女神殿

課前預習：
When We Were Kids: Fiona Apple & Paul Thomas Anderson (上)
According to People magazine, Anderson and Apple were first "spotted together" in February 1998, though Heath's Rolling Stone story from that January includes a passing reference to Apple showing up to a morning interview with a hangover after "she was up most of the night drinking Surfers on Acid (Malibu, Jägermeister, and pineapple juice) with Anderson," which dates the relationship back to at least late '97. Like a lot of twentysomething dudes in 1997, Anderson had a crush on Fiona Apple based on the barely legal soft-core of the "Criminal" video. "We sort of mutually wanted to meet the other person," Anderson said in 2000. "I certainly wanted to meet her. I mean, she was a foxy rock star who seemed really cool."
根據《時人》雜誌，PTA 和 Fiona Apple 在一九九八年二月「首度被看見在一起」，即使希斯在一月份《滾石》雜誌指涉了 Fiona Apple 早上接受採訪時宿醉，而她「前晚徹夜與 PTA 啜著酸性衝浪男孩 (馬勒布加賈格美思特加鳳梨汁) 把酒言歡」，記錄了這段關係得追溯自九七年末。就像許多九七年的年輕人，PTA 看了非法尤物的軟調情色 "Criminal" video 音樂錄影帶煞到 Fiona Apple。「我們有點兩情相悅，」PTA 在兩千年說。「我當然想會會她。我是說，她是隻看起來很酷炫的搖滾狐狸精。」
 
Anderson structured Magnolia around the songs of another singer-songwriter, his friend Aimee Mann, but he really wrote the movie for Apple. He was certainly influenced by her, later claiming that he would page through her notebooks at the house they shared — located not far from the filming hub of Magnolia — and "steal her lines." In the case of Stanley, the quiz show kid who's bullied by Michael Bowen's character and pees his pants in protest on the set of the game-show-as-metaphor-for-child-exploitation What Do Kids Know?, Anderson took direct inspiration from Apple's life and his burgeoning love for her, as he later told Rolling Stone in 2000.
PTA 以另外一位音樂人 Aimee Mann 的歌曲建構了【心靈角落】，但其實是為了 Fiona Apple 編寫這部電影。他當然有受她影響，宣稱自己會在兩人同居的房子裡—座落於【心靈角落】拍攝重地，翻閱她的筆記本，然後「竊取她說過的話。」以史丹利來說，這位益智問答小天才被 Michael Bowen 角色霸凌，然後尿在褲子裡，對以益智節目隱喻孩童剝削秀 "What Do Kids Know?" 表示抗議，直接受到 Fiona Apple 生活經驗，以及對她的愛意萌生啟發， PTA 在兩千年《滾石》雜誌談到。
 
Fiona told me a story, and it's funny, because I don't remember it in detail now, because I've twisted it around and made it my own, but she had to go to the bathroom in some kind of taping situation, and they just said, 'Well, can you just hold it and do this thing for us first?' And she did. And when she told me this story, I wanted to strangle every person involved. We had just fallen in love, and I was just becoming protective of her, you know, as protective of her as I am now, as my girlfriend and, you know, as my love. And to hear this story made me want to crack someone's head open and say, "Let her go to the fucking bathroom."
 
Fiona Apple 跟我講了一個故事，好笑的是，因為我現在不記得細節，因為我已經扭轉乾坤內化成我自己的東西，但當時她必須到廁所處理一些錄音事宜，然後他們說：「妳可以暫時擱著，先回覆我們的要求嗎？」她照做了。當她告訴我這個故事時，我想把每個在場的人用奪魂索勒死。我們剛陷入熱戀，我變得很保護她，你知道的，我保護她視如己出，保護我的女朋友，保護我的愛。聽到這個故事讓老子想幹爆某人的頭然後說：「讓她去她馬的廁所。」
Like Stanley, Fiona Apple was a child prodigy, starting her songwriting career as an adolescent and signing her first record deal when she was in high school. Tidal was released two months before Apple's 19th birthday, and the popularity of "Criminal" and its scandalous video made her a pop starlet while also (not coincidentally) humiliating her. Any irony that was intended in the clip*** was lost in translation and used to justify heavy-breathing coverage from major music magazines, the most despicable being a Spin cover story from 1997 that embarrassingly described her as "a pop star trapped in the body of a pretty teenage girl" (she was the proto-Britney!) and "the kind of arty, ravished girl you knew in junior high who wrote poetry in lower-case letters," between cheesecake photos of a pained-looking Fiona. That Apple's personal history with literal sexual assault became part of her oft-told origin story added another sickening layer to all the gleeful leering.
就像史丹利這個角色，Fiona Apple 是個天才兒童，高中就開始創作生涯，拿到一紙唱片合約。"Tidal" 發行於 Fiona Apple 十九歲生日前兩個月，"Criminal" 的大受歡迎和惡名昭彰音樂錄影帶，讓她成為一位流行小女星，(非屬巧合) 同時也羞辱了她。這影片*** 任何意圖的諷刺都被曲解，並且正當化主流音樂雜誌之大肆報導，最可惡的是九七年 "Spin" 雜誌專題報導，令人難堪地描繪她是「被困在俏麗青少女胴體裡的流行歌星 (小甜甜布蘭妮原型！)」以及「你國中認識的那種藝術氣息，令人陶醉，用小寫字體書寫詩篇的女孩，」穿插於 Fiona Apple 病懨外貌的美麗照片。Fiona Apple 被性侵過去成為她時常娓娓道來之原創故事，為那些歡樂覬覦添了另一層病態濾淨。 
*** Fiona Apple to Interview magazine in 2012: "I'm actually very goofy. I hate this feeling like I'm name-dropping, but Paul Thomas Anderson [the director and Apple's ex-boyfriend] told me that two of the funniest people he knows are me and Daniel Day-Lewis. He was like, 'You're both hilarious, but everybody thinks you're awful.'"
Fiona Apple 二零一二年接受 "Interview" 雜誌採訪時表示： 「我其實很驢。我不想自抬身價，但保羅湯瑪斯安德森告訴我，他所認識最好笑的兩個人，是我和丹尼爾戴路易斯。『你們都明明很歡樂，但是大家都覺得你們很恐怖。』」
Stanley's big dramatic moment in Magnolia comes when he refuses to participate in the musical bonus round, in defiance of the show's host, Jimmy Gator (played by Philip Baker Hall). Finally, Stanley's meek façade melts away, and he confronts Gator — an abuser of children in his professional and private lives — with a monologue that's essentially a more articulate and angrier rewrite of Apple's VMAs speech:
史丹利角色在【心靈角落】的戲劇時刻，來自他拒絕參加音樂劇加碼關卡，為了對益智節目節目主持人吉米蓋特 (Philip Baker Hall 飾演) 表示抗議。最後，史丹利綿羊般的外表溶解，他面對蓋特─針對他專業以及私生活的虐童癖─唸著以下獨白，比 Fiona Apple 在 MTV 音樂錄影帶大獎演說更清晰，更憤怒的改編：

原文出處：
Paul Thomas Anderson and Fiona Apple, the way they were
By Steven Hyden on September 11, 2012
這篇有點難翻筆者盡量客觀請務必參考原文。
The coolest, dorkiest, sexiest, and most indelible celebrity power couple of the '90s reached the zenith of its "It"-ness on December 8, 1999, at a movie premiere held at the Mann Village Theatre in Westwood, Los Angeles. For Paul Thomas Anderson, it was the first public unveiling of Magnolia, his third feature, which he boasted to the Village Voice was "unquestionably the best film I will ever make." For Fiona Apple, the event might as well have also been held in honor of her own difficult magnum opus, her second album When the Pawn… , released one month prior and containing more than 400 characters in its full title, a sufficiently unwieldy complement to Magnolia's uncompromising and studio-defying three-plus hours of running time. Anderson and Apple had earned the right to be audacious with recent, highly successful breakthroughs — 1997's Oscar-nominated Boogie Nights for him, 1996's triple-platinum Tidal and the Alternative Nation staple "Criminal" for her. They became stars by asserting totally '90s outlaw artistic integrity while at the same time engaging in good old-fashioned showbiz sexual titillation. Now Paul and Fiona (Pauliona? Fionaul?) were ready for their full-on genius-in-their-own-time close-ups, risk of overexposure be damned. "The timing is so ridiculous," Anderson gushed about this shared moment of glory in Spin's second Fiona Apple cover story two months later. "I'd want to slap us."
最酷炫，最大屌，最性感，最難以抹滅的九零年代銀色情侶，在一九九九年十二月八日達到潮人高潮，一場洛杉磯西木曼村戲院舉辦的電影首映會。對保羅湯瑪斯安德森 (以下簡稱 PTA) 來說，那是他第三部電影【心靈角落】(Magnolia, 1999) 首度公開亮相，他接受《村聲》雜誌採訪時聲稱「無疑是我所拍攝最好的作品。」對費歐娜艾波 (以下簡稱 Fiona Apple) 來說，那也是她晦澀鉅獻，第二張專輯《當一個小兵…》(When the Pawn Hits the Conflicts He Thinks Like a King..., 1999) 的榮耀時刻，一個月前發行，完整專輯名稱多於四百個字母，共襄盛舉【心靈角落】永不妥協，抵抗片廠超過三小時的片長。 PTA 和 Fiona Apple 已經以不久前絕佳成功突破贏得無畏的權利─一九九七年【不羈夜】(Boogie Nights, 1997) 奧斯卡提名，一九九六年三白金唱盤《潮汐》(Tidal, 1996) 與 MTV 另類音樂節目 "Alternative Nation" 常客勁曲 "Criminal"。他們主張九零年代邊緣人藝術典範成為明星，同時來個老學校臨送秋波。現在 PTA 和 Fiona Apple 準備好接受眾所矚目放大鏡，冒著過度曝光可能被譴責的危險。「此時甚是荒謬，」Fiona Apple 二度專題報導兩個月後，PTA 接受 "Spin" 雜誌採訪時對兩人共享的榮耀時刻頗有微詞。「我真想賞我們一個巴掌。」
[專題] 當代的男演員應該要是什麼樣？Johnny Depp, born in the '90s & Gosling v.s. Fassbender
Smarter than Johnny and Winona, less tragic than Kurt and Courtney, truer than Julia and Lyle — Paul and Fiona were ultimately just as doomed. But let's forget that for a second: Their timing really was so ridiculous that December night. A new millennium loomed little more than three weeks away, and the last beats of a decade they embodied (and then transcended) were being played out. You can see them sharing a limousine on the way to the premiere in a brief scene from That Moment, a 73-minute documentary tucked inside the second disc of the Magnolia DVD. It reminds me a little of that part in Eat the Document where Dylan and Lennon spend several minutes trying to outsnark each other in the back of a car tooling around London. Only Paul and Fiona aren't as chatty; they're just nervously sucking down cigarettes, trying to get their minds right before walking into the glare of what's waiting for them outside.
比強尼與薇諾娜聰明，比柯特與寇特妮少些悲慘，比茱莉亞 (蘿勃茲) 與萊爾 (Lyle Lovett) 真實─PTA 和 Fiona Apple 難逃曲終人散。但我們先暫時擱在一旁：兩人那晚初登場時機實在荒謬。千禧年還差三個禮拜，他們體現 (然後超越) 的十年即將播放完畢。你可以在 "That Moment"，收錄於【心靈角落】DVD 的七十三分鐘紀錄片，瞥見兩人共乘前往豪華轎車首映會。那讓我想起紀錄片 "Eat the Document" 中狄倫與藍儂乘車遊蕩倫敦，花了好幾分鐘在後座試圖聞嗅彼此。只是 PTA 和 Fiona Apple 沒有那麼多話；他們只是緊張地抽起煙，在車門開啟那刻眾所矚目前試圖沉澱心靈。
Julia Roberts & Lyle Lovett 
[九零什麼光怪陸離都有]
 
In retrospect, it might've been better for Paul and Fiona if they had just kept on driving and smoking that night. It never got any better for them afterward — not as a couple, anyway. The '90s weren't just coming to a close; the era was about to collapse right on top of them. Behavior that would've once made Paul and Fiona heroes — that did make them heroes, just a few years earlier — was now being pilloried in the media as so much ungrateful petulance. A New York Times Magazine profile of Anderson timed with the release of Magnolia chided the director for his hyperactive protectiveness of his work and paranoia over corporate interference. Writer Lynn Hirschberg zeroed in on Anderson's "reputation as a brat and a genius," and the article's sub-headline posed a pointed rhetorical question: "Thanks to the critical success of Boogie Nights, Paul Thomas Anderson has total control over his new three-hour movie, Magnolia. So why can't he calm down?"
 
回過頭看，那個晚上 PTA 和 Fiona Apple 如果只是繼續在那台豪華轎車裡抽煙可能會比較好。他們之後每下愈況，然而，並不是指感情方面。九零年代不只即將終結；九零年代即將在他們天頂上崩解。那些曾經讓 PTA 和 Fiona Apple 成為英雄的舉動─幾年前真的讓他們成為英雄─現在被媒體嘲諷為不知感恩的中二。一則配合【心靈角落】上映的 PTA 側寫指責他過度保護自己的作品，以及反對片商干預的偏執。作家 Lynn Hirschberg 將砲火瞄準集中 PTA「身為初生之犢與天才的聲譽，」該篇文章的副標題寫著誇張尖銳質問：「多虧【不羈夜】的成功，保羅湯瑪斯安德森已經徹底取得三小時新作【心靈角落】的控制大權。所以為什麼他還不能冷靜一下？」
　Maya Angelou (1928~present), an American author and poet
Yeah, and what about that Fiona Apple? Why can't she calm down, too? People still ask her about that speech at the 1997 MTV Video Music Awards — heretofore known as the "This World Is Bullshit" Address — even if it now seems pretty innocuous if not just plainly obvious, akin to observing that watching Jersey Shore might in fact not be an intellectually rewarding exercise. Had Apple name-dropped Maya Angelou and acted spiteful about winning a cheap-looking trophy in 1992, she would have been applauded for being realer than an ill-conceived bass guitar toss to Krist Novoselic's face. But all that alt-rock stuff was so passé in the late '90s; people just wanted to enjoy their budget surpluses and lack of wars and Sugar Ray singles. Fred Durst was all over MTV, not Kurt Cobain. Fiona, like Paul, had a Heaven's Gate mentality in what had suddenly become a Star Wars world. Now even Janeane Garofalo — the fallen symbol of bygone preach-the-truth alt-dom — was mocking her, in a bit from Denis Leary's 1997 album Lock N Load, which Rolling Stone's Chris Heath played for Apple during a 1998 interview seemingly for the purpose of making her cry. (He succeeded.)
是的，那麼 Fiona Apple 呢？為什麼她也不能冷靜一下？人們還是會問她關於一九九七年 MTV 音樂錄影帶大獎的演說─從此以「這世界是狗屁」演說被記得─即使現在看來相當無害，如果沒有那麼明目張膽，近似注意到收看實境節目 "Jersey Shore" 並不是什麼有助於智力發展的活動。如果 Fiona Apple 在九七年提到 Maya Angelou 的名字，對於拿到一個看起來很廉價的獎杯懷恨在心，她會因為敢做自己而獲得掌聲，這比不懷好意拿貝斯往 Krist Novoselic 臉上砸去有種多了。但那些搖滾恩仇錄在九零末期已經過時了；人們只想好好享受預算盈餘，止戰之殤，和甜蜜射線單曲。滿溢 MTV 的是 Fred Durst，不是 Kurt Cobain。Fiona Apple，和 PTA 一樣，在一個突然變成【星際大戰】的世界保持【天堂之門】心智。現在即使是 Janeane Garofalo─這位過時的宣揚真理，另類當道之殞落象徵─也嘲諷她，類似 Denis Leary 九七年的專輯 "Lock N Load"，《滾石》雜誌的 Chris Heath 在九八年進行採訪時，為了讓 Fiona Apple 成為淚人兒放給她聽。(他得逞了) 
  
Krist Novoselic 就是右邊那位仁兄。
People only wanted Paul and Fiona, the stupid jerks, to appreciate being rich and famous. But Paul and Fiona each had the same, different idea: They spent the '00s as Dylan and Lennon lived in the '70s, turning out the occasional masterwork but mostly just hiding out. Apple thought she might never make another record after When the Pawn… . It was only after frequent musical co-pilot Jon Brion — at the time heartbroken over a split with actress Mary Lynn Rajskub, one of the stars of Anderson's Punch-Drunk Love, for which he was composing the score — begged Apple to write new songs to give him something he could produce that a new album started to take shape. Apple and Brion started on Extraordinary Machine in 2002; after a change in producers and some well-publicized (if exaggerated) record-label wrangling, it came out three years later, six years after When the Pawn… , and restored Apple's reputation as a likably thorny artist. It was also her only record of the decade.
人們只希望 PTA 和 Fiona Apple，那些愚蠢渾蛋，珍惜財富和成名滋味。但 PTA 和 Fiona Apple 各自有著異曲同工的想法：他們就像狄倫和藍儂身處七零年代，於千禧世代偶爾遞出超凡傑作，但大部分時間都隱居起來。Fiona Apple 覺得 "When the Pawn…" 之後永遠無法再出唱片。只有在音樂伙計 Jon Brion─和與 PTA 合作配樂的【戀愛雞尾酒】演員 Mary Lynn Rajskub 慘痛分手後─懇求她寫幾首新歌好讓他有東西可以製作的情況下，新專輯才開始有個雛形。Fiona Apple 和 Jon Brion 在零二年開始錄製《超凡製造機》(Extraordinary Machine, 2005)；經歷更換製作人，某些被正面報導 (有點誇大) 的唱片品牌糾葛，三年後新專輯終於問世，與 "When the Pawn…" 間隔六年，並重建 Fiona Apple 討喜帶刺藝術家美譽。那是她十年來唯一的作品。
 
Anderson hit the wall after the public sniffed Punch-Drunk Love and opted not to take a drink. It had been his intention to write a conventional 90-minute comedy for Adam Sandler, whom he met while tagging along with Apple when she performed on Saturday Night Live in 2000. What he actually made was more like a Fiona Apple song — a disorienting mishmash of bright melody and percussive dissonance, with a main character who was odd and oddly compelling and prone to oddly explosive, out-of-nowhere outbursts. Unfortunately for Punch-Drunk Love, Fiona Apple songs were still a few years away from returning to fashion, and the film died at the box office. Anderson made just one other film in the '00s, 2007's triumphant There Will Be Blood, as he settled into what appears to be a happy home life with his partner Maya Rudolph and their three kids.
PTA 在廣為流傳【戀愛雞尾酒】(Punch-Drunk Love, 2002) 後開始撞牆，並選擇不喝戀愛雞尾酒。他想為亞當山德勒寫一齣傳統的九十分鐘喜劇，兩人在 Fiona Apple 於兩千年《週末夜現場》演出時認識。結果他拍出來的成果比較像是 Fiona Apple 的歌曲─明亮音悅與不和諧鏗鏘的迷走雜匯，佐以古怪，古怪地引人注目，且古怪地俱備爆發性，宣洩無處之主要人格。很不幸，像 Fiona Apple 的歌曲仍有待重返流行，電影票房也慘敗。PTA 在千禧年代只拍了另外一部作品，二零零七年凱旋歸來的【黑金企業】(又名：滿江紅) (There Will Be Blood, 2007)，並和 Maya Rudolph 與三個孩子組織了快樂家庭生活。
 
Paul and Fiona have been apart romantically for more than 10 years. But their creative lives have once again achieved a sort of harmonic balance. In June, Apple released her first record in seven years, The Idler Wheel... , which would be my favorite album of 2012 if the year ended today. On Friday, Anderson's first film in five years, The Master, arrives in a handful of theaters, with a wide release set for next week. I've been looking forward to The Master for so long that it already seems like my favorite film of 2012 even though I haven't seen it yet.
PTA 和 Fiona Apple 分手超過十年。但他們的創意人生再次達到某種和諧平衡。六月 Fiona Apple 發行七年內首張最新大碟《公轉不自轉的生存之道》(The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, 2012)，如果二零一二年今天結束，就是我的本年度最愛專輯。星期五，PTA 五年內出土的鉅獻【宗教大師】(The Master, 2012) 在許多戲院播放，下禮拜將隆重上映。我如此殷切企盼【宗教大師】好多年，還沒看過，我卻好像已經直接評點該片為本年度最愛電影。
 
Paul and Fiona may no longer be a unit, but they signify something similar: They are regarded as important, relevant artists responsible for creating essential documents of our culture, and yet they both exist in their own spheres somewhere outside of our culture. As media personalities, they both seem kind of unknowable, or at least untouchable. They drop in every half-decade or so, blow our minds, and then go back to their private lives. Caring about the work of Paul Thomas Anderson and/or Fiona Apple means respecting an invisible line between them and us. If you love them, you want them to never step out of the limousine.
PTA 和 Fiona Apple 或許不再是才子佳人，但他們意味著相似之物：兩人被認為是舉足輕重，創造當代文化菁華元素的藝術家，但又存在於超脫當代文化的星體裡，他們都給人難以認識的感覺，至少有點難以親近。他們每隔個五年左右，一出手就春光乍現我們的心智，然後再回歸自己的桃花源。關心 PTA 和／或 Fiona Apple 的作品，代表對我們和他們之間那條看不間的界線給予尊重。如果你愛他們，你會希望他們永遠不要踏出那台豪華轎車。
按：走馬力克路線就是了。
 
筆者也想沒看過就直接把【宗教大師】選為今年最好看的電影！！！
延伸閱讀：
Real "No"s are not applicable. I haven't got any.
課前預習：
When We Were Kids: Fiona Apple & Paul Thomas Anderson (中)

　你們都知道筆者有多喜歡 Whit Stillman 這位掉書袋掉得比較不著痕跡的伍迪艾倫，與小克的舞廳時光，以及如何迫切地欲窺探獨立製片小甜甜 Greta Gerwig 領銜之最新作品 Damsels in Distress，筆者也希望不久的將來可以把以上三個句子的「你們」和「筆者」交換位置。Whit Stillman 聞於天下而後隱於天下，淡泊名利可比義大利建國三傑之馬志尼，九零年代拍了雅痞三部曲奠定小資青年躁語症 (logorrhea) 電影完美典範，除了每日反覆觀看憂鬱女孩預告三百回，我們來瞧瞧 Whit Stillman 選了哪些電影作為他的十大標準典藏：(居然沒有侯麥!!!) (兩部希區考克)
#1 
四百擊 Les quatre cents coups
99 min. 1959
by François Truffaut
It seems that any filmmaker’s first film idea is something about the mawkish predicament of a ten- or twelve-year-old child quite a bit like themselves—and usually their careers end with this choice (Sundance and other debut-oriented film festivals their final resting place). Truffaut took this dimmest of subjects and made one of the most radiant films of all time, in glorious black and white.
任何導演的電影初想似乎離不開一位如自身寫照，十歲或十二歲男孩的感傷困境—他們的生涯通常也如此了結。(日舞與其他懷抱處女情結之影展作為歇腳亭) 楚浮以此幽微主題拍出了影史上最璀燦耀眼的作品，黑與白間光彩奪目。
#2
貴婦失蹤案 The Lady Vanishes
96 min. 1938
by Alfred Hitchcock
So well made, so clever, you have to laugh—perhaps the cleverest thriller ever. What I especially love in Hitchcock is the level of social detail: you get an intense feeling for the time, the place, the social structure, and all social forms. The two cricket-buff characters went on to have their own series of films.
如此優質，如此聰明，你不得不放聲大笑—或許是影史上最聰明的驚悚電影。我特別獨鍾希區考克對於階級之細微描繪：賦予時間，空間，社會結構與諸多社會禮教的觸感。兩位板球狂接著發展出系列招牌電影。
按：筆者沒看過該片，本段若有謬誤請指正。
  
#3 
不速之客 The Harder They Come
120 min. 1972
by Perry Henzell
As close as any film I know to folk art—how this film came about, how it could be the way it is, is a mystery and a miracle.
與任何一部所我知道的民俗藝術電影相比—這部電影是如何發生的，如何就是這樣，仍舊是個謎團與奇蹟。
延伸閱讀：
牙買加史上第一部劇情電影
  
#4
第七封印 The Seventh Seal
96 min. 1957 
by Ingmar Bergman
A film that picks the viewer up and changes him forever. The first “art film” I saw, in a college screening, and I haven’t seen it since, perhaps not wanting to tamper with that memory. Memorable also for providing more parody fodder than any other film.
一部挑選觀眾，並永遠改變他們的電影。某次大學放映現場，我觀影經驗的第一部「藝術電影」，之後就沒有看過第二次，可能我不願意攪亂那記憶。比其他電影提供更多惡搞泉源也相當值得玩味。
延伸閱讀：
老人痴影症：地下水道 (Kanal)
按：一九五七年坎城影展評審團特別獎，與安德烈華依達 (Andrzej Wajda) 的【下水道】(Kanal, 1957) 並置。
 
#5
淑女夏娃 The Lady Eve
94 min. 1941
by Preston Sturges
Sturges takes a whole assortment of disagreeable elements—cliché rich people, cliché cardsharps, snakes, and slapstick—and makes one of the greatest romantic and funny comedies. The cast one must adore—never better.
史特吉斯取樣形形色色不討喜的元素—陳腔濫調有錢人，老套老千，陰險奸角與低俗鬧劇—製成了影史之一最偉大的愛情電影與滑稽喜劇。無法不喜愛的卡司—無法超越。
延伸閱讀：
老人痴影症：淑女伊芙／淑女夏娃 (The Lady Eve)
按：一九四二年奧斯卡最佳最佳原創劇本提名
 
#6
瑪丹娜街圖的交易 Big Deal on Madonna Street
106 min. 1958
by Mario Monicelli
I discovered the film on TV in Spain and still like the Spanish title, Rufufu—signaling it as a travesty of a Rififi-style clever caper. The original Italian title—I soliti ignoti (Persons unknown)— also becomes very good once you’ve seen the film. Just the way the characters eat food in the movie is delightful, and the filming style classic and brilliant—a comedy of great elegance. The only two autographs I’ve collected are Mario Monicelli’s and Diana Ross’s (whose “I’m Coming Out” greatly aided the Last Days of Disco soundtrack).
我在西班牙電視機裡發現了這部電影，更喜歡其西班牙片名，魯夫夫 (Rufufu)—示意了該片為【男人的鬥爭】(Rififi) 風格之搶劫諧仿電影。義大利原文電影標題—未知人物—看過電影後也富饒韻味。劇中角色飲食方式令人愉悅，拍攝風格古典而高超—一部大優雅喜劇。我唯二收藏的親筆簽名來自馬利歐莫里切里與黛安娜羅絲。(羅姬演唱之「我將破繭」為【最後的迪斯可時光】原聲帶注入五光十色)
按：克勞蒂亞卡蒂娜主演，一九五八年奧斯卡最佳外語片提名，當年得主為賈克大地【我的舅舅】。
延伸閱讀：
老人痴影症：男人的爭鬥 (Rififi)
 
#7
妙管家／我的高德弗里 My Man Godfrey
by Gregory La Cava
The first I ever heard from Criterion was a call to work on the commentary track for My Man Godfrey, but there’s still nothing I can say about it. There it is, and there are the magnificent contributions of William Powell and Carole Lombard, director Gregory La Cava, and writers Eric Hatch and Morrie Ryskind.
首次知曉 Criterion 大名來自一通邀請我為【妙管家】錄製講評的電話，但我還是不知道該說些什麼。在你眼前，威廉鮑華與卡洛林白，導演格雷哥萊拉卡瓦及編劇艾瑞哈奇與摩瑞萊金的卓越貢獻。
按：一九三七年奧斯卡最佳男主角、男配角、女主角、女配角、導演與劇本提名。
 
#8
黑人奧爾菲 Black Orpheus
100 min. 1959
by Marcel Camus
I love films that are great not only in themselves but in the idea of them that stays in memory. But this then can dwarf the actual film, which perhaps it has in the case of Black Orpheus—some aspects now try one’s patience slightly. A few years back a Brazilian film was touted as the realistic and gritty version of the story, by those who knew the actual milieu—another black eye for realism and grit.
我喜歡那些不只是本身偉大，縈繞腦海印象也同樣偉大的電影們。【黑人奧爾菲】則提供後者大於前者之案例—某些觀點現在稍微考驗了觀眾耐心。幾年前一部巴西電影被宣傳為寫實與粗粒版本的奧爾菲故事，藉由經歷其真實社會背景的人們—另一雙寫實主義與真實勇氣之眼。
按：這部電影除了擊敗【四百擊】拿下一九五九年坎城金棕櫚，也勇奪一九六零年奧斯卡最佳外語片，嗯。
 
#9
美人計 Notorious
101 min. 1946
by Alfred Hitchcock
The charms of the other Hitchcocks—I would like to have included The 39 Steps but don’t have the room—to which are added an atmosphere of such intense passionate tension and threatened betrayal, as well as a cast of archetypal beauty.
希區考克無遠弗屆的魅力—我還想列舉【國防大機密】但已無餘裕—添增幾許高強度炙熱張力與受迫背叛氛圍，以及美麗原型。
按：一九四七年奧斯卡最佳男配角，最佳原創劇本提名。
#10
天堂的孩子 Children of Paradise
163 min. 1945
by Marcel Carné
So beautiful and beautifully evocative—a film that allows space for imagination—but my gosh it’s long.
多麼美，美得勾心動魄—一部允許想像空間的電影—但這想像空間還真長遠。
按：一九四七年奧斯卡最佳原創劇本提名。
資料來源：
Whit Stillman’s Top 10
Steve Buscemi's Top 10 Criterion Collection
Xavier Dolan's Top 10 Criterion Collection
Richard Ayoade's Top 10 Criterion Collection


Clark Gable & Carole Lombard

My dear Ludivine Sagnier, shall I compare thee to a summer's day? I love you so much that I wanna eat you all, just like Béatrice Dalle did to Nicolas Duvauchelle, or Vincent Gallo to Florence Loiret Caille in Trouble Every Day (2001).
親愛的小呂呂，我該把汝比擬為夏日否？我愛妳如此深切到想吸吮妳的全部，就像賽魯對十七號和十八號那樣。[這個願望實在很難達成筆者快瘋了，總不能在履歷上寫專長係意淫女明星吧！！！]

still from Bachelorette (2012)
Lizzy Caplan
30 June 1982, Los Angeles, California, USA
Elizabeth Anne Caplan
5' 5" (1.65 m)
She graduated from the prestigious Hamilton Academy of Music in Los Angeles, California, Class of 2000. Her classmates included actor Emile Hirsch.
Named one of Variety's Top 10 Actors to Watch 2006.
(其實之前就有注意但沒放在心上) 無意間新發現之 starlet 小星宿，被遺忘的印象來自【辣妹過招】琳賽蘿涵原生朋友【１２７小時】法蘭科妹妹，然後筆者要為了她觀賞【柯洛佛檔案】。
認識到乍看之下素有「窮人版本的 柔依迪香奈」稱號的 Lizzy Caplan 竟然和 Zooey Deschanel 共同出現在福斯美劇【俏妞報到】(New Girl, 2011)，一方面對於「前」日舞影展小公主 (sorry, I'm a indie snob) 年過三十選擇在小螢幕唱歌跳舞自我剝削感到不勝唏噓，一方面對於曾經是筆者女神的 Zooey Deschanel 錄音室專輯只有主打歌令人印象深刻就算了，馬上有窮人版本這事實更讓人驚覺好萊塢快速新陳代謝之殘忍，與獨立製片女明星沾染主流體制粉味的悲慘宿命。
Zooey Deschanel，就讓妳的 career performance 就停留在【愛情冒險家】(The Go-Getter, 2007) 吧！！！
　當眾人忙著對 Penn Badgley 取得 Jeff Buckley 角色哀鴻遍野時，筆者心中暗自竊喜好家在，不給 James Franco 沒關係，千萬別淪落到庭院深深深幾許的吸血鬼身上就好，但 Janis Joplin 角色最後居然被貶謫到過氣甜心 Amy Adams 手中，教我們演而優則歌的 Zooey Deschanel 情何以堪？(未老先衰事業都已經走下坡了還給我發生這種慘案)

現在觀賞這支出現【猩球崛起】超現實場景的音樂錄影帶，筆者不禁於心田深沉地吶喊：「為什麼 Jeff Buckley 角色不給法蘭柯！！！」
法蘭柯：「所以我只好去演【猩球崛起】(也爽) (洩憤) 啊！不是廢話嗎？」
Sundance Film Festival 2012 - Day 2
幹超正的好想尬她喔 ♥♥♥
延伸閱讀：
Will Ferrell-Produced "Bachelorette" Is Not Quite "Bridesmaids" [Sundance 2012]
Lizzy or Zooey?
Lizzy Caplan Fan | www.lizzy-caplan.com
Krysten Ritter: "She looks like a young Mia Kirshner."
文藝青年現在除了強調自己早就不喜歡 Zooey Deschanel 以外，還會強調自己真的不喜歡 Radiohead，喜歡也只是喜歡前三張，但還是勉為其難地買了演唱會門票，因為朋友正好有票，加上主辦單位佛心，以及那陪伴青少困頓時間的成長錄音帶。檢附二零一一年度最佳電影名單如下：2010
Drive
Womb
Another Earth
Submarine
Martha Marcy May Marlene
Like Crazy
The Ides of March
We Need to Talk About Kevin
The Skin I Live In
Wuthering Heights
Nobody Else but You
The Silent House
The Future
Source Code
London Boulevard
Les amours imaginaires 
Midnight in Paris 
my guilty pleasure:
You Are the Apple of My Eyes
funniest film of the year:
Brighton Rock
un certain regard:
Sleeping Beauty
best actor:
Ryan Gosling for Drive
What more can i say? [現在只有麥可法斯賓達偶爾可以和高司令抗衡了]
best actress:
Emily Blunt for The Adjustment Bureau
Emily Blunt is so hot that I wanna fuck her over and over and over til the end of world til the end of time.
[tied with]
Amanda Seyfried for In Time
我想筆者會喜歡【鐘點戰】這部科幻電影，除了想鼓勵 Andrew Niccol，大概是因為阿曼達本片造型時在太像 Anna Karina 了。
令小文青們忸怩不安的「柔依情結」經典釋例：
男孩又怎麼知道，我在感傷一位叫柔依的女孩？

二零一一年威尼斯影展閉幕片，多倫多影展正式競賽電影。請迫不及待點擊內文你管，進一步觀賞本片預告！！！我承認瞥見 Greta Gerwig 裙襬飛揚時筆者高潮了整整三分鐘。♥♥♥

　圖片來源：
Our Favorite BAFTA Tradition
 
昌民ㄉㄉ：「我知道啦～你一看 Drive 就濕了啦！！！」(Ryan Gosling redefined my sexuality ♥♥♥ as a fanboy sorry I just can't help it...)
翻譯照慣例一點也不信達雅，煩請詳讀英國優良讀物《獨立報》之優美原文報導。所以片商是故意排在選舉時間上映【選戰風雲】嗎？爛死了。Evan Rachel Wood 是小克接班人，辦公室情境外套必勝。
原文出處：
Ryan Gosling : "I think like a girl" 
Of late, Hollywood has been pondering the question: "Is Ryan Gosling the new George Clooney?" Clooney both stars in and directs Gosling, 30, in political thriller The Ides of March, the poster for which apes a Time magazine cover in which the pair's faces are not only juxtaposed but morphing directly into each other. So often the mother of reinvention, no wonder Hollywood is confused. So too is Gosling's mother.
最近，好萊塢一直思索著這個問題：「雷恩葛斯林是新一代的喬治克隆尼嗎？」克隆尼在自導自演政治驚悚電影【選戰風雲】與三十歲的葛斯林合作，海報仿效《時代》雜誌封面，兩人臉孔不僅並置，也溶接了彼此。難怪舊瓶新酒之母好萊塢困擾不已。葛斯林的媽媽也不例外。
"I think the poster is just Clooney showing how much better-looking he is than me," laughs Gosling, "but my mother saw something else entirely. She called me and was so excited, saying, 'You're on the cover of Time magazine!' I had to say, 'No, it's just the poster for the movie, ma'."
「我覺得這張電影海報單純想表達喬治克隆尼比我帥一萬倍」葛斯林笑著，「但我媽慧眼獨俱。她興奮地把我叫過去說『我兒子上《時代》雜誌封面哩！』，我趕緊解釋「麻，那只是電影海報啦！」
Such milestones are not far off since, no disrespect intended to the esteemed Clooney, Gosling is streets and years ahead of his perceived career mentor's standing at the same age. Just 26, the Canadian-born actor received his first Best Actor Academy Award nomination, for his role as a drug-addicted teacher in Half-Nelson. Clooney didn't snare the role which made him famous –TV's ER – until he was 33, and was 44 before he was nominated (and won) in the Best Supporting Actor for 2006's Syriana.
里程碑仍在不遠方，並無對克隆尼大大不敬之意，葛斯林已經成就了克隆尼這位可預期生涯導師於同時期難以向背之成就。加拿大小子二十六歲即以【我的左派老師】成癮老師角色榮獲首度奧斯卡最佳男主角提名。克隆尼直到三十三歲才咬緊日後讓他走紅的【急診室的春天】影集角色，二零零六年【諜對諜】拿下奧斯卡最佳男配角時已屆四十四。
按：不過克隆尼的奧斯卡時刻搞得跟終生成就獎沒兩樣就是了。
The Ides of March is already garnering its own Oscar buzz and Gosling a buzz all his own as Hollywood's newly anointed leading man under 40. Certainly, there are other pretenders nipping at his ankles (fellow Canadian Ryan Reynolds, and Bradley Cooper, to name but two) but Gosling, for now, is clearly ahead of the rest of the pack-in-waiting, if conflicted about it.
【選戰風雲】被寄予鍍金厚望，葛斯林也正步入四十歲以下男神殿神龕。當然，有其他複製貓正囓著他的腳踝 (諸如老鄉史考莉喬涵森前 (棄) 夫或醉後大丈夫，兩個沒什麼料的咖) 但葛斯林此時此刻完全不給其他候選人看到車尾燈的機會，如果存在些許衝突。
按：Ryan Reynolds 演一百部【綠光戰警】可能都無法超越跟 Scarlett Johansson 結婚這檔演藝生涯高峰。
"I'm just so sick of myself. I can't imagine how everyone else feels. And there's just nowhere to go but down really from here. So, hey, it's been nice. It's been real." He laughs hard, puts on his grey, self-designed leather jacket and feigns leaving, with some good reason. In the space of only three months, he has been seen as a ripped lothario who eventually finds love in Crazy, Stupid, Love, the moody disaffected driver of Drive, and now borderline nefarious political press secretary Stephen in The Ides of March. It is not, of course, that Gosling dictates film release dates, but it would be euphemistic to call him anything but "in your face" currently.
「我受不了自己了，我無法想像其他人怎麼受得了。我無處可逃，只有自此跌入深淵。所以，瞧，不在乎天長地久，只在乎曾經擁有。」他放聲大笑，穿著他自己設計的灰色皮夾克假裝要離席，夾帶一點好理由。短短三個月內，他是【熟男型不型】浪子回頭的浪蕩子，他是【落日車神】柔情鐵漢，現在他是【選戰風雲】曖昧不明險惡政治文宣史蒂芬。當然葛斯林並未刻意挑選電影上映日期，但不說他紅遍每條大街小巷就是種委婉。
Fortunately, his current frequency in film is not to be confused with repetition. The Ides of March proffered Gosling a meatier character role, and an unusually high fear factor. "It scared me for sure. I don't know if you can imagine but it's a very nerve-racking thing to walk into this world, which is right in George's wheelhouse."
幸運者，他出現在電影的頻率並未因重複而被混淆。【選戰風雲】給了葛斯林一個比較有血有肉的角色，以及超級危險因子。「我備受震懾。我不知道你是否能想像，但我身鈊煎熬地走入這世界，喬治克隆尼掌舵的這世界。」
　按：迪奧：「耳朵好癢。」
Does he have any opinion on the Clooney comparison? Gosling almost spits out his mineral water in disbelief on hearing the line. "Who the, what the?" he laughs, looking genuinely perplexed. "I don't even know what to think about that. Let me get back to you."
對自己被與克隆尼比較有什麼看法？葛斯林不可置信得差點脫口而出口中的礦泉水。「哇哩勒？」他笑著，看起來毫不做作地費疑猜。「我根本不知道該如何自處。給我多一點空間，好讓我再想一想。」
He combines his firm but friendly demurral with a huge not-too-fake-white smile and I suddenly understand why every woman I know (and teenage girls galore) are doolally for Gosling. Long-ago-proved acting chops aside, he is handsome but not threateningly so, boyish but not immature, and earnestly, unashamedly in touch with his feminine side.
當他結合了堅定但友善的猶豫，與雪白又不會太假的笑容，我終於理解為什麼每個認識的女人 (以及成千上萬的花樣少女們) 皆為葛斯林痴狂。先不論早就備受肯定的精湛演技，他很帥，但又不帶威脅，男孩子氣但耳朵後面又不會濕濕的，誠實，毫不忸怩地面對他女性化面向。
　
按：常被比為老頑童卡萊葛倫的喬治克隆尼，其實單就陽剛雄性更神似父權形象 Burt Lancaster。喬治克隆尼就帥得很有威脅感，若要說帥得不帶威脅，可能要追溯到五零六年份的保羅紐曼才行。然後丹尼爾克雷格 reminds me of 史帝夫麥昆 (Steve McQueen)。
保羅紐曼，一種印象
「我認為他的俊美，沒有威脅，不走極端，更為淡化。」
─我的新好朋友 a.k.a. 政戰魂
"I think like a girl, I think," he says, in answer to a question about growing up with his mother and sister (his parents had divorced). Having been bullied at school thanks to his early TV success, Gosling was home-schooled by his mother for a year, which meant an ever greater female presence in his life. "I was literally raised by my mother and my sister. And I just feel like I wouldn't know how to think any other way. My sister was my best friend and my hero growing up. Because I was home-schooled I didn't have a lot of friends and I did ballet, which was always just girls. All of that had an effect on my brain."
「我腦袋像個女孩，我覺得」他如此回答關於和母親與姊姊陪伴成長的問題 (父母離異)。從小就是個家喻戶曉電視明星讓他在學校被霸凌，葛斯林家中自學了一年，母親於生活中扮演著比母親更為重要之女性存在。「我實質上自幼由母親與姊姊撫育。我無法想像沒有她們的世界。姊姊是我最好朋友，我的成長英雄。自學緣故我沒有太多朋友，而且我跳芭蕾，那通常是是女孩子在做的。諸多種種影響著我的想法。」
Though he insists he has "no free time" currently, when he does, he is often found at a Los Angeles ballet studio. "I practise whenever I can," he says, without a modicum of embarrassment.
即使他堅持目前沒有自己的時間，浮生偷得半日閒總出沒於洛杉磯芭蕾舞蹈教室。「我擠出海綿裡的時間練習芭蕾」他不帶一絲羞怯地說。
Have myriad LA mums not spread the word as to exactly where Hollywood's latest heart-throb can be readily observed putting in his pliés? He seems not really to have considered the prospect.
洛杉磯媽媽海是否已盛傳好萊塢當紅我心遺忘的節奏開放大家觀賞芭蕾蹲？他似乎不太在意。
"A lot of the students are young girls so they're there with their mums but they just kind of watch and tell me to keep it up. They try and be positive but I'm so bad. I don't even know what I like about it but it's like acting, I'm just compelled to do it and I do it to find out why. The not knowing is interesting."
「那裡許多學生都是媽媽陪伴的小女孩，但她們總是注目我，然後叫我加油。她們想正面鼓勵我，但我很遜。我甚至不知道我是喜歡芭蕾哪裡，但就跟演戲一樣我無法克制，我得起而行好知其所以然。未知事物是有趣的。」
It may be a reaction to the burgeoning attention he can no longer fend off, but at other times Gosling already speaks like a politician and admits to being even more fascinated by the political world since wetting his feet for The Ides of March.
或許是對無法招架之快速竄紅的回應，但葛斯林自從在【選戰風雲】小試身手後，他已經習得政客談吐，也承認自己更為政治圈所吸引。
"It's not that I see this particularly as a political film or something with a political message. It really is just a thriller set in a political arena. It could just as easily have been in Hollywood or on Wall Street. But the research was so interesting. I learned a lot. I met some politicians, I had a lot of help and I needed it."
「倒不是說我認為這是部政治電影或帶有政治訊息。這只是部設定於政治版圖內的驚悚片。那很有可能發生在好萊塢或華爾街。但功課研究很有趣。我學到許多。我認識了一些政治人物，獲得許多協助，我也真的需要他們。」
He says the parallels between Hollywood and politics have since become glaringly obvious. "It's very hard to be honest in both jobs. You can't really tell the truth because everything you say is taken out of context and cut up. You just have to be careful what you say."
他說好萊塢和政治的類比已經相當明顯。「兩種工作都很難誠實。你無法說實話，因為你說的任何一句話都會被斷章取義，望文生義。你只能字字斟酌。」
I mention a recent interview in which he apparently claimed he'd be retiring from acting within the next decade. He sighs deeply, almost without realising it. "That's exactly what I'm talking about. What I said was that I've been acting since I was 12 [he starred alongside Justin Timberlake, Britney Spears and Christina Aguilera in the children's TV series The Mickey Mouse Club] and I've been feeling very creative lately but that I can't see myself maintaining that pace or doing this for the rest of my life. I really can see directing becoming a big part of my life."
筆者提起最近一篇報導寫到他大剌剌地宣稱自己將在十年內退出戲子之路。他仰天長嘯，幾乎不知其所以然。「老師苦口婆心講，你們都沒有在聽嘛！我是說我十二歲就開始演戲 ［和賈斯汀汀柏雷，小甜甜布蘭妮及克利絲汀共襄盛舉迪士尼電視劇《米老鼠俱樂部》］ 我現在還是感到創意充沛，但我無法想像有生之年繼續維持這步調或當演員。我想跟喬治克隆尼一樣演而優則導。」
Like Clooney, Gosling's early years are deeply cemented in TV, though he says he felt all along "that there would be a place for me somewhere in the film biz". It wasn't until 2004 that he hit pay dirt with nostalgic romance The Notebook opposite fellow Canadian and then girlfriend Rachel McAdams. He previously dated Sandra Bullock – they met on 2002's Murder by Numbers – and is now dating Eva Mendes, his co-star on The Place Beyond the Pines, which he recently completed for director Derek Cianfrance. Cianfrance also directed Gosling in last year's much-acclaimed Blue Valentine, and he professes a desire to work again with directors he has established a shorthand with.
猶如克隆尼，葛斯林早期生涯奠基於電視圈，即使他覺得「好萊塢一定有我發光發熱之處。」直到二零零四年他演出了卡薩維蒂家族之恥【手札情緣】與當時的加拿大女朋友瑞秋麥當絲對戲。曾經約會過珊卓布拉克—兩人結識於零二年【拿命線索】—目前和伊娃曼德絲打得火熱，當今美國獨立製片業界最炙手可熱導演德瑞克西洋法蘭斯新片【松柏長青】的女主角。
葛斯林在去年最優秀電影【藍色情人節】與西洋法蘭斯合作，心中萌生與一拍即合導演再度共事種子。
按：Nick Cassavetes & Zoe R. Cassavetes  這對兄妹檔加起來的才華可能都不及老爸三十七萬分之一洋溢。
按：珊卓布拉克…… 
見證兩位明日之星的誕生
"The Place Beyond the Pines was the best experience I have ever had making a film. It's because Derek and I now have one film behind us and a history. We can talk to each other in a way we never could before so Pines is an evolution. I feel like I've been dating all these film-makers and now I just want to get married."
「【松柏長青】是我最棒的拍片經驗。因為和德瑞克之前合作過一部電影，儼成歷史。我們彼此可以前所未有的方式對談，所以松片真是進化創舉。感覺就像我和一票導演們約會過，而老子現在只想結婚。」
He will also reteam with Drive director Nicolas Winding Refn for the upcoming remake of Logan's Run but says, contrary to reports, babies are not next on his agenda. "Out of context too. I was saying that genetically we are programmed to have certain instincts and if you're not fulfilling those instincts, they can manifest themselves creatively."
他亦再度聚首【落日車神】導演尼可拉溫丁黑芬重拍【攔截時空禁區】但堅稱，和媒體報導相左，(和黑芬的電影) 心血結晶並不在他的時程表裡。「也完全沒道理。我是說就基因角度我們正計劃培養某種本能，但你若無法實踐這些本能，他們自己會像水裡的魚一樣跳出來。」
按：I think Ryan Gosling's gonna define my sexuality again ♥♥♥  
按：什麼爛翻譯呀！
閒聊科幻片《Logan's Run》
「大多數的影迷都認為此片很 cult & campy，因為女主角 Jenny Agutter 長得很漂亮性感，而且從頭到尾都幾乎衣不蔽體……」
─華文字幕傳奇 PromLin 
With Gosling now booked up for months, does he not find the prospect claustrophobic? Actors, after all, are wont to espouse the benefits of time of and living life as acting enhancements.
預約案件量達數月，他是否對其錦繡前程感到幽閉恐懼？演員總是習慣提倡時光荏苒與人生體驗帶來演技的成長。
"I've never booked myself up like this. I used to make a film every year or two. A week after I finished The Place Beyond the Pines, I started on my current film Gangster Squad [with Sean Penn, Josh Brolin and Emma Stone]. We'll see. I may come to regret it but I just want to be making films right now. The opportunities are so great I don't want just to be hanging out. I feel like this is the time for me to be productive."
「我從未把自己的時間排這麼滿。我以前一兩年只拍一部片。【松柏長青】殺青一星期後，我開始拍【落日黑幫】(西恩潘，喬許布洛林，艾瑪史東領銜) 等著瞧。可能會後悔，但我此時此刻就是想演戲。機會太美好，我不想曠日廢時。增產報國大好時機。」
按：Gangster Squad 導演 Ruben Fleischer 成名作品為艾瑪史東主演之【屍樂園】(Zombieland, 2009)。
Gosling can sometimes be spotted at Disneyland, as he was last month in the company of Mendes. "I have a love/hate relationship with Disneyland but what's so interesting to me is that the attention to detail there never gets old. There's always something new to find, something they've thought of. And there is always the idea of somebody who had a dream and made it so real you can walk around in it. "
葛斯林有時候會出沒在迪士尼樂園，上個月和曼德絲小姐。「我對迪士尼樂園愛恨交織，但有趣的是他們對於細節仍保持巨細靡遺精神。總是有新發現，他們所能想到的。總是有某位名不見經傳小子美夢成真，成真到你真的可以走進去玩耍。」
Gosling's own interesting dream is, it seems, only just beginning.
葛斯林，天空是你的極限。
本文謹獻給我的BFF。
↑ 新生代演技之神 Ryan Gosling 與路人系天后 Michelle Williams 合影留念。
[後宮] 當代最優秀的十位男演員
雷恩可能是這份名單戲路最寬廣，技巧最好的孩子。
在此恭喜雷恩於坎城佳導電影【落日車神】(計程車司機 meets 獨行殺手之 neo noir instant classic) 展現驚人低限演技後，以連續領銜去年 (blue valentine) 和今年最優秀電影 (drive, no doubt)，正式擊敗 Joseph Gordon-Levitt & Michael Pitt，穩坐筆者最鍾愛男星寶位。現在回想【拿命線索】真是塊瑰寶呀！
經檢視其作品清單，歷經【充氣娃娃之戀】到【藍色情人節】兩年完全沒有演出的潛龍勿用，我們得到一個更精粹，更出神入化的雷恩葛斯林。論天然美貌或許稍稍遜色喬瑟夫戈登李維、麥克彼特、詹姆士麥克艾維等花瓶，但若提變色龍演技與上戲的帥氣，其他小可愛們完全不是對手。
Dean: "I feel like men are more romantic than women. When we get married we marry, like, one girl, 'cause we're resistant the whole way until we meet one girl and we think I'd be an idiot if I didn't marry this girl she's so great. But it seems like girls get to a place where they just kinda pick the best option... 'Oh he's got a good job.' I mean they spend their whole life looking for Prince Charming and then they marry the guy who's got a good job and is gonna stick around." 
狄恩：「我覺得跟女人比起來，男人才是真正浪漫。我們說要結婚就是要結婚，遇上喜歡的女人以前就死不結婚，因為這女人實在太美妙了不娶她就是智障。但女人只會到某個地點挑個最好的選擇在那裡……噢他有份好工作。她們花費一生尋覓白馬王子，然後嫁給那位有份好工作，宜家宜室的白馬王子。 」
如果筆者把心中的電影拍出來，拍出來的 best scenario 就是【藍色情人節】這部滿溢戀人絮語與不語的當代經典美國製立製片，唯一缺點乃女主角太路人。死前必做十件事：觀賞【藍色情人節】DVD，只在有帥到掉渣的小恩恩出現的片段吻兩下打兩槍。【落日殺神】蠍子外套超帥！我也要！我也要！我也要！
延伸閱讀：
蠍子與青蛙過河的故事
"Drive Thru," A Parody of Nicolas Winding Refn's "Drive"
George Clooney's List of the Top 100 Films from 1964-1976
Replicas of Ryan Gosling's "Drive" Jacket Now on Sale

This is the kind trailer (film) I wish it could go on and on and on, shite I'm gonna cry, Ryan Gosling should get 3 fuc**** Oscars for this.

Penny & The Quarters are a "lost" soul band which came to prominence in 2010 after an unreleased demo of their song "You And Me" was used in the film Blue Valentine.

KISS KISS BANG
BANG
　
【追密者：失控正義】(The Whistleblower, 2011) 關穎心得：[3.0/5.0] 2011/12/02 女神等級的瑞秋懷玆如果飾演警察就不正，例如【康斯坦汀：驅魔神探】(Constantine, 2005)，電影本身也挺無趣，所以只給三分。上上部瑞秋懷玆和基努李維合作的電影是【連鎖反應】(Chain Reaction, 1996) 有摩根費里曼；基哥頭腦資料庫會更新那片叫【捍衛機密】(Johnny Mnemonic, 1995) 有 Ice-T & Udo Kier 還有北野武，算是【駭客任務】前傳哈。
我的南半球學長 on Darren (蝶龍) Aronoksky on Rachel (Weisz) Getting Married:
"He should direct the next 007 movie - then we will know how James Bond dies."
↑ quote of the year!!!

"I'll do or say anything if I believe in it, but I have to believe in the cause."
瑞秋麥當勞妳這個渾蛋
高司令的選擇也很古怪
高司令 = Golsing 我還以為是什麼五星上將總指揮司令之類的。
這故事讓我想起一位筆者非常尊敬的老師，他說自己不喜歡做生意，只希望單純做事就好，所以他選擇在學校教書而非投身業界。喬治克隆尼不會是個五顆星的導演，但扣掉美式足球電影沒看過，絕對是個四顆星起跳的導演。

"My boyfriend's got a HUGE cock, and he..."
"What? Your boyfriend's got a HITCHCOCK? How happy would that make him? I'd like to meet your boyfriend, though I don't know what that means..."
前些日子經夏綠蒂與莎曼莎綜合體之 友人 引介，走往某藝廊參訪，面對魚貫而入的藝術品與藝術家們，筆者不斷質疑自己就竟是喜歡電影作為一門藝術？亦或僅係膚淺的藝術電影迷弟？如果筆者真從電影裡參透了什麼，為什麼換個媒介就如此忸怩不安？我不知道，筆者只知道我還有太多電影來不及看，太多迷弟模式 (fanboy mode on!!!) 來不及開啟。要繼續做個前腳跨出一步，隨即後腳縮回半步 (every time we take one step forward, you take 2 steps back) 的踟躕不前聖盃國王 (King of Cups) 就是了哼哼。前進與後退之自辯得參考去年在馬倫巴雕像。
　既然說到塔羅牌就一定要提個【ＪＯＪＯ冒險野郎】(JoJo's Bizarre Adventure)，前些日子同事說她問工作抽到星星 (The Star)，筆者興奮地疾呼冷氣一哥空条承太郎的白金之星是史上最強的替身，當場在 (再度) 辦公室情境被動作 (台語) 外星人十五分鐘。然後空条徐倫的愛慕者安納蘇，其實就是 Anna Sui，第六部《石之海》(Stone Ocean) 大概達到這部科幻時尚經典的娘砲泰鼎了。【】是筆者專門用在電影的標點符號，《》則是電影以外作品例如音樂專輯或書籍，所以對於【ＪＯＪＯ冒險野郎】筆者採【】代表該怪力亂神邪典第四部《不滅鑽石》(Diamond is unbreakable) 之隱晦層次與情感波動足以媲美電影！
相當不熟稔的賈克‧李維特 (Jacques Rivette) 如是說，能夠被希區考克東區粉圓小小影響死而無憾，不知道要貼在哪裡所以先貼在這裡哈 ↓
I guess I like a lot of directors. Or at least I try to. I try to stay attentive to all the greats and also the less-than-greats. Which I do, more or less. I see a lot of movies, and I don’t stay away from anything. Jean-Luc sees a lot too, but he doesn’t always stay till the end. For me, the film has to be incredibly bad to make me want to pack up and leave. 
And the fact that I see so many films really seems to amaze certain people. Many filmmakers pretend that they never see anything, which has always seemed odd to me. Everyone accepts the fact that novelists read novels, that painters go
to exhibitions and inevitably draw on the work of the great artists who came before them, that musicians listen to old music in addition to new music… so why do people think it’s strange that filmmakers – or people who have the ambition to become filmmakers – should see movies?
按：布魯諾‧杜蒙 (Bruno Dumont) 很明顯就是李維特說的那種刻意強調自己沒很愛看片，拍出來的片又鳥到一種極致之廢物噗噗。
When you see the films of certain young directors, you get the impression that film history begins for them around 1980. Their films would probably be better if they’d seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much. Actually, it’s when you see too little that you run the risk of being influenced. If you see a lot, you can choose the films you want to be influenced by. Sometimes the choice isn’t conscious, but there are some things in life that are far more powerful than we are, and that affect us profoundly. 
If I’m influenced by Hitchcock, Rossellini or Renoir without realizing it, so much the better. If I do something sub-Hitchcock, I’m already very happy. Cocteau used to say: "Imitate, and what is personal will eventually come despite yourself." You can always try. 
「空条徐倫姊姊有危險了，我要請天氣預報葛格趕快去救她才行。」一名棒球小孩如是說。(哪天把【喬喬的奇幻冒險】這部離奇 (bizzare) 科幻時尚邪典翻第二次來寫個關穎心得好哩!!!) 然後我不懂為什麼作者要在第六部把空条承太郎可以說是喬喬系列最重的角色給毀了。