All language subtitles for Kid Icarus (2008)eng

- I guess I'm trying to
be something that I'm not

and I can't face the fact that
I'm not what I want to be.

And truth is is I probably
don't know what I want to be.

I know I want to be a filmmaker

but I don't know what I
personally want to be.

Like I guess I need to
go on that life journey

in order to find out who I really am.

And I guess I don't want
to take that journey,

I just want to get straight to it.

I just haven't had that opportunity.

I mean, I've really,

I've really been much of a loner

and a loser for quite a bit of my life.

And this whole bunch of people,

it's like a really new experience.

I mean, I've never really had 15 people

around me at one time.

People are seeing my
ambition outside of class

and I really wouldn't call
myself the next Spielberg.

I don't even think I'm nowhere
close to the next Spielberg

but people are always making jokes

like this is the new next
Spielberg right over here.

I'm like I adore the
guy, I love all his work,

but I really wouldn't call myself

the next Spielberg just yet.

I don't want to be branded
as the next Spielberg.

I want to be branded as the new Harkrider.

I want to be me.

I want to be known for being me.

The point of this meeting
is to look over rewrites,

if we need to delete or add some scenes.

When everybody finds out
that he's actually a rapist,

we want everybody to be in shock and awe

like they wouldn't see it coming.

- [Carlo] Exactly, so
if he's being witty--

- If he's confident.

- I'm just not feeling it

because it just doesn't really have any,

it just doesn't have any significance.

- The rape?

- Depending on what happens tonight,

we'll see if I'm gonna get
a writing credit or not.

But as it stands, I'm
ghostwriting the script

and I'm script supervisor for the film.

- I want it.
- You want it?

- What's right around it,
I want the rape scene.

- I guess the rape can
be used as a catalyst

for her to go back on
drugs but we shouldn't,

we shouldn't end with the rape.

- I think we should have--

- [Carlo] But I'm really
not feeling the rape scene.

- I sort of want you to get over the fact

that you don't want rape
in here because I do.

Okay?

- I guess, I guess, I guess.

- [Leigh] Let's work around it, okay?

- You're the director.

I'm the writer.

I'll write whatever you feel.

- The writer?

- The writer.

The ghost writer.

- The ghost writer.

Can I get you to be Chris?

- I can be Chris.

- Thank you.

Alright then.

Can I get you to be Cheyenne?

- Yeah.
- Again.

- [Female Speaker] Yeah.

- Wanna be Patrick?
- Yeah.

- [Leigh] Alright, I
think we got everybody.

- [Paul] You ready?

- Yeah.

- Fade in.

Exterior: restaurant.

Day.

The street is semi-busy.

Cheyenne walks into the room.

She sees Patrick on the couch
lighting up a speedball.

- Hey, hey, hey.

You're just in time.

Sit down, sit down.

- [Paul] Cheyenne walks naked
and crying down the sidewalk

with her clothes in her hands.

Exterior: Thompson's Drive.

- [Female Speaker] It's my first semester.

- What you planning to study?

- [Female Speaker] I really
haven't declared a major yet.

- Cheyenne places her
hand on the top of his.

Their eyes connect.

Nathan appears leaning against the wall.

He files his nails.

Fade out.

You've improved it.

I mean, Nathan's getting.

You're getting better at selling
Nathan for what he's doing

but it's still, it's a leap
for the viewer I think.

- It's just like she does an eight ball

and then she does heroin.

- I think that yeah, you
should try to get rid of it

especially since it's not even.

It's just implied.

It's not even in writing.

Like before you had it

where he was buying stuff off of her

and I remember that tripped me out

'cause I'm like if this guy's
trying to get coke so badly,

he's not gonna rape his only connect.

- I think he's right.

I mean, like you said,

he wouldn't want to fuck up

the person who's giving him drugs

and he wouldn't want to rape his roommate

and then have to come back there

and worry about getting
arrested or whatever.

- Is this supposed to be, I'm just,

is this supposed to be funny at all?

- [Leigh] No.

- Okay.

I'm curious Leigh as
to why she gets raped?

- It's a way to get her away from Patrick.

It's pretty much.

I'm guessing it's my climax for the movie

is where she hits her
high point or low point

and this is what really kicks
off her reason to start anew.

I mean what's your idea with the movie?

I guess is what I'm still
kind of confused about.

Like what do you want someone to

take away from it after
they watch the movie?

That it's extremely hard
to get rid of something

as severe and traumatic as drug addiction.

I originally wanted to be an actor

I wanted to be like
Harrison Ford, or Tom Hanks,

or Jackie Chan.

I mean all of those guys, I
mean, they're great people.

Who wants to be that, that one something,

that just stood in the
corner, did nothing.

(relaxing music)

I never amounted to anything.

You want a purpose in life.

Otherwise there's no reason to be.

Nobody wants to be nobody,
even those who are lonely.

Or who even want to be lonely,
they want to be something.

I don't think my loneliness effects,

I just want to go and entertain.

I just want to make people feel something.

Because people need to feel.

I mean keeping something locked up

can really make someone sick, and if

just experiencing that with film,

can change that, then I've done my part.

So you're saying you want
to make a difference.

Who doesn't?

It's how you get it started,

and that's the only way
you can get things done.

I mean if you stand in the room,

in the corner, then
nothings going to happen.

If like Steven Spielberg,
or Tim Burton are

standing in the middle of the room,

and they see you off to
the side in the corner.

They might say something, like say hi, but

you just got to get out
there and start doing things,

with your life.

In order to work at Home Depot,

you have to have your
availability open on the weekends

but all principal photography

is to take place on weekends only.

So it's either I don't do my
production or I quit my work.

And education is more
important to me than work

so I had to quit my job.

What's up, boys?

- What up?

Oh, I didn't see the camera.

(shushing)

(faint speaking)

- I live with him.

Actually, he lives with me.

- And I just stay over
at their house sometimes.

- Do I go to the back to get pay out?

- [Female Speaker] Huh? What?

- My last paycheck.

They need to pay me out.

- [Male Speaker] How
do you like the script?

- It's okay.

I mean, you know.

To me, when I first saw it,

I totally let him know that
it seemed kind of cliche to me

but you know, that was my personal opinion

and it seems that everyone
else seems to disagree with me.

- I kind of like working here.

It's kind of hard work
pushing carts, but you know?

I'm destined for greater things, I think,

than just pushing carts.

That's why I'm doing this.

We're missing a couple people today.

The director of photography's got,

he's got work and he's trying
to get here as fast as he can.

And our location manager is
driving up from the valley

and he's kind of stuck in traffic.

So we're gonna try and get
him as clear as possible.

But we sort of need everybody
at 100% on this thing.

I mean, if there's one person flaking,

this thing is gonna go
downhill right away.

Like my first AD recently quit Friday.

I don't know what date it was

but he called me right after class.

He says, "Leigh, I think
this project is baloney."

So.

I'll probably only be
able to stay til seven

Alright, that'll be fine.

I think we might be finished by then.

- Alright.

- Corey, you're boom operator.

You know how to work the boom, right?

Oh yeah.

Alright, so you know how to
angle the things and all that?

Sarah, I've officially made
you the costume designer

in the sense that you're
going to be picking out

the costumes with the people.

For Cheyenne, she's a tweaker.

So go with that angle on Cheyenne

when you're looking at her wardrobe.

We're definitely gonna need a speed.

We have a character speed balling.

Maybe we should have traces
of coke around the room

and traces of heroin
around the room as well.

Is there anybody that has
any questions about anything?

Everybody else is,

everybody is doing good?

- You know, he was talking
about it in one of my classes

and mentioned that he needed
a person to do the boom mic.

And I said, "Hey, I can do that."

- The meeting went as best as
it possibly could have gone.

I mean, of course.

We've only had four people
show up not including myself.

I mean, I'm still waiting on
my DP and my LM to show up

and I have to wait for those guys

so we can create a schedule.

May I speak with Milo please?

- [Milo] Uh, speaking.

- Hey, Milo.

It's Leigh from structure class.

How about you swing by the school

because we're holding auditions today.

Since I'd like you to be my first AD,

I'd like you to share this experience.

Well actually, I'm kind
of busy this semester...

I've got a lot of schoolwork...

And I'm still trying to
find a job, and like...

So you don't want to do the project?

No, not really. Sorry.

Alright, no worries man.

- You guys here until six?

- Hi.

- So you, um, you new here?

I just, I haven't seen you before.

- It was nice meeting you, Chris.

If you ever stop by the
restaurant on Downing

just past White, ask for me.

- Alright.

Thank you very much.
- Thank you.

- Call backs will be on the 15th.

- A week from today.

Shall I put this out there?

- I'm just sorta
concerned about his height

since our Chris needs to be
taller than our Cheyenne.

- [Michael] That is a very
minor thing at this point.

- Yeah, I know, at this point.

Yeah, that's true.

I could definitely direct that.

- You know I have concern for you.

We've known each other for two years

and I thought that you'd
be able to trust me.

- We're really just work out partners.

We don't see each other
outside of the gym.

- Can you be more sinister
like this time around then?

- I'm sorry for interrupting.

I just wanted to come and see you do this.

- [Michael] Yeah, that was really random.

- Well, they've got to
be able to take direction

no matter which way it goes.

Let's do your interpretation
of the character.

Do you know what it means to ad lib?

- Like follow the script

but instead of saying it
exactly, use your own words.

- I'm surprised these kids
don't know what ad-libbing is.

They have an agency.

How do you have an agency and
not know what ad-libbing is?

- I'm sorry for interrupting.

I just want to be here to see you do this.

- You alright?

- [Corey] Yeah, I'll be fine.

- You don't look alright.

Tell me what happened.

- I could definitely mold her

and I can definitely see her as the nurse.

If no one else comes up--

- [Corey] Worse comes to
worse, we got everybody.

- Worse comes to best, yup.

When the contracts thing came around,

it's like I started losing interest.

- [Male Speaker] Who's your lawyer?

- My cousin.

He's a contract lawyer for the business.

There's a contract that's
needed to be drawn up

between a producer and his crew,

between a producer and the talent.

He can draw 'em up.

- He wants to make a lot
of money off of this.

I think he's worried that
he's gonna have to pay people.

- [Leigh] Pretty much
stating that you realize

that you're a volunteer, and--

- I can't come back at you later.

- [Leigh] Yeah, you can't
come back at me later.

- And say give me some fucking money.

- [Leigh] Yeah.

- Like the other day, we were at school,

he's just like handing out
these things for people to sign.

Of what I've heard from
people, they're not into that.

- My past is riddled

with me being bossy,
arrogant, and ignorant.

I've tried to change it.

Sometimes it shows.

But I find that sometimes
that's needed in a director

because they need to know how
things are gonna be like that.

We've got two contracts here.

All this gives me is complete
rights to the project

so I can distribute it
and get it out there.

- Yeah, he's trying to distribute it

to theaters, and DVD, and this and that.

- I mean, if people aren't
doing what they need to,

you gotta discipline them of course.

I mean, I'm not gonna
smack 'em or something

but you gotta make sure
that everyone keeps up.

- It seems like he
stopped having fun with it

and he's just going at it as a business.

- It's just that's my personality

and I'll work with those
people that it mix with

and good luck to all those
people it clashes with.

So Mike, my DP, my AD,
my casting associate

is thinking about reconsidering.

- It was just like the look on his face.

He looked like I broke up with him.

- I've been searching
like hell to get a DP.

That way, I don't have to wait for him

to say yes, I'm still doing it, or, no.

- He thinks he's like at some
Steven Spielberg mentality

where he can just bark orders,
tell everybody what to do.

Everyone's doing him a favor
and he doesn't realize that.

- [Leigh] Hey, Atsuko.

- Yeah.

- [Leigh] That's nine days of shooting.

- [Atsuko] Nine days of shooting.

- Nine days of shooting
and my DP just quit

and I was wondering if
you'd like to be my DP.

- I was originally just
helping with the casting.

I was the receptionist.

Now, I'm DP.

- I mean, from my sources,

it sounds like you're a good DP.

- If he likes what I'm
doing, maybe I'll come back

'cause I can't guarantee
anything, you know?

- Day one.

Hope we have the best.

As usual, Cory's the
first person here, Leigh.

As usual, I'm the first person here.

He's the second.

- I'm ready to do this.

- I said how do you set this up?

Do you know how to set this up?

- How do you know, like, what
scene we're doing or anything?

- He just OD'd on coke and heroin,

but he's, you know,
he's still struck down.

He's still.

We've got to see that,
that deepness in his eyes

that he's been on this thing.

A lot dark--
- Like pale.

- Pale, sunken eyes.
- Yup.

Okay.

- [Leigh] Alright.

- Well, okay.

I've taken a cinematography class here

and one of the kids in the class

told me that he was
working on this project,

he's DPing for it.

And then I spoke with Leigh

and he told me to come
and audition so here I am.

- It's basically saying

that I'm not gonna
disclose any information

to anyone outside of the project, I guess,

until it's completely edited and finished.

Make sure no one steals
the idea of the film

or what it's for.

But if it makes him feel
comfortable, then I'll sign it.

- What's up?

Is it because of this
that we're not starting?

Yes.

Are you serious?

Yeah, I need everyone
to sign those things.

You should have told me.

- Volunteer performer agreement.

How many pages is this thing?

- [Leigh] Um, I'm having
some people sign a few more

but so far, we've gotten everybody

to do what I've needed them to do.

- Signing yet another contract.

- Like actually say sign your life away.

(laughing)

Basically that's what I'm doing.

- He says we're not starting
'cause I'm not signing

and so, I mean, we're
supposed to shoot right now

so I'm just gonna sign it.

It's fucking twenty pages long.

- I said I'm doing it Spielberg style.

I saw him do it on his set

so I thought maybe it'd be
cool if I did it on mine.

Awesome.

Okay, okay, ting, ting,
ting, ting, ting, ting, ting.

I'm not very good at speeches but--

- [Corey] Speech! Speech! Speech!

- Yeah, thank you all so
much for helping me out

and I hope we have a great shoot.

Good luck to all of us, especially me.

No, I'm just kidding. (laughing)

Alright.

Let's have a good one.

Alright, guys?

Cheers.

Sound.

Sound.

Say rolling when you're ready.

- Rolling.

- [Leigh] Action.

- Excuse me, are you Cheyenne?

- [Crystal] Mm-hmm.

- [Tyrone] I'm Officer Johnson.

Do you mind if I ask you a few questions?

- [Leigh] Cut.

- Something simple,
it's always one of the--

- Alright, so lets--

- Okay, let's try it again.

- Thank you.

- Just saying.

- The chemistry is excellent

and that's really important in a movie

for all the cast and
crew to get along well

and very light hearted in there,

you know, lots of joking
around with each other.

It's a lot of fun to
work with these people.

(laughing)

Leigh, I'm not getting any sound.

- You're not getting any sound?

Is it turned on?
- Did you turn it on?

- I'm not getting sound.

It's going okay.

I mean, for the set not
having, you know, a real set

or have it being able to control

all the surroundings and
everything, it's going fine.

There are some things we can't control

so we just have to work around those.

It's just the luck of the draw.

I mean, I came along at the right time,

met the right person, I guess.

- I think we're going good.

I mean, look.

I've got a crew.

Yeah, let's get a little bit more--

- Intense feeling.

- Yeah, intense feeling.

- How do you make it intense?

What do you do, this?

Oh yeah, that is darker.

- You're my DP.

You need to tell him where to put it.

What? The light?

Well I don't know much about lighting...

I really don't.

DP, I thought that meant--

- Director of photography.

- Operating the camera.

- Oh just operating the camera, that's it?

- I think I've told you

I've never taken a cinematography class.

- Oh, you haven't?

Mark it.

Action.

- I just lost sound.

There's something not right.

I'm getting some air conditioning film

but there's nothing you can do about that.

Could you just turn off
the air conditioning?

We could but it'll be easier
for me to do it in post.

- Cut.

Let's wrap it up.

(applauding)

Good job to all.

First day.

Thank you very much.

Success.

And I'm gonna call some
people who didn't come today

and say hey, where the fuck were you,

and that kind of thing.

You should put in a break to get laid...

I don't have time.

- [Atsuko] No time?

I really don't care about
having sex right now..

- [Joel] Oh, okay.

Well, I don't want to pressure you.

- [Atsuko] You said you don't have time.

- Right now, I don't have time!

- [Atsuko] Yeah, after you--

- I'm searching for a job
at Paramount right now.

- [Atsuko] Yeah, well after you shoot--

- Well, I'm waiting for the confirmation

but I'm also working on this thing.

- I work 80 hours a week and I still fuck.

- I'm going to Paramount Pictures.

I just put in my applications.

He's gotta talk, make a few,

talk to a few people and then
he'll probably get back to me.

I'd be a runner, then
second AD, first AD, direct.

Once the movie's done,

best possible thing is that it
wins high awards at Sundance

and that producer notices, says
hey, I want to recruit you.

Two thirds.

- [Male Speaker] Oh, I don't know

how you're gonna do it with that.

- Like hang out friends? Not really.

There's like Carlo and Michael
and all the other gang.

I've hung out with them like twice.

So even though they may mix now,

as they freeze, they settle.

I've never been attached to anything.

I've never known attachment.

I don't know what it
feels to have attachment.

I can get bored and I play video games.

I do shit.

But I don't really feel lonely.

I don't think I can feel lonely.

I used to be very bossy when
I was younger, very bossy,

and I've been changing
my actions ever since.

I mean I'm not trying to toot my own horn

but I think I'm one of a kind.

But I'm not like the best kind,

I'm like the outsider one of a kind.

- Today, right now?

We are taking photos for pictures

that we're gonna use in the movie.

And then we're gonna head over
and do the restaurant scene.

- My name's Cory Alexander Zacharia

and I'm gonna be an actor in the movie.

- I forgot.

I thought the call time
was at 2:00 yesterday.

I didn't realize it was earlier in the day

so I forgot to let Leigh know.

So that was it.

So yeah.

Shouldn't happen again.

- I'm hoping to get, you know how they say

get your feet wet a little bit.

And you know, hopefully
this will lead to something

a little bigger and better.

I've tried to do modeling but the thing is

is what happened is

they thought I was a
little too quirky looking.

- I'm, well I'm getting a credit

as the script supervisor of this film

but as helping him write it,
I'm not getting a credit.

- I mean, I've only known
him for a short time

but I honestly think
he's a genuine cool guy.

I really do.

- This is my Jew fro.

- You know, if you grow
some facial hair and stuff,

you could be Spielberg.

- Leigh.
- What?

- So we're not gonna have any
other extras for this shot?

- Well, we need to get this shot set up

and then I'll do some direction.

- No, he still has not told me my line yet

so I don't know.

I'm starting to feel a
little anxious right now.

Not over the line, just in general

'cause I have anxiety sometimes.

Uh, what's?

Okay.

Leigh, do you know my line yet?

- Yeah, when we start filming, it's--

What time is dinner time at?

Don't worry about it, man.

Okay, so let's get everyone to one please.

Alright, let's call sound.

Sound!

- Rolling.

- [Leigh] Scene one A rehearsal.

Action!

- They need to calm down.

- Okay, when they're standing up there,

could you catch that?

It's important sound.

- Yeah, I can see what I can
do without casting shadows.

- That was.

I don't know if that was a take or not

but it seemed to go pretty well.

- [Leigh] Alright,

let's get everyone to
one and set up please.

Sound!

Sound!

- Hold on.

- Yeah, we're like two
and a half hours behind.

- Okay, so we're doing 10 A through E.

- And we're going 10 A, B,
E, and probably F and G.

- We have like two
hours to do seven shots?

Two, three, no--

- Wait, wait, wait.

No, one, two, three, four, five.

- Oh, you don't want these anymore?

- We're doing that on the next day.

- Where's A?

I don't see-

- A is right, 10 A.

This is scene 10.

This is scene one.

- C and then this is D?

- No, D is right there.

See that small one right there?

And this is C right here.

Make sense?

- Yeah. 10 A is here.

- Right.

- B.

- C and D.

- Just I don't know.

When he first pitched to
me the idea of Enslavence,

I felt like hey, this is
sort of similar to what I did

and maybe he thought

that he put his own spin on the same idea.

You know? So.

- I guess they're doing
no sound for this one.

I'll just do it all in ADR or something.

I don't know what they want.

- Cory, what are you doing?
- (shushing) Nothing.

More to the left or right?

- Cory!
- Uh, left.

- Hang on, hang on, hang
on, I'll be right there.

- He just wanted to
switch the pictures out

to see if Leigh would notice

'cause Leigh's really
stressed out right now.

- So he thinks stressing
him out more will be key?

- He thinks it's funny.

- (laughing) I'm just feeling
wild right now, that's all.

- [Leigh] Everyone one please.

- Hang on.

Can I make a suggestion?

- [Leigh] No.

(yelling)
(people chattering)

- [Cory] Leigh, Leigh, Leigh.

- Yeah, it's like countdown

to a destruction right now, right?

- Are you gonna put makeup
on me for my close up?

I feel like you guys are making fun of me.

- Not at all.

No, I think guys in makeup are hot.

- Really?

Okay.

(laughing)

I meant to give you one right there.

- No!

- Hey, no, not yet.

This needs.

- It's late.

It's a long day.

People are just getting restless.

- I need everyone to
shut the fuck up, okay?

I know.

I mean these two people,
they don't know me.

I asked them to politely come by.

I'm not paying them.

These two are professionals.

So if we could be professional about it,

I'd really like it.

- [Female Speaker] It's horrible.

He's making a dolly.

- [Female Speaker] That's the
worst thing I've ever seen.

- Hey, guess what?

- Bye, guys.
- Bye.

- So we've been talking
about this for months

thinking about what could happen.

This is like nothing I
could have ever imagined.

Everybody's pissed off.

Everybody's having fun.

Nothing's getting done.

- I think we got a little
out of hand at the end

but I got things back in shape.

- Like I said, some people
hindered more than they helped.

- I don't mean to come on this strong

but I like,

I don't know why I feel
this connection with you.

- Oh yeah?

Yeah, he asked me out.

(laughing)

- Okay, so honestly, what's going on?

When do you wanna make plans?

- I don't know.

- Are you serious with
this guy or you don't know?

When will you know?

- I don't know!
- You don't like him.

You don't like him.

- I don't know!

We were having a really good conversation

and we had to like--

- And there'll be many more to come

with kissing and stuff like that.

- Oh my god.

- When they told us to stop
'cause we were distracting them,

it's a fucking diner.

We're supposed to be making noise.

- [Male Speaker] Are you an actor?

Did you take acting classes?

- But the thing is is right
there, you're completely wrong

'cause it's not a diner, it's a set.

- [Male Speaker] It's a set.

- It's a set.

It's not a fucking diner.

If you're an extra on a
set and you make noise,

boom, you're fired
right there on the spot.

They can get another extra just like that.

They've got thousands lining up.

If you make one peep once
they say quiet on set,

one peep, you're out of there like that.

Yeah, I'm happy with what I got.

I wish I would have
gotten more, of course,

but I know we'll definitely
have to do some ADR work.

Need some help there, man?

- No, I got it.
- Alright.

I really need a cinematographer

that knows what they're doing.

So far, the cinematographers
that I've been dealing with,

it's not to say that they're bad,

they're just inexperienced.

I think the film is hurting

because of that lack of knowledge.

The unfortunate thing is is
that I'm gonna have to pay him.

I'm sort of looking for

a Fight Club meets Indiana
Jones type of style.

This one saying that I and
anyone else on the production

are not responsible for
anything that happens to you.

This is if we capture
photography or video of you.

Sign, name, and whatever outside.

Then you hand all rights to
me in order to distribute it.

It's your movie...

Why would I stop you?

Say I go out there and sell it.

You'd be like hey, where's my cut?

Cut of what?

Cut of the money.

What money?

If I sold it.

If I sold it for a dollar,

like you could say where's
my 50 cents, bitch?

This says you can't do that.

My cousin drafted this up.

It's a contract pretty much stating

that you're volunteering your services,

that you get your credit,
and you expect no payment.

- Okay, sure, I'll sign it.

It's the first I've ever had
to do it for student films

but I will.

It's a marvelous opportunity to,

even though technically,
it's assistant director,

just the dynamics that are involved,

it's gonna be very directorial on my part

in the sense of getting the
company to try to come together.

- It's gonna be nice to have him on set.

He's a real,

his style is perfect for being an AD.

- I think Leigh's biting off an awful lot.

It's gonna be a lot of scenes to shoot.

- It's nice when you have someone coming

and take off some load.

Keep people doing what they need to do,

that's what he's there for.

- I haven't seen Leigh's current draft.

I'm hoping he's.

I kept trying to tell him that
among druggies, less is more.

You know, minimum dialogues.

There's such a fascination when
you look at the weaknesses,

you look at the frailties,
the foibles, the brokennesses,

those are certainly compelling to watch.

But in a way, I personally
think that's kind of a cop out.

It's easy to have a compelling piece

when you have a pathetic character.

I like to see compelling pieces

with an outstanding character,

with somebody who makes an
effort to have good character.

I think Leigh's not
even gotten to the point

where he's aware of these
kinds of foibles in life.

I don't think Leigh's
aware of serious depravity.

I don't think he's aware.

No, I think Leigh's still young.

- I need my sound equipment.

- I don't think he's
really tasted hard things

or even seen them.

I think this is one of these things

he's going to be able to look
back in the years to come

and go oh, oh.

I mean, his learning in this
is gonna all be in the future.

- [Matt] You do that reading?

- I got the first two pages.

- Okay, man, but I'm serious, Leigh.

I'm trying to be your friend
here but at a certain point,

it's disrespectful to
me as your instructor

when you don't do the work.

- He's fearless, he's fearless,

and that's a good quality
we don't want to damage

in the process of him learning
skills about how to shoot.

- It's gonna be beneficial to you.

You're trying to be a filmmaker.

You want to be a filmmaker
or a video game player?

- It sound so condescending
on my part to say it

but I'm 54 years old.

He's a good kid.

It would be nice to see somebody

with a not so twisted background

and a positive attitude
toward life benefit from that

rather than be hindered.

- Okay, let's get your thing,
all your stuff in that cart.

- Alright.

- I wasn't there last week.

I didn't see the inappropriateness.

So then I end up being a hired gun

if I come in and start with a speech.

That doesn't look good.

Well, there's gonna be a point

where I'm gonna have to
draw a line in the sand

and say, you know, if you cross it,

you need to leave and
you need to leave now.

I will go to that if necessary
and if they don't hear that,

then it will be get the
fuck out of here. (laughing)

I mean, I love to waste my time

but it's when I choose and how I choose.

Don't you dare waste my time

unless we agree ahead of time.

I think I'm gonna bring my
smoke and leave it in the car

and take a periodic smoke break.

- [Male Speaker] Sure.

- So I stay cool.

Are you rolling?

- How's it going?

- Already.

(laughing)

- How you doing?
- How you doing, Leigh?

- Doing just fine.

Okay, so we're setting
up for one A right now.

There are two different wide shots.

When it turns, it turns into a closer shot

and then this becomes its master.

Okay, if you're gonna be helping out,

I need you to sign a few things.

- Okay.

- Could you sign all those?

You hand all rights to me as producer.

That way, I can distribute it.

And the other forms are for liability.

If anything would happen to
you, I'm not held responsible.

That kind of thing.

- Yeah.

- Let's go ahead and get
everyone to one please.

Alright, let's get that slate up in frame.

And action.

- Hi, I'm Cheyenne.

Can I get you anything to drink?

- Just two mocha colas.

I'll be back.

- Cut!

- A little concerned about the sound.

Earlier in the first two rolls,

all we got was the machinery.

So that's why I spoke up,
man, bring up the volume.

- Camera.

Alright, sound.

Sound?

- You know, in booming,

I'll put the microphone on
after I show you how to boom

just in case 'cause those
can be costly to replace.

You don't want to drop them.

- No, no.

- I guess I'm now Meatball, the cook.

- [Male Speaker] How is that going?

- Alright, I guess.

Except for he needs his lines.

- [Paul] Like this, overhand.

So if she talks, you tilt
the mic toward her mouth.

- [Cory] Okay.

- Say, her chin.
- Say, her chin, okay.

- Her chin, her chin, and
you go back and forth.

But you see how I got my hands over

and you're (mumbling) here,
and you're rotating here.

- [Male Speaker] How do you feel?

- I feel pretty darn good.

Oh, shoot.

- [Leigh] Alright, sound?

That's when you say speed.

- Who?

- [Male Speaker] Cory, you speeding.

- [Leigh] When I say sound,
you say rolling or speed.

- [Male Speaker] Leigh, it
took the camera speeding.

- Speed.

- It's real, right?

- Yes, Cheryl, it's real.

- Good!

So then tell me.

I'll never be the seeker
about anything ever again.

- Cut!

Let's do one more for safety.

(high fiving)

- God, you do get hot.

Holy crap, I didn't know.

- [Paul] No, it's the other light.

- [Leigh] Alright, slate it.

- Speed.

- [Male Speaker] Roll four.
Scene 10 G. Take three.

- [Leigh] Action.

Cut.

- [Male Speaker] God job, good job.

- [Leigh] Did you hear
anything in your headphones

when there was moving?

- Yeah.

What, what?

I heard it all.

It went good actually.

Dang.

- [Male Speaker] How did it feel?

- It felt good, it really good.

- Now you weren't background,
you were crew, Cory.

If you don't need him again,

I'd like to keep him on boom if you can.

He's doing very good.

- Okay, yeah, yeah.

- Okay.

Like permanently for the
rest of the shoots, you mean?

Or just for today?

- [Paul] Well, let's just do it today.

- Let's just do it today.

- [Paul] But personally,
you're doing a good job so,

you know, there's no
reason not use you again.

But I don't want to steal
this man's work either.

- It's like you leave one thing,
you get another, you know?

It's like how it works.

- [Female Speaker] I think
he wants to party with you.

Is that cool?

- I don't know, party, I don't know,

but definitely step outside.

Definitely step outside.

- I'll have a little, a little er...

- Hey, tell me when you wanna step out.

Right on.

- [Male Speaker] Who's the surprise for?

- Well, it's Gia's birthday.

- Wait, there's a surprise?

- [Male Speaker] When
does she get the surprise?

- I don't know, when the
surprise time is right.

- He called me.

He was really drunk.

And he was like you're
the most amazing person

I've ever met.

- I tried to.

I left a message on her phone.

- And I was like have you been drinking?

And he was like no, yeah, yeah, I have.

And I was like okay, crazy.

Bye.

- I'm like I'm not even
like worried about it

that much anymore.

I'm like if it comes, it comes.

If it doesn't, you know, oh well.

That's kind of how I philososize it,

philos, speak it, I don't know.

- Today went way better

than the last couple days that we've shot.

Training people how to use a boom

when it was like taking up a
good 45 minutes of our time

and I was supposed to be out of here

'cause I got to work in the morning.

That kind of thing was frustrating today

but overall, I think it was a good day.

- It's a bit (mumbling) watch a

20 year old playing a grown up, but um.

- I think that the performance

has definitely taken the back burner

'cause I think here's so
much attention going on

with everything else

that like we could be doing
the performance like crap

and you know.

I just feel like the end
product could be better

if there were a little bit more attention

to what's going on on camera

rather than what's going
on around the camera.

♪ Happy birthday to you ♪

♪ Happy birthday to you ♪

- Do you not want it 'cause
I won't give it to you?

- Depends on what it is.

- Okay.

Close your eyes.

Close your eyes and put out your hand.

Okay, close it.

- It's a CD?

- Yeah, check it out.

Which one it is.

- Cool!

- I have a feeling you might like them.

Check it out though.

You see this real quick?

I don't know if you can see it, hang on.

The record label is Hellcats
from like the AFI, so.

- It looks like the same art too.

- Yeah, so, I hope you--

- Thanks!

- Yeah, you should like.

They're like pretty cool actually, so.

I have them in my iPod and stuff.

- Thank you.

- Yeah, no, don't mention it.

You're very welcome.

- Thanks a lot.

- Yeah, yeah, I really hope you like it.

I did.

- I probably will.

- Well, I do like it, so that's
why I'm giving it to you.

- Thanks.

- You're welcome.

- It's cool.

- Yeah.

If you hate it, throw it away.

If you like it, keep it.

I don't know.

I don't think she wants me around.

(relaxing music)

I don't want to end it. I don't, I just..

- End what?

My life. I shouldn't say that, but..

I guess I just get
overly sad, or scared, or

I just.

You know, I feel like
no one really wants me.

I feel just so alone, and
so empty all the time.

- Do you feel a connection?

Alright.

Okay, thanks very much Paul.

You have a good night.

Uh-huh. Bye.

- What was that all about?

Paul.

Being Paul.

He says everyone's rolling their eyes.

Behind me.

And then when they're in front of me

they put on the smile.

Is what he's telling me.

So if that's true, I guess I got to change

my attitude, otherwise.

He says that if he was, if it was,

a real production, he'd already been gone.

I think I've

learned how to do
things, but I don't think

I've ever learned from act bro.

In actuality, others say you
learn from your mistakes,

I don't think I'd learn.

I don't think I have the ability
to learn from my mistakes.

Otherwise I probably
would be a better person.

- And I said, Leigh you know,

I spent the last four and a half years

taking 15 to 18 units a term.

In other words I'm really
jamming hard to learn this stuff.

And, and I made that conscious decision

at the age of 50.

Knowing I've had, if I'm really lucky

considering all the serious
injuries I've had on my body.

I might be able to be
a working professional

till I'm about 75. If I'm really lucky.

In reality it's probably
more like 65 to 70.

And yet I still chose to
forfeit 5 or 6 years of making,

money, rushing right down into
the employment in the field.

To learn the skills.

And I said, you've done none of that.

Finally, it got to the point
where I just got blunt.

I said, Leigh who the
fuck do you think you are?

Superman?

Hey Paul, are you able to
make it to this weekend?

No. I have 4 years running, I'm an MC at

I announce acts on stage
at the cowboy festival.

And that's a tradition I
don't break for anybody.

- What about the following weekend?

- That's a good possibility,
good probability.

Is that going to be the scene

that ultimately closes out your piece

that Chris is apart of?

- [Leigh] Yes.

- Okay, I'd like to be there.

I'd like to be there

'cause there's so many
ways you can handle that

and I know you've insisted on handling it

the way that I think's gonna not work.

Let's shoot it through the way I suggest

with a Hitchcock approach

where everything is
left to the imagination.

I know you're gonna do
what you're gonna do

and I may leave when you get to that point

'cause I'll be so frustrated

'cause you're making so
much work for yourself

and everybody else.

- What did Paul say?

- No, he can't do it this weekend.

- Why not?

- He's got some traditional
thing that he needs to do.

- What scenes tomorrow?

Tomorrow's the OD scene?

- Yeah, tomorrow's the OD scene.

- [Mike] But I mean, are
you still concentrating

that she gets raped?

Is that still an element--

- No, she no longer gets raped.

She's just murdered.

- [Mike] Why is she murdered?

- Uh, because we put the background

that Chris is now a serial killer.

- [Mike] This could be his first?

- No, it's not his first but
he's never been caught before.

- [Mike] Well, how do we
know that is my point.

- That's his back story.

- [Mike] I'm saying but
where's the exposition

in the back story?

- There is no exposition.

- I'm just afraid that there's
gonna be all this stuff

that you think people are gonna get

and like sometimes you gotta spell it out

at least a little bit.

- Maybe I'm just a little overstressed.

- [Mike] What are you stressed about?

- All these permitting thing.

- The last thing you gotta
be worried about is a permit

and I mean I'm being honest with this.

- I want a business card
but I don't have a business

so that's a personal info card.

(laughing)

I'm trying to make brownie
points with the teacher.

- [Mike] Brownie points at me?

Start fucking paying attention in class.

You still haven't done the
reading, I know you haven't.

- I've done two pages.

- [Mike] Yeah, the two pages you did here.

- Yeah.

- You want to do brownie points?

Start fucking acting--
- I'm trying to!

- Start acting like a
serious fucking film student.

- I'm trying, I really am.

- I mean going around and getting permits

doesn't mean you're like
serious about filmmaking.

And if you, I mean, again,

like if I was in a class with you

and I saw that you're not
getting involved in discussions,

you're not doing the readings
that the teacher gives out,

and then you ask me like
hey, I got a project,

you want to come work on it?

I would say no.

I'm not gonna waste my time with this guy

who doesn't seem like
he's an invested artist.

Now, it's been well over a month.

You haven't found an hour out of your time

to sit and read this thing.

- I might have a few,

like an hour or two
right before I go to bed.

- [Mike] How many hours

have you played video games this week?

- None.

- [Mike] Don't lie to me.

- None.

- If you don't read the thing next week,

don't come to class.

I'm not joking about that, okay?

I don't think he heard anything I said.

I mean, it's like talking
to a wall sometimes.

Like, I mean, I'm trying to
give him like solid advice

and I can just tell it's
just going on one ear

and out the other, so.

He hears what he wants to hear.

- [Male Speaker] Is this yours?

- I live here, yeah,

but it's actually my friend's mom's house.

- When is this gonna be?
- What?

- When is this gonna
be that you'll need me?

- Probably in a couple minutes.

- Okay.

- Gives him a chance to
do what he likes to do

and it's whatever, I don't care.

- But he's gonna be your tech today.

He's gonna handle your--

- [Corey] No, I'm not.

- [Leigh] You gotta help
him out a little bit, man.

Come on.

- I'll help out but
I'm not a cable person.

I've been replaced.

Apparently, I'm not needed no more.

- [Leigh] We all help
out where we're needed.

- I know, I was joking around.

- [Leigh] Okay, well that was a little bit

too serious for a joke.

- Okay.

I don't mean to sound, you know,

I just think it's crap that
he would do that to me.

I mean, who's been showing up every time?

So I'll probably pull Leigh
to the side afterwards today

and say hey man, you know, I
thought I was your sound guy.

I've been showing up, you know.

If you're gonna have Cory do sound,

just let me know and
I can go back to work.

I'm not needed until post.

- No.

She, I believe, is still with
her boyfriend as far as I know

so yeah, yeah.

What can you do?

- You're pretty much about to convulse

and that's when we'll give you
a little Alka Seltzer thing.

- Oh, no shit?

- Yeah, so you're foaming at the mouth.

- Every time Charlie foams at the mouth,

I have to come by with
a cup and collect it.

And throw it away.

- Ew.

- I think the pole should be
just a little bit shorter.

- [Leigh] You want to make it shorter?

- [Cory] Maybe a little bit.

I mean, I'm pretty close.

- You look really good with the boom.

- Oh, are you serious?

Let me see.

- Yeah, like professional.

- I know.

Check that out, yeah.

- [Leigh] Okay, so let's
get everyone to one please.

Sound?

- Speed!

- [Leigh] Camera?

Mark it.

- I hope Patrick's alright.

I'm sure he's fine.

(mumbling)

Patrick?!

Patrick?!

Stop!

Patrick?!

I gotta call, I gotta call the police.

Stop, Patrick, come on!

Don't do this.

Stop!

Stop!

- [Leigh] Cut.

Good practice, good practice.

- Leigh, We need to
move this because he's--

- It's gross.

- [Leigh] Sound?

- Speed.

- [Leigh] Mark it.

- Patrick!

- [Leigh] Cut.

Awesome, awesome.

Let's do one more just for safety.

Sound?

- Speed.

(laughing)

It's not funny, man.

- [Leigh] Let's try to serious down, man.

Whenever I call for sound, just say speed.

Sound.

- Speed.

(heavy breathing)

- [Leigh] Cut.

Awesome.

- [Female Speaker] Dude, that was awesome.

- Awesome, great.

- That was so good.
- Great.

Corey?

- Yeah, what?

- [Leigh] Can you help her

with whatever she needs help with please?

Hey guys, let's all quiet down.

Let's get ready.

I know we're about to break for lunch

but let's get one last shot done.

Some silence discipline.

- Oh, hang on.

Just get me the salad
with like non-dairy--

- We're all going together!
- We're all going together!

- Oh.

- Yeah.

- At the shoot?
- On my birthday?

- Who? Who?

- When I was saying
goodbye to every body--

- Who?

- Don't leave yet.

And I was like I gotta go, sorry.

- Who?

- That's just.

- And then he grabbed my
face and he was like--

- [Male Speaker] That's so
stereotypical of the director

trying to make out with the makeup girl.

Like, that's so fucked up.

Makeup artist, I'm sorry.

- What now happened?

- No offense taken.

- I'm not gonna be clued in.

Am I gotta be clued in?

- I'm the least sexist person.

What?

- Am I gonna clued in as
to what happened or no?

Yes.

So Gianna's single again?

I heard that.

Is she really?

So this might mean something good

now that I'm still on shoot
and everything, you know?

Are you going to ask her out.. again?

I might, I might just do that, yeah,

but not come on so strong
like I did last time.

- Five, scene 28.

Take one.

- [Leigh] Mark it.

- Hey, hey.

You are just in time.

You gotta sit down.

You gotta come back and sit down.

- [Crystal] In a minute, Patrick.

- You gotta sit down

'cause we're gonna
shoot this up right now.

- Awesome.

Let's do it again one more

because we had that guy in the background.

- [Crystal] In a minute.

- No, you gotta sit down.

You gotta come sit down

'cause we're gonna hit this shit right now

and it's some good shit.

I've been on it since like last night.

It's crazy.

- [Leigh] Cut.

Thank you, Charlie!
- Thank you, Charlie!

- Thank you, guys.

- It's been a pleasure having you, man.

Toast, cheers.

Good bye!

- It's not the best script I've ever read.

The director's brand new.

It's his like first film so
he's still got a lot to learn.

- It's kind of frustrating to be honest

only because like I feel like sometimes

it's not open to suggestions.

And I see him like shooting down the crew

like left and right

and I keep thinking man,
these people are here to help.

They're not getting paid.

They're not getting fed.

They're not getting.

You know, some people
are coming up with ideas

to get things done quicker
and more efficiently.

I think he should be more open to 'em.

- I don't know.

Like I just met Carlo recently.

I just met Leigh recently

so I don't know like the whole back story

but I mean I've heard from
a couple different people

that the script was stolen.

So I think he definitely
should ask for writing credit.

- And then I talked to
Leigh and I was like look,

people are like messing
around during the shots.

You know, we gotta keep it a
little bit more under control

just for your sake and for ours.

- I don't know, I don't
know the whole story

but I don't know.

I'm not really down for
stealing other people's ideas.

- He's like.

He just said uh, like
just nodded his head.

I don't know when he's listening

and when he's not
listening to be honest, so.

- What's up?

If you don't need me on
the shoot just tell me...

...and I could go to work and shit.

I do need you on shoot, man.

- Giving away all my jobs
and everything to everybody.

I mean--

- Well, I see a little
bit less determination.

You will be my boom
operator for the next shoot

but I gotta tell you, man, I
need to see some motivation.

I mean, all these guys here,
they've got a lot of drive.

They're seeing a need and
they're having a want.

And I have your need.

I just don't see your want.

I do need you on set, man.

If it's not for boom
operation, it's for AC work.

If it's not for AC work,
it's for grip work.

If it's not grip work, it's PA work.

I will always need another hand on set.

It's just I want to see some drive.

I want to see some want.

- Okay.

- Okay?

Alright, so we're cool?

- Yeah.

- Alright.

- Once I start something,

I really, you know,
would want to finish it.

I don't quit on things often.

- Well, two people showed up today

that I weren't expecting to show up.

Shawn and Carlo.

- Ah, just I had nothing
better to do today.

I think I should get the writing credit

just for the fact that

like I worked on the script
just, you know, a bit.

Just based on that.

That really based on the fact
he took my idea, you know?

- You know what?

To be honest, I really
wasn't sure that, Carlo,

you'd be showing up today.

- But I did, so that's that.

- You gonna be there next Sunday?

- [Carlo] Yeah.

- Alright. What about Saturday?

- Maybe.

- Saturday's also a small scene like this.

- Oh, okay.

- Roll six scene A apple.

- Six apple.
- Six apple.

- Six.
- Apple.

- Apple.

Take two.

- [Leigh] And action.

Whenever you're ready, Crystal.

- Stop this.

I mean, look at what happened to Patrick!

I need to stop.

I need to stop being what I am

and start being what I should be.

- [Child] And what should you be?

- Cut.

Perfect performance.

The sound wasn't good.

Let's do it again.

- [Corey] There was no sound.

That was the whole problem.

- [Leigh] Oh, there was no sound.

- Stop this.

I mean, look at what happened to Patrick.

I need to stop.

I need to stop being what I am

and start being what I should be.

- And what should you be?

- [Leigh] Do you suggest
anything else, man?

- [Male Speaker] No.

- Okay, let's wrap it up then.

Tremendous work, guys, tremendous.

Everyone, all around.

- It looked pretty, yeah, pretty good.

I'm pretty surprised right now.

- I don't know if I'm gonna
be here next week, yeah.

I'm played out, man.

- [Male Speaker] It's the last weekend.

- I'm not gonna be here though probably.

- I don't know if I directly wrote it

but I think I influenced that scene a bit

with some of the rewriting I
did for that particular scene.

- I know.

I just I'm getting played out though.

No one wants me at their house.

I don't think I'm welcome anymore there.

- [Male Speaker] Really?

- Really.

I don't know why it
always turns out that way

like why I'm so sad.

I apologize, I do.

But.

- I mean, he's just taken
one class in film school.

You don't expect him to like
know, you know, everything

but I think there should be

a little bit more direction going on.

And when he tries to impose direction,

there's too much direction, you know?

So he doesn't know how to balance it out.

That's just my opinion, you know?

- [Leigh] What's up, guys?

- Sorry we're late.

- Always.

Okay, um.

I'm gonna have you slating.

Script sup, of course.
- Okay.

- We have to pay attention.

- [Atsuko] I hear Leigh took your idea.

- I'm probably gonna
talk to Leigh about it

after the entire shoot's finished

and to see if I can get a
writer's credit, you know?

- Why are you waiting 'til the end?

- 'Cause Leigh seems pretty
stressed out right now

and if, you know, I kinda--

- Screw Leigh.

He stole your idea.

- Paramount hopefully, yeah.

Mail, I'll be probably.

They're just mail room.

- What if it's a full time mail room job?

You can't go to school.

What would you do?

- Yeah, I want to go to school.

I want to have that masters
or whatever it says I have.

I want something to say that I'm educated.

The plan is to go to school, go to work.

Maybe make off a living
off of making film.

- I don't know why, what the deal was

but I got my job back so
that's all that matters to me.

- Leigh, I don't know if I'm feeling

that you're using the shot
as like it's a handle shot

just because it's not really consistent

with the rest of the film.

Hey--
- That's my water bottle.

(mumbling)

What's up?

- Nothing.

I kind of wanted to talk.

- Sure.
- Yeah.

- [Leigh] Let's talk.

- I don't know.

There's just like a
basic similarity to it.

I mean, like--

- [Leigh] There's similarities
between a lot of things.

- A lot of things, but like.

- [Leigh] There's only so much we can do.

- But still, like.

- I'll tell you right now

my entire thought was I'm
processing Fight Club.

I was almost thinking of
ripping off Fight Club

but then I realized I'd
get copyright infringement.

- I mean you could of, you couldn't have.

Like I'm not gonna really
like accuse you for anything

'cause, you know, I'm not sure, but like,

I think I might want
a screenwriting credit

for this project.

A screen credit or just a
writing credit for this.

- We've already talked
about this though, man.

I'd have to start up new paperwork.

I'd have to talk to my cousin

but he'd probably have
to sign a new projects,

some new contracts between you and me.

You're talking to me as a producer now.

- As a producer?

- As a producer now.

That's what you're involving me as.

I'm guessing it's the way of the business.

I've never been through
this situation before

so I'm just taking it as it is.

Right now, I think he's undeserving of it

to be completely blunt and honest.

Not raped but killed, yes.

We don't actually see it.

It's all in an implied cut.

- Yeah, we're wearing
the exact same thing!

- Exact same stuff.

- I heard from somewhere,

I think I actually heard it from Jay

that on Shindler's List,

Spielberg and his DP didn't
come up with the shot list

until they actually got there on set.

Do you have that shoot map?

We're doing everything
Shindler's List style.

- In other words, no?

- [Leigh] Yeah.

- Can you do that while
you're having that work done?

- I can, I asked him to.

- Good, let's do it.

Leigh?

Leigh.

- I don't know, I don't
know what's going on.

It's so frustrating and I'm
trying to do everything.

Getting pressured, get makeup done,

and figure out this stuff, and ugh!

- No, you're already dead.

He shot you.

- [Crystal] What?

He's shooting me now, not strangling me?

- [Leigh] He's strangling.

It's a whole fight.

- You have collections of drug stashes

from the ladies you've killed also.

You know, you've got stuff
you can merchandise if you--

- You want that?

It's a string, and then he's
fed up and he shoots you.

- Then why would he
come in the next morning

and be like Cheyenne, we need
to talk about last night.

- He's remorseful.

- And why wouldn't the cops have called

or anyone have called police
if they heard a gun shot?

- No one's around to hear it.

I've never heard a gun shot.

- That is, that's silly.

I'm gonna be honest, that's silly.

The gun shot is silly.

- Phones on silent,
phones on silent or off.

We've got a lot of work to do.

- [Leigh] He feels like he, uh--

Is he supposed to be your
A.D. today or something?

Yeah, he's my AD today.

I'm really frustrated right now.

Okay.

Just so you know.

He's just loud and pushy, and
trying to change things...

and it's really a cluster fuck.

- Well, good.

Then you're about there.

How's makeup doing?

Is that what we're waiting
on at this stage of the game?

- Yeah, so we can't move the crib.

Who is he? Why is he so pushy?

- [Leigh] He's a little arrogant.

Yeah, no shit.

- How would that be

if he's a product of her
imagination and she's dead,

she'd no longer have an imagination.

- That's the scene right there.

Try not to worry about him anymore.

- [Crystal] I'm gonna try.

Yeah, I'm not.

I'm gonna focus.

I just.

- He looks at Cheyenne and is gone.

- I think the minute she's
dead, he should be gone

which means he wouldn't be in the scene.

It's gonna confuse your audience again

'cause once again, they're not
gonna know what's going on.

- [Leigh] It's my show so if
we need to stop, let me know.

- [Crystal] Yeah, yeah.

- [Leigh] Alright?

- [Crystal] Thank you,
thank you very much.

- I'm gonna let him know here shortly

that this is moving way too slow.

He makes the calls like he
knows what he's talking about

and he doesn't.

It's just so frustrating.

I got to quit bitching about him though.

(laughing)

I'll tell you what, Cory.

- What?

- We'll give you the honorary first hit.

Remember, it's drawing really poorly

so you gotta really work it.

You drawing it?

Is it drawing okay?

Yeah, you got a good one.

- Yeah, I think.

Yeah, actually I got some.

- I'm not breaking
state law, just federal.

- I'm feeling fantastic.

I am great, dude.

- [Paul] Are you ready

for another couple hours of Leigh, huh?

- Yeah, yeah!

- Car?
- Yeah.

- I think can Cory hear that song?

- I hope he's gonna be pissed at us

'cause I'm gonna say, "Fuck you, Leigh."

It's just we're having fun, bro.

- I'm just following the AD.

Blame it on me.

- I don't smoke that often.

- [Male Speaker] You just
took so many hard hits.

- You know though,
whenever I do do something,

I try and do it as much like yeah.

I do try to take good hard hits

where I'm like boom, you know?

I am there, man!

You know what I'm saying?

- Cory, I need you, man.

- Okay, I'll be right back, guys.

- [Atsuko] I like his watch.

- Even that's above and beyond the call.

- [Male Speaker] Wait,
wait, what happened?

- I said when I'm on a set
as a professional actor,

I either sign a contract,

which none of these are
technically a contract

or I sign a voucher to
get paid for the day

if I'm not there as a principal player.

That's all I fucking sign.

I said, "No, I'm not
signing this fucking thing."

We'll have to have
Atsuko go take you home.

I said, "Great."

I have to sign a release of
liability if I get injured

and I have to sign the
rest of the contract

as a volunteer to his movie.

- He's not willing to sign the paperwork.

- What do you need the paperwork for?

- The reason why he has to sign it

is because I have a cousin
who is a contract lawyer.

- I don't really give a shit, I don't.

That's him and you.

That's your relationship.

That's not my relationship to doing films.

- [Leigh] Okay.

This happens to be my production.

- This is another example of what I said

why I reach a saturation point

dealing with people
that I think are foolish

that won't learn.

You've just been told here
that this is abnormal.

I've told you it's abnormal.

I'm one of your more skilled people here.

For free, on my time, not with my family.

And because I don't want
to sign your aberration.

There's no learning curve here

so I'm glad we're parting, I'm glad

because you're proving my point.

You don't learn, Leigh.

You don't fuckin' learn.

Atsuko, let's go please.

That's what I define as a fool,

someone who will not listen

to someone who can teach them something.

He's a fool and that's why
I finally said that today.

I said you're proving to
me that you're a fool.

I'm fucking through with you,
son, I'm through with you.

You're wasting my time.

- His character is
unwanting on this project.

I'm sure he'll be fun on other projects

but on this project, it's unwanting.

- Damn, trying to feel me out
with drugs on these people.

I'm telling you, man,

that's what it was like
for Pink Floyd and them

in the damn orphanages.

All they do is dope those kids up, man.

I'm telling you, The Wall
was one intense album dude.

- [Cary] You like those
emo songs, don't you?

- Dude, Pink Floyd is not emo.

If it weren't for Pink Floyd,

and Led Zeppelin, and The Doors,

there wouldn't be the bands
there are you listen to.

- The music that I listen to

was influenced by Black
Sabbath, thank you very much,

which was made in the '70s.

So there you go, you are incorrect.

- Who do you think Ozzy took after though?

- [Cary] Well, he didn't take after--

- Probably Freddie Mercury.

Uh, the blues really started it all

if you want to go way fuckin' back there.

Frank Sinatra, the blues.

Oh yeah, that's where it all got.

It just moved more, and
more, and more into today.

And I do not know why you do not see that.

- I think you forgot about--

- Giana.

♪ We're just two lost souls
swimming in a fish bowl ♪

♪ Year after year ♪

♪ How I wish ♪

♪ How I wish you were here ♪

- No, you missed the part.

- Gosh.

(laughing)

Dude.

- And action.

(faint speaking)

Cut!

We're done.

I'm not mad...

- [Corey] Yeah, you are.

- [Giana] Why did you smoke?

- You said you weren't mad.
- Why did you smoke?

Why won't you go out with me?

Why did you smoke?

Why won't you go out with me?

Just say yes or no then I'll
leave you alone, I promise.

Oh, shut up.

God!

- I guess I won't see you again.

Oh, sorry.

- I need a lawyer.

- I guess I won't see you again.

- Just trying to chill out by myself

and he's like hey, (mumbling).

- No, she wouldn't let me in.

I don't think she likes me.

She doesn't, like we don't need to go out.

So.

You know what?

Fuck it. I don't care.

I'm just really emotional, man.

I don't know why I get
like this over people

but it's like--

- [Male Speaker] What?

- I don't know,

like maybe she might come around

but I have a feeling like

I just really took that
to heart right now, man.

That's all.

I just really took it to heart, I guess.

You know?

Like so worried.

I'm just probably gonna die
alone or something like that.

You know?

Like I don't know, man.

It's not easy to spit game
like all those other guys.

Whatever.

You know?

- The thing is is I need
a cut for the class.

Once I'm done with the cut for the class,

I'm actually really gonna
dive into this thing in post.

No, no, no, no.

I don't want anything between
this bar and that bar.

I don't want to use that.

- You want to use from here on?

- Right.

- Then it's totally the opposite.

I know but you have notes
there for every take

so you can just cut it together.

Again, it doesn't have to be
a final locked down cut...

But you should be bringing
it into class for critiques.

- Yeah.

No excuses.

It's my project

but it's because it's got 15
people writing on this thing.

15 people are gonna get
a credit on this thing.

What time is it?

I'm gonna have to get going soon.

- [Mike] Why?

- 'Cause I don't want to miss my show.

I got to get going.

What do you mean you've got to get going?

You want to be finishing your movie, man.

You're going to go home
and watch TV right now?

- You're the one who's telling me

that you don't think you
can complete it in time,

it's gonna be a real struggle.

And now you have time
right now to work on it,

you're gonna go home and watch television?

- It's an hour.

- Yeah, it's an hour you
can miss to work on this.

Work on your movie.

You say one thing but your
actions say something else.

- [Male Speaker] What's your show?

- My show is Smallville.

- Okay, well you know what?

You can miss one week
of fucking Smallville.

Give me a break.

It's gonna come out on DVD.

You can see it then.

Finish your film.

- Looks like I have no choice.

- Do you want to be watching
Smallville five years from now

or like directing an episode?

- Watching.

I don't think I'd want
to watch my own stuff.

Okay, well then you're well
on your way, so pack it up...

and go home and watch it.

- Quiet, quiet, quiet.

- Okay, we're about to see my cut

so it's an extreme, extreme, extreme,

rough, rough, rough, rough cut.

- Do you want to say anything
about the sound and the--

- [Leigh] Yeah, sound's gonna be horrible.

So suspend your disbelief.

- Hi, I'm Cheyenne.

(faint speaking)

I'll just have a mocha cola.

- Don't shoot the messenger, Cheyenne!

I'm just telling you how it
is. I'm a harbinger of truth.

- You gotta sit down.

You gotta come back and sit down.

You gotta sit down 'cause we're gonna,

we're gonna shoot this up right now.

- I'm sure he'll be fine.

Patrick?

- [Tryone] Is your name Cheyenne?

- I need to stop this.

I mean, look at what happened to Patrick.

I need to stop this.

I need to stop being what I am

and start being what I should be.

- We want to--
- Yeah, we'll start.

Okay, let's start.

Dan, what did you make of
the movie of what happened?

Or what was confusing?

- Well, like, in most of the shots

where it felt like
something was happening,

like I couldn't see
really what was going on.

- I was actually kind of interested

for the first like five minutes

but then like the sound
just kind of totally,

you know, trailed off.

- Paul?

- Also the hospital scene,

the eye makeup on Patrick was so dark.

At first, you thought
he had sunglasses on.

I mean, it was.

- I know you can't go back and change that

but I didn't think that
was like believable.

- And I didn't feel any
connection between them

maybe just because I didn't
hear what they were saying.

- I'm hearing, like I said, confusion

before it even gets to the ending

and I almost hear unanimous confusion

when it comes about to
the topic of the ending.

The only one line that stood out

is with mine like the
after school special thing,

you're like I need to
stop being somebody else

and start being me, or
some line like that?

- I need to stop being--

- Being who I am and
being somebody different

or something like that.

- It came out awkward.

Like what's she talking about?

- I don't want the excuse now at the end,

like, well this is just a student film,

blah, blah, blah,

like because at the
beginning of the semester,

you were like approaching this to me

like this is going to
be the next big thing

and I want to do this big movie,

and blah, blah, blah, and I said yes.

Now, you're reverting back to

like well it's just a student film.

I'm going to do the best I can.

Right?

It's like a different tone.

- I didn't realize I was
putting it off that way.

- Everybody told you in the beginning

you were biting off a big fucking chunk

and you just didn't want to listen.

- Nick, do you have yours?

- I was calling up Bobby, my god brother,

because he's the one that
owns a reading company

and he works at Paramount.

I thought he would be the closest one

to get me a job at some place

that's in the field that I want to be in.

You know, filmmaker.

At least I'd be doing something
that's around filmmaking.

I'm just hoping to wait to hear from him

saying if he's got a job.

In the next two weeks, if
he doesn't get back to me,

I'm gonna have to apply for a Walmart

or some place like that at least

to get some money in my
pocket to feed myself

because I hate asking
from my parents for money.

I guess I'm trying to be
something that I'm not

and I can't face the fact

that I'm not what I want to be.

And truth is is I probably
don't know what I want to be.

I know I want to be a filmmaker

but I don't know what I,
personally, want to be.

I just haven't had that opportunity.

I mean, I've really,

I've really been much of a loner

and a loser for quite a bit of my life

and this whole bunch of people,

it's like a really new experience.

I mean, I've never really had 15 people

around me at one time.

If I was to pass on,

the only people that would
show up at my funeral

would be my family.

I'm afraid that there's no one out there

other than family that would care.

I mean, I'd like to care about people.

I want people to depend on me

and I want to depend on people.

It's that human nature in
us to clinch on to others

and I just want to be a part of that.

I haven't actually had a
chance to experience it yet.

And at my age, I mean,

people are always having fun

and all I do is just sit at the house.

I don't know where to go from there.

I don't know where to go from there.

- [Male Speaker] Look who's here.

- Hello.
- How are you?

- Good.

Leigh, meet Liz.

- Hi, you must be Leigh.
- Hey, how you doing?

(people chattering)

Hey, how you doing?

I'm doing pretty good.

How about yourself?

- Good, good.

- Okay.

I'm making a toast and I'm
not a good speaker anyways.

Paul, you know, man, we've
had some terrible times.

My youthful ignorance got
in the way of many things

and I want to say I'm sorry, first off.

You're the wiser.

I bow, I raise.

I bow again and I raise again.

To everyone, thank you very much.

(cheering and applauding)

Whoa.

Look at that!

I started that!

- Enslavence wrap party!

(people chattering)

♪ No one know ♪

♪ How we die, baby ♪

♪ Under the snow ♪

(groaning)

- Thank you, Atsuko.

My mommy tuck me in.

(knocking on door)

Hey.
- Hey, what's up guys?

- Come on in.

- You're really living Enslavence,

just working on it all the time.

What are you doing after this?

- I've got to do post work, pully work.

Maybe some ADR.

- Oh, ADR?
- Possibly.

- We gotta do some voice
over in the next two weeks.

We gotta do musical score
and we gotta make the DVDs.

After that, probably distribute it.

Give everyone their reels.

Move onto the next project.

I don't like giving myself credit

because then I'm saying
like I have an ego,

like I have a big ego, which I don't.

At least, I don't think.

I hope I don't give off
that I have a big ego.

Shit, I still got a lot to learn.

- The main worry honestly

is just being liked right
now is my main worry.

Other than that--

- [Male Speaker] You mean like by people?

- By people, yeah.

You know, trying to get
a job and making money.

I mean, you know,

I'm really trying to
get out of my house too.

You know, I'd like to move out.

- Just concentrate on
making the performances good

and you know, deal with like continuity.

You know, if you don't learn it now,

you'll learn it like five
or six movies down the line.

You'll realize like you
have to pay attention.

- I appreciate the advice.

- [Male Speaker] Leigh,
if you were gonna compare

anybody in history to
yourself, who would it be?

- I've always liked to be a king, but.

Not a king but I'd like
Sir William Wallace.

He was a common person.

He had no nobility

but he earned it through
his ways of actions.

He earned respect through his peers.

Won the hearts of all Scotsmen.

So I'd like to be like that.

I know I'm not that.

I don't think.

Well, people worth mentioning in history

are worth mentioning.

I don't think I'm worth mentioning yet.

♪ It takes a little time ♪

♪ For the tide rolling in ♪

♪ And I'm at your house ♪

♪ I'm alone and I'm swimming ♪

♪ And what burns a bee ♪

♪ And may answer to the sky ♪

♪ The night is long ♪

♪ And these days are so wide ♪

♪ And they carry all ♪

♪ And I walk the military mile ♪

♪ For these thoughts to come undone ♪