【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
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同時也有3部Youtube影片,追蹤數超過180萬的網紅Venus Angelic Official,也在其Youtube影片中提到,This uber pretty and magical Disney's FROZEN winter wonderland let's you (literally) whip up the cutest cupcakes, macarons and a big two tier cake! ^....
「me before you hold onto me」的推薦目錄:
- 關於me before you hold onto me 在 半瓶醋 Facebook 的精選貼文
- 關於me before you hold onto me 在 Milena Nguyen Facebook 的最佳解答
- 關於me before you hold onto me 在 Adele Leung 梁雅懿 Facebook 的最佳解答
- 關於me before you hold onto me 在 Venus Angelic Official Youtube 的最讚貼文
- 關於me before you hold onto me 在 ochikeron Youtube 的最佳解答
- 關於me before you hold onto me 在 Joanna Soh Official Youtube 的精選貼文
me before you hold onto me 在 Milena Nguyen Facebook 的最佳解答
Let me tell you what I love most about being a coach.
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By the end of my journey with a client - which often lasts at least 3 months - the woman looks back in amazement.
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She realizes that the light had been inside her all along. She just needs to find it, own it, let it shine.
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As she shines, she automatically inspires people around her to shine too.
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Being a coach isn’t easy.
You cannot force a lesson onto someone when they’re not ready. You must have the radical humbleness to bow to their inner wisdom. Your job is only to lead them to the temple.
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The work takes time, patience, a gentle firmness, a relentless love, the sheer stubbornness to hold onto the light within a person even when they see only darkness, and the expansiveness of heart to love them through darkness into light.
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What keeps me going strong in the last 3 years, is to see each woman I leave behind as my personal gift to the Universe.
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I believe in this so much that just thinking about it makes me want to cry.
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They’re lighting up the world by creating a movement, leading a business, following a passion project. Or simply - but no less beautifully - living a life better than before.
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I’ve done deep coaching for women in 12 countries, 3 continents, from university student to CEO.
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I’ve spent literally thousands of hours to listen to their stories, hold space for them to cry, challenge their limiting beliefs, nudge them out of their comfort zone to get into their magic zone, help them to change relationship, work, and way of being; empower them to lead a new career, business, or movement...
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What I know is that no matter where we come from and what we’ve been through, at our very core, there’s always, always, ALWAYS an infinite light demanding to be seen.
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We might be marginalised, abused, held back, repressed, caged, chained. (Many times in our own hands.).
Still, our light demands to be seen.
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We might crash and burn and break open.
Still, we shine.
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Because that’s our birthright.
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This isn’t my one-woman project, this is a movement happening all over the globe: Lighting up the world by helping women to re-claim their right to shine.
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Are you ready to join us?
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me before you hold onto me 在 Adele Leung 梁雅懿 Facebook 的最佳解答
Happy Singles Day
No human being can survive without connection. I almost didn’t make it a few years ago with a heart break of how the world lacked connection. But what saved me was because I made was a choice to first live this connection in my life without waiting for anyone to start.
I remembered inviting friends to my house for meals and no one would show up because they told me I lived too far away. And I invited all the industry to a birthday get together one year on the island I lived on, and again it was too far. I could just hold onto this hurt and heart-break of being rejected but I could also simply make the choice to take the first step to go to people. And I did.
I would go out of way to meet people and my family because before anything else, connection is the most important factor in my life. Because my husband worked late I would meet him at his work place, It was not a need but I would not give up any opportunity if we could spend it together. His rhythm is very different from mine, so I would find time to cuddle with him even though he sleeps when I wake up. Every little moment matters.
It is the same with my son, imagine him growing up and if as a parent I harbored the belief that when a child reaches a certain age a parent could no longer hug him or kiss him on the lips, how would a sensitive being feel? We spend time to connect just as human beings—thus breaking down beliefs of what is allowed or not allowed.
The world today direly lacks connection—that is why there are riots, violence and bloodshed. The whole world does not encourage connection as this is actually our choice—for we choose fame and financial gain over it. Not to mention we have to be transparent and vulnerable when we connect. Most of us are just not ready to go there and that’s okay.
But on singles day, do we really want to contribute to more disconnection through a numbing with more consumption or do we want to start bringing connection back into our lives?
We can all tell someone close to us in words or action just how much you treasure and appreciate them today, whether you are single or taken, for we all deserve to be loved and to love.
.
.
#justbelove
me before you hold onto me 在 Venus Angelic Official Youtube 的最讚貼文
This uber pretty and magical Disney's FROZEN winter wonderland let's you (literally) whip up the cutest cupcakes, macarons and a big two tier cake! ^.^
Subscribble ♥ http://bit.ly/1tZ3Khi
Loose yourself into this Winter Wonderland of sweets that just look too good to be true, because, well they are! You may not be able to eat them but at least they last forever. Let me show you they're made!
Let's Start!
This super pretty Frozen box filled with even sparklier stuff to help us decorate Frozen themed macarons, cupcakes and a two tier cake. The amazing thing is that you can use these sweets as a jewellery box or container when you're finished. We will set soft, fluffy whipping cream in the spotlight! Let's take a look inside! Aah, too cute to handle! Alright, let's get everything out! Wow, there's a lot more in there than I expected! Well, that's awesome!!
For the star of these winter sweets, the two tier cake there's, a bottom and top cake. Competitive in cuteness are definitely the macarons which we'll turn into two pretty key hangers! The blue Macaron pictures Elsa and the pink one is Anna themed. In a small sachet we've got pearls and crystals, safely packed away. While the pearls and crystals are responsible for the sparkly look, they're quiet limited so I'll take an extra effort to keep them clean and organised by handling them with a a pair of tweezers, gently placing the pearls I use kitchen paper with rough texture to keep small parts from material from rolling around.
This pastry is a small container in disguise and we're lucky enough to have pretty violet twin. Both come with two domes which are super important and you'll soon find out why! But the most important item of all is the whipping cream, which makes for the magical cuteness of these sweets!
(transition with sparkle sound)
Before we start let's pop out the images with which we will decorate the whipping cream. One motif seems to be missing, but luckily there is such a great variety that it allows you to be picky and only choose your most favourite ones.
Here you also see long strips with a scooped silhouette which are specifically for the two tier cake.
All let's see...yep we're all good and ready to start!
♡ ♡ ♡ Let's create a magical sweets winter wonderland ♡ ♡ ♡
I'll remove the lock from the whipping bag and soften the crafting cream by kneading with my hands until i finsih Counting to 100. Utilising some pressure I use a ruler to push mass towards the opening and tightly close the empty part of the bag.
We'll make the cupcakes first, so exchange the regular cap with the large star cap.
The target is to make the most perfect of whipping swirls. If you get the swirls right, the rest is no big deal. Glue a dome in the very centre of each cupcake. This is to support the swirl shape. Keep your hands relaxed and quickly move in circular motions. Oh, the cupcake moved. If you mess up you can wipe it away while the craft creme is still wet.
As you see craft creme looks and behaves like the real thing but dries on air within a few hours. When decorating with pearls there is no need to use pressure as this would immediately get the soft whip out of shape. I gently place the decoration where I want it to be and let it air dry.
(sparkle transition)
From this point on it'll get more difficult as we change to the small star cap! Let's Go ☆
Let's top the the edges of one macaron with whipping cream but leave the top part empty so we can close the macaron at an approximately 20 degree angle. The finished macarons will look like this.
Now on to the biggest part of this set, the amazing two tier ice cake which we'll load with lots of whipping cream to create it's magical castle like appearance. One neatly centred large swirl in the middle of the top cake, surrounded by a sequence of swirls alternating between single and double swirls. Don't worry too much about where to place the pearls as pretty shiny things will look pretty and shiny wherever they are them! *^-^*
I push the cake in a single folded deco strip and voila the top cake is all topped!
The bottom cake needs 6 big double swirls and a small single swirl between each double swirl. While still wet I'll place the top cake on the lid of the bottom cake so that they can dry and stabilise together. I enclose the bottom cake's base using two deco strips and cover the scooped borders with closely spaced droplets of whip. I go for snowflakes because, well, I don't know about you but they kinda remind of sugar . I'll hold the motif gently them onto the cream until they're stuck. As we're finished decorating, we can finally combine all parts together and voila we've built a sweet winter wonderland!
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me before you hold onto me 在 ochikeron Youtube 的最佳解答
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Tear 'n' Share bread is going viral in Japan, so I decided to make ted buns filled with homemade sweet Azuki red bean paste. Yummy!!!
Of course you can enjoy making this with your favorite character ;)
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Tear 'n' Share ted Anpan
Difficulty: Easy
Time: 2hrs or more
Number of servings: 18cm (7inch) square cake pan
Ingredients:
280g (9.9oz.) bread flour
1 tbsp. sugar
1 tsp. dry yeast
1 tsp. salt
180ml milk *room temperature
3 tbsp. unsalted butter *room temperature
320g (11.3oz.) Anko (Azuki Red Bean Paste)
https://www.youtube.com/watch?v=fyE9a8gejHA
white chocolate
milk chocolate
Directions:
((Kneading))
1. You want all the ingredients at room temperature.
2. In a large bowl, place bread flour, sugar, salt, dry yeast, and salt. Keep the dry yeast away from the salt as the salt will kill the dry yeast.
3. Gradually mix in milk, use your hand to mix together until formed. Transfer the dough to the counter and knead until sticky and well formed.
4. Add butter, stretch the dough for a few times using your palms, fold it in half, turn it around (90C), and stretch again. Repeat and knead until smooth, without adding any extra flour for 10-15 minutes). The dough should be very elastic which when stretched becomes almost translucent.
((1st Proving / Proofing / Rising))
5. Lightly oil a large bowl. Form the dough into a ball and place it in the bowl seam side down. Cover the bowl with plastic wrap (to keep the surface of the dough from drying out), and leave to proof in a warm place (30C/86F) for 30-60 minutes or until it has doubled or tripled in size. (In winter, you can use the proof function on your home oven!)
6. While proofing, divide Anko (Azuki Red Bean Paste) into 16 pieces and roll them into balls. Grease the pan with some oil or butter, OR line with parchment paper.
((Knock-Back & Bench Time / Resting))
7. Place the dough onto a floured surface and punch out the air with your palm.
8. Divide it into 16 equal pieces using a bench scraper or a knife. Quickly form them into balls.
9. Place them on a baking sheet, cover with plastic wrap (to keep the surface of the dough from drying out), and rest for 15 minutes. The dough is surprised because you punched, so please let them rest for a while before you start shaping.
((Shaping))
10. Cut off small pieces for the ears and brows. Using a rolling pin or your palm, flatten out the dough. Wrap Anko (Azuki Red Bean Paste) and pinch to close. Attach the ears and brows, then place it in the square pan.
((2nd Proving / Proofing / Rising))
11. Cover with plastic wrap (to keep the surface of the dough from drying out), and leave to proof in a warm place (30C/86F) for about 30 minutes or until they have doubled in size. (In winter, you can use the proof function on your home oven!)
12. Preheat the oven to 180C (350F).
((Baking))
13. If the ears and brows are coming off, press and attach them with a toothpick.
14. Bake at 180C (350F) for about 20 minutes or more.
15. Remove from the pan and place it on a wire rack to cool.
16. When the bread is completely cool, melt the chocolates in pastry bags. Snip off the end, then draw the faces on each of the rolls.
* To keep the surface of the dough from drying out, a wet towel is okay but plastic wrap is easier!
↓レシピ(日本語)
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me before you hold onto me 在 Joanna Soh Official Youtube 的精選貼文
Please READ this box for more info. Do you tend to suffer from stomach pain, heavy stomach, indigestion, constipation, gas and bloating or IBS? Now that it's the holiday season, most of us might be consuming heavier meals, which takes much longer for our body to digest and this can also cause digestion related problems.
So let's spend only 10 minutes to do these "10 Gentle Yoga Poses to Help Improve Your Digestion". This will help your organs to operate more efficiently, reduce stress, and to also create awareness of your body as you eat. If you just had a heavy meal, wait for at least 2 hours before doing these stretches.
1) Extended Triangle Pose
2) Squat Pose
3) Bridge Pose
4) Camel Pose
5) Cat & Cow
6) Downward Facing Dog
7) Wide Child Pose
8) Cobra
9) Wind Relieving Posture
10) Spinal Twist
Throughout the poses, try to breathe as SLOWLY and DEEPLY as you can, breathing in and out through your nose, as you hold each pose. Try to hold each pose for 30 seconds to a minute. So the next time you suffer from indigestion, gas, bloating, stomach pain, get onto your mat to stretch & twist.
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