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「在我描繪他時，我理解到，就像注入大海是河的天性，人的天性就是會夢想速度。速度是凡人認定神祇所擁有的第一批屬性之一。」

約翰伯格《婚禮之途》

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「想要燦爛，首先你要被看見，被看見，就是容許自己成為獵物。」

王鷗行《此生，你我皆短暫燦爛》

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我讀過一說，終其人類歷史，我們傾向複製美。我們複製取悅我們美感之物，無論那是花瓶、繪畫、聖杯，還是詩作。複製目的在保存，使其延伸於時空。凝視取悅我們的東西——壁畫、桃紅山脊、男孩、男孩下巴的痣——這行動本身就是複製，延長眼裡的畫面、賦予更多意義、使其停留。凝視鏡中人，我將自己複製到一個未必存在的未來。是的，許多年前，我所求於葛摩茲的不是披薩貝果，而是複製。他的贈予之舉將我擴大成一個值得慷慨對待的人，我因而被看見。我想延長與重返的其實是那個「比我大的我」。

王鷗行《此生，你我接短暫燦爛》

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我們生活在時間裡，受時間拘限與形塑，但我從不覺得自己很了解時間是什麼。我不是指物理理論中那些可彎曲和折疊的時間，或存在於某些平行宇宙裡的時間。我指的是尋常和日常生活的時間，而鐘和錶向我們保證，這種時間是以規則的方式溜走：滴答、滴答、滴答。還有什麼能比一根秒針更可靠？然而，只需最微小的快樂和痛苦���便足以讓我們明白時間具有很大的可塑性。有些情緒可讓時間加速，另一些情緒則可讓時間減慢。偶爾，一段看似已經失落的時間會在最後關頭重新出現，然後又消失，真的永不再回來。

回憶的餘燼

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Destiny. It was just a grand term for something you could do noting about. When life said to you, “And so,” you nodded, and called it destiny.

Julian Barnes, The Noise of Time

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十五、十六世紀，激情不為人類所獨有，也在其他生物身上造成奇特的影響，所以棕櫚樹會談戀愛並彼此渴慕，貓也會變得憂鬱無比。

情緒之書

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希維特描述一九六零年代，他在擁擠戲院觀看自己的作品《巴黎屬於我們》的體驗，是如何改變了他對電影評論的概念：電影評論必須思考電影被製作與觀看的脈絡。影癡取向太過被螢幕給震撼，因此無法進行這種思考。 「純粹凝視的態度，讓人完全臣服在電影之前，就會產生這種危險。就如同田裡的牛隻被經過的火車嚇愣，可是牛隻幾乎沒有理解火車為什麼會動的可能性。」

用鋼筆戰鬥的《電影筆記》

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God’s Own Country (2017) dir. Francis Lee

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Mr Robot Season 2, Episode 12 - eps2.9_pyth0n-pt2.p7z

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Ad Astra (James Gray, 2019)

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moodboard

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River Phoenix in open up to someone and being vulnerable in the middle of the woods at night: The Holy Trinity

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I just feel homesick, you know? I’m not the only one, I know that… I just wanna go back. I’m ready to go back. I’m ready to leave whenever you are.

A deleted scene from My Own Private Idaho (1991).

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An Essay

“My Opinion on Lucy and Rami and What I Believe is the Real Problem”

I stay pretty quiet about the whole Lucy/Rami thing because I’m here for Rami Malek and the characters he creates. As someone who enjoys writing, when the muse takes hold, you just have to latch on to it, embrace it, and as long as he’s my muse, I’m here for him. If I lose followers, so be it. If I get hate, so be it. This blog is my escape, my outlet to create and to, occasionally, share what’s stuck in my craw. 

What Lucy Boynton said in a recent interview (The Porter) weighed heavily on my mind. It wasn’t a lie or a name drop or something overtly horrible, rather it was the kind of ignorant, privileged statement that permeates our society and shows that she, and people like her, are part of a much larger problem in Hollywood. The following is the excerpt I will discuss:

“Another thing she picked up from Malek – who got his first lead role in Mr. Robot just four years ago, at the age of 34 – is not to rush her career. “[He’s] been doing it longer. And I think the main thing is to take your time. I want to do this for the rest of my life, and it’s easy to think that you have to keep the momentum going, a phrase you hear a lot. It’s tempting once you’ve done one thing to quickly sign on to something else, so you have something to talk about. I’ve learnt that’s not the case, and that you can take your time to do really good-quality pieces rather than just doing everything.” Rami Malek did not carefully craft his career. Rami Malek has been a victim of systemic racism and has carved out his career one painstaking shaving at a time. Rami Malek didn’t have choices; he sought and created opportunities. Rami Malek didn’t leap from role to role to “have something to talk about;” he had bills to pay. Rami Malek didn’t play terrorists on television because he chose to; he played them because he had to, which is something Lucy has never had to do. 

繼續閱讀

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Looks like it’s that time of year again

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This is nice.