關於 memories background music ，我們在網路上蒐集到這些相關的討論、資訊與評價

[ 10年感情的道别 | Goodbye My 10 Years Relationship ]
10年真的不短，很遗憾无法一起走到最后。

求婚了，却早已错过应该发生的时间点。
面对瓶颈考验的爱情在挽救期中感性被理性打败了，写下句号。
我们分了。我们都很不舍，但确实分了。

很抱歉，令所有期待的家人朋友失望了。
这10年里她对我很好，无可挑剔；而我做不好的我全都承认，是我的理所当然及舒适心态导致了今天的所有，我诚心道歉。

对于一直关心我俩的亲朋好友，感恩过去所有的祝福，也谢谢这些年的见证。
对于曾煽动我们分手的朋友们，抱歉拖了那么久，往后不需煽动了。

我特别要感谢彼此的家人、爱我们的家人们。这些年让大家心中累计的担忧及不满实在不应该，让大家操心了，诚恳地鞠躬致歉。谢谢这些年的爱与包容，打从心里的感恩，谢谢。

在这里，至这位10年前为我化妆而邂逅的，10年来风雨不改以我为先的，让我在爱情里一夜长大的她 – Mey ，谢谢你一切付出、包容、体谅及信任，完整了我生活许多的缺失区块，也为我生命彩出了鲜艳的色彩。谢谢你总无条件地支持我每个决定，即使以世界为敌你还是站在我身旁。谢谢你无限的精神鼓励，让我即使在烂透的状态下也努力撑过去，因为我知道至少还有你这位铁粉的守候。万语千言在心中说不尽，我想你知道的。谢谢你，真心真心地谢谢你。正如我十年前为你写的歌 – “美丽意外“里的歌词，至今，我仍觉得遇见你是个美丽的意外，真的。

容我忍泪再次公开说, Mey Ng , 我爱你。

面对10年感情的结束，难过是肯定的。
即使平时爱笑的我们，也为这次的句号流了好多公升的泪。但我们答应彼此会带着所有开心的记忆把对方放在心中一个特别的位置。换了身份，没了昵称，不管未来缘分如何，我们都会是彼此继续珍惜的那位。

最后，公开这首十年前写给她的歌，也是十年后我重新录制十周年版本向她求婚的作品。MV里记录了过去十年的精选画面，婚没求得成，但我们都认为这首歌是纪念这10年的最初；10年的最终，最佳的礼物，也要谢谢歌曲的幕后团队 ： Keon Chia 佳旺 (金马旺) 的 编曲 / 制作 / 录音 /配唱 , Isabell Jia Jia 沁嘉 的 合音编写 / 合音 ， Haw Vee 文浩 的混音。他们是少数知道我求婚计划也期待着好消息的朋友。。。可惜让你们失望了，谢谢你们的一切付出与耐心，我都真心感激。

爱情其实只有你和我，但考虑到彼此有太多共同朋友，为了避免揣测还是决定做个交代。谢谢大家这十年的祝福。当你看到这贴文时我俩的脸书感情状态应该已经更新。

是很意外，连我俩都为这样的今天感到意外，如果是注定意外，至少让它是个 [美丽意外]，好吗？

爱要及时，记得好好珍惜依然在你身边的那位，衷心祝福大家。
缘起缘灭感恩一切，合十。

10 years, regret that we couldn’t make it till the end.

I proposed, but had missed the right timing to do it right.
After went through the consideration period, rational beat sentimental, it ended.
Yes, we broke up. It’s really hard to accept, but yes, we broke up.

Truly regret to all friends and families’ members who had expectation on us. For the past 10 years, she’s perfect. For all the wrong which I made, I’ll take all the blame. I’m truly sorry, for the relationship which I care so much.

To all friends who care about both of us throughout these 10 years, thanks for witnessing us.
To those who didn’t expect good ending, sorry for the long waiting.

I would like to specially thank both of our family’s members. I can understand all the worries and dissatisfactions throughout the years. Really shouldn’t allow those to happen. I Sincerely apologize. Sorry.

Hereby, I would like to thank her, the girl I crushed into when she did make up for me 10 years ago, the girl who always put me as priority for the past 10 years, the girl who used 10 years’ time to grew me up in the world of love – Mey , Thank you for everything, you completed a lot of my missing part in life and had brighten up my days with different colours. Thanks for always standing by my side although when the world disagree on me. Thanks for your bottomless mental support which let me went through lots of down time as I always know there’ll at least be a super fans forever, it’s you. As of now, I still feel like knowing you is 1 of the most beautiful accident in life, and you able to calmed me down whenever and wherever you were around. It’s more than words, I’m sure you knew it, thank you so much, sincerely.

Allow me to hold my tears and say this 1 more time openly, Mey, I love you, as always.

10 years long run coming to an end, for sure it’s really hurt and sad.
But we’ll promise to bring along all happy memories and place each other at a special point in our heart. You will always be a person that I care about.

Lastly, sharing out the song I wrote for her 10 years ago, and it’s being re-produced again into a 10th year anniversary version for my proposal purpose. The MV are made by all key moments we been through together. Although my proposal failed, but we do think it’s a best way to conclude and remember those 10 years, from the beginning to the end. Thanks to the song production team : Keon Chia (Golden Horse Award Winner 2020) for Music Arrangement, Produce, Recording, Vocal Guide. Thanks to Isabell Jia Jia for the background Vocal & Background Vocal Arrangement. Thanks to Haw Vee for the Mixing. They were the few who knew my proposal plan and awaiting the good news …. However, sorry to let you all down. Thanks to all the effort, it’s my honor to have you guys in this important journey and I deeply appreciate it in heart.

Love actually is just you & me, but we decided to explain about this to avoid any assumptions as we got too many mutual friends. Thanks to all lovely wishes for the past 10 years. When you see this post, I believe our relationship status on FB had changed.

Yes it’s really an accident to our relationship, even to ourselves. If it’s meant to be an accident, at least let it be a “Beautiful Accident”.

Always express your LOVE before too late and appreciate he/her who still together with you. Best wishes to everyone.

With Love, Sorry and Thanks.

#美丽意外 #BeautifulAccident #ThanksForEverything #LOVE

Music Production Team
美丽意外 (2020十周年版）
OP :Musictoxin Productions
SP: Universal Music Publishing Sdn. Bhd.
词Lyrics : Dickson蔡迪伸
曲Composer : Dickson蔡迪伸
编Arranged by : Keon Chia谢佳旺 @Burger Music Studio
制作Produced by : Keon Chia谢佳旺 / Dickson蔡迪伸
混音 Mixed by : Haw Vee魏文浩 @musicHaws Production
和音编写Back up vocal arranged by : Isabell潘沁珈
和音Back up vocal by : Isabell潘沁珈
录音室Recording Studio : Tutti Studio
http://yt3.piee.pw/3aap6z

【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

【今晚的搖籃曲｜New Video Out】
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有次留言問大家最喜歡哪一首宮崎駿動畫音樂，答案多到要有AnViolin 8.25倍分身才可能cover完，所以這週乾脆來個組曲！
宮崎駿動畫配樂的魅力就在於小孩聽得懂而大人也有體會的感染力，在配樂與動畫場景產生奇妙的化學反應，這些曲子也都變成回憶中陪著大家走過人生各階段的背景音樂！
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宮崎駿的動畫音樂總可以在悲傷旋律中流露出甜蜜希望，在輕快音樂中表達童真和充滿希望的感覺。
人生就像旋轉木馬，一圈又一圈經歷向上的喜悅和失落的低潮。尋找到的該留下的光明，會一直在一起，值得記住的不會真的忘記，只是想不起來而已。而跌倒之後若是一切歸零開始，心境反而更加充實，因為最明亮最溫暖的力量就來自我們心底。
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每個人是哭著來到世界，登入這場遊戲後，過程中會面臨許多現實社會人情世故的殘酷，一場必須用笑來掩飾哭，在哭與笑之間掙扎的遊戲，使得長大似乎是一件很痛苦的事。但從這些暴風雨走出來之後的你，就已經不再是當時走進去的你了，所以希望大家可以用成就更好的自己來看待這些令人感到厭世想登出的考驗，也祝福大家在突破之後都可以活成自己最愛的樣子。⠀
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如果喜歡我的cover，請分享訂閱我的Youtube頻道。記得在那邊按讚留言分享給家人朋友看，也可以留言跟我說想要聽我cover什麼作品。
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歡迎大家在沒有下雨的週末到信義區香堤大道，聽cover歌曲的live版！詳細演出相關資訊，都會更新在我的限時動態！⠀
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I asked which is your favorite Miyazaki’s animation theme songs few weeks ago and I was surprised that everyone got their own different answers and they are so many that I guess I need 8.25 more twins of AnViolin to cover them all.
So to be fair, I did the medley for today's cover!
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What makes Miyazaki’s animation theme songs charming is because of the wonderful chemical reactions between the music and the animations and thus make people of all ages love them.
It's like they are the background music of our childhoods.
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Enjoy the conversation between yourself and the memories from the medley =]
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Feel free to come to Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out on my Instagram stories! ⠀ ⠀⠀ ⠀
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小提琴 Violin: 林子安 Lin Tzu An
鋼琴 Piano： @neonlu1010
攝影師剪接師 Photographer & Film editor：@santon.w
文字編輯 Social media editor/manager：Lily Wu
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@homesoundmusic
#子安在哪裡
#子安在Youtube頻道cover宮崎駿動畫組曲
#宮崎駿動畫組曲
#霍爾的旋轉木馬
#永遠常在的神隱少女
#能看見海的宅急便
#小孩不受控放這個給他們聽
#說不能太吵會被殺掉的
#MiyazakiAnimationMedley
#AnViolin
#instaAnViolin
#林子安
#街頭藝人
#TaipeiViolin
#XinYiViolin
#violin
#violinsartist
#lintzuan
#buskerintaipei
#wherestzuan
#cover
#coversong
#violincover
#instacover

《夜の国》
トリル / Trill / 顫音
作詞 / Lyricist：aimerrhythm
作曲 / Composer：飛内将大
編曲 / Arranger：飛内将大、 玉井健二
歌 / Singer：Aimer
翻譯：CH（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation: Genius Lyrics

背景 / Background - "Yuru no Kuni" scene :
https://i.imgur.com/qOHDm0q.png

上傳你的字幕吧！/ Submit your subtitles here!
https://forms.gle/MSsAM2WHpT31UuUh8

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purposes only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=5264734

英文翻譯 / English Translation :
https://genius.com/Genius-english-translations-aimer-trill-english-translation-lyrics

日文歌詞 / Japanese Lyrics :
かすれた声のまま　消えた君は帰らないから
冷たい夜空のよう　闇の中　滲んでゆくこと
散らかったおもちゃや　吐き捨てたどろんこさえも
美しく輝く星屑を探してたんだね？

ミッドナイトにカスタネットを　どうかするくらい鳴らして
It’s all rightとか　いっそcryとか　どうかしてるから言わないで
10日前から　こんな毎日　過ごした程度で怖がって
Only oneのLonely night　眠れないまま

揺れるトレモロのように囁く言葉が
失くした記憶の灯火を　そっと胸の奥で揺らめかせて
平気なんて嘘ばかりで
君は幻の翼で空に浮かんで　得意げな顔でおどける
ふいにふりしぼる　その笑顔が　さよならの合図なんだと　わかっていた

明日になれば　また　この空は違って見えるかな？
大人になれば　ただ　目を閉じて眠ってしまうかな？
繋がれた鎖や　せわしない時計の針が
美しく輝く星屑を連れて行くんだね

交差点から高架線まで　いっそライトは消し去って
It’s all rightとか　いっそcryとか　どうかしてるから言わないで
通り過ぎてく　こんな毎日　過ごしてばっかじゃ　ダメだって
Only oneのLonely night　聞こえてるかな？

君は瞬きと共に過ぎてく時間も　遠くから見てると微笑んで
夜がつきつける　その明日を　あの日見た絵本のように　愛していて

揺れるトレモロの夜にきらめく雫が　集めた奇跡を音にして
ずっと憧れてた　夢見ていた　おやすみの合図のように
そして　思い出は二人の音を結んで　途切れないトリル奏でる
夜がつきつける　その明日を　あの日見た絵本のように
君を打ちつける　その涙も　朝を待つ世界のように　愛していて

愛していて

中文歌詞 / Chinese Lyrics :
就算用嘶啞的聲音叫喊，但早已離去的你也回不來了啊
猶如冰冷刺骨的夜晚，漸漸滲入黑夜的死寂
但不論是四處散落的玩具，亦或被吐出口的泥濘
也曾探尋著美麗又璀璨生輝的星塵吧？

午夜時分的響板們啊，請盡你們所能地響徹鳴奏吧
「已經沒事了」、「盡情哭泣吧」，讓人難受就請別再說了
自十天前開始，每日都如此虛度光陰令我感到膽怯
在這孤單的無法入睡的夜晚，徹夜未眠

夜裡紛飛著，彷彿震音般的喃喃細語
幾時曾遺落的記憶燈火，靜靜地在這內心深處搖曳渲染
你總是撒下和煦平靜的謊言安撫此心
你展著虛幻的羽翼在空中翱翔，一臉得意地作伴嬉戲
不經意地竭盡哭喊，但我知道的啊，你那強顏歡笑，正是象徵離別的信號

倘若到了明天，還能看見這片不同的天空嗎？
倘若成了大人，閉上雙眼就能夠入眠了嗎？
但緊緊相繫的鎖鏈，亦或急忙奔走的時針
仍會帶著絢麗耀眼的繁星離去吧

自十字路口到高架鐵道，索性將所有光芒都抹去吧
「已經沒事了」、「盡情哭泣吧」，讓人難受就請別再說了
總是如此虛度光陰地度過每一日可不行啊
在這孤單的形單影隻的夜晚，你能聽見嗎？

與你共度的時光轉瞬即逝，但你仍會自遙遠的彼方面帶微笑守望
「哪怕漫漫長夜迎面而來、待至明日，仍將如那一天的繪本所描繪般，深愛著你。」

夜裡搖曳著，滴滴晶瑩剔透、熠熠生輝的震音，猶如匯聚而成的奇蹟樂章
我一直憧憬著、日夜夢著那聲響，聽來彷彿告別夜晚的信號
彼此的回憶令二人的聲音緊緊相繫，響徹永不停歇的顫音合奏
「哪怕漫漫長夜迎面而來、待至明日，仍將如那一天的繪本所描繪般——」
「那簌簌滴落你面頰的淚水，仍將如靜待黎明的世界般——深愛著你。」

「深愛著你。」

英文歌詞 / English Lyrics :
My voice is still hoarse since you disappeared, never to return
Inside darkness resembling a cold night sky, tears blur my eyes
As even within scattered toys and spilled mud, I'm searching
For beautiful, shining pieces of stardust

Somehow I'm able to ring the castanets at midnight
Whether it's all right or whether I'd rather cry, I'll manage somehow, so don't tell me
Ten days ago, the thought of spending, every day like this terrified me
Only one lonely night, I'm still unable to sleep

Like a wavering tremolo, the whispered words
Make forgotten memories, as torches, gently flicker in the depths of my chest
The seeming composure is just a lie
Lifted by wings of fantasy, you float in the sky, joking with an elated expression on your face
That smile in which you put forth your entire heart, somehow, I understood it was a sign of farewell

If tomorrow comes, will this sky look different then, too?
If I grow up, will I be able to fall asleep just by closing my eyes?
The chains linking us together, and the rushing hand of the clock
Are taking away with them the beautifully shining stardust

From the intersection to the overhead train, I'd rather the light wipe it all away
Whether it's all right or whether I'd rather cry, I'll manage somehow, so don't tell me
Though day after day passes, I can't just spend each one like this
Only one lonely night, will you be able to hear me?

You're in the twinkling of the stars as well as the past we shared, watching over me from afar and smiling
"When night confronts you in the coming days, like in those picture books we read back then, I'll always love you"

In the night with a wavering tremolo, the sparkling droplets. Cause the gathered miracles to let out a sound
Forever full of longing, I fell into dreams, as if it were a sign of farewell

Then, our memories tie our sounds together, playing a trill that will never come to an end
"When night confronts you in the coming days, like in the picture books we read back then"
"Even those tears which drip heavily from you now. just like a world waiting for morning, I'll always love all of you"
"I'll always love all of you"

Hi! I am Keith, a guy from Taiwan.
I was a hair dresser and now being Youtuber.
-
Subscribe now! https://reurl.cc/qmgvZR
-
my Instagram
http://www.instagram.com/keithtseng
-
time mark
0:00 intro - booking my flight
0:49 part 1 - too much cloth
2:13 part 2 - facing late teen trauma
4:39 part 3 - where I feel fresh and free
6:08 part 4 - packing
7:40 part 5 - the night before
12:37 part 6 - it's the moment
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Hell yes! I am very excited to announce that I just moved to #London. This international move ain't easy but I made it still. And yes please do follow up more upcoming #lifeinlondon video in the future.
-
Music disclaimer
Music by Ben Camden - These Days - https://thmatc.co/?l=CE8EE8DF
Music by Laureline - Hum - https://thmatc.co/?l=8123E5E6.
Music by Laveer - Land - https://thmatc.co/?l=7E388A1B
Music by Tobjan - Memories · [Tropical / Uplifting Background Music]

《ジョゼと虎と魚たち》
心海 / Shinkai / 心海 / Heart’s Ocean
作詞 / Lyricist：Eve
作曲 / Composer：Eve
編曲 / Arranger： Numa
歌 / Singer：Eve
翻譯：澄野（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation: 123happily

背景 / Background - Movie's poster :
https://i.imgur.com/HbX1YBn.jpg

上傳你的字幕吧！/ Submit your subtitles here!
https://forms.gle/MSsAM2WHpT31UuUh8

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purposes only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=5054877

英文翻譯 / English Translation :
https://lyricstranslate.com/en/shinkai-hearts-ocean.html

日文歌詞 / Japanese Lyrics :
幾星霜　期待もないようなふりをした
恥ずかし気に　でもわかってる　というだけど

双曲線　交わらないでいた
何もわからぬまま　潜っては深く　息も吸えないで

微睡む白んだ光が僕を呼んだ
手を伸ばしてくれるなら

ああ心はまだ応えられないまま
深い海凪いでは　理想描いた今
ただ痛いほど願って　忘れはしないから

ああこのまま立ち止まってしまったら
涙の味でさえ　知らないままだったな
君と笑って

空想上の世界を泳いでみたい
黄昏の陽には　思い出が　流れ落ちた

消極的　希望のないような口ぶりで
明日を見上げる空　困ったな　未来に縋ることさえも

見紛うくらいの煌めく声が覗いた
傷だらけの夢だけど

鼓動は速く　ざわめいていた
心海の果てに鳴る音が
確かに生きた　君との証なら　きっと探していた
零れそうな　呼ぶ声が　今いくと

ああ心はまだ応えられないまま
深い海凪いでは　理想描いた今
ただ痛いほど願って　忘れはしないから

ああこのまま立ち止まってしまったら
涙の味でさえ　知らないままだったな
君と笑って

中文歌詞 / Chinese Lyrics :
歷經幾度日月風霜，總是故作漠不期待
雖然說起來有些慚愧，但我仍知道——自己不該如此掩飾

毫無交集的雙曲線
不論屏著氣向多深游去，都還是無法理解另一方的啊

淺眠的晨間白光呼喊著我的名
倘若能對我伸出雙手扶持的話——

我的內心仍無法予以回應
我在廣闊海洋上的風平浪靜，描繪心中理想的此刻
僅是死命地祈禱著能夠實現，也不會忘卻這份嚮往

若我僅是在此止步不前
將無從得知何謂淚水的滋味了吧
也無法與你一同，相視而笑

想在我的幻想世界裡同魚群自在遨游
黃昏夕日中的回憶，也與其一同降下落幕

用消極且不抱任何希望的口吻
仰望著明日也將昇起的天空：「還真是麻煩啊。」就連走向未來也是

窺見了仿佛令人看錯眼般耀眼的聲音
哪怕僅是傷痕累累的夢——

內心的鼓動，止不住地躁動
在這心海深處反覆迴響的聲音
我也一定曾追求著這份，仍在心頭蕩漾的、與你一同存在的證明
用我孱弱的呼喊聲：「我現在就出發！」

我的內心仍無法予以回應
我在廣闊海洋上的風平浪靜，描繪心中理想的此刻
僅是死命地祈禱著能夠實現，也不會忘卻這份嚮往

若我現在僅是止步不前
將再也無從得知這份淚水苦澀的鹹味了吧
看著你，相視而笑


英文歌詞 / English Lyrics :
For many months and years, I pretended that I had no hope.
I understand even though it’s embarrassing. I say that, but...

The hyperbola didn’t even meet.
Still not understanding anything, I dove into the deep.
Don’t even breathe.

The white, sleepy light called out to me,
so I reached out my hand.

Ah, my heart still isn’t enough.
The deep-sea calmed, my ideal was drawn.
Because it hurts, I hope I won’t forget it.

Ah, as I stood still in that moment.
I didn’t even know the taste of tears
When I laughed with you

I want to swim in an imaginary world.
My memories of twilight days flowed.

Reluctant, with a hopeless apathetic tone,
I couldn’t look up at tomorrow’s sky or believe in the future.

The mistaken, glittering voice peeked in,
even though it was a wound-riddled dream.

My heartbeat was fast and buzzing,
the sound echoed at the end of the heart’s ocean.
If it's proof that you're alive, I surely searched for it,
I’m moving to that crying out voice now.

Ah, my heart still won’t answer me.
The deep-sea calmed, my ideal was drawn.
Because it hurts, I hope I won’t forget it.

Ah, as I stood still in that moment.
I didn’t even know the taste of tears
When I laughed with you

#喬瑟與虎與魚群
#ジョゼと虎と魚たち
#JoseetheTigerandtheFish