十八相送

在聽這歌。體內流淌着羅曼蒂克，旁人見到的不可理喻。

作曲：Edmond Tsang
填詞：黃偉文
編曲：青山大樂隊
主唱：何韻詩

長橋行過　截停夜車　突然又想　一起坐船
航程完結　蕩回岸邊　又尋藉口　拖多半天
話長路短　走到那邊　又不想告別　再送遠點
在站前路邊　應該卻步了　還要坐進咖啡店

請准我護送　多十餘步　終點再三推遠
再會已講了十遍　都未疲倦　只嫌夜晚太短
回家這路線　好像情話　轉完還在轉
肯不兜圈　一早到了　何以　和你始終　兜兜轉

明明完了　別離在即　突然又想　不需要完
如何留你　尚能望天　密雲夜空　等出雨點
經過士多　走過戲院　又不想告別　再送遠點
在大門入口　告別難避免
才說漏了背包　又原路　巡十遍
幾多個藉口　也仍然未夠　終點也是終點

請准我護送　多十餘步　分手再三推遠
再會已講了十遍　都未疲倦　仍在對方面前
回家這路線　好像情話　轉完還在轉
如果一早想我走　不拖不欠
何事我　護送間　你又會　紅著臉

拖這樣遠　都未情願　親口說改天見
你大概知約會這　曖昧同伴　甜蜜卻不自然
回家這路線　只是緣份　某條延續線
兜多幾圈　終於會斷
這雙愛侶　差一點　卻未算

Thank you "Thank You for Smoking"!

Saw Thank You for Smoking last Friday. OMG. The movie must have like 40 punchlines – and they were all funny! Clever jabs were delivered so fast that after awhile we in the audience learnt to limit our laughs so not to miss the next punch! Thank You is one of those rare movies in which the bad guy is the protagonist, but he’s so likable that you can’t help but root for him. (The lead, played by Aaron Eckhard, was the embodiment of the devil in human form.) The dialog is intelligent, witty, powerful and to-the-point. They don’t beat a punchline to death like your usual funny movie; they hit and then they are gone: to the next “argument”! For awhile now I haven’t seen a movie that is so poignant (while not shoving its poignancy at you) and so entertaining at the same time. It jabs at every side: the tobacco company, its spokesmen, the press, the senator, social activists, poster victims, parents, America, the Great State of Vermont, even the movie industry. I mean, how brilliant is that? Everyone go and see the movie. I mean EVERYONE! I am so getting the DVD.

That's it

I am boycotting Yahoo. Deleting all my accounts with them. Never looking at any of their ads again.

Having a different opinion in itself is not a crime. Expressing one's own idea is not a crime. --If you don't like it so much, plug your ears.

We will take care of our own ears. Thank you very much.

藝妓回憶錄

剛看完《藝妓回憶錄》，有以下感想：

1. 前半段覺得OK呀，叙事流暢呀。多少有點情味。到後來就完全不行：誰想看一堆四五十的 男人競投貞操？我們之中有幾人會代入藝妓那相妒相賤、感情不完全的心態？獨個兒在家看書，感染一下那浪漫化了的人工經營的唯美世界，還可。 "Gulity pleasure"嘛。放大到銀幕由真人表演，只覺別扭。把西方人對東方的幻想還原到一個當女人是觀賞物、身體是貨品的歷史空間，連愛情也是扭曲變態的， 只覺不忍看。
   
2. 演員的問題不是口音。兩個日本演員，Pumpkin和Mother就很入戲。Nobu-san也不錯。（Chairman 本身就是不討好的角色，做得再好也沒用）。章子怡鞏俐等的問題是唸白的節奏。太著重音準，變得過份在意的唸每隻字。其實我們平常說話，無論用甚麼語言，都有側重有省略。太小心眼，反讓人著急，很想替說話的人說完那句話。
3. 有時日本演員會漏出一隻半字日語，是屬於那背景空間的，就覺得順耳。伏聽。那英文劇本其實也寫得不賴。但用來講這異國故事，只覺突兀。
   
4. 老實說，章子怡今次做得並不好。戰前戰後，滄海桑田了吧？還是同一副純真無助的眼神，從英雄到十面埋伏到這齣。看過伏虎藏龍的人，應該會同意章子怡絕對不止 這層次。是本人自我定型，還是導演為掀出結局而安排？不知道。我反而喜歡做Pumpkin的女演員，戰前戰後判若兩人，但是你理解她的改變，你感受到她的 人、她的感覺。Sayuri卻好像一直只在推展橋段，我就是感覺不到她的人。
5. 戲不好看，我特別留意那幕千夫所指的「中國女演員章子怡被日本男人壓著」的戲……無喎。風頭太大剪了？反而有「中國女演員章子怡被不知名美國演員壓著」的戲。日本男人不行，美國佬就OK？乜為之「做戲」呀？甚麼邏輯。
6. 喂，那幕在天涯海角撒毛帕的戲，佢點上去架？想像她落手落腳爬上峭壁的樣子，乜詩意都無喇。還有還有，京都好像在內陸，她是特地搭車搭船去扔毛帕？做作啲喎。






7. 鞏俐演惡毒善忌的Hatsumomo也可說入木三分。但是為乜她由頭到尾都是披頭散髮的？配合她的每場怨婦般的神情，不似當紅藝妓，反像個癲婆，怎搞？我看藝妓的相片，沒有一個是散髮的。估計鞏俐的造型，多少是受了英雄裡張曼玉飛雪的影響，而飛雪（多別扭的名字），想是受了林青霞當年白髮魔女的影響。一個放在 林青霞張曼玉鞏俐身上也恐怖的造型，女仕們，請避之則吉。

8. 原來京都祗園跟上海舊時的長三書寓等在形式和格局上也很相似。只是我們的沒有藝妓學校，也只彈琴，好像不跳舞（中國傳統上都不興作跳舞）。日本就是這樣，特重形式化制度化，形成藝妓這一獨特的藝術行業，值得保傳尊重。不過，論書論戲，我還是覺得《海上花》好看得多。
9. P.S.: 跟兩位媽媽說起我對這齣戲的感想，她們異口用聲說那個年代的感情確是如此，只是我以現代的角度看，不了解罷了。
   

「韓白之爭」的二三事

1. 韓寒的特色是用爽快幽默的文字說出大家都想說，但講不出的話。
2. 寫作的人，到頭來，如能說出心裏那幾句，反反覆覆的真實的話，就已經很好了。
3. 韓寒好比馬克吐溫。諷剌裏儘有幽默, 温而不損。自負, 也自嘲。極有自知與知人之明。最重要的是, 跟馬克吐溫一樣，他是人如其文，文如其人，無分彼此。
4. 這兩天裡斷斷續續看完他的博。很少這樣想一人的文字。比如一樣好吃的東西，昨天吃了，今天又想。
5. 韓寒寫博，就像卜戴倫寫歌:「和他的呼吸化為一氣」（”become identical with his breath”）（艾倫金斯堡說卜戴倫是 “a column of air” ， 不就是咱們說的「氣」麼？）照韓寒自己的說法就是: “… 在短短的半小时内，出现了一篇《你的敏锐总是直指我的软肋》，大家在高兴的讨论“高处不胜寒”。不可能，我高晓松堪称才子，写这么一篇文章也要将近三天， 写完后必须修养一个月。他韩寒第二天要比赛，7点要起，我高晓松有熊的力量，对方怎么有豹的速度…” 多生動，多刻薄！:)
6. 「韓白」一役，勾出個重要的題目，就是，需要講真說話時你敢不敢説，懂不懂說，能否直指其要害?
7. 「韓白之爭」真是比（他媽的）電視連續劇還好看，意想不到的人物過界跳進來，毫不相干的大小事兒都拉扯了出來：又有髒話，又有紅衛兵，更有學術腐敗，「親朋相衛」，老少兩代的觀念沖突…… 真箇是高潮迭起— 而且高下立見。本來，underdog據理力爭的故事不是我們盤古以來就愛聽的麼 ？韓寒一個人，一個博，見招拆招。好比《棋王》裡的梁家輝，在漫天胡叱亂喝聲中，穩住頭腦，以一「博」十。難得的是雖然他有點囉嗦，也有點得理 不饒人，卻始終持平講理。對就是對錯就是錯，掩眼法也只是騙術而己。
8. 一 個人博客，通常要經過一段時間要建立一個個人的博客 persona。因為博裡公開與私人的介點和社會上的很不同，網友之間的表達意見的方式也與生活中迴 異。那個平衡點需要忖摸和適應。在「韓白之爭」裡我們見証了兩個博「受不住熱氣」，關閉了。其實也反映了一些博客水土不服，適應不良，沒有完全過渡過來。
9. 當然這一切裡最吸引的，還是那條隱隱然，似有還無的感情線。熱鬧完了，但韓寒一句：「最后，有个人，女人，在朝阳区某地的二楼，看着报纸，笑了。」仍不時浮現腦海，揮之不去。
10. 韓寒這人是應當寫作的，你們「谁也别挡着他」。

Cotton Tree

The tree outside the window is blossoming. It started with a few bulbs - it seems longer - but only a few days ago. Those budding bulbs looked so hard and small, you’d expect them to be indifferent to the imperious climate, resistant to the luring rain. They were white, small and satin-seeming; I thought it was a cotton tree (木棉). But a day later they all changed, adding in number, growing in size, and it became clear that they were going to be full-crown flowers. Every time I looked out the window they had changed– a coup that staged its moves covertly and uniformly – and I reminded myself to write about it, about its white promise with a tint of yellow– or was it pale yellow I saw? But I forgot every time, and again they changed. Within a few hours there was no doubt: the bulbs were going to be yellow flowers, lemony yellow. With the discovery I relished the lost moments- very little mystery is left, is there? Well, until you catch yourself looking out the window again, you never know.

唔係係話？

無意中搵到周星星歷套電影嘅劇本同經典對白。嘩原來佢啲戲咁鬼多台詞嘅，睇嘅時候又唔覺噃。同大家分享下：

剧本 | 老康之家
ungoo抵死粤语网站 (經典對白)

凌凌漆：啱，系侏罗纪。暴龙究竟系鬼鬼崇崇走嚟走去嗰条定还是“哈—哈”嗰条呢？
司令：系“哈—哈”嗰条。
凌凌漆：咦，嗰条好冇人性，专追啲细蚊仔嚟咬个噃？
司令：唔会，肯定中国呢条唔会。

勁鐘意廣東話，正爆。

A fine piece of writing...

Bloc Party is an autonomous unit of un-extraordinary kids reared on pop culture between the years of 1976 and the present day. Like many such kids, between them they eventually concluded that their own attempts to imitate what had informed them could be construed as a worthy variation on the many forms that preceded. They do everything that's required to conform to the currently received ideas of what a band is: ostensibly to play instruments at the same time, but also have a title for the work created.

Kele picked up a guitar when his hands enabled him to do so and his brain gave him the inclination. Russell had already done as much beforehand when they met in 1998. In the fine print of music papers and in telephone conversations they enabled meetings with Gordon and Matt who also had ideas of some relevance to bring to the collective effort. In this sense a band was created.

Henceforth should follow a list of auteurs and musicians that figured in the formative minds of the four as they went about their work. But to do as much seems churlish in an already self-referential world. Suffice to say there would be no band without the efforts of guitar bands formed in British and American towns in the 70s, 80s and 90s, aswell as visionary writers and artists of various kinds whose work has informed the world and culture itself as it stands. The precise names are as good as any you can come up with, in fact probably much, much better.

... and a pretty decent band too. Check them out: Bloc Party