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1
00:00:23,524 --> 00:00:25,651
Alice. —no.
2
00:00:25,735 --> 00:00:27,320
-Alice, wait a minute. —no.
3
00:00:27,403 --> 00:00:30,156
- Wait a minute.
- Don't touch me.
4
00:00:30,239 --> 00:00:32,325
What's the matter with you?
5
00:00:32,408 --> 00:00:34,869
Just how stupid do you think I am?
6
00:00:35,286 --> 00:00:36,787
What are you talking about?
7
00:00:36,871 --> 00:00:39,749
You know perfectly well
what I'm talking about.
8
00:00:41,542 --> 00:00:45,838
- You've really got me foxed. Really.
- Just look into what you've been doing.
9
00:00:45,922 --> 00:00:48,758
- Okay. Cut out all the double-talk.
- —ha!
10
00:00:49,550 --> 00:00:51,552
- What's so funny?
- —you're funny, Freddie.
11
00:00:51,636 --> 00:00:53,346
You're a very funny man.
12
00:00:54,013 --> 00:00:55,723
You've got me foxed. Really.
13
00:00:56,182 --> 00:00:58,392
Why don't you just... go away.
14
00:00:58,476 --> 00:01:01,187
Why don't you just
get out of my life permanently.
15
00:01:01,270 --> 00:01:04,232
-Oh, stop acting, will ya? I mean, cut —
-don't touch me.
16
00:01:04,315 --> 00:01:06,817
Come on, Alice. Stop acting.
17
00:01:08,486 --> 00:01:12,198
No. I said don't touch me. Please.
Don't ever touch me ever again. Ever.
18
00:01:13,991 --> 00:01:16,786
You know, you're really acting
quite impossible.
19
00:01:16,869 --> 00:01:20,331
- I'm not a mind reader, sport.
- —I wish I were.
20
00:01:20,414 --> 00:01:25,086
I wish I knew what goes on
in that screwy little brain of yours.
21
00:01:25,169 --> 00:01:29,507
How come you think that everybody
in the world is stupid except for you?
22
00:01:31,842 --> 00:01:34,095
Boy, you're really talking in circles.
23
00:01:35,096 --> 00:01:37,223
How much of a phony can you be?
24
00:01:38,349 --> 00:01:41,352
Listen. I don't have to stay here
and listen to all these hysterics.
25
00:01:41,852 --> 00:01:44,897
You don't even have the courtesy
to tell me what this is all about.
26
00:01:48,442 --> 00:01:49,944
I'm a woman.
27
00:01:52,196 --> 00:01:56,200
- —And?
- I'm a woman... and not a fool, Freddie.
28
00:01:57,368 --> 00:01:59,537
I know what goes on around me.
29
00:02:00,288 --> 00:02:03,374
I watched you. And I watched him.
30
00:02:04,875 --> 00:02:08,087
Him? —him. Yes. Him.
31
00:02:08,170 --> 00:02:11,966
Some little... faggot boy
that half the world knows about.
32
00:02:12,758 --> 00:02:15,469
What are you,
some kind of nut or something?
33
00:02:15,553 --> 00:02:17,572
- —Alice, just believe in me.
- Believe you? You haven't changed.
34
00:02:17,596 --> 00:02:20,933
You just had me conned. Believe in you?
How the hell can I believe in you?
35
00:02:21,017 --> 00:02:24,186
You've been killing my babies
one right after the other.
36
00:02:27,315 --> 00:02:31,902
- Look. I said that I want children too.
- Ever since we've been married,
37
00:02:31,986 --> 00:02:35,489
I've had abortion after abortion.
38
00:02:40,995 --> 00:02:44,623
Look. I want babies too.
Can't you believe that?
39
00:02:46,751 --> 00:02:50,713
I just want to have a child when things
are right between us. That's all.
40
00:02:54,091 --> 00:02:56,677
- Right between us.
- Yes. Right between us.
41
00:02:56,761 --> 00:03:00,765
Right between us.
Right. Yeah. Mm—hmm. Sure.
42
00:03:00,848 --> 00:03:03,184
All right. Then why don't we have a baby?
43
00:03:05,144 --> 00:03:07,188
Hmm? Let's have a baby.
44
00:03:07,271 --> 00:03:09,982
Well, uh...
45
00:03:11,442 --> 00:03:14,820
- You can — you mean just like that?
- Yeah. Yeah. Let's have a baby.
46
00:03:17,531 --> 00:03:19,492
Well, uh, it's not the time.
47
00:03:20,576 --> 00:03:22,828
That is a cop-out, you faggot.
48
00:03:24,789 --> 00:03:26,916
You — do you —
Do you know what you're doing?
49
00:03:26,999 --> 00:03:30,378
You keep —
You keep saying these things to me.
50
00:03:30,461 --> 00:03:33,172
All right? About faggot?
You're projecting, Alice,
51
00:03:33,255 --> 00:03:37,718
because you're trying to — to see things
in me that you see in your own self.
52
00:03:37,802 --> 00:03:39,428
- Bullshit.
- Ah.
53
00:03:39,512 --> 00:03:42,014
You're just turning everything around
to suit yourself.
54
00:03:42,098 --> 00:03:44,809
You just don't want any responsibilities.
You don't want any wife.
55
00:03:44,892 --> 00:03:46,995
- That's all part of your fantasy.
- You don't want marriage.
56
00:03:47,019 --> 00:03:48,955
- You don't want children.
- It's part of your fantasy that...
57
00:03:48,979 --> 00:03:51,065
You just want the gay world, Freddie.
58
00:03:51,148 --> 00:03:53,067
G-a-y! Right? Huh?
59
00:03:53,150 --> 00:03:55,361
- The going gets a little tough...
- Shh! Look, you...
60
00:03:55,444 --> 00:03:57,089
A little too tough, and you run off.
—sth
61
00:03:57,113 --> 00:04:01,158
fuck you!
62
00:04:01,242 --> 00:04:03,327
-If you're gonna talk that way —
-speaking of "fuck."
63
00:04:03,411 --> 00:04:06,872
How we've been making love lately,
we're never gonna have any babies.
64
00:04:06,956 --> 00:04:08,833
- That's the way you want it.
- Fuck you!
65
00:04:14,672 --> 00:04:18,509
But, uh, let me hear your— your—
Your — let me hear the sound.
66
00:04:29,186 --> 00:04:30,855
- That's dreadful.
- What?
67
00:04:30,938 --> 00:04:32,314
- —This is terrible.
- Let's see.
68
00:04:34,608 --> 00:04:36,444
Is that what we've been getting
all the time?
69
00:04:36,527 --> 00:04:37,927
- That's dreadful.
- Let me hear it.
70
00:07:30,117 --> 00:07:33,954
Here we go. That's it.
71
00:07:34,038 --> 00:07:38,167
-This one goes —
-what-what — Maria, what are you doing?
72
00:07:38,250 --> 00:07:41,253
- —Okay.
- No. This one — where does this one go?
73
00:07:41,337 --> 00:07:43,088
Uh, what...
74
00:07:43,172 --> 00:07:46,967
Maria is, if I may use the expression —
—5.6 now. Yeah.
75
00:07:47,051 --> 00:07:49,386
- —Is, uh, plugging me in.
- Yeah. So I see.
76
00:07:49,470 --> 00:07:53,349
- Why don't you people get to work?
- Roland, where does this one go?
77
00:07:54,642 --> 00:07:56,310
Put my hair right up.
78
00:07:58,437 --> 00:08:00,648
Okay. Now then.
79
00:08:00,731 --> 00:08:03,442
You were telling me
the name of the game is sexuality.
80
00:08:03,525 --> 00:08:06,195
Uh, yeah. Uh, the important thing is
81
00:08:06,278 --> 00:08:12,117
that I wanted to make sure that, uh,
everything that happens on the set...
82
00:08:12,201 --> 00:08:15,746
I mean, whether it's off — off camera,
or whether it's among the crew,
83
00:08:15,829 --> 00:08:19,083
or whether it's, uh, being shot, it has...
84
00:08:19,166 --> 00:08:23,212
Thematically, I mean, we should be
constantly relating to, uh, sexuality.
85
00:08:23,295 --> 00:08:25,214
And sexuality...
86
00:08:25,297 --> 00:08:27,567
- But anyway, the point is that, um —
-What'd you say?
87
00:08:27,591 --> 00:08:29,843
Oh, here's that woman with the tits.
Hey. Hey.
88
00:08:29,927 --> 00:08:33,097
- There's — right down there. Get her.
- She's a little too far away.
89
00:08:33,180 --> 00:08:35,474
Yeah. No. She's coming. She's coming.
90
00:08:35,891 --> 00:08:41,438
All right. All right. She's there now.
They're bouncing, chaps.
91
00:08:45,567 --> 00:08:47,361
Oh, greaves, you're a dirty old man.
92
00:08:47,444 --> 00:08:49,405
No. I was just kidding. I...
93
00:08:51,532 --> 00:08:53,033
No. Don't take me seriously.
94
00:08:53,117 --> 00:08:55,703
Um, but anyway, uh, Terry,
95
00:08:55,786 --> 00:09:00,416
your — your job
is that you're the, um... the, um,
96
00:09:00,499 --> 00:09:04,795
the person that is in charge of filming
97
00:09:04,878 --> 00:09:07,089
this film being filmed.
98
00:09:07,172 --> 00:09:10,217
Okay? Hey. Where's the switch
on this goddamn thing?
99
00:09:10,759 --> 00:09:14,012
If sometimes we — you see us in trouble,
then you come and help us out.
100
00:09:14,096 --> 00:09:15,490
- You know what I mean?
- —Right.
101
00:09:15,514 --> 00:09:20,519
Uh, but othennise, uh, like the —
If you see cars going by,
102
00:09:20,602 --> 00:09:23,564
you can integrate that
into the general action if you want to.
103
00:09:23,647 --> 00:09:27,693
Or if you see an old lady walking a dog.
Here's an old lady. Right over here.
104
00:09:27,776 --> 00:09:30,028
Who's supposed to be in charge
of filming the actors?
105
00:09:30,112 --> 00:09:31,905
You and I are gonna be
filming the actors.
106
00:09:31,989 --> 00:09:33,842
- —The two of us...
- Don't come into my shot.
107
00:09:33,866 --> 00:09:37,703
Are gonna be filming the actors,
uh, continuously.
108
00:09:37,786 --> 00:09:41,540
You're gonna be filming me and the actors,
and I'm gonna be filming the actors.
109
00:09:41,623 --> 00:09:45,419
And Terry is gonna be in charge
of filming the whole thing. You see?
110
00:09:45,502 --> 00:09:48,922
Um, and I'm saying to him that
if he sees the two of us in trouble,
111
00:09:49,006 --> 00:09:50,466
then he'll come and help us.
112
00:09:50,549 --> 00:09:53,761
We're gonna start in another two minutes.
We're just waiting for pat.
113
00:09:56,263 --> 00:09:58,103
Wanna make sure we start
with a fresh magazine.
114
00:09:58,140 --> 00:09:59,492
The cameras should start
with fresh magazines.
115
00:09:59,516 --> 00:10:01,661
- Fine. That's a good idea.
- —I'm gonna short—end this.
116
00:10:01,685 --> 00:10:04,480
- What's your exposure here?
- You're — in the shade here, wide open.
117
00:10:04,563 --> 00:10:06,940
No. I'm sorry. What's your —
How much footage have you...
118
00:10:07,024 --> 00:10:09,024
I don't know.
The footage counter's busted on this.
119
00:10:09,067 --> 00:10:11,445
The footage counter's —
How long you been shooting?
120
00:10:11,528 --> 00:10:13,906
I'm not out of film,
but I'm not sure how much more I have.
121
00:10:13,989 --> 00:10:15,842
- So I want to start with a fresh magazine.
- Right.
122
00:10:15,866 --> 00:10:17,868
Uh, Bob. — Yeah.
123
00:10:17,951 --> 00:10:19,369
Can he have another magazine?
124
00:10:19,453 --> 00:10:21,514
We got one. My trusty assistant —
—I have it here.
125
00:10:21,538 --> 00:10:24,166
- —You changing magazines?
- Another magazine.
126
00:10:24,249 --> 00:10:27,586
- I gotta change magazines.
- Where are the people?
127
00:10:27,669 --> 00:10:30,339
We got three guys standing here.
You gotta pick it up.
128
00:10:30,422 --> 00:10:32,966
If he wants another magazine,
somebody's gotta get it.
129
00:10:33,050 --> 00:10:34,968
- That's one of mine.
- He's got one.
130
00:10:35,052 --> 00:10:36,845
- He's got one?
- He's camera "'b.'
131
00:10:36,929 --> 00:10:37,969
he's gonna do a big scene.
132
00:10:38,013 --> 00:10:40,474
He wants another magazine
because he's already...
133
00:10:40,557 --> 00:10:42,142
Another magazine for larner.
134
00:10:42,226 --> 00:10:44,120
- I got a magazine, you blooming idiot.
- —Ihaveit
135
00:10:44,144 --> 00:10:45,813
-you got a new magazine?
—here it is.
136
00:10:45,896 --> 00:10:48,607
Oh. Never mind!
—never mind. It's here.
137
00:10:50,734 --> 00:10:53,695
- Are we ready?
- Who says this isn't an efficient crew?
138
00:10:53,779 --> 00:10:56,740
Vvave!
139
00:10:57,699 --> 00:10:59,910
Right. Hold it. Hold it, hold it!
140
00:11:02,538 --> 00:11:06,625
Really. I know you're looking
for a new star, a new face...
141
00:11:08,794 --> 00:11:12,214
Let me introduce myself.
142
00:11:15,509 --> 00:11:20,097
All right. All right.
143
00:11:20,180 --> 00:11:25,102
I am so cute.
Oh! I got it all. Really. Oh, wow.
144
00:11:25,185 --> 00:11:27,855
Okay. All right. Let's — let's go.
145
00:11:27,938 --> 00:11:30,482
Um...
146
00:11:31,733 --> 00:11:35,279
Ladies and gentlemen, uh,
can we ask you to be...
147
00:11:35,362 --> 00:11:37,090
- Ladies, uh-uh-uh...
- —Shh! Shut up.
148
00:11:37,114 --> 00:11:40,659
Look. Uh, we don't mind you watching,
but, please, you have to...
149
00:11:40,742 --> 00:11:44,079
You have to cooperate with us
and be very, very quiet, okay?
150
00:11:44,162 --> 00:11:46,206
- —Okay.
- Because othennise, you know,
151
00:11:46,290 --> 00:11:48,834
the sound system doesn't hear the actors.
152
00:11:48,917 --> 00:11:51,503
So if you would just —
We don't mind you watching,
153
00:11:51,587 --> 00:11:55,132
and we've already got you on film,
so you're gonna be famous, but, uh...
154
00:11:55,215 --> 00:11:57,593
- What picture?
- So we can watch it.
155
00:11:57,676 --> 00:11:58,969
- Huh?
- What picture?
156
00:11:59,052 --> 00:12:02,931
It — it, uh — it's a picture
that's coming out, uh, next year sometime.
157
00:12:03,015 --> 00:12:06,226
- Aw, I'll be dead by then.
- No. You won't be dead.
158
00:12:06,310 --> 00:12:08,896
-But anyway — -what's the name?
159
00:12:08,979 --> 00:12:11,440
Well, the name right now
is over the cliff.
160
00:12:11,523 --> 00:12:12,566
Over the cliff
161
00:12:12,649 --> 00:12:15,819
the name of the picture right now
is over the cliff, but it may be changed.
162
00:12:15,903 --> 00:12:19,323
Lady gonna jump off a cliff?
—no. No. We're jumping off a cliff.
163
00:12:19,406 --> 00:12:21,450
Uh, anyway, the point is this, that, uh...
164
00:12:21,533 --> 00:12:25,162
Be very, very quiet, and you can watch
from over there. Okay?
165
00:12:25,245 --> 00:12:27,915
Thank you. —okay.
166
00:12:28,624 --> 00:12:31,251
- —All right.
- Relax, Bob.
167
00:12:31,335 --> 00:12:33,545
Bob, relax. Relax.
168
00:12:33,629 --> 00:12:36,256
All right.
But wait a second. You want to start...
169
00:12:36,340 --> 00:12:37,799
Bob, there's a policeman there.
170
00:12:39,009 --> 00:12:40,677
- —Yeah?
- Can I see it, please?
171
00:12:40,761 --> 00:12:43,197
- —The permit. Permit.
- Permit. Who has the permit?
172
00:12:43,221 --> 00:12:44,473
Wait a second. I gotta get it.
173
00:12:45,599 --> 00:12:47,935
Um, where's, uh, Don fellows?
174
00:12:48,018 --> 00:12:50,020
Get up.
175
00:12:52,856 --> 00:12:54,816
It's not there.
176
00:12:54,900 --> 00:12:56,735
Oh. Oh, I see.
177
00:12:59,863 --> 00:13:01,049
- —Okay?
- Yeah. Let me just...
178
00:13:01,073 --> 00:13:04,785
Take one productions. Take the number,
and I'll show you the location.
179
00:13:04,868 --> 00:13:09,039
Yeah. We're gonna be shooting
in the park during weekdays all next week.
180
00:13:09,456 --> 00:13:12,000
Yeah. Just so we have, uh...
181
00:13:12,084 --> 00:13:14,795
All right.
The number of the permit is, uh...
182
00:13:14,878 --> 00:13:16,505
Damn. You get up there.
183
00:13:21,385 --> 00:13:24,221
- Hey. Do you mind being on camera?
- No. Not at all.
184
00:13:24,304 --> 00:13:27,307
Okay. And here's the location
that we're shooting on right now.
185
00:13:27,391 --> 00:13:30,060
68th street off central park west.
8/2, right?
186
00:13:30,143 --> 00:13:33,981
- So we have it on the — on the schedule.
- Just so I got that information.
187
00:13:34,064 --> 00:13:35,983
Sure. Fine. Thanks a lot.
188
00:13:36,066 --> 00:13:37,985
What kind of movie — picture you making?
189
00:13:38,068 --> 00:13:41,196
What kind? Um, well, it's a feature.
190
00:13:41,279 --> 00:13:44,449
It's a feature-length, uh —
It's a feature-length, uh, we don't know.
191
00:13:44,533 --> 00:13:47,327
- You don't know.
- It's a feature-length "we don't know."
192
00:13:47,411 --> 00:13:49,705
Yeah. Right.
We'll find out after we develop it.
193
00:13:49,788 --> 00:13:52,416
The tentative title of it
is over the cliff.
194
00:13:52,499 --> 00:13:56,169
- You gotta find that cliff now, huh?
- We've got it. This is the cliff.
195
00:13:56,253 --> 00:13:58,005
This is the cliff?
—this is the cliff.
196
00:13:58,422 --> 00:14:00,882
Who named it? I think Terry —
Where's Terry?
197
00:14:00,966 --> 00:14:03,218
- You're the one that named it.
- Right.
198
00:14:03,301 --> 00:14:06,054
- Did you say over the cliff?
- —Yeah. Right.
199
00:14:06,138 --> 00:14:08,348
- All right.
- Good-bye.
200
00:14:08,432 --> 00:14:09,766
Bye, governor.
201
00:14:11,268 --> 00:14:15,188
"Bye, governor." You fucking
idiot. He says, "bye, governor."
202
00:14:15,272 --> 00:14:17,357
Um,
203
00:14:17,441 --> 00:14:22,779
could you go down in there and get
a shot of her sitting on the statue?
204
00:14:22,863 --> 00:14:26,158
And — and Don will come up and, uh...
205
00:14:26,241 --> 00:14:28,785
- Terry's still shooting, huh?
- Start the scene from there.
206
00:14:28,869 --> 00:14:33,040
Follow me?
Okay. So go — you go down there.
207
00:14:35,125 --> 00:14:37,294
This statue here. The civil war.
208
00:14:38,086 --> 00:14:39,921
Where do you want me to stand?
209
00:14:41,298 --> 00:14:42,716
Go with you, Terry?
210
00:14:43,842 --> 00:14:45,886
-Terry, are you running? —yeah.
211
00:15:04,488 --> 00:15:06,656
So this is how we're gonna take it.
212
00:15:06,740 --> 00:15:09,493
- Cold Turkey. Gonna get this cold Turkey.
- —You want Don?
213
00:15:09,576 --> 00:15:12,454
- Don stays there?
- Don stays there.
214
00:15:12,537 --> 00:15:14,498
This is, uh, 13.
215
00:15:15,999 --> 00:15:17,417
- Did you slate it?
- Yes.
216
00:15:17,501 --> 00:15:19,044
Okay. Action!
217
00:15:19,753 --> 00:15:22,422
All right. Clear out of the way here.
Clear out of the way.
218
00:15:23,757 --> 00:15:26,426
- Nicky, you come back this way.
- I got you.
219
00:15:27,260 --> 00:15:29,346
- Behind me.
- —All right. We got it.
220
00:15:29,429 --> 00:15:30,639
Alice.
221
00:15:31,431 --> 00:15:34,142
Alice. Wait — Alice. Here. —no.
222
00:15:34,226 --> 00:15:37,604
Now wait a minute. No. Come on.
Wait a minute. Wait. What?
223
00:15:37,687 --> 00:15:40,148
- —No.
- Come on. Come on. Please.
224
00:15:41,525 --> 00:15:42,859
- —Look.
- Get your hands off me.
225
00:15:42,943 --> 00:15:46,029
Will you — will you please tell me
what's bugging you?
226
00:15:47,823 --> 00:15:51,952
- —Hmm?
- Just how stupid do you think I am?
227
00:15:52,536 --> 00:15:55,455
Look, Alice. What are you talking about?
228
00:15:56,706 --> 00:15:59,167
Stop here.
229
00:15:59,251 --> 00:16:00,836
Come on, fellas.
230
00:16:02,838 --> 00:16:07,050
No. Please tell me, uh,
what the problem is.
231
00:16:08,969 --> 00:16:11,596
Wh-why are you acting so funny?
232
00:16:11,680 --> 00:16:13,849
Jonathan,
you've gotta come on this side.
233
00:16:13,932 --> 00:16:18,436
- —You're funny. You're funny, Freddie.
- Stop. Stop.
234
00:16:18,520 --> 00:16:20,897
You're really a very funny man.
235
00:16:20,981 --> 00:16:22,983
Let's get the crew out, please.
236
00:16:23,066 --> 00:16:25,735
You know, you — you really have me foxed.
237
00:16:26,903 --> 00:16:29,281
Why don't you just
get out of my life, Freddie, huh?
238
00:16:29,364 --> 00:16:32,659
Just get out permanently,
once and for all and forever.
239
00:16:32,742 --> 00:16:34,828
Oh. Oh, now, come on.
240
00:16:34,911 --> 00:16:37,205
- Look. Will you stop acting?
- Take your hands off me.
241
00:16:37,289 --> 00:16:40,125
- Well, stop acting.
- Take your hands off me.
242
00:16:42,335 --> 00:16:46,339
You know, you're acting absolutely
impossible. I'm not a mind reader.
243
00:16:46,423 --> 00:16:50,594
Boy, I wish I were.
I sure as hell wish I were a mind reader.
244
00:16:51,511 --> 00:16:55,432
It'd actually be nice if we could
have a little more time to walk into it.
245
00:16:55,515 --> 00:16:58,935
- This is what I'd like to do.
- I don't want you to get into...
246
00:16:59,019 --> 00:17:00,687
No. If we're going to look as if...
247
00:17:00,770 --> 00:17:03,481
As if I've been following her
in the park for 20 minutes...
248
00:17:03,565 --> 00:17:06,026
- Right.
- I'd get about 20 feet beyond her...
249
00:17:06,109 --> 00:17:08,737
- Sure. Fine.
- —...And then run up and catch up with her.
250
00:17:08,820 --> 00:17:12,365
So on my first "Alice" it's, like,
the first conversation
251
00:17:12,449 --> 00:17:14,743
- —I've had with her in half an hour.
- Right.
252
00:17:14,826 --> 00:17:17,537
So it just depends on
about where you want, uh...
253
00:17:17,621 --> 00:17:20,248
That to commence,
that dialogue to commence.
254
00:17:20,332 --> 00:17:24,211
- By the edge of the grass?
- —I — I would — somewhere in here. Okay?
255
00:17:24,294 --> 00:17:26,922
Um, what's happening is that, uh,
256
00:17:27,005 --> 00:17:30,300
we're getting too much of a clutter,
you know, of people...
257
00:17:30,383 --> 00:17:33,011
- Am I walking too fast?
- Yes. I think you are.
258
00:17:33,094 --> 00:17:35,513
Don't get, uh, behind them.
259
00:17:35,597 --> 00:17:39,392
You know, don't get —
Stay — but stay — stay behind the camera.
260
00:17:39,476 --> 00:17:42,812
If you could, uh — if you could take it —
If you could take it slower...
261
00:17:42,896 --> 00:17:45,232
-See, I have a feeling —
—I mean, pull away from him.
262
00:17:45,315 --> 00:17:48,318
I have the feeling, you see,
that she is going home.
263
00:17:48,401 --> 00:17:51,071
- Right.
- And that's it. She's going home.
264
00:17:51,154 --> 00:17:54,574
And she's, like — you know, she's moving.
—all right. Then look, uh...
265
00:17:54,658 --> 00:17:58,411
So what I'll try to do is walk slow
but look like I'm walking fast.
266
00:17:58,495 --> 00:18:00,455
I don't know how to do that, but...
267
00:18:00,538 --> 00:18:02,874
You know,
you've really gotta stop her.
268
00:18:02,958 --> 00:18:05,919
I hate to tell you guys,
but you're shooting in such a black thing
269
00:18:06,002 --> 00:18:07,754
that you're not gonna get anything.
270
00:18:07,837 --> 00:18:12,759
- What have we got?
- I can see it. You're either f/1 .5 or 1.2.
271
00:18:12,842 --> 00:18:15,637
- F/2?
- 1.2. And you have a 2.8 lens. So...
272
00:18:15,720 --> 00:18:17,847
Yeah. Um...
273
00:18:17,931 --> 00:18:20,433
I think it'll be rather — rather —
Rather underexposed.
274
00:18:20,517 --> 00:18:22,686
All right. Um...
275
00:18:22,769 --> 00:18:27,190
Camera "b" and "c" are both rolling,
but, uh, there are no slates for this.
276
00:18:28,441 --> 00:18:32,779
Personal note from Mr. Rosen
to the assistant editor.
277
00:18:32,862 --> 00:18:35,657
Uh, the reason why
all these slates are so fucked up
278
00:18:35,740 --> 00:18:38,118
is because they're not sure
whether or not the action
279
00:18:38,201 --> 00:18:40,453
counts more or the slates count more.
280
00:18:40,537 --> 00:18:43,915
And so sometimes you get the slates
and sometimes you get the action.
281
00:18:43,999 --> 00:18:45,542
So have fun, bubbe.
282
00:18:49,504 --> 00:18:50,588
This is embarrassing.
283
00:18:50,672 --> 00:18:54,676
All right.
We just had a jam in a magazine. Cut.
284
00:18:55,093 --> 00:18:57,387
- —First marker.
- Speed.
285
00:18:57,470 --> 00:18:59,806
Second stock.
286
00:18:59,889 --> 00:19:01,516
You think it's the stock?
287
00:19:01,933 --> 00:19:05,645
I'm just worried, you know _
—How's yours?
288
00:19:05,729 --> 00:19:09,399
- —Roll jam.
- Are you rolling?
289
00:19:09,482 --> 00:19:11,484
- —Yeah.
- Rolling. Go ahead.
290
00:19:11,568 --> 00:19:13,379
- Roll "x" 1.
- This is the third slate.
291
00:19:13,403 --> 00:19:14,779
Right.
292
00:19:14,863 --> 00:19:16,632
What were you saying, Bob,
on all this?
293
00:19:16,656 --> 00:19:19,868
Well, we're just sitting around here
and, um,
294
00:19:20,785 --> 00:19:23,663
we're just gonna rap a little bit
about the film.
295
00:19:24,331 --> 00:19:26,416
_um _
All right. Well, maybe we should...
296
00:19:26,499 --> 00:19:28,126
And we'll — you know, we'll get into it.
297
00:19:28,209 --> 00:19:32,213
And when we get into it, you know,
uh, the people out there will understand.
298
00:19:32,297 --> 00:19:36,259
You know, they'll catch on. And, um,
you know, we'll explain it as we go along.
299
00:19:36,343 --> 00:19:39,846
Okay. But I think maybe we should say
just exactly how it occurred to us
300
00:19:39,929 --> 00:19:42,015
to be here this way,
301
00:19:42,599 --> 00:19:44,976
- uh, without the director...
- —Right.
302
00:19:45,060 --> 00:19:47,812
Uh, without the actors, um,
303
00:19:47,896 --> 00:19:50,231
and in something which, uh,
304
00:19:50,315 --> 00:19:54,319
we know is not a part of the film,
at least not as far as we know.
305
00:19:54,402 --> 00:19:58,073
We were sitting around the other night,
and we — and in talking, a few of us...
306
00:19:58,156 --> 00:20:03,161
We realized that here is a —
Here is an open-ended film
307
00:20:03,244 --> 00:20:06,539
with no plot that we can see,
with no end that we can see,
308
00:20:06,623 --> 00:20:08,708
with an action that we can't follow.
309
00:20:08,792 --> 00:20:10,377
We're all intelligent people.
310
00:20:10,460 --> 00:20:13,671
The obvious thing is
to fill in the blanks,
311
00:20:13,755 --> 00:20:15,799
to create for each of our own selves
312
00:20:15,882 --> 00:20:18,051
a — a film that we understand.
313
00:20:18,134 --> 00:20:20,678
And if we try to think about
the reasoning of the director
314
00:20:20,762 --> 00:20:22,722
for allowing us
the opportunity to do this,
315
00:20:22,806 --> 00:20:25,767
giving us the circumstances
that enable us to be able to sit here,
316
00:20:25,850 --> 00:20:29,437
we can only conclude — at least we did
last night — that he wanted it like this.
317
00:20:29,521 --> 00:20:31,731
Terry, why don't you cut?
I'm holding...
318
00:20:31,815 --> 00:20:34,067
- What?
- Don't run two cameras.
319
00:20:34,150 --> 00:20:37,904
- 'Cause you can't get it.
- Please. Let one person run it.
320
00:20:37,987 --> 00:20:40,407
Give me a tail slate then,
please. Thank you.
321
00:20:40,490 --> 00:20:43,743
- Please. Run one camera at a time.
- —okay. Now the thing is,
322
00:20:43,827 --> 00:20:48,915
we were sitting around, and we were
talking about this, and it just happened.
323
00:20:48,998 --> 00:20:52,460
You know, just like that. Because there
we were, and we were talking.
324
00:20:52,544 --> 00:20:55,630
Just — there were, like, five of us.
Five of the members of the crew.
325
00:20:55,713 --> 00:20:59,384
That's all the people. All the people
who are sitting here right now,
326
00:20:59,467 --> 00:21:01,469
you know, are members of the crew.
327
00:21:01,553 --> 00:21:05,473
You know, the director does not know
that we are photographing this scene.
328
00:21:05,557 --> 00:21:07,308
We're doing it on our own.
329
00:21:07,392 --> 00:21:09,602
And we were sitting there,
and it occurred to us,
330
00:21:09,686 --> 00:21:13,314
while we were trying to figure out
what the film was about, you know,
331
00:21:13,398 --> 00:21:16,443
that we should be filming this.
332
00:21:16,526 --> 00:21:18,653
- Yeah, he wants us to help him.
- Right.
333
00:21:18,736 --> 00:21:22,824
Because we're really the only people
who are in a position, so far,
334
00:21:22,907 --> 00:21:25,618
to be able to comment, you know,
about the film.
335
00:21:25,702 --> 00:21:30,748
Because the director, bill greaves,
he is so far into,
336
00:21:30,832 --> 00:21:33,376
you know, making the film
that he has no perspective.
337
00:21:33,460 --> 00:21:36,671
And if you ask him,
"what is the film about?" You know,
338
00:21:36,754 --> 00:21:40,258
he just gives you some answer
that's just vaguer than the question.
339
00:21:40,341 --> 00:21:43,261
I mean, that just is so vague that you —
That it, you know — that
340
00:21:43,344 --> 00:21:46,181
it'd be better if you hadn't asked
the question in the first place.
341
00:21:46,264 --> 00:21:49,350
And if you ask the actors
what they think the film is about,
342
00:21:49,434 --> 00:21:53,104
all they can tell you is what they thought
of the lines that they were reading.
343
00:21:53,188 --> 00:21:55,523
They're just plugged into just one line.
344
00:21:55,607 --> 00:21:59,360
Ifthere's a line like "come on, sport,"
you know, "give me a chance"...
345
00:21:59,444 --> 00:22:01,446
You know, some banal piece like that,
346
00:22:01,529 --> 00:22:03,948
they can say,
"well, I didn't think that line was good.
347
00:22:04,032 --> 00:22:06,701
I mean, I would have, you know —
I would have liked to...
348
00:22:06,784 --> 00:22:08,870
To have read it differently
with a different line."
349
00:22:08,953 --> 00:22:11,039
So they really don't know
what's happening either.
350
00:22:11,122 --> 00:22:14,542
Now we've been working
on this thing for, like, four days.
351
00:22:14,626 --> 00:22:17,420
And we've all been, you know,
more or less, uh,
352
00:22:17,504 --> 00:22:20,465
near where the action was taking place.
353
00:22:20,548 --> 00:22:26,262
So we are the only people who can really
sort of function like a chorus, you know,
354
00:22:26,346 --> 00:22:29,516
to figure out
what we're actually doing here.
355
00:22:29,599 --> 00:22:31,518
I think it's our obligation to function.
356
00:22:31,601 --> 00:22:34,062
I think that this point
has been well established now.
357
00:22:34,145 --> 00:22:35,772
Right.
358
00:22:35,855 --> 00:22:40,360
Um, uh, the question was asked to me
this morning, as a matter of fact...
359
00:22:40,443 --> 00:22:44,280
I believe, uh, Phil,
uh, you asked me something about
360
00:22:44,364 --> 00:22:47,367
what did I think about
what was gonna happen tonight?
361
00:22:47,784 --> 00:22:50,012
- When we stood outside over by the truck?
- —Tonight?
362
00:22:50,036 --> 00:22:53,331
Yeah. And I told you to save it
till tonight. You had some opinions.
363
00:22:53,414 --> 00:22:55,291
What were your opinions
about bill greaves?
364
00:22:57,210 --> 00:22:58,878
Well, number one, I don't...
365
00:22:58,962 --> 00:23:02,882
Uh, he doesn't know how to direct.
He's into blocking.
366
00:23:04,300 --> 00:23:07,136
That's all he does.
He sits down, and he gives movement.
367
00:23:08,137 --> 00:23:13,309
Um, after reading about something
about what his film is based on,
368
00:23:13,393 --> 00:23:16,813
he's not doing anything
which he — he has put down on paper.
369
00:23:17,230 --> 00:23:19,899
There's no communication
between him and the actor...
370
00:23:19,983 --> 00:23:22,360
Have you read the presentation
plus the script?
371
00:23:22,443 --> 00:23:24,237
- Uh, yes.
- Oh, so you know
372
00:23:24,320 --> 00:23:27,991
- more about what's in his mind than I do.
- Maybe. Yes.
373
00:23:28,074 --> 00:23:30,368
- From a technical point.
- —Has he talked with you?
374
00:23:30,451 --> 00:23:33,079
- No, he hasn't.
- Huh.
375
00:23:33,162 --> 00:23:35,498
What is —
Instead of looking at it this way,
376
00:23:35,582 --> 00:23:40,420
instead of, uh, commenting on the goodness
or badness of bill's direction...
377
00:23:41,963 --> 00:23:44,674
Maybe it would be more useful
to talk about how interesting
378
00:23:44,757 --> 00:23:46,217
the non-direction is.
379
00:23:46,301 --> 00:23:48,341
Because it doesn't make any difference
at this point
380
00:23:48,386 --> 00:23:50,305
whether bill's direction is good or bad.
381
00:23:50,388 --> 00:23:53,349
Bill's direction has enabled us
to sit here and talk like this,
382
00:23:53,433 --> 00:23:56,394
has compelled us even
to be interested this way.
383
00:23:56,477 --> 00:23:58,938
And so it's really his non-direction
that interests us.
384
00:23:59,022 --> 00:24:02,817
Right. Let's make one thing clear.
I mean, before we go any further.
385
00:24:02,900 --> 00:24:05,612
I mean, this is a note, you know,
sort of to bill...
386
00:24:05,695 --> 00:24:07,780
You know, when you watch this, bill...
387
00:24:07,864 --> 00:24:10,533
And to anybody else out there
who may be watching it too
388
00:24:10,617 --> 00:24:12,910
if he decides to put this into the film.
389
00:24:13,328 --> 00:24:18,666
Um, we are not trying to take the film
away from bill greaves.
390
00:24:18,750 --> 00:24:20,561
- No. Just for two hours.
- I disagree.
391
00:24:20,585 --> 00:24:24,297
Well, for two hours. All right.
But he's got the choice to, you know,
392
00:24:24,380 --> 00:24:28,259
uh, to edit any —
This stuff any way he wants.
393
00:24:28,343 --> 00:24:30,845
So, uh, so we're not, you know...
394
00:24:30,928 --> 00:24:33,723
It's not like we got together
to rape the director.
395
00:24:33,806 --> 00:24:34,807
Right.
396
00:24:34,891 --> 00:24:36,017
- —All right?
- I disagree.
397
00:24:36,100 --> 00:24:39,270
- You think we are doing that?
- —no. I think the basic premise is wrong,
398
00:24:39,354 --> 00:24:44,942
because I think that a director's film
is — is his mind, photographing the world.
399
00:24:45,026 --> 00:24:46,986
And I think if you say
400
00:24:47,070 --> 00:24:50,698
that you're gonna show him what's in
his mind or what ought to be in his mind,
401
00:24:50,782 --> 00:24:54,994
then — then you're — you're taking away
a director's film from the director.
402
00:24:55,078 --> 00:24:58,039
- He doesn't have to use any of this.
- No, he doesn't.
403
00:24:58,122 --> 00:25:01,167
But to clarify the action.
404
00:25:01,250 --> 00:25:03,836
The word used was "rape."
405
00:25:03,920 --> 00:25:06,214
I think the thing in our minds
is we wonder
406
00:25:06,297 --> 00:25:08,424
if the director
knows what's in his own mind.
407
00:25:08,508 --> 00:25:09,509
We don't know.
408
00:25:09,592 --> 00:25:11,070
We have to allow him
that privilege.
409
00:25:11,094 --> 00:25:14,847
Or I would say that, if I were a director,
I would like to be allowed the privilege.
410
00:25:14,931 --> 00:25:17,767
We are not trying to tell
the director what's in his own mind.
411
00:25:17,850 --> 00:25:19,811
I think the director had this in mind.
412
00:25:19,894 --> 00:25:23,356
Don't you see? This is a movie where
the director plays a different role,
413
00:25:23,439 --> 00:25:25,274
it seems to me, than in other movies.
414
00:25:25,358 --> 00:25:29,445
Here's a director who sets up a situation,
brings a crew of people who can think
415
00:25:29,529 --> 00:25:32,490
and doesn't tell them what's gonna happen
and does exactly what Phil says.
416
00:25:32,573 --> 00:25:36,619
Let's take that for what it is and say
that it leads to our participation in it.
417
00:25:36,703 --> 00:25:38,621
Right.
418
00:25:38,705 --> 00:25:42,542
In this sense we're not raping
bill or telling him what's in his mind.
419
00:25:42,625 --> 00:25:44,544
We are doing our function.
420
00:25:44,627 --> 00:25:46,629
- Our function in the film.
- —That's right.
421
00:25:46,713 --> 00:25:50,091
- Which is what?
- —Do what we're doing. This here.
422
00:25:50,174 --> 00:25:52,260
That it must have taken, you know,
423
00:25:52,343 --> 00:25:54,512
some real great inner need,
424
00:25:54,595 --> 00:26:00,226
whether or not bill is capable or cares to
articulate it consciously, all right?
425
00:26:00,309 --> 00:26:03,062
That nobody would come up
with such a crazy idea for a film.
426
00:26:03,146 --> 00:26:05,773
All right. Barbara, you want
to move out of there?
427
00:26:06,524 --> 00:26:10,278
What's the situation with, uh, Roland?
I mean, will he always be over...
428
00:26:10,361 --> 00:26:13,823
- He's doing the job of three people.
- That's what I want to know, because I...
429
00:26:13,906 --> 00:26:15,158
-He can't do it all. —no.
430
00:26:15,241 --> 00:26:17,535
But if Roland is gonna do the job
of three people...
431
00:26:17,618 --> 00:26:20,747
All the magazines — all the magazines
should have a piece of tape on them.
432
00:26:20,830 --> 00:26:24,584
Every magazine. And three magazines
should be assigned to each camera.
433
00:26:24,667 --> 00:26:25,668
Yeah. Fine. —all right?
434
00:26:25,752 --> 00:26:28,087
And on the piece
of gaffer tape on the magazine,
435
00:26:28,171 --> 00:26:30,214
- you write what roll number you're at.
- Right.
436
00:26:30,298 --> 00:26:33,926
If it goes back to Roland and lies around,
he'll always know which one it belongs to.
437
00:26:34,010 --> 00:26:37,680
Yeah. But what I'm suggesting now is that
Roland be put in charge of all equipment.
438
00:26:37,764 --> 00:26:40,266
-And not —
—and not, uh — well, wait a minute.
439
00:26:40,349 --> 00:26:44,562
- Who's gonna do your thing?
- —um — no. All right.
440
00:26:44,645 --> 00:26:47,815
What we'll have to do is have Roland in
charge of the equipment in the mornings.
441
00:26:47,899 --> 00:26:50,276
Before we come
and see that everything's sorted out.
442
00:26:50,359 --> 00:26:52,904
- Once we get everything — today.
- Yeah. No. I'm just...
443
00:26:52,987 --> 00:26:56,324
First day. When we get everything
sorted out, you won't have any problems.
444
00:26:56,407 --> 00:26:59,368
- —We're exploring the problems.
- The magazines haven't been marked yet.
445
00:26:59,452 --> 00:27:01,496
When they get marked,
you won't have any difficulty.
446
00:27:01,579 --> 00:27:04,624
- Uh, I don't understand your—
- All right.
447
00:27:04,707 --> 00:27:07,752
I mean,
I understand your unwillingness...
448
00:27:07,835 --> 00:27:10,355
We can go over here.
Let's take these chairs over here.
449
00:27:10,379 --> 00:27:13,424
To change the tape every time
you change a magazine.
450
00:27:13,508 --> 00:27:15,885
You got a lot of empty reels.
451
00:27:15,968 --> 00:27:19,847
We have established that
as a convention for the editing. So...
452
00:27:19,931 --> 00:27:22,391
- Doesn't matter.
- —Othennise we'll lose time like mad.
453
00:27:22,475 --> 00:27:25,436
- He has to run all that off.
- Unless — unless
454
00:27:25,520 --> 00:27:28,981
there's something happening
that is fantastic, you know,
455
00:27:29,065 --> 00:27:32,985
where you do a 10-second magazine change,
and you must have that sound guy...
456
00:27:33,069 --> 00:27:34,669
- I can do that fast.
- —all right?
457
00:27:34,695 --> 00:27:38,282
Unless something like that is happening,
then — and only then...
458
00:27:38,366 --> 00:27:42,662
You know, run on — you know, run
a second magazine onto the same tape roll.
459
00:27:42,745 --> 00:27:45,873
- Othennise, keep them separate. Okay?
- All right. Very good.
460
00:27:46,833 --> 00:27:48,668
What are you doing? Want a slate?
461
00:27:49,627 --> 00:27:53,005
- I'm slated.
- —huh? It is. You want — hmm?
462
00:27:53,089 --> 00:27:55,842
We don't need you, Bob rosen.
We don't need you.
463
00:27:55,925 --> 00:27:57,677
I don't know where you are,
mister,
464
00:27:57,760 --> 00:28:02,390
but I do know I — I just want you
to get right out of my life.
465
00:28:03,766 --> 00:28:07,186
You have been killing my babies
one right after the other,
466
00:28:07,270 --> 00:28:09,564
and you want me to believe in you?
467
00:28:09,647 --> 00:28:13,067
All right. Now — now don't you think
that I want to have children too?
468
00:28:13,150 --> 00:28:16,529
All right? But I, uh —
But I want us to, uh...
469
00:28:16,612 --> 00:28:20,157
-Uh, to be right before we start having —
—bullshit! That's a lot of bullshit!
470
00:28:21,450 --> 00:28:24,537
All I've known is I have had abortion
after abortion after abortion
471
00:28:24,620 --> 00:28:26,539
ever since we've been married.
472
00:28:26,622 --> 00:28:29,000
And I'm —
I'm just putting an end to all of that.
473
00:28:29,083 --> 00:28:31,210
I mean, you've ruined my health
because you're sick.
474
00:28:31,294 --> 00:28:34,005
Okay. All right. Fine.
But you're not gonna destroy me.
475
00:28:34,088 --> 00:28:35,548
Now, Alice...
476
00:28:35,631 --> 00:28:38,759
Every time you've had sex with me,
it's as though you've raped me.
477
00:28:38,843 --> 00:28:42,513
You know, I'm not some kind of a whore
that you just go and get your kicks in.
478
00:28:43,014 --> 00:28:44,724
I mean, who wouldn't be cold and frigid
479
00:28:44,807 --> 00:28:48,185
with somebody coming on like a goddamn
fucking little Nazi storm trooper?
480
00:28:48,269 --> 00:28:50,062
Lookit, I...
481
00:28:50,146 --> 00:28:52,690
All right. Uh, okay.
482
00:28:52,773 --> 00:28:54,293
This is a pretty long scene, isn't it?
483
00:28:54,358 --> 00:28:55,860
No kiddin', dad.
484
00:28:55,943 --> 00:29:00,323
Wow. You're gonna have to have
movement in sections too unless...
485
00:29:00,406 --> 00:29:03,743
- I guess not when you shoot like this.
- —well, yeah. No, uh...
486
00:29:03,826 --> 00:29:06,621
'Cause I was thinking in terms
of light setups and everything else.
487
00:29:06,704 --> 00:29:08,998
The important thing —
The important thing is that you...
488
00:29:09,081 --> 00:29:10,875
And you can do anything you want.
489
00:29:10,958 --> 00:29:13,961
I mean, because, see, we're absolutely
disconnected from everything.
490
00:29:14,045 --> 00:29:15,922
This is the beauty
of this kind of shooting.
491
00:29:16,005 --> 00:29:17,757
You don't have to worry about a thing.
492
00:29:17,840 --> 00:29:22,720
You just do your thing.
All of these guys are absolutely geared
493
00:29:22,803 --> 00:29:26,766
to function in terms of the reality
that's happening at that moment.
494
00:29:26,849 --> 00:29:31,103
They're not —
They're not in any way, um, uh,
495
00:29:31,187 --> 00:29:34,899
dependent, you know,
on something being lined up properly.
496
00:29:34,982 --> 00:29:36,984
They'll — they'll get it.
Don't worry about it.
497
00:29:37,068 --> 00:29:42,949
You just go ahead and do, you know,
whatever it is that is organic to you
498
00:29:43,032 --> 00:29:45,159
and organic to the moment for you.
499
00:29:45,242 --> 00:29:46,744
You know what I mean?
500
00:29:46,827 --> 00:29:48,913
Well, we'll just do it section by section.
501
00:29:48,996 --> 00:29:51,749
But by the end of the day,
what I would like to do,
502
00:29:52,291 --> 00:29:55,336
really, is run the whole thing nonstop,
you know.
503
00:29:55,419 --> 00:29:58,631
'Cause you will have committed it.
Don't you think so, pat?
504
00:29:59,590 --> 00:30:01,258
Right.
505
00:30:01,342 --> 00:30:04,363
If we do it section by section,
we'll kill two birds with one stone.
506
00:30:04,387 --> 00:30:08,224
On the one hand, we'll be able
to make sure that we've got each sequence
507
00:30:08,307 --> 00:30:10,226
to, in a sense, our satisfaction.
508
00:30:10,309 --> 00:30:12,895
Then at the end of the day,
we'll run the whole thing,
509
00:30:12,979 --> 00:30:15,356
uh, completely nonstop.
510
00:30:15,439 --> 00:30:17,900
You know, with all the cameras,
everything going at once.
511
00:30:17,984 --> 00:30:19,986
And then we'll see what happens? Okay.
512
00:30:29,578 --> 00:30:30,663
Alice.
513
00:30:32,456 --> 00:30:34,750
-Alice, wait a minute. —no.
514
00:30:36,752 --> 00:30:38,713
-Alice, come on. Come on. —no.
515
00:30:38,796 --> 00:30:40,673
- Come on.
- Don't touch me.
516
00:30:42,383 --> 00:30:45,803
Alice, for Christ's sake,
what is eating you?
517
00:30:47,596 --> 00:30:50,307
Boy, just how stupid do you think I am?
518
00:30:50,391 --> 00:30:52,143
What are you talking about?
519
00:30:53,185 --> 00:30:55,813
You know perfectly well
what I'm talking about.
520
00:31:04,071 --> 00:31:05,781
Iwish—I...
521
00:31:06,574 --> 00:31:11,037
I wish you would just tell me what is...
Bothering you.
522
00:31:13,539 --> 00:31:15,875
- What's so funny?
- You're so funny.
523
00:31:15,958 --> 00:31:19,503
That's what's so funny.
You're really a very funny man.
524
00:31:24,425 --> 00:31:29,221
Alice, uh, you really
have me foxed. You know that?
525
00:31:33,642 --> 00:31:37,563
Why don't you just...
Get out of my life, huh?
526
00:31:37,646 --> 00:31:41,067
Just once and for all, permanently.
Just get out of my life.
527
00:31:42,777 --> 00:31:43,986
Oh, come on.
528
00:31:46,572 --> 00:31:49,909
Look. Will you stop acting?
Come on.
529
00:31:54,830 --> 00:31:58,959
Look. For the last time, will you please
tell me what is bugging you?
530
00:31:59,043 --> 00:32:01,378
No. You tell me what is...
531
00:32:01,462 --> 00:32:04,465
Or better yet, who is bugging you.
532
00:32:09,136 --> 00:32:11,097
You're certainly talking in circles.
533
00:32:11,180 --> 00:32:14,016
Am I really? Am I really?
534
00:32:14,100 --> 00:32:16,602
Well, just how much of a phony can you be?
535
00:32:18,270 --> 00:32:23,109
Look. I don't have to stay here
and listen to these hysterics, you know.
536
00:32:23,192 --> 00:32:27,154
You could at least have the courtesy
to tell me what is going on.
537
00:32:27,238 --> 00:32:30,574
You know, I've really just put up
with your escapades long enough.
538
00:32:30,658 --> 00:32:33,035
I really have. I've just about had it.
539
00:32:38,165 --> 00:32:42,962
You — you don't even have the —
The courtesy to tell me what's going on.
540
00:32:43,045 --> 00:32:44,964
I am a woman.
541
00:32:45,381 --> 00:32:47,133
And?
542
00:32:47,216 --> 00:32:50,302
I am a woman, Freddie. I am not a fool.
543
00:32:51,720 --> 00:32:55,266
And if you think I'm gonna
stand around like some idiot
544
00:32:55,349 --> 00:32:58,769
with egg on my face
while you play your friggin' games,
545
00:32:58,853 --> 00:33:00,563
you've got another thing coming.
546
00:33:01,188 --> 00:33:02,898
What? I...
547
00:33:04,358 --> 00:33:09,655
I saw you. I saw you looking at him...
And I saw him looking at you.
548
00:33:09,738 --> 00:33:12,658
- I saw that whole thing.
- H-Him? What-what...
549
00:33:12,741 --> 00:33:15,870
That's right. Him. That's right. Him. Him.
550
00:33:16,412 --> 00:33:19,874
A little faggot
that everybody knows all about.
551
00:33:22,168 --> 00:33:25,004
Alice, what are you, some kind of nut?
552
00:33:25,963 --> 00:33:28,549
Look now. I have put up
553
00:33:29,216 --> 00:33:32,261
with your escapades long enough.
554
00:33:33,304 --> 00:33:36,891
- I mean, I saw you two just —
-Cut. Sorry.
555
00:33:36,974 --> 00:33:40,019
Uh, we — we ran out of film there.
556
00:33:40,102 --> 00:33:42,021
Uh, do you want to, uh — well.
557
00:33:42,104 --> 00:33:45,691
Um, what we'll do is pick it up again.
—all right.
558
00:33:45,774 --> 00:33:47,484
- We ran out of film there.
- —all right.
559
00:33:47,568 --> 00:33:52,031
-And then you got the squad car. You got —
-we got the squad car, which is all right.
560
00:33:52,114 --> 00:33:53,754
- —There's nothing wrong with that.
- Uh _
561
00:33:54,825 --> 00:33:57,369
So we'll, uh, pick this up from here.
—okay.
562
00:33:57,453 --> 00:34:01,165
Um, how do you, uh — how do you, uh...
563
00:34:01,248 --> 00:34:04,293
How do you feel about the scene
since you've, uh,
564
00:34:04,376 --> 00:34:08,589
you know, done it the last time?
565
00:34:08,672 --> 00:34:10,591
I mean,
have any thoughts come to mind?
566
00:34:10,674 --> 00:34:11,717
Anything about that...
567
00:34:11,800 --> 00:34:15,221
- —I feel I want to — I want her lower.
- Huh?
568
00:34:15,304 --> 00:34:17,765
I want her lower. —lower?
569
00:34:17,848 --> 00:34:23,395
Yeah. I want her, uh — I felt there was —
I was doing too much overacting last time.
570
00:34:23,479 --> 00:34:25,731
And, you know.
571
00:34:25,814 --> 00:34:28,525
- You felt it was too broad.
- I need more — I need more time.
572
00:34:28,609 --> 00:34:30,819
- —Yeah.
- I need lots of time.
573
00:34:30,903 --> 00:34:33,739
And that's why I'm trying to —
—yeah. Take your time. Okay.
574
00:34:33,822 --> 00:34:36,450
- Just — and I have a tendency to rush.
- —mm—hmm.
575
00:34:36,533 --> 00:34:38,869
-I've always had that. —mm—hmm.
576
00:34:38,953 --> 00:34:41,956
- Plain old insecurity. That's all, baby.
- —oh, listen, honey.
577
00:34:42,039 --> 00:34:45,501
Well, you're also conscious
of film going. See?
578
00:34:45,584 --> 00:34:48,629
That's the — when you rehearse
there's no film, and you suddenly hear
579
00:34:48,712 --> 00:34:51,215
the clickety, clickety, clickety,
clickety, clickety click.
580
00:34:51,298 --> 00:34:53,509
- I don't.
- I do. I sure as hell do.
581
00:34:53,592 --> 00:34:57,179
- How do you feel, uh, Don?
- I'd just like to act better. That's all.
582
00:34:57,263 --> 00:35:01,058
That's my problem.
583
00:35:01,141 --> 00:35:03,769
Well, uh...
584
00:35:03,852 --> 00:35:07,273
Do you feel that you're more,
uh, in just the short...
585
00:35:07,356 --> 00:35:09,793
- Yeah. I feel better. I feel much better.
- Do you feel more comfortable about it?
586
00:35:09,817 --> 00:35:11,819
- Uh-huh.
- —you feel more involved in the...
587
00:35:11,902 --> 00:35:13,904
Mm—hmm. —um...
588
00:35:14,905 --> 00:35:17,741
I don't feel more involved.
I feel more comfortable.
589
00:35:17,825 --> 00:35:19,702
I would like to get more involved.
590
00:35:20,369 --> 00:35:22,788
It'd be nice to start
all over again if we could,
591
00:35:22,871 --> 00:35:24,915
because that was kind of
rehearsal time, I think.
592
00:35:24,999 --> 00:35:26,959
- Yeah. Okay.
- —And it was...
593
00:35:27,042 --> 00:35:28,377
Want to run it from the top?
594
00:35:28,460 --> 00:35:32,381
I was trying to space it and figure
where I'd catch her here. And, uh...
595
00:35:33,841 --> 00:35:36,302
I would basically
play it in this direction.
596
00:35:36,385 --> 00:35:39,513
Is there any danger of stuff
being up there but nobody there?
597
00:35:39,596 --> 00:35:43,517
How about bringing the tripod in closer
so we can get a closer look on them?
598
00:35:43,600 --> 00:35:45,561
But nobody's watching, I don't think.
599
00:35:45,644 --> 00:35:48,647
I know what you got. I saw —
I saw how close you could get.
600
00:35:48,731 --> 00:35:52,026
- I get more than a full head.
- —yeah. I know.
601
00:35:52,109 --> 00:35:53,962
- —Yeah.
- But if you came a little closer...
602
00:35:53,986 --> 00:35:56,530
There's no Mike on bill, man.
Where's that Mike?
603
00:36:12,004 --> 00:36:13,339
No, but it's kind of...
604
00:36:15,424 --> 00:36:19,636
It was kind of funny. I — she kept wanting
to get together and rehearse.
605
00:36:20,471 --> 00:36:22,598
And I kept — and so I'd say, "okay."
606
00:36:22,681 --> 00:36:25,768
And then we'd have some time,
and then she would change it.
607
00:36:26,185 --> 00:36:30,564
So I finally said — "well," I said,
"Thursday morning we'll get together
608
00:36:30,981 --> 00:36:34,234
and we'll run lines the way you do
when you're on a soap opera."
609
00:36:34,818 --> 00:36:38,322
And pat said, "I don't do soap operas."
610
00:36:41,408 --> 00:36:45,788
So, it's a good thing to be independently
wealthy. That's all I got to say.
611
00:36:47,206 --> 00:36:48,749
A good thing.
612
00:36:49,958 --> 00:36:51,718
- —Slate me. All right.
- Yeah. Please.
613
00:36:51,794 --> 00:36:53,712
Here we go. Go on, Don.
614
00:36:53,796 --> 00:36:55,339
- —What?
- You are being used.
615
00:36:55,422 --> 00:36:57,716
Oh. As what?
616
00:36:57,800 --> 00:36:59,760
- A slate.
- As a slate?
617
00:37:00,636 --> 00:37:03,555
Okay. Now what are we —
What'll I do? What'll I say?
618
00:37:05,432 --> 00:37:07,017
- Why? Are you taping that?
- Sure.
619
00:37:07,101 --> 00:37:09,395
- You dirty rat.
- We tape everything.
620
00:37:09,478 --> 00:37:12,439
Oh, Jesus Christ. Don't you dare.
621
00:37:12,523 --> 00:37:14,817
Oh, that would be unbelievable.
622
00:37:14,900 --> 00:37:18,278
The thing is that it's not
like Edward albee, you know.
623
00:37:18,362 --> 00:37:20,042
- Just hold it one second.
- —what?
624
00:37:20,322 --> 00:37:23,325
- —Four, roll two. Go on.
- Right.
625
00:37:23,409 --> 00:37:25,035
It's not like Edward albee.
626
00:37:25,119 --> 00:37:28,664
I mean, Edward albee writes, you know,
who is afraid of Virginia woolf?
627
00:37:28,747 --> 00:37:32,334
And George and Martha
are superdramatic people
628
00:37:32,418 --> 00:37:34,336
who are given lines
that are brilliant lines.
629
00:37:34,420 --> 00:37:36,689
- That's good writing.
- —fantastically brilliant. That's right.
630
00:37:36,713 --> 00:37:38,841
This is not good writing.
—this is bad writing.
631
00:37:38,924 --> 00:37:42,761
This script is not good writing, and
I think that has everything to do with it.
632
00:37:42,845 --> 00:37:46,265
Exactly. We're not in a dramatic bag here.
We're somewhere else.
633
00:37:46,348 --> 00:37:50,978
On the other hand, human life
isn't necessarily well written, you know.
634
00:37:51,061 --> 00:37:53,564
- Excuse me?
- —human life isn't well written.
635
00:37:53,647 --> 00:37:56,292
Right. That's right. That's the whole
point. That's the whole point.
636
00:37:56,316 --> 00:37:59,611
Here we're confronted with
one of the ultimate banalities of life.
637
00:38:00,696 --> 00:38:04,324
And a pair of actors
says this ultimate banality.
638
00:38:04,408 --> 00:38:07,953
And bill has given them these lines
to play in the first place,
639
00:38:08,537 --> 00:38:11,915
um, and then tells them how to say it,
640
00:38:12,583 --> 00:38:15,794
um, and the actors
try to find the meaning in it.
641
00:38:15,878 --> 00:38:19,756
Now, I look at it this way.
I see every American man
642
00:38:19,840 --> 00:38:22,968
at some time in his life, saying
these lines to every American woman.
643
00:38:23,051 --> 00:38:25,179
Every American woman says it
to every American man.
644
00:38:25,262 --> 00:38:27,514
And where are we?
Nothing changes. Nothing is revealed.
645
00:38:28,265 --> 00:38:31,226
And it's as if these lines were planted
in their heads when they were born.
646
00:38:31,310 --> 00:38:34,771
If they knew when they were three days old
that one day they'd say to their wives,
647
00:38:34,855 --> 00:38:36,648
"you're cutting my balls off."
648
00:38:36,732 --> 00:38:40,027
And then every woman knew,
when she was a little girl, that someday...
649
00:38:40,110 --> 00:38:43,113
Here's this line in her head, um...
650
00:38:43,197 --> 00:38:46,408
You're, uh — you're — you're ineffectual.
Some variety of "ineffectual."
651
00:38:46,492 --> 00:38:49,161
- You're a faggot, or —
- "You can't allow me to be a woman."
652
00:38:49,244 --> 00:38:52,789
You're a faggot, you're weak, you're this,
you're that. It's doomed to happen.
653
00:38:52,873 --> 00:38:55,834
Uh, so, h—h—here's bill.
654
00:38:55,918 --> 00:38:58,229
He's the director.
And this is the sense — he's the director.
655
00:38:58,253 --> 00:39:02,007
He writes this dialogue and hands it
to poor Freddie and poor Alice.
656
00:39:02,090 --> 00:39:03,967
But what —
Yeah, but what throws me is that
657
00:39:04,051 --> 00:39:06,970
he's, in a sense,
written himself a part in the film,
658
00:39:07,054 --> 00:39:09,973
and as soon as you turn the camera on,
he turns on.
659
00:39:10,057 --> 00:39:12,142
I think I said to you —
—Turns off?
660
00:39:12,226 --> 00:39:15,062
Turns on. And he's like a bad actor.
He turns on.
661
00:39:15,145 --> 00:39:17,856
And he doesn't turn off into
his natural self till the camera stops.
662
00:39:17,940 --> 00:39:21,151
This throws me every time,
because there's bill throwing lines away...
663
00:39:21,235 --> 00:39:25,531
But bill thinks of himself as an actor.
664
00:39:25,614 --> 00:39:28,534
Bill is an actor.
He's gonna protect his actors.
665
00:39:28,617 --> 00:39:31,036
I think bill is a bad actor...
—that's immaterial.
666
00:39:31,119 --> 00:39:34,079
And somehow he's trying to live out
his actors' lives through this film.
667
00:39:34,122 --> 00:39:36,002
- But bill acts off camera too.
- —I know.
668
00:39:36,083 --> 00:39:38,335
That's one of the strange things
about this film.
669
00:39:38,418 --> 00:39:39,812
He's a better actor off camera than on.
670
00:39:39,836 --> 00:39:43,048
When he comes on to people
and he says, you know...
671
00:39:43,131 --> 00:39:45,092
And he says, you know, something like,
672
00:39:45,175 --> 00:39:48,470
"hello, my boy! How are you doing? Hmm?
673
00:39:48,554 --> 00:39:53,600
Genius! Beautiful thing you did there!
Fantastic!" You know?
674
00:39:53,684 --> 00:39:55,894
I mean, that's acting.
But this is the way...
675
00:39:55,978 --> 00:39:57,980
Bill comes right through that!
676
00:39:58,063 --> 00:40:00,983
But — but...
677
00:40:01,066 --> 00:40:05,028
But that's the way he does that,
and he's acting even then.
678
00:40:05,112 --> 00:40:08,740
It's like somewhere
the director is hiding. You know?
679
00:40:08,824 --> 00:40:13,579
And I think he's making this film,
you know, to get it out into the open,
680
00:40:13,662 --> 00:40:17,249
that he has, in some way,
some kind of need to find out
681
00:40:17,332 --> 00:40:22,045
where the line of his acting
and everybody else's acting, you know...
682
00:40:22,129 --> 00:40:24,339
I mean, where that drops off,
683
00:40:24,423 --> 00:40:27,134
where it stops, you know, being — doing...
684
00:40:27,217 --> 00:40:32,139
Doing things because — because —
Because, um — because a certain...
685
00:40:32,222 --> 00:40:35,142
You know, giving somebody a certain
reaction because it's called for,
686
00:40:35,225 --> 00:40:37,894
because he needs to get something
out of them — you know,
687
00:40:37,978 --> 00:40:40,272
where you pass beyond
that line of manipulation
688
00:40:40,355 --> 00:40:42,566
to where you're just being yourself.
689
00:40:42,649 --> 00:40:46,069
When bill is himself, he's very,
very quiet. He doesn't do that at all.
690
00:40:46,153 --> 00:40:48,572
What does that have to do with this film?
691
00:40:48,655 --> 00:40:51,533
Well, I think this is one of the reasons
why he's making the film.
692
00:40:51,617 --> 00:40:53,702
Come on! Come on! Come on!
693
00:40:53,785 --> 00:40:55,954
Come on.
We're gonna have a picture, folks.
694
00:40:56,830 --> 00:40:59,124
It's hard to believe,
but it's gonna happen.
695
00:40:59,207 --> 00:41:04,463
Come along. Come along.
Actors, please. Places, please.
696
00:41:04,546 --> 00:41:09,593
Jonathan. Mr. Larner, your presence
is desperately requested.
697
00:41:09,676 --> 00:41:11,553
Uh, okay.
698
00:41:12,512 --> 00:41:14,890
Listen, are we making a movie,
or are we not?
699
00:41:14,973 --> 00:41:16,767
Did you get that?
700
00:41:18,435 --> 00:41:22,397
Incidentally, look —
Listen. My microphone didn't...
701
00:41:22,481 --> 00:41:26,777
- —This is camera "c, ' roll three.
- Nobody cares.
702
00:41:26,860 --> 00:41:28,987
Sy's always in the fucking way.
703
00:41:29,071 --> 00:41:31,990
This is the class picture here.
704
00:41:32,074 --> 00:41:33,992
Sy's safari outfit.
705
00:41:34,076 --> 00:41:36,703
Now, what is it you want to know about me?
706
00:41:36,787 --> 00:41:39,915
Well, you wanted to say
a few words for George Wallace.
707
00:41:48,674 --> 00:41:51,385
I was stamping.
—listen, uh, Terry, incidentally,
708
00:41:51,468 --> 00:41:54,388
this afternoon, uh, after lunch,
709
00:41:54,471 --> 00:41:57,891
we have the camp version of this picture
710
00:41:57,974 --> 00:42:01,103
starring you and Jonathan
in the leading roles.
711
00:42:01,186 --> 00:42:02,813
Steve, do you need a slate?
712
00:42:02,896 --> 00:42:05,816
Camp version?
I thought that's what I was doing now.
713
00:42:05,899 --> 00:42:07,818
Um...
714
00:42:07,901 --> 00:42:10,612
Why don't you move it.
Move it closer.
715
00:42:10,696 --> 00:42:13,448
Where am I coming from?
—to my right.
716
00:42:13,532 --> 00:42:17,369
-Yeah. If she says —
-now, wait a minute. Don is gonna be here.
717
00:42:17,452 --> 00:42:20,332
That's right. That's what always happens
to the man — back to the camera.
718
00:42:20,372 --> 00:42:22,791
No, you know there'll be
a camera over there.
719
00:42:22,874 --> 00:42:25,711
Isn't there somebody my size
who could just wear the jacket?
720
00:42:25,794 --> 00:42:29,214
I'll phone the dialogue in.
721
00:42:29,297 --> 00:42:33,468
- Oh, these super commercial stars, huh?
- —Now, how can I say — that's right.
722
00:42:33,552 --> 00:42:35,887
Now, where's the product that I hold?
723
00:42:35,971 --> 00:42:38,557
Gee, if I don't have a product,
I'm helpless.
724
00:42:38,640 --> 00:42:40,559
That's what she's complaining about.
725
00:42:40,642 --> 00:42:42,060
Okay, now, um...
726
00:42:42,144 --> 00:42:44,938
Every time I try and grab the product,
she says, "don't touch me."
727
00:42:45,021 --> 00:42:48,567
- Listen, I'm trying to direct a picture.
- —I'm sorry. Okay.
728
00:42:48,650 --> 00:42:51,361
You're quipping all the time, you see?
We're serious people.
729
00:42:51,445 --> 00:42:53,363
- —I know that.
- And you don't realize that.
730
00:42:54,364 --> 00:42:56,575
All right. —now?
731
00:42:56,658 --> 00:42:58,285
- —How now, brown cow?
- Speak up.
732
00:42:58,368 --> 00:43:01,288
- Why? What's the matter?
- —we're having trouble on her microphone.
733
00:43:01,371 --> 00:43:03,790
Are you?
—oh. Well, then we'll change microphones.
734
00:43:03,874 --> 00:43:05,514
- —No, no.
- Is that the same Mike that...
735
00:43:05,584 --> 00:43:08,211
Same thing. This morning,
I thought it was gone, but it's not.
736
00:43:08,295 --> 00:43:10,839
- Let me hear that.
- Is it taped properly?
737
00:43:11,506 --> 00:43:13,425
Is — is it taped on?
738
00:43:13,508 --> 00:43:15,677
Had the same problem this morning.
739
00:43:19,848 --> 00:43:23,393
- How now, brown cow? Can you hear me?
- She has a rattling rib cage.
740
00:43:23,477 --> 00:43:25,395
Can you hear me? —yeah.
741
00:43:25,479 --> 00:43:27,773
-Like that? —turn her off.
742
00:43:29,649 --> 00:43:32,569
All right, let's hear it.
Talk to Don.
743
00:43:32,652 --> 00:43:35,447
How now, brown cow?
—how brown, now now?
744
00:43:35,530 --> 00:43:37,449
This is the way the world runs — ends.
745
00:43:37,532 --> 00:43:40,452
This is the way the world ends —
Not with a bang, but a whimper.
746
00:43:40,535 --> 00:43:44,247
Now is the time for all good men
to come to the aid of their party.
747
00:43:48,043 --> 00:43:52,798
I — I could play it kinda like this,
and then she could talk into my Mike.
748
00:43:55,717 --> 00:43:58,428
- Did you get that?
- Let me speak to you a moment.
749
00:43:58,512 --> 00:44:02,140
I'm not sure I wanna speak to you!
750
00:44:04,226 --> 00:44:09,523
Listen, um, I think that, uh,
that, you know, you had the impulse
751
00:44:09,606 --> 00:44:14,444
to use certain things in relation to her
that turn you off.
752
00:44:14,528 --> 00:44:17,656
Do you know what I mean?
You started to move in that direction.
753
00:44:17,739 --> 00:44:21,117
- —I'm using her.
- All right, but let's explore it.
754
00:44:21,201 --> 00:44:23,161
Take my cock out and fiog her with it.
755
00:44:23,245 --> 00:44:26,164
- All right, but let's —
- You got that?
756
00:44:26,248 --> 00:44:30,168
No, let's use it much more fully.
757
00:44:30,252 --> 00:44:35,173
Don't inhibit yourself in this area.
Just — just explore physically what you...
758
00:44:35,257 --> 00:44:38,844
You know the thing that kinda bothers me,
that I'm bugged,
759
00:44:38,927 --> 00:44:45,517
and that is that I don't know
whether to play physically,
760
00:44:45,600 --> 00:44:49,980
uh, a, you know, bisexual,
like or...
761
00:44:50,063 --> 00:44:52,607
No, I'm being very serious.
762
00:44:52,691 --> 00:44:55,402
- No, n-n-no names, please.
- Oh, I see.
763
00:44:55,485 --> 00:44:57,696
I don't know whether to be
a little faggy...
764
00:44:57,779 --> 00:45:01,032
Yes. Right. —...Uh, or not.
765
00:45:01,116 --> 00:45:04,035
I have explored the kind of thing,
766
00:45:04,119 --> 00:45:07,372
and I don't know whether this is
a faggy fag or a butch fag.
767
00:45:07,455 --> 00:45:08,456
Yes.
768
00:45:08,540 --> 00:45:10,417
Whether it's a guy
that goes around and says,
769
00:45:10,500 --> 00:45:12,061
"All right, you sons of bitches,
770
00:45:12,085 --> 00:45:14,254
all right, you cock — you motherfuckers."
771
00:45:14,337 --> 00:45:16,631
You know, and it turns out he's a fag,
772
00:45:16,715 --> 00:45:20,635
because he's playing the masculinity thing
to such an extreme.
773
00:45:20,719 --> 00:45:22,304
- It's a joke.
- Yeah. Yeah.
774
00:45:22,387 --> 00:45:25,348
So I don't know whether to come in
with the chain and the black boots,
775
00:45:25,432 --> 00:45:30,937
or, uh — or to just play it, uh, straight.
776
00:45:31,021 --> 00:45:33,690
Which would you prefer to play?
What — what...
777
00:45:33,773 --> 00:45:36,234
Well, in a way, I, um...
778
00:45:36,318 --> 00:45:40,196
In a way, I'd like to be a closet fag.
779
00:45:40,280 --> 00:45:43,199
You know, the kind that nobody ever says.
780
00:45:43,283 --> 00:45:47,245
Like there are people that we know who,
since I now can't name names.
781
00:45:47,329 --> 00:45:51,750
And you finally say, "what? Come on!"
And you finally discover that it was true.
782
00:45:51,833 --> 00:45:53,752
Yeah. Right. Right.
783
00:45:53,835 --> 00:45:56,755
Well, let's play that.
Let's play that kind of a fag, you know.
784
00:45:56,838 --> 00:45:59,382
A closet fag. You know. Okay?
785
00:45:59,466 --> 00:46:03,094
Well, then I'll just go ahead
and I'll just play it straight then.
786
00:46:09,976 --> 00:46:12,187
Oh, that's too much.
787
00:46:12,270 --> 00:46:15,190
- —Okay. All right.
- Terry, I need another sync.
788
00:46:15,273 --> 00:46:17,400
If it's not going well,
I'm going to stop it.
789
00:46:17,484 --> 00:46:19,527
Do you know what I mean?
790
00:46:19,611 --> 00:46:22,781
It was going well.
That's all I can tell you.
791
00:46:22,864 --> 00:46:27,953
And I think you just have to... believe,
792
00:46:28,036 --> 00:46:31,456
uh, when I tell you that it's going well.
793
00:46:59,067 --> 00:47:02,529
Okay. All right, let's take it on
from this — this point.
794
00:47:02,612 --> 00:47:05,490
Um, Terry?
795
00:47:05,573 --> 00:47:10,412
Uh, we're gonna go on from, uh,
from the point where we were at.
796
00:47:10,495 --> 00:47:14,749
All right, take the freedom
to move around in this general area here,
797
00:47:14,833 --> 00:47:16,835
and let's take the basic situation.
798
00:47:17,460 --> 00:47:22,632
And, um —and, uh, improvise,
uh, on that basic situation.
799
00:47:22,716 --> 00:47:25,468
Okay. Kinda the same story line then, huh?
800
00:47:25,552 --> 00:47:28,138
- I think so. And see what happens.
- —okay.
801
00:47:29,305 --> 00:47:30,849
Oh, we're walking in?
802
00:47:30,932 --> 00:47:32,326
- No, you're already in.
- —we're in.
803
00:47:32,350 --> 00:47:36,021
We're already in? I'm trying to get in!
That's the problem with the whole scene.
804
00:47:39,983 --> 00:47:41,943
That's what clutters up the park. Officer!
805
00:47:42,027 --> 00:47:44,070
That's true. That's true.
806
00:47:44,154 --> 00:47:46,740
- Where are they when you need them?
- Would you believe that?
807
00:47:46,823 --> 00:47:49,534
And I'm talking about
those people throwing...
808
00:47:49,617 --> 00:47:51,786
- —Okay.
- You're absolutely right.
809
00:47:52,454 --> 00:47:54,831
Okay, let's settle down.
810
00:47:57,000 --> 00:47:59,586
- I gotta figure out something.
- Were you running...
811
00:47:59,669 --> 00:48:02,172
All right,
I'm gonna try something differently.
812
00:48:02,255 --> 00:48:03,381
Clap.
813
00:48:04,257 --> 00:48:07,177
That discussion is a discussion
between pat and Don.
814
00:48:07,260 --> 00:48:09,763
Don, clap your hands.
815
00:48:09,846 --> 00:48:11,347
We'll call action.
816
00:48:19,814 --> 00:48:22,484
Are you going home?
817
00:48:23,234 --> 00:48:24,986
From here? —yeah.
818
00:48:27,363 --> 00:48:29,365
Are you rolling? —yeah.
819
00:48:31,659 --> 00:48:34,954
Alice? Come on!
Can't you wait — wait a minute.
820
00:48:35,038 --> 00:48:36,247
- Wait a minute.
- I can't...
821
00:48:36,331 --> 00:48:38,666
- What?
- Just leave me alone. Okay?
822
00:48:39,084 --> 00:48:41,461
Just leave me alone.
823
00:48:42,295 --> 00:48:44,339
Well, the least you can do
is have the courtesy
824
00:48:44,422 --> 00:48:46,466
to tell me what's bugging you.
825
00:48:47,801 --> 00:48:49,552
All right? Come on.
826
00:48:50,637 --> 00:48:52,055
You know.
827
00:48:54,849 --> 00:48:57,769
Jesus Christ,
I thought once we get married,
828
00:48:57,852 --> 00:49:01,147
you know, you'd change and...
829
00:49:04,359 --> 00:49:09,197
You know, I really don't have any idea
what you're talking about, miss balls.
830
00:49:10,698 --> 00:49:14,327
Listen, you skinny little faggot.
831
00:49:14,410 --> 00:49:18,998
I am fed up —
I am absolutely fed up with this shit.
832
00:49:20,041 --> 00:49:22,752
Half the time we go out,
wherever we're going,
833
00:49:22,836 --> 00:49:26,005
-you're... trying to get with somebody.
—no — all right, give me an...
834
00:49:26,089 --> 00:49:27,757
- —Give me an example.
- Or on somebody.
835
00:49:27,841 --> 00:49:30,969
- I don't know what you boys do.
- —give me an example then. All right?
836
00:49:33,638 --> 00:49:35,431
You sure as hell
don't do anything with me.
837
00:49:36,891 --> 00:49:39,352
Oh! I what?
838
00:49:39,435 --> 00:49:41,813
- You heard it.
- No, I just wanna hear it again.
839
00:49:41,896 --> 00:49:44,774
- You heard it.
- And who stops me?
840
00:49:44,858 --> 00:49:48,945
- I never stop you.
- I-I can't even get started!
841
00:49:49,696 --> 00:49:52,448
-You stop every —
-that's your problem.
842
00:49:52,532 --> 00:49:54,784
You go see the head shrinker.
843
00:49:54,868 --> 00:49:57,704
- —I—I have, haven't I? Right?
- Mmm. Three sessions.
844
00:49:57,787 --> 00:50:00,290
Fine — oh, no, more than that.
More than you know about.
845
00:50:00,373 --> 00:50:02,375
- Five sessions.
- More than you know about.
846
00:50:02,458 --> 00:50:06,588
And all I can say is, it's about time
you started, 'cause you need it.
847
00:50:06,671 --> 00:50:11,092
Remember, the person who says the other
one is sick is always the sickest of all.
848
00:50:11,176 --> 00:50:13,678
- Ah.
- Ha! You're the fag.
849
00:50:13,761 --> 00:50:16,181
- —I am not.
- The fuck you're not, boy.
850
00:50:16,264 --> 00:50:19,225
That's something you keep hanging me with,
and I am not.
851
00:50:19,309 --> 00:50:23,021
- The hell you're not.
- I am not. You can't give me one example.
852
00:50:23,104 --> 00:50:25,732
- —I just did.
- Oh, no. You said something about today.
853
00:50:25,815 --> 00:50:27,126
I have no idea what you're talking about.
854
00:50:27,150 --> 00:50:29,402
I talked also about
the first year we were married.
855
00:50:29,485 --> 00:50:30,862
I'm talking about today.
856
00:50:30,945 --> 00:50:33,698
Chuck, Tim —
-you've already talked about that.
857
00:50:33,781 --> 00:50:36,409
- Oh! Oh! Oh! Oh! Oh! Oh!
- Tell me about today.
858
00:50:36,492 --> 00:50:39,162
- We talked about that. That's over with.
- —that's right.
859
00:50:39,245 --> 00:50:41,247
Yesterday you were a fag.
Today you're not.
860
00:50:41,331 --> 00:50:44,500
Tomorrow you're just going to fuck
the little rabbits or chipmunks
861
00:50:44,584 --> 00:50:45,585
here in the park.
862
00:50:45,668 --> 00:50:48,588
How about that, huh?
Why don't you try a mosquito next?
863
00:50:48,671 --> 00:50:52,175
- You are really sick.
- —you're damn right I'm sick.
864
00:50:52,258 --> 00:50:54,344
I am sick of you!
865
00:50:56,930 --> 00:50:59,140
- You have got to believe me.
- Okay, let's cut it here.
866
00:50:59,224 --> 00:51:01,202
- See? I mean, this is —
-No, no, no, take...
867
00:51:01,226 --> 00:51:04,312
- —No, no, no, no.
- Takeiteasy.Takeiteasy.
868
00:51:04,395 --> 00:51:07,190
- Why should I take it easy? Why?
- It's going very well.
869
00:51:07,273 --> 00:51:09,359
It is not, and you know it!
870
00:51:18,034 --> 00:51:20,411
No, I think she's upset,
871
00:51:20,495 --> 00:51:24,415
'cause I think she was building toward
the big climactic shooting or something.
872
00:51:24,499 --> 00:51:26,477
This is tail slate.
873
00:51:26,501 --> 00:51:29,420
Uh,
pat has just slightly fiipped out.
874
00:51:29,504 --> 00:51:32,715
Unfortunately, both cameras ran out.
They're changing magazines.
875
00:51:32,799 --> 00:51:35,343
Bill is on.
I'm gonna stay with him till I run out.
876
00:51:37,971 --> 00:51:39,931
I was saying that, in a way,
877
00:51:40,014 --> 00:51:44,060
we are criticizing that he doesn't know
at times what he is doing.
878
00:51:44,143 --> 00:51:48,064
But I think this is what he wants.
This is what he is looking for.
879
00:51:48,147 --> 00:51:51,359
It's a certain experiment.
880
00:51:51,442 --> 00:51:56,823
According to the synopsis,
or the idea of the film,
881
00:51:56,906 --> 00:52:01,035
it's, uh, a conflict
between him and the actors
882
00:52:01,119 --> 00:52:07,041
in a way that he is doing a test screen,
or he is doing just one dialogue.
883
00:52:07,458 --> 00:52:12,255
Now, he is experimenting the different
ways of directing this same dialogue.
884
00:52:12,338 --> 00:52:14,257
- But why film it?
- No, no, no...
885
00:52:14,340 --> 00:52:17,510
-Well, because the only way he is —
—why give them lines?
886
00:52:17,593 --> 00:52:20,513
- —Well, the only way — he is — yeah?
- We're saying that...
887
00:52:20,596 --> 00:52:23,141
We're saying that giving them lines...
888
00:52:23,224 --> 00:52:27,437
You give them the lines,
and then each one acts it out differently.
889
00:52:27,520 --> 00:52:30,523
In that case, you shouldn't do that.
You should give them a story.
890
00:52:30,606 --> 00:52:33,860
And then they bring out the lines.
Something else will come out of it.
891
00:52:33,943 --> 00:52:36,696
Action is not the problem here.
892
00:52:36,779 --> 00:52:39,574
So what if they're running up a hill
or sitting on the bench?
893
00:52:39,657 --> 00:52:41,951
It can be anywhere. It can be on the moon.
894
00:52:42,035 --> 00:52:46,456
If he wanted to do this,
he could do it on a stage.
895
00:52:46,539 --> 00:52:48,458
Or he could just simply do it.
896
00:52:48,541 --> 00:52:51,377
He's actually making a film of this.
It's not merely an experiment.
897
00:52:51,461 --> 00:52:54,255
It's an experiment
that's culminating in a film,
898
00:52:54,339 --> 00:52:57,133
and that film is not designed
for bill to keep in his basement.
899
00:52:57,216 --> 00:52:59,010
It's a film that's designed to play.
900
00:52:59,093 --> 00:53:00,654
It's a film that's designed
to reveal something,
901
00:53:00,678 --> 00:53:02,472
to be a work of art. How, in that sense...
902
00:53:02,555 --> 00:53:06,142
Well, first of all, he can do
a lot of work with these different...
903
00:53:06,225 --> 00:53:10,605
With all this footage in the editing room
according to how the film is edited,
904
00:53:10,688 --> 00:53:14,609
because it's the type of film
that you can edit in 300 different ways.
905
00:53:14,692 --> 00:53:18,237
- Did you read the concept of it?
- No, I didn't read the concept of it.
906
00:53:18,321 --> 00:53:21,574
And I don't know whether
we ought to bring the concept in,
907
00:53:21,657 --> 00:53:23,576
because bill hasn't mentioned it yet.
908
00:53:23,659 --> 00:53:27,205
I read the concept, and the concept
doesn't help you at all. Not one bit.
909
00:53:27,288 --> 00:53:30,500
No, the point is, I don't see where
there's a beginning or a middle or an end.
910
00:53:30,583 --> 00:53:32,710
I don't mean
in a conventional story fashion.
911
00:53:32,794 --> 00:53:34,295
But everything we shoot is the same.
912
00:53:34,379 --> 00:53:38,007
Rather, let's be frank,
indifferent actors.
913
00:53:38,091 --> 00:53:41,803
Sort of— stage actors, not film actors,
so they're all...
914
00:53:41,886 --> 00:53:45,139
Which, as I said, it would be great on
Sony videotape. You could do a critique.
915
00:53:45,223 --> 00:53:47,809
But I don't see where there's any build
in the film at all.
916
00:53:47,892 --> 00:53:49,870
Well, now you're getting down
to the nitty-gritty.
917
00:53:49,894 --> 00:53:51,396
Every situation is new.
918
00:53:51,479 --> 00:53:53,314
Not bloody much is happening,
if you ask me.
919
00:53:53,398 --> 00:53:56,818
I think there is!
—tell me. What is happening?
920
00:53:56,901 --> 00:53:58,152
I've gotta unload myself.
921
00:53:58,236 --> 00:54:01,030
Why don't you think
that there's nothing happening?
922
00:54:01,114 --> 00:54:04,575
- It seems to me —
-You're blasting your own parts.
923
00:54:04,659 --> 00:54:08,454
That — not having read bill's concept,
924
00:54:08,538 --> 00:54:12,708
it seems to me there's some exploration
of the levels of reality,
925
00:54:12,792 --> 00:54:14,961
um, and the supra-levels of reality.
926
00:54:15,044 --> 00:54:19,090
So this is even another level of reality
that we're establishing here.
927
00:54:19,173 --> 00:54:23,761
It may be the biggest put-on of all time
that — that the celluloid...
928
00:54:23,845 --> 00:54:28,433
Recognizing the reality or non—rea —
Trying to establish that is useless.
929
00:54:28,516 --> 00:54:30,935
For all anybody knows, you know,
930
00:54:31,018 --> 00:54:34,230
bill is standing right outside the door
and he's directing this whole scene.
931
00:54:34,313 --> 00:54:37,209
- That's what I'm saying.
- All right? It could be. Nobody knows.
932
00:54:37,233 --> 00:54:38,585
Maybe we're all acting. All right?
933
00:54:38,609 --> 00:54:42,447
Maybe we're all acting. I mean,
I'm acting, you know, and that's it.
934
00:54:42,530 --> 00:54:46,993
I mean, I was — bill could have
stood outside of the door and told me,
935
00:54:47,076 --> 00:54:49,537
"now, rosen, when you get in there,
936
00:54:49,620 --> 00:54:53,541
uh, tell them about this
when you get to a certain point."
937
00:54:53,624 --> 00:54:56,085
Nobody out there knows
whether or not we're for real.
938
00:54:56,169 --> 00:54:57,837
And what is being revealed?
939
00:54:57,920 --> 00:55:00,673
My whole point is that
nothing is being revealed,
940
00:55:00,756 --> 00:55:02,985
and that's the genius of this film,
if there is a genius.
941
00:55:03,009 --> 00:55:05,136
I think the genius of this film was that
942
00:55:05,219 --> 00:55:08,473
it was provided
that somewhere during its filming,
943
00:55:08,556 --> 00:55:13,060
the crew should decide
to act as an independent unit,
944
00:55:13,144 --> 00:55:15,021
come into a room and talk about this film,
945
00:55:15,104 --> 00:55:17,523
and thereby, possibly,
to change the end of it.
946
00:55:17,607 --> 00:55:20,776
That this was planned,
consciously or unconsciously, by bill.
947
00:55:20,860 --> 00:55:23,696
You believe in god after all.
948
00:55:23,779 --> 00:55:27,617
Uh-uh-uh. Marvelous.
949
00:55:28,868 --> 00:55:32,121
Okay, um...
950
00:55:32,955 --> 00:55:36,375
You have been killing my babies,
one right after the other,
951
00:55:36,459 --> 00:55:39,170
and you want me to believe in you?
952
00:55:39,253 --> 00:55:43,132
You come on like
a goddamn little Nazi storm trooper.
953
00:55:43,966 --> 00:55:45,801
You just don't want any responsibilities.
954
00:55:45,885 --> 00:55:48,363
- You don't want any wife.
- That's all part of your fantasy.
955
00:55:48,387 --> 00:55:50,240
You don't want marriage.
You don't want children.
956
00:55:50,264 --> 00:55:51,641
The going gets a little tough,
957
00:55:51,724 --> 00:55:53,643
-a little too tough, you run out.
—shh!
958
00:55:53,726 --> 00:55:55,061
Fuck you!
959
00:55:58,272 --> 00:56:00,334
-If you're gonna talk that way —
-speaking of "fuck," boy,
960
00:56:00,358 --> 00:56:03,569
how we've been making love lately,
we're never gonna have any babies.
961
00:56:03,653 --> 00:56:05,279
- That's the way you want it.
- Fuck you!
962
00:56:05,363 --> 00:56:06,656
Alice.
963
00:56:30,054 --> 00:56:31,764
I'm rolling.
964
00:56:32,557 --> 00:56:35,393
See, that's the whole thing —
A faggot is not a homosexual.
965
00:56:35,476 --> 00:56:38,229
A faggot is a certain kind of mentality.
966
00:56:38,312 --> 00:56:41,148
And Freddie happens to be a faggot,
967
00:56:41,232 --> 00:56:43,150
but not because he may
or may not be homosexual.
968
00:56:43,234 --> 00:56:46,279
He's a faggot. He doesn't know what
he wants, and he's, like, a faggot.
969
00:56:47,238 --> 00:56:50,324
This is a very strange thing,
because all I really know is myself,
970
00:56:50,408 --> 00:56:52,451
and all I really know
are the people I really know.
971
00:56:52,535 --> 00:56:55,621
And I don't know anybody here except
a few, but I really don't know them.
972
00:56:55,705 --> 00:56:59,792
And having — and being forced, in a way,
to listen to this sordid conversation...
973
00:56:59,875 --> 00:57:01,794
'Cause you haven't heard it.
974
00:57:01,877 --> 00:57:03,879
You haven't been here for eight days
975
00:57:03,963 --> 00:57:07,425
and listened to this sordid,
horrible conversation
976
00:57:07,508 --> 00:57:09,302
over and over and over again,
977
00:57:09,385 --> 00:57:13,055
with black faces, white faces, tall ones,
old ones, young ones, skinny ones.
978
00:57:13,139 --> 00:57:15,766
You know?
Convincing ones, unconvincing ones.
979
00:57:15,850 --> 00:57:18,769
It's, you know — it really —
It does funny things to you.
980
00:57:18,853 --> 00:57:21,772
All right, all right, all right.
So what else can we do?
981
00:57:21,856 --> 00:57:24,442
We've got all this equipment
lying around here — look.
982
00:57:24,525 --> 00:57:27,987
Here's a tripod,
there's two still cameras.
983
00:57:28,070 --> 00:57:32,491
There's three eclairs, there's an arri s.
We've got three nagras.
984
00:57:32,575 --> 00:57:34,215
We've got an awful lot of equipment here.
985
00:57:34,285 --> 00:57:37,204
It would be interesting —
It really would be, Jonathan...
986
00:57:37,288 --> 00:57:41,542
It would be very interesting to see you,
uh, surface
987
00:57:41,626 --> 00:57:45,254
with a better script.
988
00:57:45,838 --> 00:57:48,049
A—a—and there's no competitive thing...
989
00:57:48,132 --> 00:57:51,427
What's a better script?
Here's a film and you're a director...
990
00:57:51,510 --> 00:57:55,681
No, a better script
as a screen test for a pair of actors.
991
00:57:55,765 --> 00:57:58,934
The way to make the script better is to,
first of all, drop the euphemisms.
992
00:57:59,018 --> 00:58:01,079
- You talk real language.
- What euphemisms?
993
00:58:01,103 --> 00:58:04,023
The euphemisms.
Freddie says to Alice — he says to...
994
00:58:04,106 --> 00:58:06,942
Freddie has a cock. Alice has a cunt.
995
00:58:07,026 --> 00:58:08,903
Freddie likes or doesn't like
to fuck Alice.
996
00:58:08,986 --> 00:58:11,155
Alice can't come.
Alice has difficulty coming.
997
00:58:11,238 --> 00:58:12,657
Alice comes easily.
998
00:58:12,740 --> 00:58:15,242
Freddie stays a long time.
Freddie stays a short time.
999
00:58:15,326 --> 00:58:17,370
Freddie stays
an intermediate amount of time.
1000
00:58:17,453 --> 00:58:19,413
Freddie really loves to fuck Alice.
1001
00:58:19,497 --> 00:58:21,257
You know what I mean.
That's the way to talk.
1002
00:58:21,290 --> 00:58:25,753
And that's the way people can liberate
themselves to talk about themselves.
1003
00:58:25,836 --> 00:58:29,674
Right. You have a line here, like,
"come on, sport, give me a chance."
1004
00:58:29,757 --> 00:58:32,093
"Give me a chance."
That doesn't mean anything.
1005
00:58:32,176 --> 00:58:35,113
- A fuck? Is that what it means?
- "You never let me touch you."
1006
00:58:35,137 --> 00:58:37,473
What does that mean?
"It's unnatural." What does that mean?
1007
00:58:37,556 --> 00:58:39,975
"Don't you like me to eat you, Alice?"
That means something.
1008
00:58:40,059 --> 00:58:43,729
Or "eat me, Freddie." That means
something. You understand? I'm serious.
1009
00:58:43,813 --> 00:58:49,360
That is the way the script is transformed
from a useless faggotry,
1010
00:58:49,443 --> 00:58:53,197
from a little semi-annual conceit
between two people,
1011
00:58:53,280 --> 00:58:55,324
to something that never
has to be repeated again.
1012
00:58:55,408 --> 00:58:59,995
There's another level of this,
if you recall, in the original concept.
1013
00:59:00,579 --> 00:59:03,999
Um, the, uh — this screen test,
1014
00:59:04,083 --> 00:59:08,337
which we are supposed to be shooting,
1015
00:59:09,004 --> 00:59:11,257
um, is unsatisfactory.
1016
00:59:11,340 --> 00:59:12,466
You read the concept.
1017
00:59:12,550 --> 00:59:15,153
- I assume that you read the concept.
- I haven't read the concept.
1018
00:59:15,177 --> 00:59:17,471
Well, anyway, the point is this,
1019
00:59:17,555 --> 00:59:21,350
that the screen test
proves to be unsatisfactory
1020
00:59:21,434 --> 00:59:24,603
from the standpoint of the actors
and the director.
1021
00:59:24,687 --> 00:59:28,816
And then what happens is that
the director and the actors
1022
00:59:28,899 --> 00:59:33,446
undertake to improvise something better
1023
00:59:33,529 --> 00:59:37,658
than that which has been written
in the screen test.
1024
00:59:37,742 --> 00:59:40,327
This sort of palace revolt
1025
00:59:40,411 --> 00:59:42,830
Which is — no, no — which is taking place,
1026
00:59:42,913 --> 00:59:49,044
um, uh, is not dissimilar to the sort
of revolution that's taking place,
1027
00:59:49,128 --> 00:59:52,548
let's say, in america today
in terms of the fact that,
1028
00:59:52,631 --> 00:59:55,342
you know, in a sense,
I represent the establishment,
1029
00:59:55,426 --> 00:59:58,846
and, uh, I've been trying
to get you to do certain things
1030
00:59:58,929 --> 01:00:02,183
which you've become, in a sense,
disenchanted with, you know.
1031
01:00:02,266 --> 01:00:05,311
Now, your — your problem is
1032
01:00:05,394 --> 01:00:08,397
to come up with creative suggestions
1033
01:00:08,481 --> 01:00:12,902
which will make this into
a better production than we now have.
1034
01:00:12,985 --> 01:00:14,904
I don't understand that at all.
1035
01:00:14,987 --> 01:00:17,698
It doesn't matter
whether or not you understand it.
1036
01:00:17,782 --> 01:00:23,370
The important thing is that we surface
from this production experience
1037
01:00:23,454 --> 01:00:26,791
with something that is entirely exciting
and creative
1038
01:00:26,874 --> 01:00:28,793
as a result of our collective efforts...
1039
01:00:28,876 --> 01:00:32,880
As a result of Marsha's efforts,
as a result of Audrey, sy mottel,
1040
01:00:32,963 --> 01:00:36,550
you, Jonathan, you, Bob,
Roland Mitchell, Nicky,
1041
01:00:36,634 --> 01:00:38,260
frank baker, Barbara linden.
1042
01:00:38,344 --> 01:00:43,766
It's important that, as a result
of the totality of all of these efforts,
1043
01:00:43,849 --> 01:00:47,394
we, uh, arrive
1044
01:00:47,478 --> 01:00:51,315
at a creative...
1045
01:00:53,192 --> 01:00:55,694
Piece of cinematic experience.
1046
01:00:56,529 --> 01:01:01,867
J“ lhave been j“
1047
01:01:01,951 --> 01:01:05,287
j“ in lo ve but once j“
1048
01:01:05,371 --> 01:01:09,542
j“ each time as painful as the last j“
1049
01:01:10,292 --> 01:01:13,170
j“ lfound out j“
1050
01:01:13,712 --> 01:01:17,299
j“ 80 many times j“
1051
01:01:17,383 --> 01:01:20,469
j“ how short forever is j“
1052
01:01:22,054 --> 01:01:26,016
J“ how can you measure love j“
1053
01:01:26,100 --> 01:01:29,186
-j“ if not bypain? J“ -places!
1054
01:01:29,270 --> 01:01:32,523
- —No, no, the microphone.
- The microphone. Okay.
1055
01:01:32,606 --> 01:01:35,860
J“ lovers we could always be j“
1056
01:01:35,943 --> 01:01:37,945
Can you read this?
Can you see this?
1057
01:01:38,028 --> 01:01:43,075
J“ but friends beneath
the spreading tree j“
1058
01:01:44,159 --> 01:01:46,954
j“ turn away j“
1059
01:01:47,037 --> 01:01:50,291
j“ don't follow me j“
1060
01:01:50,374 --> 01:01:52,293
j“ Alice j“
1061
01:01:52,751 --> 01:01:54,086
j“noj“
1062
01:01:54,545 --> 01:01:57,089
-j“ Alice j“ -j“ no, no j“
1063
01:01:58,173 --> 01:02:00,885
j“ come on, sport j“
1064
01:02:02,469 --> 01:02:04,638
Don't enjoy it so much.
1065
01:02:04,722 --> 01:02:07,516
All right, that's okay. That's fine.
It's coming along.
1066
01:02:07,600 --> 01:02:13,439
But, um, try to go into the, uh,
the situation as you sing.
1067
01:02:13,522 --> 01:02:15,816
- Yes. Yes.
- Okay? Go ahead.
1068
01:02:19,945 --> 01:02:22,615
-J“ Alice j“ -j“ no j“
1069
01:02:23,574 --> 01:02:25,993
-j“ Alice j“ -j“ no, no j“
1070
01:02:26,076 --> 01:02:28,078
j“ come on, sport j“
1071
01:02:32,124 --> 01:02:34,501
-j“ come on j“
-j“ don't touch me j“
1072
01:02:35,502 --> 01:02:37,046
j“ for heavens sake j“
1073
01:02:38,213 --> 01:02:39,673
j“ what's bugging you? J“
1074
01:02:43,844 --> 01:02:47,932
J“ why don't you tell me who —
Or rather, whois bugging you? J“
1075
01:02:48,015 --> 01:02:49,808
No, I can't take that.
1076
01:02:49,892 --> 01:02:52,061
Can I ask you a question?
1077
01:02:52,144 --> 01:02:55,314
Is that really what they do
at the actors studio all the time?
1078
01:02:55,940 --> 01:02:58,150
Silence, boy! No, that's not true.
1079
01:02:58,692 --> 01:03:00,945
That's fantastic.
1080
01:03:01,028 --> 01:03:02,613
What? Do you want a slate?
1081
01:03:02,696 --> 01:03:04,865
- No, that's all right.
- —okay.
1082
01:03:04,949 --> 01:03:06,158
That's...
1083
01:03:07,242 --> 01:03:11,538
Uh, hold on more securely to the...
1084
01:03:12,206 --> 01:03:14,375
Uh, to the basic situation if you can.
1085
01:03:14,458 --> 01:03:17,002
Why are you ask —
Why are you asking them to sing?
1086
01:03:17,711 --> 01:03:20,130
Because I'd like to have them sing.
1087
01:03:20,214 --> 01:03:22,174
N—no, I know, but I wonder why.
1088
01:03:22,257 --> 01:03:25,928
Um, I don't know. Just, uh — just an idea.
1089
01:03:26,011 --> 01:03:28,411
I mean, is it an experiment
in the musical comedy form?
1090
01:03:28,472 --> 01:03:31,308
It's an experiment
in the musical comedy form.
1091
01:03:31,392 --> 01:03:33,644
He just doesn't want to answer you.
1092
01:03:33,727 --> 01:03:37,982
I'm trying to find out
if the scene can play with...
1093
01:03:38,065 --> 01:03:41,360
There is an acting exercise
that this can be very useful for,
1094
01:03:41,443 --> 01:03:44,989
which is what we started doing,
which is to sing
1095
01:03:45,072 --> 01:03:48,492
and therefore bring other elements
that your imagination
1096
01:03:48,575 --> 01:03:51,036
wouldn't have ordinarily gone to.
That's the value.
1097
01:03:51,120 --> 01:03:54,873
- But to sit here and try to do a duet, I —
-Right. I quite agree with you.
1098
01:03:54,957 --> 01:03:58,502
- It's like we should have an orchestra.
- Yeah, right. I quite agree.
1099
01:03:58,585 --> 01:04:01,755
Uh, does that answer your question,
Mr. Gordon?
1100
01:04:02,423 --> 01:04:04,717
I think we can use this. I think, uh...
1101
01:04:05,926 --> 01:04:11,056
Uh, it will end — it will add a...
An interesting texture to the film.
1102
01:04:11,140 --> 01:04:14,101
Doesn't anybody think so?
Nobody thinks so?
1103
01:04:14,184 --> 01:04:16,395
- You want to call it a texture?
- —yeah.
1104
01:04:16,478 --> 01:04:18,897
Well, you can see the comments
right on their faces.
1105
01:04:18,981 --> 01:04:21,567
Just pan over and look at that.
1106
01:04:21,650 --> 01:04:24,570
I don't think it works.
Sounds terrible.
1107
01:04:26,155 --> 01:04:27,573
You're too kind.
1108
01:04:28,407 --> 01:04:30,784
There's no sense of reality in this, uh...
1109
01:04:32,786 --> 01:04:36,081
There's no sense of reality. I mean,
who goes about singing to each other?
1110
01:04:37,541 --> 01:04:39,084
What is this thing?
1111
01:04:39,168 --> 01:04:41,962
I spoke with you yest —
You're from Canada, right?
1112
01:04:42,046 --> 01:04:45,257
Oh, it's a movie. So, who's moving whom?
1113
01:04:46,008 --> 01:04:48,927
Merci beaucoup.
Oh, you got a big lens in there.
1114
01:04:49,011 --> 01:04:52,056
- Isn't that French?
- You ain't got a cigarette?
1115
01:04:52,139 --> 01:04:54,600
- No, it's not. It's Jewish.
- "Ll/lerci beaucoup "?
1116
01:04:54,683 --> 01:04:56,786
- —I thought it was French.
- No, it's Jewish, darling.
1117
01:04:56,810 --> 01:04:58,937
- —Really?
- Very Jewish.
1118
01:04:59,021 --> 01:05:00,939
I'm a polack, and that's Jewish.
1119
01:05:01,023 --> 01:05:04,485
Hello there, darling. Let me see
how you look. You look pretty good.
1120
01:05:04,568 --> 01:05:06,987
- —My name's Victor vikowski, darling.
- Um, Bob...
1121
01:05:07,071 --> 01:05:09,406
What is this? Abc camera?
1122
01:05:10,199 --> 01:05:12,993
Hello. My name is Victor. How do you do?
1123
01:05:13,077 --> 01:05:15,245
Pleasure to meet you. I do watercolors.
1124
01:05:15,329 --> 01:05:17,581
Somebody get a release
for this gentleman.
1125
01:05:17,664 --> 01:05:22,461
But they threw my ass out nine weeks ago.
I've been living in the bushes.
1126
01:05:23,337 --> 01:05:26,131
Do you know why?
Because I couldn't pay two weeks' rent.
1127
01:05:26,215 --> 01:05:32,096
I was paying $45.70 a week,
and I couldn't make the scene.
1128
01:05:33,055 --> 01:05:35,808
Terrible! All my watercolors,
my paintings, my brushes
1129
01:05:35,891 --> 01:05:37,976
are more important
than them f—in' things...
1130
01:05:38,060 --> 01:05:40,979
You know what "f" is?
I coined that phrase.
1131
01:05:41,063 --> 01:05:42,731
What is this?
—you know — "fuck."
1132
01:05:42,815 --> 01:05:44,358
Yeah? —that's why I want...
1133
01:05:44,441 --> 01:05:45,984
You never knew what that meant?
1134
01:05:46,068 --> 01:05:47,653
- —I know.
- You don't know.
1135
01:05:47,736 --> 01:05:51,240
Are you such a virgin like I am?
1136
01:05:53,158 --> 01:05:54,701
We're not virgins, baby.
1137
01:05:54,785 --> 01:05:58,455
We're virgins in the brain,
if you wanna be that way.
1138
01:05:58,539 --> 01:06:03,877
Yeah, but why do we have to have
adaptation of words and symbols?
1139
01:06:03,961 --> 01:06:05,879
Can't we be ourselves?
1140
01:06:05,963 --> 01:06:09,550
You wanna go get fucked, get fucked.
That's all. That's the way I think.
1141
01:06:10,425 --> 01:06:12,219
Wanna suck? Suck, goddamn it!
1142
01:06:12,302 --> 01:06:14,304
Everybody sucks — what? I...
1143
01:06:14,388 --> 01:06:17,182
Didn't you suck your mama's nipples first?
1144
01:06:18,308 --> 01:06:22,479
Well, I did the same thing, you know.
What, you're so different than I am?
1145
01:06:24,189 --> 01:06:26,483
And then it goes on and goes on
1146
01:06:26,567 --> 01:06:28,986
as a prospectus of life, you see.
1147
01:06:29,069 --> 01:06:31,280
It's...
1148
01:06:31,363 --> 01:06:33,657
You'd be tired here,
nine weeks in these bushes.
1149
01:06:33,740 --> 01:06:35,367
It's terrible. It's a monstrosity.
1150
01:06:35,450 --> 01:06:37,244
Where are the watercolors?
In the bushes?
1151
01:06:37,327 --> 01:06:39,121
Honey, darling, they're not in the bushes.
1152
01:06:39,204 --> 01:06:44,001
They're at bretton hall hotel
on 86th street, south...
1153
01:06:44,084 --> 01:06:46,003
Do you live here in the park?
1154
01:06:46,086 --> 01:06:49,006
What do you think?
I made a jerk out of myself there?
1155
01:06:49,089 --> 01:06:53,677
But that's all right.
At least I cleaned my mind a little bit.
1156
01:06:53,760 --> 01:06:57,472
'Cause I hate bullshit, you know.
I dislike it.
1157
01:06:57,556 --> 01:07:01,685
I'm sorry. I'm not being vulgar.
Not at all.
1158
01:07:01,768 --> 01:07:05,189
-That does not impress anything upon —
—you going home? Going...
1159
01:07:05,272 --> 01:07:06,982
You're a lady — but you're still a lady.
1160
01:07:07,065 --> 01:07:08,793
I'm a lady too, and I'm a man.
Both the same.
1161
01:07:08,817 --> 01:07:11,777
Going around in the park, you've
sort of become a philosopher, haven't you?
1162
01:07:11,820 --> 01:07:15,157
No, I educated —
I went to Columbia for four years.
1163
01:07:15,240 --> 01:07:16,742
Did you really?
—damn right I did.
1164
01:07:16,825 --> 01:07:19,661
- What did you study there?
- Bachelor science, bachelor art.
1165
01:07:19,745 --> 01:07:21,955
- I went to Parsons school of design.
- Oh, I see.
1166
01:07:22,039 --> 01:07:24,833
- You're, what, a scene designer?
- Architectural designer.
1167
01:07:24,917 --> 01:07:26,168
- Architectural designer.
- Yes.
1168
01:07:26,251 --> 01:07:29,338
- I'm an alcoholic, by the way, too.
- —well, listen, uh...
1169
01:07:29,421 --> 01:07:31,882
Well, I am. I admit it.
1170
01:07:31,965 --> 01:07:35,844
I'm trying to make some pints
for myself for tonight.
1171
01:07:35,928 --> 01:07:38,430
-Well, let's see. Maybe —
-it gets cold out here, baby.
1172
01:07:38,513 --> 01:07:40,891
And when you live alone, baby,
you need something warm...
1173
01:07:40,974 --> 01:07:43,894
- You don't sleep here at night, do you?
- Sure I do. I get in the bush.
1174
01:07:43,977 --> 01:07:45,896
But the rain
fuckin' drove my ass outta there.
1175
01:07:45,979 --> 01:07:48,899
Are there many people
who sleep here at night in the park?
1176
01:07:48,982 --> 01:07:51,902
There's an enormous amount
of human beings here.
1177
01:07:51,985 --> 01:07:54,154
- —Sleeping here in the park at night?
- Of course.
1178
01:07:54,238 --> 01:07:57,032
- Did anybody know this?
- No, I didn't know that at all.
1179
01:07:57,115 --> 01:07:59,510
You're full of shit. You must have known.
—I never knew that.
1180
01:07:59,534 --> 01:08:00,970
I live off 70th street off the park.
1181
01:08:00,994 --> 01:08:02,829
I have never seen anybody
asleep in the park.
1182
01:08:02,913 --> 01:08:04,373
- Don't the police bother you?
- —no.
1183
01:08:04,456 --> 01:08:07,000
Lindsay —
Listen, let me tell you what happened.
1184
01:08:07,084 --> 01:08:10,837
Lindsay made a speech today —
Merci beaucoup, s 'i/ vous plait.
1185
01:08:10,921 --> 01:08:14,258
-Wait. He has to sign this, uh —
-Lindsay made a speech today.
1186
01:08:14,341 --> 01:08:18,470
I thought I'm going to versailles again,
you know. 'Cause I've been there.
1187
01:08:18,553 --> 01:08:20,555
Sir —
-and he's bullshitting the propaganda.
1188
01:08:20,639 --> 01:08:21,974
You know how politics work.
1189
01:08:22,057 --> 01:08:24,601
Do you, uh — do you object
to being on candid camera?
1190
01:08:24,685 --> 01:08:26,687
I don't give a shit where I am.
I'm in life.
1191
01:08:26,770 --> 01:08:28,039
You'll have to sign the release.
1192
01:08:28,063 --> 01:08:31,233
This better not be candid camera
after all the work I did!
1193
01:08:31,316 --> 01:08:33,944
I got a fuckin' name that's so long,
goddamn it,
1194
01:08:34,027 --> 01:08:35,421
you'd better have a paper long enough.
1195
01:08:35,445 --> 01:08:38,865
Write it as long as it takes.
As long as it takes. That's it.
1196
01:08:41,410 --> 01:08:42,619
Right.
1197
01:08:43,245 --> 01:08:45,890
- Wait, I'm not — I just thought of it.
- That's just the first one.
1198
01:08:45,914 --> 01:08:49,334
Okay. All right?
1199
01:08:49,418 --> 01:08:51,962
And I eliminated the middle part.
1200
01:08:54,548 --> 01:08:55,674
Okay?
1201
01:08:55,757 --> 01:08:57,527
That's what you sign
on your paintings?
1202
01:08:57,551 --> 01:08:58,969
- —Wow!
- Yes, I do.
1203
01:08:59,052 --> 01:09:01,305
- Yes?
- Fantastic. I see.
1204
01:09:01,388 --> 01:09:04,016
- And your address is where in the park?
- What?
1205
01:09:04,099 --> 01:09:06,810
- 69th street. I love 69th street.
- 69th street in the park.
1206
01:09:06,893 --> 01:09:09,104
You're gonna put that down
as your address?
1207
01:09:09,187 --> 01:09:12,227
- Come on, baby! We'll go in the bushes!
- Is there a number on a bench or...
1208
01:09:12,274 --> 01:09:15,319
Sixty—nine, darling.
No number. Sixty—nine is enough.
1209
01:09:15,402 --> 01:09:17,321
- —Sixty—nine is enough?
- What else you want?
1210
01:09:17,404 --> 01:09:20,490
- 86th? That's another number.
- Can we find you here anytime?
1211
01:09:20,574 --> 01:09:22,784
I mean, any night during the summer
at 69th street?
1212
01:09:22,868 --> 01:09:26,038
I hope I'm out of here when winter comes,
when the leaves fall.
1213
01:09:26,121 --> 01:09:28,040
Oh, baby, I gotta move.
1214
01:09:28,123 --> 01:09:30,518
Where do you move in the winter?
—who the hell knows?
1215
01:09:30,542 --> 01:09:36,131
Are you saying that the hippies
are sort of confirmation of what you, uh...
1216
01:09:36,214 --> 01:09:40,344
What I was 20 years ago, and they
called me an asshole and everything.
1217
01:09:40,427 --> 01:09:42,137
Because we need changes.
1218
01:09:42,220 --> 01:09:44,139
We all need money, true,
1219
01:09:44,222 --> 01:09:50,395
but when you have to live off someone
else's fucking back to make that buck...
1220
01:09:50,479 --> 01:09:53,815
That's a penis of a dollar.
I call it a penis of a dollar.
1221
01:09:53,899 --> 01:09:56,711
What do you mean, living off of somebody
else's back? How do you mean that?
1222
01:09:56,735 --> 01:09:58,487
All right, may I tell you one thing?
—yeah.
1223
01:09:58,570 --> 01:10:02,699
I was born in Hampshire, New York.
This is the way I call it.
1224
01:10:02,783 --> 01:10:07,871
Now, when I see the negroes
and the Puerto Ricans and the whites
1225
01:10:07,954 --> 01:10:09,706
pushing the wagons,
1226
01:10:09,790 --> 01:10:14,127
I made a canvas, just using blank face,
mannequins,
1227
01:10:14,211 --> 01:10:17,047
because they manipulate
in a business form.
1228
01:10:18,048 --> 01:10:22,260
I know the scene — big fat belly
with the cigar smoking, you know,
1229
01:10:22,344 --> 01:10:24,971
sitting back and — ha-ha —
Playing his horses
1230
01:10:25,055 --> 01:10:28,600
and fucking a puerto rican
or a colored girl in the back.
1231
01:10:28,683 --> 01:10:30,811
I've seen the scenes, baby.
1232
01:10:30,894 --> 01:10:34,231
-So you think —
-i gave up. No, goddamn it, I give up.
1233
01:10:34,314 --> 01:10:37,692
Fuck it. With all the intelligence I got,
I fuckin' give up.
1234
01:10:37,776 --> 01:10:39,152
-You're — -I'm not the only one.
1235
01:10:39,236 --> 01:10:41,780
There are many here have given up.
—why are you giving up?
1236
01:10:41,863 --> 01:10:44,616
Why? I can't fight politicians.
1237
01:10:44,699 --> 01:10:47,828
I can't fight money
'cause I don't have money.
1238
01:10:47,911 --> 01:10:52,749
Rockefeller — how much money did he spend
for his last goddamn campaign?
1239
01:10:53,917 --> 01:10:56,545
- —I can fight that?
- Well...
1240
01:10:56,628 --> 01:11:01,007
Yes, years ago. Centuries ago, maybe.
1241
01:11:01,716 --> 01:11:05,554
Not today you can't.
Even with words, you can't fight.
1242
01:11:05,637 --> 01:11:09,724
Because they're gonna knock it off —
We have controlled press today.
1243
01:11:09,808 --> 01:11:11,643
Controlled press.
1244
01:11:12,602 --> 01:11:17,065
It's called controlled press.
I'm well aware of it. Yeah.
1245
01:11:17,149 --> 01:11:20,944
What average man could buy
a fortune magazine
1246
01:11:21,027 --> 01:11:23,321
and learn what's happening?
1247
01:11:23,738 --> 01:11:26,074
Or what average man does?
1248
01:11:26,158 --> 01:11:28,285
- What about love, man?
- —love?
1249
01:11:28,368 --> 01:11:31,913
Love is a feeling of the penis
and the cunt. That's what love is.
1250
01:11:31,997 --> 01:11:34,708
- Oh, boy. On that searching thought...
- —all right?
1251
01:11:34,791 --> 01:11:36,185
- We bid you good-bye.
- —that's right.
1252
01:11:36,209 --> 01:11:39,796
- That's all, and there isn't any more.
- Okay. Bye-bye.
1253
01:11:39,880 --> 01:11:41,631
- And that's what love is.
- Bye-bye.
1254
01:11:41,715 --> 01:11:45,260
Love is a feeling of a desire
for one for the other.
1255
01:11:45,886 --> 01:11:49,097
I never like to say good-bye.
I say so long.
1256
01:11:49,181 --> 01:11:53,310
- —I think you lost something.
- Yes, I did. Thank you very much, my dear.
1257
01:11:53,393 --> 01:11:56,521
Tres bien. Merci beaucoup.
1258
01:11:56,605 --> 01:11:58,315
So long. —so long.
1259
01:11:58,398 --> 01:12:00,859
- Victor!
- Yes, darling.
1260
01:12:00,942 --> 01:12:03,653
Keep on walking.
Keep on walking.
1261
01:12:04,821 --> 01:12:08,450
My friend, I wish I could
give those watercolors to you,
1262
01:12:08,533 --> 01:12:11,286
instead of being wasted the way they were.
1263
01:12:11,369 --> 01:12:13,705
Really? —that's what I want.
1264
01:12:13,788 --> 01:12:15,582
You were a machine gunner?
Where?
1265
01:12:15,665 --> 01:12:18,251
- On the USS Alabama.
- I see.
1266
01:12:18,335 --> 01:12:20,712
- That was very famous.
- Right.
1267
01:12:20,795 --> 01:12:23,065
- What other wars were you in?
- What other wars?
1268
01:12:23,089 --> 01:12:26,218
Only one was enough for me.
I couldn't take any more.
1269
01:12:26,885 --> 01:12:28,261
- Ciao.
- Ciao.
1270
01:12:28,345 --> 01:12:30,805
- Good-bye.
- Bye — I never say good-bye.
1271
01:12:30,889 --> 01:12:32,682
- I like to say ciao.
- Then ciao.
1272
01:12:32,766 --> 01:12:33,934
Ciao.
1273
01:12:48,573 --> 01:12:52,077
Uh, yeah, what we're gonna do is, uh,
we're gonna do a line reading first.
1274
01:12:52,160 --> 01:12:55,705
And then we'll, uh —
—what is the line reading?
1275
01:12:55,789 --> 01:13:00,043
Well, we just —
I just wanna hear you go back and forth
1276
01:13:00,126 --> 01:13:04,214
with the lines, make sure
that we've got them under control.
1277
01:13:05,048 --> 01:13:07,300
And then after we've done that,
1278
01:13:07,384 --> 01:13:10,887
we'll, um, we'll try to work out
some kind of action
1279
01:13:10,971 --> 01:13:14,724
for you to, uh — to go through physically.
1280
01:13:14,808 --> 01:13:18,687
And, uh, then we'll see
what the problems — you'll play the scene.
1281
01:13:18,770 --> 01:13:22,732
Then we'll see what the problems are.
Then we'll get into it
1282
01:13:22,816 --> 01:13:26,278
increasingly more on a, uh...
1283
01:13:26,361 --> 01:13:30,949
What, an emotional
and, you know, personal level.
1284
01:13:31,032 --> 01:13:33,159
You know,
more the dramatics of the situation.
1285
01:13:36,162 --> 01:13:40,083
Okay. Um, Terry, I guess you can —
You can start rolling.
1286
01:13:40,166 --> 01:13:44,087
I'm gonna do a line reading with them.
1287
01:13:44,170 --> 01:13:46,089
Um, who you gonna work with?
1288
01:13:46,172 --> 01:13:49,217
Yeah.
1289
01:13:49,301 --> 01:13:51,386
No. You'll — you'll work, uh...
1290
01:13:51,469 --> 01:13:53,930
You'll work against
another recorder actually.
1291
01:13:54,014 --> 01:13:56,766
You don't need to do any recording
of this, because, uh,
1292
01:13:56,850 --> 01:13:59,019
I'm just gonna do a line reading
with them, you know.
1293
01:13:59,102 --> 01:14:02,647
-And there's no need to —
—which recorder am I going to work again?
1294
01:14:02,731 --> 01:14:05,609
The recorder— I mean, uh, John here has...
1295
01:14:05,692 --> 01:14:08,403
- —All right.
- Hey, I'm picking up the cops.
1296
01:14:08,486 --> 01:14:10,405
- You're picking up the cops?
- —yeah.
1297
01:14:10,488 --> 01:14:13,658
- Let me see.
- On your microphone. Occasionally.
1298
01:14:15,285 --> 01:14:17,495
Oh, no. No, no, no.
1299
01:14:17,579 --> 01:14:20,957
That's his, uh — that's his...
Turn off your, uh — your intercom.
1300
01:14:21,041 --> 01:14:22,792
Turn off what?
—your walkie—talkie.
1301
01:14:22,876 --> 01:14:24,502
Oh, it's his?
—It's his walkie—talkie.
1302
01:14:24,586 --> 01:14:26,755
- —I'm on her and on him.
- Okay, i-let's...
1303
01:14:27,797 --> 01:14:29,049
Let's go down here.
1304
01:14:31,593 --> 01:14:33,303
This is roll one in camera "c.'
1305
01:14:33,386 --> 01:14:36,389
do me a favor and clap your hands.
1306
01:14:36,473 --> 01:14:39,142
Excuse me.
1307
01:14:39,225 --> 01:14:41,478
Oh, no, just do it once.
Just once.
1308
01:14:41,561 --> 01:14:43,480
Hold it. Fine. Thank you.
1309
01:14:43,563 --> 01:14:46,524
No, she didn't have to.
109057
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