恶人谷

前天晚上逛到附近一家放独立电影的剧院, 旁边咖啡馆里正在举行一个奥斯卡奖讨论会, 可惜除了主持人以外只有俩参加讨论的, 遂加入其中. 结果倒挺高兴的, 因为主持人是在费城里组织电影节之类活动的, 看过无数电影, 而且她跟我一样不喜欢Spielberg, 我俩一唱一和, 把Spielberg批得体无完肤, 兴高采烈. 她坚持认为BBM会得最佳影片, 因为李安铁定了得导演奖, 而一般导演奖决定最佳影片奖. 我这边还对Crash略有幻想. 从她那里听来的赌城赔率的消息是Matt Dillon会得到最佳男配角. 她喜欢的去年影片包括The Squid and the Whale, A History of Violence, Grizzly Man, the Three Burials of Melquiades Estrada. 我说女主角提名的片子我一部也没看过, 她说要不是工作关系看了两部否则她对这几部也没兴趣. 她恶狠狠地说她非常不sentimental, 让我很高兴. 她还爆内幕消息说Terrence Howard是本地人, 他太太是Lafayette Hill附近人士, 他从小是学传统音乐的, 弹钢琴, 讨厌rap.

聊了半天, 她说她的专业是chemical engineering, 但是一天工程师也没干过, 而是去当放电影的projectionist, 兼搞一切跟放电影有关系的活儿, 并且在城里组织这样的讨论会什么的. 最后说起每年费城电影节都有个亚洲另类电影系列, 去年还放了些邵氏老片, 让我一定注意云云.

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昨晚主要是为了看Jon Stewart主持人, 尤其是他和他的team (The Daily Show with Jon Stewart)参与写稿子和编clips, 结合他自己的特点(政治笑话) 和电影目的需要, 所以效果相当好, 我很满意. ("Martin Scorese: 0, 3 6 Mafia: 1").



贴张他上大学时的照片. 好玩死了.

看完节目后两大疑问:
1. Phil Hoffman说话不算数!! 讲好了得奖要学狗叫的, 却去讲他妈妈了! 不干, 我要听狗叫!



2. Where the hell is Don Cheadle??? 前天在ISA时就没见他, 礼拜天又没见他, 听说Crash的六七个制片人之间已经吵起来了, 不知道他是不是跟Haggis 他们也闹矛盾了...

礼拜六晚上看Independent Spirit Awards (Maggie Gyllenhaal 和 Peter Saarsgard 这一对让我怎么也看不够 ). 开头见BBM得了最佳电影, 觉得Crash得Oscar的希望又小了一点. 但是仔细一看不对, Crash得了First Feature Film, 希望又上去了.



礼拜天发奖仪式一上来, 男配角居然既不是Matt Dillon也不是Jake Gyllenhaal, 可以说Crash和 BBM双方打了平手. 在编剧上又打平手. 我就觉得还是有希望. Crash得到最佳剪辑, 而BBM失去最佳摄影, 我一下觉得机会来了. 其实BBM最近呼声已经降得很低了, 唯一能拖它上最佳影片的因素是李安几乎铁定得最佳导演奖, 而一般人投票是总是导演影片同一部. 但是李安似乎已经搞过一回得Director's Guild Award but not Oscar的先例, 所以我还是觉得BBM的机会不过半. 而李安铁定导演奖是因为其他几个提名的是新导演, 资格不老, 而Spielberg资格虽老, 片子实在水平不行. 果然啊果然, 我老的直觉最近强得很, 奥运会时也特别灵.

说起Phil Hoffman, 在ISA时我就想, 他是个实在的家伙, 工作好严肃, 银幕下则毫不张扬. 他说我不想让观众对我太了解, 否则看我的演戏就不能全面投入到欣赏角色本身了, 看见的都是我本人, 这我可不要.

第一次见到他是在"木兰花"里, 印象就很深, 与Tom Cruise同场演戏, 立刻就把阿汤挤得影儿都没了. 他跟阿汤是截然相反的类型的人, 不知道他对阿汤这个人有什么看法--- 然后突然想起来, Hoffman跟Cruise刚刚又合演一出戏Mission Impossible 3. 或许他是为了钱, 或许他也私下里喜欢演个跟Cruise做对的角色呢?

Terrence Howard带了好可爱的儿子出现, 让我八卦心起, 开始胡思乱想他是不是离婚了. 上面唱It's Hard Out Here to Be a Pimp时, 下面估计他在坐立不安. 发奖时看见John Singleton跳起来, 却没见Craig Brewer. 一年又一年, 我发现自己越来越跟glamor有仇, 受不了大家衣冠楚楚人模狗样的严肃劲儿. 好来五真没劲, 给Jon Stewart 讽刺两句还委屈死了("...and these issues were never a problem again"关于政治题材的电影). 所以当几个穿匪徒衣服的rap artists跳上去领奖, 我倒挺开心的. 周六晚上的ISA上, 去的人都开玩笑说赶快领了奖好去排队拿免费礼品云云. Phil Hoffman穿了件皱巴巴的衬衫上去说话, 倒比穿礼服带狗领可爱多了. 我宁可看他们坐在Santa Monica的帐篷里喝酒聊天, 好过走什么红地毯, 多腻味多没有个性. 穿上好衣服就连狗叫都开不了口了. 没劲!

美术指导和服装这类奖都给Memoir of a Geisha拿去了, 要多白痴有多白痴. 明明是不正宗的想当然耳的设计, 好象把清朝明朝衣服混一起还拿奖. 最佳摄影居然也给他们拿了, 真是匪夷所思. 把画面拍得跟明信片一样谁不会? Indie Spirit那帮人才懂, 给了Good Night and Good Luck. 拍黑白的功夫比彩色片要讲究多了.

连Jon Stewart都说太多蒙太奇了, 把film clip都用光了. 开头关于cowboy电影里homosexual subtext那段很好. 而讲film noir的那段不知道目的何在, 那段一上来我就觉得音乐耳熟, 忽然想起来是LA Confidential的soundtrack. 那片子我看了四五遍, 没法不记得.

据说Crash 得到最佳影片奖后, Brokeback Mountain的人纷纷跑出来攻击Crash. Larry McMurtry说我们没得奖是因为好莱乌害怕被人以为支持同性恋 (a bit too late, don't you think?), 某些人爆出内部消息说老年投票者私下说绝不看gay cowboy movies. 混战一团.

我就不明白Brokeback Mountain那帮人怎么就那么肯定自己会得最佳影片, 听他们的说话口气好象本来是非它莫属的, 被Crash以不正当手段抢去的似的. 或许, 投票的怕好来乌全体被人套上支持同性恋的帽子而选择了"安全"的影片, 但那也不是Crash的错啊, 切. 他们就这么肯定自己的片子比别人都高明, 我偏偏不这么认为.

要说得奖的不是最好的影片, 奥斯卡奖里大半都是这种例子. Titanic, Forrest Gump, Shakeshpeare in Love, Braveheart, 甚至Return of the King, Million Dollar Baby, 都让我 也没见支持Pulp Fiction, 红(Kieslowski), 和LA Confidential的人们出来smear得了奖的片子.

至于什么是好片子, 谁又比谁强, 这种事是说不清的. 我过去就说过, my head favors Capote, but my heart is all for Crash. 或许真的是没在LA呆过就不会在肠子里感受到Crash的真实. 在技术上第一次当导演的Paul Haggis也未必高明到哪里, 在调度多线故事的结构上, 他不能跟Robert Altman, PT Anderson比. 可是我真喜欢里面写的人物, 真情实感. 类似结构的木兰花里, 有几个subplot就没让我特别信服或投入, 可是Crash里面, 几乎每个人都触动我, 而最最触动我的, 竟然是Sandra Bullock演的那个鄙视敌视少数民族的有钱太太. 天! 那种人是我平时最讨厌的类型, It says something about the writing if they can get me to identify with a character that I normally despise the most. 在洛杉矶感受到的种族主义, 跟Spike Lee的, 跟密西西比的, 跟DC人脑子里的, 都是完完全全不一样的性质. 黑夜里燃烧的车辆, LA人立刻能联想起Rodney King, OJ Simpson, and the riots in South Central. 不是当地人恐怕没有这种直接的感受, 尤其是东部那种自我感觉良好的elitist librals, Maureen Dawd那种人, 一边雇Hispanic 保姆佣人一边在NAACP露脸当嘉宾给Jesse Jackson捐钱, 以为这样就天下大同了.

最近刚刚看了Junebug, 说到character study, 真实感, 或许是我见过的最厉害的片子之一. 可是这样的片子永远不会得到鲜花掌声(除了或许在Sundance), 那又怎样? 到现在也没看到在Cannes得了最佳男主角的Three Burials of Melquiades Estrada. Grizzly Man连提名也没有. 甲之佳肴乙之毒药.

所谓媒体舆论, 胡说八道的居多, 不可全信. 例如在某电视台上见人说: Phil Hoffman过去发光的机会不多, 老演配角, 是典型的character actor, 现在他有幸在Capote里被委以重任, 才有机会突破, 得了那么多奖 (本年度包揽, I think), 从此领纲大片的机会要多起来了. 我这边几乎要笑掉大牙. 不是说他没有可能从此sell out, 如果他还喜欢干这行工作的话就不会一下子去变成John Travolta, Bruce Willis, Tom Hanks这种被广大人民群众爱戴的票房明星. 担什么GP大纲? 那种片子有啥意思? 偶尔去走穴捞一票罢了. 而且Capote的成就根本是全部掌握在自己手里的, Dan Futterman, Bennett Miller, Phil Hoffman三个死党把艺术主动权紧紧掌握在自己手里, 才能彻底拍一部冷冷的, 纯intellectual, 道德上uncompromising的片子, 一滴讨好观众的润滑油都没有. 如果现在倒向财大气粗的studios, 拿人钱手短气更短, 就别想随心所欲了, 那还有什么意思? 看看Justin Lin的例子, 看看Hustle and Flow, 如果傍了大款就不可能让Terrence Howard主演. 独立制作的影人, 有钱就没艺术自主权, 你自己挑吧.

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其实李安说奥斯卡奖跟艺术性没关系, 这话在原则上是没错. 烂片得奖的事多了去了. 今年难道他们还给活地亚论提了个名, 可是Match Point怎么能是原创剧本呢? 明明是根据Dreiser的小说美国悲剧改编的, 过去还拍过个A Place in the Sun, 我还看过. 老小子是诚实地从来不理你好来无的岔, 今年不知又在哪家饭馆里吹黑管(小号?)了.

(cont.)

工资水平怎样？我很切实际的问。

大概跟麦当劳差不多吧? 好玩的, 有意义的工作都是没钱的.

我也觉得Grizzly Man挺好看的。唯一不能让我说毫无保留的喜欢它的地方就是Herzog不能够禁声，总觉得最好看的纪录片是导演的观点完全隐藏在镜头之后的－要完全客观总是不可能的，但是越少的导演的主观，或者越少的直接评论，就越好看一些。不过Herzog这样个性强的人，让他不发表意见，大概也难。这部片子今年奥四卡没拿到提名，还是觉得有点惊讶，我还以为他的题材挺和老奥的口味呢。提名的记录片里只看过enron和企鹅，这两部个人感觉比Grizzly Man差着一个级别，不过也可能是个人喜好不同把

说道Herzog我看了电影之后去imdb他，倒是挺想看Werner Herzog Eats His Shoe
的，就是不知道那里有

1? 这么巧. 这两天我正在写Grizzly Man的影评 (Discovery Channel 刚播过, 又看了一遍), 写完贴出来.

众人夸的暴力史我看了只觉一般，BBM更加不对我的胃口，在我目前看过的几部里面我觉得慕尼黑还算不错了，撞车跟晚安好运都还没看，或者更好也未可知...

赫佐格是殿堂级的纪录片导演了，得奖的可能性颇大阿。不过这部片我看了简介，就没能鼓起勇气去看，结尾太惨了...

The bedrock of the plot is the dogged determination of the Bruce Willis character. Jack may be middle-aged, he may be tired, he may be balding, he may be a drunk, but if he's played by Bruce Willis you don't want to bet against him. He gets that look in his eye that says: It's going to be a pain in the ass for me to do this, but I couldn't live with myself if I didn't. I always I believe that more easily than the look that merely says: I will prevail because this is an action picture and I play the hero.

Last paragran of Roger Ebert on 16 blocks.

嘻嘻,Jun这下一定高兴了,希望得偿啊 公布最后结果的时候我都吃惊得尖叫一声.....原以为肯定是BBM了. Capote得了最佳男主角也蛮吃惊嗒,我当时看着就想,Jun今晚估计会很满意啊

I knew that BBM wouldn't get the best film, never expect Crash to win. What a disappointment! It proves again how important to be politically correct.

poor Matt Dillon! He's good in Crash. I didn't even recognize him in the beginning of the movie. I thought he would get the best supporting actor.

I hate to admit I really don't like Reese Witherspoon. She was said to be talented(maybe) and GRACEFUL(OMD). Never liked any of the movies she played.

Capote得了最佳男主角也蛮吃惊嗒,

为啥吃惊? Phil Hoffman今年包揽了所有能得的奖, 如果有谁是99%肯定得奖那就是他了.

昨晚, 呵呵, 并没特别意外. 等下来818. 然后把Crash's LA 抗完.

好像今年奥斯卡跟金球重合的蛮多的。[/i]

Moved to the top post.

what is that 3 6 mafia Jon Stewart kept referring to? He totally lost me on that one

那个拿了最佳插曲的演唱组啊，歌名是it's hard out there for a pimp 大概

3 6 mafia是写获奖歌曲It's hard out there for a pimp的作者也是昨晚表演此歌的组合. Terrence Howard不肯自己上去表演 (他其实不会唱rap). 电影是Hustle and Flow.

3 6 mafia is the group who mde "It is Hard Out Here For a Pimp" in Hustle & Flow.
Did anyone notice they got censored a couple of times? Right in the begining of the song there was a blank. At the end of their speech there was a blank

真的呀，我还以为是我家空中的数字信号不好，你知道就是停顿一下子那样

Yep. I noticed that too. I heard they rewrote the lyrics before the show to minimize censorship, but I guess that wasn't enough. I mean who could tell what they were singing anyway?

我注意到他们把whore 都改成别的词，但是忘了改成什么了。这个电影我是打字幕看的还不大看的懂，街上的黑话太多了。我的黑话词汇仅限与“yo man, whass up brother, chill't , keep it real"
想起有一天绒毛毕突然叫人家keep it real , 我们嘲笑他说你怎么突然rap 起来了。他就说这是computer geek ganster rap , keep it real, keep it float, keep it boolean.

哎，昨天插花看了一点儿８英里，看痞子阿母跟人rap对骂，大家都叫：keep it real。然后阿母说：“你在哪哪上学，那是个私校！你爹你妈的婚姻很好！”??台下人大声起哄。“我骄傲的宣布我是一个白垃圾，我确实跟我妈住一起，现在你来跟他们说说我有什么他们不知道的东西！”然后他往那儿一坐，对手还真说不出话来了。这片子有意思，得找来看看　:mrgreen:

Knowing wrote:他就说这是computer geek ganster rap , keep it real, keep it float, keep it boolean.

我们打拳的音乐经常大喊：keep it real, keep it real, keep it real.

Maggie Gyllenhaal 和 Peter Saarsgard 这一对让我怎么也看不够

Jun为什么很喜欢他们？Maggie在我的印象里一直是Jake的妹妹的形象，两人的眼睛很像；我因此一直不知道她个人有什么作品？

Maggie is, like, the smartest young actress in Hollywood.

She was in Secretary. Last year she was nominated for an Independent Spirit Award for "Happy Endings." I haven't seen it.

It was her????? Doooooooooh! I thought Jude was played by Kirsten Dunst! And I wa amazed by the performance!
Strongly recommand Happy Ending. It was so good!

她在蒙娜丽莎的微笑里演的很好，其他人包括大嘴都被她比下去了。

This has GOT to be a conspiracy of some kind:

In 2006, Jake Gyllenhaal was in the same movie as his sister's squeeze, Peter Sarsgaard in Jarhead. Jarhead is a movie with "more half-naked young male bodies (and homosexual subtext) than Brokeback Mountain."

Sarsgaard was also in a movie called "The Dying Gaul," in which he plays a gay screenwriter in a love affair with a married Hollywood executive.

Gyllenhaal was in "Brokeback Mountain," in which he also plays a gay man in a love affair with a married man.

The director of Jarhead is NOT gay (neither is the director of BBM, but the writer/director of The Dying Gaul is), and he (Sam Mendes) is Kate Winslett's husband. However, he made "American Beauty" with writer Alan Ball, who is openly gay and made "Six Feet Under."

一堆人名把我看晕了，主题是什么？是说Jake是弯的吗？

Jun wrote:Maggie is, like, the smartest young actress in Hollywood.
She was in Secretary.

非常特别的片子，看完印象深刻

不是, 我是想说其实关于同性恋的电影多得不得了, 为啥BBM的舆论就这么火呢? 而且编导演此类影片的人也很多很多. 另外, 太多coincidence了, 这家人. 你不觉得有点神秘兮兮的?

You mean they are part of Gay Mafia?
BBM 没得最佳影片奖我稍稍有点幸灾乐祸，一是因为我早就说过的，觉得这片子被拍的太淡化社会矛盾，太讨好观众了。二是哈！以为讲了gay 问题就应该无往而不利了么？而且李安拿了导演奖，剧本是最佳改编，票房也成功，足够鼓励更多人拍“主流基片”。
我很高兴hustle and flow 和 crash 得奖，这两个片子都需要更多的attention from public。



艺妓那么大的制作，下了那么多血本，总得弄几个不重要的奖来撑一撑。商业片嘛。我宽容的说。

我当时看断背山没得奖而撞车得了也特兴奋（蚕啊对不起没跟你站一边......）
我比较不平的是目前的采访都很替断背山委屈，国内不少媒体（好像还包括李安的弟弟）接受采访还说断背山因为触犯保守势力所以不能得奖云云。奥斯卡第二天我在msn上碰上一朋友，我兴致勃勃地说撞车得奖了，她说她们几个朋友都说断背山不得奖是因为怕得罪保守势力云云，我当时很愤愤，遂推荐她看过撞车再来说话。
不过估计还是挺多人酱紫想的。

艺妓那些最佳服装设计，最佳舞台之类之类的，其实我有点儿匪夷......并不算很真实的日本风貌吧？

还有就是PJ用的人马好多都是熟面孔阿，每个因为金刚上去领奖的，都是LOTR德旧人马，真亲切

没电视，不过听说李说"i wish i knew how to quit you，" 鸡皮疙瘩掉一地。cringe cringe cringe cringe cringe

撞车的故事结构很精致，是我喜欢的类型。但觉得影片本身并没有那么出色。叙述方式，拍摄手法都略显匠气，且不说那些煽情的桥段，及时的音乐，各就各位的道具（LA的雪）

我不太愿意相信crash的公关成功论，或BBM的主题激进论。听起来多黑幕，多阴谋，多吓人啊！――虽然我也明白，电影不可能仅仅是电影。:f28:

其实我最喜欢的是capote

Why 'Crash' won, why 'Brokeback' lost and how the academy chose to play it safe.

By Kenneth Turan, Times Staff Writer
March 5, 2006

Sometimes you win by losing, and nothing has proved what a powerful, taboo-breaking, necessary film "Brokeback Mountain" was more than its loss Sunday night to "Crash" in the Oscar best picture category.

Despite all the magazine covers it graced, despite all the red-state theaters it made good money in, despite (or maybe because of) all the jokes late-night talk show hosts made about it, you could not take the pulse of the industry without realizing that this film made a number of people distinctly uncomfortable.

More than any other of the nominated films, "Brokeback Mountain" was the one people told me they really didn't feel like seeing, didn't really get, didn't understand the fuss over. Did I really like it, they wanted to know. Yes, I really did.

In the privacy of the voting booth, as many political candidates who've led in polls only to lose elections have found out, people are free to act out the unspoken fears and unconscious prejudices that they would never breathe to another soul, or, likely, acknowledge to themselves. And at least this year, that acting out doomed "Brokeback Mountain."

For Hollywood, as a whole laundry list of people announced from the podium Sunday night and a lengthy montage of clips tried to emphasize, is a liberal place, a place that prides itself on its progressive agenda. If this were a year when voters had no other palatable options, they might have taken a deep breath and voted for "Brokeback." This year, however, "Crash" was poised to be the spoiler.

I do not for one minute question the sincerity and integrity of the people who made "Crash," and I do not question their commitment to wanting a more equal society. But I do question the film they've made. It may be true, as producer Cathy Schulman said in accepting the Oscar for best picture, that this was "one of the most breathtaking and stunning maverick years in American history," but "Crash" is not an example of that.

I don't care how much trouble "Crash" had getting financing or getting people on board, the reality of this film, the reason it won the best picture Oscar, is that it is, at its core, a standard Hollywood movie, as manipulative and unrealistic as the day is long. And something more.


For "Crash's" biggest asset is its ability to give people a carload of those standard Hollywood satisfactions but make them think they are seeing something groundbreaking and daring. It is, in some ways, a feel-good film about racism, a film you could see and feel like a better person, a film that could make you believe that you had done your moral duty and examined your soul when in fact you were just getting your buttons pushed and your preconceptions reconfirmed.
【说的好凶。】

So for people who were discomfited by "Brokeback Mountain" but wanted to be able to look themselves in the mirror and feel like they were good, productive liberals, "Crash" provided the perfect safe harbor. They could vote for it in good conscience, vote for it and feel they had made a progressive move, vote for it and not feel that there was any stain on their liberal credentials for shunning what "Brokeback" had to offer. And that's exactly what they did.

"Brokeback," it is worth noting, was in some ways the tamest of the discomforting films available to Oscar voters in various categories. Steven Spielberg's "Munich"; the Palestinian Territories' "Paradise Now," one of the best foreign language nominees; and the documentary nominee "Darwin's Nightmare" offered scenarios that truly shook up people's normal ways of seeing the world. None of them won a thing.

Hollywood, of course, is under no obligation to be a progressive force in the world. It is in the business of entertainment, in the business of making the most dollars it can. Yes, on Oscar night, it likes to pat itself on the back for the good it does in the world, but as Sunday night's ceremony proved, it is easier to congratulate yourself for a job well done in the past than actually do that job in the present.

Jun这篇8卦的写作风格和以往看到的Jun写的东西真不一样啊

蛙塞，这个评论写的真狠真准

密斯张三 wrote:撞车的故事结构很精致，是我喜欢的类型。但觉得影片本身并没有那么出色。叙述方式，拍摄手法都略显匠气，且不说那些煽情的桥段，及时的音乐，各就各位的道具（LA的雪）

same feeling here.

要说题材讨好，racism和gay的题材，两片差不多，racism在美国其实更讨好。不喜欢撞车就是觉得匠气，不自然。

蒲一开始，每个人都是怒火冲天，毫无理性，异常狂燥，曾住过LA的人可能会有同感，可是从未去过的人看了只觉得莫名其妙，这莫名其妙还没过去，就发现导演（或者编剧）在自以为很微妙其实很明显的往种族问题上靠。Sandra Bullock演的妻子自己也不明白为什么每天这么愤怒，影片自以为含蓄的暗示她丈夫和女秘书（？）有染，来了个特写，女秘书是个很漂亮的黑人小妞，这桥段太cheap，没有意义。而无聊的Sandra Bullock在从自己的好友那儿得不到帮助和慰籍后，从自己的墨西哥女佣处得到一丝温暖，？？？。编剧费尽心机把各色人种搀杂着串进故事，是很精巧很别致，可是太求全，反而让人迷惑，不是在讲racism,而是人和人之间的隔阂和误解，仔细想想，这隔阂和误解有多少和racism有关系？

正当我看得莫名其妙之时，突如其来，每个人的愤怒来得快也去得快，突然之间，剑拔弩张之势就烟消云散，消除的原因也和racism没有关系，似乎一刹那，人开始有了理智，开始象我身边的正常人一样思考和行为。这就更加和现实生活不符合，人一时的愤怒和感动是有的，以为一时的感动和愤怒能改变一个人的mindset也是不可能的。

我不喜欢crash就是因为觉得太不真实，不错的hollywood影片，可也让我没什么感动，没什么可回味，没什么可担心的，这么多的误解和错觉，不是最终都靠每个人的良心和亲情解决了吗？

罗卜青菜. 去年我还看不出Million Dollar Baby有啥好呢. 有人却看得哇哇大哭来着.

继续列表:

Junebug, check. (挺好的, 不过有很多地方没解释, 有点神秘)
Best of Youth, 正在看(好看啊好看死了).

打算看:

Three Burials of Melquiades Estrada
Cache
Thumbsucker (据说Keanu Reeves演得很有趣, 另有Vincent D'Onofrio, Vince Vaughn等等)
The Squid and the Whale
Murderball (大家注意了, 电视台A&E要播放这部片子, 请查当地时间表)
Happy Endings
The Dying Gaul
L'Enfant

费城电影节的组织人强烈推荐Jarhead, 最近刚出来. 我对战争片比较不感冒, 正犹豫中.

另外推荐两部老一点的片子: You Can Count on Me; Bread and Tulips (意大利的).

1？我跟jun同，看到最后最同情那个阔太，尤其是她最后想到原来她这些年来一直不happy，最后抱着保姆说：你是我最好的朋友。真可怜。我一下子就原谅她所有错误了。

Thumbsucker

我图书馆订的这个到了，这个周末顺利的话可以看到

gawd, ang lee could stick that little gold man up his ... (re: his complaints that he deserved the oscar.) you can complain all you want, but to say that the film industry hates homosexuality more than anything else is just hilarious. the review's argument is really tenuous in positing that the choice was merely between bbm and crash, and that the choice was made based on ideology. prove either of these to me, people!

嗯, 美女, 上面那篇文是Ken Turan写的, 不是李安说的. 我还没听见李安到现在为止说过什么话. 人家问他落选是不是因为学院投票的怕争议, 他答我也不知道.

Turan 97 (98?) 年跟James Cameron在报上打笔仗对掐才好玩呢. 这些人也真奇怪, Gladiator得最佳影片也没见他们批得这么凶过. 简直象花样滑冰的fans, 以为在舆论上杀掉Sluteskaya就能把Sasha Cohen给捧上去了. 没逻辑.

他说了更bitter 更没逻辑的话。挖塞，这下我才相信他也是个人，儒家那套克己功夫还没炼到炉火纯青的地步。
http://www.mingpaoweekly.com/htm/20060308/maa1.htm
[quote]
李安又分析《

yeah i know it was written by someone else. i read and heard though that lee too said bbm should've won.

哗，真自信，很少有人敢在颁奖前甚至颁奖后说，我觉得我自己应该拿奖阿

哈哈, 连"温柔敦厚"的李安都出来掐了...

Don Cheadle跑到哪里去了? 到现在影子也没有. 没有他这片子搞不成, 至少搞不来这么多演员加盟啊. 最生气的是最后Cathy Shulman发言时刚说到: Don Cheadle 今天不能来... 就乐声大作把她给淹没了. 气死我了, 连最佳影片也不让多说一句. 我可以肯定他们给Cloony的时间长多了.

Jun wrote:另外推荐两部老一点的片子: You Can Count on Me

冲上来握手。

其实我无所谓谁得奖，说到底奥斯卡也是一群人做出来的，一群人有一群人各自口味。只是crash实在与以往风格不同（咦？你不许人家换口味？），结构特色是奥斯卡的死穴，人物故事一旦纠结复杂评委就立刻忽略（借口是什么？刻意？manipulating?） 比如Jun举的例子――Pulp Fiction, LA Confidential, Robert Altman, PT Anderson，都是这样。最讽刺是今年他们发给Robert Altman一退休奖，算是迟来补偿。

我看到某处报道李安说我们横扫各大奖项票房也比crash高，自信满满，没有得奖他很吃惊。。。我就 这是李安说的？――不过媒体惯会断章取义。

这个问题太经典了。名人儿女不好做啊。:laughting015:
[quote]

Jun wrote: Don Cheadle跑到哪里去了? 到现在影子也没有. 没有他这片子搞不成, 至少搞不来这么多演员加盟啊. 最生气的是最后Cathy Shulman发言时刚说到: Don Cheadle 今天不能来... 就乐声大作把她给淹没了. 气死我了, 连最佳影片也不让多说一句. 我可以肯定他们给Cloony的时间长多了.

据说是制片人吵起来了。

Jon stewart远远没有在他节目上辣。给了民主党和切泥各一个笑话