All language subtitles for German Genius - S01E07

I've got very good news and good news.
Which first?

Good, then very good.

The good news is
that people liked your TV appearance.

People like family men.

- That was the right move.
- I knew it.

I didn't make any moves,
it was the truth.

The very good news is that we still
have the time slot and budget.

- Great.
- But you need a production partner.

- Why? We're two producers.
- Yes.

Of course, you're the creators.

But it's essential
that you get production support.

Back office,
coordinated team, track record...

- The whole kit and caboodle.
- We've always solved our own problems.

- What do we need producers for?
- Sabine.

If you think that another professional
would benefit the project,

then we are open and flexible.

And who would come and help us?

Hey, there she is. Maria!

MARIA FURTWÄNGLER
BILLIONAIRE, ACTRESS AND PRODUCER

- One water.
- Valentino.

Concentrated ginger.
I find still water boring.

Maria is having
an amazing run as a producer.

It's just amazing
to see what she built up

in such a short time.

"The Believers" was just everywhere.
How many streams did you have?

Oh, stop it, Sabine.
I'm not like that.

Although, I must admit...

50 million clicks,
that does feel pretty good.

Right, back to us.

I like the concept.
What an exciting idea!

And Ricky? Hey.

I'm a huge fan.

But if we're honest about it,

you did run up a lot of costs
that led you nowhere.

I would suggest
that we make a clear cut here.

So the project starts right now.

What about the money
we already spent?

- Yes, we bore the full risk.
- Those are just details.

What we need urgently right now
are new topics.

In my view,
our series is based on two pillars.

The first pillar is edginess.

We compete internationally.

We should offer more emotion,
more warmth.

And the second pillar is...

The second pillar is?

Expertise. You get the credits
for ability, not for wishful thinking.

We take care of the realization now,

so there will be no more faux pas.

I suggest we just wait and see
how the scripts turn out

and then we'll see
who plays the lead role.

Kida? A good idea really
doesn't depend on the actor.

That would be absurd.

Right?

It was my idea. It was a good idea.
I got the ball rolling.

Sure. Of course.

By the way...

Did you know
that our mothers know each other?

Really?
What does your mother do?

She's an actress,
and she always will be.

Edith Kirchhoff.

- She sends her regards.
- Ah!

- Edith Kirchhoff? That's amazing!
- Yes!

I'd love to see her again.
She always had an incredible aura.

- Say hi from me, if she remembers.
- I will.

- Of course! That's why she said hi.
- Wait, Jürgen?

Your mother is Edith Kirchhoff?

- Yes.
- You don't look anything like her.

- Maria?
- Yes.

Listen.

You can produce it,
on one condition.

I direct. No one else.
It was my idea.

If I'm out, Ricky is out too.

- He said that?
- Yes, he did.

The next episode
is with Marlene Dietrich.

I love her. I really get her.

A bisexual actress.
Is that your kind of topic, Kida?

You want diverse, don't you?

I mean, an Arab directing a woman.
Does it get more diverse?

Are you trying to get rid of me?
You're so negative all the time.

- No, no, no!
- You are!

- It's true. Listen to yourselves!
- I would say... No.

I would say...

Go on, direct.

On one condition.
An intimacy coach on the set.

She means an intimacy coordinator.

Intimacy coaches have been
an international standard for years.

It's for scenes that get intimate.

So when there's sex...

I think it's great!
The energy you have together.

I knew sparks would fly.

From now on,
ask Maria all the questions.

Okey-dokey.

- Sabine.
- Maria, you'll call me.

- I will.
- Ciao, Sabine.

- You're directing!
- You're such a suck-up. Fuck off.

So you're the producer now?

I'm on our side, man,
trying to strengthen our position.

- That requires tactical thinking.
- You're a tactician now?

Come on, don't you want to
walk on the red carpet?

At the Bambi Awards?

They stopped doing the Bambi Awards.

Ah! Ricky called.

Hey Ricky.

How are you, my brother?
I hope you're okay.

Hey, lots of guys here in Berlin
like the idea.

We're working together.
I love you.

Marius!

Go suck up some more!
We're a team, aren't we?

They're sucking me dry.

They're lucky to share a table
with Toni Hamady.

Thanks to me,
young people are watching TV again.

What's wrong?
Why are you being so dramatic?

Listen, without you
they can't make the series.

You're in front of the camera
with Ricky Gervais.

- That's right!
- Then what's wrong?

They want me to direct something
where two women, together...

You know, the bi-thing.

You know, two women, bi-style.

- Why wouldn't you do it?
- But what is that word?

It's important not to say things
like that as if it's forbidden.

- Again?
- Bisexuality.

A little louder.

- Bisexuality.
- Bisexual!

Put the knife down.

Sami, look.
This is how people sign cards.

Look how many I did
and how many she did.

- She does a good job.
- Look who's here.

- Hey!
- Uncle Freddy!

Freddy, what's up?

Well, your husband is avoiding me.

Really? How?

He meets Maria Furtwängler,
shoots with Heike Makatsch,

builds a huge set with Tom.

He really thinks
people don't talk to me.

But they're my friends too.

What should I say when they ask,

"Freddy, aren't you working with Kida?
He's directing now too."

I'm only good enough to play Goethe
in some crummy garage!

I see.

- You, Furtwängler and Makatsch?
- Remind him that I have others friends.

- Can you look me in the face?
- I can't right now.

- Okay, Freddy...
- I just can't.

Go sit down, Freddy.

Would you like some tea?

- How are you?
- How nice that someone asks me.

I'm an emotional person.

So sometimes I'm good,
sometimes I'm not so good.

Like with a movie.
Sometimes you like it, sometimes not.

Sometimes you really want to act in it,
but nobody asks.

Okay, kids, everyone to your rooms.

I need to talk to this uncle.

Freddy, after the teaser shoot,
you said you were out.

I didn't know
it would be this big thing.

Honestly, if you think about it,
you only got it thanks to me.

And it's kind of sad to find yourself
completely forgotten about.

Okay. Just say the truth to my face.
Is it me?

You were just out of the loop.

Then you just have to
throw my name out there.

Know what I mean? For years,
I put you on every guest list.

And then after that circumcision thing,

my agency said, "Drop him."

But did I? No!

Because I'm your friend.

Freddy, I apologize.
I should've been in touch.

I just got carried away.
I made a mistake.

Fine. Okay. Who am I playing?

Listen.
Everyone gets a guest appearance.

You enter some scene, "Hey, Freddy",
"Hey, Kida", we hug...

No, no, no, I don't want
that wishy-washy Kida stuff.

I want a proper preparation.

What I want to know is:
Who is my character?

Who am I? Where am I going?
Where do I come from?

What are my fears?
What are my goals?

- I have to process that with my coach.
- Okay.

Okay.

Let's meet for tea next week
and we'll discuss your character,

where you come from,
what your background is,

the kind of child you were,
your inspiration.

- So you feel something.
- Sure.

Great. Want to stay for dinner?
Invite your friend.

- Sure. You're always welcome.
- I'm definitely hungry.

What's keeping them so long?
Make-up was 30 minutes ago.

I heard the ladies
won't do make-up together.

Hi, I just wanted to introduce myself.
I'm Alia.

Hi. Your intimacy coordinator.

Everything good so far?

- Yeah. I'm fine.
- Great.

ANNE RATTE-POLLE AS MARLENE DIETRICH
KATHRIN ANGERER AS HER LOVER

- Hello, Kida.
- Hello.

Hi.

So, Marlene Dietrich
comes from a film shoot

and now she's going to the hotel,
where Mercedes is waiting for her.

- De Acosta.
- Mercedes de Acosta, right.

You missed each other,
how shall I say, for a long time.

You long for each other.

You're fond of each other.
You love each other.

And then, Mercedes, you say,

"You make me feel alive in the few hours
that I get to spend with you."

Then you have to...

...kiss. Then you kiss.

- Alia, please continue from here.
- Thank you, Kida.

Kathi, please show with your own hands

where it's okay for Anne to touch you
with her hands when you kiss.

Okay? Please do the same, Anne.

So you understand.

Consent.

Okay, please.

Okay.

Very good.

Okay.

Thank you very much
for your openness.

- Kida, are you okay with that?
- Great. That's great.

Great. Let's switch roles now.

Anne Ratte, please.

Kathi, you show that you understand
and respect it, okay?

Please.

- Anne, that's all?
- Well, it's just a kiss.

So you don't want to touch me
when we kiss?

No, I think the scene is stronger
if we don't touch.

Or not, Kida?
What do you think?

- Me?
- Yes.

Right, I need to...

The script describes a passionate kiss

between Marlene Dietrich

and Mercedes de Acosta.

It says "passionate."

We should do it in such a way
that we follow the script,

but all participants feel comfortable.

I show passion with my eyes.

Okay, we'll have to accept that.

- Why do we have an intimacy coach?
- Stop it, Clappi. Please.

I don't tell you
what lens to use either.

Anne, a kiss is no different here.
Let's just do a good job.

It's up to her.
It's an awkward situation.

All right. Okay.

You need to be comfortable,

but Mercedes is right
about the script too.

But Anne Ratte,
we also respect your opinion.

That's why the intimate woman is here.

- Yes, thank you.
- Right.

Mercedes, great.

- Intimacy scene, Marlene. Take 1.
- And, slate.

- Camera?
- Set.

And, action.

You make me feel alive
in the few hours

that I get to spend with you.

Wait. Stop.
We didn't agree on hair.

You call that a kiss?
I feel absolutely nothing.

Sorry, but you can't tell
they're lovers.

Maybe I'm the wrong decision-maker.

I mean, male gaze and all.
I'm a man.

Shall we just redo it?
It wasn't all bad.

- Let's do it again.
- Is it okay if I say "cut"?

- Please?
- No, that's my job.

I see, that's your job too?
And you get to decide for yourself?

Yes, of course.

Kathi, you were great.

Anne Ratte too.
The boom mic was visible.

But you were great.

Great acting. Goosebumps.

Let's just do it again.

- Are you okay?
- Yes.

- Camera?
- Set.

And, action.

You make me feel alive

in the few hours
that I get to spend with you.

You meant it, didn't you?
You don't think we fit together.

She didn't mean Kathi.

She meant Mercedes.

- The character, the part.
- No, no, I...

That's all right.

I said the kiss doesn't work.

- It's true.
- Hey!

I can't judge now?

You know, if everyone agrees
that there's no chemistry between us...

If there are no sparks,
then maybe that's just how it is.

- It just isn't working!
- It was great.

She looks at me with such dead eyes.

Did you see that?
No, I want to go now.

- Can I have water?
- Water, please.

Get Anne Ratte water, please.

- You and your East-German humor.
- It's not about humor.

- It's against my lesbian honor.
- It didn't work.

- Your what?
- My lesbian honor.

We're slowly getting there.
That's normal with scenes like these.

- That's why I'm here.
- I don't mind.

Who knows more on the topic?
Me, you, or her?

- When I say it stinks, it stinks.
- I'm directing!

I have to tell you
when I see it doesn't work.

Do I have nothing to say?

- We'll manage.
- I'm the director!

She can say cut,
then you get involved.

What am I doing here?

What am I doing here?

Kathi, what did I do wrong?
Please come out.

- No.
- It was just a test run.

Can I do anything
to make you feel better?

Kida?

Don't pressure her.
Give her space to breathe.

- Tell me, do you need space?
- Yes, I need space.

You're right, she needs space.

It happens to all of us.

- But it hurts.
- Come here.

Anne and I have been together
for two years, you know.

I can't tell anyone
and nobody knows about it.

You know, she's hiding me.

It feels terrible.

Like as if I'm some random fling.

I was hoping that would change here.

It's romantic, the two of us
playing Marlene and Mercedes.

But what does she do?

- She embarrasses me in public.
- That sucks.

- I think I'd better leave.
- No, no, you're the best actress.

I can't lose you.

But I can't kiss her anymore.

- I have to break up.
- Okay, listen.

Listen, we'll change the scene.

You won't even have to kiss her.

Here's what we'll do...

- Camera?
- Set.

Tail slate. And, action.

You make me feel alive.

In the few hours

that I get to spend with you.

I would've said that yesterday.

But today,
I know that there's no point.

I can't wait for you
to admit your feelings.

I have to think of myself.

Leave.

Go on now!
Leave already!

Please, darling,
I don't want to lose you.

That's really the last thing I want.

I'm sorry.

I really am. Please.

What are you waiting for?
Just go already.

Go on.

Thank you.

Little Maria!

Well...

- Not that small.
- I need to get something off my chest.

If Marius goes to such lengths
to put me away in a home,

and shows himself up like this
in front of everyone,

then he really is fully committed
to something for once.

It might be the first time in his life.

Perhaps there is something of me
in him after all.

Oh, I'm absolutely convinced of it.

It's a great honor to be here.

- Thank you so much.
- Let's get to the point.

I would do it.
But if I do, we'll go all the way.

No comedy.

There's no need
for that film-in-film nonsense.

Fine, no remake.

We'll just throw away
the "Extras" concept.

I want to play the most interesting

and ambivalent female character
in Germany.

Leni Riefenstahl.

And you two produce.

That's really an interesting character.

Risky.

Edgy.

Edith...

I would be honored.

One last time

on the biggest stage.

- Who will write it?
- We have a writer's room.

No, no, I know someone.
There's this young, aspiring writer.

What's her name? Huyen.

She's wonderful.
She's already wrote about Riefenstahl.

What about Kida?

- Kida?
- Yes.

Right.

He's a bit overwhelmed at the moment.

Sure he's in,

but he doesn't feel so comfortable
in the director's chair.

He really struggles with it.

I thought you were a team?

We are, but...

there comes a time when you
need to break with old friends.

Marius, I'll break your voicemail, man.
Call me when you get this.

Surprise!

You're the best.
I love you. Come here.

How cool are you guys?

- Did you do this, Ida?
- Yes!

- It was your idea, wasn't it?
- Yes.

You little Mickey Mouse.

You're so, so sweet.
Thank you.

My little princess.

- My arm's going to fall off.
- Keep it up.

No, wait.

First the music.

Then the image
reaches its full potential,

and then the door opens.

Not like...

- What happened to documenting?
- Documentaries lie too. Okay?

We keep going until we're satisfied.
It's precision work.

- I hope he trips and dies.
- Fingers crossed.

Please.

Thank you.

No!

Pan along! This is where
the picture reaches its potential!

Not on that white truck!

- But we agreed to...
- I don't care what we agreed!

You need to be flexible!
That's the picture.

- Just film the houses then.
- What?

Are you even listening to me?

I'm sorry.

That's the tension.

But you have to try a little harder.

Again, please.

When you say "Again",
say "Let's do it again".

With some motivation.
That helps me too.

Again, please.

See?

- Did you bring pepper spray?
- Yes, the strong stuff.

Great. After the shoot.

Film is like a long journey.

A coach ride through the Wild West

where anything can happen.

And if you don't dare
to go on this journey,

you will never be wonderfully surprised.

Because at the end of the journey,
there is something unknown to us.

The destination is at the end,

and nothing, but nothing,

goes around in circles.

PRODUCTION OFFICE
KIDA PRODUCTIONS

Good morning!

Morning?

Karl?

Not there either. Okay.

Morning!

Marius, why is the damn office empty?

- Don't we have auditions and readings?
- Kida, come this way.

You're staying here.
You hear?

- Why are the press here?
- They're not press, they're making a...

- Are you fucking with me?
- Just pretend they're not here.

Okay?

Maria told me she spoke to you

and that a weight
fell off your shoulders

when you heard
we're not doing a remake,

but "German Genius" as a series
with an experienced director.

You planted the seed and let it wilt,
but now we have to harvest.

Maria didn't call me.
Nobody called me.

I didn't know that.
I'm sorry though.

Really.

Kida, "German Genius" without
the remake concept is much better.

More unique.
Nobody understood all the layers anyway.

I got the rights from Ricky Gervais.
You can't just kick me out!

We don't need those rights anymore.

We're doing something new.

I've now secured
the title "German Genius".

You didn't do that.

Listen.
Do you see this thing here?

I'll put my fist up your ass
and make you dance like a puppet.

- Listen, you little rat.
- Film this.

- You're filming this?
- Yes.

I don't give a shit, you jerk.
You played a washcloth in a soap opera.

You played a spoon.

- Now you're stabbing me in the back?
- We're on a set, not on the street.

Just call Ricky Gervais
and tell him we don't need him anymore.