I am going to finish the fifth and the last in the book "The Hitchhiker’s Guide to the Galaxy." It started to be a hilarious adventure in space, but getting towards the end, the fun is still there, at the same time, some philosophy in it. Get it or not, still think it's worth sharing

 

 

Excerpt from Mostly Harmless by Douglas Adams

 

Trillian picked up a sandwich and looked at it. She sniffed it carefully.

“Try it,” said Arhtur, “it’s good.”

…… “What’s the meat in it?” asked Trillian.

“Ah yes, that’s, um, that’s Perfectly Normal Beast.”

“It’s what?”

“Perfectly Normal Beast. It’s a bit like a cow, or rather a bull. Kind of like a buffalo in fact. Large, charging sort of animal.”

“So what’s odd about it?”

“Nothing, it’s perfectly normal.”

“I see.”

“It’s just a bit odd where it comes from.”

……

“When I say they come from a point to the east of the Hondo Mountains, I mean that that’s where they suddenly appear. Then they sweep across the Anhondo Plains and, well, vanish really. We have about six days to catch as many of them as we can before they disappear. In the spring they do it again, only the other way around, you see.”

……“I see,” she said, ……“ and why are they called Perfectly Normal Beasts?”

“Well, I think because otherwise people might think it was a bit odd. Thrashbarg [a friend] says that they come from where they come from and they go to where they go to and that it’s Bob’s will and that’s all there is to it.”

“Who—“

 [Bob here is the “almighty Bob” if you get what it means]

 

我的小說終於出版了! 今次，各大書局有售，叫我十分雀躍，因為以前自資出版的書，沒有書局肯擺放。

”感覺很好”是我很喜歡的作品，加上遇到好的編輯，好的設計師，我對此書十分滿意，在此特別感謝他們。

很多人問我書中的男主角是否真有其人，這個問題，我覺得還是等讀者自己去決定，畢竟，文字作品其中一個好處就是容許讀者的幻想嘛。

 

 

 

 

あきらめたほうがいい

はなしのことはくろしになる

はなさないのこともくろしい

へんじゃないの ?

このブロックはあなたのためかいてになった

でもそうしたくない

だから, あきらめる

じんせいはあきらめるのことがある

watching how the media sucking on the earthquake reports, i can't help but suspect that they are having a hell of a time...

that suspicion not necessarily fair, but hk people really need to realize that they are chinese people, and part of china after all. there are so many interviews about how people feel how lucky they are because of this event. if you are part of the country, seeing your countrymen suffer, will you say sth like that? i wonder. and they brag about how much money hk has donated so far, and put the footage of leaders thanking hk people in the main news. if you're a family, you help your own family, you dont' need to be thanked. if hk deserves to be thanked, how about bj? how about all other chinese people who flocked to blood stations to give blood? how about chinese corporations that have donated money? why should hk be mentioned every time sth happened? why should we be different?

there are rumors about further disasters happening later in the year, one of them is the 9.1 earthquake in china in sept. there's always prophecies, always some who claim they can see the future. but what i wonder is whether this is the start of a series of events at the tipping point. our planet is changing, weather is changing. people will be facing a harsh environment. there are signs everywhere, but do we still need more violent ones to start making changes? to look into what we've done and what we can do to save ourselves? it is unimaginable that human civilization can end. but im prone to believe that it has experienced that before, we are not the first to be tested. it is not that hard to fathom if we are a little more humble.

large number of people are dying in these natural disasters, typhoon in myanmar, earthquakes, tsunami, whether it brings about a shift of conscisousness or just diminishing the population for natural balance or whatever, i hope it's for a better future.

獨立電影很少賺大錢，但仍然有人在拍。這些為理想的人，在各個範疇都有。

《一奏傾情》講兩個有音樂天份的人，男的在街上賣唱，女的給他兩毛錢。男的表示不悅，女的問他：為錢嗎？想一想，不是為錢，那就沒什麼好投訴。

女的會彈琴，聽了男的歌曲作品，覺得很不錯，幫忙他把作品錄製，希望他可以找到公司簽他作歌手。男的因為女的才會下決心到倫敦一闖，他希望女的和他同去，但女的選擇了家庭，她的女兒和回頭的丈夫。

理想能帶我們走多遠？

有時候，我們做著自己喜歡的事，沒有冠以理想這個堂皇的冠冕，但就是有一股力量叫我們繼續。這條道路不好走，被人訕笑事小，三餐不繼事大。這部電影是Sundance和都柏林的觀眾至愛電影，不論電影的主角或者電影的製作者，都在為自己所愛的東西傾盡全力。追尋理想的人很幸福，因為他們明白最真的自己是什麼，知道自己的真面目。憑著這點自知，要走多遠可走多遠。「別人笑我太瘋癲，我笑他人看不穿」。

a nice piece from kaiju shakedown, variety.   Apr 03 2008

Leslie Cheung R.I.P.

On April 1st, 2003 Hong Kong's Leslie Cheung killed himself. I'm off by a few days here, but on the fifth anniversary of his death I just wanted to say a little something because, along with Tony Leung and Lau Ching-wan, he was probably one of Hong Kong's best actors. Nowhere was this more clear than when I recently watched Wong Kar-wai's MY BLUEBERRY NIGHTS.

To be honest, BLUEBERRY isn't really my bag. It'll probably get something of a pass because it's from Wong Kar-wai, but if it was from anyone else I would imagine it would be the kind of movie assigned to the lowest-ranked critics to review. There's Rachel Weisz in a really unkempt hairpiece screaming "I'm going to git me uh johbuh!" like someone on COPS right before the tasers hit. Jude Law is charming enough, and Cat Powers has an off-kilter appeal but the whole movie is supposed to revolve around Norah Jones and she hangs around this movie's neck like a corpse, dragging it down and making what should be all sweetness and lighter-than-air charm feel as heavy and joyless as a garage full of exhaust fumes. Wong Kar-wai has a lot of things he likes to do, but his movies seem to contain two basic kinds of scenes: there's the pop music moment when some unlikely hit appears on the soundtrack and creates a fragile, breakable moment of shimmering beauty, and then there's the extended close-up of his actors' faces. One is all movement and light, the other is all stillness and shadows. Norah Jones can't hold a close-up to save her life - there's just nothing going on, she comes across as blank as a blackboard, and so the movie never takes off.

So much of Wong Kar-wai's recent movies have consisted of close-ups of Tony Leung's face that I feel familiar with every hair on his straggly John Waters moustache. He gives good face, but he's becoming overly familiar to me, although you can't blame WKW for using him all the time: what other actor has a face like a star that can hold the camera like Tony? The only other one who could do it was Leslie Cheung.

The first time I saw ASHES OF TIME I was pretty much lost. It annoyed me, it irritated me, it bored me and it bugged the hell out of me. But the next day I came back to the late, great, sleazy old Rosemary theater and saw it again, and whereas the first time around I felt like I was in a room full of paintings of doors (pretentious! boring!) this time around all the doors were open and while some of them led to dead ends, some took me places that blew my mind. I'm glad I came back the second time, but what got me to do it was a simple shot with Leslie.

It's a medium close-up as he sits at a table and gives his hustler's come on to a potential customer, trying to tempt them into hiring one of his swordsmen. Isn't there someone they've hated enough to have killed, he asks? It's a simple little speech, and a nice piece of close-up acting, but the kicker comes at the end of the film when the exact same shot of Leslie delivering the exact same dialogue is repeated. It seems to be a different take of the same performance and suddenly Leslie comes across not as a small-time pimp for hired blades, but as a man who is disgusted with himself. His words are the same but this time around they taste like ashes and they sound like regret. It's a simple close-up, but it oozes a lifetime of self-loathing and it's an amazing piece of cinema.

It's a simple Kuleshov experiment where the same footage takes on different meaning depending on what we've just seen, which makes it even more impressive. All that information is in his face both times we see it, but after being put through the entire running time of the film we're looking for something different when we see his face again, and amazingly we find it. And that's why Leslie was the only other actor in a WKW film to get this many close-ups: even when he's happy and open, there's something dark and hidden, some slightly poisonous, in his look. In HAPPY TOGETHER you can tell that no matter how much he acts like a jerk, he always hates himself the most. And in DAYS OF BEING WILD his playboy would be completely unlikeable if you weren't able to see how self-destructive he is behind those eyes. It's hard to hate someone if they hate themselves more and that was Leslie's gift: the ability to make cads and cowards appealing because you could see it written on his face: underneath all the horrible behavior, he was his own worst enemy.

Watching Leslie in DAYS OF BEING WILD, ASHES OF TIME and HAPPY TOGETHER you wonder what would have happened if he had lived. Just as Wong Kar-wai was able to root out a dangerous, almost sadistic side to Tony Leung's personality over the course of their movies together, would he also have kept working with Leslie and eventually pulled out something less masochistic from the actor? I can't stand the embalmed 2046, but one of the best things about the movie is Leslie's presence, conspicuous by its absence. He's the invisible lover that Tony tries to become, the dead boyfriend that Carina Lau yearns for and if he had been alive when 2046 was being shot would he have appeared in the film? Just as Tony Leung was an enigmatic closing presence in DAYS OF BEING WILD, summoned for just the final three minutes of the film, would 2046 have ended with a mirror image of Leslie, suddenly appearing in the flesh for the last handful of minutes, one more door opening in that endlessly self-reflexive house of mirrors?

Watching MY BLUEBERRY NIGHTS you realize how few actors there are that have the gravity to hold the close-ups that Wong Kar-wai likes linger over. In BLUEBERRY, lots of actors try and they all pretty much fail, except for David Strathairn but he has the advantage of age which can often equal character onscreen. But Leslie, as young as he looked, had a face that could suck the audience's attention into the screen like a black hole exerting such massive gravitational pull that it could bend time. I can count the actors capable of doing that on one hand and type at the same time. Five years after his death, Leslie's loss has left a hole that still can't be filled.

my travelogue came out 22 last ,month, and I've been doing some interviews for it.

what surprised me was how well the interviewers/readers have digested the book. all the time when i was writing it, i was not sure if this is too difficult a book for people to read. it has little to do with introducing the places i went to, but more on the personal discovery and recovery. this trip was a very important one for me, and by writing this book, i hope the readers can understand what traveling really is. and i am very grateful to know that there are people out there who are receiving the message.

i am also happy to meet those who interviewed me, they are people who i won't get to meet if i have never written the book. thank you for taking the time to talk to me, and i do look forward to meeting more friends when my other workds come out. and i promise, there are more to  come!

i asked for a sign last night, and i got it today.

it is strange how signs are delivered to those who asked for it. sometimes they appear at your doorstep, sometimes they are spoken right to your face, sometimes by people you know, sometime by people you've never met. i was spoken to face to face, and i cannot have mistaken. it's time, and i feel relieved.

there are things that you know from your heart, but you just need to hear it to believe it. i still have much to learnt, but what's priority is now very clear.

today should be a day to celebrate, because im one step closer to my dream :)

 

i've deserted this blog for a long time, due to my busy writing schedule with my newspaper column and book projects.

 

but today, i read the blog from my new inspiration and role model, and it reminded me to sit and think about this new year ahead. i have great plans for this year, and i should be prepared for it. i realize just today that i m freed from all the romantic entanglements i have had in the past, and the road is indeed cleared for me. i want nothing but to make this film that i have connceived and i will give 200%. i will need all the help i need, and i secretly think that some of my dear friends will rise to the occasion.

 

i've also watched Mr. Magorium's Wonder Emporium, which i cried more than once in the theatre. we want so much to believe that magic exists, but yet the older we get, the less we believe. like they said in the film, what we need to believe is in ourselves. if you believe you can do it, you can; if you choose to see, you do. this is something i've known for the longest time, but it is really timely to be reminded. everyone dies, feeling sad is just normal, and what we really cry about is the life prior to death, not death itself.

 

 

近和一個處女下海，快要執導第一部電影的朋友聊天，他說如果這部電影出來不好，他就不拍了，他不喜歡委屈自己。

這句不喜歡委屈自己說得好！

為什麼拍電影會委屈呢？那位朋友是廣告導演，他說拍廣告一定賺，電影卻不。而且一個廣告的預算有時比一部電影還多，拍廣告時間又短賺錢又多，拍攝的環境配套往往比電影好；拍電影出外景，除非你是大牌演員戲組高層，否則多數食不好住不好，工作時間長沒有休息。屈指一算，叫一個廣告導演拍電影，的確有點委屈。 

但只要鍾愛，就不覺得委屈。

我又認識一個朋友，是在仍在讀書的小朋友，他在大學諗多媒體，理想是當電影導演，一談起電影便眉飛色舞。我經常見他剪片剪至雙眼紅腫，拍片拍至廢寢忘餐，一點也不覺得委屈。

最近，他得了學校的最佳導演獎，我替他高興。 

我很希望他會成為香港電影的生力軍，但我又知道很多人利用這熱誠作為剝削的藉口，使很多有志入行的人很快便轉投其他更有「前途」的行業，我的興奮不禁為之冷卻。拍電影已經很艱難，愛電影的人不應該受到委屈。

我一個認識了十多年的朋友最近有個感情個案，這是一件很新鮮的事。

我不把它叫作感情煩惱，是因為這個朋友從來沒有什麼煩惱；這是一件新鮮的事，因為他很少讓感情沾到他的身上。

尤記得05年底06年初，我們最後一次共事的時候，剛好我和另一半分開，對另一個人有感覺，他是我的傾訴對像。我從不把細節說出來，他也沒有多問，對於當時心緒紋亂的我來說是個很大的安慰和指引。我從未為此多謝過他。因為我們極少說及各自的感情生活，所以那段時間也是我了解他的愛情觀的一個好機會。

我問他：為什麼都沒有聽見你有喜歡誰？

他說：這麼煩的事情，不想碰。

我當時想：有多少人可以這麼清醒？

其實我打從心裡佩服他看得透徹，我從未告訴過他。

今天，我知道有人能讓你有特別的感覺，我完全控制不了心中的興奮，記憶中，除了我自己戀愛之外，這是我最高興的時刻，我差點以為自己愛上了你！

我的好友，你不會知道我有多樂。

希望你也能在那個某某的身上找到如我一樣的快樂。

謝謝你這些年來作為我的好友，謝謝你給我這個喜訊，很久沒有這麼開心了。

這部電影應該叫”母子”。

 

講關於親情的電影通常也不是香港投資者的信心之選，但回想“女人四十”、“愛回家”、“父子”都叫好叫座，所以這並非一條行不通的路。幸好，在日本還有肯投資這種題材的公司和老闆，否則，我就少看一部佳作。

 

這部電影雖說好，但好得很奇怪，它沒有起伏跌盪的故事線，沒有叫人難忘的對白，也沒有震撼的大場面，但兩個半小時把相倚相為命兩母子的點滴串連起來，不落俗套，還感動而不煽情。能做到這個效果，最大原因是兩個突出的人物。

 

中川太太外表文靜內向，但因為抵受不了丈夫經常醉酒，毅然帶著兒子回鄉下娘家。她的性格樂天，像沒有煩惱會沾到她的身上。你從不看見她發脾氣，只見到她笑咪咪，故意把兒子嚇一跳還樂不可支，沒任何怨言也不曾投訴，只辛勤地工作供兒子唸書。直至她患癌，她仍然是笑咪咪的。做化療好嗎？好，做化療。好似漫不經心。但化療開始後她的痛苦叫人難過，她卻是一直堅持著。這個人物外表的軟弱，對比起她內心的堅強，使她變得特別好看。

 

兒子呢？兒子從鄉下到東京沒有好好讀書，不務正業。在不覊的爸爸的薰陶下，陪養出藝術天份。後來以繪畫插畫和在電台主時性節目維生。這麼異乎常人的生計，加上一頭亂髮，我作為觀眾不能不留心一點去看這個人。

 

不需要肉麻的對白，不需要哭哭啼啼的場面，觀眾為這兩個活生生的人物而動容。母與子，驚天動地！

我們重逢的時候，他第一句就告訴我我們已經六年沒見。

六年了嗎？

時間是何等吊詭的東西，可長可短可快可慢，都愛在你不知不覺的時候施展掩眼法：登登！一別六年。

這六年間我們完全沒有聯絡，只在朋友口中知道他的行蹤。六年之前，我們都很年輕，因為他較怪旦，有個鬼馬奇異的笑容，所以在一眾工作伙伴中叫我印象比較深。但我們沒有說過什麼話，只是來個點頭招呼。後來因為我提早離開劇組，這個人的印象也就不了了之。之後有朋友在他面前提起我，同一劇組的大部份人都不記得我，他卻仍然記得，我知道之後不免有點詫異，更多是感激。

他的外貎和我記得的沒有兩樣，但感覺成熟穩重多了。他準備和拍拖多年的女友結婚，而我曾經滄海，不再年輕。

這六年我都沒有組織起來的念頭，今天我說出來，好了心事，也作為我們六年一聚的紀念品。你是我六年前在那劇組中最大的發現之一，僅次我的前度。我沒有見過一個人像你，童顏老態。我會很想知道你想什麼，在乎什麼，不屑什麼，只是原來這個機會不會來臨。你一定是發現很多路都不通行，所以妥協地走在主流的路上，所以你心底裡其實懊惱，所以老，這才是我記得你的原因－－因為我們有點像。

靜下來細想，我竟被悲傷婉惜佔據。遇上叫我感動的人是何其困難的事，但我們只能擦身而過。或許不會有另一個六年叫我們重遇，所以我以這一刻來在腦海中定格，記住他給我的感覺，直至下一次。

沒有看奇異恩典，因為不想觸碰宗教這題材，最近負荷不了。於是去了看密陽，原來都是說宗教。

冥冥之中已有安排？

密陽是韓國釜山附近一個地名，意思是秘密的陽光。我一向都愛看全度研，所以毫不猶豫便入場了。

密陽故事很簡單，一個女人因為丈夫車禍喪生，帶著獨子到老公出生的地方想重頭開始。怎料，在這個鄉下地方，一個首爾來的女人會變成罪犯的目標，把她的兒子捉去，勒索。結果兒子也死了，女人受了莫大的打擊，心結無法解開。最後找到神的恩典。但信仰真的能在轉眼間把一個人從痛苦的地獄拉回充滿喜樂的人間嗎？愛的綠洲的導演給我們的答案是否定的。

申愛找到宗教後，發覺自己有原諒害死自己兒子的綁匪的力量，於是主動去見他，想告訴他已經被寬恕了。怎料，綁匪說自己也找到了神，神已經赦免了他的罪。那一刻，申愛實在抵受不了這打擊。怎會是這樣？因為這次事件，她不再相信神，更決定和祂鬥到底。但也因為如此，她喪子之痛無法釋懷，以致割脈自殺。

當人們的心靈受到重大創傷，很想找個依靠，很想有人告訴他們”為什麼”。最圓滿的答案永遠都在自己心裡。自己不和自己make peace，別人甚至神也無法幫你。

衪是可以幫你，但重新振作站起來的，還是要靠自己。

所以申愛到最後仍然覺得輸給神，因為她沒有細看自己。

 

因為工作和好奇，今天特地到方圓走了一趟。

走出地鐵站，這個商場的入口非常寬敞，所以給人很inviting的感覺。而看見扶手電梯旁的圓圈，更使在電視上看慣了那幾個圈的人有種熟悉感，這是市場策劃的一大功勞。香港因為地方狹小，所以香港人最大的消遣是逛商場，所以對商場也頗有研究，我在方圓便聽到有人將之和其他商場比較優劣。猶記得我小時最常到的商場是置地廣場，那裡有種氣派，至今不變，是那商場的一大優點。其後，金鐘的太古場場空間感很好，逛店的人在裡面走呀走呀，一天很容易過。近年有兩個商場我很不喜歡去，一是旺角的朗豪坊，地方狹小且有壓迫感；二是APM，缺乏自然光感覺局促。但香港無論新的舊的商場，都有一個共通點：甚少給遊人休息的地方。

我在時代廣塲見過連群結隊的人蹲在一旁或坐在店外，想坐下休息便要光顧咖啡店之類。商場為了盡量賺錢搞盡腦汁，但連免費提供椅子都吝嗇，實在太小器了。所以當我在人頭湧湧的方圓看見不少人坐在商場提供的長椅上，我覺得這個商場真有人情味。你要人客花錢，也要他們花得開心，對嗎？這個新商場雖然不大，勝在有些店是那裡獨有，又有溜冰場。有得食有得玩有得買有得坐，我會再去。

 

這個片名一直使我聯想到四個字：老生常談。

人生如戲，戲如人生，大家都知道的事，不值一晒。反之，在太陽照常升起的六十年代，總有些特別荒謬的故事。

看完個片才能體會到片名原來起得不錯。

太陽底下的三個故事，包括一個瘋婦和他的兒子，兒子的父親身份不明，可能是蘇聯人；一個被誤以為是流氓般摸女人屁股的老師，面對一個整天濕漉漉的女大夫的示愛；一個被下放到鄉間勞改的男人，老婆和一個年紀小自己一半的隊長鬼混。三個故事都有它們特殊的地方，但那種超現實感是一致的：瘋婦怪異的行為；女大夫喘著氣的示愛；不懂事的小隊長和人家妻子有一腿竟然天真至追問人家老婆的肚子不像人家所說像天鵝絨。這班人是不是全瘋了？這個時代是不是全瘋了？

不管你多瘋，太陽還是照常升起。

我不想去討論這個戲有什麼隱喻，我只想說房祖名的演出叫人眼前一亮，姜文多少也該有點功勞。年青的演員很缺，這短短幾年他就能夠有這麼大的進步，將來一定可以帶給我們更多驚喜。

公事煩忙，這麼久才有空寫第二篇，實在對不起自己和李安，還有點過時之嫌．．．

這裡，我想從故事和人物說說這電影。

王佳芝是一個活在中國三十年代的少女，青春少艾，不見得特別愛國，只知道她家庭破裂；不見得獨立自主，只知道她糊里糊塗便成了當家花旦，然後就去犧牲色相，去幹殺人的勾當。從一個觀眾的角度，這個人性格很不立體，動機也不成立。一個嶺南學生，因為日據跟隨學校來到香港，本身不是劇社的一份子，被拉去參加演出，本已是個被動的位置。這種小事，她不作主是還可接受的。但亦因為在劇社認識了鄺裕民等人，她才變成這台暗殺劇場的女主角。這種大事，自己不作主不得。我們看見她積極的參與，對易先生亦步亦趨，如果她在當中得不到某種滿足，為何願意不顧一切？對付易先生於王佳芝有什麼得著？她又不是鄺一般的愛國份子，她有放棄過，在鄺同鄉被殺時她就發現自己傻，那是她後來自己說的。怎麼傻法？就是自己請纓，說知道上海太太打麻雀都講什麼話，傻在她以為這是她兒時看見媽媽那無傷大雅的遊戲。這一段，被剪掉，觀眾不能體會她的”傻”。

王佳芝和鄺裕民的戲來得含糊不清。其實觀眾不需看見二人摟摟抱抱，說情話才感受到二人的情。問題是二人的交流少之又少，在電車一場二人的感情萌芽，之後無以為繼。到在上海重遇也沒什麼表示，直至在王佳芝見完某隊長，她要走，二人在樓梯間的交談，溫吞含糊。因為前面沒交代，後面就更沒什麼好說了。”幾年前你是可以的，為什麼不？”我也不明白為什麼不？那現在呢？她是已經愛上易先生嗎？可她從來沒有表示過對鄺有任何好感！

年青人對感情缺乏經驗，不懂表達。這個革命成為了二人感情的結晶。到最後失敗，也是因為二人對感情的低估和陌生。易先生一句：你是跟我在一起的，就勾起了王佳芝的惻隱之心，使她覺得對方愛上了自己，捨不得要他的命，郤等同送上其他同學的數條人命。她對感情的不熟識，使她願意捨命。在這樣的理解下，石礦場槍決的一幕就多麼震撼了。因為它殺的是年青人的稚嫩，王佳芝的傻，就是青春本身。

只要在人物上多加著墨，讓觀眾知道這些人的心裡想什麼，要什麼缺什麼，觀眾是很容易代入的。可現在，一堆目標不明的人，是愛嗎？是革命嗎？是好色嗎？是孤獨嗎？是報復父親再婚嗎？是先有家後有國嗎？其實都可以，但你要告訴觀眾呀！

 

一個三代同堂的家庭，成員包括吸毒的爺爺、性格不合的兩夫妻、同性戀舅舅、自閉中學生、和一位小小姐。

小品題材，這些角色看似典型，但編劇把些角色推至極限：一家人為了小女兒要去選小姐而開車穿州過省；吸毒的爺爺因ｏｄ而中途死亡；憤世嫉俗的大哥連話也不說；車子壞掉，每次開車都要推，後來更不受控地響號；丈夫討厭失敗，為了堅持女兒上路比賽，把父親的屍體偷離醫院；同性戀舅舅企圖自殺失敗，但原來他才是最懂生命中受苦種種意義的人。

人生有那麼多題材，那麼多課，要將它們化成一個完整的故事，突顯一個主題，一點不易。

這故事有種小情小趣的輕鬆，和純真的幽默感，像在看一個小孩的惡作劇，叫你跟它一同笑。

我看著小小姐在選美台上跳出那天真的舞姿，相比其他參賽的小女孩，化得濃妝艷抺，矯揉造作學做成人，她突然顯得有血有肉，像伸手可及般真實，沒有做作，我從心中被感動。我們的世界怎麼了，選美選的是哪門子的”美”？

所以觀眾都能看到，陽光小小姐最美。