A little bit craziness keeps you from going insane.

I'm simply too numb at dealing with numbers.

Almost missed a deadline due to my false memory.

15, 16, 17, 18, 19, ...all the same to me....

it should be "satiability".

~

作者：dos123456　回复日期：2006-5-31　15:35:47

　　~~~

 

[八卦江湖]香港的ＫＵＳＯ漫画－－－神拳无敌周恩来

香港恶搞漫画：铁拳无敌孙中山!（全传）另附漫画——军道杀拳周恩来

根据史实，清末民初四大高手是为：
铁拳无敌孙中山
再世霸王袁世凯
天魔传人毛泽东
穿林北腿蒋中正
又，孙氏与蒋氏并称南拳北腿、亦称「武林二中」
四人关系错综复杂
孙铁拳与袁霸王亦师亦徒亦敌亦友
毛天魔蒋穿林孙铁拳叁人更曾义结表兄弟
可惜毛氏与蒋氏在四天王之首孙铁拳羽化之后
互争武林至尊地位而决裂
附带一题，蒋氏腿法无影无形，擅长以虚化实
早期练成食衣住行四大虚晚年更再创育乐二腿，是为民生六虚
为虚招之极致虚虚实实无人能辨
可惜，毛天魔苦练内家心法
大功未成之前，面对蒋穿林未曾一胜
但神功大成之后
可以吐音成劲专破百家招数
据说可与失传已久的如来神掌第四式「佛问迦蓝」一较长短
更独创毛语录，独步江湖，为蒋氏虚腿的先天克星
而再世霸王袁世凯，待补完...
中山先生诞生于广东省香山县翠亨村一个贫苦农民家庭，乃一武林传奇人物。
辛亥革命后，则常以中山为名。世人常以为与孙逸仙，中山樵，孙文为同一人。
孙逸仙，先后在澳门、广州等地行医。他的医术精明，而且对贫穷病人免费治疗，因此，行医“不满两三月，声名鹊起”。
中山樵，在「中山」二字下加了一个「樵」字。
「加上樵字，就是中国山樵的意思！」 一熟知历史之人如是言。
中山樵在日本与大隈重信、副岛重臣、大石正已、尾崎行雄等政上的人物交往，对中国革命事业有不少的帮助。
孙文，共党以为满清为此人推翻，称之为国父。
此四人生平事迹大相径庭，但经世济民之心却同出一辙，是否为同一人，却也不必深究。
孙中山先生于 1894 年创立兴中会，世人却无人知晓此中之内幕。此乃在中国传承五千年的秘密组织之地上化，
少数革命党人称之为 "里•兴中会"，也有人称之为 "中华革命门" 。
而孙中山先生即为此秘密组织之首脑人物。
此组织暗中维持了中国五千年的历史，每当民族存亡之秋，便可发现他们活动的迹象。
传承至此，孙中山先生便是掌握了此时代之钥的重要人物。
1896 年，孙中山先生于英国伦敦潜心钻研中国五千年之学问及西方科学，终于在历经七七四十九天之后，
中国历史上的瑰宝，"三民主义" 终于面世。
三民主义亦不单纯，分为 " 光技" 及 "影技"。
"光技;三民主义"，此乃修习 "三明主义" 之心法。
"影技;三明主义" 浩瀚渊博，此中之武学并非一般人心力所能负荷，必须靠 "三民主义" 之相辅相成，
始能毕其大功于一役。
"中华革命门" 为了不让此绝学失传，多年前推动学校教育，至此，20岁以上人多已修习此心法。
若是向往铁拳无敌之绝学者，亦可于一般书店发现。
影技，"三明主义"。
此为铁拳无敌孙中山之独门内功，内功刚柔并济，水火相容，与三民主义相辅相成，但若两方顾此失彼，只一味贪求武学，必当走火入魔，万劫不复。
练成之后，世界大同，天下为公，内力源源不绝，有如天空之广阔，大海之浩瀚。
"三明主义" 分为三部，一为 "明足主义"，一为 "明身主义" ，一为 "明拳主义"。
"明足主义" 为体，绝世身法 "民权初步" 为用，内练精气神，外练筋骨皮，相辅相成，绝世轻功乃大成。
"明拳主义" 则搭配 "五拳宪法"，为 "五拳宪法" 提供了无穷的内力，拳拳呼风唤雨，力如拔山。
多年后，日人多蒙学得 "皮毛"，以此成为"洗牌同盟 红心王" ，必杀技即为 " shining Finger !"
"明身主义" 则为护身气劲，功成之时，身发异光，刀枪不入，水火不侵。
此主义乃孙中山悲天悯人之表现，革命之时，常需保护革命同志，以身发异光吸引清兵注意，并以护身档下子弹，刀枪，
辛亥革命缺此主义，必不能成功。
至此 , 不得不说 "五拳宪法"。
一招既出，五拳分立，分打周身百穴，奇经八脉，实乃铁拳无敌孙中山最厉害之武学。
在世界核爆之后，日人名为 "拳四郎" 之人习得了此一武学 ，可惜未能融会贯通，出招必打百拳才达目的，号曰"北斗百裂拳"。
1912年1月1日，孙中山到 南京 宣誓就职，建立了中华民国临时政府。
而孙中山之独门弟子 "穿林北腿蒋中正" 率军北伐。
后人便合称"南拳北腿 盖世无敌" 。
"神腿盖世蒋中正" 虽为铁拳无敌孙中山之独门弟子，但无法领略 "三民主义"之奥秘，
因而无法练成 "五拳宪法" "民权初步" "三明主义"，但孙中山确已将秘籍传与蒋中正，
因此人相传此三影技目前藏于中华革命门新竹分部"天宏宫" 匾额后，真实与否，则无人知晓。
＝＝＝＝吾岂爱分隔线？吾故意也＝＝＝＝
<<正传开始>>
铁拳无敌孙中山负有中国传统五千年天子必修绝学「先天乾坤功」，并取法西方武学「虎啸皇拳」，
此拳原来是由虬髯客征讨突厥之时，辗转将三式虎啸皇拳传到了欧洲的孟德式，孟德式以此「三拳分力」之学一震欧陆，
孟德式为了不忘本，故名为「思虬」，也就是后人所称「孟德思虬」的由来。
话说回铁拳无敌孙中山将三式皇拳辅以先天功演化为五拳并力，也就是后来所谓的「五拳宪法」宝典。
其不断的吸收西方武学之时，没想到竟走火入魔，幸好得美帝的冥界武学之助，反悟出了「冥游」、「冥至」与「冥想」三式心法，
并化为已用，演变为两式拳、腿武功，称之为「冥拳」「冥足」，与一式铁布衫的防御武功，为「冥身」，
此即为后来的「三冥主义」，铁拳无敌孙中山自此号令天下豪杰，创立了「国冥党」。
但天下并未因铁拳无敌孙中山而停止纷扰，满清遗将袁世凯手握北洋军阀，并得日本天皇之助传其神武天魔功，
此天魔功经世代相传到日本变得更加凶残毒辣，孙中山为避其锋，不得不暂让天子之位以拯苍生之苦，
而袁世凯为求天魔功速成逆练神功，终于自废其身落得凶星殒落之下场。
时空跳到世界战事上，美帝杜鲁门最终以冥式武学与铀光球粉碎了日皇的神武天魔功，而在丘吉尔的大不列颠掌与斯大林的共残掌夹杀之下，
逆练佛门武学如来神掌的希特勒(所以纳粹的标志正是卍的反写)终于不敌，负伤过重，于是选择了用逆神掌结束了一生。
由马克思首创、经列宁传承予斯大林的「共残掌」此役一鸣惊人，世界各地皆有其分会，名为「共残党」，
组织又名「最高输为哀」，其掌也残，其名也哀，学此学必先废功，才能习功，势必抱有破釜之心，但其力惊人、心法了得，
中原群雄莫不对此武学趋之若鹜，据说铁拳无敌孙中山的三式冥拳中亦杂有「共残掌」之心法，可能为孙中山晚年力不从心之主因。
共残掌最后终于传给了毛????，毛????天资聪颖，并将习得的掌法加以变化，分为五大法：
1.一残：土法练钢式--此掌刚猛，出招者全身顿成金刚不坏之体，为可攻可守之招。
2.二残：三反五反式--此掌柔劲无涛，反复无常，掌法千变万化。
3.三残：大跃进------此为轻功腿法，一蹬千里。
4.四残：三面红旗----此为枪法，使枪之势排山倒海而来，上中下三路有如深陷旗海一般。
5.五残：文化大革命--此法为精神攻击的终极绝招，练成此心法者，可鼓动众人之心智，彻底控制其思想，颠覆五伦，
其威力远超过「天魔噬魂」、破坏力更甚「妖极灭世」，实为绝古超今的旷世魔功！！
由于孙中山征伐各地军阀后，心力憔悴，随将一身绝学传予蒋介石，无奈蒋介石资质愚钝，又好大喜功、刚愎自用，
虽然藉由三式冥界武学与五式皇拳平定各地军阀，但因蒋式练武不力，先天乾坤功的基础没打好，又爱篡改孙式绝学，
将三冥主义与五拳宪法改的不伦不类，终于不敌毛????的共残掌，一败涂地，失掉大好江山，于是领着剩余的国冥兵退守到台湾来，
此又是后事了。
话说当蒋中正带领着国冥兵团往台湾逃窜当时,毛????以共残掌的威力直逼台海,当时蒋中正记起了铁全孙中山于临终前的三道密囊,
分别为团截护体神功,统一掌,咎终国心法,便将他打开了第一道,只见团截功上注明,须以七七四十九天之修练,并结合大地宇宙之灵力,
全心护体,神功中并叙述如何抵档当年孙中山逃亡至欧陆时,
与丘吉尔共同创立的团截护体神功如何抵抗希特勒的逆神掌中之满天神魔之暗器神功,
但蒋中正因自己窜改神功不知反悔,并还质疑孙式武学,但情急下便下圣喻传令胡琏将军助其练功护法,并言明须直护七七四十九天方可,
胡琏将军接令后,在蒋中正的五行门中镇守金位,所以谓称金门大战,果然能抵御逆神掌的团截护体神功亦非省油的灯,
共残党大军于第四十六天便内力耗尽开始收功,事后蒋式亦因先天乾坤功之基础未完善,亦于第四十七天收功,导至武功大退,
当时已是无力回天之势
蒋式逃到台湾后,因语言沟通不良,与台湾武林人士口角甚多,但因本身功力失之甚多在台湾努力二十年尚未一统台湾之武林人士,
为满足其一统江湖心愿,便打开孙式遗留之第二道密囊,内容为统一掌,其为当时欧陆霸主逆神掌中之精要,并言明对抗逆神掌之统一掌,
中心为借力使力,对手越强,其统一掌威力更强,但须自断仁德脉,因其掌威力虽强,但自断经脉会损及阳寿,
当时孙式每次遇到危难使出统一掌便自知,蒋式将其子经国传至脚下,将第三道密囊及毕生武学留下后,招开武林大会,
并使尽全力以统一掌将当时台湾群侠许式光明拳,陈式水击功及吕式音魔等等人士一一打败,并将武林人士打入天牢,其后散尽毕生武学,
于六年后毙命,这也是之后的事了
另附漫画：军道杀拳周恩来

香港恶搞漫画：铁拳无敌孙中山!（全传）另附漫画——军道杀拳周恩来 - 时尚爱好 - 华南师范大学南海校区BBS-欢迎访问！ - BBS.NHXY.COM!

铁拳无敌孙中山 再世霸王袁世凯 天魔传人毛泽东 穿林北腿蒋中正

 根据史实，清末民初四大高手是为： 
铁拳无敌孙中山 
再世霸王袁世凯 
天魔传人毛泽东 
穿林北腿蒋中正 
又，孙氏与蒋氏并称南拳北腿、亦称「武林二中」 
四人关系错综复杂 
孙铁拳与袁霸王亦师亦徒亦敌亦友 
毛天魔蒋穿林孙铁拳叁人更曾义结表兄弟 
可惜毛氏与蒋氏在四天王之首孙铁拳羽化之后 
互争武林至尊地位而决裂 
附带一题，蒋氏腿法无影无形，擅长以虚化实 
早期练成食衣住行四大虚晚年更再创育乐二腿，是为民生六虚 
为虚招之极致虚虚实实无人能辨 
可惜，毛天魔苦练内家心法 
大功未成之前，面对蒋穿林未曾一胜 
但神功大成之后 
可以吐音成劲专破百家招数 
据说可与失传已久的如来神掌第四式「佛问迦蓝」一较长短 
更独创毛语录，独步江湖，为蒋氏虚腿的先天克星 
而再世霸王袁世凯，待补完... 
中山先生诞生于广东省香山县翠亨村一个贫苦农民家庭，乃一武林传奇人物。 
辛亥革命后，则常以中山为名。世人常以为与孙逸仙，中山樵，孙文为同一人。 
孙逸仙，先后在澳门、广州等地行医。他的医术精明，而且对贫穷病人免费治疗，因此，行医“不满两三月，声名鹊起”。 
中山樵，在「中山」二字下加了一个「樵」字。 
「加上樵字，就是中国山樵的意思！」 一熟知历史之人如是言。 
中山樵在日本与大隈重信、副岛重臣、大石正已、尾崎行雄等政上的人物交往，对中国革命事业有不少的帮助。 
孙文，共党以为满清为此人推翻，称之为国父。 
此四人生平事迹大相径庭，但经世济民之心却同出一辙，是否为同一人，却也不必深究。 
孙中山先生于 1894 年创立兴中会，世人却无人知晓此中之内幕。此乃在中国传承五千年的秘密组织之地上化， 
少数革命党人称之为 "里•兴中会"，也有人称之为 "中华革命门" 。 
而孙中山先生即为此秘密组织之首脑人物。 
此组织暗中维持了中国五千年的历史，每当民族存亡之秋，便可发现他们活动的迹象。 
传承至此，孙中山先生便是掌握了此时代之钥的重要人物。 
1896 年，孙中山先生于英国伦敦潜心钻研中国五千年之学问及西方科学，终于在历经七七四十九天之后， 
中国历史上的瑰宝，"三民主义" 终于面世。 
三民主义亦不单纯，分为 " 光技" 及 "影技"。 
"光技;三民主义"，此乃修习 "三明主义" 之心法。 
"影技;三明主义" 浩瀚渊博，此中之武学并非一般人心力所能负荷，必须靠 "三民主义" 之相辅相成， 
始能毕其大功于一役。 
"中华革命门" 为了不让此绝学失传，多年前推动学校教育，至此，20岁以上人多已修习此心法。 
若是向往铁拳无敌之绝学者，亦可于一般书店发现。 
影技，"三明主义"。 
此为铁拳无敌孙中山之独门内功，内功刚柔并济，水火相容，与三民主义相辅相成，但若两方顾此失彼，只一味贪求武学，必当走火入魔，万劫不复。 
练成之后，世界大同，天下为公，内力源源不绝，有如天空之广阔，大海之浩瀚。 
"三明主义" 分为三部，一为 "明足主义"，一为 "明身主义" ，一为 "明拳主义"。 
"明足主义" 为体，绝世身法 "民权初步" 为用，内练精气神，外练筋骨皮，相辅相成，绝世轻功乃大成。 
"明拳主义" 则搭配 "五拳宪法"，为 "五拳宪法" 提供了无穷的内力，拳拳呼风唤雨，力如拔山。 
多年后，日人多蒙学得 "皮毛"，以此成为"洗牌同盟 红心王" ，必杀技即为 " shining Finger !" 
"明身主义" 则为护身气劲，功成之时，身发异光，刀枪不入，水火不侵。 
此主义乃孙中山悲天悯人之表现，革命之时，常需保护革命同志，以身发异光吸引清兵注意，并以护身档下子弹，刀枪， 
辛亥革命缺此主义，必不能成功。 
至此 , 不得不说 "五拳宪法"。 
一招既出，五拳分立，分打周身百穴，奇经八脉，实乃铁拳无敌孙中山最厉害之武学。 
在世界核爆之后，日人名为 "拳四郎" 之人习得了此一武学 ，可惜未能融会贯通，出招必打百拳才达目的，号曰"北斗百裂拳"。 
1912年1月1日，孙中山到 南京 宣誓就职，建立了中华民国临时政府。 
而孙中山之独门弟子 "穿林北腿蒋中正" 率军北伐。 
后人便合称"南拳北腿 盖世无敌" 。 
"神腿盖世蒋中正" 虽为铁拳无敌孙中山之独门弟子，但无法领略 "三民主义"之奥秘， 
因而无法练成 "五拳宪法" "民权初步" "三明主义"，但孙中山确已将秘籍传与蒋中正， 
因此人相传此三影技目前藏于中华革命门新竹分部"天宏宫" 匾额后，真实与否，则无人知晓。  

百度_神兵玄奇吧_铁拳无敌孙中山 再世霸王袁世凯 天魔传人毛泽东 穿林北腿蒋中正

The point that I’m making is that you already know what to do and whatever that is, is what you are supposed to do… Now don’t confuse a Deep “Inner Knowing” with an Emotional Conscious Desire… And don’t act like you don’t know what I’m talking about because I know that you do even though you may be trying not to… It’s ok… Just remember that when you’re faced with a decision and you think you don’t know what to do, you really do know what to do, and even when you still think you don’t know what to do, the Universe Knows what you should do so just act on what the Universe Knows instead of what you know and what you always knew would still manifest…

From the Masters: The Universe Knows...

1. Beatallica = Beatles * Metallica. I'm hoping synthesis could one day achieve such a symbolic modulation.
2. Came across their MV "superblast" on youtube, looks still SOOOO cool today.
3. A return to root.
4. When they were young, when they were sleeping in the Smiths.
5. Just what I want today.
6. I was thinking whether it is the Donald Byrd at Indiana U...
7. When post-rock gangsters throw away their guitars, they call themselves jazzists.
8. Lounge kinda thing is hardly inaccessible.
9. A Japanese friend of mine demands Chinese songs. Unfortunately I'm too old to have a long list for them. Do my best.
10. This album should be among the 10% excerpt of New Age.

正是我近期一直找的爵士女声, 不太神(ella), 不太妖(norma), 不太苦(billie, abbey).

标标准准的radio味道. 很奇怪的感觉, 觉得这种声音出现在广播之外的任何地方都不对劲. 她应该只属于邂逅.

Yes. I had to watch the Mandarin dub for <Transformers> this summer.

Aurally speaking, the phoneme stream of Mandarin, as of other tonal languages, is essentially a melody. These melody lines, when forced to match the duration of the character dialogues, present much greater pitch fluctuation than the Western counterparts require. Unlike text publications, the oral interpretation in dubbing demands synchronization (identical temporal durations and, if possible, temporal distribution of phonemes) on top of semantic equivalence between the master and dub text. These are strong restrictions to the choice of text and other processes in dubbing, which result in the great challenge in oral performance of the seiyuus.

The problem of the tonal model is that strict synchronization often leads to huge gaps between the tonal sensations of the master and dub versions. One noticeable occation is the conversations at a higher tempo, in which Mandarin interpretation appears stunningly difficult in terms of the tonal sequence while the Western original is fairly at ease.

On the other hand, the most applaused feature of the Chinese language family is its ultra-condensed semantic system, which, if properly exploited, would allow us to have much less paper consumption than our Western peers (although we probably need greater DPI, lol). Such an advantage, however, turns into an annoying problem in the dub business because achieving ceartain level of synchronization often calls for respective semantic redundance in the Chinese interpretaion. Our editors, under intimidating schedule, usually choose to sacrifice synchronization. Consequently, it is not uncommon that we see the characters' lips waving for nothing on the screen during an uninterrupted conversation.

A key reason why the pre-90's Chinese dub industry won unanimous acclaims was largely ignored. First, most films from that era were much less dialogue-intensive than those on today's versatile markets, which essentially diluted the synchronization challenges. Second, the chosen works were usually classical novel adaptations or with ancient historical backgrounds, which renders the original vocal interpretation more or less poetic and formal. This justifies the usage of a "melodic" tonal language. Interesting enough, the old school Chinese seiyuus are almost all skilled at poetic performance. As a result, such a style has a profound impact on the contemporary dub arts and even dialogue designs in the entire Chinese TV and movie screenplay business. Look at all the dramas today, the ghosts of 毕克, 邱月峰, etc are still haunting, not to mention all the 辽艺-dubbed Japanese Animes.

During all these years of the foreign motion picture invasion, we have been baptized with the versatility of various movie genres and convinced that movies could be so realistic, not only in what they convey, but also how they manage to do it, in which life-like dialogues play a crucial role. As the modern movie settings has largely shifted to urban and even Sci-fi territories, the witty and well-concocted dialogues make the old school movies seem kindergarden and lifeless. While this trend has imposed a serious question upon the aging Chinese dub business, its demand for a revolution in dub art remains unrecognized by most. The fact is two-folded. A, the post-80's generation has embraced the Western and other foreign cultures since their birth and has been better trained in English and other foreign languages. So it is natural for them to pursue authentic encounter of the original. Subtitles (mostly from Taiwan and Hongkong) play a subtle role as both a mediate of semantic interpretation and a bypass for the aural synchronization. Therefore, they either scorn at dubbing as a whole or could not stand the "funny" aural display of the usual kind of Mandarin dubs. B, the Chinese dub art has never been well financially supported, even in its golden age. Lots of first-class dub artists have passed away in serious poverty. Then new school such as the crew of the 80 <Transformers> TV has largely left their dubbing career for more financially rewarding ones. In the mean time, the Japanese dub industry is peaking as a derivative success from its globally influencial Anime and pop music culture. Although the living condition is still chanllenging to the Japanese seiyuus because voice dubbing still plays an assistant role in Anime production, seiyuus have received international attentions and respects. Dub art is still an art as it has always been.

As a culturally rich and consistent country, since Mandarin plays its indispensible part in the union of the diverse sub-cultures across China, the official media language will remain to be Madarin. This baseline says that all imported culture products will accordingly be presented in Mandarin at least in mainstream media. It is time for our dub industry to work seriously against our inability to demonstrate world cultures and our own motion pictures in authentic, beautiful, and, of the most importance of all, attractive language! Let's not go on witnessing the deaths of 雷长喜, 杨文元 in their early fifties but turn to finance the growths of more our own 绪方惠美, 坂本真绫, 水树奈奈, 子安武人 from their campus years!

As for technical suggestions, I would like to see in designing dialogues more concerns with realistic semantics in text of casual character dialogues, that is, more oral terms instead of written languages, and a shift in vocal traning of Mandarin seiyuus (learn from our Taiwan and Hongkong colleagues) to a modern spoken style, in which the shaping of the tones (melody-compression) should be carefully designed in both writing and acutal vocal presence, in order to cater to the original sonic color palletes. The writers, seiyuus, and the audience should come together and sit down with an open discussion for an improvement during their training school periods. Otherwise the professionals would never know why the rooms for the dub-versions in cinemas are ever emptier than last year.

http://www.imdb.com/title/tt0960835/board/nest/83001679

http://www.imdb.com/title/tt0960835/board/nest/78625421

A very interesting fight between the director of the #8 on the IMDB 100-bottom-rated movie chart and an army of IMDB users (Bit-torrent crooks, as well as movie production crew). I learned a lot from this thread about movie industry including the roles that VFX, Practical-FX, and Sound-FX play nowadays.

BTW, this low-budget movie <Transmorphers> was released within the same week or so of <Transformers>.

Enough has been said about how the digital age changes the marketing rules, how data-vandalism could have been done to the zero-robust social network statistics by some guys with certain sense of humor as the director. It also measures our behaviors, subtly yet more harshly than ever before, against the "moral compass" of a healthy humanbeing by exposing us to the overwhelming attentions and comments to our work, and exposing our reactions to the whole world.

Blame consumerism.

Quotes from the direcor Leigh Scott about shooting action scenes and others:

A lot of these recent posts are great. As I've said, all I want to do is help educate people so they can talk knowledgeably about films and the filmmaking process.
Let me address a couple things. First off, no, there is no magic camera needed to shoot reaction shots or non-verbal communication. But, when someone says something like that, it lets me know that they don't understand how movies are made. On a great day, a low budget shoot may get 20 different camera set-ups or angles. That's a good day with everything running smoothly. Now, typically we have to shoot at least 6 pages of the script, sometimes more. So, divide those pages by the number of shots you get, and that is your coverage. You simply can't make your day by shooting tons of non-verbal things or reaction shots. You can spend a shot covering a page and a half of dialog, or spend it by shooting a close-up of someone turning their back to someone else. You can't make your day shooting only those types of shots. That's all why action and horror films are much more difficult than dramas or comedies to shoot on a low budget (comedies are the toughest to do effectively regardless of the budget, but from a production stand point, they are simple). Think about it. If you have a two page action scene, every punch, every gun shot, every stunt motivates a shot. But those elements only take up a small part of the page. That's why Michael Bay shoots for 90 days (not including 2nd and 3rd units) to make a movie like THE ISLAND or TRANSFORMERS.

Dialogue (partial) between Scott and a team member from his FX crew:

The team member:

Visual FX:
The team was given a small Budget. For over 20 Scenes of 3D Rendered Animation. With less then 3 months for full compiling without any aid from Mr. Scott or his Crew at Asylum. The budget actually caused a LOSS to the VFX Company of "Red Eye Entertainment" contracted under Synapse FX. And insted of making a deal with the actors or The Asylum which Director Scott could have done the VFX Company did not have the money to pay the artists to put 15 hour days in 7 days a weak. His inability to Direct reflects in the statements he made prior to badmouthing the effects company.
Practical FX:
Remember that robot on the table? That was actually a full scale fiberglass recreation of the "Z" bot that was sculpted, shaped, poured, molded, finalized and rodded within 2.8 weeks with the entire crew working 10-15 hours a day. They were all underpaid, underfed and starving. They even had to tell their agent off and dock him 6 thousand dollars because Mr. Scott was unable to "Help" the people that were saving his butt on this production. The pyro was great. The robot in full form is *beep* awsome. But the amount that the PFX crew was paid was enouth to put together a 4 room haunted house.
What do you know?
To me this was the worst movie ever. The very man that the Special Effects crew helped save badmouths them and then brags about being in another country getting paid to work for the sci-fi channel? What kind of ethics is that? I watched my friend loose his wife because he was supposed to bring some money into the house after busting his ass and he was cheated out of his paycheck- his family went hungry? Mr. Scott is flying first class to Europe? If this was something sitting in the back of his mind for so damn long why didn't he make an effort to insure it was done right like the GREAT GEORGE LUCAS! A man who made millions out of his dreams and DIDNT screw anyone. And what about the producers? The first Sci Fi movie they do and it BLOWS harder then a dying orca! Who are to blame?
The people who gave the SFX team 1 month to put a robot together and 3 months to a rendering crew. The people who when told to put objects where the robots were for placeholding thought "Oh, we dont need to put tape or anything there." The people who paid themselves more then they paid for all the SFX combined....

---

Scott:

Um...
If you read what I wrote again, you would note that I singled out several members of your team as being exceptional and grade A people. I said nothing about the pyro or the practical effects which I felt looked great, especially given the budget.
But shame on anyone associated with this film, myself included, for not acknowledging that it was much too ambitious for the budget and the time. Instead of trashing me as a director, why not point out some of the shots that DO look good and just admit that the CGI was doomed from the start and mismanaged to deliver consistent quality work.
If people weren't paid or lost their girlfriends/wives etc. that has nothing to do with me or the Asylum. You guys knew the deal and knew there wasn't any more money at the end of the day. If you decided to underpay people or not pay people, that is an ethics question that needs to be talked about in front of a mirror. Once the Asylum cut the check to Synapse what you were paid comes directly from Joe and Peter, not Leigh, David, or David.
And for the record. I was paid $2500 to direct this film. The budget for the cgi and practical effects was $150,000. That's 150% of the money we had to shoot the film. And no, I didn't fly first class to Europe fyi. Try coach baby. It's the low budget film world. Get used to it.
And lastly, I'm not sure what more I could have done to help you guys. I don't set the schedule. I don't set the pay. All I had was a script and a shot list that we all sat down and agreed upon before we shot the movie. You mention something about working with the actor pay? You mean the $25 a day in gas money they all got?

Quotes about commercial movies from Scott:

Also, I think a lot of you are under the impression that directors operate in some world of total control. Unless your name is Spielberg, you don't get final cut. Nobody does. And, when you work in a paid environment, your schedule is king. If a film gets pushed back or the schedule changes, that sends your entire future into disarray. Now, if the Asylum's schedule was different, they could have sent me a copy of the film to give notes and make changes before it was finalized. But, they had to get the film out so there was no time for that. What I did is common and to be quite honest, I spent more time and effort and stayed with this project longer than 90% of the directors working in the industry. We don't get to sit with a film the way an indie filmmaker does, stressing over the details like we wish we could. Not because we don't care or are greedy, but because that's how the business works. It's worse in television, and if you are a relatively new director who gets a big feature, it's even worse. Even at the Asylum there have been instances where the director didn't care and left the show after the end of principal photography or because of personal differences, the producers asked them to leave the show at a certain point. It's a business. And the producer is king.

Quotes about the distribution business from Scott:

Also, I really want you guys to understand a little about the distribution business. When you point to comedies and dramas made for a low budget and compare them to low budget horror and action films made by studios like the Asylum, you are really kidding yourselves. First off, when a studio acquires a film like CLERKS or NAPOLEON DYNAMITE the first thing that their marketing department does is try to find an angle to sell the film, for unlike horror and action films, these films are not sellable based on genre alone. So, often times, they create a mythology behind the film and the filmmakers. Clearly people like yourselves are impressed when you hear a film you like only cost $35,000 to make, so they play that up or in some cases make it up. Sure, they may have spent that money out of pocket, but promised people more. In many cases indie films come with a lot of bad debt that would push up the budget. But that information never gets to you guys. Second of all the only films you get to see in that genre are the best ones. For every Clerks or Slacker, there are hundreds of awful, awful films made for the same money by aspiring filmmakers. But, because they have no built in selling points, they never go anywhere. Yet, if you make a horror movie, no matter how bad it is, there is a pretty good shot that someone will pick it up.