1
00:00:10,966 --> 00:00:13,120
don't be foolish 

2
00:00:13,120 --> 00:00:15,120
Cut!

3
00:00:16,200 --> 00:00:17,133
Elsa

4
00:00:18,066 --> 00:00:21,166
you're playing the words - don't deliver the line,

5
00:00:21,166 --> 00:00:22,700
deliver what's behind it

6
00:00:23,033 --> 00:00:25,366
That's not how the line was yesterday

7
00:00:25,466 --> 00:00:27,000
Yesterday doesn't exist

8
00:00:27,300 --> 00:00:29,266
the line could be from a tooth powder

9
00:00:29,466 --> 00:00:31,500
I want what's underneath

10
00:00:32,433 --> 00:00:33,900
alright back to one. Camera

11
00:00:33,900 --> 00:00:34,686
camera rolling 

12
00:00:34,686 --> 00:00:35,254
sound

13
00:00:35,400 --> 00:00:36,878
sound rolling 

14
00:00:36,878 --> 00:00:38,300
Action!

15
00:00:38,300 --> 00:00:40,966
don't be foolish

16
00:00:41,666 --> 00:00:42,466
Cut!

17
00:00:44,033 --> 00:00:46,866
I need that touch to be slower

18
00:00:47,266 --> 00:00:49,780
more delicate 

19
00:00:49,780 --> 00:00:51,300
that touch comes from the feeling

20
00:00:51,300 --> 00:00:54,766
and you just told me to play the subtext

21
00:00:54,866 --> 00:00:57,300
if I slow it down it won't be real

22
00:00:58,700 --> 00:01:01,666
then make it real slower

23
00:01:03,266 --> 00:01:05,600
so, feelings have a speed limit?

24
00:01:06,300 --> 00:01:08,466
only when they're in close up

25
00:01:09,966 --> 00:01:12,700
funny, I thought you wanted authenticity

26
00:01:12,700 --> 00:01:14,466
not choreography

27
00:01:15,466 --> 00:01:19,000
the lens doesn't care about your sincerity

28
00:01:19,233 --> 00:01:23,266
if the gesture looks like a slap in a soft focus

29
00:01:23,500 --> 00:01:26,200
then perhaps the lens should direct

30
00:01:26,200 --> 00:01:28,107
and we can all go home early 

31
00:01:28,107 --> 00:01:28,666
alright

32
00:01:28,666 --> 00:01:35,066
slower, more delicate and real, if that pleases you

33
00:01:35,700 --> 00:01:36,593
camera!

34
00:01:36,593 --> 00:01:37,518
 camera rolling 

35
00:01:37,518 --> 00:01:38,800
Sound!

36
00:01:38,800 --> 00:01:39,733
sound rolling

37
00:01:40,366 --> 00:01:41,200
action!

38
00:01:45,500 --> 00:01:47,800
don't be foolish

39
00:01:48,366 --> 00:01:49,166
cut!

40
00:01:53,833 --> 00:01:55,633
quieter Elsa

41
00:01:55,633 --> 00:01:59,266
it's a close up not a Broadway matinee

42
00:02:00,766 --> 00:02:02,193
what was that? 

43
00:02:02,193 --> 00:02:03,766
there are roosters on stage 7

44
00:02:03,766 --> 00:02:05,000
we have a problem

45
00:02:05,600 --> 00:02:07,200
alright five minute break

46
00:02:07,934 --> 00:02:09,869
Makeup freshening

47
00:02:10,066 --> 00:02:11,722
is this for reverse angles?

48
00:02:11,722 --> 00:02:13,722
 honey I don't know

49
00:02:16,000 --> 00:02:17,366
hello again

50
00:02:17,666 --> 00:02:21,233
we're not sure yet if it's the reverse coverage

51
00:02:21,233 --> 00:02:23,400
or still the same shot

52
00:02:23,566 --> 00:02:27,000
but I'll freshen you up just in case

53
00:02:27,566 --> 00:02:29,900
you were absolutely fantastic

54
00:02:29,900 --> 00:02:32,000
partnering Miss Rosenthal

55
00:02:32,166 --> 00:02:34,600
I couldn't take my eyes off you!

56
00:02:36,233 --> 00:02:39,166
I'll quickly adjust the tone,

57
00:02:39,633 --> 00:02:43,333
add a touch of blush and we'll be all set

58
00:02:50,433 --> 00:02:54,200
taking down a bit of shine with this blotting paper

59
00:03:52,639 --> 00:03:54,639
They always overwrite these scenes

60
00:03:54,639 --> 00:03:57,782
How am I supposed to concentrate on the character?

61
00:04:02,924 --> 00:04:04,583
I know

62
00:04:04,583 --> 00:04:08,660
The rewrites, the rushed takes—I hate it as much as you do

63
00:04:11,876 --> 00:04:13,876
Do you?

64
00:04:13,876 --> 00:04:18,564
Because it feels like I’m discovering a new script every morning with my coffee

65
00:04:18,564 --> 00:04:21,071
Listen. It’s not me. 

66
00:04:21,071 --> 00:04:24,866
Blue Lamp is breathing down our necks. They have five films in post... 

67
00:04:24,866 --> 00:04:26,666
tiding up your brows just a bit

68
00:04:27,138 --> 00:04:30,973
Ah, yes. The mighty Blue Lamp Pictures. 

69
00:04:30,973 --> 00:04:35,347
Should I act faster too, so we can produce three more films this week?

70
00:04:35,347 --> 00:04:38,826
No need to act faster, Elsa. Just… quieter

71
00:04:38,826 --> 00:04:42,311
Quieter, faster. Anything else? 

72
00:04:43,176 --> 00:04:47,089
Perhaps I should mime the part to save time on dialogue?

73
00:04:47,089 --> 00:04:49,493
Honey, I’m sorry. I didn’t mean to… 

74
00:04:49,493 --> 00:04:52,781
you know how much we all love you! you are our star.

75
00:04:52,781 --> 00:04:56,220
Blue Lamp is outperforming us. But they don’t have you

76
00:04:56,220 --> 00:05:00,585
And that’s why we’re not making five films a week—we’re making this one count.

77
00:05:04,098 --> 00:05:07,068
Flattery won't fix the script, you know. 

78
00:05:08,997 --> 00:05:13,801
Give me lines that stay the same for longer than a day.

79
00:05:41,766 --> 00:05:46,466
now touch your pancake to even things out

80
00:05:47,400 --> 00:05:51,066
don't worry just smoothing, not layering

81
00:05:51,965 --> 00:05:57,844
Elsa, I’ve been watching the rushes. I need more suspense there

82
00:05:57,844 --> 00:06:03,476
Not just the words—let the space between them feel heavier

83
00:06:03,566 --> 00:06:06,766
It’s not what you say. It’s what you don’t. 

84
00:06:07,107 --> 00:06:10,759
And when you speak it’s more of a whispering.

85
00:06:11,233 --> 00:06:13,266
is the blue lamp whisper too?

86
00:06:13,400 --> 00:06:17,066
or is it just our grand new philosophy?

87
00:06:17,433 --> 00:06:19,666
I’m sure if we whisper first, 

88
00:06:19,700 --> 00:06:21,900
they'll do the same. Look at last year

89
00:06:22,033 --> 00:06:23,766
we have 'Marble and Steam' -

90
00:06:23,766 --> 00:06:26,400
Blue Lamp follows with ‘Daughters of Athena.’ 

91
00:06:26,400 --> 00:06:28,433
We produce ‘The Harpy’s Mercy,’ 

92
00:06:28,433 --> 00:06:30,866
they counter with ‘Adrift Without Wings.’ 

93
00:06:31,866 --> 00:06:35,458
We release “Pirates in Disguise”,

94
00:06:35,458 --> 00:06:38,897
they roll out “Jester in disguise”. 

95
00:06:38,897 --> 00:06:40,533
brilliant. What’s next? 

96
00:06:40,848 --> 00:06:45,310
We make a film about mirrors, and they release one about reflections.

97
00:08:36,366 --> 00:08:39,366
just a sweep of powder

98
00:09:52,000 --> 00:09:53,566
a sweep of Rouge

99
00:10:47,633 --> 00:10:49,466
I think we're done

100
00:10:50,166 --> 00:10:54,366
and now I'll go to another star

101
00:10:57,033 --> 00:10:58,666
I might go back to you

102
00:11:03,366 --> 00:11:05,700
we have another person to fix your hair

103
00:11:05,766 --> 00:11:10,000
but I think you don't need it

104
00:11:10,233 --> 00:11:12,000
it's pretty well

105
00:11:12,566 --> 00:11:16,600
but even if no one comes I can help with your hair

106
00:11:16,600 --> 00:11:17,400
right

107
00:11:33,566 --> 00:11:36,133
first two lamps are still heating up

108
00:11:36,233 --> 00:11:37,420
which ones? 

109
00:11:37,420 --> 00:11:39,420
stage left near the entrance

110
00:11:39,466 --> 00:11:41,355
they're cooking the extras 

111
00:11:41,355 --> 00:11:42,833
throw some diffusion over them

112
00:11:42,833 --> 00:11:46,066
and another thing: those rugs for the train set,

113
00:11:46,066 --> 00:11:48,766
they sent us wrong color, should we send them back?

114
00:11:48,766 --> 00:11:50,300
no, no time for that

115
00:11:50,300 --> 00:11:52,533
I'll deal with it, I have someone

116
00:11:52,600 --> 00:11:54,866
oh and sound department

117
00:11:54,866 --> 00:11:58,366
say there's not enough space to hide the microphones

118
00:11:58,366 --> 00:11:59,933
when we get to the train set

119
00:12:00,000 --> 00:12:02,200
I'll have a look, but remind them

120
00:12:02,200 --> 00:12:03,533
it's their job

121
00:12:03,533 --> 00:12:06,166
to find the space, not mine.

122
00:12:06,166 --> 00:12:06,966
sure

123
00:12:07,466 --> 00:12:09,933
there's a censorship problem with the script

124
00:12:10,500 --> 00:12:13,966
they flagged the part where they talk about the outline

125
00:12:13,966 --> 00:12:15,515
it's absurd! 

126
00:12:15,515 --> 00:12:18,399
They say it’s too suggestive, 

127
00:12:18,666 --> 00:12:22,433
might be interpreted as anti-authority.

128
00:12:22,433 --> 00:12:24,800
it's just a coded phrase between spies!

129
00:12:24,900 --> 00:12:26,200
they don't want codes,

130
00:12:26,233 --> 00:12:28,200
they are saying if we don't change it

131
00:12:28,200 --> 00:12:30,100
we'll lose part of the funding

132
00:12:30,100 --> 00:12:31,866
and where do they expect us to cut now?

133
00:12:31,866 --> 00:12:33,513
the train set 

134
00:12:33,513 --> 00:12:34,866
seriously?

135
00:12:34,866 --> 00:12:35,800
what else?

136
00:12:35,800 --> 00:12:40,014
Miss Rosenthal wants to reshoot the dinner scene 

137
00:12:40,014 --> 00:12:41,400
really?

138
00:12:41,400 --> 00:12:43,800
she locked herself in her dressing room

139
00:12:43,800 --> 00:12:45,120
won't answer 

140
00:12:45,120 --> 00:12:47,120
tell her I'll replace her

141
00:12:47,766 --> 00:12:50,566
she's got a contract for three more pictures

142
00:12:50,566 --> 00:12:51,733
 not a problem

143
00:12:52,966 --> 00:12:55,966
oh and tell her to quit lifting her chin

144
00:12:56,600 --> 00:12:58,133
like she's in a silent picture

145
00:12:58,433 --> 00:13:00,066
we're past those days

146
00:13:00,066 --> 00:13:02,866
Miss Bleumir is ready for rehearsal

147
00:13:03,200 --> 00:13:06,500
she's in makeup now, hair is nearly done

148
00:13:07,033 --> 00:13:12,917
But since they’re are both in the scene, what do we do?

149
00:13:13,066 --> 00:13:14,533
who's on makeup today?

150
00:13:15,200 --> 00:13:16,000
Annie

151
00:13:16,666 --> 00:13:19,866
ask Annie to sit in for Elsa

152
00:13:20,466 --> 00:13:21,900
there's barely any dialogue

153
00:13:21,900 --> 00:13:24,173
she just needs to take the spot 

154
00:13:24,173 --> 00:13:25,481
sure

155
00:13:26,915 --> 00:13:31,466
Alright everyone! let's get back to it, this is a rehearsal

156
00:13:31,466 --> 00:13:32,733
not a performance

157
00:13:33,466 --> 00:13:36,466
but let's pretend we know the difference

158
00:13:40,366 --> 00:13:43,000
the low murmur of the room shifts

159
00:13:43,066 --> 00:13:45,066
eyes are drawn to the entrance

160
00:13:45,066 --> 00:13:47,366
as the countess strides in

161
00:13:47,766 --> 00:13:50,933
wrapped in a midnight blue silk gown

162
00:13:52,166 --> 00:13:53,514
she moves like...

163
00:13:53,514 --> 00:13:55,514
Where's my dress?

164
00:13:55,966 --> 00:13:59,500
right where's the blue silk gown?

165
00:13:59,700 --> 00:14:04,200
the blue silk gown? it's... in an hour or two

166
00:14:04,200 --> 00:14:06,466
she moves like she owns the place

167
00:14:06,466 --> 00:14:09,266
exuding the kind of presence that commands attention

168
00:14:09,266 --> 00:14:12,900
without a word, she sweeps her gaze across the room

169
00:14:12,900 --> 00:14:15,966
and upon spotting Celine and SW

170
00:14:16,600 --> 00:14:18,600
makes her way toward them

171
00:14:24,100 --> 00:14:27,733
Ah! just two people I hope to find!

172
00:14:29,666 --> 00:14:32,466
don't just say the line

173
00:14:33,300 --> 00:14:37,000
you were hoping to find this person

174
00:14:37,666 --> 00:14:40,466
I need to see this in your eyes

175
00:14:40,466 --> 00:14:43,733
this is the only one who matters right?

176
00:14:45,700 --> 00:14:46,500
okay

177
00:14:46,762 --> 00:14:48,493
Of course

178
00:14:50,833 --> 00:14:52,800
Ah! just two people I hope to find!

179
00:14:53,033 --> 00:14:56,566
very good but don't disregard Celine

180
00:14:56,566 --> 00:14:59,366
we can't let the audience suspect she's in the way

181
00:14:59,366 --> 00:15:01,466
just... you know

182
00:15:05,100 --> 00:15:05,900
right

183
00:15:07,033 --> 00:15:09,600
Ah! just two people I hope to find!

184
00:15:09,966 --> 00:15:11,266
she reaches the table

185
00:15:11,266 --> 00:15:13,900
placing her gloved hand on the back of an empty chair

186
00:15:13,900 --> 00:15:15,733
before tilting her head slightly

187
00:15:21,166 --> 00:15:22,333
um tell me

188
00:15:22,566 --> 00:15:25,333
will you both be taking the Cairo Rxpress as well?

189
00:15:25,566 --> 00:15:26,600
SW

190
00:15:26,666 --> 00:15:27,900
why do you ask?

191
00:15:28,966 --> 00:15:30,800
because I do love a good journey

192
00:15:30,966 --> 00:15:31,900
and something tells me

193
00:15:31,900 --> 00:15:35,000
this one will be particularly eventful

194
00:15:36,366 --> 00:15:37,500
she signals a waiter

195
00:15:37,500 --> 00:15:39,700
with a graceful flick of her fingers

196
00:15:40,700 --> 00:15:42,766
 champagne darling!

197
00:15:42,800 --> 00:15:44,766
no matter where one he's headed

198
00:15:44,800 --> 00:15:46,333
one should travel in style

199
00:15:47,466 --> 00:15:48,900
very good now

200
00:15:49,033 --> 00:15:50,466
very good now

201
00:15:50,466 --> 00:15:52,500
one more time without my corrections

202
00:15:52,966 --> 00:15:57,066
right from... just the two people

203
00:15:57,266 --> 00:15:58,953
from jus#jhnio8i9800-

204
00:15:58,953 --> 00:16:01,666
from 'just the two people i hoped to find'

205
00:16:02,666 --> 00:16:03,466
yeah

206
00:16:05,100 --> 00:16:08,100
Ah! just two people I hope to find!

207
00:16:08,666 --> 00:16:09,300
tell me

208
00:16:09,300 --> 00:16:12,100
will you both be taking the Cairo Express as well?

209
00:16:12,866 --> 00:16:16,000
stop! what's wrong with that light?

210
00:16:16,366 --> 00:16:18,333
uh it's been flickering all day

211
00:16:25,200 --> 00:16:26,566
problem solved

212
00:16:29,500 --> 00:16:35,933
now let's do from... let's start from... from the beginning

213
00:16:36,066 --> 00:16:36,866
yeah

214
00:16:37,966 --> 00:16:38,866
okay yeah

215
00:16:39,033 --> 00:16:42,171
Ah! just two people I hope to find!

216
00:16:42,171 --> 00:16:43,947
Dinner break!

217
00:16:44,550 --> 00:16:46,533
I suppose we have a break

218
00:16:48,033 --> 00:16:52,347
does this outline need to be so obvious? 

219
00:16:52,347 --> 00:16:53,466
Elsa!

220
00:16:53,466 --> 00:16:58,733
it's 'have to be obvious' not 'need to be' - that's the line

221
00:16:59,266 --> 00:17:07,100
yes but 'have' feels too stiff, 'need' is softer, it's better

222
00:17:07,100 --> 00:17:08,316
don't you agree ?

223
00:17:08,316 --> 00:17:09,600
it's supposed to be stiff

224
00:17:09,600 --> 00:17:13,766
the character is biting a little not caressing 

225
00:17:13,766 --> 00:17:15,700
maybe she should caress a little?

226
00:17:16,066 --> 00:17:18,933
people remember softness more than stiffness

227
00:17:19,366 --> 00:17:20,579
just say the line fine 

228
00:17:20,579 --> 00:17:21,793
fine

229
00:17:21,793 --> 00:17:23,793
and drop your chin

230
00:17:25,233 --> 00:17:29,766
does this outline have to be so obvious?

231
00:17:30,300 --> 00:17:31,400
too loud

232
00:17:33,966 --> 00:17:37,381
it's a rehearsal, we're not recording sound

233
00:17:37,381 --> 00:17:40,100
No. But I can still hear you with my eyes

234
00:17:41,666 --> 00:17:45,916
does this outline have to be so obvious?

235
00:17:45,916 --> 00:17:48,000
Elsa you're yelling

236
00:17:48,966 --> 00:17:52,600
does this outline have to be so obvious?

237
00:17:53,000 --> 00:17:55,166
this is not about the outline

238
00:18:03,400 --> 00:18:08,800
does this outline have to be so obvious ?

239
00:18:08,800 --> 00:18:10,133
what was that?

240
00:18:11,433 --> 00:18:14,766
does this outline have to be so obvious?

241
00:18:14,766 --> 00:18:19,300
better but still not quite... whatever keep going...

242
00:18:19,500 --> 00:18:24,666
does this outline have to be so obvious?

243
00:18:24,866 --> 00:18:27,266
now you're just torturing it

244
00:18:27,766 --> 00:18:29,839
you are torturing me! 

245
00:18:29,839 --> 00:18:31,595
the line isn't the problem Elsa

246
00:18:31,595 --> 00:18:33,500
it's the spirit behind it

247
00:18:36,566 --> 00:18:41,066
does this outline have to be so obvious?

248
00:18:41,200 --> 00:18:44,266
better but now your sarcasm is too loud

249
00:18:45,700 --> 00:18:50,866
does this outline have to be so obvious

250
00:18:51,400 --> 00:18:53,200
if we stretch this out any longer

251
00:18:53,200 --> 00:18:55,566
we'll be rehearsing straight into next week

252
00:18:55,800 --> 00:18:57,566
we've got a train set waiting for us

253
00:18:57,566 --> 00:18:59,400
you know time is money

254
00:19:01,200 --> 00:19:04,400
this is because of you not me!

255
00:19:05,000 --> 00:19:08,366
the studio's got a peculiar taste and it's casting

256
00:19:08,566 --> 00:19:10,266
I say that much ...

257
00:19:10,266 --> 00:19:14,466
Alright take 5 - if you wanna run the lines now's the time

258
00:19:20,866 --> 00:19:24,133
excuse me may I help you with the rehearsal?

259
00:19:50,600 --> 00:19:54,566
alright I'll do all the parts and you do you

260
00:19:54,566 --> 00:19:55,900
you you your part

261
00:20:04,866 --> 00:20:07,333
interior: private club night

262
00:20:10,100 --> 00:20:11,900
haze of cigar smoke lingers

263
00:20:11,900 --> 00:20:15,733
beneath the gilded chandeliers

264
00:20:16,600 --> 00:20:19,100
the air hums with quiet conversations

265
00:20:19,900 --> 00:20:21,700
the clink of crystal glasses

266
00:20:22,433 --> 00:20:26,266
and the occasional burst of laughter

267
00:20:26,266 --> 00:20:31,000
from figures draped in evening finery

268
00:20:35,066 --> 00:20:40,733
At a corner table, CELINE and SW sit 

269
00:20:41,366 --> 00:20:42,866
in the dim glow of a table lamp, 

270
00:20:44,666 --> 00:20:46,766
their posture casual but their eyes ever-watchful. 

271
00:20:53,633 --> 00:20:55,300
alright your text

272
00:20:56,266 --> 00:20:58,600
this isn't the safest place for conversations