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Wednesday, October 2, 2013

Charlotte Rampling in The Night Porter

The Night Porter (1974)
http://www.imdb.com/title/tt0071910/
列入必看片單

Monday, June 24, 2013

Saturday, September 5, 2009

Lady GAGA on OUT SEP 2009 Photography by Ellen Von Unwerth
Styling by Nicola Formichetti

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蕾低卡卡說:
"I very much want to inject gay culture into the mainstream. It’s not an
underground tool for me. It’s my whole life. So I always sort of joke
that the real motivation is to just turn the world gay."

卡卡真是個人妖阿！

照片看這裡
（個人覺得不特別有趣...就是她平常的風格，放在其他屬性的雜誌也可以）

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以上不是重點
重點是，這期做了個baby Daddy特企真是爆炸帥的阿！！！！！！！！！！！！
穿什麼緊繃小短褲！抱小孩才是男子氣概啦！！！

我一定要貼！！！！

Wednesday, July 15, 2009

Lady GaGa Talks Bisexuality

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以下譯自ROLLING STONE:The Rise of Lady Gaga的摘要

”我不覺得我看起來像其他那些樣子完美的小流行歌手，我想，我在做的是改變人們對[性感]的看法” 她同時也改變了在21世紀當個流行巨星的定義，以她日夜無休地瘋狂工作：卡卡藝術行動者，以其嚇死人的流行品味與和八零風舞曲節拍而聞名。”事實上，如果我不工作的話，你大概會看到一個瘋女人吧！不工作讓我瘋掉！”

打從幾年前，自紐約大學退學起，卡卡就為了成為藝人而購買了大量的可卡因，也花了大把的時間精進她的頭髮與造型，就在她小小的下東村公寓裡，就在她正要發跡前。
”我當時簡直有病，”她承認”我猜這是我專輯裡有關虛榮的部分的來源吧！”她的出道專輯[THE FAME] 靈感大多來自與某重金鼓手路克的一段感情，而他們的分手深深地改變了卡卡。她告訴滾石，她是雙性戀，而她對女人所受到的吸引完全是肉體上的。她說，正是她在性方面的觀點，才讓她的男朋友感覺不快。

不過，她的性傾向倒是不會激怒瑪莉蓮曼森，其實，此人還傾吐了落落長的么壽肉麻話給他的新朋友－也就是咱們這期的封面人物（馬上買一本！看他又講了啥鬼）”她真的知道自己在幹麻...她非常聰明，她不是在賣弄，她是個很棒的音樂人，歌手；她做這些事情時是愉快的，就跟偶一樣。

卡卡所展現的對音樂的企圖是嚴肅真誠的，她說：”我真正的影響力將能通過時間的考驗，無論如何，我一定能在流行文化中佔有一席之地，創造出具有確實衝擊性的事物”

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以下譯自Lady GaGa Talks Bisexuality的摘要

”我喜歡女人這件事，讓他們全都嚇跑了”她如此解釋。”這讓他們不舒服，就好像”我不想要三人行，我只要有你就開心了”

但是卡卡說，她其實從沒真正和女人墬入愛河過，她對女人的興趣完全基於肉體上的吸引。蕾滴卡卡，前Stefani Joanne Germanotta，在四年前遇見她的一生一次的真愛......
”我們就像火爆浪子裡的珊蒂與丹尼，然後我搞砸了”

咱們這位女歌手，現在雖然有了新男伴，但還是選擇將感情放一旁，以音樂為重：
”我的音樂不會在隔天早上醒來告訴我，噯，我不愛你了！”她說；”所以，我是滿足於單身的。我自己一個人OK。我選擇等我可以的時候，再找個人相伴。”

卡卡的靈感哪裡來？你一定猜不到－－”摩天樓，建築物－－以及各種讓歌迷們驚奇不斷的事物們！”

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延伸閱讀：
「我們都已經有了酷兒（Queer），為什麼還要談雙性戀？」
維基百科
書-> 異∕同之外：雙性戀

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感想：其實卡卡不必是LGBT就很酷啦!那麼接下來就鄭重期待她如何以音樂發展影響力吧~!

順便貼一下瑪莉連曼森在最新一期revolver的封面好了，哈哈，因為想貼就貼！

Friday, June 5, 2009

[不列顛名產] Gary, Tim, and Ewan

GARY OLDMAN IS FUCKING HOT !!!!!!!!!!!!!!!!!!!

Saturday, April 11, 2009

Tim Roth interview by Steve Buscemi

Issue 59 Spring 1997

quote-

SB: You’ve worked a lot, but in the past you were able to enjoy a certain amount of anonymity…

TR: Yeah, that’s gone. It went a little bit with Reservoir Dogs, a little bit more with Pulp Fiction, but it really went with Rob Roy. Once you get nominated for an Oscar you’re fucked. It’s a lot harder. You walk into the same places you’ve been going to forever and it’s all changed.

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SB: I like to go(to dailies) because it’s fun, and I also find it really useful. Some directors are concerned that actors might change their performance, and they want to have the freedom to talk about the actors when they’re not there. But if an actor wants to alter his performance based on the dailies, he should discuss it with the director.

TR: It scares me, because I start seeing things maybe I like or don’t like.

SB: Did you go on the Robert Altman film, Vincent and Theo? I know he really likes the actors to.

TR: No, I didn’t. I would sit and wait for everyone else to come out, and then say, “So, what was it like? Was it good? Was it good?” The only time I saw dailies was with Rosencrantz and Guildenstern, because of the language. I wanted to make sure the timing was right on the comedy acts.

--

SB: Do you ever write?

TR: The only way I write is when I’m in cahoots with somebody, when I already have a book or a script, and then I can embellish. I used to write short stories when I was younger and I was always very embarrased about what I had written, so I would burn them immediately. But the actual writing was always an enjoyable experience. Do you write a lot?

SB: No, I’m slow. It took me seven months to write Trees Lounge. I think actors can be good writers, but the hard part is to just sit down and do it. I’m always jealous of these guys who have four scripts sitting in their drawer.

--

Thursday, March 26, 2009

like a rolling stone

Sean Penn on Rolling Stone February 2009

Sean Penn on Rolling Stone April 1996

Sean Penn on Rolling Stone May 1983

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rolling stone Interview - on Feb 2009
http://www.rollingstone.com/news/coverstory/25940442

quote-

rs: It was strange watching the film post-Prop 8 — how eerily it paralleled that
fight. And of course in Milk, they win out on the ballot issue, while we're
watching 30 years later having just lost on a similar issue. Were you surprised?
sp: No. Only because I was talking to people in the system, including Mayor [Gavin]
Newsom here, who were worried. I was surprised when I heard the numbers among
black voters, which was fucking shameful. And, of course, the Mormons. What it
comes down to is the churches are not operating like instruments of love.
They're hate machines. They're ignorance factories.

rs: How did you feel, early on, hearing yourself described as a "rebel"
or a "bad boy"?
sp: Um, you know, I didn't read that stuff. The worst of my time in the spotlight
was the Eighties, and back then, I was more interested in acting during the
day and drinking at night.

rs: The only one of those I've seen is Benjamin Button. Brad Pitt is good,
but I found the movie unwatchably sentimental.
sp: Yeah, but I don't care: David Fincher was robbed on Fight Club, and he
deserves whatever he gets. If this one is sentimental, it's not just some
guy jerking off. You know it's coming from his heart, as a sincere attempt
at dealing with the world.

--

滾：在第八法案投票後看這部電影感覺真差，這兩件事相較的結果真令人作噁。當然米爾克的選舉贏了，然而我們卻眼睜睜看著三十年後輸在同一件事上。這不讓你詫異嗎？
西：不會。不過這是因為我已經和相關人士談論過了的關係，包括Newsom市長，他相當憂慮。我所詫異的是那些反對票數包含了黑人選民，他們真可恥，當然還有那些摩門教徒，宗教的力量墮落到它不再是歌誦愛的器具，這些人是恨的機器，這些無知的工人。

滾：早些時候聽到別人稱呼你為”叛逆小子”或”壞小子”時，你感覺如何？
西：我從不讀那些玩意。我在人前最壞的日子是在八零年代，不過那時我比較熱衷白天演戲然後晚上喝酒。

滾：這些電影我只看了班傑明紐扣。布萊德彼特好正，不過這部片這麼多愁善感真叫人看不下去。
西：對阿，可我不介意。大衛芬奇拍鬥陣俱樂部時是這樣腸思枯竭，因此我想他應得他所想到的每個靈感。如果這電影很多愁善感，你曉得這不是某個傢伙在胡搞，這是來自他心底深處一次真摯的嘗試，想要提出對這個世界的思考。