Orchestra Seats
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Transcript
| Line | From | To | |
|---|---|---|---|
This film contains some strong language. | 0:00:07 | 0:00:12 | |
SPOKEN FRENCH IN TRANSLATION: | 0:00:18 | 0:00:21 | |
MUSIC: "Les Comediens" by Charles Aznavour | 0:13:21 | 0:13:27 | |
SHE MOUTHS TO: "Les Comediens" | 0:13:35 | 0:13:37 | |
BELL RINGS | 0:13:42 | 0:13:44 | |
ORCHESTRAL MUSICIANS TUNE UP | 0:14:10 | 0:14:15 | |
PIANO PLAYS | 0:14:20 | 0:14:25 | |
PIANO CONTINUES > | 0:14:38 | 0:14:43 | |
HE PLAYS: "Twinkle Twinkle Little Star" | 0:16:10 | 0:16:13 | |
THEY SING | 0:16:17 | 0:16:19 | |
MOBILE RING TONE: "Night Fever" By The Bee Gees | 0:21:04 | 0:21:07 | |
CRASH! | 0:23:14 | 0:23:16 | |
SIREN WAILS OUTSIDE > | 0:24:13 | 0:24:15 | |
THEY SPEAK JAPANESE | 0:28:42 | 0:28:44 | |
HE SPEAKS JAPANESE | 0:29:20 | 0:29:22 | |
HE REPEATS JAPANESE | 0:29:22 | 0:29:24 | |
HE SCREECHES | 0:29:39 | 0:29:41 | |
Arigato. | 0:29:49 | 0:29:50 | |
BELL RINGS | 0:29:50 | 0:29:52 | |
MUSIC: "La Solitude Ca N'Existe Pas" by Gilbert Becaud | 0:31:07 | 0:31:11 | |
SHE MOUTHS TO SONG | 0:31:15 | 0:31:19 | |
BELL RINGS | 0:31:30 | 0:31:32 | |
BELL RINGS | 0:31:33 | 0:31:35 | |
MUSIC FADES OUT | 0:31:43 | 0:31:45 | |
MUSIC: "Si Tu T'Imagines" by Juliette Greco | 0:33:56 | 0:33:59 | |
SHE MOUTHS | 0:33:59 | 0:34:01 | |
MUSIC CONTINUES | 0:34:29 | 0:34:32 | |
Ah, non! Merde! | 0:34:46 | 0:34:48 | |
THUNDER RUMBLES | 0:35:33 | 0:35:35 | |
PIANO MUSIC PLAYS | 0:35:51 | 0:35:53 | |
RAIN FALLS | 0:35:54 | 0:35:56 | |
THUNDER RUMBLES | 0:36:06 | 0:36:08 | |
PIANO MUSIC CONTINUES | 0:36:16 | 0:36:18 | |
Yeah, me too. Marty's a good director. | 0:40:53 | 0:40:55 | |
Wait, wait. Who is this? | 0:42:04 | 0:42:06 | |
A new girl. She's good. | 0:42:06 | 0:42:08 | |
No, no. Not that one. | 0:42:08 | 0:42:10 | |
This one. | 0:42:10 | 0:42:11 | |
Why haven't I seen her? | 0:42:14 | 0:42:16 | |
Catherine Versen? For who? | 0:42:16 | 0:42:18 | |
For Simone. | 0:42:18 | 0:42:20 | |
Catherine Versen for Beauvoir? | 0:42:20 | 0:42:22 | |
No, no, no... | 0:42:22 | 0:42:25 | |
MOBILE PHONE RINGS | 0:44:55 | 0:44:57 | |
MOBILE PHONE RINGS | 0:49:32 | 0:49:34 | |
MOBILE PHONE RINGS | 0:52:51 | 0:52:54 | |
No, no. I understand a lot more than I speak. | 0:54:36 | 0:54:39 | |
MOBILE RING TONE: "Night fever" by The Bee Gees | 0:54:39 | 0:54:42 | |
Sorry. | 0:54:42 | 0:54:43 | |
You know, I did a production of Feydeau once. | 0:54:43 | 0:54:46 | |
A Flea In Her Ear. Une puce a l'oreille. | 0:54:46 | 0:54:49 | |
It was a long time ago. At college. | 0:54:49 | 0:54:51 | |
no psychology. It's just straight, simple comedy. | 0:55:02 | 0:55:05 | |
-It's so refreshing. -So refreshing. | 0:55:05 | 0:55:08 | |
What a life. My God. So you're in the soap? | 0:55:08 | 0:55:12 | |
It goes very well, I understand? | 0:55:12 | 0:55:14 | |
It's not exactly a soap. It's what we call a recurrent airing. | 0:55:14 | 0:55:18 | |
Re...re-cor-ont err-ing? | 0:55:18 | 0:55:20 | |
Yes... It's better, it's more prestigious. | 0:55:20 | 0:55:24 | |
Good. | 0:55:24 | 0:55:25 | |
So, did you ever work with Truffaut? | 0:55:25 | 0:55:28 | |
-Never, no. I'm too young. -Of course. | 0:55:28 | 0:55:32 | |
MOBILE PHONE BEEPS | 0:55:32 | 0:55:34 | |
Sorry. | 0:55:34 | 0:55:36 | |
..in the lunatic asylum. | 0:55:40 | 0:55:42 | |
Oh, yeah? Mine too! | 0:55:44 | 0:55:46 | |
Monsieur... | 0:55:50 | 0:55:51 | |
Oh, no. It's an expression. | 0:55:52 | 0:55:54 | |
Well, I was thinking... | 0:55:58 | 0:56:00 | |
If I drink with nothing in the stomach... | 0:56:04 | 0:56:07 | |
I, um... Let me try some French here. | 0:56:07 | 0:56:10 | |
In the beginning. | 0:56:10 | 0:56:12 | |
Then right up until De Beauvoir renounces their relationship... | 0:56:21 | 0:56:25 | |
Aha. Well, I, I... | 0:56:36 | 0:56:38 | |
Well, I'm gonna try to cover as much as I can of this extraordinary | 0:56:38 | 0:56:42 | |
intellectual relationship between the two and have Paris as a... | 0:56:42 | 0:56:47 | |
post-war backdrop. Existentialism, the nightclub scene, St Germain. | 0:56:47 | 0:56:52 | |
I know about all of the sexual ambiguities. I'm gonna get into... | 0:56:52 | 0:56:55 | |
A bad fucker. | 0:57:00 | 0:57:02 | |
Une petite bourgeois. Little bourgeois | 0:57:02 | 0:57:04 | |
The one who suffered. C'est elle. | 0:57:05 | 0:57:07 | |
Because she loved him. | 0:57:07 | 0:57:08 | |
..fuck a lot of little bimbos. | 0:57:13 | 0:57:15 | |
Well, that's a way of looking at it. | 0:57:22 | 0:57:25 | |
An actress would play that part... You need an actress who's suffered. | 0:57:35 | 0:57:39 | |
Who would know what suffering... Who would know what suffering is, | 0:57:39 | 0:57:43 | |
to play that part. With...um... | 0:57:43 | 0:57:46 | |
-With guts. -Yes, with guts. Exactly. | 0:57:47 | 0:57:49 | |
I have all the ages. I'm old, young, middle. | 0:57:56 | 0:58:00 | |
I make TV. So what? | 0:58:08 | 0:58:10 | |
I'm popular. So what? | 0:58:10 | 0:58:12 | |
Madame Versen. | 0:58:13 | 0:58:15 | |
People love me. So what? | 0:58:18 | 0:58:20 | |
No, no, no, no. Don't... Don't. | 0:58:20 | 0:58:23 | |
Don't cry. Please, don't, don't... | 0:58:23 | 0:58:25 | |
300,000 euros. | 0:58:34 | 0:58:36 | |
And you know what, Brian? | 0:58:36 | 0:58:39 | |
Your movie. I would do it for nothing. | 0:58:40 | 0:58:43 | |
I'm gonna give you some advice. It's free. | 0:58:43 | 0:58:46 | |
Don't ever do something for nothing. | 0:58:46 | 0:58:49 | |
I'm talking about work now. | 0:58:49 | 0:58:51 | |
And what does morfle mean? | 0:58:52 | 0:58:55 | |
Morfle... Morfle is suffering. | 0:58:57 | 0:59:01 | |
-Ah. -But modern. Modern suffering. | 0:59:01 | 0:59:04 | |
A lot... It's an expression. | 0:59:04 | 0:59:08 | |
WOMEN CHATTER IN BACKGROUND | 0:59:52 | 0:59:55 | |
HE WHISPERS: | 0:59:57 | 0:59:59 | |
BELL RINGS | 1:02:21 | 1:02:22 | |
MOBILE RING TONE: "Night Fever" by The Bee Gees | 1:05:47 | 1:05:50 | |
Wow. | 1:06:10 | 1:06:12 | |
Wow, wow, wow. | 1:06:16 | 1:06:19 | |
SHE SNORES | 1:07:07 | 1:07:10 | |
SNORING CONTINUES | 1:07:43 | 1:07:45 | |
PHONE RINGS | 1:10:52 | 1:10:54 | |
ORCHESTRA TUNES UP | 1:14:26 | 1:14:29 | |
APPLAUSE | 1:16:40 | 1:16:42 | |
AUDIENCE LAUGHS | 1:19:18 | 1:19:21 | |
MUSIC: "Je Reviens Te Chercher" by Gilbert Becaud | 1:20:08 | 1:20:12 | |
SHE MOUTHS | 1:20:12 | 1:20:14 | |
MUSIC CONTINUES | 1:20:36 | 1:20:38 | |
PIANO MUSIC PLAYS | 1:20:50 | 1:20:53 | |
AUDIENCE LAUGH | 1:21:58 | 1:22:00 | |
Ah! Ah! Ah! | 1:22:00 | 1:22:02 | |
APPLAUSE | 1:28:16 | 1:28:19 | |
Catherine. Listen. | 1:29:15 | 1:29:17 | |
I, uh, brought you...a script. I've been thinking... Hell, I've been... | 1:29:17 | 1:29:24 | |
I've been absolutely obsessed since that conversation last night. | 1:29:24 | 1:29:28 | |
-You've given me a whole new approach to this story. -Have I? I did? | 1:29:28 | 1:29:33 | |
I don't think I can do the film without you. | 1:29:33 | 1:29:36 | |
I am? | 1:29:39 | 1:29:41 | |
And I need to ask you a favour, OK? | 1:29:41 | 1:29:43 | |
OK. | 1:29:43 | 1:29:44 | |
I want you to work with me on the script. Fuck Sartre. | 1:29:44 | 1:29:47 | |
I wanna tell her story and I want to tell it from her point of view, OK? | 1:29:47 | 1:29:50 | |
And I need you, I need you to help me. I need your... insight, your sensitivity. | 1:29:50 | 1:29:56 | |
What do you think? It'll be hard. Will you work with me on it? | 1:29:56 | 1:29:59 | |
It'll be difficult, I know, but...if you're ready... | 1:29:59 | 1:30:03 | |
I...I'm ready. | 1:30:03 | 1:30:04 | |
OK. OK. | 1:30:04 | 1:30:06 | |
Then, we can... Whoa! | 1:30:06 | 1:30:08 | |
-Catherine? Catherine? -Sorry. | 1:30:10 | 1:30:12 | |
-Yes? -Hello? | 1:30:12 | 1:30:14 | |
Oh! | 1:31:28 | 1:31:30 | |
INAUDIBLE | 1:34:52 | 1:34:55 | |
Subtitles for the deaf and hard of hearing by Red Bee Media Ltd | 1:36:33 | 1:36:37 | |
E-mail [email protected] | 1:36:37 | 1:36:40 |