All language subtitles for El.Ser.Querido.2026.REPACK.1080p.WEBRip.x264.AAC5.1-[YTS.GG - YTS.BZ]

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Hello, how are you?

Hello, Esteban.
Pleased to see you.

- Can I take your coat.
- No, I'd rather keep it.

Would you like a drink?

Sparkling water,
with ice and lemon, please.

- Hello.
- How are you?

- Do you have a reservation?
- Yes, for Esteban Martínez I think.

- Can I take your coat?
- Yes, hold on.

- And your purse, if you like.
- Sure.

- This way, please.
- Thank you.

- Hello.
- How are you?

Fine, thanks.

That's good.

- I'm pleased to see you.
- Same here.

- This place is lovely.
- You like it?

- Yes.
- It's very pleasant, very quiet.

I came here just the other day...

Do you come here much?

Well, I've just moved, so...

- Hello.
- Welcome.

- Thank you.
- Can I get you a drink?

A beer, please.

Thank you.

- How are you?
- I'm fine.

I'm fine, and you?

I'm fine too.

- Well...
- What shall we eat?

The green beans here
are really good.

I tried them the other day.

Fish is fine with me.

It all sounds good.

- Are you ready to order?
- Yes.

Green beans...

- And the grouper.
- Great.

Do you think that's fine?
Will that be enough for us?

Yes, I think so.

You're looking really good.

Oh, thank you.

I'm very well, Emilia,
I'm very well.

- Are you well?
- Yes, I just told you I'm well.

- Have you come from home?
- Yes, I have.

- Do you work every day?
- Normally, Tuesday to Sunday.

And yes, I'm working in a bar.

But it's good.

Of all the places I've been,
it's where I'm most comfortable.

- Do they treat you well?
- Yes.

And that's all really.

I'm there, and I'm ok.

You came back
two months ago, right?

Yes, I came back
for personal reasons too.

I wanted to get out of New York.

I didn't want to be there.

I want my children
to have a relationship with...

Unfortunately green beans
are off the menu.

We have to change the first course.

What a pity, they were delicious.

- Yes, I'm sorry.
- Don't worry.

- Peas?
- We have the shrimp you liked...

What do you recommend?

- I'd go for the sea bass tartare.
- That will be fine.

Thank you.

What was I saying?
Yes, my children...

My children are happy
and Alice is...

She's an editor
so she can work anywhere.

She edits book, novels...?

Yes, she edits novels, fiction.

I'd love you to meet her.

She's a very important woman
in my life, in my process.

- Do you have a partner?
- No.

I'm happy.
I'm perfectly fine.

But no, I don't have a partner.

- I've got a roommate.
- You do?

We've been friends for ages.

It's all good.

Are you here for the film

or so your children
can see Spanish culture?

For both reasons, really.

The film takes place in Spain
so it has to be shot here,

because of what it's about,
I'll tell you more later.

But I also wanted to get out
of there, to be somewhere...

to be here.

and to be...

near you, too.

I really appreciate you
getting in touch.

It's been a long time.

- Thirteen years.
- Thirteen.

- A very long time.
- A long time, yes.

And, well...

You'll be wondering
why I called you.

I am kind of curious.

I want to start with...

What do you know about
the conflict in Western Sahara?

I'm sure you know something.

What is this, an exam or something?

It's to introduce the story
I want to tell...

But to do that you have to know...

the setting.

About the Sahara?

I know that it was
a Spanish colony.

But not much more.

After the Berlin Conference
they were given territory.

And they went there.
Well, Spain withdrew at one point

and now those people
have been left to their fate.

To sum up, we've left them
to their fate, abandoned them.

As you know about the Sahara,
I'll tell you the film.

The film is called "Desert".

And that historical setting
in the Sahara

is where the film takes place...

The film I want to offer you.

The year is 1932,

Spain is a colonizing power
in Western Sahara,

there is a fort,

there is a detachment
of the Spanish army,

Bernardo is the lieutenant there,

he's from Madrid.

And gradually a relationship grows
between this lieutenant

and Salek, who is a shepherd,

and a leader of the Sahrawi tribe
closest to the fort.

A nice relationship emerges
between these men.

Just then,
Gabriela appears on the scene.

She is a 30- year- old woman

who was told at the age of 20
that she couldn't have children.

She meets Bernardo
at an academy party

and after six months
they decide to get married.

It's a second marriage for him,

and Gabriela feels that
it's the exact reason

to escape from the suffocating,

almost prison-like atmosphere
in Madrid

and have an adventure in the desert

and unleash her needs as a woman.

By the way, do you know...

Comet?

- Comet? The actor?
- Yes.

Well, not personally.

He's playing Bernardo,
the Spanish lieutenant,

your husband,
if you decide to play Gabriela.

- I really like him.
- He's very good.

Then we have the couple,

Captain Moraza
and his wife Mercedes,

played by Barbara Luque
and Raul Oyarzun.

What a cast!

Yes, it's really good.

It's a story

about betrayal,
a story about abandonment,

it's a story about love,

about people who can't
look each other in the eye.

We're shooting in Fuerteventura,

because we can't shoot
in the Sahara.

Sorry, it's just that I'm a bit...

I'm shocked, I'm surprised,

that you're offering me
something like this.

Could I have a red wine, please?

Look...

I can say...

Oh, shit, this is really spicy.

- It isn't spicy.
- It is spicy.

I don't think it is.

I've been seeing a lot

of your work, your series

"Secret Files" was one,
you were a police in that.

Beyond rating the series
or films in themselves,

that doesn't matter,
what I feel is that,

what you bring to the table
is always very interesting.

In that series I mentioned,

it's hard to be good
in such a bad series.

I mean, people do what they can,

but when the text is so difficult,
so stiff, so cliched,

and so vague,
everyone sounds the same,

it's hard to find a light,

a spark of truth,
something unexpected,

and you manage it several times.

I wouldn't lie to you about this.

- No, I think it's good.
- It's true.

It's perfectly...

It's perfectly logical,
given where you come from.

You're the daughter
of an actress and a director.

There's something
in the genes that works,

that's alive, that understands.

I feel that I still...

haven't had the opportunity
to really work.

I've served
plenty of lunches, but...

I've worked,
of course, done things...

I'm not very proud
of what I've done,

But I feel I haven't been able
to do a character arc,

a character with contradictions,

who had any kind of substance...

I've tried to but...

Do you go to casting calls?
I'm surprised you don't work more.

Quite a few, yes.

- Quite a few what?
- Quite a few casting calls.

Well, look,

what I've told you is the film,

that I'm going to make,

and I'd love you to play
the character of Gabriela.

Because I think
you can do a very good job.

And because I think I can help you.

That's something
I'd like to do because...

I haven't helped you...

It would be nice
to be able to help you.

But if you say yes,

I'm going to be tough.

I'll be directing you,

I'll be demanding
just like with the other actors.

Yeah, I know, I can imagine.

I wouldn't expect anything less.

Because I know you've got it.

There's something
I wanted to ask you.

The people on the film,
do they know

that you're my father,
what do they know?

They'll know
what they have to know.

That will never be a problem.

It might be for me though...

I want to reassure you
about that...

Yes, I'm helping my daughter, but

that isn't at odds with the actress
I think should play the role.

You're the actress
I want for the role,

and, in addition,
you're my daughter.

People will think whatever.

Some will naturally think
that it's favoritism.

So what?

What do we care
about what people think?

The important thing
is to concentrate on the work,

and focus on that,
we go step by step,

and everything
will come together.

I'm really grateful, but

I just want to think about it
for a while.

You have to understand
that it's strange for me.

I haven't seen you for a long time.

now I'm fine but
I want to think it over.

I'm truly grateful
but I want to think it over.

Have you finished yours?

If it's spicy, don't eat it.

You know what I just remembered?

That lunch in Formentera.

Seeing you
eating brought it to mind.

We had fun there, didn't we?

I didn't like that rice at all.

It didn't turn out well, did it?

No, I just didn't like it.

I was in no fit state
to make rice back then.

But I tried anyway...

How's Charo?

Fine, she's fine.

- Yes?
- Yes.

I'm glad.

Do you still go to the cinema?

- Please, tell me that you do.
- Of course I do.

A lot of people have stopped going.
It's a shame.

You still go...

We could go to the cinema one day.

For me,
going to the cinema with you

was one of the memories,

one of the few good memories
I have in my life.

What is it?

Nothing.

Something's wrong.

Has something bothered you?

I'm glad
you see it like that, really.

You don't?

I guess we have different
memories of that time.

But that's normal, it's fine.

Aren't you going to eat?

I've lost my appetite.

Sorry, but we can't continue
with the conversation

if we don't know
what we're talking about.

And I was surprised
by your reaction.

It's silly, really,

you said you had good memories
of us going to the cinema together.

Well, I don't, that's all.

You remember, right?

- Remember what?
- When we went to see "Kill Bill 2".

- "Kill Bill 2"?
- Maybe you don't remember.

Yes.

When you turned up drunk
and really high.

Excuse me, high?

Yes, you ended up fighting
with some guys in front of us.

What?

You fought with them
and split one guy's eyebrow.

We got kicked out of the cinema.

Do you remember?

We came out of the Roxy.
The plan was to have dinner

but you told me you had to go,

You gave me 50 euros
and put me in a taxi.

I walked home on my own
to kill time

because I wanted to tell my mother
I'd had dinner with you.

So she wouldn't be angry

and say I deserved it
for wanting to see you.

So, I covered up for you.

Have you finished?

What do you want me to say
about all of that?

Nothing.

You come out with all this shit
about me and...

I'm not throwing anything at you.
You asked me to tell you.

It's true we went to the cinema,
it's true we saw "Kill Bill 2",

it's true a friend of mine
needed my help,

I had to go and see him,

or something serious
could have happened.

I had to see him.

I came back,
you were in the cinema.

I took your hand,
put you in the taxi,

I gave the driver the address
and mom collected you.

And I wasn't high, or drunk
and I didn't hit anyone.

Ok.

And you know what?
It was the Palafox cinema.

- No, no, it was the Roxy.
- No.

It was the Roxy, I was
too embarrassed to ever go back.

Fuck.

How old were you then?
Thirteen? Twelve?

What the hell would you know about
being high at that age?

Later on I knew.

Or maybe they put the idea
in your head later on.

Don't go there.

Don't go there.
I'm telling you not to go there.

No.

Fuck me, man!

I know someone
who loves telling stories.

I'm telling you not to go there.

I just want to know
where that's coming from...

It's coming from reality.

From what I remember
and from what I lived.

You didn't live that.

It's impossible you lived that,
it's something you've been told.

Let's drop it, please.

That never happened.

- They put the idea in your head.
- I'm going to smoke, ok?

Excuse me, sir,
when you've finished

we'd love to take a photo with you.

Of course, but don't call me sir,
just Esteban.

Thank you.

I'll keep it on.
I feel a bit cold.

Sorry.

I'm sorry, I didn't want...

- Do you want it heated up?
- No, I don't want any more.

I'm sorry, I didn't want to talk
about this, or about anything.

It's all right.
I understand perfectly.

- Are you ok?
- Yes, I'm fine.

I feel bad, I didn't let you eat.

Don't worry,
I'll get something at home.

Will you have time
to eat at the airport?

I'll see.

- Did you get a sandwich?
- I'll see, mom.

At least eat something
when you arrive.

Let's see how your hotel is.
Tell me tonight when I call you.

Sorry, I meant,
call me when you can.

- We'll take it as it comes, eh?
- Of course.

- Are you sure you're ok with this?
- Yes!

It was just a slip, a silly thing.

Apart from you not letting me
read the script or call you.

I knew you'd bring it up!

- I'm becoming predictable.
- Yes, very predictable.

Watch out,
it's that turn-off there.

Yes, it is.
You can't see a thing, mom!

Oh, so it is!

When are you going to get glasses?

When you come back,
I'll have them made.

Ok, it's this one.

Look after yourself, eh?

Water, please!

Come on!

Move, move!

Ok, guys. Here they come.
Full concentration.

This is the take.

No extras
looking at camera, please.

10, 9, 8, 7, 6...

...5, 4, 3, 2, 1.

Fucking hell.

Captain.

- What do you think?
- He's French.

I don't know,
they brought him here.

- They found the plane in Los Lobos.
- Spanish territory.

- It was in Spanish territory.
- I know, you already told me.

How come his throat is cut?

We found him like that.

- We have to...
- What do we do with him?

End slate!

End slate!

- I'm sorry...
- Don't worry.

Silence, please. We haven't cut.
End slate.

Marking.

11.3. Take one.
End slate.

Now we've cut, thank you.

No, thank you.

Yes, thank you.

Thank you, Miguel.

It's all fine.

It's a technical matter,
very simple.

When Cesar Bernardo turns

first looks at Mercedes.

And two seconds later,
we go to you.

Say the line a little later,
just a second.

I turned too late.

Don't worry. I can adapt.

- I can take a bit longer too.
- No, really, I can adapt.

No, it's a question of focus, ok?

Cesar Bernardo takes us to Salek,
he gets the information, he turns,

we're on Mercedes,
focus on her, two seconds,

then we go to you.

No, say the line when you want.

Malena, just a moment.

She'll say the line
when it's right for her.

We go with her, even though
she's out of focus at first,

and then we keep her in focus.

Don't change anything for me.
I can do it.

One thing.

When you arrive,
even if it's out of focus,

look at the Sahrawi women,

their elegance,

their attire,

because for Gabriela
it's extraordinary to see all this.

Even if there's a dead body?

Yes, I think Gabriela is a woman
who observes everything.

A bit like you, I think.

- Pablo.
- Yes?

No, the other one.

Pablo, how are we doing?

So- so. But Nico is asking
for another hour.

Ok, thanks.

- The camera is good.
- It's very good.

- Emilia?
- What? Yes, I'm coming.

Hello, how are you, love?

I'm not calling
so as not to bother you...

But...

call me whenever you want.

I'd love to have a chat.

Ok, then. Kisses.

And I hope
everything is going well.

I'm sure you're doing great.

Move forward.

I'm going.

Move forward.

Now?

Wait, it's very heavy!

Hold on tight.

And pull on the count of three.

- One, two...
- You're not pulling!

Like this?

Am I strong or what?

Ok, cut!

...get those boats to port, now!

Pablo!

I need the ropes
to be more tense, please.

Didn't we agree to do it like this?

I can't believe a man in the 1930s
behaves like that.

We already talked about it,
I don't know if you remember.

I remember everything, Cesar,
for better or worse.

Maybe
we didn't talk it over enough.

Miguel, could I have some water?

- Wait, Emilia, I want you here.
- Just a minute.

- It's important for me.
- Ok, I'm listening.

Listen to me.

I'm listening.

- Why don't I say it with signs?
- What do you mean?

With signs, so they're not laughing
all the time.

I do believe it.

I don't want it to look corny.

Can we do it as we agreed, please?

I don't think
Bernardo talks that much.

For God's sake, man.
Can't you see everyone is waiting?

- Come on.
- Please.

- All right.
- Thank you.

- Are you ok?
- Everything is clear.

Let's go. We're shooting.

Ok, people.

We're doing another take.
Please, everyone in position.

Can I help you with anything?

Give me two minutes, ok?

Do you want anything?

So, what do you think?

I don't see it.

I don't know.

Ok, thank you.

Let's do a quick sound check.
Can you say something, please?

- Me?
- Yes.

Hello, how are you?
One, two, three...

Ok, we've got it. Thanks.

Just a second.

finally in Spain, back home.

I don't know if it was something
you felt you had to do,

or whether you wanted to come back.

It's not something I had to do.

It's just that
the story we're shooting

takes place in a Spanish colony

and the film deals with Spain,

so it was logical to shoot here
and coproduce from here.

I'm very pleased.

But in some way it is different
because you've settled in Madrid,

so I understand
that you're back to stay.

What do you think
the reception will be like?

Your films have always
been well received here,

the critics
have been very positive,

but it's also true
that you were always seen

as the enfant terrible who left.

Any film's reception will depend
on what the film is like.

And now we have to make the film,
I can't say much more.

But when you left
your profile was...

somewhat controversial.

Do you think
that could influence...

We've answered that one already.

But they asked me to...

Next one, please.

- Let's focus on "Desert".
- Ok then.

Emilia Vera, your daughter,
is in the cast.

I didn't know you had a daughter,

I don't think anyone knew,
or that she was an actress.

What is the question?

How did Emilia come
to form part of the cast?

Was it your idea?

Was there a casting call?

Emilia joined the production
from her own merits.

But we didn't know
she was your daughter.

That's your business, what you have
to know or not know.

And we don't get to decide
what you write or not.

All right...

Is this where
the interview is heading?

What's it like
working with a daughter?

You're talking to a guy
who has two Oscars.

Are we going to talk about "Desert"
or like this was a gossip magazine?

Thank you.

If it weren't important,
I wouldn't insist.

The distributor keeps calling.
I don't know what to say anymore...

I need you to send me
the audio commentary of "Sirocco".

Hello, I think I can see you.
Is that possible?

Yes, look straight ahead.
Can you see me waving?

Oh, yes, so I can.

Hello,

Well, how are you getting on?

Fine, fine.
I'm exhausted, but I'm ok.

That's normal.
It's your first week of shooting.

Tomorrow I'm having dinner
with the actors.

Would you like to come?

Tomorrow?

Yes.

It's a good laugh.

Last week we had a great time
and it helps build team spirit.

What do you think?

I usually end up shattered.

Ok, we'll talk tomorrow,
I'll see you on set.

- Sleep well.
- See you tomorrow.

The U.S. supports you, right?
So that's that.

And France too.

- It's not in anyone's interest.
- Not in anyone's interest?

No, Bilal, otherwise Sahara
would be already independent.

Just think, it has phosphate,
gas, loads of natural resources...

Of course, everyone has an opinion
while you go hungry.

The answer
can't be to occupy my neighbors

who are as hungry as me.

That's a bit of demagoguery

because supposedly
they weren't hungry.

What is it like now, Raul?

- The scale of pity.
- What the hell is that?

You feel sorry for the Moroccans,

but even sorrier
for the poor Sahrawis.

And you shouldn't.

Because they're the ones
who took up arms again.

Because they're desperate.

So half the world
should go to war tomorrow?

Do you think the relationship

between Morocco
and the Sahara is fair?

Do you think the Sahrawis
were better off with the Spaniards?

I don't know, maybe they were
better off on their own.

On their own
and without running water?

I don't know, maybe.

Have you asked them?

You should have picked
a Sahrawi actor.

I wanted one, but you came along,
and did a brilliant audition,

you're quite charming
and the wig looks good on you.

It's sex appeal.

Hey, Esteban,

I wanted to ask you a question.

- It's personal.
- Go on.

Why the Sahara?

I mean, whatever a film is about,

there's always a personal theme
for the director.

I don't know, at times you find
the theme after making the film.

But I don't think
four lousy Spaniards

in the back of beyond during
the Republic is very personal.

- And a Sahrawi shepherd.
- And a Sahrawi shepherd too.

If you had to make a film,
what would your theme be?

- I know exactly what.
- What?

My theme would be about
the importance of humility.

Your humility.

- And you?
- Me too.

About humility, of course.

And you?

I'd have to think about it.

About how hard it is...

just to live.

What do you care?

- No.
- Yes.

No, no.

He is his friend,
but he swears he won't tell.

I haven't spoken to him in ages.
You can tell them.

I think it's worse than we imagine.

That's true.

I heard: you grabbed his lapels
and gave him a bleeding nose.

Right, as straightforward as that.

Is that what it was like?

You grabbed him, and bang!

Is that how it was?

That's what I was told.

Who told you that?
What are your sources?

Isn't it true?

It isn't true, he grabbed me.

Firstly, he grabbed me.

And then,

what happened, happened.

I already told it, damn!

Did you keep shooting?

Of course,
we still had four weeks left.

His face was all swollen,
he looked like the Elephant Man.

Hours of make- up,
we didn't speak to each other.

Laurette, the assistant director,

she really helped us a lot because
we didn't speak to each other.

She was the go-between,
I'd say to her:

Tell the actor to please
say the line and exit the shot.

And she'd say to me:

No, the actor says he won't say the
line and he won't leave the frame.

That's how it was.
It was a war of egos.

- But the film was finished.
- It certainly was.

The film is fucking awesome.

And the guy is amazing.

- Isn't he?
- Yes, yes.

That's thanks to Laurette who...

After that she stopped
talking to me. I don't know why.

For something or other...

I wasn't in a good place
at that time.

But headbutting...

The biggest actor in France.

But we have to understand
that this man

was very rude,

he treated everyone really badly,
especially his assistant,

he turned up late on set,
sometimes drunk,

and one day he grabbed me by
the jacket, started shouting at me,

covered my face with saliva,
and I had to push him off.

You don't believe me?

Yes, of course.

It's a pity Emilia didn't come, and
tell us about a few more stories.

What's up with her?

- She's focused on the shoot.
- She's great, eh?

- A hard worker, a good actress.
- Yes, very good.

- Vera... is her surname?
- It's her mother's surname.

Do you want coffee?
Excuse me!

Hello, I'm Esteban Martínez,
writer and film director,

and as it will soon be 30 years
since my first film was released,

I've been asked
to do the audio commentary

for the BluRay edition.

It's true that the film
wasn't very successful,

so I'm very pleased
it's having a second life.

So here I am, face to face
with these images

and accompanying you
on this journey,

trying to cast my mind back,

while avoiding nostalgia
to the extent possible.

Could I have two bottles
of sparkling water, please?

I'll see if I have any left.

- ...and his name was: Gustavo.
- No!

Gustavo and I
were seeing each other

and after a month I noticed
that money was disappearing.

So one day I decided to do a test
and I left 50 euros in the hallway.

We got up the next morning,

the 50 euros weren't there.
I said, it's Gustavo.

My friends said, you have to talk
to him, this is serious.

I was worried about
accusing him of something

that might not be true.
So I said to him,

Gustavo, sorry,
don't take it badly,

but money keeps disappearing.

Oh, I'm really sorry.

This happens to me with
all the girls I've been with.

It's always the same.

I'm a sleepwalker.

I said, a sleepwalker and
a kleptomaniac, motherfucker.

So I decided to put out
Monopoly money for him.

That night I was sleeping,
and I heard...BANG!

I startled you.

I was really worried,

I thought someone
had broken into my house.

I got up, stark naked,
but I didn't care.

I started running
through the house.

And I saw Gustavo,
banging things around.

I said, Gustavo, what's going on?

Did you wake him?

No. And then I said,
Gustavo, Gustavo.

And then the guy....

And I said, Gustavo,
let's go back to bed.

Then I started
leading him back to bed.

And he says, where are we going?

I'm like, out of here,
if you don't calm down.

We went back to bed
and fell asleep.

The next morning I said,
what was all that about?

And he said,
when I'm sleep walking

I don't remember anything,

but if you left me Monopoly money,

I must have detected it was fake.

Hi, mom, how are you?

I'm fine.
Forgive me, I'm sorry.

I know it took me
so long to reply.

I've been focused on the shoot

and ignoring my phone.

I'm happy,

I'm happy to be shooting
things I like.

It's really doing me good

to be working
and just being here.

Everything's fine with Esteban.

Don't worry, we're just fine.

It's odd, he seems very different
but we're fine.

He does his thing and I do mine.

But it's interesting
to see him working.

And above all, to see
how he interacts with people.

It's a bit weird,
but I'm doing ok.

Mom says to come for dinner.

Yeah, I'm just coming.

- Ok, cut.
- We've cut.

Malena, the take is a bit soft...

Stand up a little bit sooner.

- Just a little bit, ok?
- Ok.

Let's go.

Raul, can I see you
at the window for a moment?

We're adjusting the focus

and when it's done
we'll be ready to shoot.

- Perfect, thanks.
- Thank you, Malena.

Let's get going...

Hello, can I just stand here?

Silence, please.

We're going to shoot.

- Ey.
- Hi.

Motor.

Sound recording.

Is lunch time staying the same?

71.1.Take three.

Marking.

Frame?

Yes, 2 p.m. or 2.15 p.m.

Action!

Mom says to come for dinner.

Yeah, I'm just coming.

Ok, cut.

Raul...

When you look at your daughter,
I want you to feel

you really need to get out of here,
escape.

Like you can't breathe.

Give me a second.

What is it?

How are you?

Are you eating properly?
Resting well?

We're back!

Yes.

- Do I have something here?
- Nothing.

This weekend,

what are you doing?

I don't know.

Someone from the crew
is doing a lunch

but I don't know what I'll do.

My family is coming.

And I'd love if we could all
get to know each other,

something simple,
meet for a coffee.

Alice would love to meet you.
I'd really like that too.

Can I let you know?

Yes, of course.

What's that you did with,
"Can I let you know?"

- Yes, it's...
- This?

- Yes, yes.
- What about it?

I want you to do things
like that in the film.

We talked about how in period films
it's all usually so stiff.

People are very rigid and wooden...

- Yes, that's true.
- Kind of like...

"Your honour!
The mayor has arrived!"

What am I doing? This is absurd.

They do those things,
they puff out their chests

and it all looks so wooden.

"The mayor has arrived!"

That's what I don't want you to do.

Ok, got it.

And gestures like that
seem more organic, more natural.

Ok, great.

Don't do the "Your honour" thing.

Perfect.

Let me know about the weekend
when you can.

Thank you.

- Everything ok?
- Yes, thanks.

Today...

Turn it up, please.

...I'm going out to look for...

...everything I want...

...I'm going to demolish...

What a great track.

...my house
and start from scratch...

...everyone is already hidden...

...under the eternal night...

...I know
the cosmos looks after...

...everyone in the same way...

Give me something tonight...

...tonight is special...

...I'm going to walk
around your house...

...in the darkness...

ESTEBAN MARTINEZ
TALKS ABOUT "DESERT"

"MY DAUGHTER EMILIA
IS IN THE FILM ON HER OWN MERITS"

What he's doing is a...

I don't know how to put it.

He's really swinging
his dick around.

Can you hear us?

It doesn't matter.

It's all good, Emilia.

- You can join us if you want.
- We'll be there in a minute.

What about you?
When did you realize?

I don't remember the exact moment.

Maybe when you saw him
win an Oscar?

That certainly helped,
but it wasn't then.

- Do you like acting?
- Yes.

- Why?
- I don't know.

You don't look like
you enjoy it very much.

Don't I?

I don't know.

No.

- Did that bother you?
- Not at all.

No, I don't idolize him,

I just think he's
the best director alive today.

There is one masterpiece,
"Sirocco".

The first five films,
because "Tenant" is great.

His best film is "Sirocco".

The other day you told me
you hadn't seen it.

For me, "Sirocco" isn't the best,
I'm sorry.

But you can't say it's not special,
because of the way he shot it,

and because how your father
and the others lived it.

They were having
a bit of a wild time.

Did you say "a bit
of a wild time"?

A bit more or a bit less
wild than you?

Ok, Emilia.
They were a bit full of themselves.

Maradona, all his life, had
people were telling him he was God.

At a certain point
you start to believe it.

And he gets forgiven
everything else.

Malena, Maradona screwed over
a lot of people.

Emilia, Emilia,

what I'm saying
is that your father,

as a person, over the years,

and as a filmmaker too,
has gradually calmed down.

That's true.

I was a bit intimidated by
his reputation... but it is fine.

- What more do you want?
- Your father is a legend.

But we all know that before he used
to get high and get into fights.

On one film he got into a fight
with his director of photography.

- How do you know that?
- It is on Internet.

Come on, man!

Everybody knows,
not just from the Internet.

From the heart,
your father is a legend.

That scene in "Sirocco", the three
of them dancing is awesome.

And that actress?
I fell in love with her.

That girl and the others too,

weren't professional actors.

I'm going out for a smoke.

It's cold, isn't it?

Everything ok?

You know that "Sirocco" actress
they were talking about?

Yes.

- She's my mother.
- Yeah, sure.

I swear.

Really?

Look.

Look.

There's the three of us.
That's me.

So she's an actress?

Not anymore.

She quit when she was left
on her own with me,

then she took
her civil service exams.

My mother is fucking amazing.

This was during the shooting
of "Sirocco".

That's cool.

I read that he said it was the most
important shoot of his life.

It makes sense.

Maybe for him.
My mother had an awful time,

and he drove everyone crazy.

They separated soon after
and then he disappeared.

What do you mean?

He vanished
I never saw him again.

In fact, I met him officially
when I was nine.

And I think this is the first time

I've spent so many days
in a row with him.

Eat the orange too, please.

Can I have
a glass of red wine, please?

Just a sec, sweetheart.

- Hello.
- Hello.

How are you?

Emilia, Alice.

- Nice to meet you.
- Likewise.

This is Al.

And Paul.

They don't look like you at all.

I look more like you.

- Yes or no?
- Yes.

- Did you know that?
- What?

That lemon was my favourite.

Well...

Is it good, Paul?

"Paul" is "Pablo", isn't it?
Pablo, I have to shoot!

- It doesn't matter.
- What have you been doing?

I was just having a drink. Why?

Yes, of course.

Fuck! My alarm didn't go off.

Don't worry,
they haven't started yet.

I know,
but it's never happened before.

Don't worry, seriously.
Pablo, here now.

Emilia on her way.

- Can you get me a coffee?
- Black with sugar?

Emilia coming in.

I'm sorry.

It's ok.
They're still setting up the shot.

Good morning, you overslept!
Were you partying at the weekend?

What are you talking about?

- Are you going over the text?
- For the next scene, don't worry.

- Do we leave the table like this?
- Yes, leave it clear.

I'm sorry, Pablo.

Don't worry.
Do you need anything?

Will you tell wardrobe
to take my coat, please?

No, I'll give it to them.

- It's going to look asymmetrical.
- Better, put it here, please.

Like that. Much better.

Pablo, how do I come
into the scene?

You're in the kitchen and
Miguel gives you the mark.

Great, thanks.

- What's up?
- Hi.

I went to watch the football match
yesterday and no one showed up.

No, tell him where he was.

He was doing that dance from
your home town, what's it called?

- The Txlaparta.
- No, the Aurrescu.

Hello, Emilia.

That email that Nico has sent:

We've received some complaints
about the noise in some rooms.

Please remember that
it's a family hotel

and we must be careful
after 11 p.m.

On the weekends I like doing
my exercises, going over texts,

reading, like Pedro,
who loves reading.

I stay quietly in my room.

It must be exhausting to be
the center of attention all day.

I mean, exhausting.

Shall we go?

Ready to shoot!

I'm warming up my voice.

IF YOU'RE NOT TOO TIRED,

I'D LIKE TO SHOW YOU
TODAY'S RUSHES.

Please, this scene is very
delicate. Let's all stay quiet.

- How are you?
- Fine.

We haven't rehearsed much,
but...are you ok with the text?

I would like to try
some things with you.

We'll start with something simple.

For Salek,
his life and his family's rests

on convincing this family.

And Bernardo and Gabriela
have to know

if he's telling the truth or lying.

They want it to be the truth
but they don't know.

We'll start with that.

Move your chair back a bit.

- Come on, people.
- Let's go.

Ok, we're going to shoot!

We'll do touch-ups only
if it's necessary.

Silence.

Silence, please.

The coffee is a bit hot, ok?

Please, let's clear the frame.
We're going to shoot.

Motor.

I said motor.

41, take one.

Marking.

Frame?

Frame.

And...action.

Well, do you like it?

- I like it a lot.
- That's great!

I think it's a beautiful take.
You look really good in it.

It's funny seeing it
without any sound.

It helps to see the rhythm,
the camera movement...

and the actors' work too.

In that take,

something happens to you

and I don't quite know what it is,

but I think it's because to you,
to Emilia,

other things didn't happen to you.

Do you understand?

How were you at that moment?
What were you feeling?

I was calm, I was comfortable,
I was relaxed.

Calm, comfortable, relaxed.

It's there.

I think it was Liv Ullmann who said
that the closer the camera is

the more you have
to remove the mask.

We all have masks, professional
ones emotional ones, all kinds.

In your case, I can think of

obliging colleague,

the insecure actress, obviously,

the feisty woman,

the angry daughter.

And...what is important

is that none of that

should be present

because then the character appears,
without any interference.

- Do you understand?
- Yes.

One's self blocks
out the character.

I get it.
Though I'm not sure I can do it!

It's a matter of time
and experience and patience.

Sometimes it turns out
better than others...

but the important thing is

to be confident, relaxed,

and that you know that I'm here

to help you
in anything you need, Emilia.

Will you help by letting me
go to the bathroom?

Naturally!

Thank you.

I wanted to apologize.

The other day I didn't realize
it was so obvious,

and I know I said things
I shouldn't have said.

Well... I'd better get going.

It's late.

Listen.

I don't want to stick my nose in,

but from what I saw the other day
on the promenade...

It left me worried.

It reminded me of myself,

when I used to drink
to push my father away.

Again,
I know nothing about your life...

I don't know if it's something
you do often.

I recall that at our lunch,
you drank a bottle of wine.

I don't know if it's something
you do regularly.

All I want to tell you
is that drinking is fucking shit.

Believe me.

It seems like good fun
and everything,

but in the end
you're only hurting yourself

and screwing the people around you.

My advice is to quit drinking.

- Thank you.
- You're welcome.

- Good night.
- Good night.

I don't like what just happened.

I've come here to work,
to be an actress in your film,

but not to be your daughter.

I don't want you to talk to me
about personal things again.

I don't want you
to compare us, either,

because I could drink less,
no doubt, but...

I don't go round hitting people
and fucking up people's lives.

See you tomorrow.

We're doing the last touch- ups now.

Fish early in the morning.

Mackerel for breakfast.

Delicious!

They've removed the bones
from the mackerel

- but be careful...
- Guys. Silence, please.

Let's go, crew.

The director is coming.

- Shall we shoot?
- Yes.

Thank you.

Let's move, people.
We're going to shoot.

Serve the dishes, please.

Everyone in position, please!

Silence.

Motor.

Recording sound.

- 67. 2. Take one.
- Marking!

Frame?

Frame.

And...action!

And...action!

Fishing is one
of the region's attractions.

Indeed. Carla likes to join us
sometimes, right Carla?

My kids hate getting up early.
Impossible.

- Can't you say something?
- Cut!

We're doing another take!

Pepa, the camera was shaking.
Why?

Yes, I'm on it.

Cesar, you're not eating.

I was eating.

I'm watching you
and you're not eating.

- I was eating.
- No, you weren't.

- Esteban, I was.
- You weren't eating.

Eat for real. Chew.
Ok?

You can really see everything.

So when I say action,
everyone does what they have to do.

We're doing another take.

Esteban.

Is my French ok?

Your French is fine, but change
to Spanish if you want.

No, I don't think so.

Ok, folks, let's go.

Motor!

- Motor!
- Recording.

Clear the frame, please.

And...action!

Fuck! Cut, cut, cut!

The camera shook again, Pepa.

Yes, I'm checking it.

Jacob, set it up again.
It isn't working.

- Sorry.
- It's not that fucking hard.

- What?
- You tell me.

- I was eating.
- Not really.

- I was really eating, Esteban.
- Shall I show you on the monitor?

Let's eat for real, please.
Chew.

How are you all?
Hello, Carla.

- Pablo, are you ok?
- Yes.

- Give me a hand with the children.
- Ok.

Let's go, please.

- I'd better shut up, otherwise...
- It's not worth it.

Let's get ready, please.

Recording sound.

67. 2. Take three.

- Marking.
- Frame?

- Frame.
- And...action!

Fishing is one
of the region's attractions.

Indeed. Carla likes to join us
sometimes, right Carla?

My kids hate getting up early.
Impossible.

- Can't you say something?
- Cut.

For fuck's sake!

Jacob, do I have to operate
the camera or what?

Don't show so much ground, please.

- Cesar.
- Are you saying I wasn't eating?

Not like you really want to.

No one could eat this
at nine in the morning.

No disrespect, guys.

You have to eat.

At nine in the morning,
at ten and at eleven.

Aren't you a professional actor?

Yes, of course. Let's go.

- Let's do some touching-up...
- No touching up, Pablo.

- No touch-ups?
- No touch-ups, Pablo. Yes.

Let's go, folks.

Motor.

I'll stick the whole fucking plate
down my throat.

And...action!

Fishing is one
of the region's attractions.

Indeed.

Carla likes to join us
sometimes, right...

Cut!

Sorry.

Guys...

I'm sorry, Esteban.
I'm ok now. I'm ready.

Let's shoot.

Let's go, crew, please.

Come on, folks,
we're going to shoot!

Guys, let's focus.

Let's shoot.

- Guys, is everything ok?
- Yes, it's fine.

Don't make me laugh, please.

Recording sound.

- 67. 2. Take five.
- Marking.

Frame?

Well, well, the mack-e-rel.

And...action!

Fishing is one
of the region's attractions.

Carla...

Guys, stop it.

Cut?

Move that boom out of the way.

Why did you stop moving?

I didn't tell you to stop.
Keep going, please.

When you want,

we'll all stop laughing and...

...shoot the scene,
but only when you want.

Don't worry about
your colleagues over there,

baking in the sun because of you.

We have a whole crew waiting.

You so- called professionals.

We're still shooting, eh?

Is that it?

Raul, are you done?

Now.

No?

Now? Ok.

I swear I'll throw
the next person who laughs

against that fucking wall.

Now we can cut.

You could speak nicely to us,
couldn't you?

Excuse me?

You don't have to talk
with so much violence.

- That's none of your business.
- It is my business.

Let's shoot, Pablo.

All right, another take.

Ok, crew, get ready, please.

It's fine, sorry.

- Carla, are you ok?
- Yes.

- You want us to stop?
- No.

Are you sure?

Ok, crew, come on,
We're going to shoot.

Motor.

67. 2. Take Six.

Frame?

And...

...action!

Fishing is one
of the region's attractions.

Indeed. Carla likes to join us
sometimes, right Carla?

My kids hate getting up early.
Impossible.

Sorry.

For fuck's sake!

How can you cut my take?

- You're right, I'm sorry.
- I'm the one who cuts!

You're making us nervous!

Just fucking do what you have to!

Maybe I can get just one
fucking take today! One!

By the way,
you're in the shot, eat more.

- Oh, I'm not eating right.
- No, you've eaten only once.

Ok.

What is this?

Where the hell do you think
you are? The school yard?

This is a serious shoot, Emilia.

You come here to work.

I'm sorry.

Are you going
to play your character?

- Are you going to do your job?
- Yes.

Are you going to behave
like a professional actress?

- Yes.
- Yes? Let's see if it's true.

Let's shoot.

- Esteban, the kid...?
- Get the kid out.

- Get him out?
- Out of the scene.

- Out of the scene?
- Get him out of the scene, Pablo.

- Where's Pepa?
- She's outside.

Send her in, please.

Pepa, can you come in, please?

She's not coming.

She says she's staying outside.

Pablo!

Are you coming with me?

Take away the chair
and the plates, please.

What are we doing?

Take everything away,
the kid is out.

What do we do, Pablo?

Excuse me...

Emilia, Cesar, move places.

You go here,
between the two of them.

Pablo, come on!

The boy's glass.

Jacob, tell me if this works
for the camera.

Perfect.

Ok, come on,
we're going to shoot!

Come on, let's go.

Raquel, this isn't the time,
please. We're doing another take.

Come on, motor.

- Motor?
- Motor.

Recording.

- 67, 2. Take seven.
- Marking.

Frame?

And...action!

Can't you say something?

Don't cut!

- Emilia...
- What?

Eat for real, please.
I want to see you eating for real.

Three meters back.

Jacob, please, three meters back.

Raul, from "Carla
likes to join us"

Not the chair, thank you.

We're shooting.

And...action!

Please, eat properly, Emilia.

Make me believe it.

Like that.

Emilia, I'm not repeating myself.
Eat for real.

- Can you give me a minute, please?
- Eat! Eat!

Not like that.
Like you want to.

I don't believe it.

What do you want me to do?

Hold the spoon properly.

- Like this?
- No!

Scoop up the stew.

Put it in your mouth.

Chew. Swallow.

Good. Continue.
Continue with the scene, please.

Can't you say something?

Not now.

The boom, for fuck's sake!

Concentrate! Damn it!

From the top!

- Are you all right? Can you go on?
- Yes, yes.

- I say if she can go on.
- I can go on, yes.

From the top.

- Of course I can go on.
- From the top.

From the top, of course.

From the top, without cutting.

- Let's do some touch- ups.
- No touch- ups!

She's got shine.

It doesn't matter,
do like this, Emilia.

That's it.

Let's shoot, please,
need to get this shot now.

Take this.

We're still shooting.

That's it, thank you.

Continue.

Hold the spoon properly.

No, not like that.
Hold it like a grown woman.

Not like a child. Like that.

She's a young lady from
Madrid high society.

She's not a working class girl
like you.

Put down the spoon.

Ok, again.

Take the spoon.

Put it in your mouth. Chew.

Chew. Swallow.

Line.

Keep shooting, please.

Line, Tim!

Aren't you going to say something?

Bernardo, please.

Not now.

Is Pepa here?

The next room.

Oh, sorry, thanks.

- Hello.
- Hello.

Can we talk for a minute, please?

We're all meeting downstairs
in half an hour.

I know. I'd like to have
a chat alone before that.

It will just be a minute,
if that's ok, please.

Just a minute.

Alright.

- Come in.
- Thank you.

- Shall I close it?
- No, leave it open.

Can you leave us alone
for a moment?

Are you sure?

So, have you decided already
or can I say something?

But we can talk if you like.
If you don't mind, I'll go first.

Oh, fine.

I'm sorry,
I'm really sorry, Esteban.

You gave me a chance
that not everyone would give me.

I've learned a lot.

And I know it sucks.

But that's why I wanted
to wait and finish the week

to give you time to find someone.

We won't find anyone
over the weekend, and you know it.

You'll find someone very quickly.

Look, I really appreciate
the apology.

We're both coming
from the same place.

The other day wasn't a good day.

- It was completely fuck- up.
- Yes.

Completely fucked up...

Yes, it wasn't my best day.

I'm anything
but proud of what happened,

I freely admit it, but
it's no reason for you to leave.

- Whatever way you look at it.
- I don't know.

Maybe I'm used to
another kind of shoot.

What other kind of shoot, Pepa?

Shoots are like this, everywhere.
Mine and anybody's.

There are easy days, fun days,
shit days, hard days....

That wasn't a hard day.

It was something I never want
to see again, you understand?

I understand,
and it won't happen again.

- Well...
- No, it's true, believe me.

It's down to me, isn't it?
It won't happen again.

Whatever you say.

I woke up an hour ago

to the news that you're leaving
with your camera crew,

three weeks
before the end of shooting.

Which also makes me wonder
what the rest of them think.

Do they agree with walking out on
a shoot like this?

Yes. If we stay,
we're saying we accept this.

What is "this"?
What do you mean by "this"?

All I see here is
a lack of professionalism

and a lack of respect,

not for me,
but for the whole crew,

like I've never seen before.

Something I can't allow you, Pepa.

- That you can't allow me?
- No.

We'll talk about it downstairs, ok?

Why can't we talk about it
here and now?

Because you're in my room

and I'd prefer to discuss it
in front of other people.

Have you really thought
about this carefully?

Because I can't get
my head around it.

You can't understand
someone saying no to you.

You're leaving me high and dry.

- I'm telling you I'm sorry.
- Ok, and what else?

Well, this isn't easy for me.

It would be really something
if it were easy.

Well, it's not easy.

And now, please, leave my room.

Sure...but you do realize
you're not saying no to me,

you're walking out on 70 people?

- I do
- You do

Ok.

And I accept the consequences.

Get out of my room, please.

Well?

Nakai, yes.

Nakai has the same agent
in Europe as Pepa.

- And?
- He won't come.

Why the hell not, Nico?

I doubt he wants to.

Why's that? Have you called him?

You're not helping here.
Sorry.

Let's ask him directly.
Do you have his number?

- No.
- Ok.

- How can we get it?
- I've got it.

Give it to Marina, please.

Marina, call him, please.

Tell him to come
as soon as possible.

Why are you being like this?

I'm not being any way.
I'm telling you what I think.

- To the airport?
- Yes.

- Can I drop you anywhere?
- No, I'm staying.

Ok, thanks.

- Hello.
- Good morning.

- Hi.
- How are you?

Many people
are still missing, right?

I don't think so.

I guess no one else is coming.

Well, anyway, good morning.

As you can see, we only had to stop
for two days in the end,

thanks to this wonderful duo,
Nico and Andrea,

and to the great Marina Cellier,
who gave their all.

Thank you.

So, we're back in action,
we're going to shoot again,

and we're doing so with a giant,
with James Nakai.

I imagine you know that already.

He's an amazing
director of photography,

a genius.

And a real professional besides.

So working with him will be
a pleasure and it will be easy.

Hello.

You can sit up here in front.

I was saying that...
It's ok.

I was saying that
Nakai is a great guy,

one hundred percent
behind the film,

and he's going to bring some
wonderful ideas with him.

But the important thing for me,
with this meeting

to thank you
in a more personal way,

for your efforts

and above all
for your commitment to the film.

You've been put to the test,
it hasn't been easy,

so thank you very much
to all of you.

And...Anything else?

The beers at 7 p.m.

The beers at 7 p.m. That's right.

We've organized some beers
and snacks for Nakai and his crew.

I'd ask you
to come by and say hello

so tomorrow
we can start shooting

with all
the introductions made, ok?

Any questions?

Anything you want to say
or to know?

Ok, thank you for your time.

I'll see you later.

Talk to your captain.

The French won't have any pity,
like you.

Talk to your captain.

The French won't have any pity,
like you.

Talk to your captain.

The French won't have any pity,
like you.

Talk to your captain.

The French won't have any pity,
like you.

I like that gesture.

That gesture
looks natural in films.

It's an everyday thing,

it makes the actors
seem less wooden.

What am I doing?

I'm ridiculous.

That's why I direct films.

That gesture you've just made.

Do it again.

Let me see.

Let me see that gesture.

I like that gesture.

Do it again. Do it again.

I like it because in films

the actors have to be organic.

Those little gestures make them
seem less wooden,

less rigid.

I'm starting
a new project with him.

I haven't read it
but it's about a kidnapping.

Shit, I auditioned
for that series.

You did? Is it happening?

I haven't heard yet.

- Shit, Raul, I hope you get it.
- Me too.

It would be great.

- Marta, what about you?
- I'm getting married.

In May!

I got married during the pandemic
and I'm celebrating it now.

A fancy celebration?

A party in the country,
like a village fiesta.

I love a brass band.

- Invite me.
- You want to come, darling?

Good morning, how are you?

Good morning.

Did you sleep well?

I didn't. There was all this noise,
I don't know what it was.

Some English guys,
they were fighting by the pool.

Shit. That explains it.

How's it all coming along?

The wind is blowing up
it's going to be cloudy and sunny.

- So we'll have to wait.
- Exactly, a bit of patience.

- How are you?
- Fine.

- Ready for the day?
- All set.

- It's important.
- Very.

- Your capitulation?
- The very same.

How do you see it?

I love that scene.

- Any questions?
- No.

Production is there
for anything you need

while you're waiting.

Water, anything. Ok?

- Yes, thanks.
- No, thank you, always,

for your patience.

Well, I'll get going,
just say if you need anything.

Shall we continue?

One thing...

The other day
was tough, I know. But...

the work you did...

...but the work you did is amazing.

Keep it up.

I'll see you there, so long.

This scene...

This scene is probably

the one people remember most
from the film.

And the truth is,
it was really tough to shoot.

It was a very difficult scene.

The crew had a very tough time.

The actors, mainly.

We spent two whole days
in that room

and we all ended up half- crazy.

I'm still amazed how these images

are recorded forever,

in films, but above all
how the experiences remain...

the experiences
we lived while shooting.

How that moment
left its mark on us.

How that also stays
with people forever.

What take is this?

The third.

May I come in?

Yes, of course.

To wait here I mean,
it's impossible out there,

but I don't want to disturb you.

- No, no.
- You sure?

Play the one
at the beginning, please.

- The third, isn't it?
- Yes.

Esteban, Execuse me.

I think this isn't going to change,
and might get even worse.

We'll wait half an hour
and then we'll shoot.

With that wind?

Yes.

I can remove the dialogue

and shoot with the wind.

We'll wait half and hour
but then we'll shoot.

- I'll get the crew together.
- Thanks.

Is it okay with you to remove the dialogue?

Yes, of course. Whatever you think.

How are you?

I'm fine.

I'm pleased
to have sorted everything out

and to be shooting again.

What about you?

I'm fine.

You've almost finished.

Two more days.

You can't wait to leave, huh?

To be honest, yes.

I'm looking forward
to going back home and...

and seeing my mother too.

Of course.

- You want a piece of sandwich?
- No, thanks.

- Esteban, excuse me.
-You want some?

No, thanks, I'll be right back.

Ok.

It's...

Alright.

It's very tasty.
Here's a napkin.

Thanks.

The other day,
shooting on the beach,

you said something to Cesar
that stuck in my mind.

What was it?

You said you remember everything.

Unfortunately, I do.

So...

are you aware of
what it meant to me,

all that

all that pain?

There are....

There are lots of things
that you don't know.

There are things
I don't know about you,

that we don't know
about each other.

For example,

at the time

when you were a child.

it was
a very difficult time for me,

very difficult, really fucked up.

Very difficult.

And you've grown up, inevitably,
I get it,

listening to, and understanding,
just one side.

No, please, don't do that.

To be able to answer you
I have to explain it.

Yes...

...but you always do the same thing
and I'm not interested anymore.

You're not interested
in my answer?

Dad, I am interested.

Answer me.

With no narrative
or stories, just...

...answer me, please.

Are you aware of what
it has meant for me

that you aren't in my life?

Yes, I am aware.

I am aware of the harm
I've done to you.

And it weighs heavily on me.

Shall we watch it?

This is the best take, isn't it?

Can you play it from the beginning
with the music?

- Ok.
- Please.

Cut!

Did it go well?

Take it easy!

Cut, cut, cut!