My Showreel

最近有project入了HAF，為此預備了一個Showreel，把以往作品作綜合回顧。

我是歌手

在Facebook洗版效應影響下，我也好奇去看看「我是歌手」。嘩，一看真是太驚喜。整個節目的製作實在太棒。由舞台、燈光、鏡頭和樂隊都那麼一絲不苟。我特別欣賞製作人對音樂認真的態度，和對歌手以至樂隊的尊重，每個樂手和音樂總監(來自香港的梁翘柏)的名字都會展視出來，而和其他音樂比賽不一樣，歌手也不必面對評判苛刻的批評，直接由觀眾投票。而現場觀眾明顯有挑選過，每個人都那麼投入。這節目在國內是收視冠軍，證明認真的音樂節目是有市場的，觀眾不會只聽半首歌就喊悶。「我是歌手」是湖南衛視向韓國電視台買版權的製作，更顯示出香港在一台獨大的毒害下，其電視製作水平已遠遠落後於全亞洲。

裝修

裝修原來是很辛苦的事--至少對像我般沒錢出外找酒店或暫住公寓的人來說。首先要把家裡的書和雜物入箱搬到露台，家私書卓用塑膠包著，然後每天都住在滿是塵灰的屋裡，加上狗狗沒法在天台上廁所，必需每天帶牠們外出三次，沒電視看，有幾天不能用電腦，也不可煮食，還有每天很多陌生人在家裡出沒。這樣的生活維持了個多月，最近才可恢復正常。

這一次其實算是小規模的裝修，主要是做天台防水隔熱，室內的天花和牆油新油漆，以下是工程前後的對比。我很高興選擇了用牆磚而非油油，因為效果實在漂亮。

憶吳昊

今天早上收到吳昊仙遊的消息，說來昊Sir可說是我生命中一個恩人，95年入浸會大學工作是他和卓伯棠面試我的，我在傳理學院服務了五年，是我至今為止最長的一份朝九晚五的工作。這工作優厚的薪金，讓我可在當年樓價未瘋狂時買第一所房子，更重要的是，它穩定的工作時間和電影電視系的器材，讓我開始獨立短片拍攝。我的第一二部短片都是用學院的16米厘攝影機拍的，下班後更在Steenbeck剪接機用膠紙一個鏡頭接一個鏡頭的連接起來，後來這兩部短片先後在外地獲得獎項，令我有信心繼續拍下去。

 昊Sir的給我的另一個恩是當年的市政局攪一個藝術家註場計劃，讓社區團體在市政局場地舉行工作坊。昊Sir是這計劃的顧問，他找了我和當時的同事陳錦樂一起舉辦錄像班。當年我沒什麼教學經驗，於是找來一些客藉講師包括崔允信、港台導演潘達培、錄影力量的鄭智雄等，學生還有剛由設計師轉而拍錄像的黃精甫，現在回想起來可算是頗有趣的經驗，這都是拜 昊Sir所賜。

素食

對我來說，素食的最大原因不是健康，而是你不需要食肉。你可從植物中得到所有營養，那為何要其他動物受苦、流血去滿足你的食慾？

自去年從印度回來後減少吃肉，漸漸完全素食，至今一年有多，一切安好。

Stanley Reunion

My new script takes my short film, "Stanley Beloved" as a starting point, and tries to image what will happen to its protagonists, Jamie and Kevin, ten years down the line. Coincidentally, while at the gym one day, I caught a glimpse of Oliver Williams, who played Jamie, on TVB. He plays a butler in some sitcom.

It turns out he's been back in Hong Kong for a few years after studying in England and working as an actor there. We caught up last week. The last time I saw him was 14 years ago, when he did a cameo in "First Love and Other Pains". Wes, who played Kevin, is now married and is expecting his first child.

Words fail me

Source: http://www.jamesweggreview.org/Articles.aspx?ID=1527

by S. James Wegg
Reviewed at the 2012 Inside Out Toronto LGBT Film and Video Festival

Simon Chung’s latest offering demonstrates a maturity for delving into issues and extraordinary sense of matching pace with events that will reward all who see it. Boy-boy-girl love triangles are nothing new whether gay or straight (e.g., The Dreamers); opening a film with a completely naked lost soul who will need considerable healing is also not a new narrative device (e.g., Saved by the Belles) and revenge more heinous than the crime has stimulated filmmakers’ imaginations since the dawn of cinema (unforgettably in Confessions). Here, Chung has successfully combined all of those elements into a marvellous concoction of just what can happen when “There is nothing covered that will not be revealed” rears its deadly head.
Found without a stitch and clearly traumatized into wordless silence, French foreigner Luke (Pierre-Matthieu Vital) is kept out of the insane asylum by Jiang (Gao Qilun), an instantly smitten nursing assistant whose brand of TLC may well be headed for very personal international relations as the ever-attentive Chinese rescuer ferries his unexpected companion back to his past.

Lan (Si Tu Yu Ting) Jiang’s date—one of the local police who helped fish Luke out of the river—is none too amused when it appears the exotic, mute stranger has captured her prospective partner’s attention. (The screen positively radiates on several occasions when Gao’s smile says more about the feelings between the two men than any line of dialogue could.)

Filling out the principal characters are a pair of Luke’s university chums who are both headed for careers in biology. Ning (Yu Yung Yung) seems to have spurned the amorous advances of the exchange student but can’t abide losing him to her current beau, Han (Jiang Jian). The nervous young man—like so many others of any race or nationality—wants to know just how his “gayness” was so readily sensed by his sudden Caucasian lover. No reply is given or needed as Chung silently answers another of his theme’s questions.

The drama is lovingly unfolded, employing many deliberately stagnant shots (beautifully rendered by Chan Chi Lap) that let the characters and audience reflect each step of the way, truly savouring or slinking away from those moments of truth. Completely at one with that thoughtful atmosphere is Sebastien Seidel’s original score where percussionist Karina Yau is note perfect—particularly her marimba artistry for the “road” sequences.
As the miserable climax takes shape, Chung’s ability to have his images speak louder than words fires on all cylinders. Ning exacts her pound of steamy flesh during a Christian church service where she is the steadfast, stoic accompanist even as the object of her scorn sings innocently in the choir. The shattering effect on all lives in the house of forgiveness, tolerance and love of all creatures is a cinematic knockout punch for the ages.

Hopefully, those on the cusp of understanding their own sexuality or that of their partners, will see this film before the all too common consequences ruin lives forever.