毎度おせーよ

　
In other words, something like ′′ Spirit ′′ has become easier to buy.
For the world, to entertain everyone, I put money out with ′′ barn!" and ′′ dead!" and I'm charming," I feel like I'm going to have a good time," I'm not going to be able to do it anymore," The one who will give me a favor is coming out.
It's easier to come out.

Of course it's a charming coating, but when you fall fancy, you can buy the relationship here, so the shopping is not expensive.

Meanwhile, the choice that doesn't fall in either is like a safety plan, and it's a bit expensive because it's cutting off the opportunity to put out the help around.

　

It's going to be a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of
With Nori like ′′ Independent people are correct

Actually, it's a lot of risk in the current era, and now I think about it, and the people who want to help around me are stronger than the people who fight alone.

Budgets come together, knowledge and wisdom gather.
′′ Education ′′ is pretty deadly that the workings of online mutual assistance are not built in.

I meet all kinds of people at work, but the knowledge of people living alone is hopeless.

It's pretty bad that there's only one person who can put information in my brain.
It's not just knowledge, it's also a problem of money, but the ′′ one who makes you want to put out a favor ′′ is now overwhelmingly strong.

　
I'll bring back the story. And I'll put it together in one word.

As a standard of judgement when using money, besides ′′ high ′′ and ′′ cheap "" I think it's better to have the standard of ′′ how to use this to make a favor,"

Ryo Nishino (King Kong)

▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishinoTranslated

ROBOCOP (1987) was released today.
Let’s celebrate one of the best movies ever made.

“I’d buy that for a dollar!”

The screenplay had been offered to (and been rejected by) virtually every big director in Hollywood before Paul Verhoeven got hold of it. He threw it away after reading the first pages, convinced it was just a dumb action movie. However, his wife read it all the way through and convinced him that the story was layered with many satirical and allegorical elements, after which Verhoeven finally decided to direct the film.

The RoboCop suit was designed by Rob Bottin and his team. The production team wasn't satisfied with the initial design, and kept changing it and putting additions to it for months. Ultimately, nothing seemed to work and they went back to what was pretty much Bottin's original design. This caused considerable delays, and by the time the suit was completed, it was three weeks late and arrived at the studio on the day that the first RoboCop scene was scheduled to be shot. It took 11 hours for Bottin's people to fit Peter Weller into the suit, and when it was done Weller found that all his mime exercises were now useless because he needed time to get used to the suit and to perform as a robot in it. Production was halted so that Weller and his mime coach, Moni Yakim, could learn how to move in the suit. The suits were the most expensive items on set. While the price range varies, the producers indicated that they spent anywhere between US$500,000 to US$1 million for the suit.

A very unique part of this movie like other Paul Verhoeven movies is how he brings you more into the universe, news coverage and fake commercials are featured in the film all combined are over 5 minutes long. The world of future Detroit was actually shot in Dallas, Pittsburgh, Detroit and Los Angeles. The locations were all seamlessly woven together making it feel like one city by Production Designer William Sandell.

Because the hands of the ROBOCOP suit were made of foam rubber, the car keys would bounce off of Peter Weller's hand every time he attempted to catch them. The production took up to 50 takes and an entire day's worth of filming before finally getting the shot right.

Paul Verhoeven and Robocop suit creator Rob Bottin clashed repeatedly before and during production over the design and make-up of the RoboCop character. What they argued most about was the scene where Murphy takes off his helmet. Bottin wanted the scene to be filmed in a darkened area, fearing that harsh light would reveal too much of the make-up effects; Verhoeven wanted the scene to be filmed as brightly as possible, citing that director of photography Jost Vacano would be able to light it properly without revealing anything. Verhoeven got his way and Bottin refused to talk to him any further for the remainder of production. However, at the premiere, both men were so impressed with how the scene had turned out, that they instantly forgave each other. Bottin, who had even vowed to never again work with Verhoeven, happily accepted the offer to work on Verhoeven's next project, Total Recall (1990).

To Bring ED-209 designed by the great Craig Davis to life for some of the sequences Phil Tippet and Randal M. Dutra in my opinion did some of the best stop motion work ever done, I think what makes it so epic and memorable is yes it’s super smooth and almost seamless the way it cuts from stop motion to go motion but what’s truly special to me is the amount of character and humor they were able to provide for ED-209, this being the perfect example, the way ED-209 tries to navigate the stairs its almost toddler like, the sound editors even added a baby tantrum mixed with a pig sound effect as ED-209 tries to get up at the bottom of the stairs. stop motion animators Harry Walton and Tom St. Amand also helped make some beautiful work on this sequence.

Enforcement Droid 209's voice is that of producer Jon Davison, its growls are of a jaguar, and its squeals are of a pig. ED-209's body was based on the design of a Bell helicopter and the overall appearance is reminiscent of a line of toys named Robotech (1985) which were based on a 1980s Japanese anime series.

Peter Weller said one of his favorite memories of his film career was filming the drug bust sequence. While filming the sequence, Weller was listening to Peter Gabriel's song "Red Rain" on his Walkman inside the RoboCop helmet as he exchanged gunfire with various bad guys.

“Guns,Guns,Guns”

The shootout at the cocaine factory was not originally intended to be so fast-paced. The automatic guns used in the scene kept malfunctioning during filming. Most camera shots did not provide more than three seconds of usable footage, because most guns were usually jammed by that time. This necessitated quick cuts during editing, which proved to be advantageous for the scene.

RoboCop's first Directive, "Serve the public trust", was inspired by a fortune cookie.

The convenience store robber was played by the movie's stunt men who gladly accepted to be one of RoboCop's victims and contributed the idea of being hit into the door of the glass cooler.

The film was submitted to the MPAA 12 times before securing an R rating.

The script for Robocop was rejected by just about every major movie studio since it was conceived in the early 1980s. Orion films took the chance and Robocop's success continued on with 2 follow up sequels to the movie, two cartoon series, a television show, several comic book series, and a made for TV series of 4 movie length episodes as well as a fan made parody film. It has also spawned over a billion dollars in children and adult toy lines and collector statues which are still being released to date.

“Your move creep”

In Sacramento, California, a robbery suspect fled into a darkened movie theatre to escape pursuing police. He became so engrossed in the movie playing on screen (RoboCop), that he failed to notice that police had evacuated all other patrons from the theatre. When the lights flipped on, the stunned man was taken into custody.

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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

Breakfast at Tiffany's Movie CLIP - Moon River (1961) HD

0:52 の歌詞字幕が誤りです。
×『Wherever you're goin, your way』
⚪︎『Wherever you're goin, I'm goin' your way』

ご視聴ありがとうございます。
立花 れおんです。
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#movie #1961 #moonriver #karaoke #cover #lyrics
＃カラオケ　＃歌ってみた　＃ティファニーで朝食を　＃ムーンリバー　＃ムーンリヴァー　＃歌ってみた動画　＃映画　＃映画レビュー　＃カバー　＃カバー動画　＃歌詞付き　#OST ＃劇中歌　＃主題歌　＃高画質　＃高音質 #睡眠用BGM

FILM DESCRIPTION:
In an idealized New York City during the early '60s, Holly Golightly (Audrey Hepburn) is a charming socialite with a youthful zest for life who lives alone in a nearly bare apartment. She has such a flippant lifestyle that she won't even give her cat a name, because that would be too much of a commitment to a relationship. Maintaining a childlike innocence yet wearing the most perfect of designer clothes and accessories from Givenchy, she spends her time on expensive dates and at high-class parties. She escorts various wealthy men, yet fails to return their affections after they have given her gifts and money. Holly's carefree independence is changed when she meets her neighbor, aspiring writer Paul (George Peppard), who is suffering from writer's block while being kept by a wealthy woman (Patricia Neal). Just when Holly and Paul are developing their sweet romance, Doc (Buddy Ebsen) appears on the scene and complicates matters, revealing the truth about Holly's past. Breakfast at Tiffany's was nominated for several Academy awards, winning Best Score for Henry Mancini and Best Song for Johnny Mercer's classic tune "Moon River".


CREDITS:
TM & © Paramount (1961)
Cast: George Peppard, Audrey Hepburn
Director: Blake Edwards
Producers: Martin Jurow, Richard Shepherd
Screenwriters: George Axelrod, Truman Capote

It's not white truffles but this is one of the most expensive mushroom in Japan, like $200/100g! But here in northern Sweden, we found them in 2 minutes after entering the forest and you can smell their rich aroma! Don't miss out my Japanese mushroom dinner in the end of video!

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#マツタケ #北欧

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みっつん初著書
『ふたりぱぱ:ゲイカップル、代理母出産(サロガシー)の旅に出る』絶賛発売中！
【現代書館】
http://www.gendaishokan.co.jp/goods/ISBN978-4-7684-5862-4.htm
【amazon】
https://www.amazon.co.jp/dp/4768458629/ref=cm_sw_em_r_mt_dp_U_Y.1HEbCH6DE



＜楽曲提供＞
Production Music by http://www.epidemicsound.com

＜画像素材＞
かわいいフリー素材集 いらすとや
http://www.irasutoya.com/

サムネ画像（松茸）
https://www.photo-ac.com/profile/2924342
チリーズさんによる写真ACからの写真


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Had the honor to shoot for GSC Aurium Theatre Luxury Cinema Hall Launch Event in Mid Valley Southkey Johor Bahru the other day.

Decided to explore around and share with you how the actual cinema hall looks like. Including the spacious toilet. However I didn't take video of the Jin Gastrobar and dining area as the space is full of people during the event ?

It's RM150/person for a movie in Getha Luxe Suite (RM300 per couple). Leave a comment below, would you spend your money on this during special occasion??

Leave a comment and let me know #GSCinemas #AuriumTheatre

【???? + ????? + ???????? ?? ????????】
http://bit.ly/TianChadYT

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