玛瑞安

It must finally become serious.
I've often been alone, but I've never lived alone. When I was with someone, I was often happy. But at the same time, it all seemed a coincidence, it could have been others. Why was this brown-eyed boy my brother not the green-eyed boy on the oppsite platform? The taxi driver's daughter was my friend, but I might as well have put my arm round a horse's neck.

I was with a man in love, and I might as well have left him there and gone off with the stranger I met in the street. ..Look at me or don't. Give me your hand or don't...

No, don't give me the hand, and look away. I think tonight is the new moon. No night more peaceful. No bloodshed in all the city. Yet I've never opened my eyes and thought: Now it's serious. At last it's becoming serious.

So I've grown older. Was I the only one who wasn't serious? Is it our times that are not serious? Neither when I was alone, nor with others. But I would have liked to be alone at last.

Loneliness means I'm finally whole. Now I can say it, as tonight I'm at last alone. I must put an end to coincidence.

...... ......

Last night, I dreamt of a stranger of my man, only with him I could be alone...open up to him, wholly open, open for him, welcome him wholly into me, surround him with the labyrinth of shared happiness. I know... it's you.

柏林苍穹下 Der Himmel über Berlin （1987）

Merry Christmas Mr. Lawrence

David Bowie步履矫健，稳住暴戾的坂本龙一，上去就是两个简短有力且意味深长的吻，即压倒众生，特此留念（鲍叔啊你能不能不要这么帅，好几段看得我想哭又想笑）。大岛渚之残酷美学，荡漾于两个自恋且英俊的男角暧昧不清的关系间，留下了战场上的销魂几瞥。情感乃人类之死穴——“我的爱穿着一身被禁锢的色彩”，坂本龙一的原声做得动人唯美，像当初我看《末代皇帝》的时候那段跑出去喊Armo的悲怆场景，背景乐一上来就触动我的泪腺。北野武在青葱岁月的彼时尚且可爱，一开始对他有点误解，没想最后其实是这样一个温馨的角色，变态的温馨。

David Bowieは迅速な歩で前に出って、横暴（おうぼう）している坂本に何も言わずに肩にかためて抱きついて、意味深長けれども、強くてシンプルな二つキースを顔の両側にした。我らはこういうシーンを見たら、本当に平気では入られなかったと思うよね。><（Bowie in some episodes was made me both laughing and wepting...）そして、ぬぼれている二人の曖昧な関係の間に大島渚の残酷美学をうこだますっていった。ただ、魂を奪われるぐらいシーンが戦場で余ってちゃった。情感と言うことは、本当に人間の弱点だと思う。「禁じられた色彩」の編曲が美しくて、当時「ラストエンペラー」の中にあって「走りながら叫んでいる悲しみ痛む」の一つepisodeを思い出しだ。このepisodeの背景樂を出てくれたと簡単に私の涙腺が緩ませたね。
若い頃の北野武がまた可愛いし、映画の初頭を見るとき彼に少しい誤解した、最終になると意外に性格がこんなに温かな人物だった。変態な優しいと思う。

今敏的世界

今敏上个月去世，他所有的动画片我都看了过去。这位大师也是YY的高手，以致很多人回想到后来诸多精神分裂和关于梦解析的电影都离不开这位领军人物的点拨，不过这点上大可不必纠结。今敏的作品不像宫崎骏之类以孩童为视角展现出一个梦的世界，相反我觉得他的动画都非常成人化（阴暗成分，性暗示），而核心展现出的仍旧是孩童般不加限制的想象力，对精神解析的功力使其在立意上也要深刻细腻得多。另外今敏绝对是女人至上主义的，他所有的作品几乎都会由一个女神般的人物来充当主角。
按照我看片的次序，看到《未麻的部屋》的时候的确认为有大卫林奇的范儿。一个导演不一定要出片量多，但势必有强烈的个人风格可循。最为我钦佩的要属今敏的《红辣椒》，在制作上我认为是一部集他大成的作品，是最能代表今敏的作品，这个故事源于作家筒井康隆的一本书，筒井很想把这个故事拍成真人电影却苦于资金力量的欠缺，于是找到了今敏（其实如果这些动画能拍成真人的话也将是件非常了不起的事）。而要说最喜欢今敏的哪部作品则很难选择了。《东京教父》是我认为的最亲切温馨的一部，特别记得那个红色魔鬼与蓝色魔鬼的故事，还有那句“能够自由表达...是爱的源泉”。

被戈达尔打败

看电影这个动作绝对是需要合适的对象，合适的心境，我恍悟。如果电影恰是“法国左派”的革命代表之作，觉得不得不看，那观者所要具备的观影素质，绝非上班族下班后企图重拾的那份情操的陶冶。文化毕竟不是休闲小菜。所以不想给自己造成更僵持和纠结的局面，除了打破时间规律的勇气，还必须要懂得情绪的变通，给自己积攒够时间，我们真正需要的是剩余精力的力量——这就是为什么年轻就是他妈的一切。 类似某个充足睡眠过的午后躺床上时所突发的感官脱节，伴随大脑神经隐隐作痛的效果。 往往我们一边地陈述一边却不能确定自己的表达，语言上的慌乱和迷失，被这种自我的不安全和不确定感带到了更遥远的深处，于是，诗歌产生了。只是戈达尔采用的工具是影像。同样，跨越时代这个历史动作的共通点，首先由无数个疑问所牵引，引发的无数思想上的空泛，而答案也恰恰在这其中。

而方法论的指引是以后的事了，在戈达尔的年代里这不是重点，他要做的是如何去打破。戈达尔的电影作品里，影像和声乐在意识领地里胡搅蛮缠，主观意识的介入带动观影客体的主动性，这种非连贯性的、意象上模棱两可的反复操作，考验的不仅仅是对一个纯粹故事的理解，它需要更多内在冲突上的解释。在这点上我并不主张事后去补救，继《筋疲力尽》，今晚我又看了《法外之徒》，也许哪天我会再拿出来温故知新，但今晚看过，我却不剩力气，本想倒头就睡却又有了点要胡说八道的欲望。关于观看戈达尔的其他远近闻名的作品，此时此景，我实在感到惧怕。我觉得是时候该换个角度出发，当先把自己全身心投入到法国新浪潮这个背景中去才是。

Taxi Driver 1976

Dialogues in this movie are really captivating. Also it's a heartquaking movie of Martin Scorsese's another masterpiece.I chose two or three scenes impressed me most was the Robert De Niro's soliloquy. That was truest disconsolately......

May 10. Thank God for the rain...
which has helped wash away the garbage and trash off the sidewalks.
I'm working long hours now.
Six days a week, sometimes seven days a week.
It's a long hustle, but if keeps me real busy.
I can take in a week, sometimes more when I do if off the meter.
All the animals come out at night.
Whores, skunk pussies, buggers, queens, fairies, dopers, junkies.
Sick, venal.
Someday a real rain will come and wash this scum off the streets.
I go all over. I take people to the Bronx, Brooklyn, to Harlem.
I don't care. Don't make no difference to me.
------------------------------------------------------------------------
Twelve hours of work, and I still can't sleep.
Damn!
The days go on and on. They don't end.
All my life needed was a sense of someplace to go.
I don't believe that one should devote his life to morbid self-attention.
I believe that someone should become a person like other people.

I think it's a total of campaign buttons.
Now, all the ones we had before...
our slogan is "We are the people," and "are" is underlined.
These new buttons have "we" underlined.
That reads "We are the people."
There's a difference.
"We are the people" is not the same as "We are the people."
Let's not fight.
Look, we'll make it real simple.
We don't pay for the buttons. We throw the buttons away, all right?
Come here a minute.
---------------------------------------------------------------------------
You talkin' to me?
You talkin' to me?
You talkin' to me?
Then who the hell else are you talking-- You talking to me?
Well, I'm the only one here.
Who the fuck do you think you're talking to?
Oh, yeah?
Listen, you fuckers, you screw-heads.
Here is a man who would not take if anymore.
Who would not let--
Listen, you fuckers, you screw-heads.
Here is a man who would not take if anymore.
A man who stood up against the scum...
the cunts, the dogs, the fifth, the shit.
Here is someone who stood up.

全能住宅改造王

看这样的节目的确能振奋我这种落魄设计师的心，而且对我来说真的有趣，对设计还是房屋，赋予每个部屋独特的性格，并希望人们留在那里彼此依恋着生活下去。

落下王国

I have mentined the movie here twice.
《the fall》 Pages as follows
are selected from the Japanese fashion magazine 《装苑》.

The Fall

06年拍的片子《坠入》（The Fall），08年才出来。连续看了两遍，我喜欢听故事。隐喻充分的故事通常都有迫使去回味的激励，不过这不是单纯从黑白带进色彩的奇幻题材，它足够温情和纯粹。想象力是一部分，而能够有如想象力的随性一般变换于电影的画面里，把梦境赤裸裸地放在跟前——是异乎寻常的纯洁。

Roy特技表演时失去了一条腿，女朋友弃他而去，躺在医院时他万念俱灰，一心寻死。他对小姑娘讲述的故事其实是一场引诱，一场可以提供他得以解脱，结束生命的骗局。故事最终也印照出Roy内心的绝望，每个人都被残忍地杀害，当然也包括Roy自己。单纯讲电影的情节其实很简单，生活挫败下的青年被天真无邪充满幻想的小女孩的真情所打动，最终青年明白了自己可以操控这种死亡的想象力，使自己的命运发生改变。命运在自己的手中，坚强还是放弃，就是这么回事了——所以还是因为画面，因为这充满神秘和奇异，令人着迷的异域风情。。画面太重要了——面临绝望和希望抉择的边境时，无论如何都要表现出来的细腻，这部片子最真实的地方就在这里。

小姑娘在表演时真以为躺在她面前的Lee是残疾人。Lee Pace的眼神，深情，太...英俊。

Factory Girl

过分戏剧。过分说教。过分冷漠。过分坦白（或者苍白）。

吸血鬼一般的安迪.霍夫曼。

乳臭未干的鲍勃.迪伦。

除了迷你裙和烟不离手的Sienna Miller。不是Edie。

Jon Brion

从我喜欢的两部电影《Punch-Drunk Love》和《Eternal Sunshine of the Spotless Mind》中的绝佳配乐开始，我忍不住去寻找Jon Brion的音乐，进而再去找他配乐的电影。Brion应该是个有趣的人。他的音乐里奇幻、美妙还有少许的慵散，有时候更像是梦的舞步，陪同影像用各种实验玩味的电子、弦乐、键盘使电影的浪漫与哀愁产生各种微妙的化学反应。听过他改编的很多熟能详耳的曲子，像Radiohead的《Creep》、Led Zeppelin的《Stairway to Heaven》和Beatles的歌等等，对Brion的音乐表现我感到惊喜，之余就是音乐的这种愉悦的自由心境。也是我目前Mp3的Top Artist。

资料：Last FM
Throughout the '90s, Brion found himself increasingly in demand in the studio, producing and collaborating on albums by Aimee Mann, Fiona Apple, Rufus Wainwright, David Byrne, and the Eels and soundtracks including the Grammy-nominated Magnolia.Recently, Brion experimented Hip-Hop style as producer on Kanye West last album, "Late Registration". The result is brilliant, with real-life instruments mashed up with heavy beats. To complete this mutation, Kanye West did a live recording of his record at the mythic Abbey Road Studio, Jon Brion being the missing link between Hip Hop and The Beatles pop music.In addition to his prolific studio work, he also has held a long-term position as "the house band" Friday nights at the high-profile Hollywood nightclub Largo. At his live shows, the crowd can expect anything from guest appearances by Aimee Mann, Michael Stipe, Elvis Costello, T-Bone Burnett, or Grant Lee Phillips, and Brion is infamous for making up songs on the spot (often from titles shouted from the audience). He also is beloved for his quirky cover versions of songs by Cheap Trick, the Beatles, and Cole Porter, proudly likening his on-stage antics to "spraying musical Raid on the classics, until each dying song flips on its back and wiggles its little musical legs in surrender." Whatever music he was involved in, his eclectic touch undeniably shaped the sound of many progressive alternative musicians throughout the '90s.

看美剧

《越狱》第4季终于出世，再看的时候才觉得心中那种先前无论对Scorfield同学还是对整个情节的强烈期盼已经渐行渐远，看来时间真的能改变和麻木人心。我还是想念第一季里的Micheal Scorfield，睿智而慈悲，而事到如今剧情对他的塑造恐怕早已超出了他原先的道德标准，不断地无奈而又被逼无奈使他坚定的形象已经开始被涣散。可怜的Scorfield，在无数侥幸逃脱的情节安排中似乎有点木纳了。正义太过脆弱，机遇已经占了上风，我只有静下心期盼他再次深情的样子。

至于我看的一部挺火的美剧《迷失》，无疑它不仅扑朔迷离，而且在无望境地里的励志情绪显得它较为积极，可能这就是前年金球奖上它能够取胜越狱的原因吧。我看到第二季的18集，坦白说我已经很烦，我越是急于知道事情的真相，剧情就越是一波未平一波遂起，而且有些情节看似毫无根据，像是编剧在那里胡诌，让观者掉进一个愈加混乱的谜团里休想出来。故事可能是想借助这一点来捕获人心，可是结果令人身心疲惫，毫无头绪，也失去了部分耐心。我看的美剧不多，但我知道连续剧通常在心急如焚的时候会跟你说再见，但是瞧吧，这集的时候居然又出现了两个神经病，我感觉我被戏弄了。......总之〈迷失〉已经完全将我迷失了，可能它就是个魔幻故事或是巫术之类的题材也说不定，我对每一条我找到的线索都没有信心。我的兴趣其实开始转移到那些剧情的把戏上去了，看不看其实都无所谓。

还是喜欢电影的表达方式，不易冗长。

twin peaks

"On the surface, ABC's Twin Peaks was a detective series like any other, its core intrigue summarized neatly in four delicious words: Who killed Laura Palmer? But cocreators David Lynch and Mark Frost (whose work on ''Hill Street Blues'' broke several rules itself) were never content with the easily explained, turning what could have been another run-of-the-mill series into a dreamscape of midgets and giants, one-armed men and log ladies, murder suspects and homemade pie. This four-disc set features the first seven hour-long episodes, plus commentary from directors, crew members, and writers, but it's sorely missing Lynch himself and the series pilot he directed (arguably the finest work of his career). But even these omissions can't detract from the brilliance of the show, one of the most innovative to ever grace the small screen."

-----By Stephen McGill

---------*---------------------------*----------------------*------------------------*----------
"do u believe soul?"
"several."
"more than one?"
"black foot legend. waking souls given lifes the mind in the body and dreaming souls wanders."
"dreaming souls... where they wander?"
"all the way places, to the land of dead."
"is there where Laura is? "
"reposing under the ground,Agent Cooper,it's the only thing i'm sure."

-----------*----------------------------*----------------------*-------------------------*------

yes, it's a part of dialoge of cult TV classic, "Twin Peaks". OK, you ask: "Why is watching a TV show from the early 1990s interesting?" To me, "Twin Peaks" was a magnificent show.The storylines were complex to a point of not being understandable (that whole Donna/James storyline didn’t make a bit of sense) But the show was terrific because it dealt with the battle between good and evil. And yes, sometimes evil won on that show. But the battle was very real - in a campy, David Lynch-TV style way.

And, i should say the TV show's success also have a key point, the very one ---tv soundtrack maker Angelo Badalamenti..he compositions snaked their way around the actors and scenes in a near perfect dance. Long after the television show had gone away, the music still stands on its own, and it still has that transporting effect on me.