All language subtitles for AUTO TRANSLATED - en - Seduced.and.Abandoned.2013.1080p.BluRay.x264.YIFY

"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 ...