Browse content similar to Exhibition. Check below for episodes and series from the same categories and more!
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This film contains some strong language and some scenes of a sexual nature | 0:00:10 | 0:00:14 | |
CHURCH BELLS CHIME | 0:00:50 | 0:00:53 | |
SHE DIALS THE INTERCOM | 0:01:38 | 0:01:40 | |
CHAIR ROLLS OVERHEAD | 0:01:42 | 0:01:44 | |
Yeah? Do you want anything? | 0:01:44 | 0:01:46 | |
Mm... | 0:01:47 | 0:01:49 | |
You know, it'd be nice if you could come up here. | 0:01:49 | 0:01:52 | |
Um, maybe try and distract me from my work. | 0:01:52 | 0:01:55 | |
Get under the desk or something. | 0:01:57 | 0:01:59 | |
SHE HANGS UP | 0:02:01 | 0:02:04 | |
CHAIR ROLLS OVERHEAD | 0:02:05 | 0:02:07 | |
CHAIR ROLLS OVERHEAD | 0:02:08 | 0:02:09 | |
CHAIR ROLLS OVERHEAD | 0:02:11 | 0:02:13 | |
THUD | 0:02:13 | 0:02:14 | |
THUMPING UPSTAIRS | 0:02:26 | 0:02:29 | |
FOOTSTEPS | 0:02:33 | 0:02:37 | |
FOOTSTEPS | 0:02:42 | 0:02:46 | |
Where you going? | 0:02:52 | 0:02:53 | |
Ah. | 0:02:56 | 0:02:58 | |
CAR HORN TOOTS | 0:03:56 | 0:03:58 | |
FRONT DOOR OPENS | 0:04:03 | 0:04:05 | |
TYRES SCREECH | 0:04:08 | 0:04:10 | |
FOOTSTEPS | 0:04:28 | 0:04:32 | |
SHE SKETCHES | 0:04:36 | 0:04:39 | |
DOOR CLOSES | 0:04:41 | 0:04:44 | |
FOOTSTEPS UPSTAIRS | 0:04:44 | 0:04:46 | |
CHAIR ROLLS OVERHEAD | 0:04:49 | 0:04:50 | |
CHAIR ROLLS OVERHEAD | 0:05:03 | 0:05:04 | |
In a way, if you don't really talk about it or-or can't discuss it, | 0:05:04 | 0:05:08 | |
other people are going to decide, you know? | 0:05:08 | 0:05:11 | |
I know, I just don't want to discuss it with you. | 0:05:11 | 0:05:14 | |
Eh? I just don't want to discuss it with you. | 0:05:14 | 0:05:16 | |
Yeah, but I'm good, you know, I'm good practice, no? | 0:05:16 | 0:05:20 | |
No, cos you'll just say it's silly and glib. | 0:05:20 | 0:05:22 | |
Well, but...you know. | 0:05:25 | 0:05:27 | |
If you don't, you won't get it. | 0:05:27 | 0:05:29 | |
I'm on your side. I'm not... I'm not against you, I'm just curious. | 0:05:39 | 0:05:43 | |
I'm just curious, that's all. | 0:05:43 | 0:05:45 | |
I know, but... Cos why not...why not use someone else? | 0:05:45 | 0:05:48 | |
You should use someone else, makes life much easier. | 0:05:48 | 0:05:51 | |
I don't want to be put down, | 0:05:51 | 0:05:52 | |
criticised, and I think that's what you'll do. | 0:05:52 | 0:05:55 | |
Stop it before it's begun. | 0:05:56 | 0:05:58 | |
No. | 0:05:58 | 0:05:59 | |
SHE KNOCKS THE DOOR | 0:06:10 | 0:06:12 | |
Hi. | 0:06:12 | 0:06:13 | |
Hi. What you up to? Ah, eh, just...go. | 0:06:13 | 0:06:17 | |
It'll be better, thank you. All right, sorry. | 0:06:17 | 0:06:19 | |
'Yet though she played at being a child, | 0:06:51 | 0:06:53 | |
'she had seen through me completely. | 0:06:53 | 0:06:55 | |
'And though she made me her pupil there and then | 0:06:55 | 0:06:58 | |
'in the game of living, for each fleeting moment, she seemed to | 0:06:58 | 0:07:01 | |
'know more of life than is known to the wisest of the wise. | 0:07:01 | 0:07:05 | |
'It might be the highest wisdom or the merest artlessness. | 0:07:05 | 0:07:08 | |
'It is certain in any case that life is quite disarmed by the gift | 0:07:08 | 0:07:12 | |
'to live so entirely in the present, | 0:07:12 | 0:07:15 | |
'to treasure with such eager care every flower by the wayside | 0:07:15 | 0:07:19 | |
'and the light that plays on every passing moment. | 0:07:19 | 0:07:22 | |
'Was I to believe that this happy child, | 0:07:22 | 0:07:24 | |
'with her hearty appetite and the air of a gourmet, was at the | 0:07:24 | 0:07:28 | |
'same time a victim of hysterical visions who wished to die, | 0:07:28 | 0:07:32 | |
'or a careful calculating woman who unmoved herself at the | 0:07:32 | 0:07:36 | |
'conscious intention of making me her lover and her slave? | 0:07:36 | 0:07:41 | |
'I could not believe it. | 0:07:41 | 0:07:43 | |
'Know her surrender to the moment was so simple and complete that | 0:07:43 | 0:07:46 | |
'the fleeting shadows and agitation to the very depths of the | 0:07:46 | 0:07:49 | |
'soul come to her no less than every pleasurable impulse and were | 0:07:49 | 0:07:53 | |
'lived as fully.' | 0:07:53 | 0:07:55 | |
RAIN FALLS | 0:07:55 | 0:07:58 | |
THEY GIGGLE | 0:08:26 | 0:08:30 | |
SHE LAUGHS | 0:08:32 | 0:08:34 | |
SHE SQUEALS HAPPILY | 0:08:34 | 0:08:36 | |
ALARM ARMS | 0:08:39 | 0:08:42 | |
CAR HORN TOOTS | 0:08:47 | 0:08:48 | |
Did I do something? | 0:09:29 | 0:09:30 | |
Did I say something? | 0:09:30 | 0:09:31 | |
MOTOR CORD PULLED | 0:11:04 | 0:11:06 | |
MOTOR STARTS | 0:11:08 | 0:11:11 | |
MOTOR REVS | 0:11:12 | 0:11:15 | |
HEAVY CONSTRUCTION NOISE | 0:11:16 | 0:11:19 | |
Then I was in the cinema, but the screen was blank and there | 0:11:31 | 0:11:34 | |
were only two chairs. | 0:11:34 | 0:11:36 | |
And he was standing in the doorway, a very narrow doorway. | 0:11:38 | 0:11:42 | |
I had to squeeze through it and we touched. | 0:11:42 | 0:11:46 | |
I could feel him watching me, his eyes boring into me | 0:11:46 | 0:11:49 | |
everywhere I went. | 0:11:49 | 0:11:50 | |
HE SNORES SOFTLY BEHIND HER | 0:11:50 | 0:11:53 | |
And he called out and asked me how my work was going. | 0:11:53 | 0:11:58 | |
And he really listened and I told him. | 0:11:58 | 0:12:02 | |
He never took his eyes off me and when he spoke he had | 0:12:02 | 0:12:06 | |
a beautiful deep voice. | 0:12:06 | 0:12:07 | |
And I wanted him to touch me so badly. | 0:12:08 | 0:12:10 | |
SHE BREATHES SHAKILY | 0:12:14 | 0:12:16 | |
I can barely make any decisions at all, to be honest. | 0:12:35 | 0:12:39 | |
I start making decisions based on stupid things that I think about. | 0:12:39 | 0:12:43 | |
I thought we would just sort of miraculously come to some... | 0:12:45 | 0:12:49 | |
unified position, | 0:12:49 | 0:12:52 | |
based on a mixture of intellect and intuition that somehow | 0:12:52 | 0:12:56 | |
magically synchronise. | 0:12:56 | 0:12:59 | |
HE LAUGHS | 0:12:59 | 0:13:01 | |
..garden carries traces of a body, in a way, | 0:14:17 | 0:14:20 | |
because a yard is based on a human measurement. | 0:14:20 | 0:14:24 | |
So, you've got these kind of moments where you keep encountering | 0:14:24 | 0:14:27 | |
these three foot here, three foot there, | 0:14:27 | 0:14:29 | |
and they're basically the reach of an adult male. | 0:14:29 | 0:14:34 | |
And it's interesting that... I don't know if this was subconscious, but | 0:14:34 | 0:14:37 | |
it's almost like the architect had stood in the garden and then | 0:14:37 | 0:14:41 | |
reached out from the house, and where their fingertips were, that's | 0:14:41 | 0:14:44 | |
where a retaining wall would be. A low retaining wall. | 0:14:44 | 0:14:47 | |
So, all the way around the house | 0:14:47 | 0:14:49 | |
you've got these moments of...of reach. | 0:14:49 | 0:14:53 | |
BIRDS SING | 0:14:53 | 0:14:55 | |
First you look at it and you think that's some kind of...possibly | 0:15:06 | 0:15:09 | |
a beech tree or something like that. | 0:15:09 | 0:15:11 | |
But actually, if you look at the leaf shape and so on, | 0:15:11 | 0:15:13 | |
it's very special. Oop, sorry. Heh. | 0:15:13 | 0:15:15 | |
I'm always doing that. | 0:15:15 | 0:15:17 | |
You know... So, you know, the way it's been cut, | 0:15:17 | 0:15:19 | |
it means that you've got these different levels. The different | 0:15:19 | 0:15:22 | |
views from the different floors of the house give you a very particular | 0:15:22 | 0:15:26 | |
kind of layering, you know, of the foliage and what not. It's good. | 0:15:26 | 0:15:31 | |
Yeah, OK. Yeah, thank you. It's great, very unique. | 0:15:31 | 0:15:33 | |
Should we go back inside? Yeah. | 0:15:33 | 0:15:35 | |
I have to say, I have always wanted to be inside this house. Exactly. | 0:15:47 | 0:15:50 | |
Original spiral staircase and I always wonder if they...you know, | 0:15:58 | 0:16:02 | |
I always wonder if they intended to go right through to the roof. Mm. | 0:16:02 | 0:16:06 | |
I mean, it's about the only thing I would really suggest changing | 0:16:06 | 0:16:09 | |
about the house, probably. Right. | 0:16:09 | 0:16:11 | |
That would still be in keeping, you know, with its importance. | 0:16:11 | 0:16:14 | |
Go all the way up. | 0:16:14 | 0:16:15 | |
Yeah, think about it. I just think people didn't do it then. | 0:16:15 | 0:16:20 | |
Roof terraces. I don't know, you're the expert. | 0:16:20 | 0:16:23 | |
We claim to be. Yes. | 0:16:23 | 0:16:25 | |
How long have you lived here, do you mind me asking? | 0:16:25 | 0:16:28 | |
18 years, I suppose now, 17? Feels like 40 or something. | 0:16:28 | 0:16:30 | |
I mean... Well, don't know. Doesn't it? | 0:16:30 | 0:16:32 | |
Bit of a disagreement. | 0:16:32 | 0:16:33 | |
I really love the house still and I'll be | 0:16:33 | 0:16:35 | |
sorry to leave it. | 0:16:35 | 0:16:37 | |
Shall we go into the bedroom? | 0:16:39 | 0:16:41 | |
Yes, yes, of course. Right. | 0:16:41 | 0:16:43 | |
Might take a while. | 0:16:50 | 0:16:54 | |
All right. | 0:16:54 | 0:16:55 | |
God, it used to fit. | 0:16:59 | 0:17:02 | |
Don't do the neck up, it's choking me already. | 0:17:02 | 0:17:04 | |
You sure? Yeah. | 0:17:04 | 0:17:05 | |
Maybe. More? | 0:17:08 | 0:17:09 | |
Yeah, just up to the collar. | 0:17:09 | 0:17:10 | |
I'm going to go and make some things. Ahem, do I look all right? | 0:17:15 | 0:17:18 | |
What? Do I look all right? | 0:17:18 | 0:17:20 | |
Don't have any fear, just get in. Trust it. It's amazing. | 0:17:24 | 0:17:28 | |
We've got the wine if anything goes wrong. HE LAUGHS | 0:17:29 | 0:17:32 | |
LIFT STARTS | 0:17:32 | 0:17:35 | |
He'll end up in Feltham Young Offenders Institute anyway. | 0:17:37 | 0:17:39 | |
Oh, no, William, you always go to the worst-case scenario. | 0:17:39 | 0:17:42 | |
It is not going to get that far. It happens, you know, it happens. | 0:17:42 | 0:17:45 | |
It does because that's what you see every day in court. | 0:17:45 | 0:17:47 | |
That's not going to be Matthew's path. No. | 0:17:47 | 0:17:49 | |
We've just got to help him and support him. OK, all right. | 0:17:49 | 0:17:52 | |
He's doing his homework at the moment. Mm-hmm. | 0:17:52 | 0:17:55 | |
Well, that's good, you see? Well. | 0:17:55 | 0:17:56 | |
Yes, I mean, as long as he's doing it. Yeah. | 0:17:56 | 0:17:59 | |
I mean, if he... Would you mind if I just had a little look, | 0:17:59 | 0:18:01 | |
cos I can see through? I just want to see that he's still... | 0:18:01 | 0:18:04 | |
Don't worry so much about him, he'll be OK. No, I'm just checking. | 0:18:04 | 0:18:07 | |
It's OK, it's OK. Sorry, it's just a bit of a stressful night. I mean... | 0:18:07 | 0:18:10 | |
HE CHUCKLES You know, you can imagine. I understand. | 0:18:10 | 0:18:13 | |
Sorry, it's very boring going on about children the whole time. | 0:18:13 | 0:18:16 | |
HE COUGHS | 0:18:20 | 0:18:22 | |
Does this actually come off or...? | 0:19:12 | 0:19:14 | |
Ever? | 0:19:14 | 0:19:15 | |
This thing. | 0:19:15 | 0:19:16 | |
POLE FALLS | 0:19:30 | 0:19:32 | |
CLATTERING | 0:20:38 | 0:20:40 | |
It's not about wanting to, it's the fact that we can. | 0:20:45 | 0:20:48 | |
We have time, we can do something. | 0:20:48 | 0:20:49 | |
We can... | 0:20:49 | 0:20:51 | |
build something. We've got possibilities, you know? | 0:20:51 | 0:20:56 | |
We should do it while we can. | 0:20:56 | 0:20:58 | |
We've been here so long. | 0:21:19 | 0:21:20 | |
There's no children, there's nothing to stop us doing it. | 0:21:22 | 0:21:25 | |
We can do what we want. | 0:21:25 | 0:21:26 | |
THUNDER ROLLS | 0:21:35 | 0:21:39 | |
OK. | 0:21:50 | 0:21:52 | |
Try and enjoy the house while you can. Yep. | 0:21:58 | 0:22:01 | |
OK? | 0:22:01 | 0:22:02 | |
Watch out for the phantom pisser. | 0:22:02 | 0:22:04 | |
BOILER HUMS AND CLANKS | 0:22:43 | 0:22:47 | |
ALARM ARMS | 0:23:14 | 0:23:16 | |
BOILER HUMS AND CLANKS | 0:23:35 | 0:23:38 | |
THUD | 0:24:26 | 0:24:28 | |
THUD | 0:24:29 | 0:24:31 | |
DULL RATTLE | 0:24:41 | 0:24:46 | |
VAGUE COMMOTION OUTSIDE | 0:25:25 | 0:25:28 | |
WOMAN SCREAMS | 0:25:28 | 0:25:29 | |
BANG | 0:25:29 | 0:25:30 | |
SOMEONE POUNDS ON A DOOR | 0:25:36 | 0:25:39 | |
ALARM SOUNDS | 0:25:40 | 0:25:42 | |
DOG BARKS | 0:25:42 | 0:25:45 | |
ALARM STOPS | 0:25:53 | 0:25:54 | |
CLATTERING UPSTAIRS | 0:26:29 | 0:26:31 | |
SHE JOGS UPSTAIRS | 0:26:45 | 0:26:48 | |
PEOPLE LAUGH AND TALK | 0:27:35 | 0:27:41 | |
PHONE RINGS | 0:28:28 | 0:28:31 | |
TOOTHBRUSH BUZZES | 0:28:31 | 0:28:34 | |
TOOTHBRUSH BUZZES | 0:28:44 | 0:28:48 | |
Well, there is some regret. | 0:29:39 | 0:29:40 | |
I mean, there's two things. There's the nostalgia, really. Mm. | 0:29:40 | 0:29:43 | |
Regret maybe is a bit strong. Mm. But there's the nostalgia. | 0:29:43 | 0:29:47 | |
I mean, if I had to make the decision again, I probably | 0:29:47 | 0:29:50 | |
would have done what I've done. Oh. | 0:29:50 | 0:29:52 | |
But the nostalgia is a permanent factor... Yeah. | 0:29:52 | 0:29:55 | |
..of making such a huge move. | 0:29:55 | 0:29:56 | |
But I can't imagine... All those maintenance factors | 0:29:56 | 0:29:59 | |
will be the same wherever you are. Exactly. | 0:29:59 | 0:30:02 | |
I live in a cabin here and it was only yesterday that I | 0:30:02 | 0:30:04 | |
finished all the maintenance, | 0:30:04 | 0:30:06 | |
and the cabin's only six metres by three. | 0:30:06 | 0:30:08 | |
Yeah. You know, there's always going to be maintenance, even if it's a | 0:30:08 | 0:30:11 | |
tiny place, there's going to be maintenance. | 0:30:11 | 0:30:13 | |
And, you know, the original architects, they stayed here | 0:30:13 | 0:30:15 | |
until they were in their 80s. They had a very happy marriage here. | 0:30:15 | 0:30:18 | |
I feel it's in the walls, you know. Oh, did they? | 0:30:18 | 0:30:21 | |
Yeah, the house has recorded, you know, this happy, | 0:30:21 | 0:30:23 | |
long happy marriage from the... Oh, gorgeous. | 0:30:23 | 0:30:27 | |
You know, from the building of the house till their 80s, yeah. Yeah. | 0:30:27 | 0:30:29 | |
HEAVY CONSTRUCTION | 0:30:29 | 0:30:32 | |
CAR HORN TOOTS | 0:30:55 | 0:30:58 | |
Me ol' mate, what's up? | 0:30:58 | 0:31:00 | |
What's going on? That's my car there. What's up? | 0:31:00 | 0:31:04 | |
Come on. What's up, mate? | 0:31:04 | 0:31:07 | |
What are you doing? I'm parking here. I'm waiting for a bit of paint to come down. | 0:31:07 | 0:31:11 | |
Private. It don't look private to me, mate. | 0:31:11 | 0:31:13 | |
Public. Private. Yeah, I know, but it just... | 0:31:13 | 0:31:15 | |
This is everyone else's bit... | 0:31:15 | 0:31:16 | |
There's nothing up there saying... | 0:31:16 | 0:31:18 | |
..and this is my bit. Can you go in? H, can you go inside? Your bit. | 0:31:18 | 0:31:21 | |
No, this, nothing says this is private. | 0:31:21 | 0:31:23 | |
Looks like the back of a shop to me. | 0:31:23 | 0:31:24 | |
Look! | 0:31:24 | 0:31:25 | |
It's context, right? | 0:31:25 | 0:31:27 | |
Building. Yeah. This is everyone else's bit. | 0:31:27 | 0:31:29 | |
What's going on? I don't understand. | 0:31:29 | 0:31:31 | |
This is driving me nuts. I'm going to be here five minutes, that's all. | 0:31:31 | 0:31:34 | |
Just, look, just go inside. He'll move it. I'll get him to move it. | 0:31:34 | 0:31:37 | |
Five minutes. Can't do it now. | 0:31:37 | 0:31:39 | |
You know what? I'm going to put some big gates up here... | 0:31:39 | 0:31:42 | |
That's what I would do... and write "fuck off" across them. | 0:31:42 | 0:31:44 | |
I'd put gates all the way along here and that way you won't get | 0:31:44 | 0:31:47 | |
this problem, will ya? | 0:31:47 | 0:31:48 | |
Can't move it now, can you? | 0:31:48 | 0:31:50 | |
No, I can't move it, I'm waiting for some paint. H, just... | 0:31:50 | 0:31:53 | |
Move it, move it. No, I can't. | 0:31:53 | 0:31:54 | |
I'm going to pop over there, get the paint and just come back, all right? | 0:31:54 | 0:31:57 | |
Move it, move it. Got the picture? Got the picture? Move it. | 0:31:57 | 0:32:01 | |
Fuck off, fucker. | 0:32:01 | 0:32:03 | |
You're so aggressive. Fucker. | 0:32:03 | 0:32:05 | |
Where you going? I'm just moving the car. | 0:32:10 | 0:32:13 | |
THUMPING UPSTAIRS | 0:32:40 | 0:32:45 | |
CHAIR ROLLS OVERHEAD | 0:32:47 | 0:32:48 | |
INTERCOM BEEPS | 0:32:49 | 0:32:54 | |
Hi. | 0:32:54 | 0:32:55 | |
'Hi. | 0:32:55 | 0:32:57 | |
'What are you doing?' | 0:32:57 | 0:32:59 | |
Just working. | 0:32:59 | 0:33:01 | |
'Uh-huh.' Just working. | 0:33:01 | 0:33:03 | |
'Want to come upstairs?' | 0:33:04 | 0:33:06 | |
I can't at the moment. Maybe later. | 0:33:08 | 0:33:11 | |
'Uh-huh. | 0:33:11 | 0:33:12 | |
'Well, you won't feel like it then, will you?' | 0:33:13 | 0:33:16 | |
HE HANGS UP | 0:33:17 | 0:33:20 | |
CHAIR ROLLS OVERHEAD | 0:33:24 | 0:33:26 | |
THUDDING | 0:33:33 | 0:33:37 | |
CHAIR ROLLS OVERHEAD | 0:33:39 | 0:33:40 | |
Mm-hm. | 0:35:27 | 0:35:28 | |
She's not moving. | 0:35:31 | 0:35:32 | |
Just do it. | 0:36:02 | 0:36:03 | |
I know, I know. I want you to get... Hey, hey, I want to play. | 0:36:04 | 0:36:07 | |
Do you want to play first? Nope. | 0:36:07 | 0:36:09 | |
No? | 0:36:13 | 0:36:15 | |
Suppose it's too fast? | 0:36:20 | 0:36:22 | |
Hm? I like it fast. | 0:36:23 | 0:36:24 | |
And, you know... | 0:36:34 | 0:36:36 | |
I can't with-with, eh... | 0:36:49 | 0:36:51 | |
..with like, eh, just a-a-a body. | 0:36:53 | 0:36:56 | |
You know? | 0:36:58 | 0:36:59 | |
Hm? | 0:37:02 | 0:37:03 | |
Are they scared of getting too close to it? | 0:37:16 | 0:37:20 | |
No, no, it's got nothing to do with that. | 0:37:20 | 0:37:22 | |
Lazy? | 0:37:22 | 0:37:24 | |
Perhaps they want you to say it | 0:37:27 | 0:37:29 | |
so they don't look stupid. | 0:37:29 | 0:37:30 | |
No, I'm not doing that. I'm not going to tell them. | 0:37:30 | 0:37:34 | |
It's not my job to classify myself or tell people... | 0:37:34 | 0:37:38 | |
Describe to people what species I'm part of or what subset, | 0:37:38 | 0:37:42 | |
you know, of waterfowl I am. | 0:37:42 | 0:37:45 | |
See what I mean? Mm. Every artist gets that. No, they don't. | 0:37:46 | 0:37:50 | |
It's really...it's particular to now. | 0:37:50 | 0:37:53 | |
It's a unique problem now. It's not an old problem. | 0:37:53 | 0:37:56 | |
It is, every artist, every musician always gets asked, you know, | 0:37:56 | 0:38:02 | |
"Where do you fit in? Define yourself." | 0:38:02 | 0:38:05 | |
I don't know why you're making such a fuss about it. | 0:38:05 | 0:38:07 | |
Sounds like you're on her side. | 0:38:07 | 0:38:09 | |
Well, just think you're lucky to have people write about you | 0:38:09 | 0:38:13 | |
and are interested in your ideas and they want to talk to you | 0:38:13 | 0:38:16 | |
because they think you're... | 0:38:16 | 0:38:19 | |
interesting. | 0:38:19 | 0:38:20 | |
And, uh, they want to engage with you and that's... | 0:38:21 | 0:38:24 | |
..that's a nice position to be in. | 0:38:27 | 0:38:29 | |
Maybe it's something else. Maybe... | 0:38:35 | 0:38:38 | |
..you're unhappy about something else. | 0:38:39 | 0:38:41 | |
Cos you've dealt with that so many times. | 0:38:43 | 0:38:45 | |
HE CLEARS HIS THROAT | 0:38:47 | 0:38:48 | |
INTERCOM BEEPS | 0:38:48 | 0:38:53 | |
Hi. | 0:38:59 | 0:39:00 | |
'I love you.' | 0:39:03 | 0:39:04 | |
PASSING CAR PLAYS HEAVY BASS | 0:39:32 | 0:39:36 | |
I don't think there's anything really wrong with him. | 0:40:13 | 0:40:15 | |
You've got to give him a little... We've just got to be very careful. | 0:40:15 | 0:40:18 | |
This is a difficult...it's a very tricky stage. Very hard. | 0:40:18 | 0:40:21 | |
I mean, to be honest, I was all over the place as a teenager. | 0:40:21 | 0:40:23 | |
So, I'm just very, very wary. Oh, I see. | 0:40:23 | 0:40:25 | |
I'm just... A-ha, aah. Maybe we should go to the party. Well... | 0:40:25 | 0:40:28 | |
I know what you mean, I know what you mean and, you know, yes, | 0:40:28 | 0:40:31 | |
but he's just not quite ready for that kind of stuff. | 0:40:31 | 0:40:34 | |
He's just not. You can't write him... | 0:40:34 | 0:40:36 | |
And now it's just... One has to be so careful. | 0:40:36 | 0:40:38 | |
You can't write him out an ASBO or something, keep him... | 0:40:38 | 0:40:41 | |
Well, it's just much heavier and there are these kids with knives. | 0:40:41 | 0:40:44 | |
Just fascinating, seeing it from the other side. | 0:40:44 | 0:40:46 | |
Yes, you won't have seen it from the other way. | 0:40:46 | 0:40:48 | |
Are we in? What are we doing? NEIGHBOUR LAUGHS | 0:40:48 | 0:40:50 | |
You are funny, aren't you? We're thinking. | 0:40:50 | 0:40:52 | |
Yes, it's lovely actually, just seeing the sort of... | 0:40:52 | 0:40:54 | |
That used to terrify me as a kid, the idea of knocking on the | 0:40:54 | 0:40:57 | |
door and he would answer the door or something. Mm. | 0:40:57 | 0:40:59 | |
It was one of those things. | 0:40:59 | 0:41:01 | |
Oh. So, you sure you really want to sell? It's a doppelganger thing. | 0:41:01 | 0:41:03 | |
Beg your pardon? You really want to sell? Uh, yeah. | 0:41:03 | 0:41:06 | |
I mean, it's such a stunning place. I just dream of living there myself. | 0:41:06 | 0:41:09 | |
You say that, but who would want to live...? It's very odd. | 0:41:09 | 0:41:11 | |
Sorry, I'm not being rude but it is odd. It's a fantastic place. | 0:41:11 | 0:41:14 | |
It's not, it's... Do you want to put in an offer? | 0:41:14 | 0:41:16 | |
I wish I could but on my minimal legal aid barrister salary, | 0:41:16 | 0:41:19 | |
unfortunately I'm not able... No, it wouldn't be, it's not a family home. | 0:41:19 | 0:41:22 | |
Sorry, I don't mean... No, no. It's not really a family home, is it? | 0:41:22 | 0:41:25 | |
It's an artist's home and that's what it's... Well, they are artists. | 0:41:25 | 0:41:28 | |
I mean, they belong there. | 0:41:28 | 0:41:29 | |
Yes, exactly, it suits them but it wouldn't be right for us. | 0:41:29 | 0:41:32 | |
No, no, I'm not... God, I feel, I feel really hot. | 0:41:32 | 0:41:34 | |
Ooh! What? Are you OK? Shit. | 0:41:34 | 0:41:36 | |
Oh, God, right. | 0:41:36 | 0:41:38 | |
She's going to be fine. She's going to be fine. What's happened?! | 0:41:38 | 0:41:40 | |
Leave... Hang on, hang on. Let's have some air. Is it the food? | 0:41:40 | 0:41:43 | |
You can open this window if you like. Hang on, hang on. | 0:41:43 | 0:41:45 | |
I'll call a doctor, yeah? Oh, my God. | 0:41:45 | 0:41:47 | |
Oh, I think... D. I'm all right. Can you stand? No, no, shall I...? | 0:41:47 | 0:41:50 | |
Get some water, William, for Christ's sake. All right, all right. | 0:41:50 | 0:41:54 | |
I thought you were going to leave me down there. | 0:41:54 | 0:41:56 | |
You can't keep doing that kind of thing. | 0:41:56 | 0:41:58 | |
Why? I thought you...I thought you'd be pleased. | 0:41:58 | 0:42:00 | |
No, someone's going to give you the kiss of life if you're not careful. | 0:42:00 | 0:42:03 | |
SHE GIGGLES And it's not going to be me. | 0:42:03 | 0:42:06 | |
I was having a good time. I couldn't stand it any longer, | 0:42:06 | 0:42:08 | |
going on about their children all the time. I just wanted to get home. | 0:42:08 | 0:42:11 | |
DOOR OPENS | 0:42:11 | 0:42:13 | |
DOOR CLOSES | 0:42:13 | 0:42:14 | |
Mm? | 0:42:23 | 0:42:25 | |
That's better. | 0:42:31 | 0:42:32 | |
HE CLEARS HIS THROAT | 0:42:37 | 0:42:38 | |
Hang on. | 0:42:43 | 0:42:44 | |
I had an idea. I had an idea. | 0:43:06 | 0:43:08 | |
I had an idea. You're not going out. | 0:43:08 | 0:43:10 | |
Hm? You're not going out. | 0:43:10 | 0:43:12 | |
Yeah, yeah, yeah, it's fine. It's too late. | 0:43:12 | 0:43:14 | |
No, it's good. I'll feel better. You'll feel better too. | 0:43:14 | 0:43:16 | |
It's too late. | 0:43:16 | 0:43:17 | |
No, no, no. No. No, no, no, no. | 0:43:17 | 0:43:19 | |
No, you're not going out. It's ridiculous. | 0:43:19 | 0:43:22 | |
It's good, it's lovely. Don't you feel better? | 0:43:22 | 0:43:25 | |
Right, hang on. No, no, no. What are you doing?! | 0:43:26 | 0:43:29 | |
It's fine. Where's my coat? | 0:43:29 | 0:43:31 | |
It's too late. It's good for you, it's good for you. | 0:43:31 | 0:43:34 | |
No, no. It's good for you. Two scarves too many. | 0:43:34 | 0:43:37 | |
Please...please don't go. It's good. Please don't go out. | 0:43:38 | 0:43:42 | |
You'll like it. You'll be impressed. | 0:43:42 | 0:43:44 | |
No, I don't want you to go. You'll be impressed. | 0:43:44 | 0:43:46 | |
Please, please, please don't go. No, no, no, you'll be impressed. | 0:43:46 | 0:43:49 | |
No, no, no, no. No, no, no. I really worry. | 0:43:49 | 0:43:51 | |
No, no. Look, look, let me get my shit together. | 0:43:51 | 0:43:55 | |
It reminds me... Look at...look, how do I look? | 0:43:55 | 0:43:57 | |
No, please don't go out. I beg you. | 0:43:57 | 0:44:00 | |
It's going to be fun. It's fun. | 0:44:00 | 0:44:02 | |
No, I'm going to really worry, please. No, no, no. | 0:44:02 | 0:44:04 | |
It's too dangerous, you know, it reminds me of what... | 0:44:04 | 0:44:06 | |
It's not dangerous. Come on, let's look at it. | 0:44:06 | 0:44:08 | |
Look at everyone who's out there. Look, it reminds me of what happened before. No-one's watching. | 0:44:08 | 0:44:13 | |
Come on. Let's go. | 0:44:13 | 0:44:14 | |
Please, please. No, no, no, it's fine. It's nice, it's lovely. | 0:44:14 | 0:44:17 | |
Please. Look at it. It's really nice. | 0:44:17 | 0:44:19 | |
CAR ALARM SOUNDS | 0:45:18 | 0:45:21 | |
CAR HORN TOOTS | 0:45:24 | 0:45:26 | |
Yeah, just...just don't worry about me. Go back to work. | 0:45:44 | 0:45:47 | |
CAR ALARM SOUNDS | 0:45:55 | 0:45:58 | |
CHURCH BELLS AND TRAFFIC MINGLE | 0:46:10 | 0:46:13 | |
HELICOPTER WHIRS | 0:46:40 | 0:46:42 | |
SHE BREATHES SHAKILY | 0:47:33 | 0:47:36 | |
SNAP | 0:47:44 | 0:47:45 | |
STOOL SLIDES | 0:48:04 | 0:48:06 | |
INTERCOM BEEPS | 0:48:40 | 0:48:45 | |
Yeah? | 0:48:49 | 0:48:51 | |
'Hi. | 0:48:51 | 0:48:53 | |
'Um...' What? | 0:48:53 | 0:48:54 | |
What are we doing tonight? | 0:48:55 | 0:48:58 | |
I'm...I'm working at the moment. | 0:48:58 | 0:48:59 | |
'Uh-huh.' SHE HANGS UP | 0:48:59 | 0:49:02 | |
CHAIR ROLLS OVERHEAD | 0:49:02 | 0:49:05 | |
SHE BREATHES SHAKILY | 0:49:17 | 0:49:19 | |
DOOR CLOSES | 0:49:48 | 0:49:50 | |
FOOTSTEPS FADE | 0:49:50 | 0:49:52 | |
PEOPLE TALK LOUDLY | 0:49:55 | 0:49:57 | |
OUTSIDE: Fucking fuck! | 0:50:09 | 0:50:11 | |
FUCKER! | 0:50:13 | 0:50:14 | |
CAR STARTS | 0:50:23 | 0:50:26 | |
SOMEONE RUNS PAST | 0:50:28 | 0:50:31 | |
SIRENS WAIL | 0:50:48 | 0:50:54 | |
SHE BREATHES NERVOUSLY | 0:51:05 | 0:51:07 | |
CAR ALARM SOUNDS | 0:51:09 | 0:51:12 | |
TRAFFIC PASSES NOISILY | 0:51:20 | 0:51:24 | |
SIRENS APPROACH | 0:51:24 | 0:51:26 | |
SIRENS AND SHOUTING | 0:51:34 | 0:51:37 | |
OUTSIDE: Get off me! | 0:51:37 | 0:51:38 | |
KNOCKING | 0:51:38 | 0:51:41 | |
CHORUS OF SIRENS | 0:51:41 | 0:51:42 | |
SHE DIALS A NUMBER | 0:51:42 | 0:51:45 | |
VEHICLE MOVES OFF | 0:51:46 | 0:51:49 | |
PHONE RINGS | 0:51:53 | 0:51:57 | |
DOOR OPENS | 0:52:48 | 0:52:49 | |
DOOR CLOSES | 0:52:51 | 0:52:54 | |
HE SNORES SOFTLY | 0:53:10 | 0:53:13 | |
SHE STIRS | 0:53:21 | 0:53:25 | |
SHE BREATHES DEEPLY | 0:55:58 | 0:55:59 | |
SHE BREATHES RAGGEDLY | 0:56:39 | 0:56:41 | |
REMOTE CONTROL CAR BUZZES | 0:59:22 | 0:59:25 | |
SHE KNOCKS | 1:00:25 | 1:00:28 | |
H? | 1:00:28 | 1:00:29 | |
Are you OK in there? | 1:00:29 | 1:00:31 | |
'What?' Are you OK? | 1:00:32 | 1:00:33 | |
You sure you're all right? | 1:00:47 | 1:00:48 | |
DULL METALLIC SCRAPING | 1:00:55 | 1:00:57 | |
'Stop worrying about me.' | 1:01:00 | 1:01:01 | |
MUSIC PLAYS OUTSIDE | 1:01:23 | 1:01:25 | |
PASSING SHOUTS | 1:01:25 | 1:01:27 | |
PASSING FOOTSTEPS | 1:01:45 | 1:01:47 | |
DREAMY CHIMES | 1:02:06 | 1:02:10 | |
DRESS RUSTLES | 1:02:10 | 1:02:13 | |
DOORBELL CHIMES | 1:02:26 | 1:02:28 | |
Just them. Yeah? | 1:02:37 | 1:02:40 | |
DOORBELL CHIMES | 1:02:40 | 1:02:42 | |
Come on. | 1:02:44 | 1:02:45 | |
Oop. Oh, hi, hi. Hello. | 1:02:51 | 1:02:53 | |
Come in. Good to see you again. And you. Hiya. Hi. | 1:02:53 | 1:02:56 | |
Hello. Glad to see you. Good to see you. Welcome back. | 1:02:56 | 1:02:59 | |
Hi. Hello, how are you? Good to see you. Yeah, good. | 1:02:59 | 1:03:02 | |
Right. OK, can you take your shoes off, please? We forgot. | 1:03:02 | 1:03:04 | |
Oh, of course. Yeah. | 1:03:04 | 1:03:06 | |
There we go. OK, great. Thanks. | 1:03:15 | 1:03:18 | |
Thanks. | 1:03:18 | 1:03:20 | |
Up until you exchange contracts, it's completely up to you and nobody | 1:03:21 | 1:03:25 | |
has to know why you're refusing to sell to them specifically. | 1:03:25 | 1:03:30 | |
Um, we'll...and we're pretty sharp at keeping | 1:03:30 | 1:03:33 | |
a beady eye out for developers. | 1:03:33 | 1:03:35 | |
Even developers disguised as domestic buyers. Mm. Mm. | 1:03:35 | 1:03:39 | |
Can it be in a contract even to say, you know, | 1:03:40 | 1:03:43 | |
they won't pull the building down? | 1:03:43 | 1:03:45 | |
It's hard to stipulate that and you risk alienating buyers at the | 1:03:45 | 1:03:50 | |
point of sale. Mm. | 1:03:50 | 1:03:52 | |
Um, but you'll get a very... You'll have an instinct. | 1:03:52 | 1:03:54 | |
As soon as people walk into the house, you'll have | 1:03:54 | 1:03:56 | |
a very clear instinct of their taste and if they fall in love with | 1:03:56 | 1:03:59 | |
the house as it is. People start talking about what they | 1:03:59 | 1:04:02 | |
would do to the house. "This is where... Oh, I love this kitchen, | 1:04:02 | 1:04:05 | |
"this is what I'd do to the bathroom." Yeah. | 1:04:05 | 1:04:08 | |
In a way, I can't even go there, | 1:04:08 | 1:04:10 | |
to start thinking what they might do with the house. | 1:04:10 | 1:04:12 | |
You know, I'm going to have to cut off emotionally and | 1:04:12 | 1:04:14 | |
separate, otherwise, you know, it's going to be too hurtful. | 1:04:14 | 1:04:18 | |
But I don't ever want it to be pulled down, you know. | 1:04:18 | 1:04:20 | |
It's important that it isn't. | 1:04:20 | 1:04:22 | |
You don't have to be here when people are being shown round | 1:04:22 | 1:04:24 | |
if you don't want to. I mean, we can arrange whatever's useful for you. | 1:04:24 | 1:04:28 | |
Mm. And we'll try and make it as painless as we possibly can. Mm. | 1:04:28 | 1:04:32 | |
METALLIC SAWING SOUND | 1:04:32 | 1:04:37 | |
POLES FALL | 1:04:37 | 1:04:39 | |
Yeah, I've got a few things, you know, ideas that I'm working on | 1:04:53 | 1:04:56 | |
at the moment that might be really good, you know, to develop for that. | 1:04:56 | 1:05:00 | |
Yeah, but we'd have to have a... you know, have a good talk and... | 1:05:02 | 1:05:05 | |
Yeah. | 1:05:07 | 1:05:08 | |
No, nothing this year, no. | 1:05:10 | 1:05:12 | |
So, you know, it's a good time to do it really, cos I haven't sort | 1:05:12 | 1:05:15 | |
of saturated. | 1:05:15 | 1:05:16 | |
I haven't been overexposed or anything so it would be good. | 1:05:18 | 1:05:22 | |
Yeah. | 1:05:22 | 1:05:23 | |
Mm. | 1:05:24 | 1:05:26 | |
Mm, well, thank you very much. Yeah, that's good to hear. | 1:05:34 | 1:05:38 | |
Um, yeah, because I think I've been quite... Working quite sort of | 1:05:38 | 1:05:43 | |
insular in a way. | 1:05:43 | 1:05:45 | |
Which, you know, is a strength, I think, | 1:05:45 | 1:05:47 | |
of the work as well but there comes a time when it | 1:05:47 | 1:05:49 | |
has to go out and it makes you...not so much to be seen but, yeah, | 1:05:49 | 1:05:55 | |
makes me reassess what I'm doing if I let go of it sometimes. | 1:05:55 | 1:06:00 | |
And, uh, yeah, moves it along so that would be brilliant. | 1:06:00 | 1:06:04 | |
SCAFFOLDER SHOUTS | 1:06:15 | 1:06:16 | |
Yeah, that's very exciting, yeah. | 1:06:27 | 1:06:30 | |
That's a very exciting prospect. | 1:06:30 | 1:06:33 | |
Mm. | 1:06:37 | 1:06:39 | |
OK, so, shall I wait for an e-mail for you, or...? Yeah. | 1:06:39 | 1:06:42 | |
Yeah. | 1:06:43 | 1:06:45 | |
Mm, absolutely. | 1:06:50 | 1:06:51 | |
That's...yeah, really exciting. | 1:06:51 | 1:06:54 | |
Great. | 1:06:54 | 1:06:55 | |
Thanks very much. | 1:06:55 | 1:06:56 | |
Bye. | 1:06:56 | 1:06:58 | |
INTERCOM BEEPS | 1:07:24 | 1:07:30 | |
'Hello.' | 1:07:33 | 1:07:34 | |
Do you still love me? | 1:07:36 | 1:07:37 | |
'Oh, of course. What kind of a question's that? Of course I do. | 1:07:38 | 1:07:41 | |
'Did that just arrive out of the blue?' | 1:07:45 | 1:07:50 | |
Sort of. | 1:07:50 | 1:07:51 | |
'What's the problem?' | 1:07:53 | 1:07:54 | |
Nothing. 'You sure?' | 1:07:54 | 1:07:56 | |
Yeah. | 1:07:56 | 1:07:57 | |
Just-just needed to know. 'Uh-huh.' | 1:07:57 | 1:08:00 | |
OK. | 1:08:00 | 1:08:02 | |
Talk to you later. 'OK.' | 1:08:02 | 1:08:03 | |
CHAIR ROLLS OVERHEAD | 1:08:08 | 1:08:11 | |
THUMPING OVERHEAD | 1:08:14 | 1:08:17 | |
CHAIR ROLLS OVERHEAD | 1:08:20 | 1:08:21 | |
CAR ALARM SOUNDS | 1:09:11 | 1:09:15 | |
MUFFLED ALARM SOUND | 1:09:34 | 1:09:37 | |
ALARM FADES | 1:09:38 | 1:09:42 | |
'40s STYLE DANCE MUSIC | 1:09:52 | 1:09:57 | |
BELL TOLLS | 1:09:59 | 1:10:01 | |
Maybe this is one aspect of the work that you're capable of | 1:10:46 | 1:10:50 | |
putting into people's minds. A critical and analytical | 1:10:50 | 1:10:53 | |
framework, that otherwise they wouldn't have, yet you do it without | 1:10:53 | 1:10:57 | |
being overly didactic or telling them exactly how to behave or think. | 1:10:57 | 1:11:01 | |
And I have to say, I spend a lot of time nowadays when I'm | 1:11:01 | 1:11:07 | |
looking at certain situations, I'm brought back to your work somehow. | 1:11:07 | 1:11:11 | |
It stays with me, it haunts me, it somehow... It feeds my... | 1:11:11 | 1:11:15 | |
It works as a road map to try and unpack | 1:11:15 | 1:11:18 | |
a lot of these kind of psychological aspects of the domestic that | 1:11:18 | 1:11:22 | |
are normally quite hard to reach. | 1:11:22 | 1:11:25 | |
When you're working on something yourself, are you...? | 1:11:25 | 1:11:28 | |
What are you responding to most profoundly? | 1:11:28 | 1:11:29 | |
Is it the place itself or is it the things that come from your | 1:11:29 | 1:11:34 | |
private life that somehow find their way into the work? | 1:11:34 | 1:11:38 | |
It's ridiculous if you get to the point where you're not even | 1:11:38 | 1:11:42 | |
prepared to say anything at all. It makes me feel I'm missing something | 1:11:42 | 1:11:46 | |
or that I just a...happen to be there at the same time as you. | 1:11:46 | 1:11:50 | |
I have no other purpose. | 1:11:50 | 1:11:52 | |
I know, but it's funny because you say that about my work, | 1:11:52 | 1:11:55 | |
but actually I find you very withholding emotionally | 1:11:55 | 1:11:58 | |
and you never talk about your emotions or what you're feeling. | 1:11:58 | 1:12:01 | |
That's a construct, it's not a... People are different. | 1:12:01 | 1:12:04 | |
Some people do, some people don't. | 1:12:04 | 1:12:06 | |
Well, some people talk about their work, some people don't. | 1:12:06 | 1:12:08 | |
Right, right. Well, then it's fine, it doesn't bother me really. | 1:12:08 | 1:12:11 | |
Can just... You just said it did. | 1:12:11 | 1:12:14 | |
It bothers me a little bit but I'm curious and I support it, | 1:12:14 | 1:12:17 | |
but I'm also... I feel that there's this barrier. | 1:12:17 | 1:12:21 | |
I can be useful to you. I can be useful. I'm not completely... | 1:12:21 | 1:12:24 | |
But the thing is... ..useless. | 1:12:24 | 1:12:26 | |
I... | 1:12:26 | 1:12:28 | |
I don't want your input, I don't want your judgment, I don't | 1:12:28 | 1:12:32 | |
want your ideas, I don't want your cleverness because it derails me. | 1:12:32 | 1:12:36 | |
Then what-what's... what am I doing then, in the end? | 1:12:36 | 1:12:39 | |
I'm just sort of a... I'm company. | 1:12:39 | 1:12:42 | |
Yeah. Or something. Yeah, you're my companion. | 1:12:42 | 1:12:44 | |
BEEPING | 1:12:50 | 1:12:57 | |
CHAIR ROLLS | 1:12:59 | 1:13:01 | |
HE HUMS | 1:13:01 | 1:13:04 | |
BOILER HUMS AND CLANKS | 1:13:06 | 1:13:09 | |
HE HUMS | 1:13:09 | 1:13:11 | |
SHE JOINS IN | 1:13:11 | 1:13:14 | |
CHEERFUL '40s STYLE MUSIC | 1:13:19 | 1:13:21 | |
HE LAUGHS | 1:13:21 | 1:13:23 | |
HE LAUGHS | 1:13:27 | 1:13:29 | |
# King was in the counting house | 1:13:29 | 1:13:31 | |
# The counting house | 1:13:31 | 1:13:35 | |
# Counting his money | 1:13:35 | 1:13:37 | |
# Wearing an artful grin | 1:13:37 | 1:13:39 | |
# The Queen began to plead then roar | 1:13:39 | 1:13:41 | |
# And cried once more | 1:13:41 | 1:13:43 | |
# "Unlock this door!" | 1:13:43 | 1:13:44 | |
# The King replied, "Shan't, I'm busy, you can't come in. | 1:13:44 | 1:13:47 | |
# "When you were eating honey then you made me wait, it's true. | 1:13:49 | 1:13:54 | |
# "For your housekeeping money, you..." # | 1:13:54 | 1:13:56 | |
CHAIR ROLLS OVERHEAD | 1:14:02 | 1:14:04 | |
INTERCOM BEEPS | 1:14:18 | 1:14:20 | |
Hello. | 1:14:26 | 1:14:28 | |
'I'm cold.' You're cold? 'Mm...freezing.' | 1:14:28 | 1:14:32 | |
Why don't you put a coat on or something? | 1:14:32 | 1:14:35 | |
'I've got a jumper on.' | 1:14:35 | 1:14:38 | |
Put another one on. 'Mm.' | 1:14:38 | 1:14:40 | |
You don't feel cold? | 1:14:40 | 1:14:42 | |
'No, no, I'm not cold but maybe, I mean, I've been run...you know... | 1:14:42 | 1:14:46 | |
'I haven't been thinking about it. | 1:14:46 | 1:14:48 | |
'Are you trying to tell me something?' | 1:14:50 | 1:14:54 | |
Mm. | 1:14:54 | 1:14:55 | |
'Do you want me to go and look at the boiler?' | 1:14:55 | 1:14:57 | |
Wouldn't mind. | 1:14:59 | 1:15:01 | |
'OK. | 1:15:01 | 1:15:02 | |
'I'll stop what I'm doing and do that.' | 1:15:04 | 1:15:06 | |
OK. | 1:15:06 | 1:15:07 | |
HE HANGS UP | 1:15:09 | 1:15:11 | |
CHAIR ROLLS OVERHEAD | 1:15:11 | 1:15:12 | |
FOOTSTEPS ON STAIRS | 1:15:20 | 1:15:23 | |
The Chans are a family but they were worried about actually | 1:15:50 | 1:15:53 | |
selling to a family because it's so... | 1:15:53 | 1:15:55 | |
Yeah, they don't have any children | 1:15:55 | 1:15:56 | |
so I suppose they're worried it's not very child friendly. | 1:15:56 | 1:15:59 | |
Right, well, that's what I'm here to sort of have a look at. Yeah. | 1:15:59 | 1:16:02 | |
OK. Yeah. As you know they've got three young children. Yes. | 1:16:02 | 1:16:06 | |
And, with the parents, that's five people all on the top floor | 1:16:06 | 1:16:10 | |
so I'd be interested to, you know, | 1:16:10 | 1:16:12 | |
work our way through the house, but perhaps we should start down here. | 1:16:12 | 1:16:15 | |
Absolutely. How can we help you? What do you want to see? | 1:16:15 | 1:16:17 | |
Well, there's two key things I'd like to look at. | 1:16:17 | 1:16:20 | |
One is the lift and the lift car in relation to the lift shaft, | 1:16:20 | 1:16:23 | |
just to see how much space there is, | 1:16:23 | 1:16:25 | |
cos it looks like here there's quite a lot of space. | 1:16:25 | 1:16:28 | |
OK. | 1:16:31 | 1:16:32 | |
Oh, right, well... | 1:16:35 | 1:16:36 | |
So, it's a pretty small car within what looks like quite | 1:16:36 | 1:16:39 | |
a big lift shaft itself. | 1:16:39 | 1:16:41 | |
Yeah, I don't know how many, um... | 1:16:43 | 1:16:47 | |
Quite a thin wall, yeah. Yep. | 1:16:47 | 1:16:49 | |
'Are you happy with everything you've seen down here? | 1:16:50 | 1:16:53 | |
'Yep, sure. Yeah. | 1:16:53 | 1:16:55 | |
'Um, oh, shoes off, everybody. Oh, yes, of course. Sorry. | 1:16:55 | 1:16:58 | |
'It's one of the house rules. | 1:17:01 | 1:17:02 | |
'The balustrade is very open and these days you need to have | 1:17:06 | 1:17:10 | |
'a gap of not more than four inches only. | 1:17:10 | 1:17:13 | |
'So, it would be nice to preserve that but provide the safety | 1:17:13 | 1:17:15 | |
'that we do need for a family house. | 1:17:15 | 1:17:18 | |
'Especially with children, yeah. | 1:17:18 | 1:17:20 | |
'Yeah, exactly.' | 1:17:20 | 1:17:22 | |
CHURCH BELLS TOLL | 1:21:38 | 1:21:40 | |
PASSING CAR PLAYS BASS | 1:21:53 | 1:21:56 | |
HEAVY TRAFFIC | 1:21:56 | 1:21:57 | |
Met someone I really liked, really attracted to him. | 1:22:04 | 1:22:07 | |
And he asked me about my work and he talked about my work and... | 1:22:09 | 1:22:13 | |
he really listened and he really got it. | 1:22:13 | 1:22:15 | |
Uh... | 1:22:17 | 1:22:19 | |
Oh, then we were running down a corridor... | 1:22:19 | 1:22:21 | |
Stone steps, | 1:22:23 | 1:22:25 | |
laughing. | 1:22:25 | 1:22:26 | |
I loved the sound of his voice. | 1:22:30 | 1:22:32 | |
Could've listened to it forever. | 1:22:34 | 1:22:36 | |
SHE CRIES QUIETLY | 1:23:51 | 1:23:56 | |
SHE CONTINUES CRYING | 1:24:16 | 1:24:21 | |
SHE SNIFFS Hey. | 1:25:03 | 1:25:06 | |
SHE SOBS QUIETLY | 1:25:06 | 1:25:07 | |
LOUD TRAFFIC | 1:25:29 | 1:25:31 | |
Hi. Hiya. How are you? Good, thanks. Hello, how are you? | 1:25:42 | 1:25:45 | |
How's it going? All right, a bit cold. Cold? Yeah. I didn't dress up. | 1:25:45 | 1:25:49 | |
Cup of tea to get you warm? I wouldn't mind, I wouldn't mind, | 1:25:49 | 1:25:53 | |
but I've got to get home. OK. All right. Well, I won't keep you. | 1:25:53 | 1:25:55 | |
You might want to pop in later. See you later. See you, bye. Bye. | 1:25:55 | 1:25:59 | |
HER FOOTSTEPS ECHO CRISPLY | 1:26:13 | 1:26:18 | |
We should get the house tattooed on my back. What do you think? | 1:26:41 | 1:26:45 | |
THEY LAUGH | 1:26:45 | 1:26:47 | |
Good idea? | 1:26:47 | 1:26:49 | |
You'd better get me tattooed if you're getting the house. | 1:26:49 | 1:26:52 | |
If I get you tattooed standing in the window of the house. | 1:26:52 | 1:26:55 | |
And then if things don't work out I can always tattoo | 1:26:58 | 1:27:02 | |
a curtain over you and then tattoo someone else into another window. | 1:27:02 | 1:27:06 | |
THEY LAUGH | 1:27:06 | 1:27:07 | |
You're such... | 1:27:07 | 1:27:09 | |
You're such trouble. It's funny, it's not funny. No, it's not funny. | 1:27:09 | 1:27:12 | |
WATER SLOSHES QUIETLY | 1:28:41 | 1:28:43 | |
PLAYGROUND NOISE | 1:28:48 | 1:28:51 | |
CONTINUOUS BEEPING | 1:28:59 | 1:29:02 | |
ECHOING AND OVERLAPPING: Hi, what do you want to do later? I... | 1:29:04 | 1:29:06 | |
Stay in on or go out? I don't really know what you mean. What you doing? | 1:29:06 | 1:29:09 | |
What you doing? Uh, writing. | 1:29:09 | 1:29:11 | |
We'll have children in here one day, won't we? Mm-hm. | 1:29:11 | 1:29:14 | |
Exactly. We'll be perfect. | 1:29:14 | 1:29:16 | |
You know, sometimes I get the feeling you'd rather be at home. | 1:29:16 | 1:29:18 | |
I don't want to tell you, it'll spoil it. OK. Course. | 1:29:18 | 1:29:20 | |
What do you want to do later, stay in or go out? What's wrong? | 1:29:20 | 1:29:23 | |
Mm, nothing. When you were away... Uh-huh. I missed you so much. | 1:29:23 | 1:29:27 | |
Really? 2036 probably. When's your next...hm-hm. | 1:29:27 | 1:29:29 | |
WATER SLOSHES | 1:29:29 | 1:29:31 | |
It's all sugar. Shall we do it? Yeah. | 1:29:51 | 1:29:54 | |
Ahem, we're going to cut the...cut the house as it were. | 1:29:54 | 1:29:58 | |
We're going to break the house. | 1:29:58 | 1:30:00 | |
And I know a lot of you have been here over the years and it's been, | 1:30:00 | 1:30:04 | |
uh, great and we've had such good times, and other people are new here. | 1:30:04 | 1:30:08 | |
And, you know, we thought it'd be a good way to... | 1:30:08 | 1:30:12 | |
I don't know, what would you say, celebrate? | 1:30:12 | 1:30:15 | |
No. Commiserate? Say goodbye. Good way to say goodbye. Say goodbye. | 1:30:15 | 1:30:19 | |
So, shall we do it? Yep. THEY LAUGH | 1:30:19 | 1:30:22 | |
OK, I'm... You guide it though. You know what you're doing? No. | 1:30:22 | 1:30:24 | |
THEY LAUGH | 1:30:24 | 1:30:26 | |
GUESTS GASP | 1:30:26 | 1:30:28 | |
GUESTS LAUGH AND CHEER | 1:30:28 | 1:30:32 | |
There you go. | 1:30:35 | 1:30:37 | |
There's got to be something in there. Oh, there goes the bathroom. | 1:30:37 | 1:30:40 | |
THEY LAUGH | 1:30:40 | 1:30:43 | |
OK. Try a bit? Tear a bit off. | 1:30:43 | 1:30:44 | |
Tear a bit off. Absolutely, a bit of wall. Fantastic. | 1:30:44 | 1:30:48 | |
Oh, it's delicious. | 1:30:48 | 1:30:49 | |
Mm, hang on, I'm going to try and... Get into the cake bit. | 1:30:49 | 1:30:52 | |
I'm going to try and cut some properly at the same time. | 1:30:52 | 1:30:56 | |
Who wants the bed? Yeah, the bed. | 1:30:59 | 1:31:01 | |
Hang on a second. | 1:31:01 | 1:31:04 | |
Where's that other knife? | 1:31:04 | 1:31:05 | |
There. Here. | 1:31:05 | 1:31:07 | |
There you go. | 1:31:09 | 1:31:11 | |
H, I can't get through it. Anyone want a tree? | 1:31:13 | 1:31:16 | |
Broccoli, anyone? | 1:31:16 | 1:31:18 | |
Bit of broccoli. H, you do it. | 1:31:18 | 1:31:20 | |
Yeah, I'll have a go. | 1:31:20 | 1:31:21 | |
I never liked that small room anyway. | 1:31:23 | 1:31:25 | |
Yeah, we should've knocked those walls down. | 1:31:25 | 1:31:28 | |
Oh, my God, it looks like a squat. | 1:31:28 | 1:31:29 | |
GUESTS LAUGH | 1:31:29 | 1:31:31 | |
TAPE TEARS | 1:32:40 | 1:32:42 | |
I got a call from Susan Shalabi about doing a show. Really? | 1:32:50 | 1:32:55 | |
Uh-huh. Yeah. Are you serious? | 1:32:58 | 1:33:00 | |
THEY CHUCKLE | 1:33:00 | 1:33:02 | |
That's good. | 1:33:02 | 1:33:03 | |
Did she do the funny voice thing she does? | 1:33:06 | 1:33:08 | |
We had a good chat, yes. It was really good. | 1:33:08 | 1:33:11 | |
Uh-huh. Yeah. Wow. | 1:33:11 | 1:33:13 | |
An exhibition? Mm. | 1:33:16 | 1:33:17 | |
Excellent. | 1:33:19 | 1:33:20 | |
And you can do anything you want, right? | 1:33:21 | 1:33:23 | |
Yeah, yeah. | 1:33:23 | 1:33:24 | |
Just left it open for... It was just completely into what I do and... | 1:33:25 | 1:33:29 | |
Uh-huh. ..very open, yeah. | 1:33:29 | 1:33:31 | |
So, when's the exhibition going to be? | 1:33:31 | 1:33:33 | |
Um, towards the end of next year. | 1:33:33 | 1:33:35 | |
Completely alone, no-one else? | 1:33:36 | 1:33:39 | |
Perfect. | 1:33:39 | 1:33:41 | |
So, you happy now? | 1:33:41 | 1:33:43 | |
HE LAUGHS | 1:33:43 | 1:33:44 | |
Happy and scared. Yeah? | 1:33:45 | 1:33:47 | |
It's nothing to be scared of. I mean, it's perfect. Yeah. | 1:33:48 | 1:33:51 | |
Don't you think? | 1:33:51 | 1:33:52 | |
Well, I was thinking of doing... | 1:33:52 | 1:33:54 | |
Um, you know, a mixture of performance and drawings but | 1:33:54 | 1:33:59 | |
the work to be ongoing throughout the... | 1:33:59 | 1:34:02 | |
the time I'm there. So, the whole exhibition would be that? | 1:34:02 | 1:34:06 | |
Mm, with no end in sight. Would just keep changing through the whole thing? | 1:34:06 | 1:34:09 | |
Yeah, yeah. Good idea. Every day would be something different. Mm-hm. | 1:34:09 | 1:34:13 | |
SHE CLEARS HER THROAT | 1:34:14 | 1:34:15 | |
And I'd, I sort of, you know, improvise and make mistakes | 1:34:19 | 1:34:22 | |
and take wrong turns and it would all be there for all to see. | 1:34:22 | 1:34:27 | |
Right, and normal gallery hours or do you try and keep it open later? | 1:34:29 | 1:34:34 | |
No, normal, I think. | 1:34:34 | 1:34:35 | |
It's really good. | 1:34:37 | 1:34:38 | |
Did you tell her all that or not yet? No. | 1:34:40 | 1:34:43 | |
Interesting. We sort of talked around it. I said a few things, | 1:34:44 | 1:34:48 | |
probably a bit too much. | 1:34:48 | 1:34:50 | |
I don't think you can say too much. It's fine, it's good. | 1:34:50 | 1:34:55 | |
You know, when someone offers you an exhibition like that, | 1:34:55 | 1:34:58 | |
it's kind of commitment, you know? | 1:34:58 | 1:35:00 | |
That means they believe in the work and that they want to show it | 1:35:00 | 1:35:03 | |
and that, um... | 1:35:03 | 1:35:05 | |
It's fine, you don't have to think about anything else. | 1:35:05 | 1:35:08 | |
It gives you freedom to work, in a way, maybe. Mm. | 1:35:08 | 1:35:11 | |
Or to think at least. | 1:35:12 | 1:35:13 | |
COMPLETE SILENCE | 1:36:24 | 1:36:26 | |
HEAVY TRAFFIC | 1:36:46 | 1:36:49 | |
BIRDS SING | 1:36:49 | 1:36:51 | |
CAR RUSHES PAST | 1:37:05 | 1:37:07 | |
'40s STYLE DANCE MUSIC | 1:37:18 | 1:37:22 | |
King Was In The Counting House by Al Bowlly | 1:37:50 | 1:37:54 | |
# The king was in the counting house | 1:37:56 | 1:37:58 | |
# The counting house | 1:37:58 | 1:38:01 | |
# Counting his money Wearing an artful grin | 1:38:01 | 1:38:04 | |
# The queen began to plead then roar And cried once more | 1:38:06 | 1:38:09 | |
# "Unlock this door!" | 1:38:09 | 1:38:10 | |
# The king replied, "Shan't, I'm busy, you can't come in." | 1:38:10 | 1:38:15 | |
# When you were eating honey | 1:38:15 | 1:38:18 | |
# Then you made me wait this through | 1:38:18 | 1:38:21 | |
# For your housekeeping money | 1:38:21 | 1:38:22 | |
# You can wait Like I had to wait for you | 1:38:22 | 1:38:25 | |
# The king was in the counting house | 1:38:25 | 1:38:28 | |
# The counting house | 1:38:28 | 1:38:30 | |
# So the butcher and baker Had to take IOUs. # | 1:38:30 | 1:38:34 | |
The case against you is too strong. | 1:38:44 | 1:38:46 | |
It's not a question of whether you'll be found guilty, but when. | 1:38:46 | 1:38:49 | |
I am a gentleman. | 1:38:50 | 1:38:51 | |
I am a gentleman's wife. | 1:38:51 | 1:38:53 | |
Soon to be a gentleman's widow. | 1:38:53 | 1:38:54 | |
In truth, I would do the same again. | 1:38:54 | 1:38:56 |