"In reviewing my life, PAS? 95% OF TIME
LOOKING FOR MONEY TO PEL? CULAS
And 5% HACI? NDOLAS
THAT'S NO LIFE " Orson Welles (1915-1985)
I have not sung in a Broadway musical,
but I've done it all, for better or worse.
I pel? Particles small as and large.
I daytime soaps and night.
I mini-series, actu? on and off Broadway,
I Radio and returned? the pel? particles
because when it's good, It is? nica.
I have the belief that I've never done a good.
Sometimes he sat on it was a pe? N a qualified principal.
I was the spies to flip Tula Mike Nichols tortillas.
I was not the omelet,
or spinach and olives in the tortilla.
Quiz? I was the salt with which it is seasoned,
or principal obstru? all how good I could do.
They were unable.
You try to ignore the principal,
or you do as if there and you try to avoid it,
but it is how to avoid the vagina when you leave your mother.
? C? Mo can do?
The pin? Ass is a good film, with a good director.
I received? a call My agent
and I found me in ...
... The worst time my divorce.
That was the worst time of my life,
but are they? my phone rang
and my agent asked me ?: "? C? Mo est? S?"
I told him I had spent One day I played terrible.
He asked me? it was the place where he was declaring
and to request all I was called Juan Trippe.
It was the will sign that Scorsese
I had to die a role in his film.
I There would be all I liked to see ?, John was exciting.
As you want, but you must answer for the goose.
? It's called the H? Rcules and will fly, curse? No!
I hope so.
US people deserve something for their $ 13 million.
People think...
Think about the money.
And thinks it fame,
and he thinks that it is the ego,
but when Scorsese He gave me that role,
I can not tell you which signific? to m ?.
YOU ONLY LIVE EST? Ready to die
SAMUEL JOHNSON
I do not fear death,
BUT I DO NOT WANT TO BE When it happens. WOODY ALLEN
I want to know if est? n willing to die
because otherwise you can not live and I am ready to die
since pas? eight d? ace LSD when ten? 19 years.
The films are the ox? Geno of my being.
They give structure the chaos of my life.
? Why? I want to do a film with you?
They must have made you that question.
? Why? I betrayed me ?? Cre? he liked.
Can we enseriarnos for living out of this town?
- I'm ready. - Be ready in your room.
- HOW TO amuse me? - Learn your di logos?.
- Month? my di? logos, - S ??
Although not s? the order.
Conf? O you, but I trusted people ...
... Where no deb? trust, like those dogs who cares.
Duty? To kill him.
What fascinates me what we face,
and what excites me, we are going to do something
I do not consider a documentary,
not a fiction film? n, but without the film category? a
"Seduced and Abandoned" on our trip to Cannes,
to celebrate cinema, its realization? n, the filmmakers
and a festival in his honor,
with the intention? n to find funding
for this film? intimate to which we refer,
using the big politics as background,
without presenting with much grandeur.
Our version? N "Last Tango in Paris"
be? "Last Tango in Tikrit."
COMPANY CINEM? TOGR? FICA LINCOLN CENTER
Receive the writer and director James Toback
and someone well-known, actor Alec Baldwin.
- Give me the scissors. - What ??
The scissors to nail.
? Qu? see in "Last Tango"
that makes you want to do a film like me?
Ideally, it would be to our attempt an? logo
to clear up the line between the actor and the role
and create something bold and dark from you and for you.
I want your fingers goals in my anus.
? What ??
M? Fear fingers in the anus. ? Est? S deaf?
Forward.
I'll get a pig so fuck you
and I want the pig vomit on your face,
and I want you to swallow the v? Myth.
Are you going to do it for m ??
? S ?! ? S ?!
I want the pig dies while fucked,
and I want to smell farts the dying pig.
Are you going to do it for m ??
? S ?, and m? S that!
? Something worse and worse than before!
Est? Clearly Brando It became? Brando
when hac? to these scenes. One of the teachers achievements
in the history of Directors directing actors,
Bertolucci was making that Brando.
You have described better than anyone
you want to create a character close to m ?.
It may be within a script or improvising,
but must be violent and it takes a woman.
As I said, I can not pinpoint the reason? n
and I can not do it because we have the right woman.
after? S ?, that you conoc I told him that ten? t be as?.
My experience with Jim It has been exploratory.
There were no limitations.
Trat? Bamos to find things each d? a.
I wonder whether it be? dif? cult to find
$ 25 million in Cannes for this film.
- In particular unscripted. - S ?, accurate as well? than...
?You think? ? What ?? I did not say that.
I want you to come with us. Adem? S to be fun,
you be? masters as part faithful cast to look for money,
with the assurance that if no You would not have t ?,? pel? cula.
Okay, great.
We will access when someone says
we will have the pel? cula if we use ...
Nice Airport FRENCH RIVIERA
14 MAY 2012
- Alec! - Hello.
Did you see Larry?
? God m? O, Claudia Cardinale and Marcello Mastroianni!
? C? Mo you feel an hour before losing virginity
at Cannes?
I'm happy losing my virginity
of the French Riviera.
? Have you traveled much conoc not? as the Riviera?
Never, and now I see, quiz? I never go.
? What? Unlike Cannes
of the hundreds of festivals there worldwide?
Two things: First, history and not just in years,
but the characters have come in these six d? decades.
Everyone and from everywhere:
Hitchcock, Bardot, Wells,
Cocteau, Moreau, Kera Stamey,
Groucho Mark, Gregory Peck, Juan Carl White,
Gary Cooper, Beatty, Mizoguchi, Lauren, Micky Rourke.
? And secondly?
Because it is a market to buy and sell
and get financing we seek,
Adem? S the celebration? N of film as art.
It is a festival with double personality,
as the film we are currently doing.
This Week meetings have
with foreign sellers m? s important
and several millionaires, and I hope that one of them
we pray we accept your money.
hope knees.
But first Bertolucci will see.
after? S going to the inauguration? n
and see other luminaries as we seek the money.
Natalie comes to see us, the assistant Bernardo.
We recommend ?, here to be interviewed
at the Carlton Hotel.
? In a suite or on the table?
Anywhere, but I recommend the suite.
Let's do it in my room? No,
for between Bertolucci in the suite
and I ask you to forgive me because it is my room n.
I wondered if they were going to get you to my room n.
Remove your name and put the m? O.
It is interchangeable. This part is removed.
The di? Sexual logo It seems improvised
but it comes from him.
No, it's a type of manipulation? n.
? L us? All di? logos they exist? an before.
For instance,
when? l is? near the dead wife,
I started? with l? nea ...
... Strinberg.
Quiz? You can understand the universe, but ...
... Never discover? the truth about you.
Began? with that and after? s started? to say:
"You're a damn liar." And continued to? with that.
Barata, damn, Lost dog,
I hope you go to hell.
You're worse a pig street.
You know why ?? Because you lied.
You lied to me. Confi? in you, but you lied.
Start with that and after? S changes completely,
but so does yours.
? It felt? thankful because he do that?
I did not speak? for five years.
He called and dec to?: "Marlon, s? That is? S all?".
? Why? you think he did that?
Quiz? she felt? betrayed by m?
because they rob?
many sincere things of s? same,
true things of him.
Quiz? she felt? deception ado by m ?,
but? l was a man 49 or 50 years.
I watch? 30, 31.
EN ROUTE TO OPENING? N CANNES
The first time I came, dorm? in my car.
I came from Lyon and was f? Cil because I was a student
and He could not see ning? n film, but I was here ?.
When I first came 1970,
He had to exactly three US journalists in Cannes.
It was very strange or.
People here? He speaks of films from? ana, the ma
to the? last whiskey of the night.
Here? It is a combination? n fabulous
Art cinema.
There is a great reverence and much respect.
There is a tradition? N in the form receiving films
and honor the filmmakers,
as elsewhere of the world.
He was very young, ten? 24 years,
and "Before the Revolution" My second film,
He was invited the Week Critics'
and here? come on.
The? Only ones who saw They were the cr? ticos Italian.
No gust them ?, but he Charm? the French
and say? become in French? s.
Since d? Ed is a division? n deep in France
between Cahiers du Cin? ma and Positif.
Cahiers du Cin? Ma was famous in the 50
for all filmmakers They formed the New Wave.
They were enthusiastic of American films
as Sam Fuller and Nicholas Ray,
but his films They were not recognized in the US.
Were opposed? An to what Truffaut He called Cin? ma Du Pope,
that secu? to the tradition n quality film.
When started? The New Wave in Italian and French films,
and conoc? masters the Cannes Film Festival
and somehow Valdhalla was the film.
This was the place.
I never miss a festival. I find it exciting.
The plan is where to? Or
and once half of the films important in ten d? ace.
Is essential.
Le Film Francais presents a guide? a daily
what they say the cr? ticos
and if you look at the list Positif and Cahiers,
They are opposed by 99%.
It seems like They consult each other prior
to disagree ever.
Thank you very much for coming. It is a pleasure to see you.
I was invited to jury festival at the famous 68.
Francois Truffaut said:
"You must come quickly, to support Henri Langlois
and have it return the Cin? math? que ".
It was a beloved man for youth, including myself,
but Dirig? To Cin? Math? That with a lot of clutter.
He kept copies of films under his bed.
Langlois was a? Cone. I adored Henri Langlois,
but the government? Little not wanted? a
and that cre? discontent among students of Par? s
that propag? and degener?
in the revolution n May 68, or whatever you call it.
When I arrived I knew I wanted ?,? An disrupt the festival.
Dec? An that had to stop. I remember screaming Goudard:
"Comrades, est? N coming Nice students. "
As the word suggests, a festival is to have fun
and were angry, but not Change? to anything if it would stop.
m? S, a? Adi? one joy? to absurd at all.
Disfrut? a lot when he was "Mean Streets."
I was the pas? all right, I stayed at the Carlton,
where conoc? many people.
There were interviews and people are praised.
I returned? with "Azziza Copso NovoCento 1900 "...
... And was dif? Cult present
that lasted a little m? s five hours.
There was a d? to dedicated to this film.
The festival stopped, there was only "NovoCento".
The first part of the evening and the second part at night.
It was the best moment my megaloman? a.
If I see the film again, or part of the film,
I m going to see me? same
a kind Oc? ano pleasure
by a? or pas? rod? Ndolo. He was young, ten? a desires
and I saw my wishlist They were satisfied.
Pas? two d? as with DeNiro, Jodi Foster and I think Harvey.
Tennessee Williams Dirig? A Reject the jury? violence,
but we dined with Serge Leoni and Costa-Gavras,
who they were on the jury, and gust them ?.
We dined at the L'Oasis, Leoni and talk to Costa.
It's appreciated, we went and the pel? cula won ?.
Fuck Tennessee Williams.
? Qu? happens? I like his work.
The ironic that I do is praise.
When young, I went to Cannes with the film
"You're a Big Boy Now" Elizabeth Hartman,
who she was a wonderful young
and Tony Billman, who was a child? o.
It was a dream and it is given ?? gently.
It was not a film festival. It was a film market,
where all people He was knowledgeable
and knew whether you go to your film? a well before t? same.
It seemed to me? an aggressive environment.
? Do you sought money in that market?
- No, and I did not return. - Do not come back?
No, and not the fault of Cannes managers.
It attracts people
and press it attracts. It looks like a bullfight.
It was after? s Film Festival 1977
when Robert Altman He brought his film "3 Women".
Pauline Keal was jury.
It was the only time he came the Cannes Film Festival.
The film won? the award Best Actress,
but Altman not won? nothing.
I went to the airport the d? to after? s festival.
It was Pauline, arrived? Altman, Pauline saw,
and he said, despite being friends hac from 7 to you?:
"Damn Whore, I was going to like my film.
You were going to support me and do not gust ?. Did not give me an award. "
Explot? against all. It was embarrassing.
H? Blame Damon.
It is legendary in the world film finance.
- You use that word? - S ?, pioneered.
? Pioneer in what ??
In the sales process abroad,
to finance pel? particles
bas? Ndote in names in the cast and projection? n.
- In pre. - Right.
I present a business plan may
and if I can project cu? them be? n sales,
and what should I show? a happen in USA
and make up? No Money with gains,
I can finance the pel? cula you want.
I just got $ 80 million,
for a film with Denzel Washington and Mark Wahlberg.
? D? Nde is the money? ? We are looking at various pa? Ses?
It comes from everywhere. To my pr? Xima pel? Cula,
I have money Saudi Arabia and Russia.
? There m? S money now proportional with inflation? n,
or less money?
Dir? There is less.
Please, I have to warn why? we delay. I'm coming.
I want to ask you something.
I have Alec for my pr? maximum film.
It is an adventure politics-rom? ntica,
set in the Middle East.
Me interested? Finance a film with Alec,
Neve Campbell and three or four names m? s?
Adventure politics-rom? Ntica, between 15 and 20 million.
Neve Campbell is wonderful,
but today in d? a no commercial value.
Right.
Alec Baldwin is sensational,
but does not suggest a theatrical film.
Just to know, though our I could not film? cost less,
? Cu? L be? A figure it accomplish? to with that cast?
Four or five million.
- I'm too old for that. - ?Really?
I have the ...
It is horrendous.
It is very high, or too low. Nothing in between.
- There is never enough money. - Fighting to get money?
I had many problems to film "Repulsion"
because, unfortunately, double the budget.
The budget of "Repulsion"
It was of 41,000 pounds
and ended? costing about 90.
- Right. - Why ??
We wanted to make a film 90,000 pounds.
I am an Australian distributor and another Russian.
I est? N waiting to give me money.
No politics, no adventure, no sex.
Duty? To be comedy.
- No no no... - No comedy?
- Habr? some humor. - There must be comedy.
- ?You think? - Clear.
? Why? you wear a tuxedo?
They are m? s six. ? Am I a farmer?
I know well "30 Rock".
But there is something. You got a submarine?
? D? Where are? Alpha, Josei?
You did the film Submarine A long time ago.
We need action? N and submarines.
You can put sex. Le falt? in the other.
- "The last tango with missiles?". - Of course.
If it was not a film g? Gangsters,
or alg? n g? nero to which he was associated,
She had to ask c? m going to do this film.
She did not know for d? Nde begin.
Nobody wanted? To do "Apocalypse Now"
after? s of "The Godfather" and? scar that won ?.
It is m? s, ten? six? scar,
but threw? Through the window and they disrupted.
My mother told me deb not? to do that.
Then picked up? pieces,
he went to the Academy in LA and said:
"My poor son, the maid I was cleaning? scar ".
I was very frustrated and said:
"? What? I do to make the film I want? "
Can we help with the actress?
A new star Jessica Chestain.
Listen, I will not betray Neve.
I love her, worked? with her.
I can invent another paper for Neve.
- Neve may be the sp?. - And we can use to Jessica.
? We killed Neve?
We did not kill her, the hurt
and appears with the arm in a sling.
If Neve appears, the assassinate.
You convert? A star.
? Cu? L is the probability Damon?
Two to one against.
? S ?? I say six to one against.
Although you had reason? N, do not worry
because we lack Avi Lerner
and has m? S films rod? Ndose the other sellers together.
To succeed in this business,
you have to become a type very ego? sta.
You have to tell your mother, your wife, your children
and who needed
it must not be without reason? n and without a prop? site,
but you say to all this is your thing, that's what you are,
and I was not able to do so in all this time.
-? Qu? You do here ?? - We are filming.
? S ?? ? During the festival?
S ?, is a documentary the festival as background.
? In what? it's about?
Everything you see. It is a film about the festival.
? It is a documentary?
My partner Jimmy Toback He is the director.
? James Toback?
S ?, apology, beware. I do not want it to fall.
Be careful. ? Qu? Waits festival?
First time here and I'm very excited.
Thank you very much, Alec Baldwin.
? It is a film on the Cannes Film Festival?
I did it because the business Cinema has changed.
I see very fr? Gil and we? cu? nto can last
in this era of divisions.
The technology? A est? dividing the p? PUBLIC slowly,
but something tells me it will fracture.
The movie business It is the worst lover
because you return again and again,
trying to repeat that experience you want to have.
Come back with another chance do you want
in the realization? n and the presentation? n the film.
Seduces and abandons you and again.
? Why? do films?
? Qu? gives you, it is different other options in your life?
I did not have many choices,
pushing a religious as a priest and was not ...
? Literally?
S ?, literally. No country? the first year you in the seminar.
Between the world as it was It is asm? tico,
working with parents
and m physician not left me run or re? rm or anything.
Viv? To a room.
You started as an assistant Pasolini? right?
Before becoming director Pasolini was a great poet.
Then mud? building where viv? my family.
I watch? 17 years and I liked his poems.
I also? N I wrote? To poems and every time I finished one
?? rselo down to teach. ? When ten to 20 years, he said:
"I'll make a pel? Cula and you to be assistant director. "
I said, "Pier Paolo never I've been on a movie set. "
And he told me? L either.
He found? some peace as an altar boy
at the altar Cathedral of St. Patrick.
I enjoyed when I was all?
and it was a break of ugliness and cruelty
it had to on the streets.
Regrettably, He had a tragedy s? loss
It was happening around me.
and was the cinema it was like USA.
There's something about that place called USA,
where people with houses, fences, and it's serious,
and were the pel? particles west.
Viv? As in a corridor and that was ample.
Those were hard times. Needless to talk
the per? odo of communism Stalinist in Poland.
Although he had to benefits and was film school,
because a phrase from Lenin: "Of all the arts,
the film is the m? s important for us".
"We" was socialism.
School was fant? Acoustic. I have fond memories.
When young, I was writer for Seven Arts,
?? the company that bought? Warner Brothers.
I was so happy that bought? bouquets Warner Brothers,
Presenting with me? Warner Brothers
and they believed I was going to take care of.
I went to the dressing room of Errol Flynn because it was the best
and convert? in my office.
A month they realized that I was not the new manager.
I like sailing
and part m? s beautiful Poland's Mazury,
which has 200 lakes they connect.
I like that part of the nature
and it was a dream for me? and so I wrote? something about the place.
They were wrong in Poland, especially the party.
Gomuka, party chief, He was mad at?
and launched? an ashtray to the screen.
I went to Par? S to try in the West
because it had to been my dream.
I did not want to stay in Poland.
When I saw that pod? To express telling a story,
us? the stories told my father and my t? o,
and they became in "Mean Streets" and my ...
? It was the first?
S ?, but always about the obligation? No Brother.
It was what I discovered? after? s of 40 years.
It's the same film about my father and brother.
? Cu? L was the obligation? N with his brother?
Avoid being killed.
You pay debts, signs the pr? Stamos
go to meetings Why? l was as ?.
Hey, the d? A payment, at least go see Tony, okay?
As? sabr? that You do not want to make fun of him.
According.
- I do not ask you, I order you! - S ?!
- Bob Evans saw my films. - Was your rabbi?
S ?, Bob Evans was my rabbi and he told me to keep? a script.
I went to the studied ?, ? L keep to the script and said:
"Wait, and also? N have this."
They were portions of "Rosemary's Baby".
? Qu? you do?
? Qu? you do to your eyes?
She has the eyes of his father.
When I went to Washington Square College, NYU, was great.
And Haig met.
This was the man, Haig Manoogian.
She had a lot of passion? N and, if combined with yours,
She could make you as it was,
but be? masters disagreements.
? Why ??
For their ideas and dec to you?:
"If any of the j? YOUNG has a gun, you cast. "
And I said: "S ?, but where I come from ..."
Debi? disappointed. Feeling betrayed.
S ?, when he saw "Mean Streets."
And argue? Masters, Truffaut liked.
Goddard But no, for their weapons and women.
Exactly, not accepted in their paper? particles.
"Do not bring that."
? To d? Nde are we going?
This is the world film business.
? These people is? selling their pel? particles?
Or looking for a film to market,
or partner to find a distributor.
It's like the Diamant Center? fero at 47th Street.
- You Lost weight? - I would like that.
I ?, as sub? it is relative. ? L is Alec.
Sure,? C? Mo est? S? Come in.
I do not like the Festival Cannes nor do I believe in the festival.
One thing is the market that is? Always and another is the festival.
Almost all films at the festival
They were seen by their mothers, his cousins ​​and no m? s.
The Fantasy? Stico Cannes It is a Romanian film,
a Belgian film, a film give? s or a Norwegian film
They are presented at the same time and journalists themselves.
There is opportunity.
S ?, against productions US with big stars.
Big films protect small years.
The stars protect to unknown actors.
When I make a pel? Cula, I think of the gain.
Before doing it, s? cu? nto I am going to sell.
Not about with the creative side.
I see it as a business.
Cinema is not poetry? A, nor is painting; You need money.
Some people say
that here? there are a large shopping circus,
but it is very important.
When we stop having advertising everywhere,
would not have? m? s money and would not have? m? s films.
- True. - We can not be naive.
Cannes is an h? I hybrid fabulous.
Malroux wrote? an essay on the film
? and the last prayer is famous:
"Adem? S film, there is an industry. "
Cannes has always reminded that prayer? n.
Tambi? N there is an industry which is combined
because it is the nature imperfect film.
We want to make a film very pol? mico set in Iraq.
We met and we Extra sexual encounters years.
I am sending a film that we did.
You've done the film. We can leave.
Get out of a TV show after? s six years.
I need half of the s optimal? and ended
and, without trying to be very pretentious,
I want to resume my career At the cinema.
Can we make pel? Particles together?
Of course, but not only. He would have to support you.
I har? To tackle.
Esc? Chame, I am known as someone sincere.
You need support other stars of cinema.
Gerry Butler received? support for four on ...
? C? Mo is called ...?
You want me to sleep four in a hotel in Iraq?
If possible five. It will be better.
In the world of today is very dif? cult or impossible
a man to do a film alone with his name.
He makes few years, people went to the movies and dec to?:
"It's a film by Johnny Depp, I will see it".
"It is a film of Marlon Brando, I will see it."
And when I was popular, They went to see Jimmy.
That does not work today.
Find out the reasons why a franchise earn both.
Johnny Depp is terrific.
The film makes you want and they do not care.
God m? Or, is the cop that we burn.
It acts normally.
That film produces the same as a franchise because they are fans.
They will not love me.
The knights envied me ladies and reject me.
? Qu? Neve Campbell you think?
Neve Campbell.
I like, it is fabulous, but you can not sell it.
We use the word in France "Profitable". ? The US used?
Of course.
It does not mean anything.
Today in d? To receive all scripts that are possible.
I can read the script and see if it suits me
because I'm famous and I receive scripts.
Profitability dej? to be important.
If you are attracted to history you will see the pel? cula.
I do not read scripts.
? Qu? dir? as if the film Bejo and out with me?
-? N is Bejo Qui? - Berenice Bejo.
I do not know.
- It's productive. - The "The Artist".
- What s ?. - It earned an Oscar?.
- I do not care. - Is beautiful.
I do not care about that.
She is beautiful, but not a woman you can sell.
What happens is that I do not have 20 years
and I'm on the crest of the wave, but tomorrow no.
S? what happens to actresses.
I know the business and I expect nothing.
If you succeed, har? To the film you and Natalie Portman,
or Mila Kunis.
If Neve Campbell and
We exploratory relationships.
It is not animal, or wild sex.
It is exploratory sex with new borders in a hotel.
? We give? As 50 cents to make the film?
With your name and theirs, between 4 or 5 million of dollars.
According.
We need to adjust the concept of the film.
We do not need foreign sellers.
We have to millionaires.
Tacky Theodore, a Greek shipowner.
Johnny Pagozzi, an Italian millionaire.
Brett Ratner will present? I rmelo.
Let's yacht Denise Richard.
Your husband will dej? a lot of money before fleeing.
Everyone seems millionaires. Do you think we give? No money?
Only need one and we have Jeremy Thomas,
Ashok Amritraj and we lack see other sellers.
I did not want as m? s foreign sellers.
S ?, those who say no, but I keep an open mind.
They say the rich They come to the Riviera
when they have problems. King Farouk I left? Of Egipt,
Duvalier came out? in Haiti? and Yeltsin came out? Russia
when they had problems and they came to the Riviera.
I never make plans to see it, but I find him always.
If? Ntate.
Gosling, Chastain are stars of "Seduced and Abandoned".
can help with "Last Tango in Tikrit."
Jimmy, your optimism amazes me
because I hope frustrations and disappointments in this business.
What s ?, but not this time. Conf? A in m?.
? Cu? L is your favorite star Worldwide?
? Cu? L Actor you m? s fantasies as?
? Cu? L m is the actor? S handsome?
? Cu? L player you want stay in an elevator?
- ?Ryan Gosling! - ?Ryan Gosling!
?Ray! ?Really? You look like a retouched.
I understand, is it a film to obtain financing?
- S ?. - We make a pel cula?.
They have that and another on c? mo make films.
S ?, and "Seduced and Abandoned" it's about making films.
The narrative that is seeking funds for the other.
? It is a drama of $ 50 million?
Quiz Quiz ?,? ...
With that back to 1990 m in Time Machine,
to search for $ 50 million because they are $ 3.5 million.
It is a film of between 12 and 15 millions of dollars,
unless you want to participate to be $ 50 million.
You be? An $ 150 million.
- Hello. -? Qu? I dress!
I wore this dress Madagascar for a photo.
- Its beautiful. - I love to see you.
I do not want to touch that is? s beautiful.
- Will you be ten minutes. - I need a MICR phone?
- Come up with the boom. - Est s well? Thank you.
What? well, will spend ten minutes t? you step.
I liked? drama school, but others may not like.
? You went to Juilliard?
S ?, all? they ask you're crazy, exc? DOWNTOWN
and you do fancy things for you to fail,
but you learn with every failure.
We have to achieve results.
S ?, but now I do that the director is my teacher.
- To remember that? - Each film is a class.
I like pel? Particles, I always liked it.
The pel? Particles are my friends.
My mom? I punished quit? ndomelas.
I liked to put them inside my trouser n.
When ni? A, my parents I showed old films
and it was as crec? because it does not permit me? an see TV.
Tambi? N looked for books,
to see the photos Robert Mitchum, Joan Crawford
and glamorous people because I like the dream you give
and the pleasure of seeing your film in a theater. That's why I'm an actress.
I did not like the carnage to.
He did not want to cut meat at 14th Street lifetime.
Qued just me? go the theater neighborhood.
I am a German village? N small o.
Two thousand people and there is a bar.
I started? studying ballet at the Royal Academy in London.
Crec? learning to express my emotions,
anger and anguish you may have.
I was a teenage bitter.
My t? Or imitated Elvis and actu? with him for three years.
She had a costume, sequins and the Post? a? t the same.
the mirror is stopped, rehearsed voice, themes ...
?And T? see? ace?
He Sees? To create the character.
I'm always working, but I dont care.
The Critics' of my professors it was:
"You work too. Duty? Ace play m? S ".
As was all ?,? L thought? to be? to include me funny.
? Qu? did you do?
He was the head of security. I hac? An out in front of him
and had many people because it was Elvis.
Elvis Perry, bald, mustachioed and a mark on his face,
but I swear it was Elvis for all of us.
Power show totally vulnerable,
open up to many people Seeing me
and feel the process to arrive to a level of emotions,
It's what makes me feel alive.
I have an idea of ​​the role I play in the film,
but not s? exactly what har? in the scene
to see in the eyes and actions of whom I speak.
I try to work with actorsbetter than I, as? I strive.
I must keep up.
It is a moment of panic and I must follow.
It is very rare, as an actor,
let go during the recording? n of a scene,
until the point not knowing what you did.
And if Francis dec to?: "Well, let".
She knew she was good, at least Qued? satisfied.
? Do what you order ?!
? From having been at war, not be? to here ?!
Pap? had to Jenk,? and what ??
I did not mean that.
But most? At times, you must be aware of what you do,
and is 10% you lose in actuaci? n.
Your job is to look always something new happening.
That is ruined when Know your entire set l? lines,
even the techs.
You're wrong during rehearsals.
Someone placed tape on the floor
and you stay tied what you did at first.
They start with a wide shot They never used.
You waste novelty in the general plans.
They approach, and end of d? to
comes the foreground, which it is what they use.
Use it? Last for all? It is when you do it perfect,
but you talk like a robot.
Leave the set feeling you failed because nothing changed ?.
We know the speed by the script.
But really, if Bob Harvey and the rest is? n at the scene,
They know with qui? nes work.
I hope to create something and at the same time I'm afraid ...
? C? Mo say? ? It could? create an environment
conducive something magnetic? fico and unexpected?
The best experiences that I had
They are led by the environment.
Michelle and I were tucked into the film for years
conoc not we? masters.
It was structured so that we met? ramos when shooting.
As we walk, ? L told ad? Nde go.
We'll go from here ?, all ?.
The night program? to roam freely
while we were filming. Est? Bamos met? Ndonos.
Good directors They are supervisors.
Knowing my position? N, sabr? what? I seek.
I know the conflict.
If I can hardly remember it, est? misspelled.
For example, in "Goodfellas" Joe Pesci says: "I'm funny?"
S ?.
It was something that happened to you? Joe.
He said har? To the film if inclu? to the scene.
Damned. Desire? To be great.
You're the best. Very funny.
Very funny.
? C? Mo that funny?
You know, it's a good story. You're a funny guy.
? In what? you speak, my voice?
You're just funny.
By the way when you tell the story.
? In what? how? ? Qu? funny?
The misunderstood.
Anthony, an adult, He knows what he said.
? Qu? you say? ? C? Mo that funny?
They were two c? Maras doing medium shots.
While changing the tone of the scene,
the faces of people and the atmosphere changed.
But I had to talk to Joe for 5 or 6 improvisations.
With Ray.
S ?. We played with it. I wrote? some things.
To reach certain level, Joe had to lead.
T? You said it was funny, not me.
? Qu? Devils I'm funny?
Tell me what? is.
- Stop it, Tommy. - Damn, you almost fall.
Woody Allen is the ideal manager.
And, oddly,
It reminds me of the deceased John Hughes at the time.
? L was a director and writer very successful.
The first pel? Cula I did with ? L was "She's Having a Baby"
with Kevin Bacon and Elizabeth McGovern.
Film? Bamos with Hughes.
And if he did not like, He shouted sticamente mood?:
"? Qui? N wrote? This stuff?" And he threw the script.
Woody is the same. All nominations he has won,
think of the essentials which is his career.
His first words were:
"If you would not say anything this, do not tell.
Di much as you want. "
And you think: "God m? Or what? Ego".
I have worked with others who have ...
Woody Allen has m? s talent in their areas? as
others complete idiots.
Those you ordered do not add a 'quiz? s "
and you say that "maybe" go? s the party.
"Do not say quiz? S, Echo your phone eve? MoSlo".
No treasure my scripts.
A? N I feel like a writer and novice director.
And I'm open to suggestions. I like the improvisation? N.
Occasionally, you hear an idea and it is twisted with humor.
This is not a draft.
It's a doodle you can not delete.
I had a breeding cat? Lica conventional. That upsets you.
I went to university.
Worked? in an advertising agency,
taking calls, serving caf ?, making copies.
I realized that my life aburr me? a.
I wanted to experience with something that looked like bizarre
and out of the com? n. Worked? nudist.
The script calls? my attention? n because I wrote? to about it.
Suddenly, people wanted to hear.
I always wanted to be a writer, since the beginning.
What har? A with a situation? n improved financial
be? to a great film art? stico.
I pel? Particles that make me proud,
but the type of film that I have in my mind and heart? n
with the kind of emotions I want to experience,
to? n have not had the chance.
Actually, I wrote? Since ni? A, but I was interested in prose.
Through? the phase is? Ndar Anne Sexton and Sylvia Plath.
? The choice? N of Anne Sexton and Sylvia Plath
They suggest you had Early suicidal thoughts?
S ?, early, medium and recent.
- Clear. - S ?.
? Qu? you use to avoid externalize?
I think for most? A, and quiz? s for you also? n,
creating and writing are catharsis.
S ?.
They are a form of automedicaci? n. I am an impulsive person.
I always think in the next step.
Knowing you build something Total nihilistic be prevented.
S ?.
We started filming without the final scene
because ten? discrepancies Bob Towne.
? L He wanted a happy ending
and I told him that was impossible.
"For the pel? Cula cause impact on the audience,
she must die.
Evil must succeed. "
Olv? Dala, Jake, it's Chinatown.
As Mickey Cohen dec? A, It is an? short anecdote.
Charlotte Chandler tells a great story
on Mastroianni and Fellini, "La Dolce Vita".
Fellini He wanted to do it, I offered? paper.
Mastroianni He wanted to see the script, Fellini told him there had to.
Mastroianni needed.
Fellini gave a manuscript fat with p? pages blank,
where he had a drawing Mastroianni in a boat,
in the oc? year,
and his penis went down a hole He is facing the bottom of the oc? year
a beautiful mermaid swimming around the hole.
Seeing him, Mastroianni said:
"The har ?. The role is interesting. "
In the film we want to do, I am a government agent.
The woman is a reporter, left-leaning.
They are poles apart.
Known in Iraq, in the war.
B? Basically, as is the end The world decide fornicate.
Something crazy. We called the pel? cula "Last Tango in Tikrit."
All right. Well, what? deep.
We explore what happens between man and woman.
Me interested? ?? An ace film
No I'd know to tell you. I love? To read the script.
Your words do not convince me, but you give? a chance.
This is invaluable.
Diane Kruger teach us? A we are not convincing.
We need to prepare another group sales agents, 3 or 4 m? s.
There is one ready for tomorrow.
- Bring cash. - S ?, in an envelope.
S ?.
- There will be no? car races. - Do not.
- Or explosions. - Do not.
I think Alec has the ability.
It is one of those actors that can jump between g? genres.
Already it has done in his career.
Can you shoot the pel? Cula in Russia and elsewhere in China
some Chinese stars, Japanese, Russian and Brazilians as?
They surround it.
S ?. The answer is s ?.
Working with emerging markets
so that the pel? cula It is financed in a market.
Could? To justify whatever.
It is very dif? cult to find someone I say, "I want to."
All accounts removed.
And people They are not visionary.
The heads of visionaries study no longer exist.
? Possible funds Shall earn that? masters of you
be? n yours or sources to which you have access?
? I'm next to indicated? Can you do it on your own?
I need my partner.
- Oh s ?? - S ?.
?But T?...? Do not come back? to repeat it.
? T you? who rules in that society?
Assuming we need between $ 15 and $ 18 million.
It's too much.
Should not exceed the $ 10 million.
You must save relationship? N It will be obtained thereby ?.
5 is ideal. That is the threshold
differentiates earn money to lose it.
When you mentioned an international cast,
He or dec? As serious or metaphysical Theoretically?
It was metaphysical? rich.
All right. But I'm flexible.
No, pong? I MoSlo as ?:
I am a prostitute it har? to anyway.
Here? We seek the kind of help we expect log? sticamente.
Tax exemptions.
The advantages of filming in one place or another.
Iraq T? Nez, Abu Dhabi.
? T? Nez?
Bonjour.
- Hello. - Hello.
He says: "Ay, ay, ay."
- Without int interpreter;? speak English? s. - As? is.
We look financier for a pel? cula.
The history It develops in Iraq.
The pel? Cula required a war in the background.
I har? government agent American,
in the? little Bush, when you cre? war.
It is a CIA agent conservative,
one hawk? n, t? Terms American purists,
and meet a liberal journalist.
Could? Masters filming in T? Nez and make it look like Iraq.
S ?.
? Cu? L is better? ? T? Tunisia or Morocco?
S ?.
I am in the city Abu Dhabi ...
It is an emirate like.
I live in New York, It is an emirate.
- It's a big area?. - I live in an emirate.
We try to get an idea Cu? l he is? to the m? s beautiful
and Adem? s, that his government would cooperate.
Today we announce an incentive package.
We have an incentive.
Do they have a government fund for pel? particles?
S ?.
? His government invest? A a production? n US?
- S ?. - Be to be?.
T? Nez is beautiful.
We walked the cuosette and the whole complex for d? as,
looking for the commission? Iraqi n? films. ? D? Where are ??
- There is not. - ?They do not have?
- There is n here ?. - Why? do not?
- In Iraq pel particles are shot? - No s? somewhat.
? Why? no commission? Iraqi n ??
It is a question they must do to them.
You are good.
It is a pel? cula high sexual content.
It is an EXAMINATION? n the exchange of energy? ace.
It contains behaviors sexual specs? tists.
Eroticism, love scenes.
Is there any chance ...?
I do not want to be filmed in bed with Neve Campbell
and censor us.
I'm the one who read the scripts.
If we make a pel? Cula high exploration? sexual n,
read the script and accept, That does not say much about you.
S? ...
I joke.
Finally, immortality It is the goal of many,
and the higher? A living the cinematic world? fico.
The opportunity to live forever.
And I do not speak the minds of their relatives,
but memories cinematic? tists
for generations to come.
? Hey, Stella!
It is no coincidence Marilyn Monroe
is? in the p? ster the festival this year you.
Monroe, the greatest example of immortality after death.
Johnny Pigazzi likes cars.
His father was due? Or Simca. It has an island in Panama?.
have apartments in New York, London, Switzerland.
is a major investor wealthy.
Be? f? cyl we d? $ 15 million for a movie.
As? is. ? Johnny!
We talked about you my friend James Toback.
? Cu? Much time to a? O raisins here ??
About a month.
Its beautiful.
It is.
I owe this to my father. Not responsible for this.
It is wonderful to have a parent who cares for you.
He did well.
And T? Care? s us.
? D? Nde bags your sense of identity?
? You lover life in general
or is there something special?
For me? are the pel? particles, without them I am nothing.
For Adem? S, you've tried different things.
You have written. Est? N tennis, martial arts.
Wrote books.
You could have sat doing nothing? right?
I hate to admit it,
but not for my father, There would be no been to anyone.
Admit? MoSlo. Failure to follow? writing
because not many hire someone who does not depend on it.
It's a bad job. There are prejudices against blacks, gays and rich.
- Against trust funds. - S ?, is terrible.
- Bad prejudices. - I want freedom.
- You hate v victim. - Must be a hate crime?.
I want you to be part of legacy of a great work of art.
You collect art.
This film be? a work of art.
?Really?
S hope it is ready? to invest $ 15 million.
? What ??
The Riviera was the right place.
Somerset Maugham described it? people like sunny to cloudy.
In summer, all they see? Masters here? by casinos.
It was Patsy and Joanna Cassidy Boucher plays the clarinet.
Jean Le Pare.
She had to glamor. Monte Carlo luc no? to Las Vegas to sea.
It was the place m? gico I described Fitzgerald ?.
The Murphy invented in the years 20.
Picasso, Hemingway, Fitzgerald.
Picasso, and they Desqual they came here? by light.
Everyone anchored about duty? an be dams,
but they are all Russians, They are very bad thieves.
? Why? cre? ste I was the one?
Because you take risks, and perhaps not ?, s? ...
- T? you take risks? - Not with films.
I hate to say, but I friend President Nixon,
I liked. ? L wrote me? when I was in prisi? n.
It was a nice letter and then came the curse? n.
Birthday? four months by possession? n coca? na.
He said: "The drivers They want to know if it's true. "
A letter from President Nixon.
Vend? the envelope for food.
Go.
Then it continued ?. You seemed? funny.
? D? Nde you arrested?
In Pentonville.
Johnny not invest ?. Is anyone m s: Arki Busson.
It is powerful.
- Quite. And successful. - Est? industry likes.
Financi? the new film Walter Salles.
- "On the Road"? - S ?.
I propose that you get deep in this role? cula
and you are the? single investor.
You are young, vigorous, healthy.
But even if you live 25 years m? S, es tu? last lap.
S ?.
- I also n?. - T? do not.
You can afford ...
We have a phrase:
"Est? S a second? Last Reel pel? cula ".
200 years after? S death,
the reason? n for which people will know? of your existence
be? your name as producer in my pr? maximum film.
The pr? Xima be? a production? n Taki Theodoracopulos.
Providing $ 15 million we need, perhaps? less.
Tr? Em cigars.
? Qui? N has m? S money? ? Johnny or t ??
Johnny, much more? S.
? M? S?
I want there m? S lunches those who invest the time.
Investments instant? Lines
rely? n qui? n est? in the table.
- And Alec Baldwin? - Really.
- Alec Baldwin? - S ?.
- In "In Last Tango"? - In our version n.
Can not. It is TV actor.
Denise Rich YACHT CHARITY EVENT
? Qu? It is that you want and you can not do?
? A what? place you want to go and you can not?
A? N I think things I want and I can do.
All right.
It is dif? cult to know.
But I always wanted to go into space.
I think what m? S desire, It s not? or if I can not,
but I would cure the cancer so that no m? s has it.
The other thing be? World peace.
You know, Alec and I planned a film for pr? maximum a? o.
Me interested? To invest independently in? l?
Do not participate in anything that is not? involved.
It IS NOT WAY OF LIFE
? But what? The alternative?
- Ben Schneider. - HOW TO est s? Nice to meet you.
Charmed.
I am the son of Neal Schneider, investor of the film.
I have heard from your father and you.
? L is the limited partner investor.
The dem? S They were with their fanfare.
? A what? you do?
I moved? LA makes a? o.
I have been part of a comedy sketch for six months.
Drink? one Camar? n.
- Where'd you live? - Currently, in West Hollywood.
- And you want to be an actor? - Of course. Without a doubt.
? A what? age You came to California?
At 16.
-? Where'd you stay? - In West Hollywood.
Could? To write an interesting role.
Try to seduce your father to be partners.
I try to raise funds.
? Your goal was to get here ?? ? What did you expect?
It is the best of Los Angeles.
Est? full of characters as Don Quixote.
People leaving his family, homes, friends and jobs
to pursue her dream,
knowing that the probability to achieve this is almost nil.
But just they do. All share the same dream
and no one knows if it was one premonici? No delirium.
There is only one way to know.
- Ben Schneider. -? Qu? there are?
- Ben is the son of ... - What s ?.
- It is aspiring actor. - You want action?
- S ?. I acted from ... - Why ??
? Why ??
An audition? N is dif? Cult.
You get it. You walk into a room full of guys like t ?.
You're not the? cowboy unique. You hear another audition.
You do not think the same, instead of your style.
Before entering,
the casting director Trading paper for another.
It Jared Leto GOT? paper.
When you enter, you see as a pr? PRACTICE of actuaci? n.
S? I do not get ?, live alone? the experience.
In the scene you must mourn for a friend.
You begin to mourn emotionally. They receive a call and salts.
You try to keep crying,
but you wait for 10 minutes and you desconcentras.
You want to start and do you continue where you left off.
You go to your car and have a fine.
Because the sign of the audition? N He covered the se? al.
Get in the car, you recompose. You go to the next.
You spend two hours tr? Fico and the cycle begins again.
I think the three of us a good connection? n.
If you write a role original and ambitious,
is aiming? To immediately and rain? to money.
Because money follow the stars.
Jessica Chastain could? A Neve be women and wife,
and divorce before you go.
HOMEWORK? N FOR VANITY FAIR PARTY
The sale covers magazines are evasive.
Deb? Masters retreating in. We talked.
Pod? Masters do the cover, changing the way to do it.
The one to do it, t ?, you were together.
In our culture, It is dif? cult to find someone
who can pull strings and look good in the magazine.
And something people want to read.
Vanity Fair is not magazine pel? particles,
but it came back? magazine for pel? particles.
? That was intentional?
No. I think the people of this It has a fascination n
with the "romance" of Hollywood.
Especially, with the old Hollywood.
Perhaps we see it
to trav? s of a different light of those who live there ?.
Most? To the holidays in Hollywood
seem auditions for "Jersey Shore".
We talk about now.
S ?. Watch this weekend. The pel? Particles have degenerated
to the point that there pel? particles over cartoons
competing against other of gambling.
Many people with lots of money.
You know cu? L be? A a good idea? Steal.
Just I am kidding. Although, you know, maybe not.
But is? crowded. Many witnesses.
What unites them is moving
complete ignorance they all die? n.
? In what? serve them? the money? Duty? An finance us.
At least his name be? A in a work of art.
I must be careful or crazy?.
NOBODY EVER PAID ME WHAT VALGO
BUT WITH MONEY. Charles Baudelaire
?GIVE ME MONEY! ?IT'S WHAT I WANT!
THE BEATLES
Recently I was summoned err ously?:
"We many pel? particles bad ".
What I said was:
"As an industry, we pel? particles bad and good ".
The real problem
It is that you can do a pel? cula that nobody sees,
or a bad pel? cula everyone saw
and that is the secret to keep your job.
You do not get cr? Dito for the good that nobody saw.
There are dealers
those who refuse to make the film.
The truth is that not justified? N enough money to film.
It is important was the view? n market
and what they think they achieve? a with the campaign to the pel? cula.
Marketability of pel? particles has become
m? s important their stories.
It's very important was the view? n on the pel? cula
dealers international.
This influences much? Simo decisions today.
Was the view? No distributors Local video is important.
? C? Mo think this affects quality pel? cula?
While one person making the decision? n
to accept the audacity and originality,
a committee? of decision? No It guarantees conventional shyness.
For this, people with innovative ideas
You should always seek the money outside the system.
For you as a filmmaker, and a community of agents,
braking ability.
When I was an actor, She could see Tom Pollock.
S ?.
She could to convince him to? L or Casey Silver
to accept a pel? cula based on my enthusiasm.
Dec to them: "If you refuse, go? another study. "
It could at the time.
With one out, any study.
In actuality, that's impossible.
Neither Universal or IN NO another.
? Why ??
If I love something and the rest hate it, it is not.
All pel? Particles that made us win? scar,
and I say "we" because it was not me alone,
nobody wanted? a.
Or "Cuckoo's Nest or "Dance with Wolves".
Sol? To have a large margin of pel? particles
like "Taxi Driver" and "Raging Bull"
until a certain point. UA was fant? Acoustic.
We were not forced to make, dese? Bamos them.
The whole group supported us in UA on making varieties of pel? particles
Consider that? semos be? n the norm.
We "Apocalypse" and "Raging Bull" in another era.
There was a? little in which hac? as one or two large pel? particles
and anchored your program pel? particles.
Now you do five of them, ? And what? remains?
Somehow, I was able
to navigate the thin margin make pel? particles
to consider could? a give me two years.
And be supported.
Now he receives? To support for many pel? particles
if they are indicating me.
We want to make films give a lot of money,
be rich, and finance the pel? particles art? sticas.
That was always the model.
I always wonder:
? C? Mo can survive in this environment?
The margin is very small or.
With that, and the great interest s selling pel? particles,
we must be careful
or fight hard to do what you want
and you think best for the pel? cula. Fight with all means.
Often, the fight is civilized and that makes m? s dif? cult.
True.
Because everything boils down to money.
Never give? No money
if Neve, t? and me we are in the pel? cula.
True.
We give? An $ 4.50 for the pel? cula.
S ?.
The people who really we exceeded industry
and the creative forces front and behind? s of c? maras,
until the commercialization? N,
thrive because they have come a Zen level, m? s all?.
Any information? N is good.
If you give me something, what advantage? to advance my way.
In the old days, some were on top
and they supported me. John Calley and many others.
Not that I believe they were bad,
but they were otherwise? little.
-? How much does it have changed? - I do not exist.
Sec? N Scorsese,
we must learn make pel? particles for them.
What happens It is that we must overcome.
Quiz? I'm too old now, but, to make a pel? cula m? s,
live? and carry on? What to see? I'm capable of.
must be a way that make a pel? cula.
You did, and still haci? Ndolo.
Find new individuals.
Individuals and new technology? Ace.
Film is m? S largest that everything else? s.
The film really is a way Art provided by the gods.
I've seen adults, people Marty or as my friend George,
taking two pieces of film and together in various ways.
They discover something new, and jump of joy? to by that magic.
While this continues? E as ?, the rest does not matter.
On the way you find things for avivarte positively.
If something in your way, what you reject. You reject this, that.
You must follow those impulses, no m? s.
Especially with the years.
? C? Mo is for you the Cinematograf? to now?
Okay...
Dir? It is increasingly m? s f? easy to do.
The difficult It is to get funding.
I want to use new equipment to advance and be m? s free.
Being on set and when I start to prepare the editing? n,
Everything flows. I look for simplicity.
I do not need search alg? n dazzling effect.
The current film, thankfully, no longer category? ace.
They are not relevant.
The idea of ​​a flat s? Lido as Bertolucci or Kubrick,
in any great film ...
... Your Maestr? To be lost ?.
S ?.
They were destroyed. The plans mean nothing.
And you get caught.
You understand that You started working with video.
In black and white.
You never stop learning.
There are changes f? Musicians, Things happen.
But there is a big difference with great experiences.
Today in d? To become hogwash. Excuse t? Rmino.
I criticize m? same. Never cheating ?? to anyone.
And I think, my job sucks.
Way as a beggar.
? Why? nobody calls me? I cross for those phases.
But in the end, I am happy working.
Especially if it is not temporary, if it's something that values.
Obviously, you had health problems.
It had not made a role as? Cula 10 to? I will because of your back.
S ?, sounds like something is? I ask. He was obsessed.
She could not move my back and it was strange or.
I had surgery three times. He wanted to work. And here? am.
Each trade? N was worse and m? s painful.
My sister pas? because.
But I discovered? that I can do pel? particles even as ?.
? Back? S work?
hope to find another film soon.
For 10 years, I never sent? as well
and the filmaci? N "Me and You".
I remember shooting my d? ace O'Malley.
For years, I had in mind to do
a film about my childhood and the occupation of Germany n.
And found? the book "The Pianist".
I watched closely related my memories
without it being my exact knowledge.
Because it was not in the ghetto of Krakow,
but in the Warsaw ghetto.
Jam? S har? To a pel? Cula Krakow ghetto.
? Why ??
It is very close to my home.
When you make a pel? Cula a site, you ruin.
Because still a memory.
And are part recueros important of my life.
Jam? S har? another film as successful as "The Godfather".
That was a fluke. And I started? something new from scratch.
It's curious,
"Twixt" deb? To be funny, but it came back? would.
As? the pel? cula tom? a shift m? s tr? cal.
He had no at the end.
In the script, I asked? Poe cu? l was the end.
? L replied ?:
"You want me to tell you? If I do, there is no return. "
She did not know for what? He spoke.
He said: "T you are the end?. M? Rate and sabr? S what I say. "
It is time to face the truth ...
... To finish the story. There is no alternative.
Never admit? ...
... What scene it is and what I should? be.
Deb? witness it. It was a weekend.
He worked in a paper? Cula and I said, "Let's use boats."
Cre? be? n small rowboats you.
It has been present ...
... Not There would be happened.
And you took a drink.
They shot Sonny in high. Est? dead.
An alternative to our proposal
is a pel? cula in which the essential issue is the same.
The characters, the politics, sex, past romance.
All those things, psicol? logical and emotionally.
The psychology a.
But I carried a history
much m? s small e? intimate. In other words,
could? an be two people who returned from the war
and est? n lost, living wherever you want.
B? Basically, be? to a local place.
Run? To within the financial framework.
Tell cu? Much money to me? S and I adapt? the pel? cula.
It is an investment? n far more big s this.
? Being? An interested to join?
Part of the financing? N
we are pr? ximos to get apparently.
I see three guys who are as a board of probation.
And T? You have you Sir. Jam? S be? S free.
Exactly.
Even where s ?,
you see? affected as to a p? loss of money
Or could as not to notice; That s not ?.
Everyone lies about money and hide it,
but talk about you see? cula, adventures, cr? regimes,
They are using drugs, drunkenness.
- Originally har to Iraq?. - S ?.
But Jimmy thought ?:
"No need to go to Tikrit. Returning from Iraq
shocked by experience. "
We want to do the film. Jimmy write ?.
? The fund? S?
The truth is that this It is attractive and exciting.
Sure it har ?.
It is fun.
S ?, it is.
M? S fun.
There are two ways:
From the emotional side and from the profits.
- S ?. - You must evaluate everything.
It seems like a good idea. He would have to review it all.
? Cu? Nto give us? Ace for the pel? cula?
- Could get an $ 25 million?. - Let's deal right now.
God m? O.
I will write
the amount of money I'm willing to give them.
According.
- But they can not see it n?. - All right.
- ?According? - S ?.
? Cu? Ndo end? this?
? You recorded that beam? It s sure ?.
-? C how you feel? - I'm optimistic .
Of course. I expect nothing less from you.
I need to balance your ... ? C? Mo call?
Afici? N by reality.
S ?. Taki wrote ?: "The need".
? And you believe him? Do not you think that there great malice in his personality?
Of course, s ?, but not regarding the pel? cula.
And even if it were as?
have three inverters of "Seduced and Abandoned".
We have $ 25 million Medavoy.
We prospects as Gosling and Chastain.
we are just the same with what we got: Hope .
That's good.
Everybody loses hope. Ours is? intact.
By the way, The music for "Seduced and Abandoned"
to make Yar Shostakovich.
The dark beauty po? Tica Fifth
juxtaposed the wicked waltz.
It's like Shostakovich I composed for you.
Vitality and elegance together.
FILMS ARE A FEN? MENO
WHOSE like death It has been ignored
FOR A LONG TIME
NORMAN MAILER
I love you.
I know your name.
You ask? the same that I asked everyone.
I always think of this.
S? you love life and you want to live.
But did you fear death or est? s ready for it?
Thank you.
At 11:45.
No, because I want to be a mother.
I do not think about it. I guess I am.
Est? S ready to death, right?
You do not want to, but do not fear him.
Of course that s ?. If t? you say.
I can create a montage of death. It is what matters.
- I want to make 50 particles m s role?. - OK as only four?
Four, no. I do three to a? O.
- Do you live s to 60 m s???. - What ?? Over here ?.
I was never ready to die,
but I was always ready.
? To die? I am not ready.
A? N there are things I wanted to do.
Quiz? S a little after? S.
I do not worry about that. Happen? and interrupt? something.
A? N struggle with aspects Religious thereof.
I do not think I'm ready.
- Est s ready to die? - Do not.
? Ya c? Shut up!
It is the question at all.
? C? Mo going to be prepared? ? I feel a pipe?
? In what? speak?
In this role? Cula, we only need to go to intensive care
and ask an elder ? 95 piped to you:
"? Est? S ready to die?"
I know, but I do best to postpone it.
I was on a plane? N it began? fall.
Everyone watched who ten? a next
to create a bond with the person die? s.
People were crying. It was very dramatic? tico.
My instinct It was finish my steak.
I started? to swallow everything.
John Updike, very fine.
Wonderful poet, novelist and cr? tico.
Muri? in the years 70 of cancer, without complaining.
No one knew he was sick. Wrote? this before he died.
It is called R Requiem?:
"Recently I realized that when I die nobody dir?
'What? worth, he was very young and full of promise '.
Unfathomable depths.
Instead, sadness and dry eyes
receive? n my disappearance n tard? a.
S? the great response be ?: 'Cre? who already he had died '.
For lifeIt is a shabby subterfuge
and death is real, l ? Gubre and immense .
There will be no ? record Photographic Print ? No one ,
except where happen. "
You know I love you.
S ?.
You know you have un grand ? simo appreciation.
And this is one reason .
You are an excellent poetry reader ? a.
- Thank you. - What you ste beautifully ? .
Thank you.
Despite all your tendencies self-destructive .
I adore you.
Thank you.
Only you need to kiss him.
I just adore, I do not want to make love .
The best part and the beauty of the films
It is conjuring notions of finality and death.
The pel ? Cula ends and an end .
Sitting in the dark , dim light.
While the pel ? Cula roll , est ? s alive, and suddenly ...