Mia Madre
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Transcript
| Line | From | To | |
|---|---|---|---|
This film contains strong language | 0:00:03 | 0:00:07 | |
SHOUTING | 0:02:45 | 0:02:46 | |
MUSIC: Baby's Coming Back To Me by Jarvis Cocker | 0:08:31 | 0:08:33 | |
MUSIC STOPS | 0:08:53 | 0:08:55 | |
MUSIC: Famous Blue Raincoat by Leonard Cohen | 0:10:01 | 0:10:04 | |
INTERCOM BUZZES | 0:12:23 | 0:12:25 | |
SHE SIGHS | 0:13:16 | 0:13:18 | |
SHE SHOUTS | 0:13:39 | 0:13:41 | |
How was your flight? | 0:16:14 | 0:16:17 | |
HE GROANS | 0:16:25 | 0:16:27 | |
No. Oh, no! | 0:16:27 | 0:16:30 | |
HE CALLS OUT | 0:16:34 | 0:16:36 | |
I'll kill ya. | 0:16:37 | 0:16:39 | |
HE CHUCKLES | 0:18:25 | 0:18:27 | |
Oh, God. | 0:18:47 | 0:18:50 | |
What a terrible dream. | 0:18:50 | 0:18:52 | |
Kevin Spacey tried to kill me. | 0:18:52 | 0:18:55 | |
SHE LAUGHS | 0:19:36 | 0:19:38 | |
Good night. | 0:19:49 | 0:19:50 | |
HE CHUCKLES | 0:19:53 | 0:19:55 | |
I was joking, all right? | 0:19:55 | 0:19:56 | |
INAUDIBLE | 0:21:46 | 0:21:48 | |
Decide later, right? | 0:22:01 | 0:22:03 | |
THEY LAUGH | 0:22:05 | 0:22:07 | |
You just finalised the agreement for the factory... | 0:22:31 | 0:22:33 | |
I have to get them to trust me. | 0:22:53 | 0:22:55 | |
Ah! Champagne! | 0:22:55 | 0:22:58 | |
It's fake! Like my whole life, huh? That's what it is, to be an actor. | 0:23:01 | 0:23:06 | |
Listen, I'd like real champagne for the scene, if you don't mind. | 0:23:06 | 0:23:09 | |
OK? I'm Barry Huggins and Barry needs real champagne for the scene. | 0:23:09 | 0:23:14 | |
Understand? | 0:23:14 | 0:23:15 | |
-Er, yes. -I'm serious. I'm very serious. | 0:23:15 | 0:23:17 | |
HE LAUGHS | 0:23:19 | 0:23:21 | |
I know. I have trouble with that word. | 0:24:13 | 0:24:15 | |
No! | 0:24:17 | 0:24:19 | |
I'm nervous. It's my first day. I'm sorry. | 0:24:24 | 0:24:26 | |
We're doing it again, doing it again. I'm ready. Watch this. Watch. | 0:24:29 | 0:24:32 | |
"Hello. Mr Huggins?" | 0:26:45 | 0:26:47 | |
"Yes, that's me." | 0:26:47 | 0:26:49 | |
"This is Stanley Kubrick. | 0:26:49 | 0:26:52 | |
"How can I get you the script?" | 0:26:53 | 0:26:55 | |
I said, "UPS it." | 0:26:55 | 0:26:58 | |
"What if you're not home?" | 0:26:58 | 0:27:00 | |
"If I'm not home, the guy will throw it over the gate." | 0:27:00 | 0:27:02 | |
"That's unbelievable. | 0:27:04 | 0:27:06 | |
"Mine doesn't." | 0:27:06 | 0:27:07 | |
Anyway, I left for London. Just the travelling. | 0:27:07 | 0:27:10 | |
I was supposed to shoot for one week, but they had told me, | 0:27:10 | 0:27:12 | |
"Look, nobody shoots for one week with Kubrick." | 0:27:12 | 0:27:15 | |
And do you know how long I wound up staying? | 0:27:17 | 0:27:20 | |
I was in a hotel room, waiting. | 0:27:28 | 0:27:31 | |
I even missed the birth of my son. | 0:27:31 | 0:27:33 | |
Oh. | 0:27:33 | 0:27:34 | |
But, you know, that's how our work is. | 0:27:36 | 0:27:39 | |
Stanley was crazy about me. | 0:27:39 | 0:27:43 | |
He was writing two more films, | 0:27:43 | 0:27:45 | |
tailor-made just for me, like a suit. | 0:27:45 | 0:27:47 | |
But, unfortunately, there was no time. | 0:27:48 | 0:27:52 | |
HE SINGS | 0:27:52 | 0:27:55 | |
HE JOINS IN | 0:27:56 | 0:27:59 | |
SINGING CONTINUES | 0:28:03 | 0:28:06 | |
Hey, Margherita! | 0:29:04 | 0:29:06 | |
One of those gangster movies with soul. | 0:29:16 | 0:29:20 | |
Like the old movies. | 0:29:22 | 0:29:23 | |
Edward G Robinson. | 0:29:26 | 0:29:28 | |
"All right, Frasier, this is it. | 0:29:28 | 0:29:30 | |
"You double-crossed me, I took all that for you." | 0:29:30 | 0:29:34 | |
And I play a guy who seems, on the surface, like a good guy. | 0:29:34 | 0:29:38 | |
A long shot, like in Touch Of Evil. | 0:29:52 | 0:29:54 | |
All the way around, and then it ends up... | 0:29:57 | 0:30:00 | |
And you're the director. With your touch, your feminine touch. | 0:30:05 | 0:30:08 | |
You can bring something to it, right? | 0:30:14 | 0:30:17 | |
And then the story - it's one of those movies that you see the story | 0:30:17 | 0:30:20 | |
from all these different points of view. | 0:30:20 | 0:30:22 | |
And then, every time... | 0:30:25 | 0:30:26 | |
The same story. | 0:30:30 | 0:30:32 | |
Hey, my friend! What's your name? | 0:30:34 | 0:30:36 | |
-Amedeo. -Amedeo, huh? My son's name is Amedeo. | 0:30:36 | 0:30:38 | |
You've got a beautiful face, this guy. | 0:30:45 | 0:30:46 | |
He could be the guy who's my cellmate. | 0:30:50 | 0:30:52 | |
-Amedeo? -And we have this | 0:30:52 | 0:30:53 | |
very ambiguous relationship, maybe sexual. | 0:30:53 | 0:30:56 | |
You don't know. It's up to you. What's in between us? | 0:30:56 | 0:30:58 | |
You decide! | 0:31:01 | 0:31:03 | |
And then the men, look at the men, see? | 0:31:09 | 0:31:11 | |
Free. He escapes. | 0:31:11 | 0:31:14 | |
BUMP | 0:31:39 | 0:31:41 | |
INAUDIBLE | 0:34:27 | 0:34:29 | |
BEEPING | 0:35:39 | 0:35:41 | |
SHE WHINES | 0:36:49 | 0:36:51 | |
DOORBELL | 0:38:27 | 0:38:29 | |
DOORBELL | 0:38:32 | 0:38:35 | |
SHE SOBS | 0:39:47 | 0:39:49 | |
DOOR CLOSES | 0:40:04 | 0:40:07 | |
REPORTERS CLAMOUR | 0:45:04 | 0:45:06 | |
I immediately fell in love with the character of the entrepreneur. | 0:46:28 | 0:46:32 | |
After I read the script, I grabbed the telephone. | 0:46:32 | 0:46:35 | |
"Hello?" | 0:46:35 | 0:46:36 | |
"I am ready to get right on that first plane and come right over." | 0:46:38 | 0:46:42 | |
Am I right? | 0:46:42 | 0:46:44 | |
SHE KNOCKS | 0:47:22 | 0:47:23 | |
I'm an outsider, yes. | 0:50:22 | 0:50:24 | |
I don't have a choice. I got it. | 0:50:36 | 0:50:39 | |
I don't have a choice. | 0:50:45 | 0:50:47 | |
Workers, they yell at you. | 0:54:07 | 0:54:08 | |
Next to the character. | 0:54:29 | 0:54:31 | |
-In front of you, Barry. -Yeah, I'll do it again. | 0:54:53 | 0:54:56 | |
What? | 0:55:25 | 0:55:27 | |
THEY LAUGH | 0:56:10 | 0:56:11 | |
I can't see. I can't really see very well. | 0:57:09 | 0:57:12 | |
Shit. I can't see anything. | 0:57:12 | 0:57:16 | |
Just make sure it's safe. | 0:57:16 | 0:57:18 | |
What are you doing? | 0:57:22 | 0:57:24 | |
I'm gonna fucking crash over here. | 0:57:40 | 0:57:43 | |
Can't see a fucking thing. I can't see a fucking thing. | 0:57:48 | 0:57:52 | |
HE MUTTERS | 0:57:55 | 0:57:56 | |
HE SHOUTS | 0:57:56 | 0:57:57 | |
Stop! Fucking stop! | 0:57:57 | 0:58:01 | |
I can't see. That's right. | 0:58:05 | 0:58:08 | |
Stop-a! Everything is a stop-a. | 0:58:09 | 0:58:11 | |
Stop-a! Stop-a! | 0:58:11 | 0:58:13 | |
INAUDIBLE | 0:59:11 | 0:59:13 | |
MUSIC: Baby's Coming Back To Me by Jarvis Cocker | 0:59:28 | 0:59:30 | |
THEY SAY GOODBYE | 1:04:22 | 1:04:24 | |
HORN HONKS | 1:07:23 | 1:07:25 | |
THEY CHATTER | 1:07:29 | 1:07:31 | |
SILENCE | 1:07:36 | 1:07:38 | |
HE HUMS | 1:08:33 | 1:08:36 | |
Would you... Please, don't prompt in the middle of the scene. | 1:08:56 | 1:08:59 | |
I have to do it myself, let me do it myself, I'm a big boy. All right? | 1:08:59 | 1:09:02 | |
-Fuck! -Stop! -Sorry. | 1:09:21 | 1:09:24 | |
Don't come near me with the comb, OK? I don't want the comb anymore. | 1:09:27 | 1:09:30 | |
Do not touch my hair. Understand? | 1:09:30 | 1:09:32 | |
Please! | 1:10:31 | 1:10:33 | |
Don't worry, Barry. | 1:10:46 | 1:10:48 | |
Hmm-ma! | 1:10:50 | 1:10:51 | |
SHE SIGHS | 1:11:01 | 1:11:02 | |
Argh! Fuck! Fuck! | 1:11:14 | 1:11:16 | |
How the fuck can you say these things? | 1:11:16 | 1:11:18 | |
You call this writing? You call it writing? | 1:11:18 | 1:11:21 | |
This dialogue is shit! | 1:11:21 | 1:11:22 | |
It's shit dialogue, it's a shit scene and it's a shit film. | 1:11:25 | 1:11:30 | |
Hey, I've been acting for 30 years. | 1:11:48 | 1:11:51 | |
105 movies, count 'em! | 1:11:51 | 1:11:53 | |
And now an idiot like you tells me I know nothing? | 1:11:53 | 1:11:57 | |
I worked with Stanley Kubrick! | 1:11:57 | 1:12:00 | |
No, no, no. I wasn't an asshole. I wasn't available. | 1:12:08 | 1:12:11 | |
This is the last film I'm making. I retire! | 1:12:11 | 1:12:13 | |
Cinema is a shit job! | 1:12:26 | 1:12:29 | |
Acting is a waste of time and a waste of a life! | 1:12:29 | 1:12:32 | |
I want out of here, man. I wanna go back... Back to reality! | 1:12:32 | 1:12:38 | |
Take me back to reality. | 1:12:42 | 1:12:44 | |
SHE SOBS | 1:14:28 | 1:14:30 | |
SHE SAYS GOODBYE | 1:15:43 | 1:15:45 | |
DOORBELL | 1:20:37 | 1:20:39 | |
KNOCKING | 1:20:40 | 1:20:42 | |
Did you like it? | 1:20:58 | 1:21:01 | |
Margherita, she's a good cook. | 1:21:02 | 1:21:05 | |
HE LAUGHS | 1:21:56 | 1:21:58 | |
Look. | 1:22:07 | 1:22:09 | |
Barry... | 1:22:09 | 1:22:11 | |
-Can I write something for you? -Sure. | 1:22:11 | 1:22:15 | |
# Happy Birthday to you | 1:24:47 | 1:24:50 | |
# Happy Birthday to you | 1:24:50 | 1:24:55 | |
# Happy Birthday to Barry | 1:24:55 | 1:24:59 | |
# Happy Birthday to you. # | 1:24:59 | 1:25:02 | |
CHEERING | 1:25:02 | 1:25:05 | |
MUSIC: Charisma by Isabella Colliva and Cinzia Donti | 1:25:10 | 1:25:14 | |
CHEERING | 1:25:50 | 1:25:52 | |
THEY CHANT: Barry, Barry! | 1:26:25 | 1:26:28 | |
INAUDIBLE | 1:29:14 | 1:29:16 | |
Mmm. Mmm-mmm. | 1:30:20 | 1:30:22 | |
SHE READS IN LATIN | 1:31:22 | 1:31:24 | |
-Perfect. -OK. | 1:31:42 | 1:31:44 | |
SHE CALLS OUT | 1:31:49 | 1:31:52 | |
CLAPPERBOARD CLAPS | 1:32:08 | 1:32:10 | |
Margherita... | 1:32:10 | 1:32:12 | |
INAUDIBLE | 1:32:12 | 1:32:14 | |
PHONE RINGS | 1:34:48 | 1:34:50 | |
GIOVANNI ANSWERS PHONE | 1:34:54 | 1:34:56 | |
SHE SOBS | 1:35:12 | 1:35:13 | |
SHE SOBS | 1:36:27 | 1:36:29 | |
INTERCOM BUZZES | 1:36:37 | 1:36:39 | |
SHE STUTTERS | 1:36:45 | 1:36:48 | |
Giovanni? | 1:36:53 | 1:36:55 |
