All language subtitles for The.Souvenir.Part.II.2021.1080p.BluRay.x265-eng

My period's late.

Hello. Can I come in?

Hello.

Here we are. —hello.

There's a nice little scene.

Dogs waiting for lunch.

You had any rest?

Poor old you.

What a shock.

Terrible shock. Sorry.

Did you know what was going on
with this chap?

What's wrong with that?

You're the boss.

Is she coming?

Darling?

Here we go.

You ready for this? —hello.

I like the pyjamas.

They're not pyjamas. —oh.

Well, they're very nice anyway.

Rosalind: What are you doing?

Oi, stop it...

They want to go for a walk.

That's what they're doing.

Help yourself.

Rosalind: Hello there.

I hope you're gonna stay
for a very long time.

Long as possible, my darling.

William: Absolutely.

Rosalind: You want some?

♪ Will there be another time ♪

♪ will there be another time ♪

♪ another year ♪

♪ another wish to stay? ♪

♪ Will there be another time ♪

♪ will there be another time ♪

♪ another year ♪

♪ another wish to stay? ♪

You grow green grass above me...

With showers and dew drops wed.

And if thou wilt remember...

And if thou wilt forget.

Julie: Mar/and...

We've got it, we've got it.

Marland: Just... just come
round to Julie at the moment

she's going to be explaining
it as we go over the...

I think we 'll...

James: Thank you
for coming to see us.

Julie: I brought you
the last of his things.

James: Oh...

I mean, you know, I'm just
reading this book. Erm...

Jack pincher book and, you know,

all these people
that have led double lives.

And, you know, I...

You know, I'm just hoping
that I can find a reference

to a friend of his
or something in there

that will give me
a little h0pe that...

That there is some involvement
at the foreign office.

I mean, it would...

I can't seem
to find out anywhere

in the foreign office
to talk to even, you know.

I mean, he was...

He didn't talk to us
about his work, did he?

Was he worrying about anything,

do you know? No?

No.

James had to identify him.

It just... ltjust
didn't look like him. I...

I... I found it very hard
to accept that it was him.

There's a little present
for you.

He looks exactly the same.

James: Bye—bye. —julie: Bye—bye.

Hello, Julie? —yes.

Do come in. —thank you.

Parapsychologist: Seems to me
he was quite dark

in his nature anyway.

Er, I would wager that you two
had more disagreements

than you had had
for the period of time.

Let's go six months back.

You'd had more disagreements.

Not necessarily battles royal,
but disagreements.

And in that time,
while he was struggling,

he was working on a thought.
A conscious thought

that he didn't know
how to go forward with life

in this deception
that had become his life.

Er, and as I'm sitting here
talking to you,

the way I'm getting
this information

without invading
anybody's privacy

is I'm asking myself,

what do I know
about his last days?

What happened to his moods?

Did he have a reason
to go on at all?

And I have the sense

that at the end,
he had no reason to go on.

He wanted to stop what was
going on in his own life,

so he just did that.

He let his life go.

Man: Action background!

Yeah. Just a rehearsal.

Choreographer:
One, two, three, four,

five, six, seven, eight...
One...

Man: Yeah, there's a...
—graham...

Man: You know, there's
a challenge in that. Erm...

But also, it's just trying
to find a character that,

you know, is layered.
Erm, and...

It's not necessarily
about the darkness,

it's about why this person
is the way he is.

You could say that it's also
a very political film.

Yes. Yeah. —right.

Okay, I just...

Er, pause for a minute.

Just to check something
on the camera.

Julie's here.

Hi, Julie.

Julie: Carry on.
I don't wanna...

Sorry. —man: It's okay.

Julie: Good to see you!
Good to see you.

Garance: Great!
—marland: Er, Julie, Jim.

Jim: Hi. Jim.
—julie: Hello. Julie.

Jim: We've met before.
—nice to meet you. Oh, really?

Erm... knightsbridge.

Erm, it was brief.

Erm...

Sorry about your loss.

Thank you.

I, erm...

I'd met Anthony a few times,

and, er,
he had a beautiful mind.

He did.

Garance: Julie, ready?

Be careful of
all these cables, okay?

Okay... —julie: Thank you.

Choreographer:
One, two, three, four...

Patrick:
Okay, lets hold it there.

Cut! Cut! Out!

Okay, good.
Let's get it in pieces now.

Jim, it's not linear.

Jim, it's... it's not linear,
in terms of the action...

Jim: No, but I'm just
getting marking...

Patrick: So you don't need
to repeat it.

Jim: And I look like a...
I look like a fucking idiot.

Assistant director:
Just a minute to reload.

So, guys, just a minute
while we reload camera.

Is there any chance of getting,

say, another half dozen people
around this monitor?

Assistant director:
Okay, stand by.

Patrick: Each shot we can use.
Even if it's not the same.

As long as you have
the same emotion.

Assistant director:
And roll playback...

Choreographer:
And one, two, three, four,

five, six, seven, eight. Again!

Patrick: Up, up... look at him.

Okay, coming back.

Choreographer: Five, six,
seven, eight... one...

Patrick: Continuing on
after the fixed point.

And now come back. Come back.

Just straight back,
straight back. Right.

Garance: / wanted to ask you

why you decided
to do a musical today.

Look at us.
We 're in the pissing rain.

Wouldn't you want to be

on a sound stage in widescreen,

rather than here

like eve/y other
fucking English film ever made

where it's drizzling.

That's why.

You know, to... to show
the kids some kind of life.

To use the form,
to use movement,

music, montage,

rather than... b/eugh...

That's why.

Garance: Right. Erm...

Would you say
it's a political musical?

E ve/ything's political.
E ve/ything's political.

Garance: Right. Done.

You can see
it's not a good time.

Julie: Sorry. —yeah.

We'll wait. It's fine.
—no. It's broken now.

Can I just have five minutes?
—patrick: Go on.

I just wanted to ask you
a few questions about Anthony

and his work.
—patrick: Bad time.

It's a bad time.

You can go.

Lydia, could you... could you...

Make a memorial for him.

Well, then, also to imagine

that black men are sort of
like some sort of animals.

Then we see this girl,

and suddenly we're like,
we turn into...

Like lunatics and we're just,
like, obsessed with a woman.

Yeah, the white guys
are the same though.

Yeah, but it's... yeah,
but I dunno... for me...

It's more about the question,
I think, and, er...

Yeah, the colours
of the costume as well.

They look like
cartoon characters.

But you wanna contribute
to cinema, right?

You wanna be something...
—i think... I really think

he is contributing to cinema.
He is.

Yeah, he's contributing shit,
is what he's contributing.

Let's be real about it...

I like when you're like that.

Julie: Yeah, me too.
—I'm just being honest.

Julie: That bit of feistiness.

I've bitten my tongue
for that entire day.

I was laughing. —oh, yeah?

I was laughing along.
I thought... I said...

I thought the commentary
was good, but I just...

It's just one of them jobs

that you've gotta
look after yourself.

It's a trial by fire, mate.
That's what it is.

Jack: Julie, have you had
a look at it?

Frankie: Have you seen
any of the rushes?

Yeah, a little bit. —jack: Yeah?

Frankie: What do you think?
—good. It looks good.

Jack: It's just taking
a bit of time.

Patrick's a bit hard work.

He's giving him a load of grief.

Garance: You guys are not
very happy though.

Frankie: Pardon?
—you're not very happy.

Marland:
Yeah, I can see it, man.

Jack: That's just
how it goes, innit?

Frankie: No, it's just stressful, innit?
It's got like... he's...

We were saying earlier, he's got

this very romanticised idea
of what he wants

without sort of
a proper sort of...

Direction of how to achieve it.

Yeah, yeah, yeah. —marland: Mmm.

Yeah, we could get
the sense of that.

Frankie: But it's coming,
it's trickling down to us because

obviously, he's not getting
the shots that he wants.

But when you're the people
in front of the camera,

you feel like you're the ones
fucking up all the time.

Both: Mmm. Mmm.

Frankie: And more so on Jim,
bless him.

Jack:
Keeps taking him aside and...

Frankie: Pulling him aside, having
chats with him on his own and that...

Jack: Two minutes we're stood down,
you know what I mean?

Jim: Hello.

Can I come in?

I was in the area.

Are you okay?

Are you sure?

Julie: Stop.

I'm on my period.

I don't mind.

Man: Thank you.

Er, garance, the shoes.

Man: Oui'.

Man: Okay.

Marland: We've got time.
—man: Okay.

We've got time
because I'm very fast.

Marland: You are very fast.

Marland: Yeah, and again.

Man: Okay, watch out.

Garance: Yeah. —actress: Ga va?

Come on, guys. Let's go.

How much of the car... —mm?

Marland: How much of the car
do you want...

Man: Do you wanna get a Mark
on the start as well?

Garance:
I... I want to be like...

Garance: No, no, I know.

Oh, notorious. Okay, perfect.

Garance: Yeah, yeah, yeah.

Rehearsal, rehearsal.

You're doubting yourself.
I don't like it and I won't let you do it.

I won't let you do it!

I've seen you.
I've seen what you can do.

You have too much faith in me.

I always say this!
I always say this. It's...

Yeah, but it's not...
It's not grounded, like, in...

In something false.
It's, you know...

you are! You're like...

I think you've...
You're a bright mind.

You always have
interesting ideas.

You always have an interesting

perspective on things, you know.

Yeah, but it's not,
you know, erm...

Alien fighting, sexy, like...
—right, yeah. It's not... it's not...

It's not a futuristic film. —no.

Yeah, but that...
Does it have to be?

Does it have to be to be interesting?

No, but it has to be as...
No, it doesn't have to be.

But it just has to be something

that people are not gonna
forget as soon as they...

You know,
as soon as the credits roll.

Right, but I just think,

you know,
that's going the outside in.

I think focus on
what you wanna do.

What you wanna
make for yourself.

And if you're happy with it,
you know...

Yeah, but... yeah,
but you know what I'm saying.

If you're happy with it

and you've put
your heart into it,

then it will work out.
But if you're thinking about,

"oh, well,
I hope it's impressive

"and I hope, you know,

"it will be as good as
garance's film, and it's..."

You don't need that,
you don't need that.

You just think about
what makes you happy,

what works for you,
what you're interested in.

And it will translate, I think.

Woman: Oh.

You're right, darling.

Ooh!

Who are you?

Julie: Julie.

Susi: Have a seat.

I was, er,
Anthony Reeves' girlfriend.

Wait a minute.
I'm gonna check something.

Your skin is very soft.

You're pretty.

Anthony has really good taste.

I mean,
he used to have good taste.

He gave me this. His present.

But sometimes it doesn't work.

Sometimes I have to ask
Stephen for help.

Can I have your lighter, please?

No.

Did he come here

before he died?

I mean, the day.

Susn why?

Julie: I just didn't know
what he did in that time.

Because I left and...

He was by himself
for an afternoon,

and I didn't know
what he did, so...

Susi: I'm very cut up about
what happened to Anthony.

Almost destroyed me.

He was very special.

I know how you feel.

♪ I've often thought about ♪

♪ The men where lcame from ♪

♪ and times ago ♪

♪ their sons, these days are found ♪

♪ in us and... ♪

♪ ...britannia care ♪

Excellent, Lee. Thank you.
—no problem.

I'll go and find the sign.
Change that.

Head: Just that one to do
and we're there. Mmm.

This is, er,
going to be probably

the most important thing
you do at film school.

This is your graduation film.

And of course you came with

a great deal of powerful images

and images of sunderland,

that idea for a story
in sunderland.

And there was
an engagement with...

With life, with...

With people's lives.

And although it was unformed,
it was early as a filmmaker

and although we could sense

that there were other things
in you at that time

that needed to develop,

er, I can't connect it
with this script

that I have in front of me now.

These images...

These characters
don't seem to relate to you.

I mean, what...
What has changed?

Where... what is going on?

What has happened
to produce this new...

Where's, where has
that other world gone,

that sunderland world?

I don't wanna show life
as it plays out in real time.

I wanna show life
as I imagine it.

That's what cinema's all about.

So what are you telling the audience
with these images?

It's about a relationship
in a fairy tale, in a fantasy,

that hopefully,
many people can relate to

in their own way.

We want to encourage innovation,

young filmmakers
to find their own voices.

But we also want to encourage
professional practice

and I look at this and I don't
see anything that resembles

what I think of
as a professional script.

Marland: Can I ask what you consider
to be a professional script?

Well, I'll leave aside
the red bow,

but at this stage, a title,

although you then rather
archly have a subtitle,

"art is life".

But there are no scene headings.

So... so are we now
discussing the layout

of the script as a reason?

Head of directing: The layout
captures the precision

with which you're thinking
about your project.

It's very unclear how you're
helping your collaborators

find their way through
your proposed set of images.

What it is you're trying to...
To photograph.

And then behind that,
I think our deeper concern

is that there's also a lack of
precision about your thinking.

What your intentions are.

What you're hoping to express
and to explore here.

I'm sorry, Julie, but...

If you pursue this film
as you present it to us now,

I'm afraid
the school cannot support you

and will not support you.

Is it... presumably, there's
a technician who takes the...

Who actually takes
the film things, is it?

Well, no, not really.
I mean, yeah,

there's store cupboards
and people that look after...

No, no. But I mean the person
behind the camera is a...

Is an expert, are they?

No! Absolutely not,
they're students.

They're all students.
—they're all students?

Yes. The whole team is students.

And no one's
giving you direction?

No. Well, me. I'm the director.

No, no, I don't mean
the director.

But no one's telling you
how to do it?

Julie: No.

Sounds fairly typical
for an art school.

Better come and work
on the farm for a bit.

Rosalind: But it's exciting.

I mean, you're pulling together

and helping each other

on all your own projects,
aren't you?

So you'll help somebody else
with their film and...

Julie: Mmm—hmm. —well, exciting.

Rosalind: Mmm.

So is the script done?
—julie: Mmm—hmm.

And do we know
what the script's about?

Can we put... I actually

really don't wanna talk about it anymore.
—rosalind: Darling...

We're trying to get it,
but, erm...

Julie: I know you are. It's just.
It's very irritating for me having to

explain it a thousand times.

Rosalind: We don't mean
to be irritating.

We're just very excited
and interested.

William: Don't be irritated.
But anyhow, we're looking forward to it.

No, thanks.
No, I've given up sugar.

You've given up sugar? —yeah.

Didn't think
that would ever happen.

You've missed the significance
though, of the pot.

William:
That's mummy's first artefact.

Do you mean you made it?

I'm very proud of it.

It's very good.
—julie: You should be.

The top's a bit wonky.
It doesn't really fit, but...

william: I think it's great.

Early etruscan handles.

What are... are these...

Rosalind: That's so sweet
of you to say that.

William: Yes, well I thought...
—they're a bit in the way, aren't they?

William:
I'm glad you noticed, darling.

Rosalind: I haven't learnt
how to do the handles yet.

Okay, well...

It's very rough,
but it is my first effort.

You know,
for a month's work, it's...

Julie: A month?
—...Quite an achieve...

Well, now, probably... —no.

How long have you been doing
this course?

Well, I've been doing
the course for a month,

but I mean,
the pot didn't take a month.

But I'm loving it,
I have to say.

I'm loving
going to college and...

And this is the first
of many things.

I'm going to be filling
this house with artefacts.

What was he like on that Friday?

I want to hear it again.

Well, as I told you,

he seemed particularly happy.

He, erm...

You know, made me a cup of tea

and, erm, we had a...

A rather lovely
breakfast together.

And, er, and off he went.

And what did you think about
him when you first met him?

When, when he came here? —mmm.

Well I... I was disposed
to like him because you did.

Did you just like him
because I did?

No. No, I...

I grew very fond of him.

And what did you feel
when he died?

I was, erm,
very concerned for you.

No, not what I felt.

What did... what did you feel?

When you got that phone call?

I felt through you.

You're a very good dog.

Done really well.

Come on.

Come on.

Have you got everything?

Julie: Erm... yeah,

and my bag's upstairs. —bag?

I'll get it.

Julie: Thank you.
It's on the landing.

Can't you stay
for another night?

I can't stay. —just one more...

Not this time. Not this time,
but next time, okay?

Right. Soon?
—so soon, I promise.

For a long time. For a rest.

I wanna ask you something.
—yeah.

I am so sorry, I...

I need some more money.

For this film.
For this graduation film.

Really? —yes.

And I promise,
I'll pay you back.

It's for the film?

It's for the film. —uh—huh.

It's £10,000.

Oh, darling,
that is a lot of money.

Let me take that.

William: It's heavy. —I know.

William: Bye—bye, darling.
—bye—bye.

Rosalind: Be well. —you too.

Bye, mummy.
—rosalind: There you go.

Bye, my darling...

William: Hope the preparations
for the film go well.

Rosalind: Drive safely.
—julie: Thank you, daddy.

See you soon.

Rosalind: You ring us
when you get there.

Julie: Always.

♪ It's not the way you lead me ♪

♪ by the hand into the bedroom ♪

♪ it's not the way
you throw your clothes ♪

♪ upon the bathroom floor ♪

♪ been thinking about you ♪

♪ I just couldn't wait to see ♪

♪ fling my arms around you ♪

♪ as we fall in ecstasy ♪

♪ ooh, sometimes ♪

We have, like...

Garance: Before that, you
don't even have a main cast.

I know. This is... this is
so much more important.

I'm so sorry. This is
so much more important.

At least need to have them both.

I have some ideas that...

I mean, some of them
are very different. Erm...

He's too handsome.

He's too classically... —yeah.

Yeah, yeah. Right.
—julie: It's too...

No, I don't...
I don't really like him.

I don't really like
these two guys.

No, I was gonna say,
these are too...

Yeah. —he's nice.

This is not... they're...

They're too...
They're too glamorous.

Are you getting it as well?

It's also the picture,
but I agree with you.

Julie: I know. They're wearing
lots of make—up.

Garance: They're too
sophisticated or something.

Yep. —I agree, I agree.

So this...
This one I really like.

I don't know, what do
you think? She's like...

There's something fragile,
but still, like, you know,

a bit noble about her that I really like.
—julie: Yeah, yeah, yeah. Yeah.

Marland: Get this girl cast,
get this guy cast.

Erm, but, I mean,
Julie said she's on it.

So... she seems okay.
She seems okay.

I mean, I'm a bit stressed
about it, but trust her.

So, we'll see, yeah? Okay?

Good. Yeah, James,
you all right?

Maybe this one,
but I really don't like him.

No. No. It's... No.

Happy you don't like him. —no.

Er, he's called Pete.

I saw him, erm,
maybe two weeks ago on stage.

Mmm. —he's very special.

I think, if I understand well,
the project, I think he's the one.

He has something
that I cannot even describe.

You really have to meet him.
So if that's okay...

Mmm. Yeah.
—we can meet him tomorrow?

Mmm, yeah. I would love that.
—perfect.

I would love that. And the girl?
—and I'll call her agent as well

and try and talk to her tomorrow.
—yeah. Perfect! Fantastic.

Great! Brilliant. Thank you.
—all right, thank you.

Man: Does the budget stretch
to me getting an editor, or...

The budget does not stretch.

The budget stays exactly
the way it is at the moment.

Away from the windows
and just set them a bit back.

Because at least you could have

some light through it, or something.
What do you think?

Julie: I think let's do that.

Erm, garance,
if you just have a second?

Garance: Yeah, sure.

Erm... it's just a thought
I had just... just now.

Erm, you don't have to have
an answer immediately. But I just...

It suddenly occurred to me
if you were interested in...

In playing the girl?

Elisa: Julie,
do you want a hand?

No, we're good. We're fine.
—sure?

Yeah, we're so close.

Elisa: Mind your toes.

Why's he got your bed?

For the set.

Oh, for your film?
—yeah, that's what I said.

Oh! Right.

So is it going to your school?

Yeah. —wow.

Yeah. —when is that?

Like, next week we start.

Next week? —yeah.

Yeah. —oh.

Okay. I didn't realise
it was that soon.

Next week.

So everything's set with it?

Yeah, more or less.

Like, casting's set?

Yeah. Yeah. Yeah...

I was... I wanted to talk to you

about it actually, cos I...

Cos you know
I've been going for castings

and it's not been going well.
—yeah.

Well, not like, badly,
but not...

I'm not getting parts
for things.

So you're... you're saying
you've cast it?

Yeah, I have two people
that are...

They're really, you know...
They're quite right for it.

But I... it's got nothing
to do with you.

That's the thing...
It's got nothing to do...

So you've not...
So I'm not in it at all?

Not this one.

And it was such a... —okay.

I just, I honestly...

It... it's got literally...
It's got nothing to do with...

You're such a fantastic actress.
It's nothing to do

with your abilities, or...
—mmm—hmm.

It's just...

You know, the girl who I have in mind,
she... she's not an actress.

You know,
she's a filmmaker and...

She's not an actress? —no.

But she's a filmmaker
and that...

I kind of wanted that,

so she can bring a little bit
of her own experience to it.

Elisa: Mmm—hmm.

Okay. Well... —but it's got...

It's got nothing to do
with you. And I didn't...

Well, it does.

If you're not casting me
in something, then it's me.

You don't... I'm not, I'm not
gonna take it personally,

but don't say it's got nothing
to do with you,

cos obviously,
casting's completely

to do with the person.
—okay. Okay, well...

Julie: Where's the wall?

Man: The wall was,
it is no more.

Julie: A girl fought against me.

Man: Little swallow.

Hello.

Garance: Hi, Pete. —hey, guys.

Man: Looking good, mate,

hel.i.o

you look great! —thank you.

Looks great.
—I feel comfortable.

Yeah? —susan: Mmm.

Can we introduced you
to the dp, Ben?

Pete: Of course.
—ben, this is Pete.

Hey, man.
—pleasure to meet you, mate.

How's it going?
—lovely to meet you.

There. —ben: There?

A little bit up, please. —up?

Perfect, no,
stop, stop, stop, stop.

But don't worry
about being too steady,

but also, you know,
not too documentary. So...

Ben: But don't worry about...
Okay.

The on—board music
is so awkward to me for...

If we hear...
If we hear a little...

Oh, those are the shoes? —yeah.

Okay, cool.

Oh, love the colour though.
Like the colour.

Pete: Trying to figure out.

We can do something to that.

It's a weird rhythm anyway.

So we can do
whatever we want, right?

Garance: So we 're gonna,
are we gonna...

I feel like my energy
was too high,

or too lively.
I don't know how to say that.

Do you know what I mean?

Lulthought it was quite lively.

I was really happy. So it's...

It is quite accurate.
It's really good.

But you're much more...

No, you're perfect.
You're perfect.

You have nothing to worry about.

Are we all set up now?
Are we ready for a shot?

Yes, we're ready.
Ready when you are.

Because I, I'm just looking
at this and I actually think

it's the wrong angle for what
we're... for what I want.

That I, I actually, erm...

I... I think we should have it
on the other side of the door,

because it feels wrong to me

that we should have this camera

seeing more than she does.

Because I don't want to see
exactly what's going on

inside this bathroom
because she doesn't.

And I know that's just...
I know that's a last minute thing.

I know it's really, really...
—julie, we're all set up.

Julie: I know we are!
—we're all set up for this scene.

Ben: You want the camera here?

You want the camera here?
—julie: Here. Yep.

Ben: With the door shut.
Do we see in the bathroom?

Julie: Erm... maybe here.

Here, because she has to come...

She has to come past.
—ben: Okay.

Erm, we don't wanna see
inside the bathroom.

Maybe when you...

Actually, no, sorry, sorry.
Here.

He's very good at hiding it.
—for a year.

But also you...
Yeah, for a year.

For a year,
but also you have suspicion.

You also don't really
want to believe this.

This isn't an easier thing,
you know...

It's not an easy thing
to believe

about someone you love.

You know? —no, I don't.

- Do you understand that?
- —I don't.

Well, it's, you know...
—well, it's...

You're saying you don't want
to believe it, I guess, but...

Yeah. I can understand that.
—but this is the furthest...

This is just one of the times
we are seeing...

You have a feeling as though
when you were dancing together

and during that whole time,
during that whole day,

during dinner, doing whatever
you were doing

before you started dancing,
before we saw you,

that is going on
in the back of his head,

he is wondering
when is the next time

he's going to go off by himself

and do whatever he does,

that you don't really
properly know what goes on.

Because I give him space
and I respect him.

So I... there's this sense of...

You do, but also, he doesn't...

He doesn't really allow
anything else.

Fine. —so that's...

You are doing
as much as you can.

You can say that
in this relationship,

he has... he has the power.

Yeah. 100°/o.

Susan: There may be
some knocking.

Yeah, well find that...
I'll find that out.

Yeah, there may be
some knocking. Erm...

Marland: That looks good
by the way, Ben.

Julie: Yeah?
—marland: That looks nice in the monitor.

Ben: Yeah? Okay.

Well, I mean, there's a lot...

There's a lot of wall.

Well, I don't know if I,
what I can put up there, man.

Let's see if I have something
in the bedroom.

Garance: Where should
this scene go?

Because if we start
with that like,

"oh, my god, yeah,
he's actually doing heroin."

Then we have to maybe sit in...

In the bathroom
and start talking and maybe...

No. You wouldn't talk about it.

Honestly, I don't think you'd
talk about it straight away.

You don't want any dialogue?
—susan: Can we get cast...

No. Honestly,
it's not about that.

Susan: Julie,
can we get cast in there

to start taking positions?
—yeah.

Susan: Yeah.
—It's honestly... it's just...

Garance: You cannot just see
that and not talk about it.

Well, that's how I did it.

That's how it happened.

So don't say it.
You didn't say anything.

Garance: Okay.
—can we just see positions?

Garance: Alfie, please! Please.

Garance: Please open the...

Garance: I do want to see you.

Julie: And cut.

Susan: Cut there!

Cut there.

Julie: You're... you're...
You're angry.

You're...
You're irritated by him.

He was like a child rushing off.

You know, you're
in an adult relationship

and he's running off
and being...

Pete: Did you ever see
sadness in there?

Julie: Yeah, quite a bit.

"Quite a bit." So that was...

Maybe that's why he, you know...

Maybe that's why he... erm...

Soundshke he's calling for help.

So I'm just gonna...

Garance:
It was a terrible lunch.

Pete: It was okay.
Garance: Yeah?

Pete: Heavy.

Garance: Heavy? —pete: Mmm—hmm.

Garance: Excuse me, erm...

Pete: Do you know
what we're doing?

Garance: Stop asking me that.

Pete: What? I feel like
you know more.

Garance: Not really, honestly.

The more we... hi.

So the more... the more...

We work on this,
the more I realise

I don't know anything. Honestly.

I don't understand the, the...

The relationship.

Yeah, the origin
of the relationship.

You know what I mean?

Pete: Yeah, you go to school
with her. You know her well.

Garance: No, not really.
She was... she was not...

She was not here very often.

Pete: What, at school? —yeah.

I like her because she is, er,

very sensitive
and I think she...

She has a voice, but, she's...

I don't know, too naive,
too fragile or...

And she's not... I think she's lazy too.
She's not working enough.

She should, you know...
She should be at school.

She should... she should be
more understanding

that she has to learn a lot
from others.

And again, this is, erm...

This is in... in the real life.

This is three days
before your character died.

Okay.
—so this is possibly your last

moment, erm, of intimacy...

Well, not int...
Well, yes, intimacy,

but before it could be intimate.

So you're, you're feeling...

You're feeling resentment
a little bit,

because you don't know
whether he scored or not.

He's possibly coming down
from something.

And then, I mean, I look back
and I kind of, erm...

He's all over the place.

Julie: Have awareness
that possibly he was always

either on something,
coming down from something.

Just about to score.
So he just...

Garance: So that's also
the reason why I'm objecting here.

Absolutely. You're not in that mood.
You're not in that space.

And you're both
almost not very present.

Pete: How did he feel about
her paying for everything?

What was that dynamic like?

Because was there not...

Was there not an element
of shame there?

I'm not trying... I don't want
you to think I'm trying to

justify his actions. —no.

I'm just trying to justify
his problems, really.

And at the moment,
I don't feel like I know

What they are, but, erm...

So now he's stolen everything
and sold it.

I just feel like that's a...

A desperate moment for him.

I don't know where to go
with this, you know.

If someone has, you know...

A friend of mine stole money
from his mum last year,

and everyone around him
thought he was

the worst human being
in the world at the time,

but I knew that he wasn't well.

I knew that he wasn't
in a place of...

Normal head space, I knew that.

Is this quite difficult for you?

Am I making it
more painful for you?

Julie: No. No, no, no.
You're... no, it's not you.

That's the thing,
it's really not. This is good.

I think it's difficult

because I'm coming up
against your idea of him

rather than a reality of him,
which is understandable.

But...

It makes it
quite difficult for me to...

Come from a place of truth.

If that makes sense?
—susan: How are we doing?

So, er, we need Pedro in here,
ready to dress the set.

Ben: So what's the plan?

Julie: We're just getting
a very simple shot

of the two of them.

And there's no standing up,
or walking around or anything.

What's, what's happening?

Julie: So they're just
having a conversation...

Is it evening, Julie?
—ben: Okay.

Erm, yes, yeah, sorry.
It is quite late at night.

Garance: Okay, night.
—julie: Er, night. So you...

It's possibly like, 10:00, 11:00.

Garance: Okay.
—julie: Erm, maybe 10:00.

I've been here all day.
—garance: You have to close the...

Julie: You've been here all day.

You were here while garance
was at film school.

Garance: Right.

Erm... yeah, so you've
been here all day.

Pete: Okay. So...
—so they're just having a conversation

and it's just...
It's quite static.

Garance: You're high.
—I'm probably high.

Julie: So I think
maybe just like...

julie: Maybe here?

Yeah? —yeah?

Ben: I mean...

I'm sure
it wasn't night originally.

I mean, we're not lit for...
I mean, this isn't night.

Julie: Yeah.

Marland: What, late night?

Julie: Yeah, like, 11:00,10:00.

Yeah, please.
—I know, I know. I'm sorry.

I honestly thought I said it.
—do we...

Seriously, was that... er...

Susan: Yeah, we'll just...
We'll go with that.

If that's what it's supposed to be,
then we'll work with that.

So we need to start.
—okay. It's just starting like...

But this is the problem...
This is the problem.

It's the same, like, you know,
with

How many days we're into...

I've lost all track of time.

Nothing... nothing changes.

It's the same every single day.

We... like, none of us have
any idea what's going on.

It's like,
it's fucking ridiculous.

And I'm getting grief from
marland about, like...

Julie: I feel confident
about what's going on.

Marland: That was one day.
—no, marland, I'm getting grief from you

about how much stock...
—all right, fine.

Ben: We're going through.
Like, it's...

Marland: We've got more now,
so it should be fine.

Erm, can we just...

Garance: Yeah, but we cannot
continue like this.

Like, we can't.
—julie: I think...

Like, it's just like,
you know, we're you know...

All right, we're students,
but we're like...

Julie: Okay, there were
a lot of conversations

that happened
during prep that...

Yeah, I know.
I know we're students,

I know we're still learning
and all the rest of it.

But this is our grad film.

It's really, important stuff.
—yeah.

Ben: And, like, we should be,
like, professional now like...

So should we start making a move

to make the changes
that we need to make?

Well, like, what's... what's the point?
Because we don't know what's going on.

Am I antagonising,
or am I defending?

Susan: No, you... no.
And I'm not... but...

Am I antagonising?
Cos I don't think I am.

Look, we're dealing
with a serious ego back there

and I don't know
what his problem is.

But he's making it impossible.
He's been impossible all day.

Let's just drop it.
Let's just drop it.

Ben: It's all just
broken down. Like...

We just don't know
what's going on.

It's that...
It's that more than anything.

Okay, can you be specific

about what it is that you need
from us? Specifically.

Because you're talking about
you needing everything to be clear.

Specifically, well, having
a shot list would be nice.

Like, having like, following
the script would be nice.

You know, having some kind of
sense every single day.

Like, instead of having, like

the lights changing,
like, halfway through

because suddenly it's day
and then it was night

and then it's day
and then it's night

and then it's day
and then it's night again.

Marland: All right, Ben.
—like, it's just, like...

Susan: So okay.
So thank you for that.

So we're gonna work
on that, okay?

Ben: Yeah, but we've had this
conversation so many times!

Susan: So what do you wanna
do? Do you wanna walk away?

Ben: I want somebody to...
—what do you wanna do?

Ben: I'm that close. I'm that
close to walking away.

All right. Do it. Do it then.
—susan: Okay.

Susan: Don't say that, marland.

Susan: Guys, calm down now.

No, but he's not gonna do it,
he's all mouth.

You have to also learn
how to take critiques

and have to find a way to make
things work for everyone.

You're like a captain on a boat.
That's what you are.

Ben: We've worked
together before

and, like, that's why
we wanna work with Julie,

because of the way
that she works.

But this time it just feels

like we don't know
what's going on.

It's, like, you know,
and we've talked about this

and it just feels, like,
we need to say this now,

because we're all
getting tired...

Susan: Okay, I think
that we have said it.

I think that we have. I am...
—no, but you're not listening to me.

I don't know how to explain it
in like a...

Do you want me to be soft
and gentle and all the rest of it?

Like, I'm saying it like this
because nobody's listening!

Garance: I am so tired and we are.
—marland: We're all tired.

Garance: We have to find
another way.

We have to find a system,
something.

This is too much.
—susan: Yeah, yeah, we are.

We're gonna sort this out.
Yeah. You're absolutely right.

Things have been too much. Yeah.

Garance: Do you understand
that, Julie, yeah?

Where's my sunny girl?

Hmm?

Could you put that up
for me, darling?

I don't want them
to get the wrong idea.

No, you've had enough.

Julie: Shit! —oh.

Julie: I'm so sorry! —oh.

I'm so sorry. Oh, shit.

William: What's happened?

Is that the etruscan pot?
—rosalind: Oh, what a shame.

William: Vandalised.
—julie: I'm so sorry. I'm so sorry, mummy.

I really, really,
really didn't...

William: I shouldn't worry,
it's only a term's fees.

Darling, you didn't do it
on purpose.

Julie: I'm sorry. And I really
wouldn't. I'm sorry.

No, it's just
one of those things.

Julie: I'm sorry.

Rosalind: Yes, can you get
them out, darling?

There's some sharp bits.
—julie: I think we can.

William: Come on.
Come on. Come on.

Rosalind: Quite sharp bits.
—julie: I'm so sorry.

Ooh, yes. Can you get the dogs
out, darling? I don't want

them to hurt their feet.
—come on. Here.

No, it's all right, it's all right.

William: Come on.

William: Oh, dear.

Just one of those things,
isn't it?

Have you cut yourself?

No, just a little bit.

Julie: I'm so sorry.

I'm so sorry,
is your finger all right?

Rosalind: Mmm.
I'm gonna go and get a...

William: Worse things
happen at sea.

A, erm, dustpan and brush.

And put the kettle on
and start again.

I shouldn't worry.

She can make another one.

No, you stay
out of here, please?

Did you...

No, no, no, no. Absolutely.

Good...

Anybody else
want some more cake?

Mmm, no thank you.

I came across the ravaged remnants
of that in the kitchen.

Rosalind: Well, we're making
fast work of that cake.

I know. It seems to be
going down quite...

Quite good, actually,
it's from the shop.

Did you make it?
—no, I... it's fine.

It's mrs daley's best, is it?

Julie: I'm so sorry.

I'm so sorry.

♪ I was sold up the river ♪

♪ to the red slave trade ♪

♪ the stores were gathered
the plans were laid ♪

♪ synchronised watches
at 78:05... ♪

Narrator:
As Horatio's pounding heart

s/o w/y stilled,

and the welcome adrenaline
drained from his veins,

he became aware
of sentences forming.

Flashes and fragments

of the vision of his situation,

that could only be that
of a future self,

whose fate was very different

to this inauspicious beginning.

I tried this this morning
and, erm...

Yes, I see that.

Lydia: It's much better.

I liked you as a robot cowboy
in westwor/d.

Less so as a cutter of films.

But you liked it.

I liked it. —what did you think?

What were your thoughts?

It excites me. I like...
I like what I'm seeing.

Patrick: Right.

I wish it was my film.
You know...

Patrick: Right.
That's marvellously generic.

Editor: I mean, if...
I think we could do with a few more

details of the faces.

Maybe to see some of the faces
as a bit of...

I've asked for two more days.

Lydia, can we have two more days

to shoot some close ups?
—lydia: No.

Then we can't
cut them in, Chris.

Editor: Okay. Yeah.

Patrick: We can't cut in those
close ups we don't have.

Editor: No.

Patrick: What do you think?
What does it make you feel?

Okay. Yeah.

You're forcing me
to have a tantrum.

It excites me. It excites me...

Patrick:
You said that last time.

Lydia: That's a great thing
to say.

Yeah. Once is enough though.

Lydia: That's all it needs
to be, in a way.

Patrick: We should put cut outs.

This is what we should do.

Little cut outs of the audience

in front of the monitor.

It's what scorsese does.

Okay.
—to remind him that it's cinema...

Cinema. Yeah.
—...And not something

you watch midweek... with your uncle.
—okay.

Editor: I think it's great.
—lydia: Mmm.

Editor: It looks great.
—oh, fuck off!

Editor: It's got energy. It really has.
—say what you think.

Don't say something
that you could say after watching anything.

"It's great, it excites me."

Yeah.
—patrick: Say something specific,

so that we can decide
what the next scene

should make you feel. —okay.

So that we can take
an emotional line

through something.

Editor:
I think it starts really well,

but it's a little flat
in the middle, emotionally.

Patrick: Am I...

what does it make you feel?

Oh, fuck all of you.

Honestly.

Fucking hell!

Editor: Sorry about that.

I loved it.
I really liked it, so...

I think it's great. He's got
it all out of perspective.

He's stressed. —oh... yeah.

And... drunk maybe.

Let's take another look.
I'll just do this.

I don't know if I got enough of...

Garance by herself.

I, I wish I'd had some solo...

In this? Mmm. —yeah. I would.

Cos it's just, I think
it's too much of two of them.

I wish I'd had a moment
just her.

Well, you've got this moment.

Well, it's not...

Yeah. —yeah.

I think it's a nice shot.
I think it will...

We can figure it out. —mmm.

Pete: Please?

You can really tell
that they had chemistry.

Er, Pete and garance.

Mmm—hmm.
—they really did. Kind of...

You can really see it in her eyes though.
I think it's quite fitting.

They work well together? They...

Yeah, very, very well, I think.

Erm, yeah,
they really liked each other.

It was kind of,
I think it's quite...

It was, I think it was quite
good for the characters.

Mmm—hmm.
—although very different

eye between the two of them,
you know.

Well, we can move things around

and we can find it and... —yeah.

I think
it's probably perfectly normal

to come to editing
in the first place

and watch the rushes
for the first time

and feel ambivalent
and it must be so strange

having an idea
of something and then...

And then seeing it
for the first time.

Those kind of questions
are completely normal,

but I think, as we continue
to watch it

and piece it together and, er,

kind of play
with the moments of it,

we'll find it. —mmm. Okay.

Good. Thank you.

I needed to hear that.

No, it'll be fine. It'll be great.
—It's funny.

Good. Yeah.

Do you wanna watch some more?
—yeah. Let's do that.

Julie: Thank you.
—max: You're welcome.

Cheers. —cheers. Thank you.

Were you...

Were you particularly close
to his parents?

I mean, have you
spoken to them a lot since

or got to know them well
when you were with him?

I got to know them
quite well. Erm...

And I don't know whether I'm...

Whether I really am too busy,

or whether I'm making excuses.
Cos I've...

Because I feel as though

when I see them
and talk to them,

I feel like I'm...

"Intruding" isn't
the right word, but I mean...

You know, they lost
their son, their only son.

And I...

I grieved in such
a different way to them.

And I feel...
I don't feel as though

I have a place there
as much now.

It's funny, but I...
I feel really bad

I haven't been in touch
with them as much.

Obviously,
I've never been through

what you've been through,

but I think... I'm sure from
the parents' point of view,

they're obviously dealing,
you know,

with this unimaginable loss

and, er... and tragic event,

but that doesn't, kind of,
mean that you're not too.

And I'm sure they're only
sympathetic to that fact.

And you know, you've...

I don't think you should,
er, take it upon yourself

in a kind of destructive,
negative way.

Erm, from my point of view,
from what you've said,

erm, you shouldn't do that
to yourself.

Julie: Thank you.

And also, with you, you know,

making the film at school,

which I don't know
whether they know about,

but I'm sure your family
obviously knows about.

It's, you know... it's a brave
thing to do and...

I mean, you know, I think,
I don't think you can...

What you've gone through
at any stage,

at any point of your life,

if this was to happen,
would be unimaginable.

So for it to happen
at such a young age

and particularly,
I don't think you can...

You just can't do that
to yourself.

It's not...
It's not fair to yourself.

Do you want another Drink?

Er, no, I'm fine, thank you.

Erm, do you want to come back
to mine for a drink?

If you have time.

Er... this evening?

Mmm—hmm.

Erm... I...

Actually, I said I would see
my boyfriend this evening.

Erm, so I probably
can't tonight.

Okay. Yeah.

No, I understand.

I'm so sorry, I misunderstood.

No, no, no.
No, no, no, it's fine.

No, I said I'd, er...

I said I would cook something.

He hasn't been very well, erm...

Er, for a little while now,
so...

I'm sorry. —that's all right.

Erm...

Yeah, so I said
I'd cook him dinner.

So I should probably do that.

Yeah.
That's really sweet of you.

Ah, well, he hasn't had it yet.

So, you should probably...

Yeah, I might run.
Is that all right?

No, not at all. —max: You sure?

Yeah, absolutely.
Yeah, completely.

Max: Okay. —I'll see you soon.

Max: Yeah, okay.
—thanks so much.

Max: Yeah, of course.

Julie: Thank you so much.

Thank you so... yeah.
Thanks. Good luck.

Max: Thank you.
—have a nice night.

Yeah, you too.
I'll see you tomorrow.

Julie: Yeah, tomorrow.

♪ Eve/ybody's laughing ♪

♪ Eve/ybody's laughing ♪

♪ Eve/ybody's laughing ♪

Hello?

Hi, Barbara. Are you
all right? What's wrong?

Is he in the hospital?

Or is he at home?

No, thank you so much
for calling.

Can he... can he talk?

Do you want me to come?

Do you want me to come, Barbara?

Do you want me to come to you?

Yeah, no, of course. Yeah.

Thank you so much for calling.
No, no, not at all.

I'm so sorry. I'm so sorry.
Okay. Bye—bye. See you soon.

I'm struggling
to recognise whether

I'm, erm,
missing Anthony as a whole.

That, as the person he was,
a very...

Strong individual, he was.
—parapsychologist: Mmm—hmm.

And still is in my mind

quite present. —mmm—hmm.

Or whether I'm missing having

a companion and that intimacy.

And that mysterious leader

who... who, you know,
made decisions for me and...

Took me places and...
And ".And".

Helped you be a risk taker.
—mmm.

But a controlled risk taker.

Controlled by him.

Keep talking.

I've... I miss having
that intimacy with someone.

And... and I don't know
whether I'm quite ready

to have that
with someone else yet.

Because I... I really want it.

I really want to be able to...

Be next to someone in bed.

And talk to someone who...

Who I don't go
to film school with.

Mmm—hmm.
—and who's not my parents

or Anthony's parents.

But you do realise, you are the one
who can make it happen.

Do you think
I have to change a bit?

Well, you won't
change character,

but you do have to change
a few habits.

Not only of thinking,
but of being.

You did it with film school.

And in film school,
you found acquaintances.

Now your job is to go...
Job? That's not quite the...

Yes, your job.

You're a human being with
life to live. That's your job.

Patrick.

Hi. Hi. How are you?

I am... middling.

How are you?
—yeah, middling as well.

Patrick: Good. —yeah.

How's your film?

I'm not calling it that
any longer.

I was invited to leave the edit.

I could have made their film.

But I wanted to make my film,

so it was an easy decision.

Oh, I'm sorry... about that.

I always wanted
to be like Orson welles.

Lydia and I are back together.

Good! Good, I'm pleased.

I ground her down.

She lost that battle.

Although she's still
in the edit.

Okay.

So maybe she's winning the war.

How's your memorial?

Finished now.

Edit's... it's done.

So, waiting to graduate.
So we'll see.

Did you avoid the temptation
to be obvious?

I think so.
—that's all you can hope for,

isn't it? —mmm.

Do you think Anthony did work
for the foreign office?

In the end?

Anthony was a junkie.

Yeah.

Okay. —onwards.

That's my direction.

I'm this way. —good choice.

See you soon. —good decision.

Man: Julie,
please come and join me.

Julie harte.

It's a great joy
to see you here, Julie.

You've, erm, bent some rules,

and it's been a long journey.

Erm, but you've met it
with courage and determination.

There was a point,
I think, erm...

Jonathan, Steven,
when we didn't think

we would
see you here graduating.

But we 're all
very proud of you.

Erm, and it's a great,
great, great delight

to see you graduating,

and I'm sure
you 'd like to say a few words?

Thank you.

Erm... this, erm, film's
dedicated to absent friends...

Erm, who couldn't be here.

And, erm,

if we could all just raise
an imaginaiy glass of champagne

to absent friends.

Erm...

It's my gift to someone I...

I once knew and loved very much.

Er, that's all. Thank you.

Man: Do you like her?

Julie: I/ove her.

Man: She's just received word
from her lover

and she's can/ing his initial
into the tree.

Man: You're lost.

And you'll always be lost.

_

Man: Why are they more real
than me?

Julie: Did you score today?

Don't lie/ I can't believe you.

Anthony: Can you lend me
a couple of quid?

Julie: Mummy...

Anthony: Have you got 70?
Gimme 70.

Julie: Can lborrow some money?

Rosalind:
More money, more money.

Julie: £200.

Anthony: If you don't
want to know,

then don't ask...

Anthony.' Desiree...
—julie: What things?

Anthony: M/r/am,

Caroline...

Man: You're a dark horse, Julie.

Anthony: Andange/a.

Woman: Angela.

Anthony: If you don't
want to know...

Julie: Ldo want to know.
I do want to know.

Anthony:
Stop torturing yourself.

Stop inviting me to torture you.

Julie: Please go away.

Julie: Do you still love me?

Man: How do you feel about...

Julie: Depends.

ID love to.

Parapsychologist:
You had more disagreements...

J u I! E: Disagreements?

Parapsychologist:
You had more disagreements.

He was strong.

He didn't know
how to pen'orm his deception.

Julie: I'm sor/y. I'm sor/y.

Man: Do you think
that makes you special?

Male singer:
How sad venice can be

when you're on your own

Julie: A searing pain.
Man: What's it all for?

Woman: He had no reason
to go on.

Rosalind: Happy birthday

rosalind and William: To you

happy birthday to you

happy birthday, dear Julie

happy birthday...

Patrick: Anthony was a junkie.

Man: I'm very much in love.

Parapsychologist: You're a
human being with life to live.

Julie: Lcou/d see
like second sight.

/t is you who has power over the beast.

Anthony: Would you lend me
a couple of quid?

Have you got 70? Gimme 70.

Julie.

Julie: And / am born again.

Man: You're lost. You're lost.

And you'll always be lost.

Julie: And / am born again.

♪ No one on earth
could feel like this ♪

♪ I'm thrown
and overblown with bliss ♪

♪ there must be an angel ♪

♪ playing with my heart, yeah ♪

♪ / walk into an empty room ♪

♪ and suddenly
my heart goes boom ♪

Rosalind: Mmm...

We're a little later
than we said we'd be...

Snowy!

Because of the blasted
underground strike.

I mean, it's such a bore.
—of course, the strike.

Er, so did you get a taxi
or what?

Oh, look!

You see? —see... I see.

I was trying
to explain it to you.

Yes, I understand now.
—It was kinda difficult.

I'm sorry, I was being thick.
—and they fold.

It's a great improvement,
darling, I do see.

And they... and they fold up.
—yeah.

They've done such a good job.
I just couldn't...

I couldn't tell these fold.
—It's marvellous!

Yeah. —with the added bonus

of getting rid of that glass

that one couldn't
stop looking at oneself in.

Oh, look...
—do you want some tea?

I'd love some.
Fruits of the garden.

Look, darling. —yeah?

Put those in water.

Thank you, mummy. Thank you.
—oh.

Yeah, I'd love a cup of tea.

No, I mean, it's no mean feat
getting a taxi

from king's cross
at the best of times,

but finding someone,

someone who will take
a wild animal

was quite something.
Thank you very much.

We found such...
Such a charming man.

Actually, do you know what,

I'm gonna spend a penny
if I may?

Whoops.

I squirted myself

with your heavenly scent
by the sink.

Is it penhaligon's bluebell?
—yes.

Absolutely glorious.

Come on, up you come.
—let me have a smell.

Absolutely glorious, isn't it?

This is for you.
—what's this? I can't see.

Just some of the money.

Oh, my darling! Really? —yeah.

You can spare that? —mmm—hmm.

Cos I can wait.

No, no, no.
You've waited long enough.

I know you'll pay me back,
but I can wait if you...

It's fine. No, you...

It's about time.
It's about time.

I wouldn't pay you
unless I could.

It's all fine.
—well, thank you very much.

Very good. —thank you.

Pleasure doing business
with you.

Oh, where's my tea?

Mummy,
why are you still smoking?

Mmm. —it's so horrible.

I know.

New thing. —I know, I know.

Well, it's, you know...

What does daddy feel about it?

Daddy pretends he doesn't know
anything about it.

That's my... one of my
favourite qualities about him.

Yes, like a truly loving person.

He must really love you.

I think he must.

Snowy. Snowy.

Your hair's getting so long.

Yes, I know.
—It's lovely like that.

Do you like it? —yeah.

Good. —I do.

Yes, no, I like it too.

It looks quite like
my mother, actually.

She used to wear
her hair like that.

Her hair was
a lot darker than mine.

Yes, but she used to wear it
in a bun like that.

Julie: Mmm.

And then it was
always so exciting

when she took it down
at night, or if you...

If you caught sight of her.
—you caught her?

Yeah...

Marland: Are you being
taken care of, yeah? No?

Okay, okay. You want us to...

Man: You look great.

Erm... —phil: Is... is...

Does Anna know?
Is she moving with camera?

Like, to just... or is she just...
—no. I think we're gonna try

one of her static,
turning around like this.

But just keeping the eye line.
—and then I was thinking

we're gonna do one by herself.

And then she might move.
—okay. Yep.

Because then she'll have
more movement with her guitar.

Cos I don't want her to bang
into anybody if she's moving.

Phil: Erm, Anna's coming in
now, Julie. So...

Anna: Hi.

So, erm... —you look beautiful.

Phil: On the way to the thing
be careful with your heels,

cos we don't want...

So you wanted her...

Just in the centre.
—anna: Mmm—hmm.

And you're gonna stand, yes,
and this thing

will be turning quite slowly.
—right.

And if you ever feel like
you're gonna fall,

just put your hand up
and we'll stop.

Anna: Right. Julie: But I think,

yeah, you're gonna
be turning with it.

Anna: Mmm—hmm.
—julie: And whenever...

Phil: So we're
gonna run turntable.

When that's up,
we're gonna roll camera.

Mark it. Then we're
gonna roll playback.

It's an eight count
and then we're into it.

Everyone get that?
Everyone good?

Yep. Okay. Cool.

Let me... no, no, no,
carry on, carry on.

Phil: No? Yeah?
—no, no, yeah. It's good.

Phil: Okay. All right, then.

Er, all right, stand by,
everyone. Nice and quiet.

Okay, and James back there,

let's please run the turntable.

Woman: Okay, so nice and quiet, guys.
Let's standby on this.

Phil: Okay, let's roll camera.

Woman: Turning over.
Ben: Camera speeding.

Phil: And Mark it.

One one.

Phil: Clear frame, please.

Settle and go playback!

♪ God, / wanna go home ♪

♪ but/ wanna stay out there ♪

♪ it's a hell of a thing ♪

♪ dream/ass up in desire ♪

♪ so / wait by the phone ♪

♪ ringing out in the hall ♪

♪ and/ write it in chalk ♪

♪ on a skeleton wall ♪

♪ is this all there is? ♪

♪ Is this all there is? ♪

Interviewer:
Do you have a feeling

of the kind of themes
you want to explore?

Is that something that's
really firm in your head?

Like, I need...
—no. No, it's not.

It's not. Lhope, erm...
—at least you're honest about it.

Lhope /...

Lhope lha ve more...

Lhope lhave
something to say in my 30s,

by the time / get there.

I hope I have something to...
Something to talk about.

But do you kind of feel like
you're almost like a hamster

storing up experience?
—I'm storing,

I'm gathering experience
and information and...

And, yeah, gathering all that...

Okay. —...That stuff...

Mmm—hmm. —...And I'm waiting

to find what I wanna do
with that.

Reporter: By dawn,
they were on communist soil

laying symbols of peace.

Thousands of them looking east
and shouting,

”down with the wall”.

On top, west berliners
who hadn't been born

when the wall was built,
led crowds in singing.

Hans janke was 74
when it went up.

Today, he says,
has changed eve/ything.

Hans: / was thinking
the wall will never fall.

Reporter:
What are you thinking now?

Hans: The well will fall.

Oi, oi! You all right? —hey!

Happy birthday!

How you getting on? Good?
—thank you.

I'm so good.
You're so pissed already!

Jack: Looking a bit older.

No, you look amazing.

Here's a little something
for you.

Do you want it on the table?

Yeah, please. Thank you so much.

Happy birthday.

Julie: You're the only person
I want here.

I'm actually gonna throw...

Oh, shit, my earring.
—oh, sorry, love.

Happy birthday.
Lovely dress, by the way.

Erm... thanks, love. Thank you.

A lot of work with
the anti—poll tax federation.

You know, some people...

Like talking to some people
about all of that stuff.

You know...
—i have heard about it.

Yeah, I've heard about it
in France. Yeah.

Wine.

Yes, I do.

That one.

Woman: No way!
I don't want you around...

That would be amazing.

Yes, yes.

I have so many pictures of me
with this big belly.

Julie: Yes!

You keep asking me
all these questions.

I've only just met her.

Oh, have ya? I thought
yous were a thing for a while.

Four months, but, you know,

a bit intense for... —oh, sorry.

Oh, lad, I can't help it.
I get on the wind up, don't I?

I didn't make it.
—you brought it?

I did not...
—well, who brought it, then?

I didn't. I didn't bring that,
I just saw it outside.

I thought it was from the party.

You... what? You...

Sorry? You found it outside
in the street or what?

No, no, no. Ltjust didn't...
It was by the door.

It's a joke?

Marland: It was just...
It was outside the front door.

You are joking?
—nah! I brought it.

I made it. I made it, I made it!

I was like, "I've already
eaten half of it."

I made it, but from a can.
—It looks delicious.

Julie: Here we go.

Ooh.

Everybody, say, "thirty!"

All: Thirty!

There you are.
Fuckin' hell, that's it.

There we go.

Are we to be, er, expecting
someone at any point?

What do you mean?
—I thought maybe

a fine young gentleman
in your life?

"Fine young gen..."?
No. Absolutely not.

No? — No.

No, you're not with anyone?
—no. Just me.

Good. —I'm really happy.

Good. Cheers, mate.
As it should be. Come here.

I love you. Thank you.
—I love you.

Director: Cut!

♪ God, / wanna go home ♪

♪ but/ wanna stay out there ♪

♪ it's a hell of a thing ♪

♪ dream/ass up in desire ♪

♪ so / wait by the phone ♪

♪ ringing out in the hall ♪

♪ and/ write it in chalk ♪

♪ on a skeleton wall ♪

♪ is this all there is? ♪

♪ Is this all there is? ♪

♪ But the memo/y fades ♪

♪ like a cigarette burning ♪

♪ so / go back to bed ♪

♪ now the headlights are turning ♪

♪ is this all there is? ♪

♪ Is this all there is? ♪

♪ Is this all there is? ♪

♪ I'm on my own tonight ♪

♪ if nobody answers ♪

♪ I'm on my own tonight ♪

♪ if nobody answers ♪

♪ is this all there is? ♪

♪ Is this all there is? ♪

♪ Just drive ♪

♪ Cos all/ want ♪

♪ is you all ♪