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Afternoon. | 0:00:06 | 0:00:08 | |
Hello, Sanjeev. | 0:00:08 | 0:00:10 | |
Do you want to give Moz one of those? | 0:00:10 | 0:00:13 | |
Oh, thanks, lovely. | 0:00:14 | 0:00:17 | |
These ones as well. | 0:00:17 | 0:00:19 | |
Wow! | 0:00:19 | 0:00:21 | |
Sure Mummy doesn't want them? | 0:00:22 | 0:00:24 | |
My kitchen drawers are stuffed with his masterpieces. | 0:00:24 | 0:00:27 | |
How's your dealing business? | 0:00:27 | 0:00:29 | |
King of the world. How's your dealing business? | 0:00:29 | 0:00:31 | |
Queen of the world. | 0:00:31 | 0:00:33 | |
You can't leave rubbish out on the landing. | 0:00:33 | 0:00:36 | |
I'm going to take it downstairs later. | 0:00:37 | 0:00:39 | |
Well, why don't you leave it inside until later? | 0:00:39 | 0:00:42 | |
It's too full. It's going to split and go everywhere. | 0:00:42 | 0:00:45 | |
Nicki, we've not been a couple for well over a year now. | 0:00:45 | 0:00:48 | |
When you die, | 0:00:48 | 0:00:50 | |
are you going to carry on nagging me from beyond the grave? | 0:00:50 | 0:00:53 | |
Who says I'm going to die first? | 0:00:54 | 0:00:55 | |
Have a good day at work. | 0:00:56 | 0:00:59 | |
Don't take any wooden nickels. | 0:00:59 | 0:01:01 | |
This programme contains some strong language. | 0:01:11 | 0:01:19 | |
All right, Moz? | 0:01:23 | 0:01:24 | |
Lee, how's it going? | 0:01:24 | 0:01:26 | |
These are the times of exile. | 0:01:29 | 0:01:31 | |
Are they? | 0:01:33 | 0:01:34 | |
They are. | 0:01:34 | 0:01:36 | |
You'd best come in then. | 0:01:36 | 0:01:38 | |
Thanks. | 0:01:38 | 0:01:39 | |
It's good. | 0:01:46 | 0:01:47 | |
I shouldn't get too caned, though. I start my shift in 40 minutes. | 0:01:47 | 0:01:51 | |
I still don't understand how you can fall so far so fast. | 0:01:51 | 0:01:55 | |
Last year you were up for a Brit award, now you're working in Londis. | 0:01:55 | 0:01:58 | |
I know. | 0:01:58 | 0:02:00 | |
Talk about your yin and yang. | 0:02:00 | 0:02:02 | |
And yong. | 0:02:02 | 0:02:04 | |
And you didn't save any money at all? | 0:02:04 | 0:02:07 | |
It all went on fast cars and slow women? | 0:02:07 | 0:02:09 | |
Listen, I'm going to tell you something now. | 0:02:12 | 0:02:14 | |
Technically, in order to hear this, | 0:02:14 | 0:02:16 | |
you should have to sign a non-disclosure agreement. | 0:02:16 | 0:02:19 | |
Right, cos my ears have only got a level-three clearance. | 0:02:19 | 0:02:22 | |
Is that going to be a problem? | 0:02:22 | 0:02:23 | |
No. I don't really NEED to work at all. | 0:02:24 | 0:02:27 | |
By the time Silicone Valets split, I'd made a couple of hundred grand. | 0:02:28 | 0:02:33 | |
And you've still got it? | 0:02:33 | 0:02:34 | |
Still got a record deal an' all. | 0:02:36 | 0:02:38 | |
Problem was, in terms of public perception, I was credible... | 0:02:38 | 0:02:43 | |
..but not incredible. | 0:02:44 | 0:02:46 | |
Is incredible better than massive? | 0:02:46 | 0:02:49 | |
Oh, definitely. | 0:02:49 | 0:02:50 | |
Anyway, my management, Talent Milk, thought it would be a good idea | 0:02:50 | 0:02:53 | |
if I...disappeared for a while. | 0:02:53 | 0:02:55 | |
I imagine the public quite liked that idea too. | 0:02:55 | 0:02:59 | |
Two weeks' time, a certain celebrity gossip magazine is going to do a... | 0:02:59 | 0:03:03 | |
"Where is he now?" on me. | 0:03:03 | 0:03:06 | |
Oh, I get it. | 0:03:06 | 0:03:07 | |
My tragic story and how I'm going to bounce back like a... | 0:03:07 | 0:03:10 | |
..triumphant...ball. | 0:03:11 | 0:03:13 | |
Exactly! | 0:03:14 | 0:03:15 | |
Two months' time, I release the new Silicone Valets album. | 0:03:17 | 0:03:21 | |
Endless Shelves. | 0:03:22 | 0:03:24 | |
It's a song cycle in six movements. | 0:03:24 | 0:03:26 | |
About working in Londis? | 0:03:26 | 0:03:29 | |
Yep. | 0:03:29 | 0:03:30 | |
Then, in three months' time... | 0:03:30 | 0:03:32 | |
I'm getting married to one of the Sugababes. | 0:03:32 | 0:03:35 | |
Which one? | 0:03:36 | 0:03:37 | |
Still sorting out the details. | 0:03:38 | 0:03:40 | |
Xavier, Cartoon Head. Psycho Paul not with you? | 0:03:43 | 0:03:48 | |
He's on his way. | 0:03:48 | 0:03:50 | |
Hi! Oh, you look nice. | 0:03:50 | 0:03:53 | |
Have you heard the news? | 0:03:55 | 0:03:57 | |
What news? | 0:03:57 | 0:03:59 | |
The Red Mist... | 0:04:00 | 0:04:01 | |
..kidnapped a town councillor, | 0:04:02 | 0:04:05 | |
cut his head off and stuffed his neck with Crunchies. | 0:04:05 | 0:04:08 | |
KNOCK AT DOOR | 0:04:08 | 0:04:09 | |
Psycho Paul. Rainbow. | 0:04:13 | 0:04:16 | |
Hiya, Nicki. Paul said you wouldn't mind me coming along to your top-secret meeting. | 0:04:16 | 0:04:21 | |
Come one, come all. | 0:04:21 | 0:04:22 | |
Have you heard about the Crunchie murder? | 0:04:30 | 0:04:32 | |
Yeah, sounds awful. | 0:04:32 | 0:04:34 | |
They can be very abrasive, can Crunchies, when they break up. | 0:04:34 | 0:04:38 | |
I'm getting a bit scared. | 0:04:38 | 0:04:40 | |
That's why... | 0:04:42 | 0:04:43 | |
..we're joining forces. | 0:04:44 | 0:04:46 | |
What? | 0:04:46 | 0:04:47 | |
No compromi-i-i-ise! | 0:04:47 | 0:04:50 | |
Who's talking about compromise? | 0:04:50 | 0:04:52 | |
The Red Mist want to engulf everything. | 0:04:52 | 0:04:55 | |
We can't stop 'em on our own. | 0:04:55 | 0:04:58 | |
We need help. | 0:04:58 | 0:04:59 | |
KNOCK AT DOOR | 0:04:59 | 0:05:01 | |
Good evening. | 0:05:05 | 0:05:07 | |
I've been having second thoughts. | 0:05:24 | 0:05:26 | |
Second thoughts? | 0:05:26 | 0:05:28 | |
About...you know, setting up Nicki. | 0:05:29 | 0:05:33 | |
You're not setting her up. | 0:05:33 | 0:05:35 | |
I mean, she's breaking the law, and that is... | 0:05:35 | 0:05:38 | |
against the law. | 0:05:38 | 0:05:40 | |
You're breaking the law as well. You're a dealer, same as she is. | 0:05:40 | 0:05:44 | |
Yeah, but she's got...infrastructure. | 0:05:44 | 0:05:48 | |
She's got that big hydroponic set-up in Broadbottom. | 0:05:48 | 0:05:52 | |
She's got Cartoon Head's gang doing her running for her. | 0:05:52 | 0:05:55 | |
Whereas I... | 0:05:55 | 0:05:56 | |
Well, I'm essentially just one man and a coffee table. | 0:05:56 | 0:06:00 | |
You want to know the truth? | 0:06:06 | 0:06:08 | |
I reckon she'll be gone soon anyway. | 0:06:09 | 0:06:11 | |
She's going to be engulfed by a Red Mist. | 0:06:11 | 0:06:16 | |
You mean... You mean they're going to... | 0:06:16 | 0:06:18 | |
Kerplunk! | 0:06:18 | 0:06:19 | |
-You mean... -Game over! | 0:06:19 | 0:06:22 | |
-Actually... -Nipped right in t' middle of bud. | 0:06:22 | 0:06:26 | |
Are you saying murdered? | 0:06:26 | 0:06:27 | |
Yeah. | 0:06:27 | 0:06:28 | |
Shit! We've got to warn her. | 0:06:29 | 0:06:31 | |
She already knows. | 0:06:31 | 0:06:33 | |
Nicki knows what's going on. | 0:06:36 | 0:06:39 | |
And...she's been seen with her feelers out. | 0:06:39 | 0:06:42 | |
But can't your lot stop the Red Mist? | 0:06:42 | 0:06:45 | |
I mean, surely there must be a law against murdering people. | 0:06:45 | 0:06:50 | |
Not since cutbacks. | 0:06:50 | 0:06:51 | |
We're not really insured for proper crime any more. | 0:06:51 | 0:06:56 | |
That's a shame. | 0:06:56 | 0:06:57 | |
In a way. | 0:06:57 | 0:06:59 | |
We must stop the rise of the ginger menace. | 0:06:59 | 0:07:03 | |
But we don't even know how many of them there are. | 0:07:03 | 0:07:06 | |
They could be everywhere, blud. | 0:07:06 | 0:07:09 | |
Let's not panic. | 0:07:09 | 0:07:11 | |
I say, if we join forces, we could beat them. | 0:07:11 | 0:07:15 | |
I agree. | 0:07:15 | 0:07:16 | |
We have 45 men, a stash of over 100 automatic weapons | 0:07:16 | 0:07:20 | |
and access to a helicopter. | 0:07:20 | 0:07:22 | |
You? | 0:07:22 | 0:07:23 | |
I've got... | 0:07:23 | 0:07:25 | |
MOUTHS SILENTLY | 0:07:25 | 0:07:27 | |
..a screwdriver. | 0:07:27 | 0:07:29 | |
What kind of screwdriver? | 0:07:29 | 0:07:31 | |
A Phillips. | 0:07:31 | 0:07:33 | |
They're the worst. | 0:07:33 | 0:07:35 | |
Yes, I know. | 0:07:35 | 0:07:37 | |
And I can phone Flu Strength Darren. He loves a good punch-up. | 0:07:37 | 0:07:41 | |
He has just had one of his elbows amputated. | 0:07:41 | 0:07:44 | |
Excuse me, but, um... | 0:07:45 | 0:07:47 | |
Have you thought about just talking to them? | 0:07:47 | 0:07:51 | |
Talking's for lesbians. | 0:07:51 | 0:07:53 | |
Rainbow's right. We could storm in there all knives blazing | 0:07:53 | 0:07:58 | |
or we could try talking. We're not animals. | 0:07:58 | 0:08:02 | |
They're animals. | 0:08:02 | 0:08:04 | |
And so am I. | 0:08:05 | 0:08:06 | |
I do not want to talk to the animals. | 0:08:06 | 0:08:09 | |
We could try though. I'm feeling pretty... | 0:08:09 | 0:08:13 | |
..talkish. | 0:08:14 | 0:08:16 | |
I do not want to talk. | 0:08:16 | 0:08:18 | |
I don't want to talk. | 0:08:18 | 0:08:20 | |
I don't want to talk. | 0:08:20 | 0:08:21 | |
SLURPING | 0:08:21 | 0:08:23 | |
KNOCK AT DOOR | 0:08:34 | 0:08:36 | |
-Hi! -It's Jake. | 0:08:42 | 0:08:44 | |
Entrez, do. | 0:08:44 | 0:08:46 | |
Look, I'll arrange for some coppers to come and bust her, Friday, | 0:08:52 | 0:08:57 | |
but you need to be sure you are completely clean. | 0:08:57 | 0:09:00 | |
As a whistle-cleaning factory whistle. | 0:09:00 | 0:09:03 | |
Hi, Moz. Is everything OK? | 0:09:03 | 0:09:05 | |
Yeah, fine. | 0:09:05 | 0:09:06 | |
Yeah, don't worry. We're mates. I'm not on duty. | 0:09:06 | 0:09:10 | |
Well, I am on duty, but I'm not working. | 0:09:10 | 0:09:13 | |
This is Tilly. | 0:09:14 | 0:09:15 | |
So what are you? Some kind of a policeman? | 0:09:15 | 0:09:18 | |
Er... Yeah. | 0:09:18 | 0:09:20 | |
Yeah, I am. | 0:09:20 | 0:09:21 | |
I am a policeman, but I don't like to think of myself | 0:09:21 | 0:09:25 | |
primarily as a policeman. | 0:09:25 | 0:09:28 | |
Even when you're on duty. | 0:09:28 | 0:09:29 | |
Specially not on duty. To be honest, uniform does most of the work. | 0:09:29 | 0:09:34 | |
So what do you do then? | 0:09:34 | 0:09:36 | |
You look like you probably... express yourself? | 0:09:36 | 0:09:40 | |
I do, yeah, I express myself every day. | 0:09:40 | 0:09:42 | |
Yeah, I'd love to express myself, but it's finding the space. | 0:09:42 | 0:09:46 | |
And the right expression. | 0:09:46 | 0:09:48 | |
I'm a designer and a businesswoman and I part run an art gallery. | 0:09:48 | 0:09:52 | |
Oh, yeah. | 0:09:54 | 0:09:56 | |
Yeah, I know the place, yeah, they had that exhibition | 0:09:56 | 0:09:59 | |
with the mad bloke in the sleeping bag outside. | 0:09:59 | 0:10:01 | |
-No, that was a homeless guy. -Oh! | 0:10:01 | 0:10:03 | |
Pity. He was very good. | 0:10:03 | 0:10:05 | |
He was. He was very good. | 0:10:05 | 0:10:07 | |
So, do you fancy a coffee? | 0:10:07 | 0:10:09 | |
Give me 20 minutes. I have to do some e-mails | 0:10:09 | 0:10:11 | |
and charge my BlackBerry, unless you have a charger? | 0:10:11 | 0:10:14 | |
-I've only just got an egg whisk. -OK. | 0:10:14 | 0:10:17 | |
Well, please come and see "The Pottery of the Perverse" | 0:10:17 | 0:10:20 | |
and it was very nice to meet you. | 0:10:20 | 0:10:21 | |
Yeah, and you. Lovely. | 0:10:21 | 0:10:24 | |
Yeah. | 0:10:25 | 0:10:26 | |
Blimey! You kept her quiet, didn't you? | 0:10:30 | 0:10:34 | |
She is gorgeous! | 0:10:34 | 0:10:37 | |
You're just one big-talking testicle, aren't you? | 0:10:37 | 0:10:40 | |
-Eh? -I saw you. | 0:10:40 | 0:10:44 | |
Sliming all over her like a police sex gastropod. | 0:10:44 | 0:10:47 | |
-All I said... -I don't care what you said. | 0:10:47 | 0:10:51 | |
Neither will she. She's a lesbian. | 0:10:51 | 0:10:53 | |
She's not a lesbian. | 0:10:55 | 0:10:56 | |
She is, as it goes, and she's a celibate lesbian. | 0:10:56 | 0:10:59 | |
Ain't no mountain high enough, ain't no rug low enough. | 0:10:59 | 0:11:02 | |
She might be celibate | 0:11:02 | 0:11:04 | |
but she's not a lesbian. | 0:11:04 | 0:11:05 | |
Definitely not. | 0:11:05 | 0:11:07 | |
I can always tell. I've got les-dar. | 0:11:07 | 0:11:09 | |
You can instinctively tell if a woman is from Leicester? | 0:11:09 | 0:11:11 | |
Hey, I'm serious, and I have never been wrong, never. | 0:11:11 | 0:11:15 | |
Well, if that proves to be the case - | 0:11:15 | 0:11:17 | |
and God and red wine willing, I hope one day to find out - | 0:11:17 | 0:11:20 | |
I don't want you going anywhere near her. | 0:11:20 | 0:11:22 | |
You've had two women right out from under my nose. | 0:11:22 | 0:11:25 | |
Now, Nicki I forgive you for, | 0:11:25 | 0:11:27 | |
cos I was having an affair at the same time, | 0:11:27 | 0:11:29 | |
but you and Jenny broke my heart. | 0:11:29 | 0:11:32 | |
And you can put down our continued friendship | 0:11:32 | 0:11:35 | |
more to shock than anything else. | 0:11:35 | 0:11:37 | |
I don't want you laying a finger anywhere near Tilly. | 0:11:37 | 0:11:40 | |
I promise I won't even speak to her. | 0:11:40 | 0:11:43 | |
Good. | 0:11:43 | 0:11:44 | |
Cos if you fuck me over again, you know what'll happen? | 0:11:45 | 0:11:48 | |
-What? -Nowt. | 0:11:48 | 0:11:50 | |
And one morning, | 0:11:51 | 0:11:52 | |
you'll wake up with your own cock and balls superglued to your back. | 0:11:52 | 0:11:57 | |
Just out of reach. | 0:11:59 | 0:12:01 | |
SPEECH INAUDIBLE | 0:12:08 | 0:12:10 | |
How long you been friends with the cop? | 0:12:33 | 0:12:36 | |
Long time. | 0:12:36 | 0:12:37 | |
Got a lot in common. He cheated with my last two girlfriends. | 0:12:38 | 0:12:43 | |
He reminds me of a boyfriend I used to have. | 0:12:43 | 0:12:45 | |
Boyfriend? | 0:12:47 | 0:12:48 | |
Hang on. When I asked if you wanted to go out with me, | 0:12:48 | 0:12:51 | |
you said that you were a celibate lesbian. | 0:12:51 | 0:12:54 | |
I suppose I did. | 0:12:56 | 0:12:57 | |
But...you're not. | 0:12:57 | 0:13:00 | |
Plod said you weren't. | 0:13:00 | 0:13:02 | |
OK. | 0:13:02 | 0:13:03 | |
I'm sorry that I lied to you | 0:13:07 | 0:13:10 | |
but in my defence, I had just gotten out of a long-term relationship, | 0:13:10 | 0:13:14 | |
I'd only been in the UK for a few months. | 0:13:14 | 0:13:17 | |
I was working on my "Subversive Stain" collection | 0:13:17 | 0:13:19 | |
and my mind was full of stains. There just wasn't room for you. | 0:13:19 | 0:13:23 | |
So essentially, what you were saying was | 0:13:23 | 0:13:25 | |
that you'd rather never have sex again | 0:13:25 | 0:13:28 | |
than concede that there was the slightest possibility | 0:13:28 | 0:13:31 | |
of ever sleeping with m... with... | 0:13:31 | 0:13:34 | |
men. | 0:13:34 | 0:13:35 | |
I wasn't ready for anything. | 0:13:35 | 0:13:37 | |
But, you know, since I've said that, a lot has changed. | 0:13:37 | 0:13:40 | |
I've relaxed somewhat and I've gotten to know you so much better. | 0:13:40 | 0:13:45 | |
So are you saying that maybe there's a chance you and m... | 0:13:45 | 0:13:48 | |
Wow! Did you do this? | 0:13:48 | 0:13:49 | |
Yeah. | 0:13:49 | 0:13:51 | |
Wow! I didn't know you painted. | 0:13:51 | 0:13:54 | |
You keep a low profile, don't you? | 0:13:55 | 0:13:57 | |
But the more I find out about you, the more fascinated I become. | 0:13:57 | 0:14:01 | |
Yeah? | 0:14:03 | 0:14:04 | |
Well, I mean... | 0:14:04 | 0:14:06 | |
Yeah, I'm an artist, yeah, I mean... | 0:14:06 | 0:14:09 | |
You know, art flows through my veins like...ketchup. | 0:14:09 | 0:14:13 | |
I adore this. It has such a primitivist edge. | 0:14:13 | 0:14:16 | |
You know, it's not about skill or technique. | 0:14:16 | 0:14:18 | |
No, it's not, no. | 0:14:18 | 0:14:20 | |
And the drawing is even better. The line is so confident. | 0:14:20 | 0:14:23 | |
I think it... | 0:14:23 | 0:14:25 | |
provides a... | 0:14:25 | 0:14:27 | |
harrowing insight into the urban malaise. | 0:14:27 | 0:14:31 | |
Yeah, I see that now. | 0:14:31 | 0:14:34 | |
To me it's like a... | 0:14:34 | 0:14:36 | |
..porcelain penis. | 0:14:37 | 0:14:39 | |
Amazing. | 0:14:39 | 0:14:41 | |
What I think it's saying is that there's... | 0:14:42 | 0:14:45 | |
w-w-w...wheel... | 0:14:45 | 0:14:47 | |
wheelchair...access. | 0:14:47 | 0:14:50 | |
Wheelchair access? | 0:14:51 | 0:14:53 | |
Oh, yeah. | 0:14:53 | 0:14:54 | |
Would you mind if I took these upstairs and had them framed? | 0:14:55 | 0:14:59 | |
No, not at all. | 0:14:59 | 0:15:00 | |
I'd like to see more of your oeuvre. | 0:15:00 | 0:15:02 | |
My what? | 0:15:02 | 0:15:04 | |
Your oeuvre, your body of work. | 0:15:04 | 0:15:06 | |
My body. | 0:15:06 | 0:15:07 | |
Hell, yeah! I love raw talent. | 0:15:07 | 0:15:09 | |
So, in summary, what you want to see is... | 0:15:09 | 0:15:13 | |
More paintings, more drawings. | 0:15:13 | 0:15:16 | |
Yeah, course, no problem. Just, er... give us a couple of minutes. | 0:15:16 | 0:15:21 | |
Great! Thank you. | 0:15:21 | 0:15:22 | |
See you later. | 0:15:24 | 0:15:26 | |
Hiya! | 0:15:42 | 0:15:43 | |
Can't wait to see you. | 0:15:43 | 0:15:45 | |
Thought you were amazing in the meeting earlier. | 0:15:45 | 0:15:48 | |
Yeah. | 0:15:48 | 0:15:49 | |
See you soon. | 0:15:49 | 0:15:51 | |
Love you. | 0:15:51 | 0:15:52 | |
Bye. | 0:15:52 | 0:15:54 | |
Bye! Bye-bye-bye! | 0:15:54 | 0:15:56 | |
All right, Moz? I'm afraid Nicki's just gone out. | 0:16:11 | 0:16:14 | |
Ah, that's a shame. Can I come in for a sec? | 0:16:14 | 0:16:17 | |
Um... Yeah, suppose. | 0:16:17 | 0:16:19 | |
Cartoon Head, you all right? | 0:16:23 | 0:16:24 | |
So, what can I do for you? | 0:16:24 | 0:16:26 | |
Well, Baby Sanjeev wanted to give us some paintings earlier, | 0:16:26 | 0:16:29 | |
but I was on my way out, so I was hoping I could pick 'em up now. | 0:16:29 | 0:16:33 | |
It's nearly 11 o'clock. | 0:16:34 | 0:16:36 | |
It's been hanging over us. | 0:16:36 | 0:16:38 | |
O-M-F-G! | 0:16:38 | 0:16:42 | |
You're a paedo. | 0:16:42 | 0:16:44 | |
Of course I'm not a paedo. Hey! Cartoon Head. | 0:16:45 | 0:16:49 | |
Paedo! | 0:16:50 | 0:16:51 | |
No! I'm saying I'm definitely not a paedo, am I? | 0:16:51 | 0:16:57 | |
Come on, Jess. You know me. | 0:16:57 | 0:16:59 | |
Nicki said she'd leave them in the kitchen drawer. | 0:17:00 | 0:17:03 | |
Knock yourself out. | 0:17:04 | 0:17:06 | |
Thank you. | 0:17:06 | 0:17:07 | |
Brought you a present. | 0:17:19 | 0:17:21 | |
That's so sweet. | 0:17:22 | 0:17:24 | |
-SHE GASPS -My God! | 0:17:27 | 0:17:29 | |
Is that a diamond? | 0:17:29 | 0:17:31 | |
It's a diamond. | 0:17:31 | 0:17:32 | |
Oh! Wow! | 0:17:33 | 0:17:36 | |
I couldn't possibly keep this. | 0:17:37 | 0:17:40 | |
(Keep it!) | 0:17:41 | 0:17:43 | |
Please, do it for me. | 0:17:45 | 0:17:47 | |
(Do it for him...and me!) | 0:17:48 | 0:17:52 | |
Thank you. | 0:17:54 | 0:17:56 | |
How can you afford this? What work do you do? | 0:17:56 | 0:18:00 | |
Oh, I used to be a decorator, but now I just have a good time. | 0:18:00 | 0:18:05 | |
I'll probably come again tomorrow. | 0:18:11 | 0:18:14 | |
OK. | 0:18:14 | 0:18:16 | |
Or if not, the day after that. | 0:18:16 | 0:18:18 | |
Oh, no, I can't come the day after that. | 0:18:18 | 0:18:21 | |
Why not? | 0:18:21 | 0:18:22 | |
Cos the day after that... | 0:18:22 | 0:18:25 | |
I'm gonna die. | 0:18:25 | 0:18:26 | |
What? | 0:18:27 | 0:18:29 | |
Why? What's wrong with you? | 0:18:29 | 0:18:30 | |
Oh, nothing's wrong with me, but... | 0:18:30 | 0:18:33 | |
I am going to die on Friday. | 0:18:33 | 0:18:35 | |
That's terrible. | 0:18:37 | 0:18:39 | |
(Ask him how much it's worth.) | 0:18:40 | 0:18:43 | |
-Hiya! -Hi! Moz, these are awesome. | 0:18:48 | 0:18:52 | |
Oh cool! May I? | 0:18:52 | 0:18:54 | |
Nice. I love the use of primary colours. | 0:18:56 | 0:18:59 | |
Yeah... | 0:18:59 | 0:19:00 | |
I like to think of myself as a painter from the...Primary School. | 0:19:00 | 0:19:05 | |
What amazes me most is what you've left out. | 0:19:05 | 0:19:07 | |
You'll find what I've left out is probably the best bit. | 0:19:07 | 0:19:10 | |
-Have you sold many of these? -No. | 0:19:10 | 0:19:12 | |
You know how it is. | 0:19:12 | 0:19:13 | |
Once I'm dead, they'll be swapping hands for 100 quid a pop. | 0:19:13 | 0:19:17 | |
You can get way more than that for these right now. | 0:19:17 | 0:19:19 | |
Where have you exhibited? | 0:19:19 | 0:19:21 | |
-I've never actually... -You've never exhibited? | 0:19:23 | 0:19:25 | |
You are the classic outsider artist. | 0:19:25 | 0:19:27 | |
That doesn't make me any less fascinating, does it? | 0:19:29 | 0:19:31 | |
No, outsiders are so in, it's ridiculous. | 0:19:31 | 0:19:33 | |
I know Warren will want to give you a show at the Forever Machine. | 0:19:33 | 0:19:37 | |
Oh, I'll show them to him tomorrow then. | 0:19:37 | 0:19:39 | |
No need. He's on his way over here right now. | 0:19:39 | 0:19:41 | |
-Now? -Yeah, I want to move quickly. | 0:19:41 | 0:19:44 | |
Yeah, I want to move quickly. | 0:19:44 | 0:19:46 | |
INTERCOM BUZZES | 0:19:47 | 0:19:48 | |
(This could be Warren.) | 0:19:48 | 0:19:50 | |
-Hello! ..It's Warren. -Great! | 0:19:50 | 0:19:53 | |
-Yeah, come on up. -HE MOUTHS | 0:19:53 | 0:19:55 | |
This is exciting. | 0:19:55 | 0:19:56 | |
# Nothing you can say | 0:19:56 | 0:19:58 | |
# Can tear me away from my guy | 0:19:58 | 0:20:02 | |
# Nothing you can do Cos I'm... # | 0:20:05 | 0:20:08 | |
Are you sure? | 0:20:08 | 0:20:10 | |
I always think ketamine sounds too strong to me. | 0:20:10 | 0:20:13 | |
I love hallucinating. I just don't like seeing stuff that isn't there. | 0:20:13 | 0:20:17 | |
Well, what do you think? | 0:20:22 | 0:20:25 | |
-They're pretty fucking real. -Mm-hm. | 0:20:25 | 0:20:29 | |
I'm thinking Van Vliet, I'm thinking Rauschenberg. | 0:20:29 | 0:20:32 | |
Are they cheeses? Cos I'm starving. | 0:20:32 | 0:20:34 | |
I adore this piece. Does it have a title? | 0:20:34 | 0:20:36 | |
Yeah, course it does. It's called... | 0:20:36 | 0:20:38 | |
..Painted Painting. | 0:20:39 | 0:20:42 | |
-That is beyond perfect. -Cheers. | 0:20:42 | 0:20:46 | |
I think we need to give Moz a show at the Forever Machine. | 0:20:46 | 0:20:49 | |
-Definitely. -I told you! | 0:20:49 | 0:20:50 | |
-I'd like to splash you all over. -Mm-hm. | 0:20:50 | 0:20:53 | |
We had to cancel an upcoming exhibition, "Lacto Urinary Collision". | 0:20:53 | 0:20:58 | |
Michael Radley planned to install ten bell jars of frozen milkman urine. | 0:20:58 | 0:21:02 | |
But we lost the sponsorship of the Milk Marketing Board. | 0:21:02 | 0:21:05 | |
You must be heartbroken. | 0:21:05 | 0:21:07 | |
I've been beside myself. | 0:21:07 | 0:21:09 | |
Nobody wants to be sitting there. | 0:21:09 | 0:21:12 | |
-I say we keep the whole thing ersatz. -Mm-hm. | 0:21:12 | 0:21:14 | |
I love ersatz. When they first brought them out I was resistant, | 0:21:14 | 0:21:18 | |
but now I couldn't imagine a world without them. | 0:21:18 | 0:21:21 | |
I'll start an essay right away. | 0:21:21 | 0:21:24 | |
"Post Dialectic Morphology and the New Now". | 0:21:24 | 0:21:27 | |
It'll help explain some of what you're doing. | 0:21:27 | 0:21:29 | |
Do you think it needs explaining? | 0:21:29 | 0:21:31 | |
The golden rule. If it doesn't require an explanation, it's not worth doing. | 0:21:31 | 0:21:36 | |
Of course! How terribly enfant of me. | 0:21:36 | 0:21:39 | |
-See you tomorrow. -Bye. | 0:21:39 | 0:21:41 | |
You are pretty fucking real, Moz. | 0:21:43 | 0:21:45 | |
And do you know what I like most of all about your work? | 0:21:45 | 0:21:48 | |
-I can make money off of it? -Aside from that. | 0:21:48 | 0:21:50 | |
Not sure. You? | 0:21:50 | 0:21:52 | |
Not sure. | 0:21:52 | 0:21:54 | |
It evolves its own hypermyth via its refusal to refract. | 0:21:54 | 0:21:59 | |
Bye. | 0:22:00 | 0:22:01 | |
Bye. Thank you. | 0:22:01 | 0:22:03 | |
He's a nice straightforward lad, isn't he? | 0:22:05 | 0:22:07 | |
Warren is such an original thinker he's had his cultural influence insured. | 0:22:07 | 0:22:11 | |
If only there was a way of preserving his brain in bleach ASAP. | 0:22:11 | 0:22:15 | |
Moz, I can't tell you how excited I am about discovering you. | 0:22:15 | 0:22:19 | |
Discovering me? | 0:22:19 | 0:22:21 | |
The real you. | 0:22:22 | 0:22:24 | |
I have always suspected we were kindred spirits. | 0:22:24 | 0:22:26 | |
I love your honesty, I love your directness, I love your eyes. | 0:22:26 | 0:22:30 | |
But most of all, I love your art. | 0:22:30 | 0:22:34 | |
-My art? -Mm-hm. | 0:22:34 | 0:22:37 | |
That's good because, er... | 0:22:39 | 0:22:41 | |
..my art wants to love you back. | 0:22:43 | 0:22:45 | |
MUSIC: "Billie Holiday" by Warpaint | 0:22:49 | 0:22:51 | |
# B-I-L-L-I-E | 0:23:06 | 0:23:10 | |
# H-O-L-I-D-A-Y | 0:23:10 | 0:23:15 | |
# B-I-L-L-I-E H-O-L-I-D-A-Y... # | 0:23:16 | 0:23:23 | |
How instant is it? Should I be experiencing something now? | 0:23:23 | 0:23:27 | |
What is it? | 0:23:30 | 0:23:32 | |
MUSIC ECHOES | 0:23:32 | 0:23:36 | |
It's... It's a red bag. | 0:23:40 | 0:23:44 | |
-ECHOES: -Bag, bag, bag, bag, bag... | 0:23:44 | 0:23:48 | |
I can't stop thinking about your amazing artistic skills. | 0:24:31 | 0:24:35 | |
I'm hoping to use them in a minute. | 0:24:35 | 0:24:38 | |
Shall we...go into your bedroom area? | 0:24:38 | 0:24:42 | |
If you know what I mean. | 0:24:42 | 0:24:43 | |
I worry that it's too soon. | 0:24:43 | 0:24:45 | |
Too soon? | 0:24:45 | 0:24:46 | |
Yeah, I think it's too soon. | 0:24:46 | 0:24:48 | |
It's not too soon. Trust me, it's just in time. | 0:24:48 | 0:24:52 | |
I wouldn't want us to spoil it. | 0:24:52 | 0:24:54 | |
-It? -Us. Spoil us. | 0:24:54 | 0:24:56 | |
-Spoil us? -Spoil what we have. | 0:24:56 | 0:24:58 | |
I think we could have more. | 0:24:58 | 0:25:00 | |
Maybe what we have is enough. | 0:25:00 | 0:25:01 | |
It's not enough. | 0:25:01 | 0:25:03 | |
-Is it possible that it's enough? -It's not enough. | 0:25:03 | 0:25:05 | |
Look, I feel very close to you right now | 0:25:07 | 0:25:11 | |
but I'm not quite ready to sleep with you. | 0:25:11 | 0:25:13 | |
Really? | 0:25:15 | 0:25:16 | |
You're all the same, you celibate lesbians. | 0:25:20 | 0:25:22 | |
As strongly as I feel about you, tonight is not the night, | 0:25:22 | 0:25:27 | |
so please stop trying to coerce me. | 0:25:27 | 0:25:30 | |
I'm not coercing, I'm seducing. | 0:25:30 | 0:25:33 | |
Are you saying that my seduction is coming across as a coercion? | 0:25:34 | 0:25:38 | |
Not entirely, but it does have a slightly whiny quality to it. | 0:25:38 | 0:25:41 | |
Whiny? That's a blow. | 0:25:41 | 0:25:44 | |
I saw myself as a chunky Pierce Brosnan effortlessly flirting with you. | 0:25:44 | 0:25:49 | |
All right, then. Well, name your exclusion zone. | 0:25:50 | 0:25:54 | |
-Do you want some more wine? -Definitely. | 0:25:54 | 0:25:57 | |
DISSONANT BUZZING MUSIC | 0:26:04 | 0:26:07 | |
Fisht. | 0:26:22 | 0:26:24 | |
SCREAMING | 0:26:43 | 0:26:45 | |
MUSIC: "Bad Dreams" by Venus Ray | 0:26:45 | 0:26:48 | |
Fisht. | 0:26:48 | 0:26:51 | |
# Dream, baby, dream, baby | 0:26:51 | 0:26:53 | |
# Dream, baby, dream, baby Dream, baby, dream, baby | 0:26:53 | 0:26:59 | |
# Dream, baby, dream, baby... # | 0:26:59 | 0:27:01 | |
Whatever else happens, | 0:27:11 | 0:27:13 | |
I'm happy right now. | 0:27:13 | 0:27:16 | |
Ah! | 0:27:18 | 0:27:20 | |
PANTING | 0:27:20 | 0:27:22 | |
-Are you masturbating? -No. | 0:27:22 | 0:27:24 | |
-Are you sure? -Cramp! | 0:27:24 | 0:27:27 | |
Well, why don't you get up? | 0:27:27 | 0:27:29 | |
I didn't want to break the mood. Ah! | 0:27:29 | 0:27:32 | |
Uh-uh-uh-uh-uh-uh! | 0:27:34 | 0:27:37 | |
CRASH Ow! | 0:27:37 | 0:27:38 | |
Yeah, that did kind of break the mood. | 0:27:38 | 0:27:41 | |
Our relationship's going to the next stage. | 0:27:43 | 0:27:46 | |
-Are you stalking her? -I'm the perfect ginger. | 0:27:46 | 0:27:48 | |
Thought you'd never get here. | 0:27:48 | 0:27:49 | |
That really took me back. | 0:27:49 | 0:27:51 | |
Disembowelling's too good for him. | 0:27:51 | 0:27:53 | |
-Donna said she might pop round. -Donna? | 0:27:53 | 0:27:55 | |
Subtitles by Red Bee Media Ltd | 0:28:12 | 0:28:15 | |
E-mail [email protected] | 0:28:15 | 0:28:18 |