天才與使徒
“藝術(shù)家總能創(chuàng)造自己的倫理觀?！碑?dāng)大衛(wèi)的朋友如此說時(shí)，我不禁想到尼采。面對(duì)天才般的尼采，他能不顧他人的目光，燃燒自己的才能。但事實(shí)上，我們?cè)谶@么說時(shí)，總是將我們和尼采之間放置一道鴻溝，伴隨鴻溝而出現(xiàn)的是他者不可知的X。這樣的鴻溝，同樣出現(xiàn)在，大衛(wèi)和藝術(shù)家、夏洛和許巍之間，甚至使徒和上帝之間。前者總是作為后者的中介，將他們的話進(jìn)行轉(zhuǎn)述。
在《子彈》中，藝術(shù)家是大衛(wèi)理想自我。他無法忍受如此真實(shí)：他只是一個(gè)和女人茍且一生，默默無名的人。當(dāng)他的劇作獲得投資時(shí)

Okay let's be clear and face it: this movie is definitely appreciated by the critics (Roger Ebert, Rotten Tomatoes, Douban, only Senscritique gives it a not excellent but okey score that is 7.0). But I have very much disliked the movie, so my opinion is clearly different from a majority of reviewers in this matter. I would rate it 2/5 based on enjoyment, and 3/5 based on a more objective POV (I mean, the movie is not BAD, it's just that I don't approve & appreciate most of it).
Alright, so this is out of the way. Let's get to work.
There are various forms of creations. Creation can be observed, considered, reflected upon from very different angles & POVs. Here is one, in which time & chronology play an important role: there are CONSTRUCTION, COPYING, DECONSTRUCTION and RECONSTRUCTION works.

【子彈橫飛百老匯】伍迪艾倫的爵士樂：Let's Misbehave
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