All language subtitles for Arbeit an einem Film nach Franz Kafkas Romanfragment Amerika (Harun Farocki, 1983)

Give it a try.

Well, you don't need me. Clap.

WORK ON "CLASS RELATIONS"
BY DANIÈLE HUILLET AND JEAN-MARIE STRAUB

March 1, 1983
Rehearsals (West Berlin)

Good evening, Mr. Rossmann,

it's me, Robinson.

But you have changed!

Yes, it's going well for me.

But you drink.

It is only to fortify myself

when I am on the road.

Yes, then comes...
"I no longer want to better you."

I changed that.
The next sentence comes right there,

there's no pause.
And try to make it more amusing.

"I no longer want to better you."

Not in such an accusing tone.

"But you drink."
And quicker. One right after the other.

Good evening, Mr. Rossmann,

it's me, Robinson.
- But you have changed!

- Yes, it's going well for me.
- But you drink.

It is only to fortify myself
when I am on the road.

I no longer want to better you.

Good. Then I was thinking

that you would have an ashtray
on your left, or a basket,

and that you'd throw
the rest of the apple in it.

But of course
in the beginning you eat some

so that there isn't much left over.

So, again.

Something is wrong with "But you drink."
Don't you think?

I emphasize "drink" and...

"But you drink."

- That's difficult.
- It's more of an amusing realization

than an accusation.

He takes it as an accusation,

but I wouldn't say it like one.

Let's do it again.

That was good at the end.

It's beginning to...
Again.

This is where things
are becoming serious.

Now you have to know what Christian
is going to do with his two "buts".

If one should vary them or not.

"But you have changed!"

"But you drink."

One is with a pause, the other isn't.
That's enough for them to be...

varied a little.

And I would really...

It's like he's fallen from the sky,
and that's simply...

You haven't seen him since
you both had the fight,

and suddenly he's standing there.

You're not at all surprised
but you're still slightly amused.

You have no idea
what's going to happen later on.

I'd let "but"
get swallowed up by "drink".

Yes, like that. That's better.

And as the Italians say,

"With the tail of your eye",

you see him,
but you're not looking at him.

And now the closing action.

Yes, okay.
We've got that now.

Now make it more joyful for me.

Is it normal
that he's crossing his arms?

His arms weren't crossed
when he was eating the apple.

As a whole it was funny this time,
and had lots of movement,

but "fortify" can be even closer...

You can tell that you're
struggling to shorten the old pause,

without giving
the sentence any momentum.

It has to be more...

Almost as if there isn't a pause anymore,
just a hard break.

Then the second sentence
has more the character of...

I don't know what you call that.
In French it's "overture".

Again.

Enough. Now you've got the idea.
- Yes.

And Manfred?

I exaggerated a bit at the end.

I liked that.

I liked that.
That will lessen.

Or do you want to do it again?

No. I just wanted to show
you how I had imagined it.

It was a bit like Fischer-Dieskau,

when he talks
instead of sings in operas.

We can go ahead and change.

Is that enough for today?
Do you want to do it again?

- We could do it again on the 4th.
- What?

- Maybe we could do it again on the 4th.
- The 4th?

- He doesn't know anything about that!
- I never look at the calendar.

Rossmann, won't you

come visit us once?

We live with Brunelda,

a splendid singer.

Are you inviting me,

- or Delamarche?
- I am...

and Delamarche.
In that we are agreed.

Yes.

The difficult thing for Manfred
is that he has to change the tone.

Yes, the thing
doesn't have any life in it yet.

We have to destroy all the pauses.

They still have to be there but
as a very deep... undertone. We have to...

He'll need to have a
chance to speak the text.

He hasn't done that yet... alone.

We have to pull on it until it snaps.
Again.

Rossmann, won't you

come visit us once?

We live with Brunelda,
a splendid singer.

Are you inviting me,

- or Delamarche?
- I am...

and Delamarche.
In that we are agreed.

Again.

Why do you wait so long,
Manfred, after "come"?

I'd like to feel the colon there,

even though Kafka used a comma.

Then I say to you,
and ask you to communicate to Delamarche:

our parting was final.

You two...

have done me more hurt than anyone.

Thanks.

Do it again? It's good.

It's just a matter of
a few lip exercises, the rest...

Yes, I noticed that.

But that "hurt", that was...

It hit home somehow.

It was moving,
without being whiny.

Then let me tell you,
and ask you to communicate to Delamarche:

our parting,

was final.

You two...

have done me more hurt

than anyone.

Almost there.

Okay. That's good.

Just be careful at the end.

The famous coda...
So there will be some tension.

Something about that was quite good.

One last time.

But we are your comrades.

And you have
such a fine position here.

Could you let me have some money?

You have received from Delamarche
the charge of bringing back money.

I will give you money...

but only on the condition...

that you leave immediately
and never again...

visit me here.

I'm in service here
and I have no time...

for visitors.

Do you want money on this condition?

Yes or no?

I forgot everything.

That's just the usual giddiness
that one feels when it starts to sink in.

You're a bit like the tight-rope walker,
who doesn't know what he's doing yet,

- but it was nevertheless a good run.
- Can you repeat that?

"Visit me here."

- Was that alright?
- Yes.

"Visit me here."

Three words with breaks.
No pauses, just breaks.

If you can't do it,

we'll leave it out,
but I want you to try.

"To visit me here."
Right?

With breaks.
Not "visit-me-here."

Rossmann,

I feel very sick.

But like this...

Grab the thing clumsily like this,

at first.
Yes, I'd start like this.

No, almost hug it. No, here.

Then slide down.

And you're looking at him like this:
"Rossmann. Rossmann".

Then at the end of the sentence...

The sentence doesn't explain
the sliding down. The sentence comes later.

Yes. Then we'll do it like that.

And I think it's
even better for you if it's higher.

- Where were you?
- About here.

No... Yes, you were there.
Try it from here.

Hug the thing even more.

A real hug if it's possible.
A bit like this.

If it's possible.
You don't have to, but...

Rossmann,

I feel very sick.

- What the devil!
- But somehow a compromise.

In the next shot you grab him.

We have to...

There's not much point in doing it here,
but we still have to get an idea.

And how do you
grab him in the next shot?

I was thinking something like this.

- Or like this.
- He could also grab his arms.

He won't be able to.

Yes he can,
if he does it like this.

It also just depends
on how Manfred lands...

That wasn't as good as before.

- I don't know why.
- I was too early.

You know better than I.

Yes, and Manfred,

I realized something
as I was watching you so closely.

I wouldn't look at him
when I say "Rossmann".

It's more amusing if you say
"Rossmann", the way we separated it,

and you don't even look at him.

As if Rossmann were the stairs.

That's better!

- Do it again.
- Should I bend down over him?

- What?
- I walk over and say "What the devil!",

and then I bend down.

- But if he goes to him so quickly...
- I also have a problem I've yet to solve.

Do it,
and we'll improve it gradually.

What the devil!

I would go over to him
after saying it, right?

Yes. Then it's
the opposite of what Manfred does.

Yes, that's much better.

I can't even answer your question,
because I have yet to solve my problem.

I think he has to stay there.

Yes, then you stand next to him,

and then we'll see your boots,
your shoes, your legs.

That's it.
And you listen to his speech.

- He has a little speech for you.
- How close to him should I be?

Close. Like someone who...

Not as close as someone who's
already got a hold of him, but rather...

What's his name?
The one who decides to... who says...

Where is that?

"Why have you..."

What's his name,
the one in "Rio Bravo"?

That boy who
never wants to get involved?

Ricky Nelson,
that's the actor's name.

That has nothing to do with us.
Except that...

John Wayne catches him...
Suddenly he shoots,

and Wayne asks him why he
got involved. He says,

"I wanted to take a...

a closer look."

To see it up close.

You go over there and get a closer look
at the man sitting there. That's all.

- Yes.
- Yes, that's good.

But I know
where it comes from, somewhat.

You don't have the same...

- Position.
- Exit position or starting position...

Go stand
where you were for the long text.

- Now I remember.
- Where you were for the uncomfortable text.

- Like that.
- Okay, start like that.

It'll be totally different now.

Now just the standing up.

Walk in, so I can see it.

Robinson, if you want me
to take care of you, then make an effort.

- You weren't that far along...
- This is just so I can see it.

Be careful with the cables.

That won't be a problem.

That won't be a problem because he...

I just wanted to get an impression.
That's enough, thanks.

You are really a good boy.

I will do
everything you consider right...

You must please
replace me here a while.

Don't forget to push the button.

- I can't push it until the door shuts.
- Yes, but you have to be prepared.

You're a bit timid in there.

- It's better if you have your hand...
- You're...

You're still a bit like this...

By that, I don't mean ballet.

You have to take a step,

and be thinking about the button,

and...

You can already have your hand ready,
like this, until the door...

That would be better anyway.
We wouldn't have you like this...

Then the last image of you is like this.

The only question is how you...

how you separate yourself
from Manfred a little, but not...

But I can't see that so clearly.

You are really a good boy.

I will do
everything you consider right...

You must please
replace me here a while.

March 3, 1983
Rehearsals (West Berlin)

He seems to be moody.

See, that was right.
Over there, it was too early.

Too early...

- Okay, so when he gets up.
- Yes.

He seems to be moody.

- That was too late.
- Yes.

It was late, but now you know.
We don't have to do it again. Stay there.

- Or do you want...
- No.

Okay, somewhere in between.

So, what's the next line?

"I am not moody..."

You have to see what you do there.

He'll take it, and you have to see whether
you follow him with your eyes or not.

- So we only see his feet.
- Yes, but it's important for him.

So, what does he do there?

Who? Him? He sits down.

- Will we be able to see that?
- No.

When they find him he sits down.

While the other is speaking,
he has enough time to sit down.

Yes, but maybe
we could see him sit down.

That depends on the distance...
From the beginning.

I'm unsure again.

Clap, Danièle.

I am not moody,...

- Yes.
- Do I pick it up after his line?

Yeah... I don't know.

I'll do it while he's talking, okay?

- You can try...
- What he says is longer now, right?

You can try to do it as he says,
"I am not moody".

We'll see if it bothers him or not.

Yes, do it like that.

I am not moody,

but I will spend the night at the hotel

and am not going to Butterford.

Eat quickly,
I have to give back the basket.

It can be even sooner.

- Then I'll have you do it that way.
- Yes.

Anyway, when Christian says,
"Eat quickly", they're already...

Besides,
it's a bit stupid if you wait too long.

A hesitation before is good,
but that was too much.

Again, but come in a bit earlier.

That will probably be something
like how you did it the first time.

You were right about that.

- Not so difficult.
- Right after he...

Right after he starts talking I pick it up,
or what?

- Yes, yes. Right after.
- Yeah?

Weren't you closer?

- Me? No, I just...
- No, no.

No. That's right.

- That's not bad.
- It's okay.

I'd start just a 'bat' sooner.

- A 'bit'.
- What did I say? - 'Bat'.

Again.

Yeah, about like that.

- We can still...
- You're still fascinated with that sentence.

- I start on "I am".
- Do it one last time.

- Try it earlier one last time.
- Alright.

- I think it's better the way you do it.
- No.

That's the only thing...
you don't have enough... It has to be...

Faster.

- The...
- Faster?

- The whole...
- The whole text.

- The whole text?
- Yes, yes.

Speed it up a bit.

I mean, I want to have it that way.
I want it to be slow,

but it's a bit too much.

Alright, let's go.

You see, Robinson,

we gave him our trust...

A whole day...

we dragged him with us.

And now, because someone
down at the hotel lured him on,

he simply takes his leave.

But because he
is a deceitful German...

he doesn't do this openly...

but looks for
the pretext of the suitcase.

- Good.
- But the "but" was wrong.

Yes. Two things were wrong.

Exactly.
You took a pause after "now".

And,
"he doesn't do this openly, but".

More threateningly.
"he doesn't do this openly, but".

All patience has an end.

Yes.

- He's a little late.
- Now we can... yes.

Now I've taken it apart.

Exactly, that's always better.

All patience has an end.

Yeah, I changed that.

Okay, I'll do it again.

Where is the bottle in the beginning?

- In my hand.
- Okay, again.

All patience has an end.

Where do we make the cut?

On the noise?

No, no.

I'll cut on his hand movement.

I don't know, I'd gain a bit...
But on the hand movement, I think...

It wouldn't be enough for me
to cut it right on the sound.

That doesn't matter.
That's the violence.

I still can't say how it will be yet.

Yes, again.

That's good.

Do that one more time for me,
because he asked me a question.

All patience has an end.

It's much better
after he touches the floor.

- Yes.
- Okay, that's our "kitchen" so to speak.

It doesn't make any sense
to see him like that.

We have to find a precise solution.

Or else
the bottle isn't in the picture?

No, or else I'll be there...
A frame, a frame, a frame...

Where it begins exactly,
during editing,

with the music.
We don't take your preparations.

One has to...

- work on the sound, the cuts.
- To be deliberate.

She always ends up cutting half a frame
in 35 mm and leaves the frame in the shot.

Again.

Very good.

Can you remember how we...

I think I introduced him.

And you waited?

I have the exchange.

My dear gentlemen,
that is why I write it down.

"Waiter takes the basket."

- And then I bow a little.
- Where is the waiter?

Exactly.

Yes. Don't worry, there's a cut and then we
only see you alone, close up.

Then... and so on.

It stops with the gesture
of the taking of the basket.

So...

Until then it's both of you.
Then his spot is empty and he comes back,

and there is the exchange.
It's a little theatre piece.

The exchange of the basket and then,

cut to you in that movement.

But then it's a new take.

I don't want to be pretentious
but it's a bit...

like "Carrosse d'or"...

Wouldn't think of it.
I am glad to...

leave and want to have no more to...

do with either of you.

The Head Cook says to tell you that she
urgently needs the basket she lent you.

Here it is.

Then the Head Cook says
to ask you if you maybe don't want...

to spend the night
at the hotel after all.

The night is warm...

"it is not
without danger to sleep here..."

The night is warm but it is not

without danger to sleep here on
the slope. There are often snakes.

"One often finds snakes."

But don't worry,
we'll do that in a new take. Again.

The exchange
was not theatrical enough.

You have to do the exchange
starting from the right position,

so that afterward you are...
and a bow...

- Or you'll be in front of him.
- That won't work. I'm always standing here.

- Like this?
- No, not from here.

There.

- Then I don't need to...
- And there has to be enough distance,

so that the bow is more obvious.

You'll have to practice.
Something like, "Here it is."

And then cut.

Then you won't be starting everything off.
We'll do that with the next part.

And then you don't need...
Go ahead.

Wouldn't think of it.

I am glad to leave and
want to have no more to...

do with either of you.

The Head Cook says to tell you that she
urgently needs the basket she lent you.

Here it is.

Thank you.

All right. Again. Clap.

The final question is:
Does Harun sit or stand?

We'll have to decide that afterward.

I cannot find the photograph.

What photograph?

The photograph of my parents.

We have seen

no photograph.

There was no photograph inside,
Mr. Rossmann.

But that is impossible,
it was lying on the top.

And now it is gone.

If only you had not fooled
with the photograph.

- "With the suitcase."
- I know, I'm an ignoramus.

Okay, let's do it again.

When he stands up,
his look won't be the same.

- He stays sitting?
- No, no.

I cannot find the photograph.

What photograph?

The photograph of my parents.

Good. Now you start.

What are you doing in the beginning?

I wanted to do it like this.
With my leg out in front of me.

I was sitting like this before.

I wanted to...
Like I don't see him at all.

But then we don't see you move your leg.

All right.

So, he can't find... yeah.

I cannot find the photograph.

What photograph?

The photograph of my parents.

We have seen no photograph.

But that is impossible,
it was lying on the top.

And now it is gone.

If only you had not fooled
with the suitcase.

All error is out of the question.
There was no photograph.

- I'm missing one of Manfred's lines.
- Exactly.

Exactly.

What?
Let's dissect it.

Christian's second sentence:

Clap! You look at...

So, is that right,
what Harun is doing?

Wait. Let's do Christian first.

You don't look
in the suitcase now, but...

Christian is there at the beginning,
with the umbrella.

Okay, then at the beginning.
The first take.

I said,
you can look in the book, too.

- And please leave your hands in there.
- Okay.

Clap.

Again. "What photograph?"

- Do you know how I was sitting?
- No.

Like this?

Again.

Okay, we'll do it like that.

Christian,
your hands are still in there.

You can put your hands on top now.
They weren't in there, I saw that.

You can keep them in there.
Perhaps one hand on the book.

Yes, now look at him. Clap.

Wait! Wait!
That's new...

We have to take it all apart.

Christian, you take
your hand away from the book,

and try to find a more
comfortable position for your leg.

Then you say:
"The photograph of my parents",

and give him a sharp look.

Yes, but I'd like it from
the beginning. Hands out.

Clap, Danièle.
Hands on the book.

No, no, no!
Like that, yes.

Yes, now the line. Again.

Can we start at the beginning?

If you'd like to.

Thank you.

The movement you just made
while they were speaking,

I'd like you
to do that before you speak.

Because afterward we don't
see you, so it's wasted. Again.

August 22, 1983
Filming (Harburger Hills)

In this case it is my charge...

to conduct you
to the hotel and to carry...

your baggage.

- Yes.
- Hold "conduct" a little longer if you can.

- A hair longer.
- With two "U's".

- You didn't move, did you?
- No.

Try it there.

Not too low.
Not pointing down.

Yes, like that.
Yes.

Then forget him, okay?

- Don't point your nose down too far.
- Okay.

Good.

Make sure
the nose stays in the shot.

- Louis.
- Yes, sir.

- Are we filming?
- Yes, yes.

A moth.

Alf has the most beautiful bird recordings.

Yes.

No.

Your left hand is always down, right?

- Ready, Louis?
- Yes, go ahead.

With the emphasis on "charge".

Emphasis on "charge".

"In this case it is my charge...

to conduct you
to the hotel and to carry...

your baggage."

"Charge"
is very important with Kafka.

We're waiting for the train to pass.

- Go ahead, Louis!
- No, no.

- Go ahead, Louis!
- We can go.

139, the first.

In this case it is my charge...

to conduct you to the hotel...

- and to carry...
- Stop.

"to conduct you
to the hotel and to carry..."

"Charge" was very good.

Go ahead, Louis.

139, the second.

Thank you.

Could you understand all that, Georges?

He's about
to hit you with the micro!

Seriously!

I understood:
I didn't understand anything.

- Go on, Vaglio is waiting.
- I'm sorry, I have work to do.

Really?
That's a load of bull.

I can't see you.

No.

Very slowly.

Everything okay?

- Yes?
- When you're ready.

Go on then!

Go on, Danièle!

140,

the first.

140,
- A bit higher.

The eleventh.

Please wait a moment.

Yes, but the
accusative is disappearing again.

"Wait a moment.
Wait a moment."

You can make that nicer.

I think you have the impression

that you have to rush the ending
because you walk away.

It's the opposite.
You can hold him there.

Not for very long but...

firmly, and then go away.
Then your text won't seem rushed.

Go ahead, Louis.

Rolling!

Take your time with the syllables.
"Wait a moment."

- Rolling.
- 140,

the twelfth.

Thank you. That was the best.
Do one more.

That was really the best one, I think.
One can...

- What are they doing down there? That's new.
- A car.

- What?
- A car.

- No, it's a factory.
- It's a car.

- And that is a moth.
- Go ahead.

- Wait, it's getting closer.
- No, no.

Wait, it's a moth.

It's fine, go ahead.

Rolling!

140,

thirteen.

Thank you.

I'm telling you, he's not looking at him,
but at the two who are sitting there.

- Yes.
- Yes, of course.

- Okay, Manfred.
- Manfred.

Harun!

- Get in position please.
- He has to go from one to the other.

I'm lost without
a spatial point of reference.

You have to...
We have to decide.

From the two of them to Christian,
or the other way around.

But, in any case,
you'll have to change your gaze.

Christian towards the gentlemen,
don't you think?

Yes, that's better.
First Christian towards the gentlemen.

To the snakes.

Go on.

Perhaps...

we could still search...

the pockets of these gentlemen?

Yes.

Wait.

I have a problem.
Patience, please.

Try again now.

Yes, but then you have to stay.

Again.

Yes! That was good.
We'll do it like that.

Perhaps...

we could still search...

the pockets of these two gentlemen...

- Pardon me.
- Stop.

Kafka's is better,
don't you think?

"The gentlemen" is stronger
than "the two gentlemen."

You're fired!
Go ahead, Louis.

148, the second.

Thanks.

There was something unclear about
the way you were looking at the gentlemen.

Go ahead, Louis.

You have to be stronger and more...

threatening.

More threateningly.
Go ahead, Louis.

148. Go ahead, Louis.

The third.

But definitely ironic and playful,
and in no way fascist.

Yes, I liked that.

I liked that.

Keep that in mind:

Threatening, ironic and playful,
but without becoming fascist.

Ready?
Go ahead, Louis!

- Danièle!
- Go ahead.

- 148,...
- No, a little more in the shot. Exactly.

The fourth.

Thank you.

What are you doing at the end?
Are you looking from one to the other?

Yeah, I haven't decided yet which
of the gentlemen I'm going to looking at.

That's okay too.
Maybe it's even better.

August 23, 1983
Filming (Harburger Hills)

Thanks, Louis.

He only has one line, Georges.

He only says,

"I cannot find the photograph."

I cannot find the photograph.

Will you get this damn...

I like it better without the look.

It's still better without the look.

When he looks under the shirt.

What's the connection?

- What comes after?
- "What photograph?"

But what do I do with my hands?

- This hand...
- It's in the right place now.

- It stays here?
- Yes.

The edge of the shirt. That's a handkerchief.
Under the shirt, under the handkerchief.

As soon as... yes.

Like that, yes.

The handkerchief has to
go back where it belongs.

Yes.

So...

So, without the look.

- Try it again.
- My right hand on the book?

I'd put it further...

Perhaps speak
during the movement.

That would be the solution.

Please.

- Okay.
- That's good.

You have to be more
careful with your left hand.

It has to be more decisive.

Lifting the book is good,

but I would
look under the shirt a bit more.

And then under the book,
and speak in between.

Again.

Go ahead, Louis.

141, the first.

Thank you.

Is that okay?

He can't get us excited.
It has to...

You can't do too much,
but you can't do too little either.

- What are we talking about?
- You could try a little bit more...

- Fumbling around?
- Yes.

Then we'll see if it's
too much and if so, you'll do it again.

Things like that...

141, the third.

Did I take too long?

- No.
- Could I take longer?

Do another one like that.

But not longer, no.

- Go ahead, Louis.
- Rolling. - The fourth.

Don't go under the sleeping bag,
that's hopeless.

It's obvious.

Pat the handkerchiefs a bit.

Yes.

That's enough.

That's enough!

"I cannot find the photograph."

- That was... I know...
- Yeah, that's wrong somehow.

There has to be a question like:
"Can you find the photograph?"

Something like that..

Run around a bit.
We're changing the reels.

I'm not sure
it was the right emphasize on "find".

No, it wasn't.

If you don't tell me
whether it's good or bad,

I try to improve,
I mean, change something.

Then things like that happen.

- Yes.
- I know that's right.

But if you don't tell me what to do,

or say whether it's good or bad...

- You don't know what you should say?
- No.

That was good. This time,
don't rush the word "photograph".

The ninth.

Thank you.

Don't rush the line.

- As if I were talking to myself?
- Yes, a little bit.

- Danièle?
- Yes.

The word "photograph" is a bit...

too rushed.

Yes.

No.

- Yes.
- But that's just as fast!

Yes,
but you can slow it down now.

We have a rich harvest from the
other version, and they're almost all good.

- No.
- It's hard to say it slower, Jean-Marie.

- Yes.
- On the word "photograph"?

Emphasize it a little.

No.

No.

Yes.

And a little slower.

Ready, Danièle?

Thank you.

Emphasize "photograph" more.

Manfred,
help him out real quick.

- Yes.
- It's the same speed as before.

- Yes, no. It has nothing to do with speed.
- It also has to do with speed.

- Yes.
- That's how I always did it.

But I'd like to record it
one more time, that's all.

Very good.

That's the best. We have enough
space for two or three more takes.

That was great.

The gestures too.

Thanks.
Just as good.

We've got another 30 meters.

It gets better every time.
So you don't need to worry anymore.

Thank you.
That was very good.

One last time.

We still have 20 meters.

Keep going in that direction.

What photograph?

Thanks. We've got it.
Did that work? And the shot?

- The shot was right.
- Is something wrong?

- Is something wrong with the light?
- No, not at all.

Pick a spot, Willy.

No, it'll be good.

Stay there for a moment.
Caroline has doubts about the focus.

- Is that good?
- It's perfect.

- All right?
- Let's continue.

That was good.
Very good. We've got it.

So we are
doing it one more time.

- Is this look okay?
- Yes.

But that is impossible,
it was lying on the top

and now it is gone.

If only you had not
fooled with the suitcase.

Very good. Nevertheless,
I don't like the look in the beginning.

- The rest is okay.
- Which? In the suitcase?

- It isn't...
- Too high?

- I don't know. It's...
- And like this?

Give it a try.

No.

Higher.

Try looking up to Harun...

- and then down.
- Like this?

Yes.

- Like this?
- Yes and then look down.

- I am looking down.
- He is.

Go ahead.

No, that's too far towards Harun.
Somewhere in the middle.

- Like this?
- Now the... yes.

Try looking at the Bible.
That's too much.

I'd risk looking up. Slightly
towards us, slightly towards Harun.

Yes.

At the camera back there.

No, that's not the answer.

How about if you
were talking to yourself?

Where would you look?

"But that is impossible,"

- Like this.
- Then do that.

- Yes, that's good.
- At the sleeping bag.

Go right ahead. I was just thinking the
sleeping bag might be right. You see!

Let's go.

- Do you want to see?
- Yes.

Okay.

Rolling.

The first.

Is that all right, Willy?

- He has to be in the shot.
- But he also has to be in the light.

Lubtchansky is happy.

- Louis?
- Whenever you're ready.

The second.

Go ahead,
no one's going to hurt you.

Now a little more aggressive.

He fell down horizontally.

Yes.

Rolling.

145, the seventh.

- Check the light, right Caroline?
- Yes!

That was very nice.

Be careful of "the top".

So not up, but down.

Watch out: "doch lieber", D-L.

Warning...

"Doch lieber..."

"If only you had..."

It wasn't bad but the "D"
almost turned into an "L".

"If only you had..."

In one breath.

That's one variation.

That was good.
I just wanted to...

I wanted the same movement...
Hey, are you listening?

"Now it is gone",
and then the movement.

And the line a bit sooner
after the movement.

- I blew a fuse or something.
- Yeah.

But you succeeded. Louis?

- Thanks.
- Thank you.

It's okay.

How much more do we have?

- Nothing.
- Well, then...

- What do you want to do?
- Load another reel?

- No, not for this shot.
- We could if you want.

No, I just wanted to know...

Aren't you stopping?

It takes a while before it stops.

It didn't come out...

<i>Subtitles/translation:</i>
TITELWERK, Annie Grossjohann