爱若此时

只看故事的話還是很感動 只是不知道要關注的重點是
只看大人和小孩之間的感情會想起那部關於只有6歲孩子智商的爸爸的電影一樣 關於兒童福利制度？
看大人的話是 追求愛的平等權利么
總之 有點不知道怎麼去側重 所以只當做是愛的故事
哦 裏面的歌不錯


''COME TO ME''
written by Tony Green
performed by France Joli

''THE STUD''
written by Biddu

''IT WOULD BE A SHAME''
written by B.Mitchell and M.Wright
performed by Betty Padgett

''TELEGRAM SAM''
written by Marc Bolan
performed by T.Rex

'' SUPER STUPID''
written by George Clinton Jr.,Edward Hazel, William Nolson,Lucious Ross
performed by Funkadelic

''ONE MONKEY DON'T STOP THE SHOW,PART 1''
written by General N.Johnson and Gregory S.Perry
performed by The Honey Cone

''NIGHTTIME RAMBLE''
written and performed by Jeff Lass

''INSIDE THE CROWD''
written and performed by Jeff Lass

''BACKSTORY BLUES''
written by Travis Fine and Jeff Lass
performed by Jeff Lass and Alan Cumming

''SHAKE DOWN''
written by Eddie Horan,Hadley Murrell and Dwight J.Emlie
performed by Black Ice

''IT'S ALL ABOUT LOVE''
written and performed by Teddy Rabb

''MIRACLES''
written by Martyn Buchwaid
performed by Marty Balin

''GREEN HAZE''
written and performed by Miles Davis

''AMERICA THE BEAUTIFUL''
written by Katharine Lee Bates and Samuel A.Ward

''GETTING HOT''
written and performed by Teddy Rabb

''BUICK MACKANE''
written by Marc Bolan
performed by T.Rex

''COME TO ME''
written by Tony Green
performed by Alan Cumming

''DON'T LEAVE ME THIS WAY''
written by Kenneth Gamble, Leon Huff, Cary Grant Gilbert
performed by Thelma Houston

''LOVE DON'T LIVE HERE ANYMORE''
written by Gregory Miles
performed by Alan Cumming

''I SHALL BE RELESAED''
written by Bob Dylan
performed by Alan Cumming

''METAPHORICAL BLANKET''
written and performed by Rufus Wainwright
string Arrangement by Joey Newman

一
对于美国的LGBT（同性恋，双性恋，及跨性别者）来说，本周是至关重要的一周。加州第八号提案和DOMA（婚姻保护法案）被送交最高法庭。平等的进程究竟会被推进还是推迟，取决于最后的裁定。然而不可否认的是，LGBT群体在得到越来越多的支持。人权运动组织发起了“更换你的Facebook头像”活动，鼓励网友将头像改成人权运动的标志，通常你看到的是蓝底黄条纹，然而，为了支持婚姻平等，人权运动组织特别设计了红底粉条纹的版本。目前为止，活动响应很好，好到如果一个不知情者打开Facebook，八成以为电脑感染了最新的网络病毒。
二
我支持LGBT，但从未在任何公开场合宣扬过立场。不是因为害怕受到攻击，而是我实在脑力不足但又想得太多，关于LGBT的各种成因，关于大范围支持他们对社会的影响，诸如此类的问题想着想着就能把我绕进去。对于我不能完全确定的事情的看法，我习惯将它设定为private。
三
今晚跟美国朋友Sandra出去，我说到昨晚看的同性题材影片Any Day Now，Sandra开始对同性恋发表看法。原话大致是，不支持同性恋，据她所知大部分同性恋者年幼时都受到过成年同性的侵犯，所以长大以后对性别困惑，这些人虽然可怜，但还是得改。虽然这些话我没一个字同意，但也懒得跟她吵。后来去超市购物，出来时我拎着半打啤酒，Sandra又说，不支持人喝酒，据她所知大部分喝酒的人都有醉酒的情况，醉酒会引发犯罪，所以，虽然圣经（此人基督徒）都没有说喝酒是一种原罪，但还是应该杜绝酒精。
我感到愤怒，不仅因为她对于饮酒者的推论毫无逻辑价值可言，更因为她试图改变我。我相信没有哪个心智成熟的人喜欢别人干涉自己，尤其是那种根本无所谓对错，也丝毫不干涉他人的习惯或生活方式。
最后我们不欢而散。回到家我突然意识到，Sandra对同性恋者和饮酒者的态度如出一辙——不了解，以道听途说来的反面特例当作主流，然后表明反对立场，声称这个群体需要改变。而一切的起因，说白了不过是他们跟自己非同类，又不愿站在更高的角度，客观去了解这个异己群体而已。
所以我该庆幸饮酒无论在任何国家都是流行文化，我不会被大众排斥，个别人的看法可以忽略不计。而同性恋者仍是少数群体，仍在经受主流群体的误解和非难。说到底，我们所有关于平等的诉求，追求的都是不同群体的相互包容。包容多数情况下是建立在了解的基础上，但其实我们不能要求每个人对异己者有深入的了解（对于同性恋者，就是因为我尚且没有深入的了解，所以依然有困惑），因为这需要的不仅是时间，还有眼界。但我们至少该明白，这个不同于我们的群体（中的绝大多数）如果只是在用不同的（且并不危害社会的）方式在实现人类共通的价值或情感，那就该包容他们。
09年我看米尔克时写下的感想是：米尔克的意义不仅仅在于为同性恋者争取权益，他的斗争是为了所有的少数族群。甚至可以说，是为了所有因为他人的无知与偏见而受到不公正待遇的人，当一个社会能坦然地听取各种声音，这才是一个有胸怀的健康社会。时隔几年，我更加认同自己当时的说法。那时并没有想真的效仿米尔克。而今天因自己饮酒被朋友质疑之事，我突然意识到公开支持LGBT的意义，不仅是明理人帮助蒙昧者明理，更是有包容心的人教胸怀狭隘者学会包容。
四
再说回周四看的影片，Any Day Now。其实是在网上打印了四张免费电影票，四个人浩浩荡荡准备去看新版Evil Dead。到电影院被告知满场，不过可以换成任意其他场次。于是就换到了时间最近的Any Day Now。进场后只有我们四个人，萧条地完成了观影。
Rudy是同志酒吧的异装舞者，他性感，热烈，活得洒脱有趣。Paul让他讲述自己的故事，他用一首歌唱出自己的经历，如何生活艰辛，梦想被现实击碎。Rudy像极了风月俏佳人里朱莉娅•罗伯茨饰演的女主角，如果他是个女人，一定追求者无数。
Paul是行迹于上层社会的律师。他结过婚，拥有过自己的公司，但不甘于麻木不仁的生活。于是离了婚，学习法律，他的梦想是改变世界。
Rudy和Paul一见钟情，他们彼此被对方的特质吸引，彼此深爱。因为Rudy爱憎分明的一颗赤子之心，他们还意外得到了一个孩子——患有自闭症的男孩Marco。Marco喜欢自己的芭比娃娃，喜欢吃垃圾食品，喜欢Rudy把自己当作主角编进故事里，虽然电影里Rudy的故事从来都只讲一个开头，但可以猜到，它一定有个好结局。
然而现实中的Marco却结局悲惨，Rudy和Paul的同志情侣关系被揭发后，Marco被生活淫乱的生母夺回抚养权，他最终走失，孤独死在一座桥下。不是因为他出走后忘记了生母的住处，那条路他走过无数次；只是在他心里Rudy和Paul才是他的家，但因为世俗的干涉，那个家他再也回不去……
影片根据真实事件改编，虽然情节涉及到儿童抚养权，但影片的重心并不在同性家庭是否有资格收养儿童这个比同性恋本身更复杂很多的问题。Marco的作用还是拷问社会对同性情侣的不公正——因为和Rudy的关系被揭发，本来即将升迁的Paul丢掉了工作，同时他们失去了对Marco的抚养权，唯有Rudy唱歌的梦想侥幸没有被打破，他夜夜在酒吧，唱一首让人心碎的挽歌。
影片在很多时候显得情节失控，导致目的不明。看完我仍然会困惑它到底想说的是同性恋受到不公正对待，还是同性情侣是否有资格收养小孩，再或者，是如何关爱特殊儿童。作为探讨敏感问题的电影，本片显然力道不足，而导演耽于煽情，演员入戏过深长期飘在自high状态（尤其Rudy）更加重了煽情意味，也让电影更加绵软无力。影片很多情节设计很像撑同片的典范费城，比如律师被发现是同志后丢掉工作，比如最后没有人愿意接同志的案子所以主角求助黑人律师。但费城分分钟都是剑拔弩张的气势，汤姆•汉克斯为它掉的每一斤肉都是打在保守世俗脸上的响亮耳光。而本片思想较费城并不失之毫厘，但力度却差之千里。
然而我相信，任何对于现存问题心怀诚意的探讨，都是有价值的。至于有人提到的Rudy和Paul的情感发展缺乏铺垫，没有说服力，可以套用我一心思细腻的朋友对新版笑傲江湖的评价：剧情是狗血的，感情是真挚的。嗯……

Alan Cumming Has Never Been Better

The story of Any Day Now may take place in the past, but the discrimination against same-sex families it depicts is unfortunately still all too real.
BY DIANE ANDERSON-MINSHALL JANUARY 04 2013 5:00 AM ET

George Arthur Bloom lived in Brooklyn in the late 1970s, back when it was a rough-and-tumble area. He was inspired by a larger-than-life character everyone seemed to know, Rudy, who developed a fatherly relationship with, as filmmaker Travis Fine puts it, a “kid who was terribly handicapped, both mentally and physically” and whose mother was a drug addict. Bloom turned Rudy’s real-life experience into a screenplay, which almost got filmed several times during the ensuing years (at one point Tommy Lee Jones and Sylvester Stallone were attached to it). Then it went nowhere, Bloom gave up, and it sat in a drawer until his son, an old high school friend of Fine’s, showed the director the script.

The movie that came of it, Any Day Now, which hit theaters this winter and garnered awards on the festival circuit, follows The Good Wife’s Alan Cumming as Rudy, Raising Hope’s Garret Dillahunt as Paul, the closeted attorney who becomes his partner, and Isaac Leyva as Marco, a teen with Down syndrome who’s abandoned by his mother and taken in by the men. They all must fight a biased legal system so the couple can adopt Isaac, a heart-wrenching storyline that will resonate with many of the 2 to 6 million LGBT people who say they’d like to adopt.

“The story of Any Day Now may take place in the past, but the discrimination against same-sex families it depicts is unfortunately still all too real in some parts of our country,” says GLAAD president Herndon Graddick.

It’s real too for kids like Marco. As of 2011 there were 104,236 children in foster care awaiting adoption, many of them considered special-needs children because they are black or Latino, are older than infants, or have some form of mental or physical disability. “What the film’s remarkable performances and eloquent script reveal, though, is how unjust and hurtful to same-sex couples and children that discrimination really is,” Graddick adds.

Cumming, whose performance is riveting and one of his most inspired, talks about making the film.

I found Any Day Now just completely absorbing and really moving. And I notice people just seem to really have a gut reaction to the film. Why do you think it reaches people that way?
I think that we see the story of people who are damaged and devastated by bigotry and prejudice and ignorance. And we understand how wrong that is because we’ve invested in these characters and we want them to be together. And then I think in a larger way, we know that the reason that happened is because that bigotry and that prejudice still exist in our society. And I think we are so moved by it because we know that we are complicit in that because we are all members of that society.

This is a story about many things — about family, the foster care system, and coming out, but at the heart of it, it’s a love story between your free-spirited Rudy and Garret’s buttoned-down, closeted Paul. How did you develop the sort of chemistry that viewers see between you and Garret on-screen?
We just had to fake it, because we didn’t know each other. It was very well-written. and obviously Garret is a really brilliant actor and we luckily felt very comfortable with each other and got on. And I think that’s half of it. Once you feel comfortable with someone you can just dive in. But you’d imagine we’d have lots of time to talk and get comfortable with each other. No, we were practically in bed on the first day.

One of the other parts of the film that we don’t see a lot of — but is so true — is that there’s so much difficulty over same-sex couples trying to adopt. But the reality is there are a ton of children and teenagers, especially with physical or mental disabilities, that will just languish in the system.
Absolutely right. And that to me is the biggest idea—because everyone falls in love with Isaac. Garret says at one point, “I’m just hoping that this child doesn’t slip through the cracks in the system,” and sadly he does.

Tell me about working with Isaac.
Oh, it was great. I loved it. I mean people think…you’re going to make a movie with someone who has a learning disability, what’s that going to mean? I had no idea. But I just went into it…with an open heart. And he was just an absolute darling and so lovely.… He’s got kind of openness to him and…he’s not at all jaded. Everything there’s pure, and it kind of reminded me of what acting should be like. Everything’s really on the surface and completely authentic.



That's great. You have some scenes of just real heartbreak and anguish. Was there anything in your own life that you could call on to sort of nail those scenes? To inspire?

Well, yes. I have had heartbreak and anguish in my life. That's not difficult for me to access.

So, ten years ago, we used to ask straight actors if they had any hesitation about playing a gay role. Now it's more common to ask gay actors if they worry about being pigeonholed. This is certainly not your first gay role, but do you ever worry about that?

No, I actually don't. I mean, [I'm] playing a straight man on TV every Monday. I just don't deal with that. I mean, I've played gay people, but I don't know the percentage. I just I don't think much in that way, you know. I don't correlate it in that way.

But I'm drawn to the stories and the character's heart, you know. And perhaps because… I'm comfortable with it, I'm likely to be offered things, I could see people know that I would be more ready to be comfortable with doing it. But I don't worry at all. I'm not really a worrier. I refuse.

That's great. So assuming they met somehow, what would Rudy think about Eli, your character on Good Wife?

I think… in terms of the story, I think he'd probably try to see what he could do to help his situation. I think probably they might lock horns a little bit initially because they're both quite sensitive types. But I imagine that, you know, they might get on eventually because they look so alike. That was a joke.

What’s the most critical thing for you to get across with this film? What do you want people to take away from it?
I want people to…have a real emotional experience and an emotional connection. But really…I want people to go away and think, Wow, look at the effect of prejudice and ignorance and bigotry, and look at how much our society is still engendering and encouraging that.

Speaking of, you and your husband, Grant, got married earlier this year in New York. What are your thoughts on the recent marriage equality successes?
I think it’s great that we have a president who is very vocal in his support of equality and gay rights. I think the last election is really exciting in that it showed that the country was rejecting all that sort of prejudice and fear-based prejudice. We’re still the second-class citizens. And people still can be fired for being gay and people are gay-bashed.… So, you know, I don’t mean to be ungrateful but I don’t see why I should be so grateful for my rights. I think that’s what we should all remember.

 

I have one last question. You have a book coming out in 2013: May the Foreskin Be With You. I read a little excerpt from it and it made me want to ask, what made you want to talk so intimately about your penis and other people's penises?

Because I was shocked when I first came to America, [and] I realized that the people who were seeing my penis were so utterly ignorant of what a real penis — a normal, intact penis —looks like. I thought, God, I'm here, I'm in New York City, this progressive, cultural, melting-pot of the world, and these people don't realize that they are genitally mutilated as children. And that was really what got me going, I was like, this is how it's supposed to be.

And then I've [found] out more about it, and saw all the things about lack of sensation that people have, and I became aware of that because you just are aware that people with their circumcised penises are less sensitive. And so it just became a cause for me, really.

And then of course you find out all these things about how the circumcisions can go so horribly wrong, and how these poor kids have terrible, terrible things happen. I've been in situations where I've been in a car, and me and an interviewer are talking about the book or other things, and the driver will go, "I heard you speaking and you know, my circumcision went wrong and I… pee out of two holes."

And I think it's this unspoken thing, of men, that don't want to talk about it and they certainly don't want to be told something that irretrievable, irreversible. It's so wrong and they're losing so much. Also, it's fighting the medical system that [doesn't want to] admit they're wrong, and they don't want to lose the money that every circumcision brings them.

To me, it seems to me this huge conspiracy. And actually … if it was girl circumcision, I mean female genital mutilation, we would be horrified about it. And we are, when it happens.

Yes, [female circumcision] is illegal here, yeah.

Yes, so why is it? If anything happens to thousands of little boys and we think that's okay.

Yeah. And there always seems to be the excuse that a boy's penis should look like his father's. I hear that again and again.

To which I think, do you go home get your cocker in front of your dad? I didn't. Is that an American custom? Because I don't think that's right, if it is.


-------------------------------------------------------------------------------------

Dillahunt, who plays the often clueless but nonetheless progressive and lovable Burt Chance on Raising Hope, isn't new to playing gay and bisexual characters. But this film, he says, is special. He tells us why.

I found Any Day Now completely absorbing and really moving and viewers seem to have a real, visceral reaction to the film. Why do you think that is?
I guess, hopefully, they find it honest and relatable. I think, despite the specific circumstances these characters are going through, there's a lot of common ground.

This is a story about family, the foster care system, disability, coming out and so on. But at the heart it’s a love story between your button down closeted character, Paul, and Alan Cumming’s free-spirited drag performer, Rudy. What was most critical to you to get across in the film?
That these were living, breathing human beings. The whole thing will fall apart, obviously, if the audience doesn't believe the love between these two, seemingly, opposites.

Ten years ago, we used to ask straight actors if they had any hesitation about playing a gay role but not so much any more. So I’m wondering what made you want to take on this role?
I just thought it was a challenge. I like mixing it up as much as I can, and Paul was much different from the previous character I'd played, and I thought it would be fun to tackle. The icing on the cake is that it's a beautiful story with themes that are, sadly, still resonant today. Who wouldn't want to be a part of that?

I love that while Paul is really navigating new territory as a gay or bisexual man, the film certainly isn’t just a traditional coming out narrative. There’s no big “I am gay” scene, for example. Was there sort of awareness that Paul’s coming out was almost secondary to what was happening with Marco?
Yes. I think the center of this story is Marco. Rudy is an incredibly tough guy — he's a drag queen in the '70s, for Christ's sake. It is almost unsurprising that he would take Marco under his wing. I think his comfort as a gay man is something Paul envies. Probably one of the things that attracts him to Rudy, this unapologetic "gayness" and willingness to fight — it brings out Paul's quieter strength. And the catalyst is this boy.

It’s hard not to think this film as a modern Kramer vs Kramer. Dustin Hoffman’s character loses his job to care for the kid; Rudy does the same. Hoffman and Streep go to court to battle for custody; Paul and Rudy do the same. Though it’s set in the 1970s, the storyline feels particularly timely as Kramer did when it came out. What do you think of comparisons like that?
I don't mind them. I suppose they're going to happen however I feel about it.

My sister-in-law has Down syndrome so it was lovely to see a storyline about a teen with Down syndrome. Tell me about working with Isaac, who plans Marco in the film.
Isaac was terrific. He was excited and joyful, prepared, and serious. He'd shush Alan and I if we were too goofy when Travis was about to call "action." He gives great hugs and listens — which makes him a great actor. He really reminded me why I do this, and how I should do this. He shamed me, truthfully. And I am so grateful.

What about working with Alan. How did you develop enough trust to connect so easily in the film? You have great chemistry.
We got on well, didn't we? We seem like a couple. I wish I had a great story to tell you — some incredible bonding experience or conversation we had prior to filming that clicked everything into place. But we didn't have time for that. We met at the wig fitting and got to work. I guess we're professionals! Sometimes it's easy, though. Alan is real easy to act with. We share a belief, I think, that if you're not having fun, why do it? And it is fun, no matter how harrowing the scene, when it works. And with Alan, it works every time. Heh, he'll love that quote.

http://www.advocate.com/print-issue/current-issue/2013/01/04/alan-cumming-has-never-been-better

http://www.advocate.com/arts-entertainment/film/2012/12/13/garret-dillahunt-tackles-gay-adoption-any-day-now

「馬可並不想要老媽是毒蟲
並不想要異于常人
他並不想要這一切
我不懂為何他沒犯錯卻被懲罰」

改編自真人實事。七零年代的洛杉磯，一個歌喉迷人、熟辣世事、卻又無比可愛的扮裝皇后，和外表一本正經、尋找自我價值的檢察官，這樣一對一見鍾情的男同志伴侶，如何與沒有受到恰當照顧的唐氏症孩子馬可，一起為愛奮戰的故事。

飾演扮裝皇后的 Alan Cumming，很多拉子對他並不陌生，因為他在 Gray Matters 和 the L word 中，都有演出（相信男同志有更多精彩地如數家珍）。至今他擁著 Heather Graham，在頂樓安慰她、泡一杯祕方熱飲給她的溫暖，還留存在記憶中。演繹體貼入心的角色，或者說他本人時常散發著如許迷人的氣質，就像呼吸空氣般自然。

片中，他把扮裝皇后所經歷過的風塵與黠慧，透過一首首美麗憂傷的歌，讓人沈醉再三，是硬性的法律奮鬥之外，動人的註腳與停格。

也是這樣的角色——當歧視與生計的困難，每天如影隨形，無時無刻把人訓練成生活的鬥士——他與馬可的互動和相互映照，的確不需要太多言語，「愛」說明了一切，而上面那段引文也正是彼此生命的寫照。

只是自己沒有準備好面對結局。映照到台灣此刻正在爭取同志婚姻合法化的此刻，讓人心酸也憤怒，因為法律身份牽扯到太多相愛之人的生活，甚至沒有這層身份保障往往就是悲劇的開始，只是它們隱沒在生活的瑣碎細節之中，散落在非異性戀族群的身上，多少血淚離合⋯⋯。

Any Day Now，每一個當下，就是讓愛展現活出的此刻。不要再有遺憾。

看电影的时候总希望一个好的结尾，就像Marco总是希望the boy with magic可以有一个happy ending一样。这是1979年的加州，但这依然是现在的社会。
There’s no true justice, but we still have to fight for what we consider right.
看上去越痞的人也许心底越善良，拥有光鲜亮丽职业的人也许最不敢去斗争。
悲哀的不是逝去的生命，悲哀的是苟且活在世上的人们。
电影源自生活而高于生活，这是根据真人真事改编的，那么又有多少我们看不见的这样的故事在发生与上演？
This is not discrimination. This is reality.
也许听到这句话的时候我们就应该预见结局。和妈妈一起看的这部电影，她也为之动容，却依旧不能理解同性恋人。
然而我依然相信每个孩子都是上天赐予人间的礼物，他们不应该受到如此责罚，他们却用自己的笑容点亮人心，用自己的离去留下教训。
Rest in peace, dear Marco. Hope you can hear the singing from papa in heaven.