關於 come sail away ，我們在網路上蒐集到這些相關的討論、資訊與評價

"DREAMIN' ON" full length MV has been released! Enjoy!

▶️https://youtu.be/XPT91f5vU-k

≪the lyrics≫
"DREAMIN' ON"

Open the borderless map
Towards the place that has no end
Let’s sail on
Raise high the sails
Catch the wind

Don’t give up, if I’m determined
I’ll never turn back
Laugh on through troubled waters

Shout it out, to save your spirit from breaking
Your friends are there for you
Hey, you don’t ever need to act tough

Even when the darkness tries to tear you apart
Come on, brave it out
It’s going to be all right
Strong bonds will break through

Open the borderless map
Towards the place that has no end
Have the courage to take a step forward

Open the borderless map
The flag that called forth oaths
Keep fighting on
Stick by “yourself”
Seize it, dreamin’ on

Bring it on, keep looking ahead and move forward
It’s a risky challenge
So, put on the armor of excitement

The anticipation and fear are rising
Hey, shake it off
We are gonna be alright
Our unbreakable bond can rise over anything

Open the borderless map
With no one left behind, move on together
We have each other’s back to cry on

Open the borderless map
The flowers of light
Until they bloom brightly
Stick by “yourself”
We will protect them, Dreamin’ on

If each of us have justice
We have no time to stop
We can’t lose, we won’t run away
Meet, say goodbye, keep moving
Everything is our treasure

Close infinity’s map
And just relax and talk together
It's break time
We party tonight

Open the borderless map
Towards the place that has no end
Have the courage to take a step forward

Open the borderless map
The flag that called forth oaths
Keep fighting on
Stick by “yourself”
Seize it, dreamin’ on

Let’s stay invincible

Lyrics：Sota Hanamura(Da-iCE)
Music：Kanata Okajima, Soma Genda, MEG
Arrangement：MEG
Choreographed by shoji(s**t kingz)

#ONEPIECE
#Da_iCE

【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

Come Sail Away, with Royal 與皇家一起遠航
#皇家加勒比 因疫情而停航，船上的演藝人員只好留左家中。 不過佢地既表演慾一點都沒有放下，合力製作了一首歌予大家，期望很快再在郵輪上見面。

#RoyalCaribbean #RCI

#Da_iCE ニューアルバム「SiX」全曲配信スタート！
https://avex.lnk.to/Da-iCE_SiX

TVアニメ「#ONEPIECE」主題歌や日本テレビ系日曜ドラマ「極主夫道」主題歌を含む、
シングル5作に加え、
人気ロックバンド「androp」内澤崇仁提供曲や「BLUEENCOUNT」との共同制作曲など、
13曲を収録したオリジナルアルバム「SiX」が2021年1月20日発売！

Da-iCE Official YouTube Channel：
https://www.youtube.com/c/DaiCECH

Da-iCE Official HP：
https://da-ice.jp

The MV of "DREAMIN' ON", TV anime "ONE PIECE" theme song, has been released!

TVアニメ「ONE PIECE」主題歌
Da-iCE NEW SINGLE 『DREAMIN’ ON』2020.8.26 ON SALE

“五感で感じるエンターテインメント”をコンセプトに、音楽で五感を体感する作品を6ヶ月連続でリリースするDa-iCEが 、その第一弾シングルとして、大人気TVアニメ「ONE PIECE」主題歌を担当することが決定！

「無限大の地図広げ、まだ見ぬ夢を掴みとるためにー」
8月2日のOAからTVアニメ「ONE PIECE」(フジテレビ系/日曜9:30～）のオープニングで流れる新主題歌「DREAMIN' ON」は、
メンバーの花村想太が作詞した力強いメッセージが心に響く疾走感あるナンバーで、ロックサウンドに乗せて仲間や夢を持つことの大切さ、一歩前に踏み出す勇気を描いた楽曲に！

-------------------------------------
「DREAMIN' ON」

無限大の地図広げ
果てしないあの場所へ
Let's sail on
高く帆をあげて
風に乗れ

Don't give up 覚悟決めたのなら
引き返しはしないさ
笑い飛ばせ 荒波

Shout it out 心砕けないように
仲間がいるんだ
ほら強がりなんていらない いつだって

闇が引き裂こうとしても
ほら Brave it out
大丈夫さ
打ち破る最強の絆

無限大の地図広げ
果てしないあの場所へ
踏み出せ 勇気の一歩

無限大の地図広げ
誓い集めた旗
戦い続けて行く
『自分自身』貫け
掴み取る Dreamin' on

Bring it on 目を背けず前へ
無謀過ぎる挑戦
ほら武者震いの陽炎 纏うのさ

高まっていく期待と恐怖
ほら Shake it off
大丈夫さ
飛び越える最強の絆

無限大の地図広げ
欠けることなく進め
涙 預ける背中

無限大の地図広げ
光集めた花
輝き咲く時まで
『自分自身』貫け
守り抜く Dreamin' on

それぞれの正義があるなら
立ち止まってる場合じゃないんだ
負けられない 逃げやしない
出逢い 別れ 超え行こう
全部宝物

無限大の地図しまって
気ままに語り笑う
It's break time
今宵 宴の夜

無限大の地図広げ
果てしないあの場所へ
踏み出せ 勇気の一歩

無限大の地図広げ
誓い集めた旗
戦い続けて行く
『自分自身』貫け
掴み取る Dreamin' on

最強で行こうぜ


Lyrics：花村想太
Music：Kanata Okajima, Soma Genda, MEG
Arrangement：MEG
Choreographed by shoji(s**t kingz)
------------------------------------------------

「DREAMIN' ON」

Open the borderless map
Towards the place that has no end
Let’s sail on
Raise high the sails
Catch the wind

Don’t give up, if I’m determined
I’ll never turn back
Laugh on through troubled waters

Shout it out, to save your spirit from breaking
Your friends are there for you
Hey, you don’t ever need to act tough

Even when the darkness tries to tear you apart
Come on, brave it out
It’s going to be all right
Strong bonds will break through

Open the borderless map
Towards the place that has no end
Have the courage to take a step forward

Open the borderless map
The flag that called forth oaths
Keep fighting on
Stick by “yourself”
Seize it, dreamin’ on

Bring it on, keep looking ahead and move forward
It’s a risky challenge
So, put on the armor of excitement

The anticipation and fear are rising
Hey, shake it off
We are gonna be alright
Our unbreakable bond can rise over anything

Open the borderless map
With no one left behind, move on together
We have each other’s back to cry on

Open the borderless map
The flowers of light
Until they bloom brightly
Stick by “yourself”
We will protect them, Dreamin’ on

If each of us have justice
We have no time to stop
We can’t lose, we won’t run away
Meet, say goodbye, keep moving
Everything is our treasure

Close infinity’s map
And just relax and talk together
It's break time
We party tonight

Open the borderless map
Towards the place that has no end
Have the courage to take a step forward

Open the borderless map
The flag that called forth oaths
Keep fighting on
Stick by “yourself”
Seize it, dreamin’ on

Let’s stay invincible

Lyrics：Sota Hanamura(Da-iCE)
Music：Kanata Okajima, Soma Genda, MEG
Arrangement：MEG
Choreographed by shoji(s**t kingz)
-------------------------------------

また、今作は五感の一つである”視覚”をコンセプトに“目で見て体感する音楽”として、
シングル作品にして2時間超えの映像コンテンツを収録！

新感覚バラエティ「Da-iCE TVスペシャル」では、視覚をテーマにDa-iCEメンバーが数々のバトルを繰り広げ、想定外のハプニングや爆笑新キャラ！？登場の必見コンテンツに！

★「Da-iCE TVスペシャル」ダイジェストPart1をYouTube先行公開！
https://youtu.be/ry49pM5ZlKw

★『DREAMIN’ ON』商品概要：https://da-ice.jp/discography/detail.php?c=&id=1017636

★『DREAMIN’ ON』『ウィーアー！』試聴：https://da-ice.jp/music/index_search.php


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#ワンピース
#ドリオン

《DAWN》
DAWN / 總有一刻的拂曉
作詞 / Lyricist：aimerrythm
作曲 / Composer：秋田博之、玉井健二
編曲 / Arranger：玉井健二、釣俊輔
歌 / Singer：Aimer
翻譯：夏德爾
English Translation:Thaerin

背景 / Background - 静蒼 - とちちま :
https://www.pixiv.net/artworks/80551182

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中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=2976963

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyrics/aimer/dawn/

日文歌詞 / Japanese Lyrics :
果てしなく広がる　この空に　奇跡なんてなくてもかまわない
流した涙なら　隠さない　もう何があっても

例えば　そう　空を横切る白い鳥のように翼があって
自由に今　空を飛べたなら　逃げるように　ただ彷徨っていた
　
地上(ここ)でしか見えないものがあって　地上(ここ)でふたり出会えた
行く宛のない旅路としても　もう二度と迷わない　願いは　一つだと誓う

果てしなく広がる　この空に　奇跡なんてなくてもかまわない
流した涙なら　隠さない　もう何があっても

振り返れば　寄せては返す　白い波が　ほら
選んできた足跡だけ消してくれるから　正しさとか　もう答えはなくて

漕ぎだした船は帆をはって　凍える風　吹かれた
遠ざかってく渚の隅で　思い出と悲しみが手を振り　さよならを謳う
　
果てしなく広がるこの海に　行き場なんてなくてもかまわない
嵐の夜ですら　怖くない　もう何も怯えることもない
勇敢な想いがつまずいた夜も　そばにいるよ
何があっても　そばにいるよ

消えてゆく月と　星のない夜空
何より暗いのは　そう　夜明け前
朝日まで　もう少し

明けてゆく　静かなあの空に　奇跡なんてなくてもかまわない
つないだこの手なら離さない　もう何も怯えることもない
眠れない想いを抱きしめた夜に　朝は来るよ
手を伸ばせば　朝は来るよ

中文歌詞 / Chinese Lyrics :
在寬廣的無邊無盡的，這片天空底下，就算不存在有奇跡也無所謂
因為我已經決定，不會再隱藏落下的眼淚，無論發生什麼事情

要比喻的話，對了，我的心就像是飛越天空的白鳥一樣有著一對羽翼
若是能自由地在空中飛翔的話，肯定會像是在逃竄一樣，僅是四處徬徨吧

這裡有著只有從地上才能看見的景色，而我們就在相遇在這樣的地方
就算是連目的地也沒有的旅途，也絕對不會再次迷惘。在此發誓，那是我唯一的願望

在寬闊的無窮無盡的這片天空裡，沒有奇跡的存在也無所謂
因為，我已經下定決心不會再隱藏流下的眼淚，無論再發生什麼事情

悄然回首，你看，那來回拍打岸邊的白色潮水
都會帶走我們選擇留下的那些足跡，所以正確與否什麼的，根本，就沒有任何答案可言

開始划動的船張開了船帆，在冷冽的風中前進
在岸潮漸漸遠去的那個角落裡，回憶與悲傷正揮著手，與我們高聲道別

在這無限寬闊的大海中，不在乎是否還有我們的棲身之所
就算是暴風雨的夜晚也無從畏懼，已經什麼都不足以使我們膽怯
就算是這份勇敢的心念遭遇挫折的夜晚，我也會在你的身邊
無論發生什麼事情，我都在你的身邊

月亮漸漸抹去了身影，留下星星們接二連三離去的夜空
最昏暗、最昏暗的，是的，就是拂曉之前
那距離晨曦，還差那麼一點點的時刻——

在寧靜之中慢慢明亮的那片天空，不需要什麼奇跡
不會再放開牽起的手，已經什麼都不能讓我們膽怯
懷抱著難以入眠的心念，在這樣的夜晚裡早晨還是回來訪的
只要伸出手……拂曉，就在這裡

英文歌詞 / English Lyrics :
In this limitlessly expanding sky, I don’t mind if there are no miracles to be found.
I won’t hide the tears that have already flowed, no matter what happens.

If I were to have wings, like those white birds that cross the sky,
And could fly freely… I’d have been merely wandering, as if running away from it all.

There’s something that can only be seen here on the ground; this is where we met.
Even if the path of our journey has no destination, I’ll never lose my way again: I swear we share the same wish!

In this limitlessly expanding sky, I don’t mind if there are no miracles to be found.
I won’t hide the tears that have already flowed, no matter what happens.

When you turn to look, you’ll notice that the white waves coming in and out,
Are only erasing the footprints we managed to choose on our own; there’s no longer any answer to the question of what’s “right”.

The boat we’ve started rowing raises its sail and a chilling wind blows in.
In the corner of the shore we leave behind, our memories and sorrows wave, singing a song of parting.

Upon this limitlessly expanding sea, I don’t mind if we have nowhere to go.
I don’t even fear a stormy night; there’s not a thing for us to be afraid of.
Even on nights our brave thoughts stumble, I’ll be by your side –
No matter what happens, I’ll be by your side.

The moon is vanishing in a starless night sky,
But the darkest time of all is just before dawn…
It’s just a little longer ’til the sun rises…

Within the silent sky that opens up, I don’t mind if there are no miracles to be found.
I won’t let go of our joined hands; there’s really nothing else for me to say.
To the nights we clung to sleepless emotions, morning will come –
If we just reach out our hands, morning will come!

■ 更多林子安：
INSTAGRAM：https://www.instagram.com/an__official/
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各式工作演出邀約請私訊IG或臉書專頁
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■ 更多【Cover by AnViolin】：https://bit.ly/2vWVtF5

🎼 樂譜連結🎼Sheet music
https://shopee.tw/anviolin
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夢然《少年》小提琴版本 | Violin cover by Lin Tzu An of Shao Nian by Mira

這首旋律讓人忍不住反覆循環，輕鬆明快又充滿力量的拍點，把堅持本心的努力表現出來，
在振奮人心的曲調中，把大家心中藏著的、被社會現實侵蝕的夢想喚醒。

曾經聽過歐普拉的一句話很令我感動「你所能冒最大的險，就是去過屬於你夢想中的生活。」
另外就是馬克吐溫說：「20年後的今天，對於那些該做卻沒做的事，你會更感失望後悔。
所以駛離這安全的港口，向夢想的海洋前進！」
走遍世界的每一個角落，也不過是為了找到一走回內心的路。
比起相信前往目標的路，要更相信走在這條路上的自己還有內心的召喚🔔
（私心認為英文的內心召喚叫做calling更可以把這樣的感覺表達出來）
而在路上經常會遇到挫折，但遇到那堵牆時，就是成長的瞬間！

長大後再聽見自己內心召喚的少年不是以前那位年少無知的少年，而是經歷了磨難挫折，最後仍堅持重新找回自己夢想並堅持下去的少年。從前的少年可能是空想夢想的少年，現在則是多了真實、覺悟和勇氣的少年！

把這個cover作品送給大家也給我自己！希望自己在追逐生命中光臨身邊每一道光的同時，不要忘了初心。讓大家因為我的存在而有溫暖、得到力量並且閃亮🌟🌟

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，我都會更新在我的Instagram 限時動態！

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I cannot resist playing this song over and over again not only because of the easy while powerful beats showing the efforts to stick to the your calling, but the melody waking up the dream in the heart.

I am super touched by the quote from Oprah Winfrey, "the biggest adventure you can ever take is to live the life of your dreams. and Mark Twain once said: "20 years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover."

Walking every corner in the world is to find the road back to the calling in my heart.
So instead of believing this is the road to the goal, I'd rather believe myself and the calling.
Maybe there will be obstacles on the road, but it's the time to grow when meeting that wall!

This is the cover for all of you and for myself.
While chasing every light in my life, stay true to yourself.
Hope everyone of you are shining because of the healing power and strength via my violin 🌟🌟

Should you have any request regarding cover songs, just comment below and let me know.
Also please share the video and subscribe to my channel https://bit.ly/2EsTGMQ.
Don't forget to click the 🔔 bell to be notified when my videos come out!

Visit me at Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out details on my Instagram stories!

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編曲Arranger：林子安 Lin Tzu An
混音Remix：林子安 Lin Tzu An
小提琴 Violin: 林子安 Lin Tzu An
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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【Cover by AnViolin】每週上傳新的小提琴cover影片，
喜歡的話請訂閱我的頻道 https://bit.ly/2EsTGMQ
也記得開啟🔔訂閱通知，按讚留言分享給你家人朋友看！

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如果你喜歡我的影片也歡迎贊助我，讓我有更多資源去提升畫面與音樂。
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還想看子安cover什麼歌？留言跟我說 ！

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#少年
#每次走過都是一次收穫
#少年violin
#少年小提琴
#只要記得你是你呀
#AnViolin
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#林子安
#林子安小提琴