All language subtitles for 17 - Working with Crew

af Afrikaans
ak Akan
sq Albanian
am Amharic
ar Arabic Download
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bem Bemba
bn Bengali
bh Bihari
bs Bosnian
br Breton
bg Bulgarian
km Cambodian
ca Catalan
chr Cherokee
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch
en English
eo Esperanto
et Estonian
ee Ewe
fo Faroese
tl Filipino
fi Finnish
fr French
fy Frisian
gaa Ga
gl Galician
ka Georgian
de German
el Greek
gn Guarani
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ia Interlingua
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
rw Kinyarwanda
rn Kirundi
kg Kongo
ko Korean
kri Krio (Sierra Leone)
ku Kurdish
ckb Kurdish (Soranî)
ky Kyrgyz
lo Laothian
la Latin
lv Latvian
ln Lingala
lt Lithuanian
loz Lozi
lg Luganda
ach Luo
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mfe Mauritian Creole
mo Moldavian
mn Mongolian
sr-ME Montenegrin
ne Nepali
pcm Nigerian Pidgin
nso Northern Sotho
no Norwegian
nn Norwegian (Nynorsk)
oc Occitan
or Oriya
om Oromo
ps Pashto
fa Persian
pl Polish
pt-BR Portuguese (Brazil)
pt-PT Portuguese (Portugal)
pa Punjabi
qu Quechua
ro Romanian
rm Romansh
nyn Runyakitara
ru Russian
gd Scots Gaelic
sr Serbian
sh Serbo-Croatian
st Sesotho
tn Setswana
crs Seychellois Creole
sn Shona
sd Sindhi
si Sinhalese
sk Slovak
sl Slovenian
so Somali
es Spanish
es-419 Spanish (Latin American)
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
tt Tatar
te Telugu
th Thai
ti Tigrinya
to Tonga
lua Tshiluba
tum Tumbuka
tr Turkish
tk Turkmen
tw Twi
ug Uighur
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
wo Wolof
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:13,200 --> 00:00:15,100 it's really good if you have people around you 2 00:00:15,100 --> 00:00:16,100 that you trust 3 00:00:18,000 --> 00:00:21,700 which is a basic element in the film making process 4 00:00:21,700 --> 00:00:24,033 or any anything really and 5 00:00:25,600 --> 00:00:27,133 and goes for any film you making 6 00:00:27,133 --> 00:00:28,866 the trust is important between your director 7 00:00:28,866 --> 00:00:29,666 photography you 8 00:00:29,666 --> 00:00:30,866 your assistant director 9 00:00:31,000 --> 00:00:31,900 co producers 10 00:00:31,900 --> 00:00:33,800 that sort of thing um 11 00:00:34,266 --> 00:00:37,566 what I mean is that if it's a passion project 12 00:00:37,666 --> 00:00:40,966 and everyone's invested in it the way you are um 13 00:00:40,966 --> 00:00:42,499 that's really rewarding 14 00:00:42,533 --> 00:00:44,699 that's something very special 15 00:00:44,700 --> 00:00:46,466 you feel you've gone through some sort of 16 00:00:46,466 --> 00:00:47,533 experience together 17 00:00:47,533 --> 00:00:48,166 it's happened 18 00:00:48,166 --> 00:00:50,899 lucky over the years that had a few of those 19 00:00:51,500 --> 00:00:52,766 just recently with silence 20 00:00:52,766 --> 00:00:53,666 for example 21 00:00:53,766 --> 00:00:55,599 Mean Streets to a certain extent 22 00:00:55,600 --> 00:00:58,466 although a lot of that were a lot of the crew 23 00:00:58,466 --> 00:00:59,433 I mean streets 24 00:00:59,466 --> 00:01:00,466 I Learned how to 25 00:01:00,500 --> 00:01:02,600 put a film together through Roger Corman's crew 26 00:01:02,600 --> 00:01:04,200 but they felt the energy of the whole thing 27 00:01:04,200 --> 00:01:05,600 and they knew somehow 28 00:01:05,600 --> 00:01:08,000 because my enthusiasm and and 29 00:01:09,333 --> 00:01:11,299 just passion for making the picture 30 00:01:11,300 --> 00:01:14,000 they kind of were infected by it in a way 31 00:01:14,200 --> 00:01:17,600 but I think primarily it's a 32 00:01:17,733 --> 00:01:20,399 it's great when um 33 00:01:20,966 --> 00:01:24,699 the crew is tight enough and like a real working unit 34 00:01:24,700 --> 00:01:27,233 that feels at the creating something special 35 00:01:27,533 --> 00:01:28,899 you know um 36 00:01:28,900 --> 00:01:32,100 with you there's an alternative of course 37 00:01:32,100 --> 00:01:35,066 and that is that it becomes something impersonal 38 00:01:35,133 --> 00:01:36,699 to bigger bigger set 39 00:01:36,700 --> 00:01:37,966 bigger situation 40 00:01:38,266 --> 00:01:39,499 but still even there 41 00:01:39,500 --> 00:01:41,566 people are hard doing very 42 00:01:41,566 --> 00:01:42,266 very hard work 43 00:01:42,266 --> 00:01:44,999 whether it's making sure the 44 00:01:45,366 --> 00:01:48,133 the rain machine works perfectly or that sort of thing 45 00:01:48,133 --> 00:01:51,966 um but as long as you have your inner core of 46 00:01:51,966 --> 00:01:57,233 of key people sharing that desire to make this film 47 00:01:57,866 --> 00:02:01,199 sharing and ideally um 48 00:02:01,600 --> 00:02:03,500 not necessarily overdoing 49 00:02:04,733 --> 00:02:07,233 their role so to speak um 50 00:02:07,666 --> 00:02:09,166 but pulling it all together 51 00:02:09,166 --> 00:02:10,499 to help you get what you want 52 00:02:10,500 --> 00:02:11,866 or what you think you want 53 00:02:12,133 --> 00:02:13,333 you know because very often as I say 54 00:02:13,333 --> 00:02:14,499 when you get it to the set 55 00:02:14,566 --> 00:02:16,099 or when you get it to a location 56 00:02:16,100 --> 00:02:17,333 and you've designed something 57 00:02:17,333 --> 00:02:18,333 and you're working with the actress 58 00:02:18,333 --> 00:02:19,133 and things start changing 59 00:02:19,133 --> 00:02:19,933 sometimes you you 60 00:02:19,933 --> 00:02:23,099 you lose your um uh 61 00:02:23,166 --> 00:02:25,033 sense of exactly what the shot should be 62 00:02:30,933 --> 00:02:33,266 if the people around you keep people 63 00:02:34,700 --> 00:02:36,000 understand what you want 64 00:02:36,000 --> 00:02:38,766 based on conversations before you started shooting 65 00:02:38,766 --> 00:02:40,799 reading the script designs 66 00:02:40,933 --> 00:02:41,966 all kinds of 67 00:02:42,700 --> 00:02:43,800 especially if you're on location 68 00:02:43,800 --> 00:02:45,100 where people are working together 69 00:02:45,100 --> 00:02:46,700 eating together and that sort of thing 70 00:02:46,700 --> 00:02:50,200 you begin to get a sense of who you could depend on and 71 00:02:53,933 --> 00:02:55,099 they would be able to tell you 72 00:02:55,100 --> 00:02:57,366 and help you through the hard times really 73 00:02:57,400 --> 00:02:59,166 uh so this is something um 74 00:02:59,733 --> 00:03:00,466 that's really 75 00:03:00,466 --> 00:03:02,733 um key factor 76 00:03:02,733 --> 00:03:04,199 it's core unit 77 00:03:04,266 --> 00:03:05,999 now when I say a passion project 78 00:03:06,000 --> 00:03:07,700 that core unit could be the whole crew 79 00:03:07,700 --> 00:03:09,000 because it's a smaller crew usually 80 00:03:09,000 --> 00:03:09,733 it's a lower budget 81 00:03:09,733 --> 00:03:10,666 it's a different thing 82 00:03:10,666 --> 00:03:12,099 but when you're on a bigger picture 83 00:03:12,500 --> 00:03:15,566 that small core is really your 84 00:03:15,566 --> 00:03:16,333 your life core 85 00:03:16,333 --> 00:03:17,366 your lifeline 86 00:03:17,366 --> 00:03:19,133 um I come from a time too 87 00:03:19,133 --> 00:03:21,166 when there was a lot of experimenting with the 88 00:03:21,333 --> 00:03:22,099 movie making 89 00:03:22,100 --> 00:03:23,933 where we actually thought at times 90 00:03:23,933 --> 00:03:24,599 oh I don't know 91 00:03:24,600 --> 00:03:25,133 I didn't try it 92 00:03:25,133 --> 00:03:27,966 but that in the 60s 93 00:03:27,966 --> 00:03:29,966 they were experiments in making um 94 00:03:30,966 --> 00:03:32,499 I've got collective decisions 95 00:03:32,500 --> 00:03:33,866 collective film making 96 00:03:33,866 --> 00:03:34,766 as the director 97 00:03:34,766 --> 00:03:36,866 you can't score points with false modesty 98 00:03:36,866 --> 00:03:38,899 you have to assume the responsibility 99 00:03:39,300 --> 00:03:42,466 of being the one who makes those guiding decisions 100 00:03:43,133 --> 00:03:44,166 but you also have to remember 101 00:03:44,166 --> 00:03:45,966 that every single person on your set 102 00:03:45,966 --> 00:03:47,166 plays a role in making your film 103 00:03:47,166 --> 00:03:47,966 you need it 104 00:03:48,266 --> 00:03:49,766 you need them you know 105 00:03:49,766 --> 00:03:51,399 and you need their dedication 106 00:03:51,600 --> 00:03:53,166 you need their expertise 107 00:03:59,466 --> 00:04:00,799 don't forget it's what Stanley Kubrick said 108 00:04:00,800 --> 00:04:02,733 they said what is the um 109 00:04:02,733 --> 00:04:04,099 what's the hardest part of directing 110 00:04:04,100 --> 00:04:06,233 he says getting out of the car in the morning 111 00:04:09,366 --> 00:04:10,966 cause once you get out of the car 112 00:04:11,500 --> 00:04:12,900 you besiege with questions 113 00:04:12,900 --> 00:04:16,066 and usually you get out of the car their problems 114 00:04:16,500 --> 00:04:18,066 and like I used to tell my ADSA 115 00:04:18,066 --> 00:04:19,966 I get out of the car and look at them and say 116 00:04:19,966 --> 00:04:21,266 aren't you smiling no 117 00:04:21,333 --> 00:04:22,499 I said what is it 118 00:04:22,500 --> 00:04:22,866 I said well 119 00:04:22,866 --> 00:04:24,366 what can't we do today 120 00:04:24,933 --> 00:04:26,733 you know and you just get used to that 121 00:04:26,733 --> 00:04:27,533 you get used to it 122 00:04:27,533 --> 00:04:30,166 what it is is that it's true 123 00:04:30,166 --> 00:04:33,299 getting out of the car begins a process 124 00:04:33,400 --> 00:04:35,500 I'd always said I wanted to do a 125 00:04:36,966 --> 00:04:38,166 an article for 126 00:04:38,166 --> 00:04:41,399 and these days I guess would be online or something um 127 00:04:41,533 --> 00:04:43,699 but just have a little recorder on me 128 00:04:43,700 --> 00:04:47,433 taping all the questions that you're asked including 129 00:04:48,666 --> 00:04:50,699 have you got your right shoes 130 00:04:51,000 --> 00:04:51,666 what would you want 131 00:04:51,666 --> 00:04:53,233 do you want coffee now 132 00:04:54,733 --> 00:04:56,699 an actor coming up to you talking about 133 00:04:57,000 --> 00:04:59,300 I really disagree in this line at this point 134 00:04:59,300 --> 00:05:00,733 changes the entire character 135 00:05:00,733 --> 00:05:01,799 maybe I shouldn't have done this 136 00:05:01,800 --> 00:05:02,100 and I don't 137 00:05:02,100 --> 00:05:02,900 goes on and on 138 00:05:02,900 --> 00:05:04,866 to the biggest problems 139 00:05:04,866 --> 00:05:05,899 to the smallest 140 00:05:05,900 --> 00:05:08,566 my negotiate and tiniest my negotiate 141 00:05:08,666 --> 00:05:11,566 and I always wanted to do it but 142 00:05:12,300 --> 00:05:15,200 that's why it's always advisable to have less questions 143 00:05:15,400 --> 00:05:16,733 the less questions the better 144 00:05:16,733 --> 00:05:17,266 during the day 145 00:05:17,266 --> 00:05:19,599 unnecessary ones should be eliminated 146 00:05:19,600 --> 00:05:21,900 um and you have to cut through all of that 147 00:05:21,900 --> 00:05:23,100 cut through all of them 148 00:05:23,200 --> 00:05:24,900 all of the equipment and everything 149 00:05:24,900 --> 00:05:27,266 to get back to the idea you had in your head 150 00:05:27,333 --> 00:05:28,399 when you thought it was a good idea 151 00:05:28,400 --> 00:05:30,366 it was possibly a a 152 00:05:30,766 --> 00:05:32,266 a good suggestion to take up 153 00:05:32,266 --> 00:05:33,766 to make this particular film 154 00:05:34,300 --> 00:05:35,700 you know um 155 00:05:35,700 --> 00:05:36,900 and so you gotta focus 156 00:05:37,933 --> 00:05:39,899 and you have to eliminate everything else around it 157 00:05:39,900 --> 00:05:41,366 and I don't think you should be um 158 00:05:41,600 --> 00:05:43,700 uh there's no 159 00:05:43,700 --> 00:05:44,800 there's no way to say 160 00:05:44,800 --> 00:05:49,500 don't be intimidated by the normity of um 161 00:05:49,733 --> 00:05:50,866 be the machine 162 00:05:50,866 --> 00:05:51,533 so to speak 163 00:05:51,533 --> 00:05:52,299 cause very often 164 00:05:52,300 --> 00:05:53,100 certain kinds of films 165 00:05:53,100 --> 00:05:55,766 it is that way but uh 166 00:05:56,066 --> 00:05:57,999 particularly because technology of today 167 00:05:58,000 --> 00:06:01,466 I don't think you should let that stop you 168 00:06:01,466 --> 00:06:02,566 in other words um 169 00:06:02,566 --> 00:06:04,466 if you feel you wanna say something 170 00:06:04,466 --> 00:06:06,699 you feel you wanna express it through visual 171 00:06:06,700 --> 00:06:08,666 of visual means 172 00:06:09,000 --> 00:06:12,466 you have the technology to do it yourself no now 173 00:06:12,466 --> 00:06:16,799 that could build exponentially to a bigger production 174 00:06:17,166 --> 00:06:18,733 and there's always a way of 175 00:06:18,733 --> 00:06:19,766 there's always 176 00:06:19,900 --> 00:06:21,900 because of that um 177 00:06:21,933 --> 00:06:23,533 it'll always be a learning process 178 00:06:23,533 --> 00:06:26,099 how to deal with the machine you know 179 00:06:26,100 --> 00:06:28,466 but don't let the machine get in the way and also 180 00:06:28,466 --> 00:06:30,566 don't let the machine tell you what you can't do 181 00:06:31,466 --> 00:06:32,133 that's I mean 182 00:06:32,133 --> 00:06:34,499 you might not be able to do pretty much anything 183 00:06:34,500 --> 00:06:36,366 but don't let them tell you you can't 184 00:06:42,766 --> 00:06:45,133 there's a lot of very knowledgeable people 185 00:06:45,133 --> 00:06:45,933 really good people 186 00:06:45,933 --> 00:06:48,666 especially if they like working with you etcetera 187 00:06:48,666 --> 00:06:50,766 they're gonna try to find a way to get what you want 188 00:06:51,133 --> 00:06:52,266 or what you think you want 189 00:06:52,266 --> 00:06:53,666 until you have to get what you need 190 00:06:53,666 --> 00:06:54,466 as they say 191 00:06:54,566 --> 00:06:55,166 this of course 192 00:06:55,166 --> 00:06:56,599 takes us back to the um 193 00:06:56,933 --> 00:06:58,233 to the point where 194 00:06:59,933 --> 00:07:01,966 there's a core 195 00:07:01,966 --> 00:07:06,866 a group of three or four people that deal with trust 196 00:07:07,566 --> 00:07:10,799 and excitement about what you're doing 197 00:07:11,400 --> 00:07:12,866 and trying to help you 198 00:07:14,600 --> 00:07:15,533 trying to help you achieve 199 00:07:15,533 --> 00:07:18,266 it doesn't matter I mean 200 00:07:18,266 --> 00:07:19,799 yes it did be good to have 201 00:07:20,000 --> 00:07:21,166 it works it works in a 202 00:07:21,166 --> 00:07:25,966 in a way with the core of people together with you 203 00:07:25,966 --> 00:07:27,599 working for the same goal 204 00:07:27,700 --> 00:07:29,100 and then it branches out 205 00:07:29,100 --> 00:07:30,366 then they have a core people 206 00:07:30,366 --> 00:07:31,199 this one has a core 207 00:07:31,200 --> 00:07:31,966 this one has a core 208 00:07:31,966 --> 00:07:32,766 they're all working together 209 00:07:32,766 --> 00:07:34,666 that's the ideal you know 210 00:07:34,800 --> 00:07:36,166 particularly when you're in a location 211 00:07:36,166 --> 00:07:37,499 somewhere you get there 212 00:07:37,500 --> 00:07:40,200 and there's a typhoon seriously 213 00:07:41,800 --> 00:07:42,533 I was surprised 214 00:07:42,533 --> 00:07:44,099 we were shooting uh 215 00:07:44,366 --> 00:07:45,833 silence in Taiwan 216 00:07:46,100 --> 00:07:47,033 and one day 217 00:07:47,066 --> 00:07:48,133 towards the end of the shoot 218 00:07:48,133 --> 00:07:49,066 there was a uh 219 00:07:49,066 --> 00:07:52,533 a scene that we were doing by a stream with these rocks 220 00:07:52,533 --> 00:07:53,933 was very quite dangerous to walk on 221 00:07:53,933 --> 00:07:55,699 cause it was slippery uh 222 00:07:55,700 --> 00:07:57,333 but it turned out to be the hottest day of the year 223 00:07:57,333 --> 00:07:59,299 and I started to pass out 224 00:07:59,300 --> 00:07:59,933 people were 225 00:07:59,933 --> 00:08:01,066 it was really very 226 00:08:01,066 --> 00:08:01,699 very difficult 227 00:08:01,700 --> 00:08:04,633 and it's towards the end of the shoot 228 00:08:05,700 --> 00:08:06,966 because the weather there 229 00:08:06,966 --> 00:08:08,666 sometimes too hot to shoot in the summer 230 00:08:08,666 --> 00:08:10,166 so the next day 231 00:08:10,166 --> 00:08:11,899 we had a scene on a beach 232 00:08:11,900 --> 00:08:14,500 which people were being martyred 233 00:08:15,533 --> 00:08:17,999 thrown on funeral pyres and that sort of thing 234 00:08:19,133 --> 00:08:20,933 and I got through 235 00:08:20,933 --> 00:08:22,633 they drove me out to the location 236 00:08:22,900 --> 00:08:23,566 and mind you 237 00:08:23,566 --> 00:08:26,366 this is after a day of intense heat and humidity 238 00:08:27,133 --> 00:08:28,699 we're going further out of location for that 239 00:08:28,700 --> 00:08:30,033 notices beginning to rain 240 00:08:30,100 --> 00:08:30,966 and you know 241 00:08:30,966 --> 00:08:31,999 don't think anything of it 242 00:08:32,000 --> 00:08:32,700 and I get there 243 00:08:32,700 --> 00:08:35,666 finally get into this little trailer they had for me 244 00:08:35,666 --> 00:08:36,466 a bus actually 245 00:08:36,466 --> 00:08:37,466 was little bus 246 00:08:37,866 --> 00:08:40,766 and suddenly the door opens 247 00:08:40,766 --> 00:08:43,533 and I feel the place is rocking you know 248 00:08:43,533 --> 00:08:43,999 and suddenly 249 00:08:44,000 --> 00:08:46,533 door opens and these two figures come in 250 00:08:46,533 --> 00:08:48,366 and they're covered in slickers 251 00:08:49,066 --> 00:08:50,033 and they're wet 252 00:08:50,100 --> 00:08:51,200 completely soaked 253 00:08:51,200 --> 00:08:52,233 and they look up 254 00:08:52,500 --> 00:08:53,866 and it was my assistant director 255 00:08:53,866 --> 00:08:54,333 my director 256 00:08:54,333 --> 00:08:55,066 photography 257 00:08:55,066 --> 00:08:57,499 I didn't recognize them and I 258 00:08:57,500 --> 00:08:58,533 what are they doing 259 00:08:58,533 --> 00:08:59,399 making everything wet 260 00:08:59,400 --> 00:09:00,266 what's happened 261 00:09:00,300 --> 00:09:01,133 and they said 262 00:09:01,133 --> 00:09:03,166 and they pointed out to me said 263 00:09:03,266 --> 00:09:04,299 looked up and said 264 00:09:04,466 --> 00:09:04,966 we could do it 265 00:09:04,966 --> 00:09:07,699 we could shoot today um 266 00:09:08,733 --> 00:09:09,266 first of all 267 00:09:09,266 --> 00:09:11,566 I didn't never in my head that we weren't gonna shoot 268 00:09:11,966 --> 00:09:12,799 secondly I did 269 00:09:12,800 --> 00:09:13,933 they said there was gonna be the head 270 00:09:13,933 --> 00:09:14,999 tail under the typhoon 271 00:09:15,000 --> 00:09:16,066 but not like this 272 00:09:16,066 --> 00:09:18,033 this was but thirdly 273 00:09:18,466 --> 00:09:21,366 they were so beaten that I didn't even recognize them 274 00:09:21,366 --> 00:09:22,599 and yet they were out there 275 00:09:22,600 --> 00:09:24,166 ready to pull it together and shoot 276 00:09:24,400 --> 00:09:25,700 and which is what we did 277 00:09:26,166 --> 00:09:29,599 we did it we did it rapidly because 278 00:09:31,466 --> 00:09:34,299 the weather dictated these things 279 00:09:34,566 --> 00:09:36,966 the movement of the crew and the camera moves 280 00:09:36,966 --> 00:09:38,599 the crane etc 281 00:09:38,766 --> 00:09:41,033 but also would help because the 282 00:09:41,800 --> 00:09:42,866 we were able to do the same 283 00:09:42,866 --> 00:09:45,499 because these different elements that come together 284 00:09:45,800 --> 00:09:47,166 the dialogue was a 285 00:09:47,166 --> 00:09:48,866 pretty much a scene without dialogue 286 00:09:48,866 --> 00:09:49,966 that sort of thing 287 00:09:49,966 --> 00:09:54,099 and also because the people playing the parts Japanese 288 00:09:57,566 --> 00:10:00,833 were so committed to playing these parts 289 00:10:00,900 --> 00:10:03,166 that soon as you said action 290 00:10:03,166 --> 00:10:04,799 as soon as you started rolling that camera 291 00:10:04,933 --> 00:10:07,766 they're tied to a stake and being set on fire 292 00:10:07,766 --> 00:10:08,333 I mean they were 293 00:10:08,333 --> 00:10:10,199 they were already there in the scene 294 00:10:10,200 --> 00:10:11,466 there was no way 295 00:10:11,566 --> 00:10:15,099 and there was no trying to coax these actors 296 00:10:15,100 --> 00:10:16,233 they were on 297 00:10:16,566 --> 00:10:18,799 you see the crew was set 298 00:10:18,866 --> 00:10:20,099 you know they were gonna shoot 299 00:10:20,100 --> 00:10:21,033 and that was it 300 00:10:21,133 --> 00:10:22,999 you know whether I like being in the rain 301 00:10:23,000 --> 00:10:24,266 or in the typhoon or not 302 00:10:24,266 --> 00:10:25,166 we were doing it 20642

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.