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This programme contains some strong language. | 0:00:00 | 0:00:03 | |
Albin, please. | 0:02:56 | 0:02:58 | |
We'll shoot these scenes in reverse order | 0:03:03 | 0:03:06 | |
in the unlikely event that Gustav can build emotionally | 0:03:06 | 0:03:10 | |
with lyricism you'd do well to emulate. Albin, clear the set. | 0:03:10 | 0:03:13 | |
Roll camera and... | 0:03:30 | 0:03:33 | |
begin. | 0:03:33 | 0:03:35 | |
Nice pussy. | 0:03:38 | 0:03:40 | |
Nice pussy. | 0:03:41 | 0:03:43 | |
Miaow. | 0:03:45 | 0:03:48 | |
You're very content, aren't you? You live in a nice house, | 0:03:48 | 0:03:52 | |
you wear pretty clothes | 0:03:52 | 0:03:54 | |
and you're married to a kind man who's promised to love you for ever. | 0:03:54 | 0:03:57 | |
You have no inkling what lives at the bottom of the flower box. | 0:04:00 | 0:04:05 | |
No sense of longing, | 0:04:05 | 0:04:07 | |
no notion even of death itself. | 0:04:08 | 0:04:11 | |
And... | 0:04:17 | 0:04:20 | |
end. And print it. Have we established pathos? | 0:04:20 | 0:04:24 | |
Perfectly. In one take. | 0:04:24 | 0:04:26 | |
Let's get the film to the lab immediately. | 0:04:33 | 0:04:36 | |
I'll need to see rushes tomorrow. | 0:04:36 | 0:04:38 | |
Albin? | 0:04:38 | 0:04:40 | |
-Yeah, Friedrich? -Hurry and strike your set. | 0:04:40 | 0:04:43 | |
As you never hesitate to remind me, it's costing a fortune daily. | 0:04:43 | 0:04:46 | |
Shooting outside the studios will cost too much more, Friedrich. | 0:04:46 | 0:04:49 | |
But such is the price of genius. Thank God, an end to this artifice! | 0:04:49 | 0:04:54 | |
Nicely done, Greta. | 0:05:02 | 0:05:04 | |
You are developing in a number of lovely ways. For a moment, | 0:05:04 | 0:05:08 | |
I thought I saw a premonition of evil cross your face. | 0:05:08 | 0:05:10 | |
It wouldn't surprise me with all the spooky shit you've been saying to me. | 0:05:10 | 0:05:15 | |
It's important for the realistic effect. | 0:05:15 | 0:05:17 | |
But why must we leave Berlin at the start of the theatre season? | 0:05:17 | 0:05:21 | |
-Has your man arranged the cars? -Yes, two. | 0:05:21 | 0:05:24 | |
Do you have any idea the parts I've been offered at long last? The salaries? | 0:05:24 | 0:05:28 | |
-Will that be enough? -It has to be. | 0:05:28 | 0:05:30 | |
They're the only cars in the region. | 0:05:30 | 0:05:33 | |
Herr Doctor, you're ignoring me. | 0:05:33 | 0:05:35 | |
There was a time when you didn't ignore me. | 0:05:35 | 0:05:39 | |
Why would you possibly want to act in a play when you can act in a film? | 0:05:39 | 0:05:43 | |
A theatrical audience gives me life | 0:05:43 | 0:05:46 | |
while this THING takes it from me. | 0:05:46 | 0:05:49 | |
Greta, Ellen is a woman who discovers | 0:05:51 | 0:05:54 | |
the ultimate expression of love | 0:05:54 | 0:05:56 | |
and the most exquisite pain imaginable. | 0:05:56 | 0:06:00 | |
Does that sound familiar? | 0:06:03 | 0:06:05 | |
It's a very demanding role. | 0:06:07 | 0:06:10 | |
It is the role that will make you great as an actress. | 0:06:10 | 0:06:13 | |
Consider it a sacrifice for your art. | 0:06:13 | 0:06:16 | |
Work quickly, people. We have a train to catch. | 0:06:19 | 0:06:22 | |
Albin, what did you give the cat? | 0:06:24 | 0:06:26 | |
-Laudanum. -Laudanum? | 0:06:26 | 0:06:29 | |
It's hard to keep the damn thing docile under the lights. Did it show? | 0:06:29 | 0:06:32 | |
It looked a little pickled. | 0:06:32 | 0:06:34 | |
Not as much as Greta. | 0:06:34 | 0:06:37 | |
Things seem to be well in hand. | 0:06:37 | 0:06:39 | |
Friedrich? | 0:06:39 | 0:06:41 | |
Friedrich? | 0:06:41 | 0:06:43 | |
Friedrich, we have to talk about the vampire. | 0:06:43 | 0:06:45 | |
Not now, Albin, it's nearly dark. | 0:06:45 | 0:06:48 | |
Wrap things up for me here. | 0:06:48 | 0:06:50 | |
Make sure the imbecile Gustav does not miss the train | 0:06:50 | 0:06:53 | |
and I'll see you all in the morning. | 0:06:53 | 0:06:55 | |
What kind of clothes should I pack for him? What make-up? How tall is he? | 0:06:55 | 0:06:59 | |
Please tell me, Friedrich. | 0:06:59 | 0:07:01 | |
Does anybody know where he's running off to? | 0:07:01 | 0:07:04 | |
-Perhaps he has a woman. -Or a man. | 0:07:04 | 0:07:07 | |
TANGO MUSIC | 0:07:07 | 0:07:09 | |
We cross the border into Czechoslovakia, a few hours into our journey. | 0:07:42 | 0:07:47 | |
Herr Doctor's already filmed some of the exteriors there. | 0:07:47 | 0:07:50 | |
-He has? -You didn't know? | 0:07:50 | 0:07:52 | |
No. | 0:07:52 | 0:07:54 | |
Strange. Well, you can assume we'll be filming all the Hutter scenes there. | 0:07:54 | 0:07:58 | |
The scenes between him and the vampire? | 0:07:58 | 0:08:00 | |
Dracula lived in Transylvania. | 0:08:00 | 0:08:02 | |
Strictly speaking, this is not Dracula. | 0:08:02 | 0:08:04 | |
The author's widow wouldn't sell us the rights to the novel. | 0:08:04 | 0:08:07 | |
So, who's playing Count Dracula? I mean Orlock. | 0:08:07 | 0:08:11 | |
His name's Schreck. | 0:08:11 | 0:08:13 | |
Max Schreck. | 0:08:13 | 0:08:15 | |
He was in the Reinhart company when Murnau was directing. | 0:08:19 | 0:08:22 | |
Schreck? You sure you have the name right? | 0:08:22 | 0:08:24 | |
-He's a character actor. -Who told you he was playing the vampire? | 0:08:24 | 0:08:29 | |
-Herr Doctor told me. -I never heard of any Max Schreck in that company. | 0:08:29 | 0:08:33 | |
Herr Doctor told me he was with Stanislasky in Moscow. | 0:08:33 | 0:08:36 | |
Oh. One of the Russian school. | 0:08:36 | 0:08:38 | |
As part of his preparation, he submerges his own personality | 0:08:38 | 0:08:41 | |
into that of the character he plays. | 0:08:41 | 0:08:44 | |
That is why he is not travelling with us. | 0:08:44 | 0:08:46 | |
Herr Doctor told me he went to Czechoslovakia weeks ago | 0:08:46 | 0:08:50 | |
to absorb the flavour of the place, I suppose. | 0:08:50 | 0:08:53 | |
Herr Doctor also told me that when we get there and start filming, | 0:08:53 | 0:08:56 | |
Max Schreck will only appear to us in full make-up | 0:08:56 | 0:09:00 | |
and costume as the vampire. | 0:09:00 | 0:09:04 | |
And furthermore, we will only film him at night. | 0:09:04 | 0:09:09 | |
And why wasn't I told about it? I'm the producer. | 0:09:10 | 0:09:13 | |
Well, he told me. | 0:09:13 | 0:09:16 | |
Tell me you're not too pretty to work for me. | 0:09:31 | 0:09:33 | |
-Yes, sir. -I love the cinema. | 0:09:33 | 0:09:36 | |
Friedrich, I just realised this morning | 0:09:36 | 0:09:39 | |
our financiers, they don't know what picture you are making. | 0:09:39 | 0:09:43 | |
The crew don't know what picture you're making, | 0:09:43 | 0:09:45 | |
the cast don't know what picture you're making. | 0:09:45 | 0:09:48 | |
And now, I don't know what picture you're making. Are you happy? | 0:09:48 | 0:09:52 | |
-Albin...? -I know, tell them nothing. | 0:09:52 | 0:09:55 | |
Gentlemen, I'm Albin Grau, producer and art director of this picture. | 0:09:58 | 0:10:03 | |
Is is true Murnau is filming Stoker's Dracula? | 0:10:03 | 0:10:06 | |
Friedrich Wilhelm Murnau is Germany's greatest filmmaker. | 0:10:06 | 0:10:10 | |
In a class with such masters as Griffiths and Eisenstein. | 0:10:10 | 0:10:14 | |
At present, he is supervising every detail | 0:10:14 | 0:10:18 | |
of this unique on-location expedition. | 0:10:18 | 0:10:20 | |
The major part, who's going to play? | 0:10:20 | 0:10:22 | |
-Thank you, gentlemen. -Will you be filming in Germany? | 0:10:22 | 0:10:26 | |
Halt! Halt! | 0:10:48 | 0:10:50 | |
Our battle, our struggle | 0:11:07 | 0:11:10 | |
is to create art. | 0:11:10 | 0:11:12 | |
Our weapon is the moving picture. | 0:11:12 | 0:11:14 | |
Because we have the moving picture, | 0:11:16 | 0:11:18 | |
our paintings will grow and recede, | 0:11:18 | 0:11:21 | |
our poetry will be shadows that lengthen | 0:11:21 | 0:11:25 | |
and conceal. | 0:11:25 | 0:11:27 | |
Our light will play across living faces | 0:11:27 | 0:11:30 | |
that laugh and agonise. | 0:11:30 | 0:11:32 | |
And our music will linger and finally overwhelm | 0:11:32 | 0:11:36 | |
because it will have a context as certain as the grave. | 0:11:36 | 0:11:41 | |
We are scientists engaged in the creation of memories. | 0:11:45 | 0:11:49 | |
But our memory will neither blur nor fade. | 0:11:51 | 0:11:55 | |
What is this? | 0:12:07 | 0:12:09 | |
It looks like blood. | 0:12:10 | 0:12:13 | |
CAR HORN | 0:12:37 | 0:12:39 | |
Good evening. | 0:12:43 | 0:12:45 | |
Herr Doctor, | 0:12:47 | 0:12:49 | |
-we've been expecting you. -Will you see to our baggage? | 0:12:49 | 0:12:52 | |
The wagon train has arrived. | 0:12:52 | 0:12:54 | |
And here's the late mule. | 0:12:54 | 0:12:56 | |
Well, what a terrible journey that was. | 0:12:56 | 0:12:58 | |
How long have you been here? | 0:12:58 | 0:13:01 | |
-Not long. -Don't tell me we have a busy schedule tomorrow. | 0:13:01 | 0:13:04 | |
Gustav, no exterior shots at the end, some shots in here. | 0:13:04 | 0:13:07 | |
Arrival of Hutter's carriage. Welcome. | 0:13:07 | 0:13:09 | |
Friedrich, I'd like to plan for these night scenes. When are they to be filmed? | 0:13:11 | 0:13:16 | |
They will be filmed soon. | 0:13:16 | 0:13:19 | |
I won't require much planning. | 0:13:19 | 0:13:21 | |
But I need extra help to set up the lights. Can you give me some notice so I can prepare? | 0:13:21 | 0:13:26 | |
Herr Doctor, where are the extras? | 0:13:26 | 0:13:28 | |
You are looking at them. | 0:13:28 | 0:13:30 | |
-These people cannot act. -They don't need to act. | 0:13:33 | 0:13:36 | |
They need to be. | 0:13:36 | 0:13:38 | |
Wolf? | 0:13:44 | 0:13:46 | |
Herr Muller? | 0:13:51 | 0:13:53 | |
HE PANTS | 0:13:57 | 0:13:59 | |
Sorry, Wolfgang. | 0:14:00 | 0:14:02 | |
CAR ENGINE | 0:14:48 | 0:14:50 | |
GASPS AND GRUNTS | 0:15:44 | 0:15:46 | |
All right, Hutter, it's been a fitful night, | 0:15:48 | 0:15:51 | |
but you wake refreshed, eager to continue your journey | 0:15:51 | 0:15:54 | |
to the castle of the nobleman who may very well make your fortune. | 0:15:54 | 0:15:59 | |
Wait, Gustav. What is that beside you? Yes. | 0:16:03 | 0:16:06 | |
Pick it up. | 0:16:06 | 0:16:08 | |
It's a book about vampires. | 0:16:08 | 0:16:12 | |
Ah! Yes, now you remember. | 0:16:14 | 0:16:17 | |
It was put there last night by the superstitious peasants, | 0:16:17 | 0:16:21 | |
the ones who warned you not to enter Orlock's castle. | 0:16:21 | 0:16:25 | |
The ones who warned you not even to dare to speak his name. | 0:16:25 | 0:16:30 | |
Nospheratu. | 0:16:30 | 0:16:32 | |
The unclean, the undead. | 0:16:33 | 0:16:36 | |
Lest you invoke the creature itself. | 0:16:36 | 0:16:39 | |
Very good, Gustav. | 0:16:40 | 0:16:43 | |
-Herr Doctor... -Albin? | 0:16:43 | 0:16:45 | |
-I am sorry, Doctor, but... -Albin! | 0:16:45 | 0:16:47 | |
-Yeah, Friedrich? -End. | 0:16:47 | 0:16:49 | |
Albin, a native has wandered into my frame! | 0:16:49 | 0:16:53 | |
Come. Come. | 0:16:53 | 0:16:55 | |
Wolf! Wolf! | 0:17:00 | 0:17:03 | |
What is the matter with everyone? | 0:17:03 | 0:17:06 | |
She will not let us go on filming unless we replace the crosses. | 0:17:06 | 0:17:10 | |
Am I really being bothered with this? | 0:17:10 | 0:17:12 | |
Herr Doctor, I warned you. | 0:17:12 | 0:17:14 | |
You should be more concerned about these things. | 0:17:14 | 0:17:18 | |
The crosses are not for decoration. | 0:17:18 | 0:17:20 | |
We will put them back. They just overwhelm our composition. | 0:17:22 | 0:17:26 | |
Albin, the camera. | 0:17:30 | 0:17:32 | |
We must go. Henrick, what's this scene number? | 0:17:32 | 0:17:36 | |
-Um, 23. -Quickly. | 0:17:36 | 0:17:38 | |
Yes. Albin? That's fine. He'll take care of it. | 0:17:40 | 0:17:43 | |
Go in, Henrick. On either side, you open the door when I give you the cue. | 0:17:43 | 0:17:46 | |
Ready? Are we ready? | 0:17:46 | 0:17:49 | |
And roll camera. | 0:17:50 | 0:17:52 | |
Iris in. | 0:17:52 | 0:17:55 | |
And... | 0:17:55 | 0:17:57 | |
begin. Gustav, you walk in very slowly. | 0:17:57 | 0:18:01 | |
Very slowly. Yes. | 0:18:02 | 0:18:05 | |
Feel your bag. Make sure you have your contracts. | 0:18:05 | 0:18:07 | |
You're afraid. | 0:18:09 | 0:18:12 | |
Who was the person who brought you? | 0:18:12 | 0:18:15 | |
You must go into the castle. | 0:18:16 | 0:18:18 | |
The castle calls you, the gates suddenly open. | 0:18:18 | 0:18:22 | |
You must go in. | 0:18:25 | 0:18:27 | |
That's excellent, Gustav. | 0:18:27 | 0:18:29 | |
Go forward. | 0:18:29 | 0:18:31 | |
Go forward. | 0:18:32 | 0:18:35 | |
And...end! | 0:18:37 | 0:18:39 | |
-Wolf? -Yeah, it's OK. | 0:18:39 | 0:18:41 | |
I'm in charge of that construction. | 0:18:41 | 0:18:44 | |
Who built on this? We have an agreement. | 0:18:44 | 0:18:46 | |
Albin, Albin, I sent some local workers ahead this morning. | 0:18:46 | 0:18:50 | |
I'm sorry, I didn't explain to you. There's a generator in the courtyard. | 0:18:50 | 0:18:53 | |
Just past the tree on the right. Get to work. Henrick, take this camera. | 0:18:53 | 0:18:58 | |
Stay here for a moment. | 0:18:58 | 0:19:01 | |
Wolf, your camera's here. Set it up | 0:19:01 | 0:19:04 | |
as quickly as possible, yes? | 0:19:04 | 0:19:06 | |
Roll camera. | 0:19:09 | 0:19:11 | |
Gustav, you move forward very slowly, | 0:19:19 | 0:19:22 | |
heading always for the tunnel. | 0:19:22 | 0:19:24 | |
This is perfect. Just a dark hole | 0:19:26 | 0:19:30 | |
that has been unexplored, untouched | 0:19:30 | 0:19:34 | |
for a long, long time. | 0:19:34 | 0:19:36 | |
And then one night... | 0:19:38 | 0:19:42 | |
something crawls out. | 0:19:44 | 0:19:47 | |
Hutter... | 0:19:51 | 0:19:53 | |
meet Count Orlock. | 0:19:55 | 0:19:57 | |
RUMBLING | 0:19:57 | 0:19:59 | |
HEARTBEAT | 0:20:07 | 0:20:09 | |
Gustav, you must follow him into the tunnel. | 0:20:43 | 0:20:46 | |
Yes, going in. | 0:20:53 | 0:20:56 | |
Make your way down. | 0:20:57 | 0:20:59 | |
And... | 0:21:01 | 0:21:03 | |
end! | 0:21:03 | 0:21:05 | |
Wolf? | 0:21:14 | 0:21:15 | |
-HE PANTS -My god. | 0:21:17 | 0:21:20 | |
Wolf! | 0:21:20 | 0:21:23 | |
Got it. | 0:21:23 | 0:21:24 | |
Remarkable. | 0:21:24 | 0:21:27 | |
The overture to our symphony of horrors. | 0:21:27 | 0:21:31 | |
Genius. Hutter, genius. | 0:21:31 | 0:21:33 | |
He is not from the Reinhart company. | 0:21:36 | 0:21:38 | |
Hm. Congratulations, Gustav. | 0:21:42 | 0:21:44 | |
Yes. Yes, I was good, wasn't I? | 0:21:47 | 0:21:51 | |
I saw his face. His face. | 0:21:51 | 0:21:54 | |
Where did you find him really? | 0:21:54 | 0:21:57 | |
In that hole. Gustav, | 0:21:57 | 0:22:01 | |
-this was your finest moment. -Good, Gustav. | 0:22:01 | 0:22:04 | |
Gentlemen, let's pack up. Shooting is completed for the night. | 0:22:04 | 0:22:08 | |
That's it? We came all the way for one scene? | 0:22:08 | 0:22:11 | |
I would have driven anywhere at any time for that look of Gustav's. | 0:22:11 | 0:22:14 | |
I'd like to congratulate Herr Schreck on his appearance. | 0:22:14 | 0:22:18 | |
For the remainder of the shoot, he will be Count Orlock | 0:22:18 | 0:22:21 | |
to himself and to all of us. | 0:22:21 | 0:22:23 | |
Just leave him alone. He will be completely authentic. | 0:22:23 | 0:22:26 | |
He is not interested in our questions or our prayers or our conversations. | 0:22:26 | 0:22:30 | |
He's chasing an altogether different ghost. | 0:22:30 | 0:22:33 | |
Friedrich, come quick. It's Wolf. | 0:22:33 | 0:22:36 | |
GROANS | 0:22:37 | 0:22:39 | |
Come on, Wolf. | 0:22:52 | 0:22:54 | |
-Is my room ready? -Yes. | 0:23:18 | 0:23:20 | |
Nospheratu. | 0:23:30 | 0:23:32 | |
Ah, this is too much. | 0:23:32 | 0:23:34 | |
Answer me, Herr Doctor, is this some stunt to evoke fear in us? | 0:23:34 | 0:23:38 | |
Henrick, stop being so theatrical. You'll wake the whole house. | 0:23:38 | 0:23:42 | |
Go on up, Wolf, and have a brandy. You'll feel better in the morning. | 0:23:42 | 0:23:45 | |
What's happened? | 0:23:47 | 0:23:49 | |
He's ill, obviously. Take him upstairs and then go outside | 0:23:49 | 0:23:52 | |
and help Herr Grau with the camera equipment. | 0:23:52 | 0:23:56 | |
Bring the camera straight to my room. | 0:23:56 | 0:23:59 | |
I'll prepare for tomorrow. | 0:23:59 | 0:24:02 | |
CHATTER | 0:24:09 | 0:24:11 | |
Albin, we need to clear the table. We'll need the ink well, | 0:24:16 | 0:24:19 | |
the quill and the contracts. | 0:24:19 | 0:24:22 | |
I'd like it darker and smokier. | 0:24:25 | 0:24:28 | |
And move that lamp to the far side. | 0:24:29 | 0:24:33 | |
And you, spread some dust on the corner. | 0:24:33 | 0:24:35 | |
GRUNTING AND HEAVY BREATHING | 0:24:35 | 0:24:38 | |
Ah! | 0:24:54 | 0:24:57 | |
There you are. | 0:24:57 | 0:24:59 | |
HE LAUGHS It's incredible, no? | 0:24:59 | 0:25:03 | |
I wish you could all see your faces. | 0:25:03 | 0:25:05 | |
Ladies and gentlemen, this is Max Schreck, | 0:25:05 | 0:25:07 | |
who will be portraying our vampire, Count Orlock. | 0:25:07 | 0:25:11 | |
As you no doubt have heard, Max's methods are somewhat | 0:25:11 | 0:25:14 | |
unconventional, | 0:25:14 | 0:25:16 | |
but I'm sure you will come to respect his artistry | 0:25:16 | 0:25:21 | |
in this matter. Now, | 0:25:21 | 0:25:23 | |
Yes...places, everybody. | 0:25:23 | 0:25:26 | |
Let me have the chair, please. Quickly. | 0:25:26 | 0:25:29 | |
Count Orlock, you will sit here at the head of the table. Please. | 0:25:29 | 0:25:33 | |
Very good. | 0:25:33 | 0:25:35 | |
In this scene, the Count is reading the papers you've brought him | 0:25:36 | 0:25:40 | |
and you are about to make a considerable amount of money. | 0:25:40 | 0:25:44 | |
No, no make-up! | 0:25:45 | 0:25:47 | |
Forgive me, Herr Doctor. | 0:25:48 | 0:25:50 | |
Albin, clear the set! | 0:25:50 | 0:25:53 | |
Count, you're reading your documents. | 0:26:00 | 0:26:02 | |
-That's it. -It isn't right. | 0:26:03 | 0:26:06 | |
Well, try acting it, for God's sake. | 0:26:06 | 0:26:09 | |
What should it say? | 0:26:09 | 0:26:11 | |
It's meant to be a contract. | 0:26:11 | 0:26:13 | |
A real estate contract. | 0:26:13 | 0:26:15 | |
I'd like some make-up. | 0:26:17 | 0:26:19 | |
Well, you don't get any. Right, are we ready to begin? | 0:26:19 | 0:26:23 | |
Elke, the phonograph? | 0:26:23 | 0:26:25 | |
SPEAKS GERMAN | 0:26:32 | 0:26:35 | |
Iris in. | 0:26:35 | 0:26:38 | |
And...concentrate. | 0:26:38 | 0:26:41 | |
Begin. | 0:26:42 | 0:26:44 | |
Right, Orlock, very good, you're reading your papers. | 0:26:44 | 0:26:47 | |
Read your papers very intensely. | 0:26:48 | 0:26:50 | |
After all, how often is it that you get correspondence from the living? | 0:26:50 | 0:26:55 | |
No, don't look up. Concentrate on your papers. | 0:26:55 | 0:26:57 | |
Not that you actually care about the details of the contract. | 0:26:58 | 0:27:02 | |
All you're interested in are all those juicy throats waiting for you | 0:27:02 | 0:27:07 | |
the moment you get to Germany. | 0:27:07 | 0:27:09 | |
Now, Hutter, even though it may repel you, creep in, | 0:27:11 | 0:27:15 | |
creep in. Let us see the expectation on your face. | 0:27:15 | 0:27:19 | |
You're about to make the biggest sale of your life. | 0:27:19 | 0:27:22 | |
Point out a few details of the contract. Yes. | 0:27:22 | 0:27:25 | |
Tell him that's particularly beneficial to you. | 0:27:25 | 0:27:29 | |
Reach into your bag. | 0:27:29 | 0:27:31 | |
This will seal the deal and something falls out. | 0:27:31 | 0:27:35 | |
Count, what is it? On your left on the table. | 0:27:35 | 0:27:38 | |
It's a locket. | 0:27:38 | 0:27:40 | |
This is Greta Schroeder. | 0:27:46 | 0:27:48 | |
-You don't know her. -You're meant to ask who it is. | 0:27:48 | 0:27:50 | |
Oh. Oh. | 0:27:50 | 0:27:52 | |
No. End. | 0:28:03 | 0:28:05 | |
-Jesus, Max. -Henrick, can you explain to him? | 0:28:06 | 0:28:10 | |
-His motivation. -All right, Count, | 0:28:10 | 0:28:14 | |
think about this. | 0:28:14 | 0:28:17 | |
What is it | 0:28:17 | 0:28:19 | |
that inspires the most longing in you? | 0:28:19 | 0:28:22 | |
That is most desirable | 0:28:22 | 0:28:25 | |
and yet most unattainable. | 0:28:25 | 0:28:28 | |
Delight of the sun. | 0:28:28 | 0:28:30 | |
That is the emotion. Use it. | 0:28:32 | 0:28:34 | |
Nospheratu, you read your papers. | 0:28:36 | 0:28:40 | |
Who is this woman? | 0:28:48 | 0:28:50 | |
Ellen, my wife. | 0:28:50 | 0:28:52 | |
She has a beautiful bosom. | 0:28:52 | 0:28:56 | |
-Oh, Jesus! -Gustav, snatch it back from him. | 0:28:56 | 0:28:59 | |
Yes, go on. And vampire, you signed the papers. | 0:28:59 | 0:29:03 | |
Take your quill, sign the papers. | 0:29:03 | 0:29:05 | |
Yes, go on. | 0:29:05 | 0:29:07 | |
I understand | 0:29:10 | 0:29:12 | |
we are going to be neighbours. | 0:29:12 | 0:29:16 | |
Very nice addition, Count. Yes. | 0:29:23 | 0:29:25 | |
And Hutter, how does that make you feel? | 0:29:25 | 0:29:27 | |
Yes, snatch back your papers. You're happy to be his neighbour? | 0:29:27 | 0:29:31 | |
And iris out. | 0:29:34 | 0:29:36 | |
End! Excellent. | 0:29:38 | 0:29:41 | |
Excellent. | 0:29:41 | 0:29:44 | |
Give the lip readers a thrill. | 0:29:44 | 0:29:46 | |
-Wolf, do you have it? -Yes, I got it. | 0:29:48 | 0:29:51 | |
-Wolf, have you got it? -Yes, I said I got it! | 0:29:51 | 0:29:54 | |
Excellent. Thank you. | 0:29:54 | 0:29:56 | |
Do you think Schreck is all right? We've left him up at that castle. | 0:30:07 | 0:30:10 | |
He's not in danger. | 0:30:10 | 0:30:13 | |
He's a fine actor, but all this preparation, | 0:30:13 | 0:30:16 | |
it's very strange. | 0:30:16 | 0:30:18 | |
Strange enough for him to go so deep inside his character | 0:30:18 | 0:30:21 | |
-that he forgets he is Max Schreck altogether? -I forgot. | 0:30:21 | 0:30:25 | |
Schreck's peculiarity is like lovemaking games. | 0:30:25 | 0:30:28 | |
You believe them when they happen | 0:30:28 | 0:30:30 | |
but they always stop short of anybody being seriously hurt. | 0:30:30 | 0:30:34 | |
HEAVY BREATHING | 0:30:43 | 0:30:45 | |
HE GASPS | 0:30:49 | 0:30:51 | |
The walls decay. | 0:30:57 | 0:30:59 | |
The walls decay and fall. | 0:30:59 | 0:31:03 | |
The vapours reap their burden | 0:31:05 | 0:31:08 | |
to the ground. | 0:31:08 | 0:31:10 | |
Dinner? | 0:31:11 | 0:31:13 | |
You set a very mean table. | 0:31:15 | 0:31:18 | |
No rats? | 0:31:19 | 0:31:21 | |
There was a time | 0:31:27 | 0:31:30 | |
when I fed from golden chalices. | 0:31:30 | 0:31:35 | |
But now... | 0:31:36 | 0:31:38 | |
Don't look at me that way! | 0:31:38 | 0:31:40 | |
In my old age, | 0:31:42 | 0:31:45 | |
I feed the way old men pee. | 0:31:45 | 0:31:50 | |
Sometimes all at once, | 0:31:51 | 0:31:54 | |
sometimes drop by drop. | 0:31:56 | 0:32:00 | |
I told you, | 0:32:02 | 0:32:05 | |
I feed erratically. | 0:32:05 | 0:32:08 | |
Often. Enormously. | 0:32:11 | 0:32:15 | |
Yes, Max, you may give the locket to Elke. | 0:32:19 | 0:32:23 | |
Now, Gustav, this is a scene from the previous night. | 0:32:23 | 0:32:26 | |
You have met your host, | 0:32:26 | 0:32:28 | |
he has brought you home to his castle, he is giving you dinner. | 0:32:28 | 0:32:32 | |
You can start eating. Very well. Excellent. | 0:32:32 | 0:32:35 | |
And Orlock, you're merely reading your papers and totally ignoring your guest. | 0:32:35 | 0:32:40 | |
Good. Wolf, roll camera. | 0:32:41 | 0:32:45 | |
And...begin. | 0:32:45 | 0:32:49 | |
Yes. | 0:32:51 | 0:32:53 | |
A thought occurs to you. | 0:32:54 | 0:32:56 | |
Look at your host. Very good, Gustav. | 0:32:56 | 0:32:59 | |
Do you think he might've been the stranger | 0:33:00 | 0:33:04 | |
who drove you to the castle? | 0:33:04 | 0:33:06 | |
You watch. Is he even human? | 0:33:07 | 0:33:10 | |
How does it feel to be eating next to him... | 0:33:10 | 0:33:15 | |
knowing that you're spending the night with him | 0:33:17 | 0:33:20 | |
in the castle alone? | 0:33:20 | 0:33:22 | |
You watch him. Orlock, drop your paper. | 0:33:22 | 0:33:26 | |
You look at Gustav. | 0:33:26 | 0:33:28 | |
Gustav, keep watching him. | 0:33:29 | 0:33:32 | |
Take your right hand and reach for the bread knife. | 0:33:32 | 0:33:34 | |
Watch him...breathing. | 0:33:34 | 0:33:38 | |
What will happen? | 0:33:40 | 0:33:42 | |
Reach out, take the loaf of bread | 0:33:42 | 0:33:45 | |
and cut yourself a slice. | 0:33:45 | 0:33:48 | |
Yes. Slicing. Slicing. | 0:33:51 | 0:33:53 | |
You're slicing | 0:33:53 | 0:33:55 | |
towards you. Watching him. | 0:33:55 | 0:33:59 | |
Slicing. Slicing. | 0:33:59 | 0:34:01 | |
Watch out. Slicing. | 0:34:01 | 0:34:04 | |
Watch your... FINGER! | 0:34:04 | 0:34:06 | |
Look, Nospheratu, blood! | 0:34:08 | 0:34:10 | |
Blood! | 0:34:10 | 0:34:12 | |
Stop it! I really did cut myself! | 0:34:14 | 0:34:17 | |
-Check the generator. -You did that intentionally. | 0:34:17 | 0:34:19 | |
That knife was sharp like a razor. | 0:34:19 | 0:34:21 | |
Gustav, remain in character! | 0:34:21 | 0:34:24 | |
Jesus Christus, get him off me! | 0:34:25 | 0:34:28 | |
WOMAN YELLS | 0:34:28 | 0:34:30 | |
STRAINING Schreck! | 0:34:30 | 0:34:33 | |
What is the matter with you? | 0:34:35 | 0:34:37 | |
He's a Stanislasky lunatic! | 0:34:37 | 0:34:40 | |
I have contracted you in secrecy and at great expense. | 0:34:40 | 0:34:43 | |
You will not damage this production. | 0:34:43 | 0:34:45 | |
Herr Muller, when will you have your equipment functioning properly? | 0:34:45 | 0:34:49 | |
I am tired of your lack of enthusiasm! | 0:34:49 | 0:34:53 | |
I saw you. | 0:34:53 | 0:34:55 | |
Gustav, bring the girls to the car. | 0:34:55 | 0:34:58 | |
-I am not happy. -Move. | 0:34:58 | 0:35:00 | |
Herr Doctor, the man is barely breathing. | 0:35:00 | 0:35:03 | |
I told you to fix the generator! | 0:35:04 | 0:35:06 | |
No, leave the equipment and take the camera. | 0:35:06 | 0:35:09 | |
-We are done here for today. -Albin! | 0:35:09 | 0:35:11 | |
Everybody to the automobile! | 0:35:11 | 0:35:14 | |
Herr Doctor, we're leaving. Schreck? | 0:35:14 | 0:35:16 | |
No. No, he stays. | 0:35:16 | 0:35:20 | |
Albin? | 0:36:52 | 0:36:54 | |
HE 'SIGHS | 0:37:02 | 0:37:04 | |
-Yes, Friedrich? -Do you think Wolf's assistant can finish this film? | 0:37:06 | 0:37:09 | |
Paul? No, he has not enough experience. | 0:37:09 | 0:37:13 | |
What about you? | 0:37:14 | 0:37:16 | |
You are the closest we have to a photographer. | 0:37:16 | 0:37:19 | |
What are you talking about? The film ends here. | 0:37:19 | 0:37:23 | |
No, Henrick, this film will go on. | 0:37:23 | 0:37:25 | |
This film cannot survive even the briefest interruption. | 0:37:25 | 0:37:29 | |
The financiers would take control. They hate your script. | 0:37:29 | 0:37:33 | |
It may be advantageous because it makes the crew very edgy and I like that. | 0:37:34 | 0:37:38 | |
Do you hear what you are saying? You're out of your fucking mind! You're a fanatic! | 0:37:38 | 0:37:42 | |
Please don't behave like children, Henrick! | 0:37:42 | 0:37:45 | |
I'll get a new photographer and fly him back here within the week. | 0:37:47 | 0:37:51 | |
Henrick, when you wrote this scenario, | 0:37:51 | 0:37:54 | |
you had demons of your own to work out, did you not? | 0:37:54 | 0:37:57 | |
Now I have mine. | 0:37:57 | 0:37:59 | |
Albin, you're the producer. | 0:38:01 | 0:38:04 | |
Keep this company together. | 0:38:04 | 0:38:06 | |
HEAVY BREATHING | 0:38:19 | 0:38:21 | |
How dare you! How dare you destroy my photographer! | 0:38:26 | 0:38:30 | |
You idiot! | 0:38:30 | 0:38:32 | |
Did I kill some of your people, Murnau? | 0:38:32 | 0:38:36 | |
I can't remember. | 0:38:36 | 0:38:39 | |
We have an arrangement. | 0:38:39 | 0:38:41 | |
Don't pretend you mourn, Herr Doctor. I know you. | 0:38:41 | 0:38:45 | |
Why him, you monster? | 0:38:49 | 0:38:52 | |
Why not the script girl? | 0:38:52 | 0:38:55 | |
HE CHUCKLES | 0:38:55 | 0:38:57 | |
The script girl. | 0:38:57 | 0:39:00 | |
I'll eat her later. | 0:39:00 | 0:39:02 | |
No, you will not. Our bargain. You agreed not to hurt my people! | 0:39:02 | 0:39:07 | |
Listen to me. This requires that I go back to Berlin | 0:39:09 | 0:39:14 | |
to find another photographer and then to fly him back here. And you, | 0:39:14 | 0:39:18 | |
you will control yourself while I'm away. | 0:39:18 | 0:39:21 | |
I don't think we need the writer any longer. | 0:39:23 | 0:39:27 | |
I don't expect you to understand this | 0:39:31 | 0:39:33 | |
and I am loathe to admit it myself, | 0:39:33 | 0:39:37 | |
but the writer is necessary. | 0:39:37 | 0:39:40 | |
All my crew is necessary. | 0:39:40 | 0:39:42 | |
Do you understand? | 0:39:42 | 0:39:45 | |
I don't think the ship is necessary. | 0:39:47 | 0:39:50 | |
-What? -The ship. | 0:39:53 | 0:39:55 | |
The ship? My god, what are you talking about? | 0:39:58 | 0:40:03 | |
I have a dozen scenes on the ship. | 0:40:04 | 0:40:07 | |
But I won't sail. | 0:40:07 | 0:40:10 | |
Then I will replace you with a double! | 0:40:12 | 0:40:14 | |
I will do every scene of yours with a double! | 0:40:14 | 0:40:17 | |
You, you will have no close-ups. None whatsoever. | 0:40:17 | 0:40:20 | |
How dare you speak to me that way! | 0:40:20 | 0:40:23 | |
I have shots! I am the director! | 0:40:23 | 0:40:26 | |
HE HISSES | 0:40:26 | 0:40:28 | |
Why didn't you mention this before? | 0:40:28 | 0:40:32 | |
You want to eat the writer? | 0:40:36 | 0:40:38 | |
Be my guest. That will leave you to explain | 0:40:38 | 0:40:41 | |
how else your character is supposed to get to Bremen! | 0:40:41 | 0:40:44 | |
Yes. I will... | 0:40:49 | 0:40:53 | |
shoot the scenes at sea around you, | 0:40:53 | 0:40:55 | |
but you will still have to sail to Heligoland for your death scene. | 0:40:55 | 0:41:00 | |
Or else what? | 0:41:02 | 0:41:04 | |
Or else? | 0:41:04 | 0:41:06 | |
Or else no Greta. | 0:41:07 | 0:41:09 | |
We shoot her scenes there. | 0:41:09 | 0:41:12 | |
I'll go to Heligoland. | 0:41:20 | 0:41:23 | |
But I won't sail. | 0:41:23 | 0:41:25 | |
Heligoland is an island. | 0:41:25 | 0:41:28 | |
-So? -So, it can only be reached by sea. | 0:41:28 | 0:41:32 | |
Or air. | 0:41:33 | 0:41:35 | |
And if I agree to fly you in, | 0:41:45 | 0:41:48 | |
you will leave my people alone? | 0:41:48 | 0:41:52 | |
Or else what? | 0:41:52 | 0:41:54 | |
Don't think I can't harm you. | 0:41:54 | 0:41:56 | |
Tell me how you would harm me... | 0:41:56 | 0:41:59 | |
when even I don't know how I could harm myself. | 0:42:00 | 0:42:04 | |
Indignant work devils | 0:42:36 | 0:42:40 | |
beat me down | 0:42:40 | 0:42:42 | |
and marred and wasted me. | 0:42:42 | 0:42:45 | |
And though they could not end me, | 0:42:46 | 0:42:51 | |
left me maimed to dwell in presence of immortal youth. | 0:42:51 | 0:42:56 | |
Immortal age beside immortal youth. | 0:42:59 | 0:43:03 | |
And all I was in ashes. | 0:43:06 | 0:43:08 | |
Albin, what is the most wondrous thing you have ever seen? | 0:43:51 | 0:43:57 | |
Er, I saw... | 0:43:57 | 0:43:59 | |
ectoplasm once. | 0:43:59 | 0:44:01 | |
Ectoplasm? What is ectoplasm? | 0:44:01 | 0:44:03 | |
It's the mystical substance of ghosts. | 0:44:03 | 0:44:07 | |
I saw a spiritualist pull it out of his mouth in Italy. | 0:44:07 | 0:44:11 | |
What did it look like? | 0:44:11 | 0:44:13 | |
Seaweed. | 0:44:13 | 0:44:15 | |
Is that what we look like when we die? | 0:44:15 | 0:44:18 | |
I hope not. | 0:44:18 | 0:44:21 | |
What was for you the most wondrous thing you ever saw? | 0:44:21 | 0:44:26 | |
I once saw Greta Shroeder naked. | 0:44:28 | 0:44:30 | |
-No! -Yes. | 0:44:30 | 0:44:32 | |
That beats ectoplasm. | 0:44:32 | 0:44:34 | |
Jesus, Max! | 0:44:34 | 0:44:36 | |
You scared me to death. | 0:44:36 | 0:44:38 | |
How long have you been listening? | 0:44:38 | 0:44:40 | |
We've been looking all over the place for your coffin. | 0:44:40 | 0:44:44 | |
Maybe it isn't his resting place. | 0:44:44 | 0:44:46 | |
Didn't we have something to say to him? | 0:44:49 | 0:44:52 | |
Max? The great Friedrich Wilhelm Murnau | 0:44:54 | 0:44:58 | |
went to Berlin to find a new photographer. | 0:44:58 | 0:45:01 | |
Wolf is probably dead. | 0:45:01 | 0:45:03 | |
So, you can take your funny ears off. | 0:45:03 | 0:45:05 | |
Alb, please, the man is an artist. | 0:45:05 | 0:45:08 | |
Ask him some vampire questions. | 0:45:08 | 0:45:10 | |
When did you become a vampire? | 0:45:10 | 0:45:13 | |
I can't recall. | 0:45:13 | 0:45:16 | |
Where were you born? No, WERE you born? | 0:45:16 | 0:45:18 | |
I can't remember. | 0:45:18 | 0:45:22 | |
It's not funny any more. | 0:45:22 | 0:45:24 | |
Come on, Count Dracula wouldn't say he couldn't remember. | 0:45:24 | 0:45:28 | |
I read that book. | 0:45:28 | 0:45:30 | |
Murnau gave it to me. | 0:45:30 | 0:45:32 | |
This is a golden opportunity. Speaking as a vampire, | 0:45:35 | 0:45:38 | |
what do you make of the book's technical merits? | 0:45:38 | 0:45:41 | |
It made me sad. | 0:45:41 | 0:45:44 | |
Why sad? | 0:45:44 | 0:45:46 | |
Because Dracula had no servants. | 0:45:46 | 0:45:49 | |
I think you missed the point of the book, Count Orlock. | 0:45:49 | 0:45:54 | |
Dracula hasn't had servants in 400 years | 0:45:54 | 0:45:57 | |
and then a man comes to his ancestral home | 0:45:57 | 0:46:00 | |
and he must convince him that he, | 0:46:00 | 0:46:04 | |
that he's like the man. | 0:46:04 | 0:46:06 | |
He has to feed him | 0:46:06 | 0:46:08 | |
when he himself hasn't eaten food in centuries. | 0:46:08 | 0:46:12 | |
Can he even remember how to buy bread? | 0:46:12 | 0:46:17 | |
How to select cheese and wine? | 0:46:17 | 0:46:20 | |
And then he remembers the rest of it. | 0:46:20 | 0:46:24 | |
How to prepare a meal, how to make a bet. | 0:46:24 | 0:46:28 | |
He remembers his past glory. | 0:46:28 | 0:46:32 | |
His armies, his retainers, | 0:46:32 | 0:46:35 | |
and what he is reduced to. | 0:46:35 | 0:46:38 | |
The loneliest part of the book comes | 0:46:40 | 0:46:45 | |
when the man accidentally... | 0:46:45 | 0:46:49 | |
sees Dracula setting his table. | 0:46:49 | 0:46:53 | |
But if you're so lonely, why don't you make more vampires? | 0:46:58 | 0:47:03 | |
I can't. I'm too old. | 0:47:05 | 0:47:07 | |
Although, I seem to remember | 0:47:10 | 0:47:13 | |
I was never able to. | 0:47:13 | 0:47:16 | |
-Then how did YOU become a vampire? -It was woman. | 0:47:16 | 0:47:20 | |
Now we're getting somewhere. | 0:47:20 | 0:47:24 | |
Schreck, the German theatre | 0:47:35 | 0:47:38 | |
needs you. | 0:47:38 | 0:47:40 | |
We got together in the night | 0:47:42 | 0:47:44 | |
and then she left me. | 0:47:44 | 0:47:46 | |
At first, I had a painting of her in wood, | 0:47:46 | 0:47:50 | |
then I had a relief of her in marble | 0:47:50 | 0:47:52 | |
and then I had a picture of her | 0:47:52 | 0:47:56 | |
in my mind. | 0:47:56 | 0:47:59 | |
But now, I no longer even have that. | 0:47:59 | 0:48:01 | |
That's what they think. | 0:48:06 | 0:48:08 | |
The schnapps they make in these parts... | 0:48:14 | 0:48:17 | |
I haven't tasted it in... | 0:48:20 | 0:48:24 | |
Take it easy there, old boy. | 0:48:26 | 0:48:28 | |
Henrick, what an actor. | 0:48:41 | 0:48:45 | |
Dedication. | 0:48:48 | 0:48:50 | |
You, Schreck. | 0:48:57 | 0:48:59 | |
GROANING | 0:49:06 | 0:49:09 | |
Herr Doctor! | 0:49:43 | 0:49:45 | |
Herr Doctor! | 0:49:47 | 0:49:49 | |
You wanted reality. Here it is. | 0:49:49 | 0:49:51 | |
I'm not a doctor, but I have dabbled in pharmaceuticals. | 0:49:51 | 0:49:55 | |
You're the new cameraman? We're trying to shoot it now. | 0:49:55 | 0:49:58 | |
-Ah, good. -Art can never move as fast as life, huh? | 0:49:58 | 0:50:00 | |
Ah, sure it can. | 0:50:00 | 0:50:02 | |
So, what's the lens? | 0:50:02 | 0:50:05 | |
It's 35mm, sir. | 0:50:05 | 0:50:07 | |
Not my ideal weapon of choice, but it'll do. Are you loaded? | 0:50:07 | 0:50:10 | |
-Yes, sir. -Good, so am I. | 0:50:10 | 0:50:12 | |
Move the camera 10cm to the right and I'll contrive a two-shot, but wait for my signal. | 0:50:12 | 0:50:17 | |
SPEAKS FOREIGN LANGUAGE | 0:50:22 | 0:50:25 | |
-Did you get that shot? -Yes, sir. | 0:50:25 | 0:50:27 | |
-And the gate is clean? -The gate's clean, sir. | 0:50:27 | 0:50:29 | |
I hadn't time to properly prepare the shot. What I should've done | 0:50:32 | 0:50:36 | |
was film the thing in slow motion. | 0:50:36 | 0:50:38 | |
It would've been incredibly moving. | 0:50:38 | 0:50:40 | |
What's slow motion? | 0:50:40 | 0:50:42 | |
I run the film through the camera too fast, then when it's projected at normal speed, | 0:50:42 | 0:50:47 | |
things appear to be unnaturally slow. | 0:50:47 | 0:50:49 | |
Gives everything a kind of resonance. | 0:50:49 | 0:50:52 | |
It's a shame you won't have a chance to demonstrate your more esoteric skills on my production. | 0:50:52 | 0:50:59 | |
I'm Albin Grau, the producer. | 0:51:00 | 0:51:03 | |
And at dawn, Hutter tried to fathom the horrors of his nights. | 0:51:03 | 0:51:08 | |
Excellent. Fritz, roll camera. | 0:51:08 | 0:51:12 | |
Iris in. | 0:51:18 | 0:51:20 | |
Begin. | 0:51:23 | 0:51:25 | |
And end. | 0:51:49 | 0:51:51 | |
Excellent, Gustav. | 0:51:51 | 0:51:53 | |
Extraordinary discipline in the face of ridicule. Fritz? | 0:51:53 | 0:51:56 | |
Yes, well, that's his performance style. | 0:51:58 | 0:52:00 | |
I'd like to move in for another angle on the crypt, please. | 0:52:00 | 0:52:04 | |
Mark the shutter with some chalk. | 0:52:04 | 0:52:07 | |
Well, I am exhausted now and I'm hungry as well. | 0:52:07 | 0:52:10 | |
You will get a nice hot meal after we're done with the ship. | 0:52:10 | 0:52:14 | |
And end. | 0:52:43 | 0:52:46 | |
Have you ever considered acting? | 0:53:45 | 0:53:48 | |
-Really. You have a very interesting face. -Are you a producer? | 0:53:48 | 0:53:53 | |
Why can't Herr Doctor film in a studio like everybody else? | 0:53:53 | 0:53:56 | |
Henrick, would you take my dog for me? Choo-Choo. | 0:53:56 | 0:54:01 | |
Oh, and thank you. Fou-Fou. Lovely. | 0:54:01 | 0:54:04 | |
Wismar. Is there anything here that even vaguely resembles a cabaret? | 0:54:04 | 0:54:10 | |
I'm suffering for my art, Albin, believe me. | 0:54:10 | 0:54:13 | |
Melodrama. I mean, what's going on here anyway? | 0:54:13 | 0:54:16 | |
Friedrich tells me to lock my door at night | 0:54:16 | 0:54:19 | |
and Gustav says everybody's vanishing. | 0:54:19 | 0:54:22 | |
Oh, and you can imagine what they're saying in Berlin. | 0:54:22 | 0:54:26 | |
Hello, Greta. | 0:54:26 | 0:54:27 | |
Hello. | 0:54:27 | 0:54:29 | |
You look...vaguely familiar. Where did we meet? | 0:54:31 | 0:54:34 | |
Morocco. | 0:54:34 | 0:54:37 | |
Ah, yes, of course, you brought me treats. | 0:54:37 | 0:54:41 | |
-What was your name again? -It's... | 0:54:42 | 0:54:45 | |
Er... Fritzy! | 0:54:47 | 0:54:49 | |
-Ia, ia, Fritzy. -Fritzy. | 0:54:49 | 0:54:52 | |
Fritzy. Would you care to join us for a drink? | 0:54:52 | 0:54:56 | |
No, no, no, we have to pre-light the set. | 0:54:56 | 0:55:00 | |
What? What set? | 0:55:00 | 0:55:02 | |
What the hell are you talking about? | 0:55:02 | 0:55:04 | |
We need you to see the sets with us tonight. | 0:55:04 | 0:55:07 | |
Well, give me back my dogs then. | 0:55:07 | 0:55:10 | |
-Thank you. -You're welcome. | 0:55:12 | 0:55:14 | |
Left all alone, as usual. | 0:55:14 | 0:55:17 | |
Come here, Fou-Fou. | 0:55:17 | 0:55:19 | |
She's here, isn't she? | 0:55:35 | 0:55:37 | |
The glorious child. | 0:55:37 | 0:55:40 | |
-No. -I want to see her now. | 0:55:44 | 0:55:46 | |
-No! -I won't act for you again | 0:55:46 | 0:55:49 | |
until you bring her to me. | 0:55:49 | 0:55:51 | |
You are destroying everything. | 0:55:51 | 0:55:54 | |
My people have to trust me for you to get what you want. | 0:55:54 | 0:55:58 | |
You and I are not so different. | 0:55:58 | 0:56:02 | |
Greta is in your last scene. | 0:56:04 | 0:56:06 | |
That is when you can have her. | 0:56:06 | 0:56:09 | |
-After my death scene? -Yes. | 0:56:09 | 0:56:11 | |
Don't expect realism there, Murnau. | 0:56:11 | 0:56:14 | |
-What do you mean? -Don't cheat me. | 0:56:14 | 0:56:18 | |
You will stay away from her. | 0:56:18 | 0:56:21 | |
You will stay away from my crew! | 0:56:21 | 0:56:24 | |
I will finish my picture! | 0:56:24 | 0:56:26 | |
This is hardly your picture any longer. | 0:56:27 | 0:56:30 | |
LAUGHTER | 0:57:03 | 0:57:05 | |
-You're ready? -Yes, Henrick. | 0:57:07 | 0:57:10 | |
Oh, mind your head. | 0:57:26 | 0:57:28 | |
This is it. | 0:57:32 | 0:57:35 | |
-He's in here? -Yeah. | 0:57:35 | 0:57:37 | |
Are you sure? | 0:57:37 | 0:57:39 | |
Well, that answers that question. | 0:57:47 | 0:57:49 | |
How did you find this place? | 0:57:49 | 0:57:52 | |
I followed Murnau here. | 0:57:52 | 0:57:55 | |
I think you are in the wrong part of the building. | 0:57:55 | 0:57:58 | |
There's probably a sadistic brothel upstairs. | 0:57:58 | 0:58:01 | |
WOMAN SCREAMS | 0:58:19 | 0:58:21 | |
Aaaaarrrgh! | 0:58:27 | 0:58:29 | |
-What's wrong? -It's all right. | 0:58:33 | 0:58:36 | |
Everyone back to bed. | 0:58:36 | 0:58:38 | |
Greta! Greta, what is it? | 0:58:39 | 0:58:42 | |
Greta, what is it? | 0:58:42 | 0:58:44 | |
Greta. Greta. | 0:58:44 | 0:58:47 | |
What's happened, Greta? | 0:58:47 | 0:58:50 | |
-It's morphine. -Morphine? | 0:58:50 | 0:58:53 | |
Photography and pharmaceuticals. | 0:58:56 | 0:58:59 | |
Fritzy, that's just what I need. | 0:58:59 | 0:59:01 | |
-Friedrich knows all about it. -What do you mean? | 0:59:01 | 0:59:04 | |
He knows all about it. She's fine. Get some sleep. | 0:59:04 | 0:59:08 | |
GRETA LAUGHS | 0:59:12 | 0:59:15 | |
Are you all right there? | 1:00:06 | 1:00:08 | |
This set is not ready. | 1:00:40 | 1:00:42 | |
Can we get any natural light in here? | 1:00:44 | 1:00:46 | |
The set is not ready and you're talking about natural light. Please. | 1:00:46 | 1:00:51 | |
What's the matter with you? | 1:00:52 | 1:00:54 | |
You seem a little anxious lately. | 1:00:54 | 1:00:57 | |
You don't understand. I'm ruined. I'll never make another picture again. | 1:00:57 | 1:01:01 | |
My reputation - gone, and you talk about natural light. Please. | 1:01:01 | 1:01:05 | |
Don't worry. It's the same on every picture. | 1:01:05 | 1:01:09 | |
Not on MY picture! | 1:01:09 | 1:01:11 | |
Friedrich! Open up! | 1:01:48 | 1:01:51 | |
MUFFLED GROANS | 1:01:51 | 1:01:53 | |
It's me, Albin. | 1:01:55 | 1:01:57 | |
Friedrich, let us in. | 1:01:59 | 1:02:01 | |
Jesus. | 1:02:07 | 1:02:09 | |
-What is it? -It's laudanum. | 1:02:17 | 1:02:20 | |
There is no Max Schreck. | 1:02:20 | 1:02:23 | |
If he's not Max Schreck, | 1:02:28 | 1:02:31 | |
who is he? | 1:02:31 | 1:02:33 | |
I don't know. | 1:02:34 | 1:02:36 | |
Well, where did you find him? | 1:02:36 | 1:02:39 | |
In a book when I was a student. | 1:02:39 | 1:02:43 | |
A series of paintings portraying a long line of despotic kings | 1:02:44 | 1:02:50 | |
who were meant to be vampires | 1:02:50 | 1:02:52 | |
living in Slovakia for hundreds of years. | 1:02:52 | 1:02:56 | |
I had forgotten all about it until she gave me the other book. | 1:02:57 | 1:03:02 | |
-What other book, Friedrich? -Dracula. | 1:03:02 | 1:03:05 | |
Then I went to scout the locations... | 1:03:05 | 1:03:08 | |
and there he was, living in an old monastery. | 1:03:10 | 1:03:14 | |
What kind of bargain did you make with him? | 1:03:15 | 1:03:18 | |
That he would play the part of an actor | 1:03:18 | 1:03:22 | |
playing the part of a vampire. | 1:03:22 | 1:03:24 | |
Why? | 1:03:25 | 1:03:27 | |
What did you offer him in return? | 1:03:27 | 1:03:30 | |
Everlasting life. | 1:03:32 | 1:03:34 | |
And Greta. | 1:03:36 | 1:03:38 | |
Greta? How could you do this, Friedrich? | 1:03:39 | 1:03:43 | |
I did it for science. | 1:03:43 | 1:03:47 | |
To preserve it for posterity. | 1:03:48 | 1:03:50 | |
Friedrich! Friedrich! | 1:03:52 | 1:03:55 | |
He's gone. Come on. | 1:03:58 | 1:04:01 | |
What are we going to do? | 1:04:04 | 1:04:06 | |
The call is for two o'clock. | 1:04:06 | 1:04:08 | |
Albin, listen to me. | 1:04:29 | 1:04:32 | |
There's no way off this island. | 1:04:34 | 1:04:36 | |
-What about the aeroplane? -No, no, I already checked. | 1:04:36 | 1:04:40 | |
The fuel tanks are empty. | 1:04:41 | 1:04:43 | |
God. | 1:04:43 | 1:04:45 | |
No... | 1:04:45 | 1:04:47 | |
we're going to have to film Schreck's scene tonight. | 1:04:48 | 1:04:51 | |
WAVES CRASH | 1:04:55 | 1:04:57 | |
You know I don't like these late shoots, Friedrich. | 1:04:59 | 1:05:02 | |
Where is everybody? Why don't I have an assistant? | 1:05:02 | 1:05:06 | |
Greta... | 1:05:06 | 1:05:08 | |
did you put on this make-up with a broom? | 1:05:09 | 1:05:11 | |
-Stop fussing, Albin. -You look beautiful. | 1:05:11 | 1:05:14 | |
-Can I have a cigarette? -Sure. | 1:05:14 | 1:05:16 | |
Where's my script? Henrick? | 1:05:18 | 1:05:20 | |
-He's indisposed. -What's the matter with him? | 1:05:20 | 1:05:23 | |
Don't ask so many questions. We're busy. | 1:05:23 | 1:05:25 | |
Thank you, darling. | 1:05:29 | 1:05:31 | |
Why does everybody look so depressing? | 1:05:33 | 1:05:36 | |
Hey, who died?! | 1:05:38 | 1:05:40 | |
Jesus, look at you. | 1:06:17 | 1:06:20 | |
Friedrich? | 1:06:25 | 1:06:27 | |
-Herr Doctor! -Yes, Greta, what is it? | 1:06:28 | 1:06:32 | |
Yes, what is it? What's the shot? What are we doing here? | 1:06:32 | 1:06:36 | |
Can you stand for me? | 1:06:39 | 1:06:42 | |
Look at you. Yes. | 1:06:43 | 1:06:46 | |
Very well. | 1:06:46 | 1:06:48 | |
Now, let us take her robe, Albin. Please. | 1:06:48 | 1:06:51 | |
And she'll need her wooden stake. | 1:06:54 | 1:06:57 | |
Also Greta, you will be here, lying on the bed. | 1:06:59 | 1:07:02 | |
Yes. | 1:07:04 | 1:07:06 | |
Here. | 1:07:06 | 1:07:08 | |
Now, in this scene, | 1:07:17 | 1:07:19 | |
you make the ultimate sacrifice for love. Yes? | 1:07:19 | 1:07:24 | |
Yes. | 1:07:24 | 1:07:26 | |
You will seduce the Count | 1:07:26 | 1:07:29 | |
and with your wooden stake, | 1:07:29 | 1:07:32 | |
just before you die, | 1:07:32 | 1:07:34 | |
you will dispatch him. Yes? | 1:07:34 | 1:07:36 | |
Very good. | 1:07:36 | 1:07:39 | |
Er, in other words, all you have to do | 1:07:40 | 1:07:42 | |
is, as they say, relax | 1:07:42 | 1:07:45 | |
and the vampire will do all the work. | 1:07:45 | 1:07:48 | |
You had me leave rehearsals in Berlin just to do that? | 1:07:48 | 1:07:52 | |
Hey! Watch it, handsome. | 1:07:53 | 1:07:55 | |
And for your lean-in, please, Herr Schreck. | 1:08:01 | 1:08:04 | |
Thank you. | 1:08:04 | 1:08:07 | |
And Albin, her shoes, please. | 1:08:10 | 1:08:12 | |
We must go aboard. | 1:08:14 | 1:08:16 | |
-Friedrich? -Yes? | 1:08:16 | 1:08:19 | |
I don't wish to question your authority, | 1:08:19 | 1:08:21 | |
but are you sure you know what you are doing? | 1:08:21 | 1:08:24 | |
Yes, exactly. Roll camera. | 1:08:24 | 1:08:26 | |
And Fritz, ready? | 1:08:26 | 1:08:28 | |
Higher. | 1:08:28 | 1:08:30 | |
And...iris in. SHE SCREAMS | 1:08:33 | 1:08:36 | |
-What happened? -I saw... He... | 1:08:38 | 1:08:41 | |
Calm down. | 1:08:41 | 1:08:44 | |
He casts no reflection. | 1:08:44 | 1:08:46 | |
-Calm down, Greta. -No, look at him! | 1:08:46 | 1:08:49 | |
Look at him! Look! | 1:08:49 | 1:08:52 | |
Please help me! Help me, please, Friedrich! | 1:08:52 | 1:08:55 | |
-I'll give you something to calm you. -No, don't do that. | 1:08:55 | 1:08:58 | |
Albin, look at him, please! | 1:08:58 | 1:09:01 | |
Please! Please! | 1:09:01 | 1:09:04 | |
No! | 1:09:04 | 1:09:05 | |
No! I don't understand | 1:09:05 | 1:09:09 | |
what... No! | 1:09:09 | 1:09:11 | |
It is the role that will make you great as an actress. | 1:09:21 | 1:09:24 | |
Consider it a sacrifice for your art. | 1:09:30 | 1:09:34 | |
That's better. Now we can work in peace. | 1:09:40 | 1:09:43 | |
HE PANTS | 1:09:46 | 1:09:48 | |
I want her now. | 1:09:57 | 1:09:59 | |
No, I need a shot of you clutching your heart first. | 1:09:59 | 1:10:03 | |
-My death scene? -Yes. | 1:10:03 | 1:10:05 | |
You must do that for me. | 1:10:05 | 1:10:07 | |
Very well. | 1:10:09 | 1:10:11 | |
Roll camera and begin. | 1:10:12 | 1:10:15 | |
Yes, Count. You kneel down. We'll have your head on her shoulder, | 1:10:17 | 1:10:21 | |
but you're not feeding, Count. | 1:10:21 | 1:10:24 | |
No, you're not drinking her blood now | 1:10:26 | 1:10:29 | |
because you have been drinking her blood all night. | 1:10:29 | 1:10:33 | |
In fact, you can barely move. | 1:10:33 | 1:10:36 | |
You are intoxicated | 1:10:38 | 1:10:41 | |
with blood and desire. | 1:10:41 | 1:10:44 | |
Greta, can you hear me? | 1:10:44 | 1:10:46 | |
SHE GRUNTS Yes? | 1:10:46 | 1:10:48 | |
Flutter your eyelids. | 1:10:48 | 1:10:51 | |
Yes. Now, Greta... | 1:10:51 | 1:10:53 | |
you start to awaken. | 1:10:53 | 1:10:56 | |
Find your stick. | 1:10:56 | 1:10:59 | |
Yes, where is it? Find your stake. | 1:10:59 | 1:11:02 | |
Count, as she raises her stake, what do you see? | 1:11:03 | 1:11:06 | |
Yes. Yes. | 1:11:06 | 1:11:09 | |
A wooden stake. Exactly. You look at her. | 1:11:09 | 1:11:12 | |
Betrayed. Yes, you turn. | 1:11:12 | 1:11:15 | |
You rise. You look around. | 1:11:15 | 1:11:18 | |
The sun is coming. You grab your heart | 1:11:18 | 1:11:22 | |
in anguish. | 1:11:22 | 1:11:24 | |
Yes, and you start to die. | 1:11:24 | 1:11:27 | |
Yes, you start to die. Alone in anguish. Die! | 1:11:27 | 1:11:31 | |
You fucking rat bastard | 1:11:31 | 1:11:33 | |
vampire pig! Shit! | 1:11:33 | 1:11:36 | |
Yes, die alone! The weight of the centuries bends you! | 1:11:36 | 1:11:41 | |
And...end! | 1:11:41 | 1:11:44 | |
-Fritz? -Ia, got it. | 1:11:47 | 1:11:50 | |
That's enough, Murnau. | 1:11:50 | 1:11:52 | |
-Hey! -OK, ia. | 1:11:56 | 1:11:59 | |
-I want her now! -Herr Schreck... | 1:11:59 | 1:12:02 | |
-Bitte. -Go to hell, Murnau! | 1:12:03 | 1:12:06 | |
Begin! | 1:12:06 | 1:12:08 | |
GRETA GROANS | 1:12:13 | 1:12:17 | |
Very good. Yes. | 1:12:35 | 1:12:37 | |
Now slowly move the camera. | 1:12:37 | 1:12:40 | |
HE SNORES | 1:13:01 | 1:13:03 | |
(Friedrich, he's sleeping. How can I get the best camera angle?) | 1:13:10 | 1:13:15 | |
He cut the chain! We're trapped! | 1:13:37 | 1:13:39 | |
So, you would break our bargain? | 1:13:47 | 1:13:51 | |
You think you know so much, | 1:13:53 | 1:13:56 | |
but I can still kill you. | 1:13:56 | 1:13:59 | |
I can break your neck. | 1:14:00 | 1:14:03 | |
Drink your blood, and I can... | 1:14:05 | 1:14:07 | |
You tried to trick me. | 1:14:09 | 1:14:11 | |
It's daybreak, is it? | 1:14:15 | 1:14:18 | |
So what? All I need | 1:14:18 | 1:14:21 | |
is to sleep in darkness. | 1:14:21 | 1:14:25 | |
I will stay here until dusk. | 1:14:25 | 1:14:28 | |
And then, only I... | 1:14:28 | 1:14:32 | |
will walk out alive. | 1:14:32 | 1:14:35 | |
Idiot! | 1:14:41 | 1:14:43 | |
Frankly, Count, I find this composition unworkable. | 1:15:07 | 1:15:11 | |
Could you return to your original mark, please? | 1:15:11 | 1:15:15 | |
If it's not in frame, it doesn't exist. | 1:15:30 | 1:15:35 | |
SHE WHIMPERS | 1:15:59 | 1:16:01 | |
DISTANT VOICES | 1:16:23 | 1:16:25 | |
BANGING | 1:16:27 | 1:16:30 | |
Then, finally, you must turn to meet the sun. | 1:17:07 | 1:17:11 | |
The death of centuries, moon chaser, blasphemor, | 1:17:13 | 1:17:17 | |
monkey, | 1:17:17 | 1:17:19 | |
vase of pre-history, | 1:17:19 | 1:17:21 | |
finally to earth | 1:17:21 | 1:17:24 | |
and finally born. | 1:17:24 | 1:17:26 | |
Yes. Yes. | 1:17:26 | 1:17:28 | |
Yes. | 1:17:29 | 1:17:31 | |
You take the sun. Albin, could you quickly collect | 1:17:31 | 1:17:36 | |
the wooden stake and return it to its rightful place? It is necessary for the final frame | 1:17:36 | 1:17:41 | |
to remind us of the inadequacy of our plans. | 1:17:41 | 1:17:44 | |
Our contingencies, every missed train, | 1:17:44 | 1:17:48 | |
the failed picnics, every lie to a child. | 1:17:48 | 1:17:51 | |
Aaaaaaaaarrrrgghh!! | 1:18:00 | 1:18:02 | |
Softly, please. | 1:18:18 | 1:18:21 | |
Our work is nearly complete. | 1:18:21 | 1:18:23 | |
Our very own painting on our very own cave wall. | 1:18:24 | 1:18:28 | |
Time will no longer be a dark spot on our lungs. | 1:18:28 | 1:18:33 | |
They will no longer be able to say | 1:18:33 | 1:18:36 | |
you would have to have been there... | 1:18:36 | 1:18:38 | |
because the fact is, Albin, | 1:18:40 | 1:18:42 | |
we were. | 1:18:42 | 1:18:44 | |
Is there one among you who might wear the mantle of camera assistant? | 1:18:46 | 1:18:50 | |
Could I possibly impose on you to collect a slate at my feet | 1:18:56 | 1:19:00 | |
and provide me with an end board? | 1:19:00 | 1:19:02 | |
Turn it. | 1:19:10 | 1:19:12 | |
Thank you. | 1:19:29 | 1:19:31 | |
I think we have it. | 1:19:33 | 1:19:35 | |
Subtitles by IMS | 1:19:47 | 1:19:51 | |
E-mail us at [email protected] | 1:19:51 | 1:19:55 |