妖洞，有人在家

近期有好幾個人問我
為什麼文章少寫了(很明顯的，post照片這種看起來有在更新的招數被抓包)
也有人是直接問說，怎麼寫電影的文章少了？我還有在看電影嗎？

今天這問題又被提到
而且是被一個導演這樣問
(我不太想把他定義成導演而已，基本上他寫小說、編劇、寫短篇專欄也很好看)

正當我稍微猶豫一下這問題要怎麼回答時(其實也算有SOP的標準答案了)
他就自動幫我回答了

1.近期有fu的片子不多
2.懶的寫。也不知道寫來幹麻
3.沒稿費


我會貼這篇的原因是
他回答的很精準，正是幾個主要原因

不過隔沒幾秒，他接著說
那我以後片子上映，還是要幫我寫喔！

哈，接這句實在很好笑
本來是溫馨感人劇，頓時變成B級肥皂劇
(你麻幫幫忙，都是好朋友，這當然不用講阿，一定會寫的啊)

我說：你剛剛自己也講了，有fu是重點。所以你要拍出有fu的影片，你不用說我自動就會寫......


==
感覺這好像是電影人和電影寫手的“協商或談判”過程
但沒這麼商業啦，這只是隨便的對話，我事後想想有點好玩而已

不過現在寫相關文章，真的都是憑“感覺”(ki-mo-chi)
作品本身好(不寫會睡不著)
或是行銷單位有誠意(現在很多行銷公司都會辦寫手的試映，但都在台北。有的很有誠意，會寄DVD到高雄來)
或者是有稿費就優先寫(不是我死要錢，畢竟文章永遠寫不完、事情永遠做不完，有稿費，也算是一件「工作」，priority可以往前排)


不過其實還有一個原因
之前這個疑問，其實也還沒有消失

雖然最近看到列維納斯(Emmanuel Levinas)的〈Reality and Its Shadow〉(現實及其陰影，Collected Philosophical Papers of Emmanuel Levinas, translated by Alphonso Lingis, Dordrecht, Netherlands: M. Nijhoff, 1978)
這篇文章中，有些新的想法，關於藝術(電影)評論與藝術作品本身的關係
不過還是沒有很確定的答案、想法，關於寫電影文章這件事(一般俗稱「影評」)

Criticism as a distinct function of literary life, expert and professional criticism, appearing as an item in newspapers and journals and in books, can indeed seem suspect and pointless. But it has its source in the mind of the listener, spectator or reader; criticism exists as a public's mode of comportment. Not content with being absorbed in aesthetic enjoyment, the public feels an irresistable need to speak. The fact that there might be something for the public to say, when the artist refuses to say about artwork anything in addition to the work itself, the fact that one cannot contemplate in silence, justifies the critic. He can be defined as the one that still has something to say when everything has been said, that can say about the work something else than that work.

One then has the right to ask if the artist really knows and speaks. He does in a preface or a manifesto, certainly; but then he is himself a part of the public. If art originally were neither language nor knowledge, if it were therefore situated outside of "being in the world" which is coextensive with truth,' criticism would be rehabilitated. It would represent the intervention of the understanding necessary for integrating the inhumanity and inversion of art into human life and into the mind.

─Emmanuel Levinas, Reality and Its Shadow, Collected Philosophical Papers of Emmanuel Levinas, translated by Alphonso Lingis, Dordrecht, Netherlands: M. Nijhoff, 1978, pp1-2