相思成灾

非常有趣的一部电影，有点戏中戏的感觉，“有趣，动人，古怪，真实”（出自剧中角色之口）除了最后一点不太符合，这几个词也大致代表了我对这部影片的观感。

剧中不管异性也好，同性也好，最终还是在谈论爱情。

“不要试着去导演你的爱情，试着去亲身邂逅。

爱情不会总是那么惊世骇俗，某些时候它或许不过是你面前的一个选择，一个和另一个人冒险的决定，一个付出而不考虑让别人回报的决定，甚至不在乎他们是否会伤害你，还是他们就正好是你要找的另一半。

或许爱不是发生在你身上的什么事，或许它只是你不得不做的选择。

”（Stop trying to cast your love instead of just meeting him. Love isn't always a lightning bolt,Maybe sometimes it's just a choice，a decision to take a chance with somebody. To give to somebody. Without worrying wether they'll give anything back. Or if they're gonna hurt you, or if they really are the one. Maybe love isn't something that happens to you. Maybe it's something you have to choose. ）最后剧中出现的这句对白也很经典了对爱情做了不一样的解读。

其实象这样的经典对白还不少，不过印象最深就是这句了。

因为自己大脑混乱成灾，所以终于告别了精神崩溃人格分裂之类的电影泥潭，那个粉嫩的海报吸引了我，“给自己放个假吧！

”于是就让我们“相思成灾”！

女主角贾克斯没有海报上粉嫩，整部片子的色调也并非想象中的那么鲜亮，大概有些小失望，不过还好，故事足够吸引我。

时尚杂志的小助理，和同志好友彼得生活在一起，象所有文艺作品里的美国单身女人一样，三两好友还有一个并不爱的亲密男人组成了她的生活，她乐在其中，因为觉得安全。

然后突然有一天她遇到了一个男人，他才华横溢，他帅气迷人，那一刻她肯定动了心，不过，转念的那一刻她又略带小失落的庆幸着告诉自己“还好他是个gay”。

于是她极力的撮合好友彼得和这个阿根廷帅哥在一起，即便隐约的觉得心中有爱也因为害怕和怯懦而宁可忽略不计。

不过还好保罗不是个gay，还好贾克斯最后勇敢了一把，所以才有了个皆大欢喜的happy ending。

等到字幕在面前滚动的时候，对贾克斯和她的阿根廷帅小伙的生活和爱情兴趣索然，却很让自己吃惊的想“wow，和个gay同居该有多幸福”。

彼得是个文艺劲儿十足的小青年，梦想或者说是幻想着完美浪漫的爱情，就像是很多纯情少女做的那样，期待完美的邂逅，完美的恋情还有完美的恋人。

不过很可惜这一切都在汤姆的放屁声和呼噜声中回到了残酷的现实。

整个过程中好友贾克斯都在他的身边，就像彼得也在她的身边一样，给予支持理解还有关心。

一个女人，还有一个男人，在一起，彼此给予温暖，却不是因为爱。

和这样一个男人生活在一起该是何等幸福呢？

看看贾克斯，可以穿着性感的内衣走来走去，可以一边享受泡泡浴一边和门旁神态自若的男人聊天，甚至可以一丝不挂的坐在高脚椅上看杂志，天哪～进门有人揉脚，看电视有肉垫靠，伤心的时候有人拥抱，大笑的时候有陪聊，只要愿意甚至可以同床共枕，窝进他宽广温暖的怀抱，不行再来点儿睡前故事，真是完美生活呀。

不会因为头发指甲甚至是汗毛之类的小事儿争吵，只要不是爱上了同一个男人，基本不会有翻脸的危险，安全系数真是高的可以。

在等待Mr.Right的日子里有这样的好友该有多好，拥有这样的同居生活该有多好，可以是好哥们儿，可以是好姐妹，就是如此的安全。

彼此可以作为搪塞那些Mr.Wrong的借口，“瞧，我已经有男友了”，“老妈，我在和彼得恋爱了”还可以是用来敷衍家人的善意的谎言，当他在身边的时候这一切该多有说服力。

男人和女人什么时候才会有真正的友谊？

答案是当那个男人爱的不是任何女人的时候。

电影中的贾克斯周围充满了gay，她在这些不可能爱她，她也不可能爱他们的男人中穿梭，游刃有余，自由舒服。

而当她知道彼得爱的是女人，并且那个女人是自己的时候，她慌了，简直是落荒而逃，不过大概恐惧要多过貌似被骗的气恼吧？

人和人最安全的距离究竟是多远？

一片海？

一个国度？

又或者仅仅是一扇透明的玻璃窗？

如果只要温暖不要伤害，那么和一个爱男人的男人同居大概是最好的一个选择了吧？

可你真的愿意一直在一个男人的怀抱中狠命的想另一个男人，相思成灾吗？

很喜欢，很喜欢。

有以下几个喜欢的原因：1、《蒂凡尼早餐》。

女主角浓黑的睫毛膏和眼角边飞翘的粗黑眼线，神似那时的赫本。

还有很多套时装，也颇似《早餐》里赫本的风格。

适时响起的《Moon River》，勾引着回忆。

2、傻大姐。

爱情喜剧电影里常有的几个傻大姐，我都很喜欢。

梅格瑞恩，茱莉亚罗伯茨，灵动的眼神，冲冲撞撞不管不顾的个性，神神叨叨不经意冒出两句有头脑的话，没那么典雅，多几分亲近。

现实的感情或是不如人意，或是苦大仇深，或是钱来物去，或是人情世故，太苦太累太心酸。

转了一圈，除了恐怖片什么的考究了一遍，还是十多年前的嗜好，爱情喜剧和傻大姐。

3、探戈。

很多老套的桥段自从被发明出来就被电影一用再用，最典型的就是探戈。

印象最深的，一是《真实谎言》里的阿诺，一是《闻香识女人》的阿尔帕西诺。

性感撩人的探戈，明显是要有些阅历的男人带舞才好看，那是骨子里的性感。

不过这里布兰妮墨菲还是不错的，超级棒的身材跳起来有点风情。

4、后现代版配角。

配角都很经典，完全后现代版，语不惊人死不休的那种。

有思想有企望，也同样在俗男俗女的感情世界里忙忙叨叨，真实又可爱。

其实骨子里谁不想这样真实呢，些微的神经质，因为一些莫名的感情问题骚扰老友。

谁知道是真的感情生变，还仅仅只是情绪需要发泄。

5、同性恋室友。

大约每个女孩对女主的Gay男友兼室友一定都是又羡慕又嫉妒，可以脱光光在他面前晃，可以洗澡的时候进行最有意义的谈话，可以陪你歪在沙发上看老爱情片，可以边停你唠叨边掰过脚来帮你脱高跟鞋……《Sex and the sity》里面的Carrie也有她的Stanley，可以跨着他的胳膊逛街聊天。

6、白日梦。

有一个让我眼前一亮的创意，就是插曲一样的白日梦。

特别是剧作家Peter，演得跟真的似的，突然被人叫醒，才知道刚才只不过是他的白日梦。

谁没有过白日梦，一见钟情的幻想，一起生活的幻想，恐惧情形的幻想，这幻想完全是突发性的又不受控制地，未必全是好的东西。

也可理解为走神，可“神”的确走得很远。

自己就常常这样，所以一遍一遍看到，难免会心一笑。

7、幽默。

困倦的脑袋有点钝了，记不得当时为什么笑了，只记得大晚上的，我一个人在屋子里不时大笑。

英国人的幽默跟美国人的搞笑有区别的，美国人有点耍宝的感觉，英国人是一本正经冷笑话。

再加上那种字正腔圆的伦敦音，无厘头的表情，无语了。

8、深刻。

有些台词，一瞬间点醒了我。

现在只记得一个：Maybe true love is a decision, a decision to take a chance with somebody. Maybe love isn’t something that happens to you. Maybe it’s something you have to choose.再有，同性恋Peter对一见钟情的执着，对爱情幻想在现实中破灭的接受，从幻想走向现实给自己和他人机会。

通过同性恋写所有的爱情，又是导演的高明之处，温情而不教条。

不要装深沉，我不要装深沉，就要这样一些傻傻的片子，傻傻的笑，傻傻的骗人的真善美，来一些轻快，来一些希望。

爱情，或是灾难？

游离在爱与虚幻中的人，也许爱情本身就是虚幻的，真爱是什么，是否真的存在？

我们苦苦追寻的东西难道都只是一种想象，或者只是人在非理性状态中的一种奢求？

相思成灾（Love and other disasters)给了我们一个思考爱情的角度，也许不完全正确，但电影表达的观点却能给在爱海中挣扎的人们一点点借鉴。

爱给人牵线搭桥的时尚杂志女助理Jacks，陷入了与前男友James有性无爱的后恋爱阶段，性关系只是一种安慰别人的手段，只能对无法和她产生爱情的gay men袒露真心，却在误打误撞之后重新认识了自己也开始认识别人。

同性恋准编剧Peter，陷入了自己内心幻想的真爱之中，却发现原来真爱需要的也许并不是一时的感觉，而是慢慢了解的过程，一开始拒人于千里并不是一个正确做法。

前卫诗人Tallular，能写出让人呕吐的诗，纠缠于婚外情和电话情人之间，却发现其实都是自己骗自己，最后竟然与从头讨厌到尾的James成为了一对。

痴情的同性恋艺术家Finlay，仍然无法忘怀已经过世10年的男友。

英俊有才华的阿根廷摄影师Paolo，纠结于真爱与误会之中，终于在结婚之前的那一刻表明了自己是直人的身份，却因此而无法结婚，看似荒唐，却很合理。

电影中的爱情，往往有太多的假设和太多的谎言，真爱是否真的只是电影、出版等产业所包装出来用来迷惑人们的一个词，是否有永恒的爱情？

电影中的Jacks是一个很有主见、很会关心别人的好女孩，她积极热心得帮好朋友撮合对象，永远在朋友需要的时候提供帮助，即使有时只是一只耳朵的力量，甚至为了不伤害前男友太深，而以夸张的方式继续着两人的后恋爱关系（虽然结果是让人觉得根本没有和她分手）。

一直以来，她都无法真正爱上直人，她只愿意相信同性恋的男性朋友，也许是同性恋男人能够从更为客观和体贴的角度来分析问题，而不会想要控制她。

但生活本来就是在改变，在遇到了值得信任和付出的人时，她终于认识到了自己的问题，尝试着改变自己的规则，去追寻自己所爱。

就如她所说，她也并不知道这人是否就是今生唯一，是否就是不可替代，但她选择给彼此一个机会，真爱是一个过程，而不是一个以高潮为结局的好莱圬大片。

可以相信一见钟情，但那种爱情中幻想的成分要多于现实，什么是真爱，也许每个人的说法不一，而有过体会的人也不一定能说得清。

真爱，也许就是在梦想照进现实的那一霎那，突然获得的某种感情，真实与虚假本来就很难区分。

与爱情有关的真实，也许也包含着某种虚假。

爱情就像时尚，瞬息万变，没有人能够预测下一秒会发生什么，也没有人能够真正解读。

也谈谈电影的细节处理，导演很擅长铺垫和用镜头说话，营造喜剧效果的背后也引起人的思考。

前一秒钟大家才提到David Williams的拍卖会上，许多富婆争相出高价以引起拍卖人注意，下一秒钟Tallular就在慈善拍卖上出高价，引起了全场围观（虽然拍卖官是个不认识的家伙），Peter的幻想症不仅仅是在他的脑海里，还多次呈现在观众面前，那些幻想的真实感一开始唬住了我，Jacks和Paolo对于时尚与真实关系的讨论让人觉得他们既在说时尚，又在谈生活，谈爱情。

纯粹的视觉享受就不提了，虽然是一部爱情喜剧，却和好莱圬的轻松爱情喜剧不太一样，导演对于故事的处理思想更为深刻，一部值得推荐的电影。

Maybe love is just a choiceMaybe true love is decisionDecision to take a chance with somebody to get something without worrying that get back something or they will hurt you or they really are the one

现代伦敦城的上流社会就是通晓文学熟读经典，能轻易的联想到某时某刻某出电影里面的主演的动作神态台词，时刻拿经典电影DVD出来研习;偶尔参加慈善拍卖会或画廊展览或行为艺术展，穿着另类嬉皮的服装上台发表一篇狗屁不通的诗歌;每天准时出现在喝下午茶的咖啡厅，关心些鸡毛蒜皮的瞎事，撮合异性或同性的好事；随时准备狐朋狗友的召唤，一起拜访稀奇古怪的心理医生或看相的；周五或周六晚上无聊的时候去小酒馆喝两杯啤酒神聊海侃，有雅兴的再跳个小舞再回家；夜里激情来了就回公寓过夜，但是明儿一早会准时起床提醒枕边人回避别影响白天正常的生活圈；出入代步的绝对不能是大奔劳斯莱斯之流的古板货，要开甲壳虫MINICOOPER之类精致小巧的玩具，不然就自行车代步；为了创造更多与各国肤色的帅哥美女结识的机会，必备一到两门外语应付不时之需；每天定时穿健美裤到沙龙做头发修指甲上美容院敷脸，让代理帮忙更换次日出行的衣服套装；--- 最重要的不管自己是不是金发是不是名人飞机会不会提前起飞，潮流总是充满不真实性，我们就是不停地捕捉它。。。。。。

早上起床发现两节课都过去了，慢慢悠悠的下床，叫外卖，查四级成绩，和B时有时无地发消息讨论韩国的花样男子，最后打开亲爱的呆呆找电影。

很想看看午夜巴塞罗那，很想看看亲爱的斯嘉丽在伍迪艾伦的手下又成了什么样子，于是打开优酷找电影。

可是奇奇怪怪犹犹豫豫莫名其妙的女性心理，让我突然觉得在线看电影是一种折磨，然后又打开ftp下电影。

亲爱的ftp果然没有让我失望，没有伍迪艾伦。

难得静下心来抛弃电视剧的我难得有心情的搜寻其他电影。

love and other disaster，翻译成相思成灾，哦哦，很像最近的心情，点击下载。

室友看过这部电影，她的评价：没意思，无聊，no surprise。

可是我却从第一分钟开始兴致勃勃。

我喜欢女主角的装扮，其实我并不迷恋蒂凡尼早餐和奥黛丽赫本，但女主角浓重眼妆和低哑粗狂的嗓音还有很适合穿黑色紧身袜的身材让我着迷，她和伦敦一起有种复古的摩登感觉。

最喜欢她追去机场时穿的白衬衫和到膝盖的紧身袜，匆忙起床的感觉，让人觉得有一种随意的美感。

所以，我决定为了她，去看sin city。

看电影一直和心情有关，今天是最近一个月里面最平静的一天，所以很适合看这个没有高潮的可是很适合现实的片子。

还记得很早很早以前，S问我是喜欢与生活接近的电影还是完全超脱生活的电影，我当时的回答是我喜欢与电影接近的生活。

那些超脱生活的电影使我不相信爱情和友情，愈是美好愈让人觉得虚假。

可是这部片子里混乱的感情线就像我现在的生活，谁对谁一见钟情，谁对谁劈腿，谁失去了谁而神经质，谁和前男友藕断丝连，谁幻想谁，谁觉得没有安全感。

这些事情大概已经俗到全世界遍地可见，混乱的纠结在一起就是现实中的生活。

大爱里面那个屁屁理论还有peter劝Jacks的那段话。

我们其实都一样，只敢和不爱的人恋爱，只能爱不恋爱的人，这样才能不会真正受伤。

有谁够勇敢说永远爱，又有谁更有勇气相信呢。

也许我们最好的结局也只能和女主一样，不要再等待那个命中注定的一见钟情，爱情不是突如其来的瞬间，有时也许只是身边慢慢长流的感情所演变而来的。

也许也许，我也应该相信慢慢熬出来的爱情咯？

这两天窝在家里看了好几部电影，算这部最耳目一新了。

我是用电驴下的，下得挺快，估计好多人也看了。

但发现评价的倒不多。

算有点意外吧，因为一贯觉得这种爱情喜剧一出来就很受欢迎呐，而且这部拍得又不那么滥俗。

整个电影很流畅的感觉，看了心情也很好。

墨菲演的也不错，就是稍微有点造假的感觉（一直以为对她心仪的男生是gay，还瞎活帮人家介绍男朋友）。

我一直觉得她很美国小妞的感觉，这次演了个在英国vogue杂志当助理的美国女生，比较贴切啦。

没让她死命憋英国口音，算饶她一回呵呵。

情节很简单，探讨了一下真爱的存在问题，爱情电影的经典情节。

我喜欢它是因为我相信它所得出的结论：根本就没有什么真爱啦，只是需要你做选择，然后去努力，去维持。

终于有电影直白白的告诉我们没有所谓的真爱，所谓的一见钟情了。

这是个好事，不要生活在那种傻乎乎的等待和犹豫中吧。

电影里插了一段经典爱情电影，是格温妮丝和布鲁姆的对手戏，十分的经典，其实是十分的造作啦。

他们表演的也不错，把情人再次相会时的那些眼神，那些手势用过去的电影语言体现的淋漓尽致呀。

生活永远没有爱情电影那么美好（那么造作），但那有什么不好的。

去看这部片是被它的中文翻译深深的吸引了,《相思成灾》,有点俗,却俗的很可爱,每个人都有孤单寂寞的时候,在华灯初上,满眼的欢快与娱乐中,只觉得身边少了一个最懂自己的人,能深深牵动自己身心的人......片子给人很60年代巴黎的感觉,JAKES穿着帝国式高腰裙,灵动的大眼睛画着深邃的烟熏,留着赫本头,开着复古的甲壳虫...但显然她是现代的新新女性,她从事着最时尚的工作〔VOGUE的编辑助理〕,她和自己的GAY好友PETER一起同居,她在和同一个男人发生三年关系后的某一个清晨把他当成一夜情的对象〔借口和之后TOM对PETER清早在被单中说的那个一样,"等下我朋友要来"...〕而且这个人还是她的前男友,她只是和他保持着肉体关系...可在周日的午后,当电视里《蒂芙尼的早餐》第N次重播时,她又躺在PETER的腿上,两人一起看一起怀旧.一起感叹自己的爱情.当的音乐再一次弥漫开来,你会整个人沉浸在伦敦的迷人夜色里......可爱的RETER终于找到自己的一见钟情了,于是整个伦敦到纽约都开始为他做媒.但热心的JAKES并不知道属于她的爱情将要来临.这个保罗是完美的阿根廷情人,野性,英俊,会跳探戈,当他两在酒吧里偏偏起舞时,不由得让我想起阿尔帕西诺在<闻香识女人>里那浪漫的一幕.他会在她遭受非议的时候挺身而出,当然还有他那并不自信的摄影才华却让他的作品在上占了满满四大页...可她却把保罗当成了GAY,并极力撮合他和PETER在一起.于是有两个伤心的人开始了难过的暗恋之旅......PETER说JAKES一直不敢面对自己的感情,她只能和不爱的人发生关系,却不敢承认自己的真爱.她害怕面对自己的这份感情,虽然她可以为了PAUL的移民问题和他结婚,但当PAUL承认自己是真的爱上了JAKES的时候,她却愤怒的离开了.当然最后还是圆满的大结局.虽然不是格温妮丝帕特洛和奥兰多布鲁姆的浪漫好莱坞版本,却更符合英国人的幽默.由德鲁巴里摩尔和卡梅隆迪亚兹来饰演这对同性恋人.JAKES总是被男人甩的那个女友和JAKES的前男友好了,PETER和另一个弄错了的TOM擦出了火花,大家在看完改编版的自己的电影时,JAKES和PAUL的爱情结晶来到了这个世界.这是一个怀旧的故事,给仍在茫茫人海中寻找真爱的人给予了无限的希望,混乱的世界里,只要我们勇于尝试去争取点什么,丘比特会在我们不知道的时候点中那颗等待已久的心...

我完全记不清自己看了多少遍了,总之就是很多很多很多遍,特别是下雨天.这台词经典的 不整理下来我都觉得对不起这片子James: Almost noon.Jacks: I'm afraid you've got to go.James: Excuse me?Jacks: You've got to go. I have friends coming over for brunch.James: What? In my apartment?Jacks: Sorry.James: 3 years and you still treat me like a one-night stand!Jacks: You're never going to find anyone with that attitude. Peter: What attitude? I'm just being realistic. Jacks: If you're realistic, then I'm the Queen of England. Peter: Hey! I'm the Queen of England! Jacks: Hello, your Majesty! Peter: He's in love with you, Jacks. You're not in love with him. It doesn't get more simple than that. Jacks: That's not fair! I happen to care about James. A lot. And I hate the fact that he feels more than me. And I hate the fact that I'm not in love with him. Because I know I should be. Because he's smart and sweet and decent and I don't want to hurt him. So I keep hoping that I'll grow into it. That maybe one day I'll wake up and I'll feel... Peter: What? Jacks: In love! You know, dizzy and feverish and nauseous... Peter: That's not love, Jacks. That's the flu. Peter: Talullah! What's wrong? Taulullah: Freedom's having an affair. Peter: An affair? You've only been going out for 2 weeks! Taulullah:Who's he having an affair with? Peter: Me, I just found out he's married.Klaus: So, you're Felicity's daughter? Taulullah: Only by birth. So don't hold it against me. Wentworth: Donatella! Excuse me. Taulullah: Whoever designed those heels must really hate women. Klaus: I designed those heels. Taulullah: And thank goodness you did! Otherwise Mother's arse would be dusting the floor. Taulluah: Oh, Peter, I feel so bad. Peter: Come on, drink this. Taulluah: No, I mean about you. Not getting to meet Robbie Williams(David Williams) because of me. Peter: It's OK. Peter: Have you ever thought this whole 'true love' thing might be a conspiracy? Jacks: A conspiracy? Peter: Yeah, a capitalist conspiracy. A lie concocted by the Film, Publishing and Music industries. All pushing this thing, this concept that doesn't even exist! Jacks: True love doesn't exist? Peter: Well, think about it. Where is it besides songs, books and films? I mean, who can honestly say 'I will always love you? ' Jacks: Whitney Houston? Peter: Yeah, when she's high on crack. The point is, Everyone's miserable because they're looking for this nonexistent 'thing' or else they're miserable because they think they've settled for less. Jacks: I'm not miserable. And I believe in true love. Peter: Yeah, which is why you're still sleeping with your ex-boyfriend. Shrink: And how long did that last? Peter: What? Shrink: The relationship in your head. Peter: No. I mean, it's an ongoing problem. They only last in my head. For varying amounts of time. Shrink: So you have a problem with monogamy? Peter: No, no that. No, that's not my problem. Shrink: Denial is not a river in Egypt! Not a river in Egypt. D'you see what I did there? Just that's a little therapist joke. Doesn't always work. OK, right. Paul?Peter: Peter. Shrink: Sorry? Peter: Peter. Shrink: Peter. Peter. Yes, it is. You're absolutely right. Peter. That's a good start. Well done you! I think I can help you. Peter: You do? Shrink: I do. I think you are stuck in that pre relationship moment of infatuation and you need to be reminded that a real relationship has many, many, many more stages. Peter: Stages. I like that. Shrink: Relationships are best measured by farting. Peter: Excuse me? Shrink:The stages of a relationship can be defined by farting. Stage 1 is the conspiracy of silence. This is a fantasy period where both parties pretend that they have no bodily waste. This illusion is very quickly shattered by that first shy 'ooh did you fart? ' followed by the sheepish admission of truth. This heralds a period of deeper intimacy. A period I like to call the 'fart honeymoon'. Where both parties find each other's gas just the cutest thing in the world. But of course no honeymoon can last forever. And so we reach the critical fork in the fart. Either the fart loses its power to amuse and embarrass, thereby signifying true love or else, it begins to annoy and disgust. Thereby symbolizing all that is blocked and rancid in the formerly beloved. Do you see what I'm getting at? Peter? Peter? Paolo: So tell me your secret. Jacks: What secret? Paolo: How an American can speak like a Spaniard and dance like an Argentinean. Jacks: I'm not American.Paolo: No? Jacks: Well, not technically. I was born in England. My Father was English. My Mother was Spanish. I grew up with my Mother's family in America. After my parents died. Paolo: How old were you when you moved to America? Jacks: Five. Paolo: I'm sorry I didn't mean to pry. Jacks: It's not that. It's just I don't want to be one of those awful characters out of a movie that gushes out their past while the violins play. I mean I had a bad age five. I had a terrible age five, actually. But all in all, since then, my life's been pretty blessed. Paolo: Are you OK here? Peter: Oh my God! Oh God! Paolo: You don't! I... I'm so sorry! Peter:I'm so sorry! I'm so sorry. I was just... I'm really embarrassed. Paolo: No, no, no, listen, Peter. I really like you a lot, but... Peter: But you don't like me in that way. Look, I know that speech. I use that speech because I actually wrote that speech... Paolo: I'm not gay. Peter: I didn't write that part! Paolo: I'm straight. Peter: Since when? Paolo: I suppose I first noticed when I was around 8. I thought it was just a phase, you know, but eventually I had to accept the truth. I like women. Wentworth: Well, he's good enough! Jacks: Oh no! No, he's not good enough! Because, that man right there, the real David Williams actually exists! The real David Williams happens to be a living, breathing, on-the-market gay man! Peter: I'm quite relieved, to be honest. At least it's over and done with. You OK?Jacks: I'm fine. I was just up most of the night thinking... Peter: About? Jacks: Oh, love and other disasters. Finlay: Are you OK? Peter: That's him. Finlay: Who? Peter: That's the guy I bumped into at the Hotel! Finlay: What? Peter: Sorry. Excuse me, I just need to use the loo, actually. Finlay?Finlay: Right! I'll just... Give you a hand! Peter: I can't believe you said 'I'll give you a hand!'Peter: Tom. Tom! It's time to get up. Tom: What time is it? Peter: Almost 9. Tom: You gotta go. Peter: Excuse me? Tom: You gotta go. I've got some friends coming over for brunch. Peter: Tom, you're in my apartment. Peter:Because that way you know you can't really get hurt. Look, Paolo hasn't changed. He's still the same person. He's still the same person you know and believe in. And think is kind and smart and sweet and bloody sexy. The only thing that's changed is what might happen between you. And he can tango! Jacks: An early departure? An early departure? What are the chances of that? If this was a movie, there wouldn't be an early departure. Peter: If this was a movie, you'd be blonde! Jacks: If this was a movie, you'd be famous! Peter: That's the problem with life, it's nothing like the movies. Jacks: Stop trying to cast your true love instead ofjust meeting him. Peter: When I meet him, I'll know. Jacks: I'm not so sure. Love isn't always a lightning bolt, you know? Maybe sometimes it's just a choice. Well, that's easy for you to say! Peter: You're flying to Argentina to meet the love of your life! Jacks: That's just it. I don't know that Paolo's the love of my life' but I've decided to give him the chance to be. Maybe true love is a decision. You know, a decision to take a chance with somebody. To give to somebody. Without worrying whether they'll give anything back. Or if they're gonna hurt you, or if they really are the one. Maybe love isn't something that happens to you. Maybe it's something you have to choose. Berstein: 'Love and Other Disasters.' Nice title. Catchy. But it'll never fit on the marquee. How aboutjust 'Love Disasters? ' Peter: What? Berstein: Oh...I love that Jacks. She's got that British quirkiness audiences love. 'Hello, Babies! ' Peter: Yes, but technically she speaks with an American accent because she's grown up in America so... Berstein: Nah, it's too complicated. Let's make her English. Perfect part for Gwyneth! Peter: Gwyneth Paltrow? Berstein: Finest English actress of her generation! Brainstorm! Orlando Bloom as the Mexican. Peter: Paolo's Argentinean! Berstein: And we'll cover the American angle with Drew and Cameron. Peter: Drew Barrymore and Cameron Diaz? As who? Berstein: Playing David and Tom. Peter: I'm sorry, you want me to get rid of the gay story line? Berstein: I don't want you to get rid of anything! I'm just saying instead of David and Tom, we have Daisy and Tina. Peter: I... Berstein: Also, you gotta fiddle with that ending. We need a bigger movie moment when Jacks finally connects with Paolo. Peter: Yes, but... Sorry, the whole point is there is no big movie moment because they both discover that true love is a process not an event. Berstein: You know, Peter. I get it. This script is like your baby, isn't it? Peter: Well, yes, I suppose it is... Berstein: I understand that. Believe me, I understand that. Come here. I want to give you some advice! You gotta kill your baby! You gotta fuckin' kill your baby! Peter: Right. Thank you. Thank you. Peter: It's just... I don't know. I just wanted to tell the truth and somewhere along the line it got mixed up with a bunch of lies. Jacks: Nobody goes to the movies for truth except possibly the French! Peter: The truth is way too complicated. And unsatisfying. And hard to believe. 反正不是也经常有人找关键台词么..