[出走地平線:大海]
Flattening The Curve: The Big Sea
我隨海成長,三歲懂得游泳,七至八歲已滑浪。每逢上學、午餐甚至放學時間,都會跟同學到海灘游水。如果衝浪得爽,甚至有些日子會逃學。
我在海邊認識第一位女友,所以大海跟女人於我是環環相扣:大海像女人,時隨風浪轉變,無限可能,熱情有活力,又深邃難測。
當我選擇離開澳洲,二話不說是隨海而去。我在貨輪找份差事,隨航從悉尼經非洲到歐洲。貨輪全長四百米,滿載層層集裝箱,由32位船員操作。
一開始,我由普通海員(OS)做起。
油漆船身,擦擦甲板。一日比一日享受奇妙無比的「大海」。
海員一般只受聘於特定時間。只要時辰到,新人便加入,舊人會上岸。
在杜拜,有五個印尼新海員加入。貨輪雖然靠岸,但其中兩位海員一上船便不停嘔吐,暈船浪。
「似乎不太好」水手長跟我說。
「他們明顯沒有出過海。」
五人中有兩個被分派到甲板工作,兩人操作機房,餘下一人做舵工﹐駕駛貨輪 。
我們在大海工作幾小時,船長召喚我到駕駛室。
那名印尼舵工站在方向盤前,害怕得顫抖。因為前方有一首巨輪朝我們方向駛來,我們要熟練地控制方向盤避免相撞。
我看著船長命令印尼舵工改變航向5度,避免跟對家相撞。
在國際水域,不論你來自何方都要接受英語下達的指令 。印尼船員聽到後說「是,長官﹗」但沒有任何舉動。
前方輪船越來迫近。船長再說「接著左舵10度﹗」
「是,長官﹗」印尼海員依然無動於衷。
情況越來越壞,巨輪在咫尺之間。
船長面向舵工說「你顯然之前沒做過,完全不明白任何一個該死的指令﹗」
「是,長官﹗」舵工再回應。船長旋即命令我「Chris,你來掌舵。看在老天份上,立刻左舵15度﹗﹗﹗」
「是,長官﹗」舵工跟我又一起應聲。我手執方向盤,花盡狗牛二虎之力扭左。
I grew up by the sea. I was swimming at the age of three and surfing around 7 or 8. Schoolmates and I would go to the beach before school, during lunch break and as soon as classes were over. If the surf was really good, we wouldn't even go to school on those days.
I met my first girlfriend by the sea. So the sea and women have always seem connected to me: the sea is like a woman: always changing with its winds and tides, endless, embracing, refreshing and deep.
So when I decided to leave Australia, of course the only way for me was by sea. I took a job on a Container Ship, sailing from Sydney to Europe via Africa. The ship was about 400 metres, piled high with containers and manned by a crew of 32.
I started as what is called an Ordinary Seaman ( OS ) .
Painting the hull, scrubbing the decks. Each day enjoying more and more the wonder of “the big sea”.
Seamen are contracted for a certain period so occasionally some new crew arrive when its time for others to go.
In Dubai, five new Indonesian crewmen joined the ship. We were docked, two of them started throwing up, seasick.
“This doesn't look very promising” the Bosun ( crew leader ) says to me.
“They have obviously never been to sea.”
Two of the five are supposed to work on deck. Two in the engine room. One as Quartermaster operating the wheel that drives the ship.
We have been at sea a couple of hours. The captain calls me to the bridge.
The Indonesian “quartermaster” is standing at the wheel, shaking with fear. There is another large ship heading our way. We have to manoeuvre to avoid crashing into it.
I watch as the captain orders the Indonesian guy in English to adjust course by five degrees to avoid the oncoming boat.
Inside international waters, no matter where you ship or you come from all orders are given in English. The guy replies “ Yes sir!” but does nothing .
The oncoming ship is getting closer. “Ten degrees Port is the next order.”
“Yes sir” the Indoneseian once again replies. But again nothing happens.
It’s no looking good. The ship is getting closer.
The captain turns to the “quartermaster and says ; “ You obviously have never done this before and you don’t understand a bloody word I am saying do you”.
“Yes sir” comes the reply. The captain turns to me “Take the wheel Chris. And for God’s turn us fifteen degrees Port right now!!!!”
“Yes sir!” both the guy and I reply. As I take over the wheel and turn it as hard Port as I can.
攝於拍攝電影《海洋天堂》(2010)
Photo was taken in shooting "Ocean Heaven" (2010)
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the next three days電影 在 黃耀明 Anthony Wong Facebook 的最佳解答
//香港藝術文化工作者就「港版國安法」的聯署聲明 JOINT STATEMENT OF ARTS & CULTURAL WORKERS IN HONG KONG ON THE PROPOSED NATIONAL SECURITY LAW FOR HONG KONG
我們是一群在香港從事藝術及文化的工作者,對全國人大於第十三屆人大會議宣佈繞過香港立法程序,授權人大常委會訂立《中華人民共和國香港特別行政區維護國家安全法》,再按《基本法》第18條納入附件3直接在香港實施的做法,深表震驚、憂慮和憤怒。
此「港版國安法」訂明禁止分裂國家、顛覆國家政權、組織實施恐怖活動和外國及境外勢力干預的行為;中央維護「國家安全」的有關機關根據需要在港設立機構,履行相關職責;規定行政長官應進行「國家安全」推廣教育,並定期向中共政府提交報告。
震驚,是因為新冠肺炎疫情尚未過去,市民還在籌謀抗疫、復考、復工和復課的安排之際,中央出此重手,一錘定音,甚有「快刀斬亂麻」之味;加上過去一個月來自「兩辦內會聲明」、中聯辦自訂不受《基本法》第22條規管、港府三改立場、強行褫奪郭榮鏗內會主席資格、無視議事規則「選出」李慧琼作內會主席、警察肆意以「限聚令」打壓市民和平集會的權利、警隊知法犯法涉及多項嚴重罪行、斬人者被判囚45個月但承認暴動罪的年輕人卻被判4年刑期的司法不公、以政治理由和漠視考生權益的情況下強行取消DSE歷史科試題、至港台《頭條新聞》被封殺等連串事件,教見證著香港極速崩壞的我們咋舌。
憂慮,是因為從事創作和表演的我們,嚴重質疑「港版國安法」通過後還剩多少創作、言論、表達和生存的空間?有關「六四」的的舞台劇會否被視為顛覆國家政權?藝術家參與國際藝術節或邀請外國藝術家到港交流又會否被視為串連外國及境外勢力干預?歌詞中提及「反修例」示威者的行為又會否被打成煽動恐怖活動?在電影中有對白形容女角的衣著風格為「台灣風」又會否被指斥為傷害民族感情、違反一中原則和分裂國家?藝術教育的課程又是否必須加入「國家安全」的元素,否則不獲撥款資助?若然真的墮入法網,將會由誰執法?會否是中央維護「國家安全」而在港設立的機構派員拘捕涉案人士返內地受審和服刑?對於這把「以言入罪」並懸在藝文工作者頭上的刀、繼而產生的寒蟬效應、和日後創作再無「不為政權歌功頌德」的自由,我們感到無比憂慮。
憤怒,是因為一條覆蓋全港700多萬人和影響如斯深遠的法例,竟可以完全繞過立法會、在全不諮詢香港人的情況下,以5個工作天的時間在北京「討論」和表決,實在有違文明的常理!
根據《基本法》第27條,香港居民均享有言論、新聞、出版的自由。可是「港版國安法」通過後,藝文工作者勢必人人自危,處處擔心觸碰「紅線」,事事自我審查,嚴重打擊藝術創作及言論表達的自由,阻礙本地及海外的文化藝術交流,甚至威脅藝文工作者的人身安全,令香港作為國際文化大都會的形象嚴重受損,並帶來無可估計的經濟損失。
故此,我們強烈反對全國人大在本週四 (5月28) 投票通過「港版國安法」。而人大代表中的馬逢國先生,我們雖知你貴為港區人大代表團團長,但同時亦是香港立法會多年的「體育、演藝、文化及出版」界議員、我們無可奈何下的「業界代表」。你應明白要創作優秀的文化、藝術作品,必須要有一個容讓自由表達、自由創作的環境;而藝文創作的使命,便是思考及衝破種種藩籬,帶領人類文明走向更高的層次。可是,你有否感到「港版國安法」與上述價值背道而馳?有否知悉我們上述的震驚、憂慮和憤怒?在本週四表決「港版國安法」時、閣下將如何投票?你有否打算在投票前諮詢並反映香港藝術文化界的意見?我們亦在此促請馬先生盡早回覆上述的問題,並拒絕在本週四投票通過「港版國安法」。
We are a group of arts and cultural workers in Hong Kong. We are writing to express our shock, worry and anger at the announcement by the 13th National People’s Congress (NPC) to bypass the legislative process in Hong Kong and authorise the NPC Standing Committee to create a national security law for the Hong Kong Special Administrative Region (HKSAR) for implementation as part of Annex III under Article 18 of the Basic Law.
The proposed national security law prohibits secession, subversion, organised terrorism, and intervention by foreign countries and foreign forces; allows Central Government authorities overseeing national security to set up organisations in Hong Kong if necessary; and requires the HKSAR to promote national security education and report regularly to the Central Government.
Shock, because the Central Government is acting so heavy-handedly in its attempt to arrive at a swift, finalised solution, at a time when the Coronavirus pandemic is not yet over and the people of Hong Kong are still struggling to stay safe, resume work and reopen school. Adding to the shock is our speechless horror at the rapid collapse of our way of life, evident in a series of events in the past month including: remarks made by the Hong Kong and Macao Affairs Office of the State Council (HKMAO) and the Liaison Office of the Central People’s Government (LOCPG) about the operation of the Legislative Council House Committee; the Hong Kong Government’s three flip-flopping statements about the LOCPG’s claim that it is not subject to Article 22 of the Basic Law; the forcible removal of Dennis Kwok and the unprocedural election of Starry Lee as the president of the Legislative Council House Committee; the police’s abuse of the group gathering ban to restrict the right to peaceful assembly; recent reports of police officers knowingly breaking the law and committing serious offences; the injustice of sentencing a protester to four years in prison for rioting as opposed to the lenient 45 months meted out to an anti-protest man for stabbing three citizens; the Government’s decision to scrap a question from the Diploma of Secondary Education (DSE) history paper on political grounds and in disregard of the rights of candidates; as well as the suspension of Radio Television Hong Kong’s satirical show Headliner under government pressure.
Worry, because we seriously question how much room would remain for free speech and artistic expression. Will a stage drama about June 4 be regarded as a subversion of state power? Will participating in an international arts festival or inviting foreign artists to Hong Kong for artistic exchange be considered as inducing intervention by foreign countries or foreign forces? Will lyrics about anti-extradition protests be labelled as inciting terrorist activities? Will film dialogue referring to a female character’s costume as ‘Taiwanese’ be accused of hurting national feelings, violating the principle of one China and splitting the country? Will arts education programmes be funded only if ‘national security’ elements are included? Who will enforce the law if it is broken? Will offenders be arrested by personnel from organisations set up by the Central Government authorities overseeing national security? Will they be sent to the mainland for trial and sentence? We are extremely worried that speech crimes, like a sword of Damocles hanging over our heads, will create chilling effects and remove the freedom not to glorify the existing regime.
Anger, because a far-reaching law affecting more than 7 million citizens is to be ‘deliberated’ and voted on in Beijing in just five working days, bypassing the Legislative Council, without any consultation of the people of Hong Kong, and in utter disregard of the standard of civilisation!
According to Article 27 of the Basic Law, Hong Kong residents shall have freedom of speech, of the press and of publication. However, the proposed national security law will put arts and cultural workers at risk of violating prohibitions and create a climate of fear and self-censorship that harms artistic expression, free speech, cultural exchange and even personal security. The consequent damage to the image of Hong Kong as a cultural metropolis and to the economy will be incalculable.
Thus we strongly object to the NPC voting for the proposed national security law on this coming Thursday (28 May). Attending the NPC as the convenor of Hong Kong Delegation is Mr Ma Fung-kwok, who is a long-time Hong Kong Legislative Councillor for Sports, Performing Arts, Culture and Publication Constituency. Mr Ma, you are supposed to ‘represent’ us (whether we like it or not); you must understand that creativity thrives on a free environment, and that the mission of arts and cultural workers is to push boundaries and explore the realms beyond. Don’t you think the proposed national security law runs counter to the values we cherish? Are you aware of the shock, worry and anger we feel? How will you vote on the proposed national security law next Thursday? Do you intend to consult and reflect the views of the arts and cultural workers in Hong Kong before you vote? We therefore also urge that Mr Ma reply to the above questions as soon as possible and refuse to vote for the proposed national security law on this coming Thursday.//
the next three days電影 在 政變後的寧靜夏午 Facebook 的最佳貼文
<第一滴血>警長 RIP
美國演員布萊恩.丹尼希(Brian Dennehy)辭世,享壽81歲。他的代表作包括《第一滴血》(First Blood ,1982)、《魔繭》(Cocoon ,1985)、《羅密歐與茱麗葉》(Romeo + Juliet ,1996)等作,也曾為動畫片《料理鼠王》(Ratatouille ,2007)配音。他是戰績彪炳的資深演員,曾兩度在東尼獎封帝、一次在金球獎與演員公會獎封帝,另曾獲得艾美獎、葛萊美獎提名,可惜晚年卻因為說謊醜聞而致使名聲受損。
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布萊恩.丹尼希出生於康乃狄克州的布里奇波特,兒時隨家人遷居到紐約長島。他以橄欖球獎學金進入紐約哥倫比亞大學,並取得了歷史系學位,之後又進入耶魯大學攻讀戲劇藝術。畢業後,他短暫地做過股票經紀人,年過三十之後才開始投入表演事業,早期曾參與過《外科醫生》(M*A*S*H ,1972-1983)的演出。
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第一個使他成名的角色是在《第一滴血》當中的狂妄警長威爾一角,決心要將退伍軍人藍波趕出小鎮,在片中他與席維斯.史特龍(Sylvester Stallone)有多場對手戲。三年後,他又在廣受歡迎的科幻電影《魔繭》中飾演外星人,同一年他也在西部片《四大漢》(Silverado ,1985)中有亮眼表現。
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八〇年代末期,丹尼希已經逐漸在好萊塢站穩腳步,約翰.弗林(John Flynn)執導的《十年前十年後》(Best Seller ,1987)是他第一部以男主角之姿演出的電影,他也以該片榮獲當年芝加哥影展影帝殊榮。他曾自稱這是他第一部真正演出的電影。
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1990年,丹尼希首次獲得艾美獎提名,其表演生涯提名過六次艾美獎,其中一部未能獲得艾美獎青睞的電視演出《推銷員之死》(Death of a Salesman ,2000)讓他贏得了金球獎殊榮。1999年,他也曾以該作的舞台劇演出獲得東尼獎最佳男主角,他表演生涯曾兩度在東尼獎封帝。加上他曾在2001年他憑藉有聲書提名葛萊美獎的經歷,可知他在全美的主要獎項只差奧斯卡沒有叩關。
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但在1998年,一本名為《Stolen Valor: How the Vietnam Generation Was Robbed of Its Heroes and Its History》的書籍出版破壞了布萊恩.丹尼希的公眾信譽,早期的他曾多次聲稱自己在越戰服役,並多次回憶當年勇,但這本著作的作者戳破了丹尼希的謊言,發現他從未在越南服役。為此,他向公眾道歉,坦承自己在一次場合撒謊之後,發覺自己再也沒有回頭路可走,只能選擇不斷圓謊下去。但這個醜聞並未拖垮他的事業,丹尼希依然獲得敬重,表演的事業仍得以延續。
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21世紀之後,布萊恩.丹尼希曾出演多部商業電影包括《殲滅13區》(Assault on Precinct 13 ,2005)、《世紀交鋒》(Righteous Kill ,2008)、《關鍵救援72小時》(The Next Three Days ,2010)等作,但真正獲得巨大成功的無疑是皮克斯動畫《料理鼠王》,他在片中為小米的父親配音。
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近年,他的表演一度主要轉移至小螢幕,直到去年,他又以入選柏林影展、榮獲獨立精神獎提名的《Driveways》(2019)再次展現光彩。過世之前也還有三部電影長片正在製作當中,但未知他的戲份是否已經完成。
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2020年4月15日,布萊恩.丹尼希因為自然原因於紐哈芬的家中辭世。
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(圖為《魔繭》劇照中的布萊恩.丹尼希。)
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