關於 last christmas movie ，我們在網路上蒐集到這些相關的討論、資訊與評價

做事不難，做人才是最難
大概沒有什麼比人生更難
難在無人分享快樂與悲傷
無人能理解堅持與執著
時間一天一天的過，慢慢地變得為別人而活
把自己的快樂建基於別人的認同上
只要用心靠近，就會發現沒有人是平凡
每個人都獨一無二，為自己的人生努力的活著
在這個充滿戾氣的世界上，我們偶爾都需要適時的擁抱
停些互相傷害，來讓彼此從高壓的生活中得到喘息的空間
生活太難，就不要再為別人和自己添加難處
人生太苦，努力為彼此爭取生活的甜度
.
舊年聖誕好戀嚟 Last Christmas (2019)
主演：Emilia Clarke，Henry Golding

#舊年聖誕好戀嚟 #去年聖誕節 #LastChristmas #movie #film #電影對白圖 #moviematic #語錄#文字 #電影 #電影台詞 #電影對白 #對白 #電影語錄 #mm舊年聖誕好戀嚟

💌To my beloved brother Adamdidam,
Today marks the last day of your favourite season, Autumn, and tomorrow is officially the first day of winter. The kids’ Christmas holidays have already begun, and we can’t help but miss you a lil’ bit extra - more than usual!

This holiday, we will still watch your favourite movie, Home Alone, the one that you forced all of us to watch again and again every year. Even though you are no longer here with us, you will always be close to our hearts. We will surely be revisiting a lot of stories of yours and @drauntie.uk will keep on repeating that story of how you first experienced real snow 15 years back. And you know your favourite fruit tea which I used to dislike? I’ve started drinking it everyday! It kind of soothes me, especially when I’m missing you loads.

We’ll be having loads of laughs talking about you, remembering you, and I’m sure there will be moments where we will break down in tears too. But one thing we have never forgotten to do is keep you in our prayers…

Still loving you and will always love you,
Your second sister a.k.a. Mrs Mom
#SundayWithAdam 💛
#GriefAwareness

【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

メリークリスマス！今夜も来てくれてありがとうございます。
新しいマイク導入です。聖なる夜は一緒にすごしましょう。
毎週月曜日眠れる配信をしています。1時間半実施予定です。
皆さんが今夜も安心して眠れますように囁きと癒し中心の配信になっております。心をこめて1人1人に届くよう実施しております。
コメント高評価励みになります本当にいつもありがとうございます。
Merry Christmas! Thank you for coming tonight.
We have a new microphone. Let's spend this holy night together.
We'll be doing a sleepy delivery every Monday for an hour and a half.
It will last for an hour and a half, and will focus on whispering and healing so that everyone can sleep peacefully tonight.

■3万DLありがとう！
悪魔娘が最高に癒すのでものすごく眠れるhttps://dlsite.jp/hoant/RJ299717/?utm_content=RJ299717

◆ななしふぇすどぅーいっとライブグッズ
販売期間 ~ 1/3(日)23:59 まで
https://774inc.spwn.jp/events/HoneyStrap/goods
◆周防パトラ1stアルバム「あいあむなんばーわん！」
詳細はこちら：https://ptrm-001-i-am-no1.spwn.jp/

◆2ndソロライブ 「PatLive2」アーカイブ配信チケット
https://spwn.jp/events/200829-patra

★メンバーシップ登録はこちらから★
https://www.youtube.com/channel/UCeLzT-7b2PBcunJplmWtoDg/join

★周防パトラTwitter★
https://twitter.com/Patra_HNST

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊
★公式ホームページ★
https://www.774.ai/

★オリジナルソング / ボイス / LINEスタンプ / Live Movie 配信中★
https://www.774.ai/music

★公式グッズ★
https://774inc.spwn.jp/events/HoneyStrap/goods

★MMD配布★
https://www.774.ai/special

★サプライズボックスに参加してます！
https://surprisebox.jp/lineup/honeystrap
何が届くかはお楽しみです♪
ハニストならではの毎月届くサプライズをお楽しみください！

★ハニスト公式Twitter★
https://twitter.com/HNST_official

スライムジャパンさんのサンタズホットチョコレート！
Slime Japan's ”Santa's Hot Chocolate”!

0:00 〜 OP

0:29 〜 本編開始(BGM有り)
Start of the main movie (with BGM)

1:05 〜 触り始め(BGM終了)
Start touching (End of BGM)

1:22 〜 容器から出す　
take out of a container

1:28 〜 両手でガッツリ遊ぶ　
play with both hands

7:18 〜 あたたたたたたいむ
mochiyo beam!!!!

7:22 〜 もこもこテクスチャーで遊ぶ
play with a fluffy texture

9:47 〜 もこもこにして容器に還元　fluff up and return to the container

9:52 〜 もこもこばちばち　fluffy & nice bubble pops

#スライムジャパン #slimejapan

デザイン可愛すぎて発狂して小躍りしてます
The design is so cute that I'm crazy and jumping.

メリークリスマス！
Merry Christmas! ᐠ( ᐛ )ᐟ

シナモンスティック付きでした♪
It came with cinnamon sticks♪

ツヤッツヤです！！
She’s suuper duuper glossy queen!

優勝マーブルを噛み締めながら混ぜていきます
I'm going to mix while enjoying the beautiful marbles.

こちら去年販売されていた「サンタズミルク」の色違いです！
She is the sister of "Santas milk" that was on sale last year!

手間暇かけて作られた最高に濃厚なシックスライムだそうです
She is said to be the thickest slime that took time and effort to make.

ツヤツヤなのでタップ音が最高です
She is super clicky and fun to play with♪

トロトロ感も楽しむことが出来ました！
I also enjoyed the liquidish feeling!

バブル音が最高に快感オブ快感を極めし師匠です！←
She’s bubble sound is best of best!

もっちりみっちりしたテクスチャーです
Chewy texture soothes me.

本当に溶かしたチョコレートのようなルックスです
She looks just like melted chocolate.

机によく貼り着くし、伸びもいいです
She sticks well to the desk and stretches well.

手に吸い付く感じがあるけど遊びやすくて癖になります
It sticks to your hand a little, but it's easy to play with.

後半空気をたくさん含むともっこもこがえらいことになります
In the second half of the video, I'm going to show you fluffy heaven.

香りはココアとパウンドケーキの甘くて美味しい香りでした！
The scent was sweet and delicious with cocoa and pound cake!

見た目も香りもチョコ好きにはたまらないスライムでした////
This slime was irresistible for chocolate lovers!!!!

このスライムのテーマは「サンタさんがほっと一息つく休憩時間」だそうです
The theme of this slime is ”Santa's break time”.

私はサンタクロースほどブラックな職業ないと思うので
I don't think there's a job as black as Santa Claus.

世のサンタさんには是非ともジャパンさんのココアでゆっくりしてほしいですね
So, I want Santa Claus to take enough rest with Slime Japan’s cocoa.

アタタタタタタタァァッッ！！
Mochiyo Beam!!!!

ぷわっぷわになって、細かいバブル音が最高になります
When you put her the air, the fine bubble sound is the best.

ホイップされたチョコレート生クリームそっくりです
She looks just like whipped chocolate cream.

２倍以上に膨らみます！！
She has more than doubled!!

それでは引き続きASMRをお楽しみ下さい！
Please continue to enjoy ASMR!

ごちそうさまでした！
Thank you for the meal!lol

ご視聴ありがとうございました！
Thank you for watching!!!!

#スライムジャパン #slimejapan


〜＊〜〜＊〜〜＊〜〜＊〜〜＊〜〜＊〜

サブチャンネル【もちよの研究室】はコチラ！
↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓
https://www.youtube.com/channel/UCWmSQDBSNQTX6kpFm6lYLnw

Instagram, twitter, BASE shop, メルカリはこちら！
↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓
https://linktr.ee/mochiyoslimestore

スライムの提供についてはコチラ！
↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓
https://www.instagram.com/s/aGlnaGxpZ2h0OjE3ODQ4ODU4NzU3MDI2MzA3?igshid=1hr3jy34zfnpo&story_media_id=2286885986591781571

イヤフォンやヘッドフォンをして聴いて頂くとよりいい音で楽しめるかとおもいますので、是非に😎

また、画面右上のチョンチョンチョンのとこから画質を1080pに設定して動画を見ていただけると、高画質でお楽しみ頂けます💪💪

どうもこんびんは！
もちよすらいむです🧜🏻‍♀️

有名なスライマーさんのスライムのレビューや、自分で作ったスライムの動画などのASMRを中心に、いろいろなジャンルの動画を上げていきたいと思います！

太古の動画や、short ver.の動画、編集実況などは全てインスタグラムのアカウントの方にあります。インスタライブでスライムを触ったりもします。

興味を持ってくだされば、是非インスタアカウントのもチェックして頂きたいです☺️
↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓
https://www.instagram.com/mochiyoslime


＊大学に通いつつ資格試験の勉強もしている学生の身ですので、更新が突然途絶える可能性があります🙇‍♀️

＊慢性鼻炎でして、呼吸音が入ってしまうことがあります🤦‍♀️
また、机に爪がコツンと当たる音が入ってしまうことがあります。苦手な方は、ご視聴非推奨です🙇‍♀️

＊自室にて、マイクを使って撮影してます！ですが、多少は「サーー」というホワイトノイズが入っています。また、稀ですが実家ぐらしなので家族の出す生活音が入ってしまう可能性があります。そういったものが苦手な方にも、ご視聴非推奨です🙇‍♀️

＊動画を見てくださりありがとうございます💕そしてこの概要を最後まで読んでくださりありがとうございます💕

是非チャンネル登録をして、これからももちよの動画をお楽しみください💁‍♀️

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【今まで買ったスライムショップさん一覧】

《in Japan》
スライムジャパン→ https://slimejapan.thebase.in/

awesomeslime → https://mystyleslime.thebase.in/

さくらスライム→ https://sakuraslime.thebase.in/

TIA slime→ https://gsfr3.app.goo.gl/4KR19

slime lab→ https://slimelab59.thebase.in/

aoba slime→ https://preview.app.goo.gl/gsfr3.app.goo.gl/tyv86u

TAMR slime→ https://preview.app.goo.gl/gsfr3.app.goo.gl/9e9zq

SLY. jp→ http://gsfr3.app.goo.gl/p3yCT

niko slime→ https://www.mercari.com/jp/u/242242940/

very slimes→ https://veryslimes.thebase.in/

いーちゃんスライム→ https://linktr.ee/e_chan_slime

MILK SLIME→ https://gsfr3.app.goo.gl/BfrKYZ

m's slime→ https://msslime.base.shop/

aisu屋→ https://aisuya.theshop.jp/

MOON SLIME→ https://moonslime.base.shop/

z.mama Slime→ https://sksshop.thebase.in/

#もちよすらいむ #mochiyoslime #べらちゃんのslimeしばき部屋 #slime #asmr #asmrsounds #asmrslime #スライム #音フェチ #音フェチ動画 #音フェチスライム #clayslime #slayslime #butterslime #cloudcream #thickslime #thickie #thickieslime #fluffyslime #clearslime #slusheeslime #slushieslime #fishbowlslime #crunchyslime #slimejapan #スライムジャパン #sakuraslime #さくらスライム #aisu屋さん #tiaslime #slimeogproof #ogslimeproof #aobaslime #awesomeslimeproof #awesomeslime #slimefantasies #slimefantasiesproof
#rodemslime #rodemslimeproof #mooncottonslime #slimebyktmproof

クリスマスといえばこれ！
原曲のイントロが流れてくるだけで、あぁ〜、クリスマスだなぁ…って思える。
たとえ真夏にこれを聞いても、クリスマス気分に浸れる！(私だけ？)
単調なメロディですが、私なりのアレンジを加えたりして歌いました。

今回のカバー、気に入っていただけましたか？！

チャンネル登録＆いいね、お待ちしております！

毎回ちゃんと読ませていただいておりますので、
コメントに、リクエストや感想お願いします⭐️⭐️⭐️

Do you like my cover this time??

Please SUBSCRIBE & LIKE if you do!!

I’m reading all the comments, so please let me know what you think, and if you have requests, let me know⭐️



Ai Ninomiya-

Official website
https://aininomiya.net/

twitter
https://twitter.com/aininomiya

instagram
https://www.instagram.com/aininomiya/

TikTok
https://www.tiktok.com/@aininomiya?lang=ja

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Music & Movie

Keiichi Takahashi[meer inc.]

twitter
https://twitter.com/kei_meer

Facebook
https://www.facebook.com/keiichi.takahashi.165

Instagram
https://www.instagram.com/keiichitakahashi0325

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