Drinking with Christopher Doyle"If you get one image per film that actually works, it's better than average."
Christopher Doyle, on In the Mood for Love
He's drunk on a starlet's skin
or just drunk:
her long-throated
luster, coif
struck by streetlights that haven't yet
been lit.
Magic hourproves filmmakers see better than say; but I
have nothing better
and nod toward the Hong Kong skyline
at the beginning of another century.
The dress
is what makes him come
back into focus—
all colours he declares
have cultural baggage—speech
slurred
by ice and exile
and some ounces I can't read
but roll right off his tongue.
He is fluency and whiteness;
I have the colour
but not the language.
Homelessness
is what we have in common
and a crossed path
of sheen and shoulders—bar stools;
humidity and loneliness
which he solves the way the ocean
tries to solve the Midwest: by spilling
his secrets—under-
painting; gauze; a fingertip of Vaseline.
He's got a deep bag of tricks
but the best one's to wait—
there—
even buildings
in the International Style are flushed
as if they'd spent the day
making love.