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# Every day when you're walking down the street | 0:00:02 | 0:00:04 | |
# Everybody that you meet | 0:00:04 | 0:00:06 | |
# Has an original point of view | 0:00:06 | 0:00:09 | |
-# And I say, hey! -Hey! | 0:00:11 | 0:00:13 | |
# What a wonderful kind of day | 0:00:13 | 0:00:16 | |
# We can learn to work and play | 0:00:16 | 0:00:18 | |
# And get along with each other | 0:00:18 | 0:00:21 | |
# You gotta listen to your heart | 0:00:21 | 0:00:23 | |
# Listen to the beat | 0:00:23 | 0:00:24 | |
# Listen to the rhythm | 0:00:24 | 0:00:26 | |
# The rhythm of the street | 0:00:26 | 0:00:27 | |
# Open your eyes! | 0:00:27 | 0:00:28 | |
# Open your ears! | 0:00:28 | 0:00:30 | |
# Get together, make things better By working together | 0:00:30 | 0:00:34 | |
# It's a simple message | 0:00:34 | 0:00:36 | |
# And it comes from the heart | 0:00:36 | 0:00:39 | |
# Believe in yourself | 0:00:39 | 0:00:40 | |
# For that's the place to start | 0:00:40 | 0:00:43 | |
-# And I say, hey! -Hey! | 0:00:43 | 0:00:45 | |
# What a wonderful kind of day | 0:00:45 | 0:00:48 | |
# We can learn to work and play | 0:00:48 | 0:00:50 | |
# And get along with each other | 0:00:50 | 0:00:53 | |
-# What a wonderful kind of day. -Hey! | 0:00:53 | 0:00:56 | |
-# What a wonderful kind of day. -HEY! # | 0:00:56 | 0:00:59 | |
Hey, DW. | 0:00:59 | 0:01:01 | |
Hey! | 0:01:02 | 0:01:03 | |
Whoa! | 0:01:03 | 0:01:04 | |
And...action. | 0:01:08 | 0:01:10 | |
Hi, today's show is...um, I forgot my first line. | 0:01:10 | 0:01:15 | |
Cut! Acting, today's show is all about acting. See? | 0:01:15 | 0:01:20 | |
I got it. You don't have to shout, "Cut!" We're the only ones here. | 0:01:20 | 0:01:24 | |
I like shouting, "Cut!" It makes me feel professional. | 0:01:24 | 0:01:28 | |
Today's show is all about acting. | 0:01:28 | 0:01:31 | |
Today's SHOW is ALL about... | 0:01:31 | 0:01:33 | |
Arthur and Buster's homemade show opening, take two. And...action. | 0:01:33 | 0:01:39 | |
Hi, today's show is all about... | 0:01:39 | 0:01:42 | |
You and Buster have to move. | 0:01:42 | 0:01:43 | |
Nadine and I are building a pillow fort in here. | 0:01:43 | 0:01:46 | |
No way! Use the den. | 0:01:46 | 0:01:48 | |
I can't, those pillows aren't right. | 0:01:48 | 0:01:51 | |
Anyway, I wouldn't be building a fort if you played with me | 0:01:51 | 0:01:55 | |
once in a while, but you never do. | 0:01:55 | 0:01:58 | |
SHE SOBS | 0:01:58 | 0:01:59 | |
You hate me. | 0:01:59 | 0:02:00 | |
What? DW, that's ridic... | 0:02:00 | 0:02:03 | |
CUT! Cut. | 0:02:03 | 0:02:05 | |
We'll move into the den, all right? | 0:02:05 | 0:02:08 | |
SHE SOBS | 0:02:08 | 0:02:09 | |
You were wonderful. | 0:02:14 | 0:02:16 | |
Now that's acting. | 0:02:16 | 0:02:19 | |
Fern! The sparkling butterfly barrette or the sparkling bow? | 0:02:26 | 0:02:31 | |
Um, I dunno. They look the same to me. | 0:02:31 | 0:02:34 | |
It's an acting audition. They won't pay attention to your hair. | 0:02:34 | 0:02:38 | |
It's for William Filmour Toffman, | 0:02:38 | 0:02:40 | |
THE William Filmour Toffman. I have to look my best. | 0:02:40 | 0:02:44 | |
Who's William Filmour Toffman? | 0:02:44 | 0:02:47 | |
True East, Jimmy Hopped The C Train. | 0:02:47 | 0:02:50 | |
He's only the most famous theatre director in Crown City. | 0:02:50 | 0:02:53 | |
He directed his first play in Elwood City. It Began With The Whistle. | 0:02:53 | 0:02:58 | |
He's back for a revival of the play's 20th anniversary. | 0:02:58 | 0:03:02 | |
We're trying out for Little Lucie, the only kid in the play. Wanna come? | 0:03:02 | 0:03:05 | |
Me? Audition? I can't act. | 0:03:05 | 0:03:08 | |
So. Come for moral support. | 0:03:08 | 0:03:10 | |
Besides, you might see a star be born. | 0:03:10 | 0:03:14 | |
Bravo, bravo. | 0:03:14 | 0:03:18 | |
Gritty, but with a hint of ennui. | 0:03:18 | 0:03:21 | |
Nice work, Francine. | 0:03:21 | 0:03:23 | |
You'd make a great understudy. | 0:03:23 | 0:03:26 | |
-Next! -Good luck. | 0:03:26 | 0:03:27 | |
SHE GASPS | 0:03:27 | 0:03:28 | |
What did you say? | 0:03:28 | 0:03:29 | |
It's bad luck to say, "Good luck" to an actor. | 0:03:29 | 0:03:32 | |
You say break a leg, or something in French. | 0:03:32 | 0:03:35 | |
Oh. Bonjour. | 0:03:35 | 0:03:36 | |
Next, please. | 0:03:36 | 0:03:39 | |
But, Grandma, can't you he-e-ear the whistle blowing? | 0:03:42 | 0:03:49 | |
Thank you, Miss Crossmyer. | 0:03:49 | 0:03:51 | |
Actually, it's Crosswire. | 0:03:51 | 0:03:53 | |
Thank you, Mr Toffman, I'm a huge fan. | 0:03:53 | 0:03:57 | |
What's this? | 0:03:58 | 0:04:00 | |
My headshots, some postcards, a DVD of my most dramatic work, | 0:04:00 | 0:04:03 | |
oh, and chocolates. | 0:04:03 | 0:04:05 | |
Ah, we have one more. | 0:04:05 | 0:04:08 | |
Oh, I'm not auditioning. | 0:04:08 | 0:04:10 | |
What a pity. You look perfect for the role. | 0:04:10 | 0:04:14 | |
Thin, round shouldered, a certain hunger in the eyes. | 0:04:14 | 0:04:20 | |
Actually I just had a frozen yoghurt. | 0:04:20 | 0:04:22 | |
Ha ha ha, and a wit, to boot. | 0:04:22 | 0:04:26 | |
What did you say your name was? | 0:04:26 | 0:04:27 | |
-Fern. -Fern. Beautiful name. | 0:04:27 | 0:04:31 | |
Well, Fern, are you sure you don't want to climb the boards | 0:04:31 | 0:04:37 | |
and give it a shot? | 0:04:37 | 0:04:38 | |
Well...OK. | 0:04:38 | 0:04:41 | |
Good...luck! | 0:04:43 | 0:04:45 | |
SHE GASPS | 0:04:48 | 0:04:49 | |
Finally, the cast list. | 0:04:49 | 0:04:51 | |
You can't be serious? | 0:04:54 | 0:04:56 | |
I'm Little Lucie? | 0:04:59 | 0:05:01 | |
But I didn't even act the line. | 0:05:01 | 0:05:03 | |
Maybe it's a mistake. | 0:05:03 | 0:05:05 | |
Nope. Daddy's in the play too, | 0:05:05 | 0:05:07 | |
he spoke to, he spoke to William Filmour Toffman. | 0:05:07 | 0:05:10 | |
Apparently you were just right for the part. | 0:05:10 | 0:05:13 | |
But all I've ever played at school is a tree | 0:05:13 | 0:05:16 | |
in the Arbour Day Extravaganza. | 0:05:16 | 0:05:19 | |
I'm gonna say no. | 0:05:19 | 0:05:20 | |
You can't say no, this could launch your acting career. | 0:05:20 | 0:05:24 | |
I don't want an acting career. | 0:05:24 | 0:05:26 | |
I worked for hours having Bailey put together | 0:05:26 | 0:05:29 | |
those headshots and you want to walk away? | 0:05:29 | 0:05:32 | |
Fern, there's gonna be great costumes, a cool set, | 0:05:32 | 0:05:36 | |
it could be really fun. | 0:05:36 | 0:05:37 | |
Welcome to the magnificent world of It Began With A Whistle. | 0:05:39 | 0:05:44 | |
A tragic tale of love and loss. | 0:05:44 | 0:05:48 | |
Redemption and more loss. | 0:05:48 | 0:05:51 | |
Behold... | 0:05:51 | 0:05:53 | |
a model of our set. | 0:05:53 | 0:05:55 | |
It shall be your home for the next three weeks. | 0:05:55 | 0:05:58 | |
Evocative! | 0:05:58 | 0:05:59 | |
Stunning! | 0:05:59 | 0:06:01 | |
Depressing. | 0:06:01 | 0:06:03 | |
Exactly. | 0:06:03 | 0:06:04 | |
This play takes place during the Depression, | 0:06:04 | 0:06:07 | |
so the set must therefore be...depressing. | 0:06:07 | 0:06:11 | |
Um, Mr Toffman, I think I might be missing some pages. | 0:06:20 | 0:06:24 | |
I've only found one line for Little Lucie. | 0:06:24 | 0:06:26 | |
And what a line it is. | 0:06:26 | 0:06:29 | |
In fact, I feel the whole play revolves | 0:06:29 | 0:06:33 | |
around that line, Fern. | 0:06:33 | 0:06:36 | |
Oh, cool. | 0:06:36 | 0:06:39 | |
"Then in the dust storm of 22, we left Amarillo, | 0:06:39 | 0:06:43 | |
"taking just what we could carry on our backs." | 0:06:43 | 0:06:45 | |
"Even the kettle don't work in this house." | 0:06:45 | 0:06:48 | |
"I am Big Daddy Booth." | 0:06:48 | 0:06:50 | |
"Because it would be the last I'd see of Oklahoma..." | 0:06:50 | 0:06:53 | |
"It's got a broken heart, it don't whistle no more. | 0:06:55 | 0:06:58 | |
"Cos it forgot how. Like we forgot how." | 0:06:58 | 0:07:02 | |
"But, Grandma, can't you hear the whistle blowing?" | 0:07:05 | 0:07:08 | |
This is why I am in the theatre. | 0:07:08 | 0:07:11 | |
To hear the music of words the way you just read them. | 0:07:11 | 0:07:16 | |
And Fern, I love the way you made Lucie | 0:07:16 | 0:07:19 | |
seem as if she were awaking from a deep psychological sleep. | 0:07:19 | 0:07:24 | |
Genius! | 0:07:24 | 0:07:25 | |
Wow, maybe I am a natural. | 0:07:25 | 0:07:29 | |
And the award for best dramatic performance | 0:07:31 | 0:07:34 | |
of a single line goes to... | 0:07:34 | 0:07:35 | |
HE GASPS | 0:07:35 | 0:07:38 | |
My protegee...Fern! | 0:07:38 | 0:07:40 | |
APPLAUSE | 0:07:40 | 0:07:41 | |
I wasn't expecting this, I mean, I know I've had rave reviews | 0:07:44 | 0:07:47 | |
from every newspaper in the world | 0:07:47 | 0:07:49 | |
and my fan mail needs its own dressing room, | 0:07:49 | 0:07:51 | |
but still, it's such a shock. | 0:07:51 | 0:07:53 | |
Thank you. Thank you so much. | 0:07:53 | 0:07:57 | |
-Thank you... -Fern! -Huh? | 0:07:57 | 0:07:59 | |
Will you quit thanking the ketchup and pass it, please? | 0:07:59 | 0:08:03 | |
Daddy told me Will said you were a genius. | 0:08:03 | 0:08:06 | |
I'm just curious, what method do you use? | 0:08:06 | 0:08:09 | |
Method? | 0:08:09 | 0:08:10 | |
Yeah, you know, how do you prepare? | 0:08:10 | 0:08:12 | |
I don't, I just say the line. | 0:08:12 | 0:08:15 | |
You're going to be performing in front of hundreds of people. | 0:08:15 | 0:08:18 | |
You have to do more than that. Here... | 0:08:18 | 0:08:21 | |
Some material I thought might help you. | 0:08:21 | 0:08:23 | |
Books on technique, warm-up exercises, | 0:08:23 | 0:08:25 | |
stuff like that. | 0:08:25 | 0:08:26 | |
It's funny they call you the stranger, | 0:08:28 | 0:08:31 | |
cos you seem familiar. | 0:08:31 | 0:08:33 | |
Red leather, yellow leather, red leather... | 0:08:33 | 0:08:36 | |
Folks always say I seem strange, but familiar. Strange that. | 0:08:36 | 0:08:41 | |
Stop, stop, stop, stop. Grandma, nice work. | 0:08:41 | 0:08:44 | |
Nigel, I need you to be stranger. | 0:08:44 | 0:08:48 | |
You seem...not strange enough. | 0:08:48 | 0:08:51 | |
Yes, right, of course. | 0:08:51 | 0:08:53 | |
-And, Fern... -Yes. | 0:08:53 | 0:08:56 | |
Do you know what acting is, Fern? | 0:08:56 | 0:08:59 | |
Acting is reacting. And you can't react unless you... | 0:08:59 | 0:09:04 | |
Prepare. And learn your lines really, really well. | 0:09:04 | 0:09:09 | |
You can't react unless you listen. | 0:09:10 | 0:09:14 | |
Little Lucie is a listener. | 0:09:14 | 0:09:16 | |
Take it from the top of the scene. | 0:09:16 | 0:09:18 | |
It's got a broken heart. Like all of us. | 0:09:21 | 0:09:24 | |
-It don't whistle no more cos... -But Grandma, | 0:09:24 | 0:09:27 | |
can't you hear the whistle? | 0:09:27 | 0:09:29 | |
Ladies and gentlemen, take five. | 0:09:33 | 0:09:35 | |
Fern, let's you and I take a stroll. | 0:09:35 | 0:09:39 | |
When I think of Little Lucie, I think of this tree. | 0:09:42 | 0:09:46 | |
I can do that. I've played trees before. | 0:09:46 | 0:09:48 | |
"Do not saw the air too much with your hand, thus." | 0:09:48 | 0:09:53 | |
Shakespeare. Hamlet's instructions to the players. | 0:09:54 | 0:09:58 | |
Fern, I don't want you to BE a tree. | 0:09:58 | 0:10:04 | |
I want you to be LIKE this tree. | 0:10:04 | 0:10:08 | |
It doesn't move much. | 0:10:08 | 0:10:10 | |
Yes, but you can't help but notice it. | 0:10:10 | 0:10:15 | |
I am Big Daddy Booth. I am Big Daddy Booth. | 0:10:18 | 0:10:23 | |
But Grandma, can't you hear the whistle blowing? But Grandma... | 0:10:23 | 0:10:28 | |
Places everyone. Places. | 0:10:28 | 0:10:31 | |
Why is he saying, "Places"? | 0:10:31 | 0:10:32 | |
It means the show is about to start | 0:10:32 | 0:10:35 | |
and YOU have to go back to your seat. | 0:10:35 | 0:10:37 | |
Even the kettle don't work in this house. | 0:10:39 | 0:10:42 | |
It's got a broken heart. It don't whistle no more cos... | 0:10:42 | 0:10:46 | |
-c-c-cos... -Cos it forgot how. | 0:10:46 | 0:10:50 | |
Like we forgot how. | 0:10:50 | 0:10:52 | |
Grandma, can't you hear the thistle blowing? | 0:10:55 | 0:10:59 | |
I hear thistle blowing out there on the dusty plains, | 0:11:02 | 0:11:07 | |
but I also hear a whistle blowing. | 0:11:07 | 0:11:10 | |
Don't you, Grandma? | 0:11:10 | 0:11:12 | |
Fern! | 0:11:25 | 0:11:26 | |
Hey. I guess I wasn't such a genius, after all. | 0:11:26 | 0:11:31 | |
What are you talking about? | 0:11:31 | 0:11:33 | |
I only had one line and I messed it up. | 0:11:33 | 0:11:36 | |
That wasn't in the script? I thought they just expanded your role. | 0:11:36 | 0:11:40 | |
You're not just saying that? | 0:11:40 | 0:11:42 | |
William Filmour Toffman was right, you're perfect for that part. | 0:11:42 | 0:11:46 | |
I could never play someone so dreary. | 0:11:46 | 0:11:49 | |
Nice work. | 0:11:49 | 0:11:51 | |
Brava, Fern. Have some sparkling cider. | 0:11:51 | 0:11:55 | |
I'm really sorry I flubbed the line. | 0:11:57 | 0:11:59 | |
I promise it won't happen again. | 0:11:59 | 0:12:01 | |
You improvised. The dusty plains bit, genius. | 0:12:01 | 0:12:06 | |
And most importantly, you were really listening. | 0:12:06 | 0:12:10 | |
I was thinking, for tomorrow's show, | 0:12:10 | 0:12:12 | |
we might restage the last scene. | 0:12:12 | 0:12:15 | |
Perhaps have you sit on the floor with a rag doll... | 0:12:15 | 0:12:18 | |
Hey, could we give Little Lucie another line or two? | 0:12:18 | 0:12:21 | |
I'm not the playwright, Fern. I'm just the director. | 0:12:21 | 0:12:25 | |
# Every day when you're walking down the street | 0:12:32 | 0:12:36 | |
# And everybody that you meet | 0:12:36 | 0:12:38 | |
# Has an original point of view | 0:12:38 | 0:12:41 | |
-# And I say, hey! -Hey! | 0:12:42 | 0:12:44 | |
-# What a wonderful kind of day! -Hey! # | 0:12:44 | 0:12:46 | |
Subtitles by Red Bee Media Ltd. | 0:12:46 | 0:12:48 | |
E-mail [email protected]. | 0:12:48 | 0:12:50 |