Browse content similar to Clouds of Sils Maria. Check below for episodes and series from the same categories and more!
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This film contains very strong language. | 0:00:02 | 0:00:05 | |
TRAIN CLATTERS | 0:00:38 | 0:00:40 | |
Maria Enders will not be doing Jakarta. | 0:00:40 | 0:00:42 | |
Or Lima. No, no. | 0:00:42 | 0:00:45 | |
Yes, it's OK on the Annie Leibovitz shoot, but just for that one day. | 0:00:45 | 0:00:48 | |
And in New York, like we agreed. | 0:00:48 | 0:00:50 | |
Yes, I know it'll be tight. I'm sorry about that. | 0:00:51 | 0:00:55 | |
Hey, you're...you're going to have to excuse me. | 0:00:55 | 0:00:57 | |
I have to jump on another call. | 0:00:57 | 0:00:58 | |
Get back to me by tomorrow. All right? OK. | 0:00:58 | 0:01:02 | |
Hello? | 0:01:02 | 0:01:04 | |
Yes, this is Valentine, Maria pers... | 0:01:04 | 0:01:06 | |
Maria Enders' personal assistant. | 0:01:06 | 0:01:08 | |
Yeah, we received the date of the hearing, but she will not be in Paris that day. | 0:01:13 | 0:01:16 | |
We've told the lawyer two times. | 0:01:16 | 0:01:19 | |
She's the one who filed for divorce. Why would she be holding things up? | 0:01:21 | 0:01:25 | |
That's... That's ridiculous. | 0:01:25 | 0:01:27 | |
OK, well, we're going to... | 0:01:29 | 0:01:30 | |
Hell... Hello? | 0:01:30 | 0:01:32 | |
-TRAIN CLATTERS LOUDLY -I'm sorry, we're on a... | 0:01:32 | 0:01:35 | |
MOBILE RINGS | 0:01:37 | 0:01:39 | |
Hello? | 0:01:39 | 0:01:41 | |
I'm sorry. I can barely... W-We're just... We're... | 0:01:41 | 0:01:43 | |
We're on a train and I'm not sure if I... | 0:01:43 | 0:01:46 | |
Fuck! | 0:01:46 | 0:01:47 | |
MOBILE RINGS | 0:01:49 | 0:01:51 | |
Hello? | 0:01:51 | 0:01:53 | |
No, I still can't... I'm... | 0:01:54 | 0:01:57 | |
We're in the Alps. There's a tonne of mountains and tunnels and I... | 0:01:57 | 0:02:00 | |
Yeah. | 0:02:00 | 0:02:02 | |
Did you read this article about Google | 0:02:07 | 0:02:09 | |
and users' private information? It's disgraceful. | 0:02:09 | 0:02:13 | |
-They're too powerful. -Thanks. | 0:02:13 | 0:02:15 | |
So, I have no service in here | 0:02:15 | 0:02:16 | |
because of all the tunnels, but I did reach Gwen. | 0:02:16 | 0:02:18 | |
She said that she's going to take the X-Men thing off of IMDb. | 0:02:18 | 0:02:21 | |
I did one. That was enough. No way am I playing Nemesis again. | 0:02:21 | 0:02:24 | |
Well, they have to do it now because | 0:02:24 | 0:02:26 | |
everyone's blogging about it already. | 0:02:26 | 0:02:28 | |
Yeah. I'm sick of acting hanging from wires | 0:02:28 | 0:02:30 | |
in front of green screens. | 0:02:30 | 0:02:32 | |
I've outgrown it. | 0:02:32 | 0:02:34 | |
Fans are going to be devastated. | 0:02:34 | 0:02:36 | |
Oh, did you speak to, um... What's his name? | 0:02:36 | 0:02:38 | |
-Um... Urs...Urs Kobler? -Yeah, I did. | 0:02:38 | 0:02:41 | |
Is the agenda set for tonight? | 0:02:41 | 0:02:42 | |
Yeah, you're all set. You have just the three interviews. | 0:02:42 | 0:02:45 | |
And then it's the presentation of the award and the official dinner. | 0:02:45 | 0:02:48 | |
He's going to meet us at the train station in Zurich | 0:02:48 | 0:02:50 | |
to take us to the Dolder...Dolder. | 0:02:50 | 0:02:53 | |
That's where you wanted to stay, right? | 0:02:53 | 0:02:55 | |
-I've written a first draft. Want to hear it? -Sure. | 0:02:55 | 0:02:58 | |
READS: I'm very honoured that Wilhelm Melchior asked me | 0:03:03 | 0:03:05 | |
to accept the prize you're awarding him tonight. | 0:03:05 | 0:03:08 | |
As you all know, he decided a long time ago to stay away from all public events. | 0:03:08 | 0:03:12 | |
Not because he's shy or proud. He's a modest and generous man. | 0:03:12 | 0:03:16 | |
But he insists on protecting the peace and quiet he needs to write. | 0:03:16 | 0:03:20 | |
I wish that I could promise you all that I myself will place this prize in his hands. | 0:03:20 | 0:03:25 | |
But Wilhelm has forbidden me to do so. | 0:03:25 | 0:03:27 | |
He asked me to join him tomorrow in Sils Maria, | 0:03:27 | 0:03:30 | |
where he lives for part of the year, | 0:03:30 | 0:03:32 | |
but on one condition - that I come empty-handed. | 0:03:32 | 0:03:34 | |
If I'm here tonight, it's because I owe everything to him. | 0:03:37 | 0:03:40 | |
He chose an unknown 18-year-old actress for the lead in the play | 0:03:40 | 0:03:44 | |
you all know, Maloja Snake, | 0:03:44 | 0:03:46 | |
and then for the film. | 0:03:46 | 0:03:48 | |
That unknown actress who played Sigrid was me. | 0:03:48 | 0:03:51 | |
In two months of shooting he gave me everything I needed to bui... | 0:03:51 | 0:03:54 | |
build a career on - my career. | 0:03:54 | 0:03:57 | |
Up to here it's fine. And then it's all downhill. | 0:03:57 | 0:04:00 | |
Just fragments. | 0:04:00 | 0:04:02 | |
You want me to finish it for you? | 0:04:03 | 0:04:05 | |
No, I'm the one who has to pay tribute to him. | 0:04:05 | 0:04:07 | |
I have to find my own words. If I'm stuck, I'll ask you. OK? | 0:04:07 | 0:04:10 | |
Mappy says it's going to take two and a half hours | 0:04:14 | 0:04:16 | |
to get to Sils Maria from Zurich. | 0:04:16 | 0:04:18 | |
We have a driver. | 0:04:18 | 0:04:19 | |
Um, also, I texted Wilhelm's wife. She hasn't got back to me yet. | 0:04:19 | 0:04:24 | |
That's not like Rosa. MOBILE RINGS | 0:04:25 | 0:04:26 | |
You sure I gave you the right number? | 0:04:26 | 0:04:29 | |
I have to take this. | 0:04:29 | 0:04:32 | |
MOBILE RINGS | 0:05:29 | 0:05:31 | |
I know. I heard. Just a second ago. | 0:05:31 | 0:05:34 | |
Um, I know, I know. I haven't told her yet, but, um... | 0:05:34 | 0:05:38 | |
As soon as I can, OK? I got it. Yeah, yeah. | 0:05:38 | 0:05:41 | |
Yeah... | 0:06:12 | 0:06:14 | |
Yeah, there's really nothing on the net yet. | 0:06:14 | 0:06:16 | |
Just this press release and, um... | 0:06:16 | 0:06:19 | |
..comments. | 0:06:20 | 0:06:22 | |
What kind of comments? | 0:06:22 | 0:06:24 | |
You don't want to know. They're stupid. It just says, you know... | 0:06:24 | 0:06:28 | |
Zorglub228 - "I thought he died a while ago. | 0:06:29 | 0:06:32 | |
"Besides, he hasn't written anything of interest in 20 years." | 0:06:32 | 0:06:35 | |
Wiseguy666 - "The media pays too much attention to writers. | 0:06:35 | 0:06:38 | |
"People die all over the world and no-one ever mentions them." | 0:06:38 | 0:06:41 | |
Zohrarose didn't know who this guy was | 0:06:42 | 0:06:45 | |
but offers her condolences to the family. | 0:06:45 | 0:06:48 | |
So, I spoke to Urs Kobler and we cancelled the press, obviously. | 0:06:51 | 0:06:54 | |
I'm going to work it out when we get in tonight. | 0:06:54 | 0:06:57 | |
It's going to be really...different. | 0:06:57 | 0:07:00 | |
It'll be gloomy. | 0:07:00 | 0:07:02 | |
Official and stiff. | 0:07:02 | 0:07:04 | |
Everything Wilhelm hated. | 0:07:04 | 0:07:06 | |
Yeah, and people are going to be sad. | 0:07:06 | 0:07:08 | |
What do you expect? He's... | 0:07:08 | 0:07:10 | |
He's dead. | 0:07:11 | 0:07:13 | |
If I wanted to be true to him, I'd turn around and go home. | 0:07:13 | 0:07:16 | |
You'll find the words once you're there. I think they'll come naturally. | 0:07:16 | 0:07:19 | |
I think... You know... | 0:07:19 | 0:07:22 | |
Who could do him justice better than you? A stranger? | 0:07:22 | 0:07:24 | |
You love him. It's different. | 0:07:26 | 0:07:28 | |
I love him. | 0:07:29 | 0:07:31 | |
I know so little about him. | 0:07:33 | 0:07:35 | |
MOBILE RINGS | 0:07:35 | 0:07:37 | |
You kn... You know what I mean. | 0:07:37 | 0:07:40 | |
If you want to be true to him, | 0:07:40 | 0:07:42 | |
you have to be there. | 0:07:42 | 0:07:44 | |
Hello. | 0:07:47 | 0:07:48 | |
Um, sure. | 0:07:51 | 0:07:53 | |
Yeah, we're on a train, so we might lose you, but I'll ask her. | 0:07:53 | 0:07:57 | |
OK. | 0:07:58 | 0:07:59 | |
-It's France Inter. -Oh, God. | 0:08:00 | 0:08:03 | |
You kind of have to. I'm sorry. | 0:08:06 | 0:08:08 | |
MOBILE RINGS | 0:08:22 | 0:08:25 | |
-Rosa just called. -I'll call her right back. | 0:09:07 | 0:09:10 | |
She's actually not going to be available till tonight. | 0:09:10 | 0:09:12 | |
She's really busy. She still has to go to the morgue. | 0:09:12 | 0:09:16 | |
Did you find out anything? | 0:09:17 | 0:09:19 | |
Yeah, um... | 0:09:19 | 0:09:21 | |
Wilhelm was home in Sils Maria. | 0:09:22 | 0:09:25 | |
Rosa went for a check-up in Basel. | 0:09:25 | 0:09:28 | |
She thinks that he was home all day writing as usual, | 0:09:28 | 0:09:30 | |
went for a late afternoon walk. | 0:09:30 | 0:09:31 | |
But she called to check on him and couldn't get through, | 0:09:31 | 0:09:34 | |
so she got worried and sent the neighbours over. | 0:09:34 | 0:09:36 | |
Doors were locked, the lights were out, he wasn't home. | 0:09:36 | 0:09:39 | |
When did they find him? | 0:09:41 | 0:09:43 | |
Late afternoon, like, the middle of nowhere. | 0:09:43 | 0:09:47 | |
They think it was a heart attack. | 0:09:47 | 0:09:49 | |
It's so exciting having you here. | 0:10:25 | 0:10:28 | |
Nice. | 0:10:28 | 0:10:30 | |
The cockroaches must have taken a later train. | 0:10:30 | 0:10:33 | |
We are...in a...in a loss for words. | 0:10:40 | 0:10:43 | |
I have to say, my first reaction was to head right back. | 0:10:43 | 0:10:48 | |
I understand. | 0:10:48 | 0:10:50 | |
We were wondering, as well, | 0:10:50 | 0:10:51 | |
should we move forward or cancel everything? | 0:10:51 | 0:10:56 | |
You know, here in Switzerland, | 0:10:56 | 0:10:58 | |
we are not big on public displays of anything. | 0:10:58 | 0:11:02 | |
Especially grief. | 0:11:03 | 0:11:05 | |
This should have been a celebration. | 0:11:05 | 0:11:08 | |
And now it will be a posthumous homage. | 0:11:08 | 0:11:11 | |
It's going to generate the kind of press that we do not want. | 0:11:11 | 0:11:14 | |
We'll try to keep them on distance. | 0:11:14 | 0:11:15 | |
Paparazzi are going to be all over her. You realise that, right? | 0:11:15 | 0:11:18 | |
I have to think it over. | 0:11:18 | 0:11:20 | |
Everything's hitting me at once, so I...I don't know. | 0:11:20 | 0:11:23 | |
Of course. That's why we invited Henryk Wald. | 0:11:23 | 0:11:27 | |
Henryk Wald? | 0:11:28 | 0:11:31 | |
Yes. | 0:11:31 | 0:11:32 | |
He's devastated, as well. | 0:11:32 | 0:11:35 | |
But he agreed to hop on a plane to be with us tonight. | 0:11:35 | 0:11:40 | |
If you'd prefer not to accept the prize, Henryk can do it. | 0:11:40 | 0:11:44 | |
It's up to you. | 0:11:44 | 0:11:46 | |
He's associated with Wilhelm's theatre. | 0:11:46 | 0:11:49 | |
Most of the plays were written for him. | 0:11:49 | 0:11:52 | |
-You don't appreciate him? -We did two films together. | 0:11:53 | 0:11:56 | |
No, we didn't get along very well. | 0:11:56 | 0:11:59 | |
But I'm glad he's here. | 0:11:59 | 0:12:02 | |
He and Wilhelm were very close, and Rosa likes him a lot. | 0:12:02 | 0:12:05 | |
He's a...a great actor. | 0:12:05 | 0:12:09 | |
Yeah. | 0:12:09 | 0:12:10 | |
One last question. | 0:12:10 | 0:12:13 | |
Oh, I forgot to tell you this thing. Sorry. | 0:12:13 | 0:12:15 | |
-Chanel. -Chanel. | 0:12:15 | 0:12:17 | |
The press attache from Chanel | 0:12:17 | 0:12:18 | |
is waiting for you at the hotel to try on your gown. | 0:12:18 | 0:12:21 | |
You don't have to. | 0:12:21 | 0:12:23 | |
No, you do not have to. | 0:12:23 | 0:12:25 | |
Can we turn this off? | 0:12:33 | 0:12:34 | |
-And no fruit. Thank you. -Mm-hmm. | 0:12:38 | 0:12:41 | |
OK, all good. Thank you. | 0:12:58 | 0:13:00 | |
So, what do you think? Would she stay? | 0:13:05 | 0:13:08 | |
Yeah, she'll...she'll stay. | 0:13:08 | 0:13:09 | |
Because if not, I have to change the tickets. | 0:13:09 | 0:13:12 | |
I know. She'll stay. Trust me. | 0:13:12 | 0:13:14 | |
Thank you. | 0:13:14 | 0:13:16 | |
I can't deal with this. It's impossible. | 0:13:18 | 0:13:21 | |
I'll never find the right words. | 0:13:21 | 0:13:22 | |
His body isn't even cold yet, and everybody wants a piece of him, | 0:13:25 | 0:13:29 | |
starting with Henryk Wald, of course. | 0:13:29 | 0:13:30 | |
Of course he'd be happy to accept the prize. | 0:13:30 | 0:13:33 | |
If only I could just not see him. | 0:13:34 | 0:13:36 | |
Henryk? | 0:13:37 | 0:13:39 | |
Why are you still so upset with him? | 0:13:39 | 0:13:41 | |
I have no reason to have stopped being upset with him. | 0:13:41 | 0:13:44 | |
-So he was in love with you or something. -Not at all. | 0:13:44 | 0:13:46 | |
He was just furious I didn't give in to him. | 0:13:46 | 0:13:49 | |
He's perverse, violent. | 0:13:51 | 0:13:53 | |
He hits women. | 0:13:53 | 0:13:55 | |
He likes to humiliate them. | 0:13:55 | 0:13:57 | |
Look it up on the internet. | 0:13:57 | 0:13:59 | |
I thought we despised the internet. | 0:13:59 | 0:14:01 | |
-Caroline? -Yes. -Hey. Valentine. | 0:14:03 | 0:14:06 | |
-Hello. -Hi. -Hi. | 0:14:06 | 0:14:07 | |
Thanks for agreeing to this. I know it must be really difficult for you. | 0:14:07 | 0:14:11 | |
Uh, this is Berndt. | 0:14:18 | 0:14:21 | |
-Oh. Hi. -Hi. | 0:14:21 | 0:14:22 | |
-Berndt. Nice to meet you. -Nice to meet you. | 0:14:22 | 0:14:24 | |
You know those really trashy photos I showed you of Lindsay Lohan? | 0:14:24 | 0:14:27 | |
This guy's responsible. | 0:14:27 | 0:14:29 | |
But I'll try to be more elegant today. | 0:14:29 | 0:14:32 | |
Mmm. | 0:14:48 | 0:14:50 | |
It's Rosa. | 0:15:41 | 0:15:43 | |
Am I bothering you? | 0:15:45 | 0:15:47 | |
I just wanted to tell you... | 0:15:47 | 0:15:50 | |
..to thank you. | 0:15:51 | 0:15:53 | |
It's good that you're there. | 0:15:53 | 0:15:55 | |
It's good... | 0:15:55 | 0:15:57 | |
that you're accepting the prize. | 0:15:57 | 0:15:59 | |
It's what Wilhelm wanted. | 0:15:59 | 0:16:01 | |
Henryk? No. | 0:16:04 | 0:16:06 | |
You know what he thought of Henryk. | 0:16:06 | 0:16:10 | |
The less he understands, the better he is, | 0:16:11 | 0:16:13 | |
and when he understands nothing, he's excellent. | 0:16:13 | 0:16:15 | |
I would like to have given you a hug, but... | 0:16:18 | 0:16:22 | |
but I'm leaving. | 0:16:22 | 0:16:24 | |
I can't stand being alone at Sils. | 0:16:24 | 0:16:27 | |
It's too difficult. | 0:16:27 | 0:16:30 | |
But there's something I want you, | 0:16:30 | 0:16:33 | |
and only you... | 0:16:33 | 0:16:36 | |
..to know. | 0:16:42 | 0:16:44 | |
Mmm. | 0:16:48 | 0:16:50 | |
THEY GIGGLE | 0:16:50 | 0:16:52 | |
So, he knew about the illness for a long time? | 0:16:54 | 0:16:57 | |
Did the autopsy say what he swallowed? | 0:17:01 | 0:17:04 | |
Oh, I see. | 0:17:07 | 0:17:10 | |
He left nothing to chance. | 0:17:10 | 0:17:12 | |
Beautiful. Turn your body a bit sideways, please. | 0:17:13 | 0:17:16 | |
Yeah. And chin up a little bit, please. Thank you. | 0:17:16 | 0:17:19 | |
Great. Yeah. | 0:17:19 | 0:17:21 | |
-Maria? -Hmm? | 0:17:21 | 0:17:22 | |
-Sorry. It's, uh, your future ex. -And again. All right? | 0:17:22 | 0:17:26 | |
-Hold on a second. -Right, right. -Hello? | 0:17:26 | 0:17:29 | |
CAMERA SHUTTERS CLICK | 0:17:43 | 0:17:46 | |
-PHOTOGRAPHERS CLAMOUR -Maria! Maria! | 0:17:53 | 0:17:54 | |
Maria! | 0:17:54 | 0:17:56 | |
-ALL SHOUT: -Maria! Maria! | 0:17:56 | 0:17:58 | |
The press is all here. | 0:18:01 | 0:18:02 | |
I don't know how we'll squeeze them all in. | 0:18:02 | 0:18:05 | |
One thing you should know - we met very early, at the university. | 0:18:06 | 0:18:10 | |
We were both studying literature and theology. | 0:18:10 | 0:18:12 | |
And I had the privilege of acting | 0:18:15 | 0:18:17 | |
in all of his plays, here and abroad. | 0:18:17 | 0:18:19 | |
He had become a recluse - mysterious, inaccessible. | 0:18:19 | 0:18:22 | |
Wilhelm was the simplest man in the world. | 0:18:22 | 0:18:26 | |
He liked to ski in the winter and go hiking in the summer. | 0:18:26 | 0:18:29 | |
Those are the fondest memories I have of him. | 0:18:29 | 0:18:32 | |
His later work depicts a bleak, destructive vision. | 0:18:32 | 0:18:35 | |
I acted in those plays. | 0:18:35 | 0:18:37 | |
Mmm, it's true. | 0:18:39 | 0:18:40 | |
At times I found them scary. | 0:18:40 | 0:18:43 | |
A sea of grey hair. | 0:18:46 | 0:18:49 | |
Completely. | 0:18:51 | 0:18:52 | |
So, first I'll say a few words. | 0:18:54 | 0:18:57 | |
I hope I am up to the task. | 0:18:57 | 0:18:59 | |
And then I'll introduce Henryk. | 0:18:59 | 0:19:01 | |
Once he has finished, he asks you to join him on stage. | 0:19:01 | 0:19:04 | |
You'll introduce the film. That's it. | 0:19:04 | 0:19:07 | |
I saw Wilhelm two weeks ago. | 0:19:21 | 0:19:23 | |
We went hunting. | 0:19:25 | 0:19:27 | |
He was his usual self. There and not there. | 0:19:28 | 0:19:32 | |
He mentioned the prize, said he wouldn't be attending. | 0:19:35 | 0:19:38 | |
I told him he'd miss an opportunity to see you. | 0:19:39 | 0:19:42 | |
I was on Long Island six months ago. I spent a week with him and Rosa. | 0:19:42 | 0:19:46 | |
-I know. -I don't give a fuck that you know. | 0:19:46 | 0:19:48 | |
Henryk, you are almost on. | 0:19:50 | 0:19:52 | |
Excuse me. | 0:19:52 | 0:19:54 | |
We had an affair when we were shooting Maloja Snake. | 0:19:59 | 0:20:02 | |
-Yeah, I couldn't tell... -I was 18, kind of dumb. | 0:20:02 | 0:20:06 | |
And he really took advantage. | 0:20:06 | 0:20:07 | |
After the shoot, I never heard from him. | 0:20:08 | 0:20:11 | |
-It destroyed me. -I'm sure you've run into him since. | 0:20:11 | 0:20:14 | |
We made another film together afterwards. | 0:20:15 | 0:20:17 | |
-Which one? -Oh, you don't want to know. | 0:20:18 | 0:20:21 | |
Tolstoy adaptation. German producers. | 0:20:21 | 0:20:23 | |
Who cares, huh? | 0:20:23 | 0:20:26 | |
Well, ten years later, I was famous. | 0:20:26 | 0:20:28 | |
Then he was interested. | 0:20:28 | 0:20:30 | |
And he kept harassing me, calling me in the middle of the night. | 0:20:30 | 0:20:33 | |
But I didn't give in, and that he hated. | 0:20:33 | 0:20:36 | |
And he made me pay for it every single day of the shooting. | 0:20:36 | 0:20:40 | |
He was really amazing in that one movie... Um, what is it called? | 0:20:40 | 0:20:45 | |
He plays a Soviet defector with, like, missile codes and shit. | 0:20:45 | 0:20:49 | |
-Um, do you know? -No, I don't know. | 0:20:49 | 0:20:52 | |
Never heard of it. | 0:20:52 | 0:20:54 | |
He's great in it. | 0:20:54 | 0:20:56 | |
So intense, especially in the more physical scenes. | 0:20:56 | 0:20:59 | |
That stare. He is like... | 0:20:59 | 0:21:02 | |
-I like him. -Yeah, I kind of got it. | 0:21:02 | 0:21:04 | |
I mean, as an actor I really like him. I... | 0:21:04 | 0:21:07 | |
Maria, you're on in five minutes. | 0:21:49 | 0:21:51 | |
APPLAUSE | 0:21:51 | 0:21:53 | |
Maria... | 0:21:58 | 0:21:59 | |
APPLAUSE | 0:22:10 | 0:22:12 | |
CHEERING AND APPLAUSE | 0:22:26 | 0:22:29 | |
Thank you. | 0:22:38 | 0:22:40 | |
Go get 'em, tiger. | 0:22:41 | 0:22:43 | |
Thank you very much. | 0:22:45 | 0:22:46 | |
-Hi. -Good evening. Welcome. | 0:23:05 | 0:23:07 | |
I'm honoured to welcome you here. | 0:23:09 | 0:23:11 | |
I wish it had been under happier circumstances. | 0:23:11 | 0:23:14 | |
It's, um... It's great to celebrate his work. Especially today. | 0:23:14 | 0:23:19 | |
I was eager that the city of Zurich pay tribute to him. | 0:23:19 | 0:23:23 | |
He was very grateful to you. He told me so. | 0:23:23 | 0:23:25 | |
Hey. She'll just be two seconds. | 0:23:28 | 0:23:30 | |
I'm sure she's going to be thrilled to be relieved from officialdom. | 0:23:30 | 0:23:34 | |
-You know that his last play was set in Zurich. -Oh, yes. | 0:23:34 | 0:23:37 | |
He paints a rather dire portrait of our political class. | 0:23:37 | 0:23:40 | |
That's an understatement. | 0:23:40 | 0:23:41 | |
You should know. Your character was evil. | 0:23:41 | 0:23:44 | |
Klaus Diesterweg is here to see you. | 0:23:44 | 0:23:47 | |
Excuse me. Sorry. | 0:23:49 | 0:23:50 | |
I already told him no. | 0:23:53 | 0:23:55 | |
-He's here just to see you. -The project doesn't interest me. OK? | 0:23:55 | 0:23:58 | |
He's a great director. Just hear him out. You don't have to do it. | 0:23:58 | 0:24:02 | |
He's probably the best of his generation. | 0:24:02 | 0:24:04 | |
I know. We saw the same productions. | 0:24:04 | 0:24:06 | |
If you'd like to go on chatting with the mayor and Henryk, you can be my guest. | 0:24:06 | 0:24:10 | |
No, thank you. | 0:24:12 | 0:24:13 | |
OK. | 0:24:15 | 0:24:17 | |
Do you mind if I cut out for a bit? | 0:24:17 | 0:24:19 | |
I'm just going to meet Berndt. | 0:24:19 | 0:24:21 | |
Berndt? | 0:24:21 | 0:24:22 | |
-The photographer. -SHE WOLF-WHISTLES | 0:24:22 | 0:24:24 | |
We're just going to find somewhere a bit livelier. | 0:24:24 | 0:24:26 | |
This place is a dead zone. | 0:24:26 | 0:24:27 | |
Oh. No problem. I don't plan to hang around. | 0:24:27 | 0:24:31 | |
Enjoy. | 0:24:31 | 0:24:32 | |
-Thank you for finding time for me. -It's a pleasure to meet you. | 0:24:36 | 0:24:39 | |
-I hope you don't find me too insistent. -Not at all. | 0:24:39 | 0:24:41 | |
I've seen quite a few of your productions. I enjoy them, and... | 0:24:41 | 0:24:45 | |
I know we'll find an opportunity to work together in the future. | 0:24:45 | 0:24:49 | |
Give me one more chance. | 0:24:49 | 0:24:51 | |
Klaus... | 0:24:51 | 0:24:53 | |
I played Sigrid in Maloja Snake when I was 18. | 0:24:56 | 0:25:01 | |
For me it was more than a role. | 0:25:01 | 0:25:03 | |
In some way, I am still Sigrid. | 0:25:04 | 0:25:06 | |
That's my point. If Sigrid seduces Helena... | 0:25:06 | 0:25:09 | |
And it has nothing to do with being a lesbian, by the way. | 0:25:09 | 0:25:11 | |
-I've always been straight. -That's not at all what I meant. | 0:25:11 | 0:25:14 | |
Sigrid is free, beyond everything. | 0:25:14 | 0:25:16 | |
And most of all, she's disruptive, unpredictable. | 0:25:16 | 0:25:19 | |
I know. | 0:25:19 | 0:25:20 | |
And right or wrong, I've always identified with that freedom. | 0:25:22 | 0:25:25 | |
It's a way of, uh... | 0:25:26 | 0:25:27 | |
..protecting myself. | 0:25:29 | 0:25:31 | |
Do you smoke? | 0:25:31 | 0:25:32 | |
Uh, no, no. I...I try not to. | 0:25:32 | 0:25:36 | |
And for you, Helena embodies the opposite? | 0:25:38 | 0:25:41 | |
Helena is 40. She's runs a company. | 0:25:41 | 0:25:43 | |
She falls head over heels in love with a girl who doesn't love her | 0:25:43 | 0:25:47 | |
and leads her to suicide. | 0:25:47 | 0:25:49 | |
Yes. She's completely the opposite. | 0:25:49 | 0:25:52 | |
But what is it that attracts Helena to Sigrid, if they are so different? | 0:25:52 | 0:25:56 | |
It's obvious. Her youth. | 0:25:56 | 0:26:00 | |
Well, if you're telling me | 0:26:00 | 0:26:01 | |
that I'm Helena's age now, yeah, you're right, it's true. | 0:26:01 | 0:26:04 | |
But that doesn't mean I can play her. | 0:26:04 | 0:26:06 | |
The way I see Helena is totally different. | 0:26:06 | 0:26:09 | |
Despite her bourgeois life, despite her responsibilities, | 0:26:09 | 0:26:13 | |
she's not the epitome of order | 0:26:13 | 0:26:15 | |
and not at all the opposite of Sigrid. | 0:26:15 | 0:26:17 | |
Well, she is married, with children, | 0:26:17 | 0:26:20 | |
her social life is a huge success, | 0:26:20 | 0:26:22 | |
and she sacrifices it all. | 0:26:22 | 0:26:23 | |
Yeah, she's destructive. | 0:26:23 | 0:26:25 | |
Sigrid revives this hidden violence in Helena. | 0:26:25 | 0:26:28 | |
Was it hidden or tamed? | 0:26:28 | 0:26:30 | |
Time's gone by and she can't accept it. | 0:26:33 | 0:26:36 | |
Me neither, I guess. | 0:26:36 | 0:26:37 | |
There's no antagonism. | 0:26:40 | 0:26:41 | |
It's the attraction of two women with the same wound. | 0:26:41 | 0:26:45 | |
Sigrid and Helena are one and the same person. | 0:26:45 | 0:26:48 | |
One and the same person. | 0:26:48 | 0:26:50 | |
That's what the play is about. | 0:26:50 | 0:26:52 | |
And because you were Sigrid, only you can be Helena now. | 0:26:53 | 0:26:57 | |
Hmm. How can you be so sure? | 0:26:57 | 0:27:00 | |
You know as well as I do that Wilhelm Melchior | 0:27:00 | 0:27:03 | |
had been working on a sequel for years. | 0:27:03 | 0:27:05 | |
Yes, but it was about Sigrid at 40 years old. | 0:27:05 | 0:27:08 | |
No, it was about Sigrid 20 years later became Helena. | 0:27:08 | 0:27:12 | |
So who's to play Sigrid? | 0:27:15 | 0:27:18 | |
Jo-Ann Ellis. | 0:27:19 | 0:27:21 | |
She did a superhero movie that just opened in the States. | 0:27:22 | 0:27:26 | |
-And besides that? -Not much. She's 19. | 0:27:26 | 0:27:29 | |
She's a lot more interesting than her interviews and profiles. | 0:27:29 | 0:27:33 | |
She has a theatrical background. | 0:27:33 | 0:27:35 | |
She doesn't want to be swallowed up by Hollywood. | 0:27:35 | 0:27:38 | |
She admires you, and she's willing to pull out | 0:27:39 | 0:27:41 | |
of her other commitments. | 0:27:41 | 0:27:42 | |
Well, I've listened carefully. | 0:27:47 | 0:27:50 | |
But to be honest, um, the role scares me. | 0:27:52 | 0:27:55 | |
Helena scares me. | 0:27:55 | 0:27:57 | |
I'm in the middle of a divorce. | 0:27:57 | 0:27:59 | |
I feel alone and vulnerable. | 0:27:59 | 0:28:02 | |
Probably too vulnerable to do this. | 0:28:02 | 0:28:04 | |
If you refuse, I'll understand, but... | 0:28:05 | 0:28:08 | |
..it will be a missed opportunity. | 0:28:09 | 0:28:12 | |
Especially for Wilhelm. | 0:28:12 | 0:28:14 | |
SHE CHUCKLES | 0:28:14 | 0:28:16 | |
I should get going. | 0:28:16 | 0:28:18 | |
Excuse me, but I won't be staying for dinner. | 0:28:25 | 0:28:28 | |
Good evening, Maria. | 0:28:30 | 0:28:32 | |
Klaus. | 0:28:32 | 0:28:34 | |
I have another reason. | 0:28:34 | 0:28:36 | |
Susan Rosenberg. | 0:28:36 | 0:28:38 | |
She played Helena with me. | 0:28:38 | 0:28:40 | |
I remember Susan Rosenberg. | 0:28:40 | 0:28:42 | |
She died in a car accident a year after. | 0:28:42 | 0:28:45 | |
It's a superstition. I've always associated her death | 0:28:47 | 0:28:50 | |
with Helena's suicide. | 0:28:50 | 0:28:52 | |
She was a lousy actress who didn't understand a thing about the role. | 0:28:52 | 0:28:55 | |
But her conventional style of acting | 0:28:57 | 0:28:59 | |
highlighted the modernity of your performance. | 0:28:59 | 0:29:02 | |
You should be grateful to her. | 0:29:02 | 0:29:04 | |
Please sit down. | 0:29:13 | 0:29:15 | |
Thank you. | 0:29:16 | 0:29:18 | |
Oh, is there a way of changing this? | 0:29:21 | 0:29:23 | |
-Can you put him in another place? -I'm... I'm sorry. Oh, he's coming. | 0:29:23 | 0:29:26 | |
MUTED CONVERSATION | 0:29:35 | 0:29:38 | |
You were with Klaus Diesterweg. | 0:29:42 | 0:29:44 | |
Are you going to accept his offer? | 0:29:44 | 0:29:46 | |
-What offer? -You know. | 0:29:46 | 0:29:48 | |
He's a very good director. | 0:29:48 | 0:29:50 | |
If he'd offered me a role, I'd accept it on the spot. | 0:29:50 | 0:29:53 | |
So that means, um, I should accept it? | 0:29:53 | 0:29:56 | |
-God, no! -SHE LAUGHS | 0:29:56 | 0:29:59 | |
This much-talked-about sequel of his... | 0:29:59 | 0:30:02 | |
Remember, he never finished it. | 0:30:04 | 0:30:06 | |
Sorry to be brutal, | 0:30:06 | 0:30:08 | |
but I'm a simple man and the play tells a simple story. | 0:30:08 | 0:30:11 | |
An older woman falls in love with a scheming girl | 0:30:11 | 0:30:14 | |
that has her wrapped around her little finger. | 0:30:14 | 0:30:16 | |
The girl takes advantage of her, | 0:30:16 | 0:30:18 | |
squeezes everything she can out of her, then dumps her. | 0:30:18 | 0:30:22 | |
Helena's love for Sigrid makes her stupid | 0:30:22 | 0:30:25 | |
and blind to what everybody in the audience can see right away. | 0:30:25 | 0:30:28 | |
But then, that's really all she's ever wanted. | 0:30:28 | 0:30:32 | |
She's fascinated by her own downfall. | 0:30:32 | 0:30:35 | |
It's as clear as day. | 0:30:35 | 0:30:37 | |
That's why the play was such a hit and is still being performed today. | 0:30:37 | 0:30:42 | |
Why stage it if you want to tell another story? | 0:30:44 | 0:30:47 | |
I think your reading is simplistic. | 0:30:47 | 0:30:50 | |
I know Sigrid, | 0:30:50 | 0:30:53 | |
and believe me, she's more interesting than that. | 0:30:53 | 0:30:55 | |
Yes, she takes advantage of Helena. | 0:30:55 | 0:30:58 | |
Yes, she fascinates her and she knows it. | 0:30:58 | 0:31:01 | |
You can decide not to look any further, but I had to because I played her. | 0:31:02 | 0:31:06 | |
You're just talking about what's on the surface. | 0:31:06 | 0:31:09 | |
The play is about what attracts them to each other. | 0:31:09 | 0:31:12 | |
It's harder to see, and it's more profound and truer. | 0:31:12 | 0:31:16 | |
The impossibility of their relationship is as cruel for Sigrid. | 0:31:18 | 0:31:22 | |
-HE SCOFFS -Cruel for Sigrid? | 0:31:22 | 0:31:25 | |
-I'm sure she'll get over it. -What do you know? | 0:31:25 | 0:31:27 | |
Time. Youth. | 0:31:27 | 0:31:29 | |
She has her life ahead of her. | 0:31:29 | 0:31:31 | |
Well, Helena is young too. She's not old. | 0:31:31 | 0:31:33 | |
She has her life ahead of her, too. | 0:31:33 | 0:31:35 | |
But she decides to give it all up. | 0:31:35 | 0:31:37 | |
Helena is not used to being turned down. | 0:31:37 | 0:31:39 | |
She discovers her own frailty and she can't accept it. | 0:31:39 | 0:31:42 | |
We'll drop Mr Wald off first, please. | 0:31:55 | 0:31:59 | |
Grand Hotel du Lac, please. | 0:32:00 | 0:32:02 | |
So Klaus has persuaded you. | 0:32:06 | 0:32:09 | |
You're going to play Helena. | 0:32:09 | 0:32:10 | |
I didn't say that. | 0:32:12 | 0:32:14 | |
But I'm considering it. | 0:32:14 | 0:32:16 | |
Yes. | 0:32:16 | 0:32:18 | |
Are you sure you don't want to have a last drink? | 0:32:30 | 0:32:34 | |
SHE LAUGHS | 0:32:34 | 0:32:36 | |
I'm already drunk, darling. | 0:32:37 | 0:32:40 | |
Henryk! | 0:32:45 | 0:32:46 | |
-Yes? -Hold on. | 0:32:46 | 0:32:49 | |
-TV: -Ready for recovery, recently appointed governor Mark Carney | 0:33:02 | 0:33:06 | |
promised to keep interest rates low | 0:33:06 | 0:33:08 | |
as long as unemployment remains high... | 0:33:08 | 0:33:11 | |
TV CONTINUES INDISTINCTLY | 0:33:11 | 0:33:15 | |
Wow. | 0:34:50 | 0:34:52 | |
-Hey. -Hi. | 0:34:52 | 0:34:54 | |
I just found the main road again. I'm sorry. | 0:34:54 | 0:34:56 | |
I must have set the GPS wrong. | 0:34:56 | 0:34:58 | |
Like an hour or so, probably. | 0:34:58 | 0:35:00 | |
I had a...dream, um... | 0:35:00 | 0:35:03 | |
We were already rehearsing and... | 0:35:05 | 0:35:07 | |
past and the present were blending together. | 0:35:07 | 0:35:11 | |
-I'm confused. -No kidding. | 0:35:11 | 0:35:14 | |
I shouldn't have said yes to Klaus. | 0:35:15 | 0:35:18 | |
But Wilhelm's death, mourning - I couldn't refuse. | 0:35:18 | 0:35:22 | |
He is a sick director. | 0:35:22 | 0:35:25 | |
Jo-Ann's a superstar. It pays well. | 0:35:25 | 0:35:28 | |
I don't need the money. | 0:35:28 | 0:35:30 | |
OK. | 0:35:32 | 0:35:33 | |
Hi. | 0:35:56 | 0:35:58 | |
Stay as long as you want. | 0:36:03 | 0:36:05 | |
I like the fact | 0:36:05 | 0:36:07 | |
that you are working on the part here, where it was written. | 0:36:07 | 0:36:11 | |
You promised - no ghosts. | 0:36:11 | 0:36:15 | |
There... There aren't any. | 0:36:15 | 0:36:17 | |
I was joking. | 0:36:17 | 0:36:19 | |
No. It was half-joking. | 0:36:19 | 0:36:22 | |
This is what I wanted to show you. | 0:37:08 | 0:37:11 | |
This is where Wilhelm killed himself. | 0:37:11 | 0:37:14 | |
But that...that stays between you and me. | 0:37:14 | 0:37:17 | |
Is that the Maloja Pass over there? | 0:37:21 | 0:37:24 | |
Yeah. | 0:37:24 | 0:37:25 | |
-The snake, right? -The snake. | 0:37:25 | 0:37:28 | |
Why a snake? In the play, it's, uh... It's ambiguous. | 0:37:28 | 0:37:32 | |
The Maloja snake. | 0:37:33 | 0:37:35 | |
It's a cloud formation. | 0:37:35 | 0:37:38 | |
Fairly rare. | 0:37:38 | 0:37:40 | |
Partially unexplained. | 0:37:40 | 0:37:42 | |
It's a sign of bad weather. | 0:37:42 | 0:37:46 | |
And the clouds, they are coming from the Italian lakes, | 0:37:46 | 0:37:49 | |
over the pass | 0:37:49 | 0:37:51 | |
and winding through the valley | 0:37:51 | 0:37:54 | |
like a serpent. | 0:37:54 | 0:37:56 | |
Therefore, it's a snake. They call it a snake. | 0:37:57 | 0:38:00 | |
The clouds wind up the Maloja Pass. | 0:38:19 | 0:38:23 | |
Wilhelm was fascinated by this film. | 0:38:44 | 0:38:47 | |
He used to marvel at the fact that the true nature of the landscape | 0:38:47 | 0:38:52 | |
revealed itself in these images. | 0:38:52 | 0:38:55 | |
Yes, um, but the black-and-white creates a distance. | 0:38:57 | 0:39:02 | |
It sets the passing of time. | 0:39:02 | 0:39:05 | |
It's almost a century old. | 0:39:05 | 0:39:08 | |
Actually, it comes from very far away. | 0:39:08 | 0:39:12 | |
That's the beauty of it. | 0:39:12 | 0:39:15 | |
-Thank you so much. -Lovely to meet you. Thank you. | 0:39:28 | 0:39:30 | |
Thank you. | 0:39:30 | 0:39:32 | |
I won't promise to come and see you in London. | 0:39:35 | 0:39:39 | |
I hope you change your mind. All right? | 0:39:39 | 0:39:41 | |
THEY CHUCKLE | 0:39:41 | 0:39:43 | |
Theatre is only theatre. | 0:39:43 | 0:39:45 | |
Oh, Maria. | 0:39:48 | 0:39:49 | |
It belongs to Wilhelm. | 0:39:51 | 0:39:53 | |
Keep it. | 0:39:54 | 0:39:55 | |
GOATS' BELLS CLATTER NEARBY | 0:39:55 | 0:39:58 | |
ENGINE TURNS | 0:39:58 | 0:40:00 | |
You were 18 years old. You weren't a child. | 0:40:14 | 0:40:17 | |
There had to have been some kind of attraction or... | 0:40:17 | 0:40:19 | |
Wilhelm was far from a saint, right? | 0:40:21 | 0:40:23 | |
Maybe. | 0:40:25 | 0:40:27 | |
Mmm. | 0:40:29 | 0:40:31 | |
He did choose me, so he must have felt something, but... | 0:40:31 | 0:40:35 | |
it remained unspoken. | 0:40:35 | 0:40:37 | |
-So you admit... -And it's not very important. | 0:40:38 | 0:40:40 | |
It's not very important. | 0:40:40 | 0:40:42 | |
Mmm. If that's not important, what the fuck is important? | 0:40:42 | 0:40:47 | |
All that matters is what's in the movie. | 0:40:47 | 0:40:50 | |
So you admit there was attraction? | 0:40:50 | 0:40:52 | |
Stop. | 0:40:53 | 0:40:54 | |
Why? Was it mutual? | 0:40:55 | 0:40:58 | |
Yes. | 0:40:58 | 0:40:59 | |
No! I don't know. I don't know. | 0:40:59 | 0:41:02 | |
You don't understand. | 0:41:02 | 0:41:04 | |
Yes, I was attracted to Wilhelm, but it's normal. | 0:41:07 | 0:41:11 | |
I was fine with just feeling attracted and with the intimacy. | 0:41:11 | 0:41:16 | |
So there was intimacy, too. | 0:41:17 | 0:41:19 | |
SHE LAUGHS | 0:41:21 | 0:41:23 | |
Stop picking apart every word I say. | 0:41:23 | 0:41:25 | |
Anything more would have endangered our relationship. | 0:41:25 | 0:41:29 | |
I was, uh... | 0:41:29 | 0:41:31 | |
My intuition told me that it was far more valuable than desire. | 0:41:31 | 0:41:36 | |
I feel you. | 0:41:36 | 0:41:38 | |
-You were in love with him. -Of course I wasn't. | 0:41:38 | 0:41:42 | |
Stop oversimplifying. It's too easy. | 0:41:42 | 0:41:44 | |
It was less than that. | 0:41:44 | 0:41:46 | |
And it was better. | 0:41:46 | 0:41:47 | |
I don't know any more. Maybe I only remember what suits me to remember. | 0:41:49 | 0:41:53 | |
Yeah. I think so. | 0:41:53 | 0:41:55 | |
-Cos the story changes every time. -Bitch. | 0:41:55 | 0:41:58 | |
SHE LAUGHS | 0:41:58 | 0:41:59 | |
Do you want to christen a shopping mall in Nanking? | 0:41:59 | 0:42:02 | |
No. | 0:42:02 | 0:42:03 | |
How about a series of commercials for eyeglasses? | 0:42:03 | 0:42:06 | |
-No. -It's only in Latin America. | 0:42:06 | 0:42:08 | |
-No! -All right. | 0:42:08 | 0:42:09 | |
Um, there's a Spanish horror flick. It's pretty gory. | 0:42:09 | 0:42:12 | |
You'd be playing a mother superior. | 0:42:12 | 0:42:14 | |
There are werewolves involved, for whatever reason. | 0:42:14 | 0:42:17 | |
No. | 0:42:17 | 0:42:18 | |
An interview with an Italian magazine targeting active women. | 0:42:18 | 0:42:22 | |
Seduction After 40. | 0:42:22 | 0:42:23 | |
No! | 0:42:25 | 0:42:26 | |
But it's the cover. | 0:42:26 | 0:42:28 | |
-No! -OK. | 0:42:28 | 0:42:29 | |
-Mario Testino is shooting it. -I don't care. | 0:42:29 | 0:42:32 | |
Jo-Ann Ellis' movie is opening up in Europe. | 0:42:34 | 0:42:36 | |
She wants to meet you. | 0:42:36 | 0:42:37 | |
-When? -Next week. | 0:42:37 | 0:42:40 | |
Where? | 0:42:41 | 0:42:43 | |
Wherever you want. She'll come here if you'd like. | 0:42:43 | 0:42:46 | |
-Definitely not here. -Maybe I'll tell her to book the Waldhaus. | 0:42:47 | 0:42:51 | |
When is her movie opening? | 0:42:52 | 0:42:54 | |
It opened last week. Have you read a paper lately? | 0:42:54 | 0:42:58 | |
I'm sorry. You want one? | 0:42:58 | 0:43:00 | |
It's playing in St Moritz, if you want to see it. | 0:43:01 | 0:43:03 | |
I'd rather wait until rehearsals start | 0:43:03 | 0:43:05 | |
and...keep the image of Sigrid as myself at 18. | 0:43:05 | 0:43:09 | |
I know, I know. It's a little disturbing. | 0:43:09 | 0:43:12 | |
But I find it more interesting. | 0:43:12 | 0:43:15 | |
Well, I didn't know you at 18, | 0:43:15 | 0:43:17 | |
but I'm almost positive Jo-Ann's a lot worse. | 0:43:17 | 0:43:20 | |
How can you be so sure? | 0:43:20 | 0:43:22 | |
-Have you googled her? -Well, I just looked at the pictures. | 0:43:22 | 0:43:25 | |
Well, you should dig a little deeper. | 0:43:26 | 0:43:29 | |
Won't take you long to find all the naked photos, | 0:43:30 | 0:43:33 | |
the latest updates on her exploits. | 0:43:33 | 0:43:36 | |
Such as? | 0:43:36 | 0:43:37 | |
Her break-up. | 0:43:37 | 0:43:40 | |
With Andrew Beltram? | 0:43:40 | 0:43:41 | |
Any idea who that is? | 0:43:42 | 0:43:44 | |
Not at all. | 0:43:44 | 0:43:46 | |
What world do you live in? | 0:43:46 | 0:43:48 | |
He's, like... He's the biggest star. | 0:43:48 | 0:43:51 | |
Says who? | 0:43:51 | 0:43:52 | |
-Preteens. -Oh... | 0:43:52 | 0:43:54 | |
Hey, there are a shit-tonne of them, so be careful. | 0:43:54 | 0:43:57 | |
Um, he broke up with her because she wouldn't stop getting wasted | 0:43:58 | 0:44:01 | |
and cheating on him in public. | 0:44:01 | 0:44:03 | |
So she went to his house with a gun, and he went bat-shit. | 0:44:03 | 0:44:06 | |
Threw her out. But, like, violently threw her out. | 0:44:06 | 0:44:09 | |
Not exactly the way Klaus described her. | 0:44:09 | 0:44:12 | |
The neighbours had to subdue her | 0:44:12 | 0:44:13 | |
cos she was, like, shooting up the place. Apparently it wasn't easy. | 0:44:13 | 0:44:17 | |
She went to rehab to get out of doing time. She's better now. | 0:44:17 | 0:44:20 | |
According to her press releases. | 0:44:20 | 0:44:22 | |
Well, yeah. | 0:44:22 | 0:44:24 | |
And, uh, the classical training, the theatre background, | 0:44:24 | 0:44:28 | |
is that all bullshit? | 0:44:28 | 0:44:30 | |
No. No, that's all true. | 0:44:30 | 0:44:32 | |
She took off and just started really fucking up. | 0:44:32 | 0:44:34 | |
Um, I think she probably got jealous of, like, Hollywood trash. | 0:44:34 | 0:44:39 | |
TMZ deemed her the A-list actress | 0:44:40 | 0:44:43 | |
that dreamt of making it to the Z-list. | 0:44:43 | 0:44:45 | |
You could have told me sooner. | 0:44:45 | 0:44:47 | |
You despise internet gossip. | 0:44:49 | 0:44:51 | |
This is not gossip. It's information. | 0:44:51 | 0:44:54 | |
It's celebrity news. It's fun. | 0:44:54 | 0:44:57 | |
-I thought you liked her a lot. -I do. I love her. | 0:44:57 | 0:45:00 | |
She's not completely antiseptic like the rest of Hollywood. | 0:45:00 | 0:45:04 | |
Well, you just said she was a self-destructive crazy girl. | 0:45:04 | 0:45:08 | |
-I didn't say that. -Sorry. I must have misunderstood, then. | 0:45:08 | 0:45:11 | |
Where are my fucking cigarettes? | 0:45:11 | 0:45:13 | |
They're right in front of you. | 0:45:13 | 0:45:15 | |
Where? | 0:45:15 | 0:45:16 | |
-Hello! -Ah! | 0:45:18 | 0:45:20 | |
She's brave enough to be herself. | 0:45:22 | 0:45:24 | |
At her age, I think that's pretty fucking cool. | 0:45:24 | 0:45:26 | |
I don't see what's so cool about fucking around, | 0:45:28 | 0:45:31 | |
getting wasted out of your mind | 0:45:31 | 0:45:32 | |
and almost killing a boyfriend that's sick of you. | 0:45:32 | 0:45:34 | |
I think she's got a bright future. | 0:45:34 | 0:45:37 | |
In fact, I think she's probably my favourite actress. | 0:45:37 | 0:45:40 | |
Oh. | 0:45:40 | 0:45:42 | |
You mean more than me? Hmm? | 0:45:42 | 0:45:44 | |
No, I... I didn't mean that. | 0:45:46 | 0:45:48 | |
Hmm? | 0:45:48 | 0:45:50 | |
I'm more...what? | 0:45:50 | 0:45:52 | |
Conventional? | 0:45:52 | 0:45:54 | |
Boring. | 0:45:54 | 0:45:55 | |
-And I can't reach her intensity. -No. | 0:45:57 | 0:46:00 | |
I didn't say that. | 0:46:00 | 0:46:02 | |
Of course not. | 0:46:02 | 0:46:04 | |
Goodnight. | 0:46:06 | 0:46:07 | |
Hey! | 0:46:14 | 0:46:16 | |
Motherfucker! | 0:46:16 | 0:46:18 | |
Hey! Stop fucking following me, all right? | 0:46:18 | 0:46:20 | |
I'll fucking kill you! I'll fucking kill you! | 0:46:20 | 0:46:22 | |
THUDDING | 0:46:22 | 0:46:24 | |
So, let me ask you a tough question. | 0:46:28 | 0:46:30 | |
You were fired from the Forbidden Planet remake. | 0:46:30 | 0:46:32 | |
I don't know about that. | 0:46:32 | 0:46:35 | |
You were supposed to play the old Anne Francis role, Altaira. | 0:46:35 | 0:46:39 | |
I don't know. Maybe. | 0:46:39 | 0:46:40 | |
And after your DUI arrest, your studio cancelled the contract. | 0:46:40 | 0:46:44 | |
You know, even if that were true, | 0:46:44 | 0:46:47 | |
that would have cost them an arm and a leg. | 0:46:47 | 0:46:50 | |
Well, just say it were true. Which I'm not saying it is. | 0:46:50 | 0:46:54 | |
But, hypothetically speaking, | 0:46:54 | 0:46:56 | |
I wouldn't be able to even talk about it right now | 0:46:56 | 0:46:59 | |
because I would've signed | 0:46:59 | 0:47:00 | |
-a confidentiality agreement with the studio. -Sure. | 0:47:00 | 0:47:03 | |
So, let is imagine you were arrested for a DUI | 0:47:03 | 0:47:06 | |
and you had insulted the police officer. | 0:47:06 | 0:47:08 | |
No. No, no. That's not hypothetical. That's a verified fact. | 0:47:08 | 0:47:12 | |
I did get arrested on a DUI, and I did assault police officers. | 0:47:12 | 0:47:16 | |
-So it's the studio's reaction that's hypothetical? -Exactly. | 0:47:16 | 0:47:19 | |
And their hypothetical bat-shit crazy response | 0:47:19 | 0:47:23 | |
would have cost them a hypothetical seven-figure sum, | 0:47:23 | 0:47:25 | |
which I guess I wouldn't be able to talk about right now, right? | 0:47:25 | 0:47:28 | |
So, will you be appearing on the remake for Forbidden Planet? | 0:47:28 | 0:47:32 | |
Uh... | 0:47:32 | 0:47:34 | |
I'd rather die... | 0:47:34 | 0:47:35 | |
very, very slowly | 0:47:35 | 0:47:37 | |
of, probably, food poisoning. | 0:47:37 | 0:47:39 | |
SCREAMING | 0:47:42 | 0:47:45 | |
SIRENS WAIL | 0:47:45 | 0:47:47 | |
SHE MOUTHS | 0:47:50 | 0:47:51 | |
-REPORTER: -Rumour has it that we'll see you on stage? | 0:48:01 | 0:48:04 | |
Yeah, um, I'm going to... | 0:48:05 | 0:48:07 | |
I'm going to do a play called Maloja Snake, | 0:48:07 | 0:48:10 | |
uh, with Maria Enders. | 0:48:10 | 0:48:12 | |
Um, she's going to play the older woman, | 0:48:13 | 0:48:16 | |
and I will play the one who drives her to suicide. | 0:48:16 | 0:48:20 | |
I mean, that's kind of rad, right? | 0:48:20 | 0:48:23 | |
Where in London will you play it? | 0:48:23 | 0:48:25 | |
They told me the name of it. | 0:48:25 | 0:48:26 | |
This theatre... | 0:48:26 | 0:48:29 | |
It's still being negotiated. | 0:48:29 | 0:48:31 | |
-Who's directing? -Klaus. | 0:48:31 | 0:48:34 | |
-Klaus who? -Klaus Klaus. | 0:48:34 | 0:48:37 | |
Like, you know, the Klaus. | 0:48:37 | 0:48:38 | |
Klaus Klaus? | 0:48:38 | 0:48:40 | |
-Klaus Klaus! -Yeah. Fucking Klaus. | 0:48:40 | 0:48:43 | |
You should do your job and look him up. | 0:48:43 | 0:48:44 | |
You're a fucking reporter, for God's sake. | 0:48:44 | 0:48:46 | |
-Well, you apparently don't know him. -Santa Klaus? | 0:48:46 | 0:48:49 | |
ALL LAUGH | 0:48:49 | 0:48:51 | |
Klaus Kinski? | 0:48:51 | 0:48:53 | |
-Klaus Barbie. -Oh! SWITCHES CLIP OFF | 0:48:53 | 0:48:55 | |
SHE SIGHS | 0:48:59 | 0:49:02 | |
OK. This is the armchair. | 0:49:13 | 0:49:16 | |
Um... | 0:49:17 | 0:49:19 | |
..office door. | 0:49:21 | 0:49:22 | |
Desk. | 0:49:25 | 0:49:26 | |
OK, go ahead. | 0:49:28 | 0:49:29 | |
Come in. | 0:49:35 | 0:49:37 | |
Sigrid, I asked you here because your internship is almost over, | 0:49:41 | 0:49:45 | |
and I wanted to congratulate you | 0:49:45 | 0:49:48 | |
personally. | 0:49:48 | 0:49:50 | |
Have a seat. | 0:49:50 | 0:49:52 | |
No, there. The armchair. | 0:49:54 | 0:49:56 | |
Everyone in my office sings your praises. | 0:50:06 | 0:50:09 | |
Including the nastiest ones. | 0:50:10 | 0:50:13 | |
The ones who think that I shouldn't have taken over the company | 0:50:13 | 0:50:17 | |
after my father died, that I'm running it into the ground. | 0:50:17 | 0:50:20 | |
The ones who consider me incompetent, not because I'm a woman | 0:50:20 | 0:50:24 | |
but because they look at the figures, | 0:50:24 | 0:50:27 | |
and the figures aren't what they should be. | 0:50:27 | 0:50:31 | |
I know it's true. It keeps me up at night. | 0:50:32 | 0:50:35 | |
It's been eating away at me. | 0:50:38 | 0:50:40 | |
They've persuaded me, and now I think they're right. | 0:50:41 | 0:50:44 | |
Why are you telling me this? It's none of my business. | 0:50:44 | 0:50:47 | |
You want people to know? | 0:50:47 | 0:50:49 | |
You think if you arouse their pity, they'll back off. | 0:50:51 | 0:50:54 | |
I've been around a lot less than you, | 0:50:56 | 0:50:58 | |
but in my experience it's quite the opposite. Wouldn't you agree? | 0:50:58 | 0:51:01 | |
When they tell me about you, | 0:51:02 | 0:51:05 | |
how much they appreciate you, | 0:51:05 | 0:51:08 | |
they're using you to humiliate me... | 0:51:08 | 0:51:10 | |
Shit! I messed up. Fuck! | 0:51:10 | 0:51:13 | |
-It's... -What? | 0:51:13 | 0:51:15 | |
-It's to remind... -It's to remind me! | 0:51:15 | 0:51:17 | |
SHE GROANS Sh...! | 0:51:17 | 0:51:19 | |
MARIA SIGHS | 0:51:19 | 0:51:20 | |
SOBBING: I hate this fucking scene... | 0:51:23 | 0:51:27 | |
Oh, I have too many memories of Susan Rosenberg | 0:51:27 | 0:51:30 | |
and the disgust she made me feel | 0:51:30 | 0:51:32 | |
while she was slipping into the skin of this...defeated woman. | 0:51:32 | 0:51:36 | |
She got such obscene pleasure out of it night after night. | 0:51:36 | 0:51:40 | |
Why "defeated"? | 0:51:40 | 0:51:41 | |
Defeated by...by...age, | 0:51:41 | 0:51:44 | |
by...by...her insecurities. | 0:51:44 | 0:51:47 | |
Letting this kid lead her around by the nose. | 0:51:48 | 0:51:50 | |
Come on. That's not... That's not all there is to it. There's... | 0:51:50 | 0:51:53 | |
I'll start over. | 0:51:53 | 0:51:55 | |
This poor woman is ready to kill herself before the play even starts. | 0:51:57 | 0:52:00 | |
She's using Sigrid as a weapon, that's all. | 0:52:01 | 0:52:04 | |
I'll start over. | 0:52:04 | 0:52:06 | |
OK. | 0:52:07 | 0:52:08 | |
When they tell me about you, | 0:52:12 | 0:52:15 | |
how much they appreciate you... | 0:52:15 | 0:52:17 | |
..it's to remind me how happy they are | 0:52:19 | 0:52:22 | |
to grant you what they never granted me. | 0:52:22 | 0:52:25 | |
They're using you to humiliate me. | 0:52:26 | 0:52:29 | |
It's not just your youth, or your powers of seduction. | 0:52:30 | 0:52:33 | |
No, it's your aplomb, | 0:52:35 | 0:52:36 | |
your unshakeable self-confidence. | 0:52:36 | 0:52:38 | |
-You don't know me. -Nothing gets to you. | 0:52:38 | 0:52:40 | |
You radiate...self-confidence. | 0:52:40 | 0:52:44 | |
And you don't? | 0:52:44 | 0:52:45 | |
I wear a mask. | 0:52:45 | 0:52:47 | |
It works with some people. Others see right through it. | 0:52:47 | 0:52:50 | |
I can tell which is which right away. | 0:52:52 | 0:52:55 | |
If there's one thing I excel at, | 0:52:55 | 0:52:57 | |
that's reading people's behaviour. | 0:52:57 | 0:52:59 | |
So, how should I be reading yours? | 0:52:59 | 0:53:01 | |
How do you think? | 0:53:04 | 0:53:06 | |
I don't know. I'm reluctant to say it. It's pretty clear. | 0:53:08 | 0:53:11 | |
Don't be reluctant. | 0:53:11 | 0:53:13 | |
"Helena nervously crosses and uncrosses her legs, | 0:53:14 | 0:53:17 | |
"reaches for a cigarette." | 0:53:17 | 0:53:18 | |
You talk about your insecurities. | 0:53:21 | 0:53:23 | |
Your vulnerabilities. | 0:53:23 | 0:53:26 | |
You open up to me, and I'm not exactly sure why. | 0:53:26 | 0:53:29 | |
It's as if you're expecting something. Can I be frank? | 0:53:31 | 0:53:34 | |
I don't think it's company figures that are keeping you up at night. | 0:53:39 | 0:53:42 | |
-What's keeping me up, then? -Desire. | 0:53:42 | 0:53:44 | |
For me, I think. | 0:53:46 | 0:53:48 | |
I noticed it the second you hired me, and I'm sorry, | 0:53:48 | 0:53:51 | |
but I've had fun playing with it. | 0:53:51 | 0:53:52 | |
You've let me play with it. | 0:53:54 | 0:53:55 | |
Fun. | 0:53:55 | 0:53:57 | |
What a strange word. | 0:53:57 | 0:54:00 | |
Not what I was expecting... | 0:54:00 | 0:54:01 | |
Oh, this text is impossible. | 0:54:01 | 0:54:04 | |
Oh, my God! | 0:54:04 | 0:54:05 | |
So, now the play is bad? | 0:54:05 | 0:54:07 | |
No. But everything is weighted to make Sigrid look good. | 0:54:07 | 0:54:10 | |
I didn't read it like that. | 0:54:11 | 0:54:14 | |
I see her arrogance, her cruelty, | 0:54:14 | 0:54:17 | |
and Helena's humanity. | 0:54:17 | 0:54:19 | |
She's able to talk about her own pain. | 0:54:19 | 0:54:22 | |
It's moving. | 0:54:22 | 0:54:23 | |
I'll start over. | 0:54:23 | 0:54:25 | |
Fun. | 0:54:28 | 0:54:30 | |
What a strange word. | 0:54:31 | 0:54:32 | |
Not what I was expecting... | 0:54:34 | 0:54:37 | |
She's such a stupid cunt. | 0:54:37 | 0:54:39 | |
Oh... | 0:54:39 | 0:54:40 | |
And I didn't expect you to talk about desire either. | 0:54:40 | 0:54:43 | |
Let me be frank now. | 0:54:43 | 0:54:45 | |
It makes me uncomfortable. | 0:54:45 | 0:54:47 | |
And it forces me to see you differently. | 0:54:48 | 0:54:51 | |
And that gets under your skin. | 0:54:51 | 0:54:53 | |
Pause. | 0:54:55 | 0:54:57 | |
You can tell me. | 0:54:57 | 0:54:58 | |
Stands, lights a cigarette. | 0:54:58 | 0:55:01 | |
In fact, it's exactly what you want to say, so say it. | 0:55:02 | 0:55:05 | |
Yes. It's true. | 0:55:05 | 0:55:07 | |
You get under my skin. | 0:55:07 | 0:55:09 | |
I wanted to ask you to stay on and become my personal assistant. | 0:55:10 | 0:55:15 | |
She doesn't accept. | 0:55:15 | 0:55:17 | |
-I mean, she does accept! -MARIA LAUGHS | 0:55:17 | 0:55:19 | |
Without hesitation, she accepts. | 0:55:19 | 0:55:22 | |
Oh, I've been feeling sick all morning. | 0:55:40 | 0:55:43 | |
I feel dirty. | 0:55:48 | 0:55:50 | |
I don't like Helena, no matter how much humanity you see in her. | 0:55:51 | 0:55:55 | |
-Want some? -No, thanks. | 0:55:56 | 0:55:58 | |
Or maybe because of that humanity. I don't know. I don't care. | 0:56:00 | 0:56:03 | |
I don't feel good in her skin. | 0:56:03 | 0:56:04 | |
I don't know why I have to inflict this on myself. | 0:56:04 | 0:56:07 | |
Then don't do it. | 0:56:07 | 0:56:09 | |
That's what I'm saying. I'm not doing it. | 0:56:09 | 0:56:11 | |
I'd like to take the car tonight. | 0:56:41 | 0:56:43 | |
Berndt rented a house on Lake Como with some friends. | 0:56:43 | 0:56:46 | |
That's pretty far. | 0:56:46 | 0:56:49 | |
I mean, it's...two hours by car. | 0:56:49 | 0:56:52 | |
If I left at 6.00, I could probably be back by sunrise. | 0:56:53 | 0:56:56 | |
-Would you be OK alone? -Yeah. | 0:56:58 | 0:57:01 | |
Yeah, just... Just be careful on the mountain roads at night. | 0:57:01 | 0:57:04 | |
Are you involved with him? | 0:57:07 | 0:57:09 | |
I mean, is this a thing now? | 0:57:10 | 0:57:13 | |
I like him. | 0:57:14 | 0:57:16 | |
Oh, you like him. | 0:57:16 | 0:57:18 | |
That's all we'll get. | 0:57:19 | 0:57:21 | |
You're jealous. | 0:57:23 | 0:57:25 | |
Jealous? | 0:57:26 | 0:57:27 | |
I don't know. Of my time. | 0:57:29 | 0:57:31 | |
My thoughts. | 0:57:32 | 0:57:33 | |
-Maybe my affection. -No. | 0:57:34 | 0:57:36 | |
I'm not jealous. I'm thrilled that you have a boyfriend. | 0:57:36 | 0:57:40 | |
There haven't been that many, | 0:57:40 | 0:57:42 | |
and when there is one, you burn through him pretty fast. | 0:57:42 | 0:57:45 | |
I'll tell you. | 0:57:46 | 0:57:47 | |
No, you won't. | 0:57:47 | 0:57:49 | |
And I never know if I should believe what little you do tell me. | 0:57:49 | 0:57:53 | |
That's up to you. | 0:57:53 | 0:57:55 | |
Why the fuck are we doing this shit? | 0:58:00 | 0:58:03 | |
MARIA SCREAMS AND LAUGHS | 0:58:03 | 0:58:05 | |
Fuck! | 0:58:05 | 0:58:06 | |
THEY LAUGH | 0:58:06 | 0:58:09 | |
Can you pass me those? I'm a little late. | 0:58:30 | 0:58:33 | |
THUDDING | 0:58:33 | 0:58:35 | |
-Sorry. -See you. | 0:58:36 | 0:58:38 | |
THUNDER RUMBLES | 0:58:38 | 0:58:41 | |
We can do anything, but you did sign a contract. | 0:59:58 | 1:00:01 | |
-Pulling out will cost you. -You know, I've thought it over. | 1:00:01 | 1:00:04 | |
I worked on a scene. I can't. | 1:00:04 | 1:00:06 | |
I mean, I can, but...it's too hard. | 1:00:06 | 1:00:09 | |
I feel too much disdain for Helena. | 1:00:09 | 1:00:11 | |
I'm Sigrid. I want to stay Sigrid. | 1:00:11 | 1:00:13 | |
Sigrid is 20. | 1:00:13 | 1:00:15 | |
I don't care. I know I'm right. | 1:00:17 | 1:00:19 | |
It doesn't interest me any more. It spoils my memories. | 1:00:19 | 1:00:22 | |
It's not constructive. | 1:00:22 | 1:00:23 | |
They'll sue, and it'll go on for months and months. | 1:00:23 | 1:00:26 | |
They can replace me. | 1:00:28 | 1:00:30 | |
It's too late. Klaus doesn't want anyone else for Helena. | 1:00:30 | 1:00:33 | |
So I'm a hostage! | 1:00:33 | 1:00:35 | |
You'll be appearing in a prestigious production | 1:00:35 | 1:00:37 | |
that's been waiting for you for 20 years. | 1:00:37 | 1:00:40 | |
I'm asking you to get me out of this. | 1:00:40 | 1:00:42 | |
Great. But like I said, it won't be cheap. | 1:00:42 | 1:00:45 | |
Figure something out! | 1:00:45 | 1:00:47 | |
There's no use getting upset. | 1:00:47 | 1:00:49 | |
We'll take care of it. | 1:00:49 | 1:00:51 | |
But I'm giving you due diligence, OK? | 1:00:51 | 1:00:53 | |
-SKYPE: -Ended. | 1:00:53 | 1:00:55 | |
Wait! You have to stay with us. | 1:03:22 | 1:03:24 | |
We're mutants, just like you. | 1:03:24 | 1:03:26 | |
But we all have doubts. | 1:03:26 | 1:03:28 | |
Doubts about our powers. Are we worthy of them? | 1:03:28 | 1:03:31 | |
Do we have the right to use them? | 1:03:31 | 1:03:33 | |
After all, what is good... | 1:03:33 | 1:03:36 | |
and what is evil? | 1:03:36 | 1:03:38 | |
And who are we to decide? | 1:03:38 | 1:03:40 | |
Scarlet Witch and Dr Pretorius both agree. | 1:03:42 | 1:03:45 | |
What you did was not treasonous. | 1:03:46 | 1:03:47 | |
Forgive yourself. | 1:03:47 | 1:03:49 | |
Don't judge your own actions so harshly. | 1:03:49 | 1:03:52 | |
SHE SCREAMS | 1:03:52 | 1:03:55 | |
Don't you understand? | 1:03:56 | 1:03:59 | |
This is no mistake. | 1:03:59 | 1:04:00 | |
I have been double-crossing the Alliance for a very long time now | 1:04:00 | 1:04:04 | |
and reporting directly to Sargon. | 1:04:04 | 1:04:07 | |
And you know why? | 1:04:07 | 1:04:09 | |
Because I am madly in love with him. | 1:04:10 | 1:04:14 | |
Do you remember when he attacked our guild's outpost? | 1:04:15 | 1:04:17 | |
I tried to fight him then, but I was alone and I failed. | 1:04:17 | 1:04:20 | |
You weren't there. | 1:04:20 | 1:04:22 | |
Neither was Dr Pretorius, and neither was Scarlet Witch. | 1:04:22 | 1:04:25 | |
He led me into a gravitational field that neutralised my powers. | 1:04:25 | 1:04:28 | |
-He bolted me. -We tried to find you. | 1:04:28 | 1:04:31 | |
I woke up alone! | 1:04:31 | 1:04:32 | |
A prisoner in his fortress. | 1:04:32 | 1:04:35 | |
And I know that he raped you. | 1:04:35 | 1:04:37 | |
Yes. | 1:04:37 | 1:04:39 | |
He didn't rape me. | 1:04:39 | 1:04:40 | |
I fell in love with him. | 1:04:41 | 1:04:43 | |
I refuse to believe this. | 1:04:43 | 1:04:45 | |
Sargon is not a mutant, but he understands mutant desire. | 1:04:45 | 1:04:47 | |
I became his lover. It's the only reason he set me free. | 1:04:47 | 1:04:50 | |
You are crazy. Sargon loves no-one. | 1:04:50 | 1:04:54 | |
He used me and then he cast me aside. | 1:04:54 | 1:04:56 | |
But maybe if I obey him, maybe if I follow his orders... | 1:04:56 | 1:04:59 | |
..he might just take me back. | 1:05:01 | 1:05:03 | |
BLASTER FIRE, SHE SCREAMS | 1:05:03 | 1:05:05 | |
ALARMS BLARE ON MOVIE | 1:05:10 | 1:05:12 | |
QUIET CONVERSATION | 1:05:12 | 1:05:14 | |
MUSIC PLAYS | 1:05:20 | 1:05:23 | |
CHIPS CLICK, GLASSES CLINK | 1:05:25 | 1:05:28 | |
And place your bets, please. | 1:05:31 | 1:05:32 | |
The last bets, thank you. No more bets. | 1:05:37 | 1:05:39 | |
-Rien ne va plus. -BALL SKITTERS | 1:05:39 | 1:05:42 | |
28, black. | 1:05:42 | 1:05:43 | |
And five places here. | 1:05:49 | 1:05:51 | |
Place your bets, please. | 1:05:52 | 1:05:54 | |
Nine, red. | 1:06:01 | 1:06:03 | |
Place your bets, please. | 1:06:06 | 1:06:08 | |
Well, I stayed because of you, | 1:06:08 | 1:06:09 | |
but I could feel my brain cells dying, one by one. | 1:06:09 | 1:06:13 | |
OK, but you don't find her amazing? | 1:06:13 | 1:06:15 | |
I think she's totally fascinating. | 1:06:15 | 1:06:17 | |
It's such a stupid character. Come on. | 1:06:17 | 1:06:19 | |
Because it takes place on a spaceship? | 1:06:19 | 1:06:22 | |
I know that if it was set on an assembly line | 1:06:22 | 1:06:24 | |
or like a farm or something, you'd love it. | 1:06:24 | 1:06:27 | |
It's true. I have a hard time taking bimbos in astronaut suits | 1:06:27 | 1:06:30 | |
mouthing off some generic pop psychology seriously. | 1:06:30 | 1:06:34 | |
-Been there, done that. -I like it. | 1:06:34 | 1:06:37 | |
I know. I know you do. I'm sorry. | 1:06:37 | 1:06:40 | |
There's no less truth than in a more supposedly serious film. | 1:06:41 | 1:06:45 | |
She goes deep into the darker side of her character. | 1:06:45 | 1:06:48 | |
MARIA HOWLS WITH LAUGHTER | 1:06:48 | 1:06:49 | |
It's daring. It's really daring. | 1:06:49 | 1:06:52 | |
In a big movie like that, it's fucking cool. | 1:06:52 | 1:06:54 | |
Well, she's got great presence, | 1:06:54 | 1:06:56 | |
but I don't see what's so daring about it. | 1:06:56 | 1:06:59 | |
Despite her superpowers... | 1:07:01 | 1:07:03 | |
SHE LAUGHS AND CHOKES | 1:07:03 | 1:07:05 | |
-"Her superpowers"! -Yes, her superpowers. | 1:07:05 | 1:07:08 | |
-Her superpowers? -Yes, her superpowers. So what? | 1:07:08 | 1:07:11 | |
It's a convention, but it's no dumber than any other convention. | 1:07:11 | 1:07:14 | |
Despite her superpowers, she's emotionally defenceless. | 1:07:14 | 1:07:17 | |
She's in love, but she's not loved in return. | 1:07:17 | 1:07:20 | |
This impossible love for Sargon, the Alliance's worst enemy, | 1:07:20 | 1:07:22 | |
-leads her to betrayal and madness. -MARIA LAUGHS | 1:07:22 | 1:07:24 | |
Fuckin' shit. Are you telling me there's nothing there | 1:07:24 | 1:07:26 | |
-worth playing there? -I don't know. I don't know, Val. I don't know. | 1:07:26 | 1:07:30 | |
Thank you. | 1:07:31 | 1:07:34 | |
She knows that it means her downfall, | 1:07:34 | 1:07:36 | |
but that is the ultimate truth of her desire. | 1:07:36 | 1:07:38 | |
-Cheers. -It's fuckin' powerful. | 1:07:38 | 1:07:40 | |
SHE LAUGHS | 1:07:40 | 1:07:41 | |
Oh, my God. I hate you sometimes so much. | 1:07:41 | 1:07:45 | |
You're making my head spin. | 1:07:45 | 1:07:48 | |
And Sargon? You find him interesting, too? | 1:07:48 | 1:07:52 | |
-Yeah, I do. -Good. | 1:07:55 | 1:07:57 | |
No, Sargon sucks. It's... | 1:08:00 | 1:08:02 | |
SHE CHOKES | 1:08:02 | 1:08:04 | |
Jesus Christ! MARIA COUGHS | 1:08:04 | 1:08:07 | |
Vos jeux, mesdames, messieurs. | 1:08:10 | 1:08:12 | |
Last bets, thank you. | 1:08:13 | 1:08:15 | |
No more. No more bets. Rien ne va plus. | 1:08:16 | 1:08:18 | |
All of it? | 1:08:18 | 1:08:20 | |
Ho! | 1:08:20 | 1:08:22 | |
Did you see that? My magical door-opening powers? | 1:08:22 | 1:08:25 | |
I can open a door, too. | 1:08:25 | 1:08:28 | |
Sure you can drive? | 1:08:28 | 1:08:30 | |
-I had the same drinks as you. -That's my point. | 1:08:30 | 1:08:33 | |
CRASHING | 1:08:35 | 1:08:37 | |
ALARM BLARES | 1:08:37 | 1:08:40 | |
Go, go, go! | 1:08:40 | 1:08:42 | |
ENGINE REVS | 1:08:42 | 1:08:44 | |
So...what you were saying earlier was that, | 1:08:59 | 1:09:04 | |
unlike Jo-Ann, I don't take that kind of role seriously, hmm? | 1:09:04 | 1:09:09 | |
What? No. | 1:09:09 | 1:09:11 | |
I don't know what you're talking about. | 1:09:11 | 1:09:13 | |
That I have disdain for those characters | 1:09:13 | 1:09:16 | |
and their...cartoonish psychology, | 1:09:16 | 1:09:19 | |
but she doesn't. | 1:09:19 | 1:09:21 | |
-Mmm. -Which makes her superior to me. | 1:09:21 | 1:09:24 | |
Uh-oh. Don't get jealous. | 1:09:24 | 1:09:26 | |
That's not an attractive quality. | 1:09:26 | 1:09:28 | |
She dives headfirst into a character's ambiguities, but... | 1:09:28 | 1:09:31 | |
..I don't. | 1:09:32 | 1:09:34 | |
That's why you admire what she does. | 1:09:35 | 1:09:38 | |
Yeah. | 1:09:39 | 1:09:41 | |
You know, I think that when you watch her in a movie | 1:09:41 | 1:09:43 | |
like the one we saw tonight, there is...there is no distance there. | 1:09:43 | 1:09:48 | |
-It's normal. It's, uh... -Her culture. -Right? | 1:09:48 | 1:09:52 | |
Yeah, agreed. | 1:09:52 | 1:09:54 | |
-What's wrong with my acting? -Nothing. | 1:09:54 | 1:09:58 | |
What do I need to do to make you admire me? | 1:09:58 | 1:10:00 | |
Do I think too much? Huh? | 1:10:00 | 1:10:03 | |
Am I too classical? | 1:10:03 | 1:10:04 | |
Not liberated like Jo-Ann? | 1:10:04 | 1:10:07 | |
-You're here to talk to me, so start talking. -Hmm? | 1:10:07 | 1:10:11 | |
I don't know. You... | 1:10:11 | 1:10:14 | |
You can't be as accomplished as you are | 1:10:14 | 1:10:16 | |
and as well-rounded as an actress as you are | 1:10:16 | 1:10:20 | |
and still expect to hold on to the privileges of youth. | 1:10:20 | 1:10:22 | |
It just doesn't work like that. | 1:10:22 | 1:10:24 | |
Oh! | 1:10:24 | 1:10:26 | |
So I'm allowed to not be old, | 1:10:26 | 1:10:27 | |
as long as I don't want to be young, is that it? | 1:10:27 | 1:10:30 | |
Yeah. I don't know. I guess so. | 1:10:30 | 1:10:33 | |
Yes. Totally. Well put. | 1:10:34 | 1:10:36 | |
Fuck. | 1:10:40 | 1:10:41 | |
I think, maybe, goodnight. | 1:10:47 | 1:10:50 | |
Wait, wait! Wait. | 1:10:52 | 1:10:54 | |
Hey. Hey... | 1:10:54 | 1:10:57 | |
You... You didn't tell me how it went with Berndt. | 1:10:57 | 1:10:59 | |
Yeah, well, you know, um, fuck Berndt. | 1:11:02 | 1:11:06 | |
-I thought you wouldn't believe me anyway. -Try. | 1:11:06 | 1:11:09 | |
Maybe you'll manage to persuade me. | 1:11:09 | 1:11:12 | |
I'm...exhausted. | 1:11:12 | 1:11:14 | |
I don't know. I don't have the energy. | 1:11:14 | 1:11:16 | |
OK. Goodnight. | 1:11:17 | 1:11:20 | |
Oh, I spoke to Jay. | 1:11:20 | 1:11:22 | |
He doesn't think he can get me out of the contract. | 1:11:22 | 1:11:25 | |
Yeah, I figured. | 1:11:27 | 1:11:29 | |
Please knock when you enter my office. | 1:11:34 | 1:11:36 | |
You summoned me. | 1:11:38 | 1:11:39 | |
I didn't summon you. I asked you to come. | 1:11:39 | 1:11:42 | |
What's the difference? | 1:11:42 | 1:11:43 | |
There's differences. When I summon you, it's for professional reasons. | 1:11:43 | 1:11:47 | |
When I ask you to come, it's for... personal reasons. | 1:11:47 | 1:11:50 | |
-So it's personal? -Yes. | 1:11:50 | 1:11:52 | |
All the more reason not to knock. | 1:11:52 | 1:11:54 | |
Everyone knocks before coming into my office. | 1:11:54 | 1:11:57 | |
I could have been in a meeting or in a private call. | 1:11:57 | 1:12:00 | |
I'm surprised Josephine let you through. | 1:12:00 | 1:12:03 | |
I told Josephine it didn't concern her. She understood perfectly well. | 1:12:03 | 1:12:06 | |
Understood what? | 1:12:06 | 1:12:08 | |
That we have a personal relationship. | 1:12:08 | 1:12:10 | |
Since when does Josephine know | 1:12:10 | 1:12:12 | |
that we have what you call a personal relationship? | 1:12:12 | 1:12:15 | |
Don't be stupid. She has eyes. | 1:12:15 | 1:12:17 | |
-You want me to draw you a picture? -Please don't draw me a picture. | 1:12:17 | 1:12:21 | |
I thought it was between you and me. | 1:12:22 | 1:12:25 | |
I'm appalled. | 1:12:25 | 1:12:26 | |
Who else knows? | 1:12:28 | 1:12:29 | |
I don't know, | 1:12:31 | 1:12:33 | |
but in an office, word gets around pretty fast. | 1:12:33 | 1:12:37 | |
You hired me as your personal assistant. I'm under-qualified. | 1:12:37 | 1:12:40 | |
Everyone understood right away that I could come and go as I pleased. | 1:12:42 | 1:12:45 | |
I created a vacuum around you, to keep my hold on you. | 1:12:45 | 1:12:48 | |
Created a vacuum... | 1:12:48 | 1:12:51 | |
..to keep your hold...? | 1:12:52 | 1:12:54 | |
Don't you realise? | 1:12:58 | 1:13:00 | |
No. | 1:13:00 | 1:13:02 | |
I don't see things that way. | 1:13:02 | 1:13:04 | |
Then everyone else got it before you did. | 1:13:04 | 1:13:06 | |
Shall we stop here? | 1:13:22 | 1:13:25 | |
Sure. | 1:13:25 | 1:13:26 | |
Can you repeat Sigrid's last lines? | 1:13:29 | 1:13:32 | |
Then everyone else got it before you did. | 1:13:38 | 1:13:40 | |
Helena pauses and stares at Sigrid. | 1:13:42 | 1:13:44 | |
What started at my place that night... | 1:13:46 | 1:13:48 | |
..I won't deny a thing. | 1:13:50 | 1:13:52 | |
I probably wanted it. I don't know. | 1:13:54 | 1:13:56 | |
It's as if you put this idea in my head. | 1:13:58 | 1:14:01 | |
If you allowed yourself to be manipulated, | 1:14:01 | 1:14:03 | |
it's because you wanted it. | 1:14:03 | 1:14:05 | |
-I don't want anything. -Stop! | 1:14:06 | 1:14:08 | |
I can't stand that condescending tone of yours. | 1:14:08 | 1:14:11 | |
You want to be clear? This can't go on. | 1:14:11 | 1:14:13 | |
-Whatever you say. -It's... I've thought it over. | 1:14:13 | 1:14:16 | |
-It's finished. -So I'll leave. | 1:14:16 | 1:14:18 | |
No, you'll stay. You do your job well. I have no complaints. | 1:14:18 | 1:14:21 | |
-I stay, and it's finished. -We stop. | 1:14:24 | 1:14:26 | |
-And act as if it never happened. -Yes. | 1:14:26 | 1:14:28 | |
Helena, you're not capable of that. | 1:14:28 | 1:14:31 | |
If I stay, nothing will change. You'll be my lover. | 1:14:34 | 1:14:37 | |
-No. -You will. And I'll keep driving everyone else away. | 1:14:37 | 1:14:42 | |
I'll have a tighter and tighter hold on you. | 1:14:42 | 1:14:44 | |
-Is that what you want? -No, not necessarily. | 1:14:44 | 1:14:46 | |
I'm just telling you how it is. | 1:14:46 | 1:14:48 | |
But if you want me to leave, just say so. | 1:14:48 | 1:14:51 | |
She doesn't speak. Say it. | 1:14:56 | 1:14:59 | |
It's time. End of Act 2. | 1:14:59 | 1:15:02 | |
-You hungry? -Yeah. | 1:15:07 | 1:15:10 | |
SHE LAUGHS | 1:15:15 | 1:15:17 | |
You'll be my lover. | 1:15:28 | 1:15:30 | |
I'll keep driving everyone else away. | 1:15:33 | 1:15:36 | |
I'll have a tighter and tighter hold on you. | 1:15:36 | 1:15:38 | |
Honestly, you don't find this ridiculous? | 1:15:38 | 1:15:41 | |
-Why, cos she speaks brutally? -No, because it's phoney. | 1:15:41 | 1:15:44 | |
I don't believe it. | 1:15:44 | 1:15:46 | |
So, you don't think people can be blinded by their own emotions? | 1:15:47 | 1:15:50 | |
No, I do, but not to that extent. | 1:15:50 | 1:15:53 | |
It's too theoretical. | 1:15:53 | 1:15:55 | |
Even a little stupid. | 1:15:56 | 1:15:58 | |
It's theatre. | 1:15:59 | 1:16:01 | |
It's an interpretation of life. It can be truer than life itself. | 1:16:01 | 1:16:04 | |
Sigrid puts Helena's desires into words. She says the unspoken. | 1:16:05 | 1:16:09 | |
She...formulates it. | 1:16:09 | 1:16:11 | |
-Cruelly. -OK, cruelly. | 1:16:11 | 1:16:13 | |
Yeah, cruelly, because she's up to no good. | 1:16:13 | 1:16:16 | |
You're not in the character's skin. You... I have no choice. | 1:16:16 | 1:16:19 | |
I have to be them. I have to identify with them. | 1:16:19 | 1:16:21 | |
When it's phoney, I...I feel it. | 1:16:21 | 1:16:23 | |
Viscerally. | 1:16:23 | 1:16:24 | |
It can be, uh... | 1:16:26 | 1:16:28 | |
literary, but still be true. | 1:16:28 | 1:16:31 | |
I can feel the difference. I can hear it. | 1:16:34 | 1:16:36 | |
GRASSHOPPERS CHIRP | 1:16:53 | 1:16:55 | |
SHE SIGHS | 1:16:59 | 1:17:01 | |
DISTANT BELLS | 1:17:01 | 1:17:04 | |
BLEATING NEARBY | 1:17:05 | 1:17:08 | |
-Maria. -Hmm? -We've got to go. Sun's about to go down. | 1:17:21 | 1:17:24 | |
I know a short cut a little further up. | 1:17:30 | 1:17:33 | |
It's steep, but, uh, it'll take us straight to Val Fex. | 1:17:33 | 1:17:37 | |
-I thought Val Fex was that way. -No, no, no. | 1:17:37 | 1:17:40 | |
You're sure this is the right path, huh? | 1:17:44 | 1:17:46 | |
Well, actually, not really. | 1:17:46 | 1:17:49 | |
I'm not even sure it's a path. | 1:17:49 | 1:17:52 | |
Or we might have forked off somewhere, I don't know. | 1:17:52 | 1:17:54 | |
I think you're right. | 1:17:55 | 1:17:57 | |
I'm pretty sure Val Fex is, um...not this way. | 1:17:59 | 1:18:03 | |
Anyway, we're heading down. We'll end up somewhere. | 1:18:06 | 1:18:08 | |
I think this road takes us to Maloja. | 1:18:11 | 1:18:13 | |
CHURCH BELLS RING NEARBY | 1:18:13 | 1:18:15 | |
What do we do when we get to Maloja? | 1:18:15 | 1:18:18 | |
We take the bus. | 1:18:19 | 1:18:20 | |
You know, you don't have to keep me on if you find my ideas simplistic. | 1:18:25 | 1:18:29 | |
What makes you say that? | 1:18:31 | 1:18:32 | |
If you find my point of view... | 1:18:33 | 1:18:36 | |
..uninteresting, I... | 1:18:36 | 1:18:38 | |
I don't really know what I'm doing here. I... | 1:18:40 | 1:18:42 | |
I can run lines with you, but I don't really see the point. | 1:18:43 | 1:18:46 | |
You can find anyone to do that. | 1:18:46 | 1:18:48 | |
No, all I'm saying is that thinking about a text | 1:18:48 | 1:18:50 | |
is different from living it. It's nothing against you. | 1:18:50 | 1:18:53 | |
You... | 1:18:53 | 1:18:55 | |
You hate the play. You hate her. | 1:18:55 | 1:18:57 | |
You don't have to take it out on me. | 1:19:00 | 1:19:03 | |
I'm just doing my job. | 1:19:03 | 1:19:04 | |
Ready? | 1:19:18 | 1:19:19 | |
-You're ready? -Yes! | 1:19:21 | 1:19:22 | |
Don't lie to me! | 1:19:29 | 1:19:31 | |
You received a confirmation for a flight to Tokyo. | 1:19:31 | 1:19:35 | |
You're reading my mail now? Aren't you ashamed? | 1:19:35 | 1:19:37 | |
I haven't felt shame in a long time. | 1:19:37 | 1:19:39 | |
I went through all your desk drawers, your notebooks, | 1:19:39 | 1:19:42 | |
and I'm doing it because you want to leave me. | 1:19:42 | 1:19:44 | |
Now I know when and how. | 1:19:44 | 1:19:46 | |
Helena is restless. Sigrid remains poised. | 1:19:46 | 1:19:50 | |
All you had to do was ask. | 1:19:50 | 1:19:52 | |
Yes, I accepted a job in Tokyo. A pharmaceutical lab. | 1:19:52 | 1:19:55 | |
I think it'll be much more interesting | 1:19:55 | 1:19:57 | |
than the work I'm doing here. | 1:19:57 | 1:19:58 | |
More interesting than what you're doing here? | 1:19:58 | 1:20:01 | |
Haven't I given into every demand you've made? | 1:20:01 | 1:20:05 | |
No other company would have given you | 1:20:05 | 1:20:06 | |
that kind of responsibility and power! | 1:20:06 | 1:20:08 | |
Exactly. | 1:20:08 | 1:20:10 | |
It's weighing on me. | 1:20:10 | 1:20:13 | |
I know this place in and out. | 1:20:13 | 1:20:15 | |
The world moves. I want to feel that. I want to be a part of it. | 1:20:15 | 1:20:19 | |
I want to travel. Switzerland's too provincial. | 1:20:19 | 1:20:22 | |
SHE SCREAMS | 1:20:22 | 1:20:24 | |
She takes a deep breath and regains her composure. | 1:20:35 | 1:20:38 | |
And with me you don't feel free? | 1:20:38 | 1:20:40 | |
You've become too dependent on me. | 1:20:40 | 1:20:43 | |
It's unhealthy. What do I get in return? | 1:20:43 | 1:20:46 | |
I give you whatever you want. You know that. | 1:20:46 | 1:20:48 | |
Oh. Like a job at a dead-end company that's about to go down the drain? | 1:20:48 | 1:20:53 | |
How could you say a thing like that? | 1:20:53 | 1:20:55 | |
Open your eyes, my poor Helena. | 1:20:55 | 1:20:57 | |
I'm not your poor Helena! | 1:20:57 | 1:20:59 | |
Nothing I've learned here is of any use to me. | 1:20:59 | 1:21:02 | |
I'm not your poor Helena! | 1:21:02 | 1:21:03 | |
You'll never last. | 1:21:03 | 1:21:05 | |
You should listen to what the bankers are telling you. | 1:21:05 | 1:21:08 | |
And your board members. | 1:21:08 | 1:21:09 | |
That's not true! | 1:21:09 | 1:21:11 | |
For God's sake. | 1:21:11 | 1:21:12 | |
Oh, this relationship between these women, it's... It's... | 1:21:14 | 1:21:18 | |
Fuck. It's disturbing. | 1:21:18 | 1:21:20 | |
Disturbing. | 1:21:20 | 1:21:21 | |
Nowadays people say disturbing about everything, | 1:21:21 | 1:21:24 | |
even the most conventional ideas. | 1:21:24 | 1:21:26 | |
Anyway, it's, uh... | 1:21:26 | 1:21:27 | |
It's a male fantasy. | 1:21:27 | 1:21:29 | |
Uh, no, it's not. | 1:21:29 | 1:21:31 | |
I don't know why I should be helping to bring it alive. | 1:21:31 | 1:21:34 | |
I bet you weren't saying stuff like this when you were playing Sigrid. | 1:21:34 | 1:21:37 | |
I was a kid when I was playing Sigrid. | 1:21:37 | 1:21:39 | |
I wasn't asking those kind of questions. | 1:21:39 | 1:21:42 | |
-Like Jo-Ann in her science-fiction film. -Yeah, probably. | 1:21:42 | 1:21:46 | |
Don't you want to get that innocence back? | 1:21:48 | 1:21:50 | |
You can't get innocent twice. | 1:21:50 | 1:21:52 | |
You can. If you just accepted Helena the way you accepted Sigrid. | 1:21:52 | 1:21:56 | |
Obviously, it's easier to relate to strength rather than weakness. | 1:21:56 | 1:22:00 | |
Youth is better than maturity. | 1:22:00 | 1:22:02 | |
Cruelty is cool, suffering sucks. | 1:22:02 | 1:22:05 | |
But she's... | 1:22:06 | 1:22:08 | |
She's mature and she's innocent. | 1:22:08 | 1:22:11 | |
She's innocent in her own way. That's what I like about her. | 1:22:11 | 1:22:14 | |
I'll make some coffee. You want some? | 1:22:19 | 1:22:21 | |
Cruelty is cool and suffering sucks. | 1:22:23 | 1:22:26 | |
You didn't answer me. | 1:22:44 | 1:22:46 | |
You have your interpretation of the play. | 1:22:46 | 1:22:48 | |
I think mine's just confusing you. | 1:22:48 | 1:22:50 | |
It's frustrating me. | 1:22:51 | 1:22:53 | |
It's uncomfortable. | 1:22:54 | 1:22:56 | |
It's not good. | 1:22:56 | 1:22:57 | |
Stay. | 1:23:05 | 1:23:07 | |
No. No. | 1:23:10 | 1:23:12 | |
Please, stay. | 1:23:12 | 1:23:14 | |
I need you. | 1:23:15 | 1:23:17 | |
CHAMBER MUSIC PLAYS | 1:23:32 | 1:23:34 | |
THEY PLAY CHAMBER MUSIC | 1:23:43 | 1:23:46 | |
-Thank you. -I prefer 18th-century music to any other. | 1:24:54 | 1:24:58 | |
It's so bright and lively. | 1:24:58 | 1:25:00 | |
Yeah, me, too. Romantic music is so sad and depressing. | 1:25:00 | 1:25:04 | |
But I'd rather listen to rock music any day of the week, though. | 1:25:04 | 1:25:07 | |
-Even the worst. -Not me. | 1:25:07 | 1:25:09 | |
I've heard too much of it. I'm sick of it. | 1:25:09 | 1:25:11 | |
Well, you're such a snob! | 1:25:11 | 1:25:14 | |
No. Tastes can get worn out, kind of like desire. | 1:25:14 | 1:25:17 | |
I've never listened to Handel properly. I think he's excellent. | 1:25:19 | 1:25:22 | |
I haven't been this moved by music in ages. | 1:25:22 | 1:25:25 | |
SHE SCOFFS | 1:25:25 | 1:25:26 | |
You're making fun of me. | 1:25:26 | 1:25:28 | |
I'm not, but I just... | 1:25:28 | 1:25:30 | |
I find it really cute that you're trying to fit in with my ideas. | 1:25:31 | 1:25:35 | |
But you know I'm not a music whiz. | 1:25:35 | 1:25:37 | |
I mean, besides what my family practically spoon-fed me, | 1:25:37 | 1:25:40 | |
which is incredibly specialised, | 1:25:40 | 1:25:42 | |
I don't know a thing about music. | 1:25:42 | 1:25:44 | |
Thank you. | 1:25:46 | 1:25:48 | |
So, how'd it go with your wife? | 1:25:48 | 1:25:51 | |
Really well. | 1:25:51 | 1:25:53 | |
No, I'm kidding. It was horrible. | 1:25:53 | 1:25:55 | |
But, you know, she's... | 1:25:55 | 1:25:56 | |
she's not the type to wear her heart on her sleeve. | 1:25:56 | 1:25:59 | |
I think she was expecting it. | 1:25:59 | 1:26:01 | |
-Did you tell her about me? -No, I said, you know, | 1:26:01 | 1:26:04 | |
I'd be going off on my own to write my book and wouldn't be back. | 1:26:04 | 1:26:07 | |
She must be suspecting something. | 1:26:07 | 1:26:09 | |
She has no idea you and I know each other. | 1:26:09 | 1:26:11 | |
Well, she will. I mean, once it hits the tabloids. | 1:26:11 | 1:26:14 | |
-They're not going to find us here. -They're going to find us anywhere. | 1:26:14 | 1:26:17 | |
It's their job, you know? | 1:26:17 | 1:26:19 | |
Did you say anything to Maria Enders? | 1:26:19 | 1:26:21 | |
Just that I would be taking advantage | 1:26:21 | 1:26:22 | |
-of my press tour and come say hi. -She didn't find that strange? | 1:26:22 | 1:26:26 | |
I talked to her assistant, | 1:26:26 | 1:26:27 | |
and she didn't seem to question it, so I guess not. | 1:26:27 | 1:26:30 | |
LOUD MUSIC PLAYS | 1:26:40 | 1:26:43 | |
Hey. There she is, just there. | 1:26:45 | 1:26:47 | |
-Hi. -Hi. Hi. | 1:26:47 | 1:26:49 | |
-Nice to meet you. -Nice to meet you, too. | 1:26:49 | 1:26:51 | |
-Wow. -What? | 1:26:51 | 1:26:53 | |
-I never would have recognised you. -Really? | 1:26:53 | 1:26:56 | |
I mean, if you've only seen me on the internet or in movies, | 1:26:56 | 1:26:59 | |
-that's not really a big surprise. -Still, it's a little weird. | 1:26:59 | 1:27:01 | |
You, on the other hand, look exactly like all your roles. | 1:27:01 | 1:27:04 | |
I hope not all of them! | 1:27:04 | 1:27:06 | |
No, no, no. Only the better, only the better ones. | 1:27:06 | 1:27:09 | |
Rest assured, you don't look like Nemesis. | 1:27:09 | 1:27:11 | |
This is Chris. He's a... He's a novelist. | 1:27:11 | 1:27:14 | |
Hi. Nice to meet you, Chris. My assistant. | 1:27:14 | 1:27:16 | |
Hey. It's so good to meet both of you. Seriously. | 1:27:16 | 1:27:19 | |
Yeah. | 1:27:19 | 1:27:20 | |
Hello. May I get you anything to drink? | 1:27:20 | 1:27:23 | |
-A cognac for me, please. -Yeah? | 1:27:23 | 1:27:25 | |
-I'll have the same. -OK. | 1:27:25 | 1:27:27 | |
-I'm fine, thanks. -All right. | 1:27:27 | 1:27:29 | |
What herbal teas do you have? | 1:27:29 | 1:27:31 | |
We have vervain, mint and chamomile. | 1:27:31 | 1:27:33 | |
-Um, can I get a chamomile, please? -Yeah, sure. | 1:27:33 | 1:27:36 | |
Thank you. | 1:27:36 | 1:27:37 | |
I don't think you understand how much of an honour this is for me. | 1:27:38 | 1:27:43 | |
When I was 15, I saw... | 1:27:43 | 1:27:45 | |
Oh, my God, the movie you did with the CIA and Harrison Ford. | 1:27:45 | 1:27:49 | |
-I'm so sorry. I'm blanking. -Um... Beetle On Its Back. | 1:27:49 | 1:27:51 | |
A Beetle On Its Back, with Harrison Ford. | 1:27:51 | 1:27:53 | |
You blew my mind. | 1:27:53 | 1:27:55 | |
You... You... | 1:27:55 | 1:27:57 | |
You were the epitome of class. | 1:27:57 | 1:27:58 | |
You were everything I ever wanted to be as an actress. | 1:27:58 | 1:28:01 | |
And I mean, the way that you battled those politicians | 1:28:01 | 1:28:04 | |
and the military brass men, it was captivating. | 1:28:04 | 1:28:06 | |
It was my first Hollywood film. I was a little lost. | 1:28:06 | 1:28:09 | |
Um...Sydney Pollack was really nice, | 1:28:09 | 1:28:13 | |
but sometimes I didn't understand what he was saying, | 1:28:13 | 1:28:15 | |
so I was too shy to ask. | 1:28:15 | 1:28:17 | |
But, fortunately, Harrison was there to help. | 1:28:17 | 1:28:19 | |
A lot. | 1:28:19 | 1:28:22 | |
ALL CHUCKLE | 1:28:22 | 1:28:23 | |
Well, then, of course, after that, | 1:28:23 | 1:28:25 | |
I begged my parents to let me see you on stage, in The Seagull. | 1:28:25 | 1:28:28 | |
And they didn't know who you were before then, because, | 1:28:28 | 1:28:32 | |
well, they kind of hate movies. | 1:28:32 | 1:28:34 | |
-Well, I hope they tolerate the theatre. -No, no, no. | 1:28:34 | 1:28:37 | |
They don't just tolerate the theatre. I mean, they're absolutely in love with it. | 1:28:37 | 1:28:40 | |
In fact, they see everything and...and... | 1:28:40 | 1:28:43 | |
Well, you know, when they saw your performance, | 1:28:43 | 1:28:45 | |
they said it was the best Nina they'd ever seen. | 1:28:45 | 1:28:47 | |
And that meant a lot to me. | 1:28:47 | 1:28:49 | |
Because after... You know, before that I... | 1:28:49 | 1:28:52 | |
I'd never been able to tell them that I wanted to be an actress. | 1:28:52 | 1:28:55 | |
But because of you, I could pursue my vocation. | 1:28:55 | 1:28:58 | |
I prefer your early French films. | 1:28:58 | 1:29:00 | |
There was a cycle at the ICA in London. I saw almost all of them. | 1:29:00 | 1:29:04 | |
And you came. You probably don't remember. | 1:29:04 | 1:29:06 | |
Oh, I remember perfectly well. | 1:29:06 | 1:29:09 | |
I was fascinated by how freely you spoke about your work. | 1:29:09 | 1:29:13 | |
And, um, yet someone asked you if you had any regrets, | 1:29:13 | 1:29:17 | |
and you said, "We're not allowed to regret anything. | 1:29:17 | 1:29:20 | |
"If we're sincere, then we're the sum total of our experiences, | 1:29:20 | 1:29:23 | |
"with no exceptions." | 1:29:23 | 1:29:25 | |
I said that? | 1:29:25 | 1:29:27 | |
Well, not word for word. Something like that. | 1:29:27 | 1:29:29 | |
-You don't think that any more? -Oh, I... No. | 1:29:29 | 1:29:32 | |
I completely agree with that, 100%. | 1:29:32 | 1:29:36 | |
ALL LAUGH | 1:29:36 | 1:29:38 | |
You know, I am incredibly intimidated to take on your role. | 1:29:40 | 1:29:43 | |
I mean, no-one's going to be able to do it like you did. | 1:29:43 | 1:29:46 | |
-I hope you don't judge me too harshly. -Oh. | 1:29:46 | 1:29:49 | |
We all have our own way into a character. They're all good. | 1:29:49 | 1:29:51 | |
Well, I cannot wait to do the read-through tomorrow. | 1:29:51 | 1:29:54 | |
We'll work in Wilhelm's chalet. I hope that's OK with you? | 1:29:54 | 1:29:57 | |
Yeah, sure, as long as his ghost | 1:29:57 | 1:29:58 | |
isn't watching over us the entire time. | 1:29:58 | 1:30:00 | |
I can't promise you that, but don't worry. He's a well-meaning ghost. | 1:30:00 | 1:30:04 | |
Ooh. Well-meaning? I don't know about that. | 1:30:04 | 1:30:07 | |
Nor do I. | 1:30:07 | 1:30:08 | |
THEY CHUCKLE | 1:30:08 | 1:30:10 | |
You know, it's incredibly brave of you to take on the role of Helena. | 1:30:10 | 1:30:14 | |
It's... It's a way of dealing with time. | 1:30:14 | 1:30:18 | |
Yes, well, I don't know, sometimes I... | 1:30:18 | 1:30:21 | |
..I tell myself that it's just a job. | 1:30:22 | 1:30:25 | |
And I'll be happy to move on when it's over. | 1:30:25 | 1:30:28 | |
Hey. Thank you. | 1:30:29 | 1:30:31 | |
You still want to see the snake you asked me the other day? | 1:30:31 | 1:30:34 | |
-Oh, yeah. -The weather they're predicting for tomorrow seems ideal. | 1:30:34 | 1:30:38 | |
So you better make sure you're out there at daybreak. | 1:30:38 | 1:30:41 | |
It's wonderful to see it coming over the Maloja Pass. | 1:30:41 | 1:30:43 | |
Great. Awesome. That's amazing. | 1:30:43 | 1:30:45 | |
-Thank you. -OK. | 1:30:45 | 1:30:47 | |
I thought they were really nice. | 1:30:48 | 1:30:50 | |
It's true. I... | 1:30:52 | 1:30:53 | |
She's a lot more interesting than the person you described. | 1:30:53 | 1:30:57 | |
I didn't know her parents were musicians. | 1:30:57 | 1:30:59 | |
I liked him, too. He's... | 1:30:59 | 1:31:01 | |
SHE SCOFFS | 1:31:01 | 1:31:03 | |
What's so funny? Did I say something funny? | 1:31:03 | 1:31:06 | |
They spent the whole evening flattering you. | 1:31:07 | 1:31:10 | |
Of course you liked them. | 1:31:10 | 1:31:11 | |
-That has nothing to do with it. -No, no. Of course not. | 1:31:11 | 1:31:14 | |
MARIA LAUGHS | 1:31:14 | 1:31:16 | |
What was that movie again? | 1:31:24 | 1:31:26 | |
THEY LAUGH | 1:31:26 | 1:31:28 | |
LAUGHING: Beetle On Its Back! | 1:31:28 | 1:31:30 | |
What was that movie? Beetle on Its Back! | 1:31:30 | 1:31:33 | |
MARIA LAUGHS, CLATTERING | 1:31:33 | 1:31:36 | |
I can't believe we got this scoop tonight. | 1:31:36 | 1:31:38 | |
What scoop? | 1:31:38 | 1:31:40 | |
She's with Christopher Giles. | 1:31:40 | 1:31:42 | |
Chris? His name is Christopher Giles? | 1:31:42 | 1:31:44 | |
-Yes. -Is he famous? | 1:31:44 | 1:31:47 | |
He's...uber-famous! | 1:31:47 | 1:31:50 | |
I can't remember which major book prize he won, but... | 1:31:50 | 1:31:53 | |
He's married. He's with Dorothea Von Duisburg, the German artist. | 1:31:55 | 1:31:59 | |
She had a show at the Serpentine last year? | 1:31:59 | 1:32:01 | |
THEY LAUGH | 1:32:01 | 1:32:05 | |
Never heard of either of them. | 1:32:05 | 1:32:07 | |
You should google him. | 1:32:09 | 1:32:11 | |
How do you spell his name? | 1:32:11 | 1:32:14 | |
Giles. G-I-L-E-S. | 1:32:14 | 1:32:16 | |
Well, he's obviously with her. | 1:32:16 | 1:32:19 | |
Yeah. | 1:32:20 | 1:32:21 | |
When word gets out, it's going to be, like, a tsunami. | 1:32:21 | 1:32:25 | |
SHE LAUGHS | 1:32:25 | 1:32:27 | |
Well, yeah, on their planet. | 1:32:27 | 1:32:29 | |
Their planet has a name. | 1:32:29 | 1:32:31 | |
It's called the real world. Welcome! | 1:32:31 | 1:32:34 | |
SHE LAUGHS | 1:32:34 | 1:32:36 | |
Careful with that. Come here. Give that to me. | 1:32:36 | 1:32:39 | |
Here. | 1:32:41 | 1:32:42 | |
WIND HOWLS | 1:32:53 | 1:32:56 | |
I spent all night thinking about Helena's death. | 1:32:57 | 1:33:01 | |
Her death? | 1:33:01 | 1:33:02 | |
She doesn't necessarily die. She just... She disappears. | 1:33:02 | 1:33:06 | |
That's your interpretation. | 1:33:06 | 1:33:08 | |
Well, it's... It's pretty ambiguous. | 1:33:08 | 1:33:11 | |
She goes out for a hike and never comes back. | 1:33:11 | 1:33:14 | |
Seems clear enough to me. | 1:33:14 | 1:33:16 | |
You don't know that. She could reinvent herself somewhere else. | 1:33:16 | 1:33:20 | |
There's really no way of knowing. | 1:33:20 | 1:33:21 | |
Yeah, you can imagine whatever you want. | 1:33:21 | 1:33:23 | |
Are we going the right way? | 1:33:23 | 1:33:25 | |
I mean, I don't mind waking up at the crack of dawn, | 1:33:25 | 1:33:28 | |
but not to get lost in the mountains and miss the snake. | 1:33:28 | 1:33:31 | |
Well, we're basically here. You happy? | 1:33:31 | 1:33:33 | |
What makes you think we're here? | 1:33:33 | 1:33:35 | |
I've got a map! You want me to show you? | 1:33:35 | 1:33:38 | |
Come here. | 1:33:38 | 1:33:39 | |
This is the bend we just went around ten minutes ago. | 1:33:41 | 1:33:44 | |
And just around there is the view of the valley. You see that? | 1:33:44 | 1:33:47 | |
-How do you know? -How do...? | 1:33:47 | 1:33:50 | |
Such a fucking pain in the ass. Jesus Christ. | 1:33:51 | 1:33:55 | |
I don't know why you're so dead set on making this play | 1:33:56 | 1:33:58 | |
say the opposite of what it was meant to say. | 1:33:58 | 1:34:01 | |
At 20, you saw Sigrid's ambition and you saw her violence | 1:34:01 | 1:34:05 | |
because you felt it in yourself. | 1:34:05 | 1:34:07 | |
-So? -That's what I'm saying. The text is like an object. | 1:34:07 | 1:34:12 | |
It's going to change perspective based on where you're standing. | 1:34:12 | 1:34:15 | |
I don't know. | 1:34:15 | 1:34:17 | |
We should go. We're going to miss the snake. | 1:34:19 | 1:34:21 | |
There won't be any snake. | 1:34:21 | 1:34:23 | |
Fuck it. | 1:34:25 | 1:34:27 | |
Look there! | 1:35:15 | 1:35:17 | |
Is that the snake? | 1:35:18 | 1:35:20 | |
No. | 1:35:21 | 1:35:24 | |
No, it's just mist. | 1:35:24 | 1:35:26 | |
A little fog. | 1:35:26 | 1:35:28 | |
But it breaks up. | 1:35:28 | 1:35:30 | |
Still pretty beautiful though. | 1:35:33 | 1:35:35 | |
It's like it's gathering and pouring out into the valley. | 1:35:35 | 1:35:39 | |
Maybe it is the snake. | 1:35:41 | 1:35:43 | |
We have to be patient. | 1:35:45 | 1:35:47 | |
No, it's not the snake. | 1:35:49 | 1:35:52 | |
Oh, yes! | 1:35:52 | 1:35:54 | |
I think it's turning into the snake! | 1:35:54 | 1:35:57 | |
How about you? | 1:35:57 | 1:35:59 | |
Val? | 1:36:00 | 1:36:01 | |
What the hell are you doing? | 1:36:03 | 1:36:05 | |
Val? | 1:36:07 | 1:36:09 | |
Val! | 1:36:10 | 1:36:12 | |
Val! | 1:36:13 | 1:36:14 | |
Val! | 1:36:16 | 1:36:18 | |
Val! | 1:36:21 | 1:36:23 | |
Answer me! | 1:36:23 | 1:36:25 | |
Val! | 1:36:27 | 1:36:29 | |
Val! | 1:36:32 | 1:36:34 | |
MUSIC: Pachelbel's Canon | 1:36:45 | 1:36:49 | |
How's the hotel? | 1:37:53 | 1:37:56 | |
The hotel's fine. Oh, thanks for the flowers. | 1:37:56 | 1:37:59 | |
So, did you reach Klaus? He was really impatient to see you. | 1:37:59 | 1:38:02 | |
You have to return his calls, you know. | 1:38:02 | 1:38:04 | |
He thinks you're avoiding him. | 1:38:04 | 1:38:05 | |
We're having dinner. He's a half hour late. | 1:38:05 | 1:38:08 | |
Oh, so you called me to kill time? | 1:38:08 | 1:38:10 | |
Just kidding. | 1:38:10 | 1:38:12 | |
I'm not avoiding him I...I want to talk to him one-on-one. | 1:38:12 | 1:38:15 | |
You know how reluctant I was. I'm over that now. | 1:38:15 | 1:38:18 | |
You know, Klaus understands the risks you're taking. | 1:38:18 | 1:38:21 | |
I know he's sincere. | 1:38:21 | 1:38:22 | |
He's doing this for you and for Wilhelm's memory. | 1:38:22 | 1:38:24 | |
And for the publicity. | 1:38:24 | 1:38:26 | |
20 years after being Sigrid, I'm Helena. | 1:38:26 | 1:38:29 | |
That's all the press is talking about. | 1:38:29 | 1:38:31 | |
You know, he's like every artist of his generation. | 1:38:31 | 1:38:34 | |
He has a flair for PR. | 1:38:34 | 1:38:36 | |
Oh, and is that a crime? | 1:38:36 | 1:38:38 | |
To excel and to know how to show it is to excel twice. | 1:38:38 | 1:38:42 | |
Baltasar Gracian said that. | 1:38:42 | 1:38:44 | |
I have no idea who that is, but he was right. | 1:38:44 | 1:38:48 | |
The press is talking about you and your work. | 1:38:48 | 1:38:50 | |
Oh, I said OK to pictures. | 1:38:50 | 1:38:52 | |
No interviews. It's too soon, too fragile. | 1:38:52 | 1:38:54 | |
PHONE RINGS Hold on. | 1:38:54 | 1:38:56 | |
Yes? | 1:38:56 | 1:38:58 | |
Tell him I'm on my way down. | 1:39:00 | 1:39:02 | |
Thank you. | 1:39:02 | 1:39:03 | |
-It's Klaus. -You'll be fine. | 1:39:04 | 1:39:07 | |
Hi. | 1:39:10 | 1:39:11 | |
-Hi. -Hi. Excuse me, I'm late. | 1:39:13 | 1:39:15 | |
But something terrible has happened. | 1:39:15 | 1:39:17 | |
Dorothea tried to commit suicide. She's in a coma. | 1:39:17 | 1:39:20 | |
Dorothea? | 1:39:20 | 1:39:22 | |
Christopher Giles's wife. | 1:39:22 | 1:39:24 | |
Chris... Um, Jo-Ann's friend, you mean? | 1:39:24 | 1:39:27 | |
Yes, but you are not supposed to know he's Jo-Ann's friend. | 1:39:27 | 1:39:30 | |
Well, they were together in Sils, so... | 1:39:30 | 1:39:32 | |
I thought it was more recent than that. Excuse me, sir. We can go. | 1:39:32 | 1:39:36 | |
Well, she slit her wrists in her studio. | 1:39:36 | 1:39:39 | |
The housekeeper found her in a pool of her own blood. | 1:39:39 | 1:39:43 | |
Oh, that's awful. | 1:39:43 | 1:39:44 | |
She's a well-known artist, right? | 1:39:46 | 1:39:48 | |
Dorothea is an amazing girl. | 1:39:48 | 1:39:50 | |
Beautiful, talented, | 1:39:50 | 1:39:52 | |
everything going for her. | 1:39:52 | 1:39:54 | |
I love her work. | 1:39:54 | 1:39:56 | |
I don't understand. | 1:39:56 | 1:39:58 | |
Jo-Ann is devastated. | 1:39:58 | 1:40:00 | |
She was at an exhibition. | 1:40:00 | 1:40:02 | |
She can't go back to the hotel. | 1:40:02 | 1:40:04 | |
The paparazzi have surrounded the place. | 1:40:04 | 1:40:07 | |
I suggested she join us. You don't mind? | 1:40:07 | 1:40:10 | |
No, of course not. | 1:40:10 | 1:40:12 | |
MUTED CONVERSATION | 1:40:34 | 1:40:36 | |
It was still just a rumour, but the press knew something was up. | 1:40:43 | 1:40:46 | |
Someone posted in her blog that it was the real reason | 1:40:46 | 1:40:49 | |
that Jo-Ann had accepted to do a play in London. | 1:40:49 | 1:40:52 | |
-And is that true? -She doesn't need a pretext to act in London, | 1:40:52 | 1:40:55 | |
but the paparazzi will never let go. | 1:40:55 | 1:40:57 | |
They need a picture with Christopher. They're going wild. | 1:40:57 | 1:41:00 | |
She's in her car. She'll be here in five minutes. | 1:41:06 | 1:41:08 | |
-You wanted to talk to me? -Sorry. I'm confused. | 1:41:12 | 1:41:15 | |
I had a long conversation with Rosa last night. | 1:41:16 | 1:41:19 | |
I told her you were in London, | 1:41:19 | 1:41:21 | |
that we were about to start rehearsals. | 1:41:21 | 1:41:24 | |
That made her happy, I think. | 1:41:24 | 1:41:25 | |
Now all we have to do is not disappoint her. | 1:41:25 | 1:41:28 | |
-Um, let's take Chateau Larousse. -Thank you. | 1:41:31 | 1:41:34 | |
Rosa gave me fragments from Wilhelm's follow-up to Maloja Snake. | 1:41:34 | 1:41:38 | |
A sign of her trust. | 1:41:38 | 1:41:40 | |
Some of the pages make no sense out of context, | 1:41:40 | 1:41:43 | |
but there are a few others that put the play in a new light. | 1:41:43 | 1:41:47 | |
How old was Wilhelm when he wrote Maloja Snake? | 1:41:47 | 1:41:49 | |
35 or so? How...? | 1:41:49 | 1:41:51 | |
Hmm. 38. | 1:41:51 | 1:41:53 | |
-38? -Yeah. Little older when he made the film. | 1:41:53 | 1:41:56 | |
He was still a young man. All action. | 1:41:56 | 1:41:59 | |
25 years later, obviously, he was more analytical, | 1:41:59 | 1:42:02 | |
trying to put things in perspective, maybe thinking about posterity. | 1:42:02 | 1:42:05 | |
Who knows? | 1:42:05 | 1:42:07 | |
Isn't it better to stay faithful to his youthful energy? | 1:42:07 | 1:42:10 | |
-And forget the new scenes? -Yes. | 1:42:10 | 1:42:12 | |
Wilhelm never had any distance or maturity. | 1:42:14 | 1:42:17 | |
On the contrary, his last texts got bolder and bolder | 1:42:17 | 1:42:20 | |
and more and more enigmatic. | 1:42:20 | 1:42:22 | |
Here's another way of looking at it. | 1:42:24 | 1:42:26 | |
We think like him. | 1:42:26 | 1:42:28 | |
We... We project ourselves into the future | 1:42:28 | 1:42:31 | |
instead of freezing ourselves in the past so that we... | 1:42:31 | 1:42:34 | |
-Jo-Ann. -Hi. | 1:42:34 | 1:42:37 | |
-What's happening? -She's hanging on by a thread. | 1:42:37 | 1:42:40 | |
She's lost a lot of blood, but the doctors won't tell us anything. | 1:42:40 | 1:42:43 | |
I mean, Chris said she was really relaxed when he told her. | 1:42:43 | 1:42:46 | |
She was just getting used to the new situation. | 1:42:46 | 1:42:48 | |
Where's Christopher? | 1:42:48 | 1:42:49 | |
Dorothea's family got home from Germany, so he... | 1:42:49 | 1:42:52 | |
They told him to leave the hospital, so he's going to come join us. | 1:42:52 | 1:42:55 | |
Here? But that's ridiculous. | 1:42:55 | 1:42:57 | |
He will have all the paparazzi from the hospital on his trail. | 1:42:57 | 1:42:59 | |
No. He said there were no paparazzi. He'd know. | 1:42:59 | 1:43:02 | |
He's being naive. Of course they're tailing him. | 1:43:02 | 1:43:04 | |
They're just doing it discreetly. | 1:43:04 | 1:43:06 | |
Tell him absolutely not to join us. | 1:43:06 | 1:43:08 | |
His... His voice mail's turned off. I'll just text him. | 1:43:13 | 1:43:16 | |
If they follow him here, we are stuck. | 1:43:17 | 1:43:20 | |
-Do you have your driver? -Yeah. He's outside. | 1:43:20 | 1:43:23 | |
OK. Tell Christopher to meet us at my club. | 1:43:24 | 1:43:26 | |
At least we'll have some peace and quiet. | 1:43:26 | 1:43:29 | |
-Here's the address. -Chris! | 1:43:29 | 1:43:30 | |
Hey, hey... | 1:43:30 | 1:43:32 | |
Are you all right? | 1:43:32 | 1:43:34 | |
-Did you get my messages? -Um... | 1:43:34 | 1:43:37 | |
Klaus thinks the paparazzi are following you from the hospital. | 1:43:37 | 1:43:40 | |
I don't know. I...I didn't see any. | 1:43:40 | 1:43:43 | |
They can't get a picture of us tonight. It'd be a total disaster. | 1:43:43 | 1:43:46 | |
It'd spread like wildfire. I'm going to call my driver. | 1:43:46 | 1:43:49 | |
Hey. Will you come pick us up? | 1:43:51 | 1:43:53 | |
-All right. -Here. | 1:43:53 | 1:43:56 | |
The address of my club. | 1:43:56 | 1:43:58 | |
We'll go first. Wait five minutes, take a taxi and join us. | 1:43:58 | 1:44:00 | |
CAMERA SHUTTERS CLICK | 1:44:07 | 1:44:09 | |
ENGINE TURNS | 1:44:13 | 1:44:15 | |
TYRES SCREECH | 1:44:15 | 1:44:17 | |
ENGINE TURNS | 1:44:19 | 1:44:22 | |
MOBILE RINGS | 1:44:25 | 1:44:27 | |
Fuck, they're following us. | 1:44:27 | 1:44:29 | |
Hey, Ari? | 1:44:30 | 1:44:32 | |
No, there's no news here from the hospital. | 1:44:32 | 1:44:34 | |
Yeah, I could really use you right now. | 1:44:34 | 1:44:37 | |
Whatever the first plane out is. | 1:44:37 | 1:44:39 | |
I'm stuck here in London till the end of the year. | 1:44:39 | 1:44:42 | |
Rehearsals start tomorrow. | 1:44:42 | 1:44:44 | |
If she doesn't make it, | 1:44:44 | 1:44:46 | |
it's going to be a nuclear fucking winter. | 1:44:46 | 1:44:49 | |
What do you want to do? Change hotels? | 1:44:49 | 1:44:52 | |
No way. Wherever I go, they're just going to find me and chase me down. | 1:44:52 | 1:44:56 | |
I'd rather just stay where I am. | 1:44:56 | 1:44:58 | |
You know, it's... I'm fine with it. | 1:44:58 | 1:45:00 | |
It'll just be hard for Chris. | 1:45:00 | 1:45:02 | |
-The media is going to crucify him. -No, no. | 1:45:02 | 1:45:05 | |
I'll take the heat. I'll be the home wrecker. | 1:45:05 | 1:45:08 | |
I'm used to getting nasty shit written about me. | 1:45:08 | 1:45:10 | |
I couldn't honestly care less. | 1:45:10 | 1:45:11 | |
You want us to cancel tomorrow's rehearsal? Maria, would you mind? | 1:45:11 | 1:45:15 | |
-No, of course not, no. -No way. | 1:45:15 | 1:45:17 | |
No, no, no. | 1:45:17 | 1:45:19 | |
I'd rather work. | 1:45:19 | 1:45:20 | |
-We didn't get to talk much. -No. | 1:45:25 | 1:45:27 | |
I'll have the new scenes dropped off at the front desk. | 1:45:27 | 1:45:31 | |
And we'll talk about them seriously. | 1:45:31 | 1:45:33 | |
Yeah, we can do that tomorrow, after rehearsal. | 1:45:33 | 1:45:36 | |
Mmm, I'm drained after a workday. It's not the best time for me. | 1:45:36 | 1:45:39 | |
I know. Same for me. | 1:45:39 | 1:45:42 | |
And next weekend I have to see my kids in southern Italy. | 1:45:42 | 1:45:46 | |
We'll manage. | 1:45:47 | 1:45:48 | |
OK, goodnight. | 1:45:48 | 1:45:50 | |
Goodnight. | 1:45:50 | 1:45:51 | |
When they tell me about you, how much they appreciate you, | 1:46:00 | 1:46:03 | |
it's to remind me how happy they are | 1:46:03 | 1:46:06 | |
to grant you what they never granted me. | 1:46:06 | 1:46:08 | |
KNOCK AT DOOR They're using you... | 1:46:08 | 1:46:11 | |
Hi. I printed everything out. | 1:46:23 | 1:46:25 | |
-Thanks. -If you want an English solicitor | 1:46:25 | 1:46:27 | |
to take a look at the papers, tell me. | 1:46:27 | 1:46:29 | |
I know a bilingual girl who specialises in Paris real estates. | 1:46:29 | 1:46:32 | |
That's the sales agreements. | 1:46:34 | 1:46:35 | |
Your ex-husband is buying your half of the apartment | 1:46:35 | 1:46:38 | |
for the price you agreed to. | 1:46:38 | 1:46:39 | |
No, I didn't want to discuss it. Maybe I was wrong. | 1:46:39 | 1:46:42 | |
That's the sales agreement for the studio on Rue du Chemin Vert. | 1:46:42 | 1:46:45 | |
Yeah. It's expensive, but it's worth it. | 1:46:45 | 1:46:48 | |
-So it's ready to sign? -Tomorrow, as planned. | 1:46:48 | 1:46:51 | |
You take the Eurostar at 8.15, leave Paris at 5.00, | 1:46:51 | 1:46:54 | |
and you'll be back in London in time for dinner. | 1:46:54 | 1:46:56 | |
-OK. -If you want, I can travel with you. -No, I'm fine. | 1:46:56 | 1:47:00 | |
What do I tell Piers Roaldson? | 1:47:04 | 1:47:06 | |
Remind me who he is. | 1:47:06 | 1:47:08 | |
He's shooting a film next summer called Electric Shockwave. | 1:47:08 | 1:47:12 | |
What's he done? | 1:47:12 | 1:47:14 | |
Nothing. He's 25. | 1:47:14 | 1:47:16 | |
But Jay says it's good and that it's been green-lit. | 1:47:16 | 1:47:19 | |
-What's the part? -They haven't sent it over yet. | 1:47:19 | 1:47:23 | |
It's the lead. | 1:47:23 | 1:47:24 | |
I think your character would be some sort of...hybrid. | 1:47:24 | 1:47:27 | |
Mm, a creation of modern genetics, but with a soul. | 1:47:29 | 1:47:32 | |
It's set in the near future, the 23rd century. | 1:47:32 | 1:47:35 | |
On Earth? | 1:47:35 | 1:47:37 | |
Maybe. I'm not sure. | 1:47:37 | 1:47:39 | |
Hello. Over there, please. | 1:47:41 | 1:47:44 | |
Thank you. | 1:47:44 | 1:47:47 | |
Well, tell Piers I'm interested, and I'll read the script next week. | 1:47:47 | 1:47:50 | |
OK? | 1:47:50 | 1:47:52 | |
And, uh, there are the new scenes Klaus sent you. | 1:47:52 | 1:47:54 | |
-Ah, yes, I forgot. -You want to run the lines? | 1:47:54 | 1:47:57 | |
No. I haven't read the pages yet. | 1:47:57 | 1:48:00 | |
-He wants to know what you think. -Why doesn't he just call me? | 1:48:00 | 1:48:04 | |
Maybe he's waiting for your reaction. | 1:48:04 | 1:48:06 | |
You've had the scenes for two weeks. | 1:48:06 | 1:48:08 | |
I understand. | 1:48:08 | 1:48:10 | |
But I'd rather discover them at the last minute and not overthink it. | 1:48:10 | 1:48:13 | |
It's the only way I can keep it spontaneous. | 1:48:13 | 1:48:16 | |
That's how I, um, prepared Sigrid 20 years ago. | 1:48:16 | 1:48:19 | |
I'll do the same thing with Helena. | 1:48:19 | 1:48:21 | |
If he asks you, just tell him I think they're very good. | 1:48:22 | 1:48:26 | |
-KLAUS: -Very good, but it's still a little long. | 1:49:22 | 1:49:26 | |
-Jo-Ann, can you hear me? -Uh, yeah. | 1:49:26 | 1:49:28 | |
-Do the same thing, but speed it up a little. -OK. | 1:49:28 | 1:49:31 | |
Why don't you just forget one of the files? There are plenty. | 1:49:31 | 1:49:34 | |
-We do it one more time. -OK. | 1:49:34 | 1:49:36 | |
Excuse me. | 1:49:40 | 1:49:41 | |
-Tomorrow is our final dress rehearsal. -I know. | 1:49:41 | 1:49:44 | |
-Thanks for taking the time. -My pleasure. | 1:49:44 | 1:49:46 | |
I'll just switch this on. | 1:49:46 | 1:49:49 | |
Uh, may I have a cup of coffee, please? | 1:49:49 | 1:49:52 | |
You can imagine my first question. | 1:49:52 | 1:49:54 | |
Will the media frenzy around Jo-Ann Ellis steal the spotlight? | 1:49:54 | 1:49:59 | |
All that matters is the show. The rest is of no importance. | 1:49:59 | 1:50:02 | |
And fortunately, Dorothea pulled through. | 1:50:02 | 1:50:05 | |
I know you have a new take on it, but will the audience be receptive | 1:50:05 | 1:50:09 | |
or might they be too distracted? | 1:50:09 | 1:50:10 | |
I suppose that's my question. | 1:50:10 | 1:50:12 | |
I hope they'll be receptive. | 1:50:12 | 1:50:14 | |
So you think the shows are airtight? | 1:50:14 | 1:50:16 | |
No connection to the outside world. | 1:50:16 | 1:50:19 | |
No. | 1:50:19 | 1:50:20 | |
No, each theatregoer brings his own subjectivity. | 1:50:20 | 1:50:23 | |
And it's generally not defined by tabloid headlines. | 1:50:23 | 1:50:27 | |
Some will go for the smell of scandal. | 1:50:27 | 1:50:29 | |
So will they see the show you had in mind, or something else? | 1:50:29 | 1:50:32 | |
-Jo-Ann? -What's up? | 1:50:34 | 1:50:37 | |
I wanted to ask you... | 1:50:37 | 1:50:38 | |
You know the scene at the beginning of Act 3 | 1:50:38 | 1:50:41 | |
when you tell me you want to leave | 1:50:41 | 1:50:43 | |
and I get on my knees and beg you to stay? | 1:50:43 | 1:50:45 | |
You're on the phone ordering pepperoncino pizza | 1:50:45 | 1:50:47 | |
for your co-workers in Accounting. | 1:50:47 | 1:50:49 | |
Well, you...you leave without looking at me, | 1:50:49 | 1:50:52 | |
as if I didn't exist. | 1:50:52 | 1:50:55 | |
Um... | 1:50:55 | 1:50:57 | |
if you could pause for a second, you know, | 1:50:57 | 1:50:59 | |
Helena's distress would last longer when she's left alone in her office. | 1:50:59 | 1:51:03 | |
Well, the way you're playing it, um, | 1:51:05 | 1:51:08 | |
the audience follows you out, | 1:51:08 | 1:51:09 | |
but instantly forgets about her, so... | 1:51:09 | 1:51:12 | |
So... So what? | 1:51:12 | 1:51:15 | |
Well, when I played Sigrid, I...I held it longer. | 1:51:15 | 1:51:18 | |
I thought it was more powerful, dramatically. | 1:51:18 | 1:51:22 | |
I mean, it really played well. | 1:51:22 | 1:51:23 | |
Well, no-one really gives a fuck about Helena at that point, do they? | 1:51:23 | 1:51:27 | |
I'm sorry, but I mean, it's pretty clear to me | 1:51:27 | 1:51:29 | |
this poor woman's all washed up. | 1:51:29 | 1:51:31 | |
I mean, your character, right? Not you. | 1:51:31 | 1:51:33 | |
And...when Sigrid leaves Helena's office, | 1:51:33 | 1:51:37 | |
Helena is a wreck, and we get it. | 1:51:37 | 1:51:39 | |
You know, it's time to move on. | 1:51:39 | 1:51:42 | |
I think they want what comes next. | 1:51:42 | 1:51:45 | |
If you just held it a few seconds longer. | 1:51:45 | 1:51:47 | |
It doesn't really feel right for me, Maria. | 1:51:47 | 1:51:50 | |
SHE LAUGHS | 1:51:50 | 1:51:53 | |
You're right. | 1:51:53 | 1:51:54 | |
Yeah. | 1:51:55 | 1:51:57 | |
I, um... | 1:51:57 | 1:51:59 | |
..I think I'm lost in my memories. | 1:52:00 | 1:52:03 | |
You think you've forgotten your old habits, | 1:52:03 | 1:52:06 | |
but they all...they all come back. | 1:52:06 | 1:52:08 | |
I have to break them. | 1:52:08 | 1:52:10 | |
-I guess you do. -SHE CHUCKLES | 1:52:10 | 1:52:12 | |
Excuse me. I'm looking for Maria Enders' room? | 1:52:26 | 1:52:29 | |
Thank you. | 1:52:31 | 1:52:32 | |
-Hi. Come in. -Hi. | 1:52:36 | 1:52:39 | |
Thanks so much for seeing me tonight. I really appreciate it. | 1:52:39 | 1:52:42 | |
We're leaving early tomorrow morning for a location scout in the Ukraine. | 1:52:42 | 1:52:46 | |
That's where we're going to be shooting our exteriors, mostly. | 1:52:46 | 1:52:48 | |
So, I...I read your script. | 1:52:48 | 1:52:50 | |
Yeah, well, um, I know we've never met, | 1:52:50 | 1:52:52 | |
-but I actually wrote it with you in mind. -As a mutant? | 1:52:52 | 1:52:57 | |
I'm trying to consider genetics from a more human point of view. | 1:52:57 | 1:53:00 | |
When I was reading it, um, | 1:53:02 | 1:53:04 | |
I imagined someone much younger. | 1:53:04 | 1:53:06 | |
Maybe me younger, actually, | 1:53:06 | 1:53:08 | |
but you're seeing me in movies that were made years ago. | 1:53:08 | 1:53:11 | |
I've changed. | 1:53:11 | 1:53:13 | |
She has no age. | 1:53:13 | 1:53:15 | |
Or else she's every age at once, like all of us. | 1:53:15 | 1:53:19 | |
Can I be frank? | 1:53:20 | 1:53:22 | |
Maybe it's because I'm working with her, but... | 1:53:23 | 1:53:26 | |
as I was reading it, I kept thinking about Jo-Ann. | 1:53:26 | 1:53:30 | |
Yeah, well, personally, | 1:53:30 | 1:53:33 | |
I never think about Jo-Ann Ellis. | 1:53:33 | 1:53:35 | |
You're wrong. She's smart...and talented. | 1:53:35 | 1:53:39 | |
She's modern, just like your character. | 1:53:39 | 1:53:41 | |
My character isn't modern. Not in that way, anyway. | 1:53:41 | 1:53:44 | |
She's...outside of time. | 1:53:44 | 1:53:47 | |
Outside of time. | 1:53:47 | 1:53:49 | |
-I don't understand. It's too abstract for me. -Sorry. | 1:53:52 | 1:53:56 | |
I, uh... I don't like this era. | 1:53:56 | 1:53:59 | |
You're wrong. It's yours. | 1:53:59 | 1:54:01 | |
Hey, man, I didn't choose it. | 1:54:01 | 1:54:03 | |
And if my era is Jo-Ann Ellis and viral internet scandals, | 1:54:03 | 1:54:07 | |
I think I'm entitled to feel unrelated, aren't I? | 1:54:07 | 1:54:09 | |
I mean, it's nothing against her. | 1:54:11 | 1:54:12 | |
I guessed I just assumed you'd understand. | 1:54:12 | 1:54:14 | |
KNOCK AT DOOR | 1:54:14 | 1:54:17 | |
Curtain in five minutes. | 1:54:17 | 1:54:18 | |
-How's the house? -Full. | 1:54:18 | 1:54:20 | |
MUSIC: Pachelbel's Canon | 1:54:23 | 1:54:29 | |
Take your cue, please. | 1:54:29 | 1:54:31 |