煢煢白兔

煢煢白兔,東走西顧。 衣不如新,人不如故。
哥哥近日經常掛在口邊的一句話，東走西顧，生活奔波。
而我近日的思緒也如白兔般跳來跳去，我想衣不如新之餘，人亦不如新！
生活重整路搖搖‥‥‥夏日氣壞人。

萬水千山總是對

從香港仔碼頭乘ｗａｈｌａ到模達灣＿　帶著墨鏡的女人

壽星女寶寶與派對籌委會成員阿ｓａ即將完成的本地獨立製作"Où est la sortie ?"的導演阿山興製片阿花

合家歡

我們的０６夏日海灘派對終於舉辦成功，昨夜凌晨時分完滿結束。

這是一個蘋果批

這是一個蘋果批 Homemade Apple pie
砂糖
麵粉
蛋黃
檸檬汁
黃果醬
蘋果

還有小牛與我的一雙手

Uniform Girl Uniform Journey

九月底會到韓國斧山上三星期的工作坊，昨天有聽寫王C的協助下終於飛快地完成好劇本整理。
是朋友ｗ的一段關係啟發我而寫成的一個小短篇，還不知能否化成影像。

Uniform Girl
Uniform Journey
Script by : Tsang Tsui Shan ( Hong Kong 2006)

Kit is a 32-year-old tour guide, knowledgeable and outgoing, but often weary after a long career of constant traveling. On her rare days off, she wanders into Internet chatrooms. 16-year-old hypoglycemic Mina loves her geography lessons but is afraid to go outside. Instead, she travels constantly through cyberspace, and enjoys meeting people along the way. Kit is attracted to the freshness of the teenaged girl; Mina is fascinated by the older woman's worldly ways. The two meet online, but discover each other in person.

Scene 1
ext . night
Park near Mina's house
characters: Mina, Kit
After several weeks of online chat, Mina and Kit meet for the first time.

KIT: Minette?
MINA: Mina. Kitty?
KIT: Kit.

Scene 2
int . night
Mina's room, Kit's room
characters: Mina, Kit

Mina's bedroom is covered wall to wall with maps and posters of exotic places around the world. Kit's home study is enclosed by austere white walls.

Kit is looking at a webcam image of Mina, who is fully equipped in Internet gadgets and technology, as they chat with each other through instant messaging. Kit can see Mina but Mina can't see Kit (no webcam). Their chat dialogue is superposed over the webcam image of Mina.

Minette16: hi
Kitty32: hi
Minette16: remember me? long time no talk
Kitty32: i was travelling. for work. did u go to school today?

Mina disappears, then returns in front of the camera wearing her secondary school uniform. Kit is surprised to see her suddenly appear in such a provocative attire, but she remains silent.
Minette16: yes!

Scene 3
ext . night.
Park near Mina's house
characters: Mina, Kit

Mina and Kit are sitting next to each other quietly on the carousel at rest. They are alone in the park. Their conversation is relaxed, as they are interested in getting to know each other better.

MINA: Don't you feel the world is dangerous? My mum reads the newspaper to me every morning. I hear about all the horrible things that can happen in the world, so I don't like to go out much. Aren't you afraid, travelling to all these foreign places, leading a whole group of people? You have such a dangerous job.

KIT (smiles): I'm not a war journalist! I'm just trying to show people a good time on their holiday. You can't always just hide away at home and never interact with the world outside.

MINA: Well I do go to school, but I like to stay home. Of course, I also have friends, like you.

Scene 4
int . night
Mina's room
characters: Mina

Kitty32: it's so hot lately - do you like to swim?
Mina strips to her bra.
Kitty32: what are you doing?!
Minette16: see how white I am! I can't wear a swimsuit. Actually I don't do much sports at all cos i have hypoglycemia.

Scene 5
ext . night
Park near Mina's house
characters: Mina, Kit

MINA: What did you used to do for fun when you were a kid?
KIT: I guess you wouldn't know. I'm from a different generation. I used to like tossing things.
MINA: Slippers!
KIT: How did you know?!
MINA: Because I used to do that too!
KIT: Maybe we have more in common than we think.

They both toss off their shoes and laugh.Their faces get closer, then they kiss.

Scene 6
int . night
Mina's room
characters: Mina

The webcam image of Mina stripped to her bra suddenly cuts to a black screen.

Scene 7
ext . day
Pusan seaside
characters: Kit

Kit wears her tour guide uniform, holding a bright flag, leading a tourist group around the beachfront. Suddenly she looks up and points, drawing the group's attention to a kite flying in the sky.

Scene 8
ext . day
Mina's school entrance
characters: Mina

Mina wears her school uniform as she stands outside her school, until her parents come and pick her up. Inside the car, she looks out the window and sees the same kite flying over the sea.

睡不著

憤怒、等待、失望、哭、大叫、心跳、透不過氣來、跟空氣對著幹、展轉反則……睡不著
若每天想要更多的活動時間，可嘗試製造以上情緒及動作

721日後的一個月

記得上個月的二十一日我還在法國西北部的一個海邊渡過我二十八歲的生日。那天晚上，SY , Cass , H 與我於漆黑的夜空下漫步，SY拿出那支超級電筒往天上開著，如同星戰中的武士般手持電光劍在星空下揮舞。
我問﹕你們看到hunter條皮帶嗎﹖記得哥哥曾教我如何找出獵戶座星群，那個晚上萬千星星，甚麼都分不清，只知一閃一閃小星星，一顆一顆亮晶晶。

C 野貓

我時常都很"感欣"生命裡能夠遇上不少有意思的人，今次想談談替我做新作製片的Cherise小姐，她是美國人，能操流利英語及法語，不懂廣東話，略懂普通話。Cherise如同一頭小野貓，愛遊離不同城市，三藩市、巴黎、犘納哥、北京及香港，總是走來走去，不畏懼不疲倦。跟她認識是偶然，那時候她還是記者，跟我作了一個訪談後，不久我們便成為好友。總愛作香港旅遊大使的我，喜愛邀請Cherise到我家一起吃飯過節，讓她賞賞油膩的鄉村飯菜。從吃飯到拍片，Cherise真是一個不錯的同伴！以下是她寫的一篇關於是次法國拍攝的遊記。



Article by my beloved production manager Cherise

Not quite "Night For Day", nonetheless inspired by the breathless insouciance of JLG's "À bout de souffle" ... et voici the six-week souvenir of "Où est la sortie ?"

This flashback takes place between two subway exits. The first is in Hong Kong, on a Sunday afternoon, May 28, 2006. The starring cast and core crew had just met for the first time over a pre-production drink at the Cat Cafe, and the actress was leaving the locals to head back to Shenzhen. Standing three steps above us, with her back to the mouth of mtr Causeway Bay exit E, she pronounced three last syllables in guise of au revoir: "À Paris."

Exactly one week later, j and I landed in CDG and aussitôt began our parisian sojourn in St-Thibault des Vignes: Meiyingazai's tlc by day, a flash of Tongge by night, and sweetheart bobo to entertain our evenings. Those days we dashed out the door to the bus stop, to the rer from Torcy zone 5 into Paris intramuros for leisurely location research in the arrondissements. We met friends of f, visited sy and renewed with t. We spent an intellectual hour with double_ss + g discussing art and the romantic era at Café Beaubourg. We wandered into the Cité Universitaire and lay on our backs on the grass staring up at the horizonless blue sky. We were introduced to the extended Wan family, all originated from j's homevillage of Ho Chung, to a restaurant in Torcy, to a takeaway near the Gare de Lyon. We gathered at an informal family reunion in a friendly suburban setting hosted by Uncle Wah and Auntie Ming, bbq between neighbourly fences and well-trimmed lawns, salad, steak, strawberry tarte, etorki cheese and a playful black labrador named Princesse. Then, it was time to move on.

h arrived 12 hours late, after an impromptu overnight in Shanghai due to a typhoon in Hong Kong. We met him at the airport, and from then on, we were 3 = h + j + c. That same day, we moved into our studio at 8, rue la Vacquerie, 6/f under the rooftop, vasistas above the turbo-flush toilet and shower, colourful Almodóvar-like interior, fully furnished floorspace, fully booked shelves, 17 m2 to be fully inhabited by the terrific trio. 3 big purple towels hanging over the shower. 3 pairs of shoes crowding the kitchen and blocking the doorways. 3 bodies plus equipment packed into the tiny building elevator whose maximum capacity is 225 kg. Together we retraced our footsteps to previously found locations, then together we wandered off the beaten track and found new ones. And after work, we played: we visited the metro-boulot-expo exhibition at the Grand Palais; we indulged in tea-time pastries and macaroons at La Durée; we delighted in the omnibus "Paris, je t'aime" collection of 18 short films by 21 different directors about the city we all love. But it was only the beginning of our own short-film adventure.

f arrived on the third weekend in June, and so production began. We shot in the studio, we shot on the street. We shot over the river, we shot underground. We got kicked out of cemeteries, scolded by authorities, teased by passers-by and taken for Japanese tv. We shot in the 11th, the 12th, the 13th. We shot "en attendant le bonheur", we closed a school called Comme un Chinois à Paris, we zoomed in on a bud that blossomed into tea. We shot on the pedestrian Pont des Arts, we shot on high-traffic cobblestoned streets. We shot a guy asking f, "Vous êtes du Pérou ?" - twice: the first with the crêpeman at la Bastille; the second with a Frenchman named Rémi. We shot the view from Montmartre at the break of dawn, before the neon lights of a closed shopfront after midnight, through the ruckus of a World Cup post-match win on Boulevard Diderot. We shot an imaginary Indian on grasslined tram tracks, then we shot a Chinese girl lost in the crowds of rue Mouffetard during la Fête de la musique. t was for Tamara, Tat and a takeaway called Délices de Hong Kong.

Meanwhile, we 3 continued to bond in the studio, just as individual roles were distinguished during shooting: j director, h cameraman, c miscellaneous (navigator, sound recorder, interpreter, stage manager, prop gopher, bag watcher, etc). At home, j and/or h cooked breakfast/lunch and/or dinner, and c was the designated dishwasher. Our domestic life was sponsored by Grand Jury, who fed us through production on muesli, fruit juice, guacamole, mayonnaise, mineral water, smoked ham, and even introduced us to tasty terrine de lapin. We used gaffer tape to fix/close anything from our tiny stuffed refrigerator to our morning cereal bag. We recycled paper, plastic and glass. We took home a mysterious antique suitcase found on the street. We listened to Cui Jian's "huafang guniang" in mp3. Some mornings we rushed out the door at 5.30 am to catch the first metro; other days we languished on the bed waiting to hang our laundry from the washing machine. Just once, we spent the entire afternoon and evening at Café de la Danse, listening to rehearsals and photographing a concert professionally lit by sy and musically performed by the "french & fresh pop" band Peppermoon. Such was the soundtrack of our summer ballad.

Jane arrived on the 5th of July, and so we 5 embarked together on the last 5-day stretch. This time, t stood for trottinette. But the performance artist activist also came with her wig, her sunglasses, her earrings, her identity. We made a bright red t-shirt to reflect her provocation: on the back, "same same but"; on the front, "different". We shot the 2 girls in front of Chinese and Korean restaurants, at McDonald's in Montreuil, at the bus stop after dark, in the train all the way to Fontainebleau and back. Then we shot the big scene in Saint-Germain-des-Prés. And 2 days later, we shot it again, better. And then we celebrated at Le Bonaparte.

Our last days and nights in Paris were spent saying thanks and au revoir: to our familiar hosts in St-Thibault and Torcy at the trendy Iguana Café; to our friends and collaborators at the artsy Italian restaurant-bar 8 1/2; and to the city of lights, lying on our backs on the Champ de Mars at the stroke of midnight, staring up at the sparkling Tour Eiffel. Then, it was time to go home.

The last exit was in Paris, on a Wednesday night, July 12, 2006. It was just inside the corridor of metro Voltaire sortie rue de la Roquette, where f murmured three last words in guise of joigeen: "À Hong Kong."

毛毛聊

送個勾比你呀!
點解?

**掛住

送個氣球比你吹呀!
做咩?

** 嘥氣

壽星仔! 請你食西瓜呀!
多謝

**壽星瓜

千山萬水沒有總是情，只知終於回家真好！不用在英國花費英磅，一個字窮！
毛毛聊，電腦壞了點算，真倒霉！
天氣太熱，人未死電腦先死，如史提夫說:科技帶給人類很多方便和怏樂,同時亦帶給人類很多不便和痛苦。
沒有Back up 資料習慣的我，也許要跟我的某些舊日片段告別,影像/文字/聲音……

Eleventh Rib

記得數年前錯過了黃碧雲於藝術中心的朗讀會，想不到今年夏天於愛丁堡藝穗節偶遇黃碧雲的Eleventh Rib 。你問我演出是否十分精彩，不敢說很好……但對我個人來說是必看的演出。

當你知道她在西班牙好一段日子在學習費蘭明高，又閱讀過她那時候寫的文字，愛的路茜亞究竟是怎樣一回事，文字化成現場朗讀、舞蹈、音樂，甚至歌唱，是一次滿足小”粉絲”好奇心的演出。

黃碧雲與數位香港樂手一同跑到愛丁堡作演出，是唯一一個香港的演出。在愛丁堡只有一天時間遊覽的我，想不到會於街上遇到ＲＵＢＹ，而她就是為Eleventh Rib 作鋼琴演出，C Too 好！八月十四日，下午一時看她與黃小姐的演出！

C Too 場地大小如同麥高利小劇場般，入場觀眾約九人，其中三位觀眾相信是有關工作人員。
沒有華麗的佈置，一個小紅布銀幕、一張椅、一條長長的打摺舞裙，樂手們靜靜地站成一排演出。
她與她的文字出現，黑色裇衫、黑色西褲、黑色短靴，配上圓點絲巾。英語朗讀，關於生與死，政治與戰爭‥‥‥略帶點幽默，沒完全聽懂，只顧看她那張沒有表情的臉，堅決恨恨如同她文字的舞步。

愛丁堡藝穗節每天的演出沒有一百都至少有幾十，少一點宣傳都不可，而Eleventh Rib 的宣傳一點都不夠。彧許要黃小姐於愛丁堡街頭上跳舞作宣傳會有點粗勞，但至少也要多印一點精美宣傳刊物吧，入場時派的那份演出簡介實在差勁，影印刊物沒問題，但至少也不要印得清楚點吧！連作者的話也看不清‥‥‥ＵＭＭ．．．

有了現場演出便沒有精美文字印刷？要演出還是要閱讀？

Uncle Don 離我們而去了

今早電話響起,傳來一位英國女士的聲音,一時也想不起是誰.
媽媽接過電話,原來是住在york的 Auntie Elsie打來, 她把Uncle Don離世的消息告訴我們.
腦海裡一刻空白, 也不算是突然,他也病了很久.
媽媽感到難過, 這幾年已沒有到york探望他們.

想起爸爸二十多年前於英國問路,跟 Elsie & Don認識的故事, 一次問路, 他們便成了二十多年的老朋友.
期間他們到香港遊玩, 我們亦到york探望他們 , 來來回回已二十多年.
Don 本來是一個很開朗的人, 但十多年前開始患上抑鬱症, 自此身體便不好了.

歡笑.快樂.抑鬱.疾病
二零零六年七月三十日
Don 離開我們到天國去了
祝願他安祥快樂

Fuerzabruta 摩登馬戲 ＋劇場演出 ＋派對

Fuerzabruta
看完演出依然讀不出它的發音Fuerzabruta Fuerzabruta Fuerzabruta....
數天前收到kiki的電郵推介, 一定要睇這個演出 Fuerzabruta, 二十五磅 + 一 磅 booking fee, 一小時的演出.有d貴, 但係出來行講個信字, kiki的越洋推介, 我信！！

Fuerzabruta 於Camden Town 附近的Roundhouse演出，演出於七時開始，六時半觀眾慢慢開始進入劇院．
演出是全企位的，幕打開，觀眾們慢慢湧進劇院中心去．我站在人群中，被一對對的情侶包圍著，我跟那些情侶們唯一共同的地方是，大家的眼都是朝向天花板,盼望演出開始．遠方忽然出現一道光，一個移動舞台出現，人群被分開兩邊，演員在輸送帶上不停地行走，　一個又一個演員加入，在那短短的十秒內，他們出現然後消失，道具亦如是．一切都來得很快，舞台的位置，觀眾們的視點．演員在輸送帶上不停地行走，　很快的節奏，　ｂａｎｇ！ｂａｎｇ！演員中槍，演員沒事，演員繼續行走，一切都來得很快．整個演出是一個全方位感官旅程，　這一刻你和演員於這個距離，　下一刻已變了．演出者於不同的空間角落出現，觀眾們需要留意空間的變化．記得從前讀劇場美學，總是提及幾多面牆，在Fuerzabruta內我真的搞不清，觀者與表演者的關係是多變的，時近時遠．




很值得一看的演出，有點索拉奇藝坊的感覺，應該說是摩登馬戲團式的劇場演出，感官之餘也具思考性的．
他們的特技組真的很強勁！

整個演出全是跳舞音樂作背景，到了演出完結的時候，劇院內下著大雨，觀眾跟表演者們於雨中一起跳舞．

我們的對話由這些細小的聲音片段組成

那是很多的細小sound clips
我們的對話由這些細小的聲音片段所組成
那是發生於格林威治時間以外的事
我先說然後接著是你上一秒給我的話
這刻沒有我的也沒有過去或未來的你的話語
f2 按下 然後放開
不能改變的紀錄
我們需要為大家所說的負責
上一刻的你碰上下一刻的我
我沒有立刻給你回應
是字宙時間的關係
火星
從地球發出的對話
片段
絮語
我們的對話是由很多很多的sound clips 所組成
按下
紀錄
然後播放
f2 按下..."想念你,你那邊幾點?有沒有外出?下雨嗎?回家沒有?......" 然後放下
1, 2, 3, 4, 5 秒
想念你,你那邊幾點?有沒有外出?下雨嗎?回家沒有?

格林威治時間 11:53am
英國watford

青春

At -17 "青春" 的歌詞是

刺激嗎　幸福嗎　用法術導引我吧
敏感嗎　害羞嗎　害怕便捉緊我吧
乘著風向　挑弄瑕想
沿岸色相　不懼智商
刺激嗎　幸福嗎　讓快樂穿透我吧
敏感嗎　害羞嗎　別顧慮雙擁抱吧
留住分秒　激烈燃燒
凝著心跳　等待破曉
難道你只得空想嗎　難道你放棄夏季都肯嗎　
難道我不想瀟灑嗎　難道我怕去面對開心嗎
留住晴朗天天不錯　還是去抱抱夏天的海浪
留住晴朗跳跳彈床　不想再繼續　說謊
凝著心跳　等待破曉

青春是近年最能令我血脈沸騰的一首歌……那時候是寂寞的十二月, 是她們的歌聲令我有再次燃燒的感覺.都是愛, 今個夏天沒有聽到她們的歌聲, 或許她們看到火熱的七月已經足夠穿透我,凝著我的心跳 ,讓我激烈燃燒.

似簡單又複雜的是?

影片的結尾, 女子擁抱著男子然後跟他說聲:我愛你
漫天風雪裡, 男子在流淚

他說: 我和她是相愛的, 也希望你們同樣.

愛....
那是原罪犯...姊弟之戀, 姊姊從高下墜前的那張臉, 弟弟捉緊姊姊的那隻手
看見那浮在半空的手, 一切怨恨也忘掉

何時我們才會跟對方說聲:我愛你
很少吧...或許是I Love You...Love you...Kiss you ...hold you...miss you...歡喜/掛住/親親/抱抱...

一向對韓片沒興趣的我, 這幾天終於看了朴赞郁復仇三部曲中其中兩部曲, 它們都是關於愛...親情/愛情/友情...

愛似簡單又複雜, 好深啊!我不懂呢....
我想我要去明愛暗戀保習社保保先！