don't be foolish Cut! Elsa you're playing the words - don't deliver the line, deliver what's behind it That's not how the line was yesterday Yesterday doesn't exist the line could be from a tooth powder I want what's underneath alright back to one. Camera camera rolling sound sound rolling Action! don't be foolish Cut! I need that touch to be slower more delicate that touch comes from the feeling and you just told me to play the subtext if I slow it down it won't be real then make it real slower so, feelings have a speed limit? only when they're in close up funny, I thought you wanted authenticity not choreography the lens doesn't care about your sincerity if the gesture looks like a slap in a soft focus then perhaps the lens should direct and we can all go home early alright slower, more delicate and real, if that pleases you camera! camera rolling Sound! sound rolling action! don't be foolish cut! quieter Elsa it's a close up not a Broadway matinee what was that? there are roosters on stage 7 we have a problem alright five minute break Makeup freshening is this for reverse angles? honey I don't know hello again we're not sure yet if it's the reverse coverage or still the same shot but I'll freshen you up just in case you were absolutely fantastic partnering Miss Rosenthal I couldn't take my eyes off you! I'll quickly adjust the tone, add a touch of blush and we'll be all set taking down a bit of shine with this blotting paper They always overwrite these scenes How am I supposed to concentrate on the character? I know The rewrites, the rushed takes—I hate it as much as you do Do you? Because it feels like I’m discovering a new script every morning with my coffee Listen. It’s not me. Blue Lamp is breathing down our necks. They have five films in post... tiding up your brows just a bit Ah, yes. The mighty Blue Lamp Pictures. Should I act faster too, so we can produce three more films this week? No need to act faster, Elsa. Just… quieter Quieter, faster. Anything else? Perhaps I should mime the part to save time on dialogue? Honey, I’m sorry. I didn’t mean to… you know how much we all love you! you are our star. Blue Lamp is outperforming us. But they don’t have you And that’s why we’re not making five films a week—we’re making this one count. Flattery won't fix the script, you know. Give me lines that stay the same for longer than a day. now touch your pancake to even things out don't worry just smoothing, not layering Elsa, I’ve been watching the rushes. I need more suspense there Not just the words—let the space between them feel heavier It’s not what you say. It’s what you don’t. And when you speak it’s more of a whispering. is the blue lamp whisper too? or is it just our grand new philosophy? I’m sure if we whisper first, they'll do the same. Look at last year we have 'Marble and Steam' - Blue Lamp follows with ‘Daughters of Athena.’ We produce ‘The Harpy’s Mercy,’ they counter with ‘Adrift Without Wings.’ We release “Pirates in Disguise”, they roll out “Jester in disguise”. brilliant. What’s next? We make a film about mirrors, and they release one about reflections. just a sweep of powder a sweep of Rouge I think we're done and now I'll go to another star I might go back to you we have another person to fix your hair but I think you don't need it it's pretty well but even if no one comes I can help with your hair right first two lamps are still heating up which ones? stage left near the entrance they're cooking the extras throw some diffusion over them and another thing: those rugs for the train set, they sent us wrong color, should we send them back? no, no time for that I'll deal with it, I have someone oh and sound department say there's not enough space to hide the microphones when we get to the train set I'll have a look, but remind them it's their job to find the space, not mine. sure there's a censorship problem with the script they flagged the part where they talk about the outline it's absurd! They say it’s too suggestive, might be interpreted as anti-authority. it's just a coded phrase between spies! they don't want codes, they are saying if we don't change it we'll lose part of the funding and where do they expect us to cut now? the train set seriously? what else? Miss Rosenthal wants to reshoot the dinner scene really? she locked herself in her dressing room won't answer tell her I'll replace her she's got a contract for three more pictures not a problem oh and tell her to quit lifting her chin like she's in a silent picture we're past those days Miss Bleumir is ready for rehearsal she's in makeup now, hair is nearly done But since they’re are both in the scene, what do we do? who's on makeup today? Annie ask Annie to sit in for Elsa there's barely any dialogue she just needs to take the spot sure Alright everyone! let's get back to it, this is a rehearsal not a performance but let's pretend we know the difference the low murmur of the room shifts eyes are drawn to the entrance as the countess strides in wrapped in a midnight blue silk gown she moves like... Where's my dress? right where's the blue silk gown? the blue silk gown? it's... in an hour or two she moves like she owns the place exuding the kind of presence that commands attention without a word, she sweeps her gaze across the room and upon spotting Celine and SW makes her way toward them Ah! just two people I hope to find! don't just say the line you were hoping to find this person I need to see this in your eyes this is the only one who matters right? okay Of course Ah! just two people I hope to find! very good but don't disregard Celine we can't let the audience suspect she's in the way just... you know right Ah! just two people I hope to find! she reaches the table placing her gloved hand on the back of an empty chair before tilting her head slightly um tell me will you both be taking the Cairo Rxpress as well? SW why do you ask? because I do love a good journey and something tells me this one will be particularly eventful she signals a waiter with a graceful flick of her fingers champagne darling! no matter where one he's headed one should travel in style very good now very good now one more time without my corrections right from... just the two people from jus#jhnio8i9800- from 'just the two people i hoped to find' yeah Ah! just two people I hope to find! tell me will you both be taking the Cairo Express as well? stop! what's wrong with that light? uh it's been flickering all day problem solved now let's do from... let's start from... from the beginning yeah okay yeah Ah! just two people I hope to find! Dinner break! I suppose we have a break does this outline need to be so obvious? Elsa! it's 'have to be obvious' not 'need to be' - that's the line yes but 'have' feels too stiff, 'need' is softer, it's better don't you agree ? it's supposed to be stiff the character is biting a little not caressing maybe she should caress a little? people remember softness more than stiffness just say the line fine fine and drop your chin does this outline have to be so obvious? too loud it's a rehearsal, we're not recording sound No. But I can still hear you with my eyes does this outline have to be so obvious? Elsa you're yelling does this outline have to be so obvious? this is not about the outline does this outline have to be so obvious ? what was that? does this outline have to be so obvious? better but still not quite... whatever keep going... does this outline have to be so obvious? now you're just torturing it you are torturing me! the line isn't the problem Elsa it's the spirit behind it does this outline have to be so obvious? better but now your sarcasm is too loud does this outline have to be so obvious if we stretch this out any longer we'll be rehearsing straight into next week we've got a train set waiting for us you know time is money this is because of you not me! the studio's got a peculiar taste and it's casting I say that much ... Alright take 5 - if you wanna run the lines now's the time excuse me may I help you with the rehearsal? alright I'll do all the parts and you do you you you your part interior: private club night haze of cigar smoke lingers beneath the gilded chandeliers the air hums with quiet conversations the clink of crystal glasses and the occasional burst of laughter from figures draped in evening finery At a corner table, CELINE and SW sit in the dim glow of a table lamp, their posture casual but their eyes ever-watchful. alright your text this isn't the safest place for conversations