Search
Love this bunch so much! 😍 It's all bout hanging with the loved ones today and friends. The sister cooked up a storm for our Christmas lunch. Thank you for your hands of love in the kitchen, Ness! #TheLowFamily #FamilyTime #ChristmasDay #ChristmasLunch
【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
[News / 甜點新聞] La Maison du Chocolat 發表復活節作品及兩款由 Pierre Hermé Paris 創作的純素甜點 / La Maison du Chocolat to present its Easter collections and 2 vegan pastries created by Pierre Hermé (English below)
吃甜甜、過好年！剛剛吃完年夜飯的大家，不曉得餐桌上都有什麼菜色呢？也吃了甜點嗎？
昨日去參加 La Maison du Chocolat 的新春作品發表會，真的是大開眼界。「Vegan」果然是近期熱度最高的關鍵詞！現場不僅看到了 Nicolas Cloiseau 主廚（MOF 巧克力職人）精采無比的復活節巧克力創作、品嚐了 #純素巧克力，還搶先試吃到 Pierre Hermé 主廚創作、三月二日才會正式上市的兩款 #純素甜點，且兩位大師本人都在，我一時有點忙不過來，都不知道該先拍、先嚐什麼好！
Nicolas 主廚今年的復活節巧克力雕塑「Les Voyages Extraordinaires」（#非比尋常之旅）靈感來自於他小時候最喜歡的一本書《Vingt mille lieues sous les mers》（中譯《#海底兩萬里》，是法國作家 Jules Verne 在 1869 年出版的科幻小說，描述一艘被誤認為海怪的潛水艇「鸚鵡螺號」的冒險旅程）。主廚精心以純手工打造了一艘熱帶魚型的巧克力潛水艇（美國與法國各僅有一座）、並使用了來自三大洲三個地點的三款風格獨特的巧克力製作復活節蛋，讓所有的消費者也能跟他一起在味蕾尖上環遊世界。三個巧克力分別來自越南、中美洲格瑞納達與西非迦納，其中來自越南的那款批覆巧克力（chocolat de couverture）為純素（végane / vegan），加入了椰奶，在口中香氣迸發時，能瞬間將你帶到藍天碧海白沙灘的熱帶場景，個性極為鮮明。巧克力雕塑本身細節考究，外型充滿童心，是小朋友們看了會非常興奮、大人們也會在心中升起共鳴的作品。
本次一同推出的，還有 #五款水果風味的夾心巧克力，包含覆盆子、黑醋栗、檸檬、柑橘與百香果。有趣的是這五款巧克力分為一般與純素兩個系列，純素系列使用酪梨油取代鮮奶油與奶油等動物性油脂製作甘納許（ganache）、楓糖漿取代白糖。有趣的是，大部分的人在品嚐、比較兩種後，都會驚喜地發現純素的巧克力甘納許水果滋味更為豐富有深度，酸香也更為明亮有層次。
最後一個重頭戲，則是 Pierre Hermé 主廚受邀為 La Maison du Chocolat 設計的兩款 #純素且無麩質的甜點：「Rose des Sables」（玫瑰巧克力酥）與「Fleur de Cassis」（黑醋栗之花）。之前我在歐洲麵包展時遇到 Pierre Hermé 主廚、詢問他對純素甜點的風潮看法，他便向我透露三月會有兩款純素甜點。謎底揭曉，原來就是與 La Maison du Chocolat 合作的最新創作。Nicolas 主廚則告訴我，當他邀請 Pierre Hermé 合作時，其實並沒有「純素」的目標限制，而是大師本人為響應 La Maison du Chocolat 對 #環境永續、#生態平衡 的理念而創作。Nicolas 主廚提到他 #從四年前便開始從頭學習如何使用植物性食材取代動物性食材創作，經過無數次實驗，對他來說是很大的挑戰。La Maison du Chocolat 過去的作品也可見到他 #關心環境與生態的理念，如 2019 年的聖誕節巧克力雕塑以北極熊為主題、品牌也從兩年前開始推出純素的巧克力商品，收到不少消費者的正面回覆。他目前已經開始著手創作更多純素巧克力系列，並認為「#這就是未來的巧克力樣貌」。
繼「無麩質」甜點後，純素風潮看來即將席捲法國，往後吃甜點也能照顧到大眾對環境、動物權的關注以及個人道德觀的選擇，誰說不是一件好事呢？記得點照片看更多細節！
🔖 當天影音請點此欣賞（在該精選動態後半）：https://tinyurl.com/swylsfh
*****
Today is Chinese New Year’s Eve, what did you have on your dinner table? What pastries and desserts have you had?
I got invited to discover the Easter and Spring collections of La Maison du Chocolat yesterday and was really amazed. “Vegan” is apparently the keyword that you can’t miss now. The chef Nicolas Cloiseau presented his Easter chocolate piece as well as a series of fruity chocolates including a vegan version. M. Hermé was there, too, to launch his two vegan pastry creations in collaboration with La Maison du Chocolat.
Themed “Les Voyages Extraordinaires” (“The Extraordinary Trips”), the chocolate piece was carefully sculptured and constructed by hand by the chef chocolatier of the brand, MOF Nicolas Cloiseau. The chef got inspired by Jules Verne's “Vingt mille lieues sous mers” (“Twenty Thousand Leagues Under the Sea”), one of his favourite books in childhood and created this gorgeous work, which speaks to the children as well as to the adventurous spirit of adults. Three characteristic couverture chocolates from Vietnam, Ghana, and Grenada are used to reflect on the chef’s trips discovering great chocolates around the globe, and the customers are invited to enjoy this globe-trotter experience along. Coconut milk is added in the vegan couverture chocolate from Vietnam. While the warm and exotic coconut aroma starts to dance on your tongue, you’d immediately feel that you are transported to an tropical island where the sun is shining and warm wind is kissing your cheeks.
The maison also launches five fruity chocolates in both original and vegan series, including raspberry, blackcurrant, lemon, orange, and passion fruit. Avocado oil replaced cream and butter and maple syrup replaced white sugar to make vegan ganaches, resulting in a much brighter and more intense fruity flavour.
In this Spring collection, the great chef Pierre Hermé is invited to create two vegan and gluten-free pastries, "Rose des Sables" and "Fleur de Cassis”. Chef Nicolas told me that in fact, they didn’t ask Pierre Hermé to make them vegan. The latter made such choice as an echo to Nicolas’ pursuit of a more responsible work ethic and eco-friendly philosophy of creation. The chef Nicolas has been working since four years ago on vegan chocolates by learning how to use vegan ingredients to replace animal products, which is a great challenge as this chocolate, like pastries, are made of butter, cream, sugar, etc. La Maison du Chocolat starts to provide vegan choices since two years ago and the chef’s previous work also shows his constant concern for the environment and endangered animals. For example, his 2019 Christmas chocolate piece featured polar bear and iceberg in a snowy world. The chef told me that the brand has received lots of positive feedback from customer and he believed that “this is what the chocolate of tomorrow going to be”.
Following “San-gluten” (gluten-free), “végane” (vegan) apparently is going to be the next storm sweeping through the French pastry industry. Many might criticise that it’s just another fashion that will soon die out, but Isn’t it wonderful that when you enjoy your pastries and desserts next time, you are also showing your support to environment sustainability and your concern for animal rights?
Don’t forget to click on the photos and check out my featured story for more details: https://tinyurl.com/swylsfh
#yingspastryguide #paris #lamaisonduchocolat #nicolascloiseau #pierrehermé #vegan #vaganpastries #Pâques #easter2020
Hey guys!
On a rainy & gloomy day, I decided to base this look on the weather. I know most people don't like wet rainy days because it looks miserable etc. But I LOVE when it rains ^_^. I get to use my umbrella and I love listening to the rain hit against the window. Especially when I'm in my own home- I feel so sheltered. Makes me feel really lucky to be warm & safe.
This look is created using colours that reflected the gloomy sky such as grays, blues and white. It's wearable for day or night time depending on your preference.
Since the Holidays is coming up- expect some Winter Style videos! ^_^
Our Clothing online store will be on Holiday from 1st for a month. If you plan to christmas shop for your family or loved ones- make sure you do so before we take a break ^_^ http://bubbi.bubzbeauty.com
Big thanks! 2PM Instrumental made by Youtube 'EpikHype' ^_^ EVERYTHING HAPPENS FOR A REASONNN!
Have a wonderful weekend.
Stay safe & warm!
Subscribe to my comedy channel:
http://www.youtube.com/bubbiosity
Subscribe to my VLOG channel:
http://www.youtube.com/bubzvlogz
Follow me on Twitter:
http://www.twitter.com/bubzbeauty
Bubzbeauty Official Website:
http://www.bubzbeauty.com
Shop the Bubbi Clothing Line:
http://bubbi.bubzbeauty.com
Connect with me at the Bubzbeauty Fanpage where I chill n catch up with you guys ^^
http://www.facebook.com/pages/Bubzbeauty-Official/181811348879
Much love, Bubz xx
Hellololo my sleepy weepy sloths!
(灬╹ω╹灬) SUBSCRIBBLE FOR MORE VIDEOS! ♥
☆ New videos every Wednesday & Friday at Japan time 9pm!
FACEBOOK
→ https://www.facebook.com/Venus-Angelic-987977014610350/
SNAPCHAT
→ venusp
INSTAGRAM
→ @VENUS_ANGELIC
TWITTER
→ https://twitter.com/vnsnglc
SENPAI’S INSTAGRAM (๑´ㅂ`๑)
→ @manasenpai
I quickly uploaded my Fangelic Mail video, before the blood bath and fire storm starts on the 21th December!
Nah, I don't actually believe that! Haha ♥ Also, my dear sleepy weepy sloth shouldn't believe it either and just happily eat Christmas cookies and maybe also write me a Christmas/New Year card, which I will show, read and answer in a Fangelic End Of Year Mail video! Yay!
The Christmas & New Year video will be uploaded in the middle of January, btw!
Address:
Venus Angelic
PO Box 53874
LONDON, SE27 7BN
UK
Sweet Greetings ♥
Venus
○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●○●
☆★☆ Become a friend on my Facebook fanpage! ☆★☆
http://www.facebook.com/venusangelic
☆★☆ Follow me on Twitter ☆★☆
http://twitter.com//venusangelic
☆★☆ Check my out my very own Website! : ) ☆★☆
http://www.venusangelic.com
☆★☆ I'm on Tumblr! ☆★☆
http://venusangelic.tumblr.com/
Credits
━─━─━─━─━─━─━─━─━─━─━─━─━─━─━
Royalty free music used in this video:
Song Titles: "Theme For Harold var 1", "Theme For Harold var 3", "Super Friendly", "Itty Bitty 8 Bit"and "Pixel Peeker Polka"
Artist Name of all 5 songs: Kevin MacLeod
Download Links:
http://incompetech.com/music/royalty-free/mp3-royaltyfree/Theme%20for%20Harold%20var%201.mp3
http://incompetech.com/music/royalty-free/mp3-royaltyfree/Theme%20for%20Harold%20var%203.mp3
http://incompetech.com/music/royalty-free/mp3-royaltyfree/Super%20Friendly.mp3
http://incompetech.com/music/royalty-free/mp3-royaltyfree/Itty%20Bitty%208%20Bit.mp3
http://incompetech.com/music/royalty-free/mp3-royaltyfree/Pixel%20Peeker%20Polka%20-%20slower.mp3
For some reasons, Cajun crab in the bag or Louisiana seafood boil suddenly took Singapore by storm. Before this dish hit our shore, eating food off the table just seemed so strange but once we tried it, everybody seems to enjoy eating food off the table! We prepared this dish as a try-out for our Christmas dinner this year. I hope you like it. Perhaps you may wanna cook this super easy and yummy dish for your family too.
Refer to the ingredient list below or go to our website at http://spicenpans.com/crab-in-the-bag/ for your easy reference.
Hope you can recreate this yummy dish in the comfort of your home. Thanks for dropping by our channel.
Please subscribe to stay tuned to our home cooking videos.
Follow us on:
Youtube: www.youtube.com/spicenpans
Facebook www.facebook.com/spicenpans/
Instagram @spicenpans
Blog: www.spicenpans.com
Chat with us!
info@spicenpans.com
Thanks for watching!
See you soon.
xoxo
Jamie
on behalf of Spice N’ Pans
Ingredients:
Serves 4
3oz of butter
1 large red onion - chopped
1 tablespoon of chilli flakes
2-3 Bay leaves
5 cloves of garlic - minced
2 tablespoons of Old Bay seasoning
1L of water
2 sausages of your choice
3 medium to large size crabs ~ 800g each
8 prawns - deveined
400g of white clams
4 red potatoes- boiled
2 corns
2 limes
