Original subtitles

[calm music]

- are you gonna get on with it? - if you could stay quiet! - Ok i dont move 2a - wait wait a bit - that's it - ok shut up now - now you leave me alone - ok go ahead

- Dear Billy, I am sending you this tape from Paris.

How are you?

How are things going?

I wonder what would we change

if we have the chance to start all over again.

Sometimes I'm playing our tapes

and then I feel that everything's just happening right now.

[rock music]

? I was sayin' let me out of here before I was even born ?

? It's such a gamble when you get a face ?

? It's fascinatin' to observe what the mirror does ?

? But when I dine it's for the wall that I set a place ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Triangles were fallin' at the window as the doctor cursed ?

? He was a cartoon long forsaken by the public eye ?

? The nurse adjusted her garters as I breathed my first ?

? The doctor grabbed my throat

? And yelled, "God's consolation prize!" ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Take it

- [Kellerman] What do you have for me today?

- [Jack] What I have for you

is a surefire investment, Kellerman.

Got it all figured out.

You can't lose on this one.

- [Kellerman] What is it?

Cars, horses, cocaine?

- [Jack] Come on, you know what I'm talking about.

- [Kellerman] I'm 45 years.

I'm tired.

Let me have a good time now.

- [Jack] Kellerman, this guy's gonna make it.

- [Kellerman] What do you want from me?

- [Jack] You and I will manage this guy.

- [Kellerman] I'm not interested

in this kind of music anymore.

- It's not disco crap.

This is something else.

Kellerman, instead of taking the overcoat to the porno,

why don't you spare 10 minutes and come down

and listen to this guy?

[rock music]

- Here comes.

? You're in too deep you can't survive ?

? Or can't be you past 25

? A day's a week the monster dozes ?

? Deep in passionate, in passionate, in passionate ?

? In passionate, in passionate, in ?

? New pleasure, baby, new pleasure ?

? Whisper in my ear, we go away ?

? New pleasure, new pleasure

- You wanna try another take?

- Let me have a smoke.

- Okay.

- May I ask you some more question?

- Can it wait?

- Yes, but I want to catch this atmosphere.

- What do you think?

- Who's the girl?

- She?

She's making an interview for French TV.

But I told you, he's ready to break.

- Can she sing?

- I understand you were a writer before a singer.

- I was about as much of a writer as I am a singer.

Who's kidding who?

We gotta go back to work.

- Ready?

Stand by.

Here we go.

[rock music]

? Your mind's a wreck but that's fine ?

? It corresponds to mine

? We're in a room the door closes ?

? Automatic automatic automatic automatic automatic auto ?

? New pleasure, baby, new pleasure ?

? Well, whisper in my ear, we go away ?

? New pleasure, new pleasure

? Too weak for life you have become ?

? You can't get dressed you're too numb ?

? But we assume sublime poses

? Deep in true to life, in true to life, in true to life ?

? In true to life, in true to life, in ?

? New pleasure, baby, new pleasure ?

? Well, whisper in my ear, we go away ?

? New pleasure, new pleasure

? You're in too deep you can't survive ?

? Or can't be you past 25

? A day's a week the monster dozes ?

? Deep in passionate, in passionate, in passionate ?

? In passionate, in passionate, in ?

? New pleasure, baby, new pleasure ?

? Well, whisper in my ear, we go away ?

? New pleasure, new pleasure

- Do you want me to talk to him?

- I don't want to get involved in this.

- I knew you'd see it my way, Kellerman.

- [Nada] Billy and Nada.

- After two years of struggling, I finally got a contract.

- [Nada] Are you happy now?

- Gotta make a living.

- I thought you wanted [mumbles].

- That's right.

- So what happens if you become successful?

- I'll try something else.

- You will get covered like anyone else.

Okay, you're satisfied now?

Can you explain to me what you are playing at?

[moaning]

[shouts]

[shouts]

[laughs]

[gentle music]

Wake up, Billy.

Do I appear in your dreams?

- Yeah, always.

- Don't go back to sleep, tell me more.

- Nada, it's five o'clock in the morning.

I was dreaming we were getting in a fight.

- Who was winning?

- It was really a lot of fun.

[kisses]

You and me, we could conquer the world.

- Yeah.

Let's have some fun.

- Yeah, let's conquer the world.

Where do you want to go?

- Wherever you like.

- How about the beach?

- Yeah!

- East Hampton?

- What's wrong?

- Nothing.

I was just thinking.

- Why did you stop?

- Maybe we should go back.

- Why?

- I gotta make some phone calls.

- If you want to go back, we can go back.

- Yeah, let's go back.

New York City is a drag on Fridays.

Maybe we should go to the beach.

- I'll do whatever you like.

- There won't be anybody at the beach today.

- [Nada] That's wonderful!

- It might be a drag though.

- [Nada] Why?

- It's depressing.

It's so damn cold.

Sure you want to go there?

- I told you I don't care!

- Don't get excited.

- I'm not getting excited!

- Just because you want to go to the beach.

- I didn't want to go to the beach, it was your idea.

- I wanted to go back to New York.

- Let me out of here!

[tires squealing]

- Are you crazy or something?

- Get out of of here, get out!

Get out, get out!

- This is my car!

- From now on, it's mine.

[fast-paced music]

[calm music]

- Talk to me.

[slow music]

- Okay, start there.

[strumming guitar]

[percussion music]

[strumming guitar]

[rock music]

? Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ?

? Look out liars and you highlife scum ?

? Who gotta keep your victims poor and dumb ?

? And dumb

? And dumb

? Your motives and your methods are not disguised ?

? By your silk, soap, sex, or your smiling lies ?

? Your lies

? Your lies

? Look out here

? You pompous jerk

? Look out here

? I'll go berserk

? Well you got power, now there's competition ?

? And your blind side's turned to the boys with a mission ?

- Billy needs money.

- Well, he's become a businessman.

Is that bad?

- No.

Billy's in love.

? Look out here

? You pompous jerk

? Look out here

? I'll go berserk

? Well you got power, now there's competition ?

? And your blind side's turned to the boys with a mission ?

? Oh, oh, oh, oh, oh, oh, oh

? They gave you power cause they knew your needs ?

? Soprano boys get talent when you shoot your seeds ?

? Your seeds

? Your seeds

? Well you laugh to hear what your best friends say ?

? Old man they laugh when you walk away ?

? Away

? Away

? Look out chief

? Ridiculous creep

? Look out thief

? You'll lose your teeth

? Oh, oh, oh, oh, oh, oh, oh

? You were 65 when you wiggled out ?

? Your mind all twisted and your mom all shout ?

? All shout

? All shout

? I'm a man with his share of excess nice ?

? But it can't be spared for drooling lice ?

? For lice

? For lice

? Look out here you pompous jerk ?

? I can't look at you ancient slut ?

? Well you got power, now there's competition ?

? And your blind side's turned to the boys with a mission ?

? Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh ?

? Oh, oh, oh, oh, oh, oh, oh, oh ?

[cheering]

- Five and four.

One, two, three, four, five.

Four.

Five.

I don't like...

- Wanna play this?

- Who do you think I am?

Push B13.

- Where have you been the last few days?

[rock music]

I mean you can't just disappear like that.

? Your mind's a wreck but that's fine ?

- You pushed me out of my own car.

Can we have something special?

- Cognac?

- Sure, put it on my tab.

- It's on me.

? New pleasure, new pleasure

? Too weak for life you have become ?

? You can't get dressed you're too numb ?

- Don't you want to celebrate with us?

- Or did you want to put it on your tab again?

Didn't the company pay you?

- No, I don't care about money.

I'm just glad we could make the record.

Other groups have to struggle for years.

- Maybe you should do it yourself.

At least you know what's going on.

You don't even read your contracts now.

- We're together for five minutes and you start fighting.

- Why don't you find yourself a girl who always say yes

and how wonderful, how great you are.

Somebody who just doesn't care.

Gives a shit.

Sure that's what you need.

A little nice girl.

I have to go to the cutting room to work on the interview.

- Don't get angry.

- What are you going to do when you lose your good looks?

- Oh, good.

How about Friday?

- No, Friday he can't do it.

He's not available Friday.

Can't, no, no, no Friday.

Here, let me speak to him.

- Let me [mumbles].

- Yeah, no, he can't do it Friday.

Can't do it Friday at all.

Weekends, yeah.

Can we do the weekend?

- We can't do it on the weekends

because we're taking Billy to Osmond.

- Okay.

[rock music]

? I was sayin' let me out of here before I was even born ?

? It's such a gamble when you get a face ?

? It's fascinatin' to observe what the mirror does ?

? But when I dine it's for the wall that I set a place ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Triangles were fallin' at the window as the doctor cursed ?

? He was a cartoon long forsaken by the public eye ?

? The nurse adjusted her garters as I breathed my first ?

? The doctor grabbed my throat

? And yelled, "God's consolation prize!" ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? To hold the T.V. to my lips, the air so packed with cash ?

? Then carry it up flights of stairs ?

? And drop it in the vacant lot ?

? To lose my train of thought

? And fall into your arms' tracks ?

? And watch beneath the eyelids every passing dot ?

? I belong to the blank genera-- ?

[shouting]

- What, are you crazy or something?

You just can't walk out in the middle of a performance.

Gonna sue the asses off us.

- I don't care.

- Look, we'll work this one out.

Let me tell Kellerman that you've been working too hard

and under too much pressure.

But you gotta come back here tomorrow night

and play for this audience again.

This time for free.

- I'm not playing tomorrow night or any other night.

- Oh, come on, Billy, let's be serious.

- Okay, I'll be serious.

You're fired.

- Oh, shit, stop playing around, will ya?

- Listen, Jack, you know I'm no primadonna.

[coughs]

I just can't continue doing this.

I'm fed up.

- Billy.

Everybody likes a winner.

[slow music]

- [Billy] What are you doing?

- I want you out of here.

- Are you crazy?

- Yes, wasting all my time with you.

- How times do we--

- Just leave me alone.

- How many times do we have to go through this?

[doorbell buzzing]

- Why didn't you open the door?

- The bell doesn't work.

- [Man] Ready to roll.

- Okay, let's do it.

- [Man] Today, Nada Lumiere is on the lower east side

with former star football player Bobby "the Bear" Butler.

What's the matter?

- I want to make a phone call.

- [Man] You have to make another phone call?

We can't keep all these people waiting here.

Now please hurry up.

- Okay, I'll be right back.

I've been thinking about you.

Will you forgive me?

Maybe I was unhappy.

Why don't you come here?

I love you.

- You've got the choice.

A life with your French girl, platinum records.

I've also gotta remind you,

you signed a number of contracts.

- Because of your injury, Bobby,

you had three serious knee operations.

And it's been more than a year since your last game.

- [Bobby] That's right.

- And where were you living when you were playing pro ball?

- Well, I'm still a professional, you know.

But when I was in the money,

my wife and me had a nice apartment uptown.

- Has Coach Cassin been here to see you?

- Like I told you before, Mr. Cassin is a very busy man.

- [Nada] Okay.

What about your wife?

- Well, Roberta, she moved to LA.

I don't see her very much anymore.

But let's get back to football.

- Yes, Bobby.

But what have these people, I mean your friends, your wife,

Coach Cassin, what have they really done for you?

- [Bobby] They gave me a lot of hope and encouragement.

- You're lying.

- Come on, Pop.

- Who's paying?

This cost me a lot of money.

Now, what you gonna do?

Quit football or are you gonna keep on running around?

I don't like it.

I can't afford to feed you and work.

I ain't got no money.

Cost me a [mumbles] dollar to raise you.

What the man.

You know what you get?

You're tall enough like [mumbles].

Hello, Johnny Dean.

Well, you get too tall for me.

Go to heaven, follow the Son of God.

- Come on, don't listen to this guy.

Don't listen to him, he's crazy.

- [Bobby] What are you doing?

Go.

- [Bobby's Father] But this is good.

- [Bobby] Come on, Pop, now you been drinking.

- What are you doing here?

I can't work with you around.

- What do you mean?

You called me.

- Oh, who's sorry now?

Who's sorry now?

Let it be, let it be.

I'm going home to see my lady.

[fast-paced music]

[calm music]

- What are you going to do with all your stuff?

Why don't you put it back?

- I'll leave them there.

- Put your things away, please.

- Okay.

Each in its place.

[laughs]

[kisses]

- What did you do last night?

[slow music]

Billy and Nada.

- I was on stage in the middle of a song

and I realized that I'd never be able to create an audience

of feelings that inspire the songs.

They were drawn there like the crowd around a car wreck

and I'd never be able to make it in a different time.

I always felt that way but it just suddenly got intolerable.

I mean, the thing is, who'd even want to feel like me?

I don't.

- Did you get any money?

[laughs]

- That was all my rights and royalties, everything.

Are you happy now?

- Who do you love?

- You.

- Who do you hate?

- You.

- At least we got some publicity out of it.

- I don't think he will abandon his future.

The money is too good.

- Kellerman, that's the problem.

He hasn't seen any of the money so far.

[shouting]

[knocking]

What are you doing here?

- I've gotta talk to you.

- Okay, I'll be there in a minute.

So listen...

[slow music]

- I couldn't reach you but I knew you'd be on your way home.

- Yeah, big business.

Got plans.

Hurry up, the ferry arrives in 10 minutes.

- I only need a second.

- Listen, these guys, they're gonna sell you

from coast to coast, and man, I got you the inside track.

- They've been selling me for a year.

Now I want to sell.

My rights, royalties, everything, you can have them.

I'm trying to sell for 5,000.

- How are you going to do that?

- What do you mean?

- I mean you must be joking, selling everything for 5,000!

- Listen, Nada.

You told me I should find a stupid, uncomplicated girl.

Well, maybe you were talking to yourself.

Maybe you should find another man.

- An uncomplicated man.

You're absolutely right.

[calm music]

- Operator?

Could you give me 431-6053?

Thanks.

Hello?

Could I talk to Mr. Andy Warhol?

[knocking]

Come in, the door is open!

Tell him to call me back in the Westbury in room 705.

Thanks.

Nice to meet you.

- You don't remember?

[kisses]

- Five months is a long time.

You can't just disappear on me.

- French TV gave me a very good job in New York.

- Oh, more interesting?

- Why are you so mean to me?

Are you in love with somebody else?

- Of course.

- I missed you.

- Really?

- Come on out of there, Nada,

I want you to look at the mirror.

You'll really be surprised.

[slow music]

- Billy?

I'm leaving you now.

It's better for you and for me.

You're driving me crazy

and I'm not the right woman for you.

Don't forget this tape.

It shows the beginning and the end of an impossible dream.

- Jack Bleaker, please.

- You're a couple of nice friends.

This is your kind of atmosphere.

After a couple days, I'm sure you'll enjoy it.

Like I said, don't worry about it.

All free.

Company pays for everything.

What do you think?

Like it?

Hello, Eric.

- Hi.

- Here are the keys.

Call me later.

And don't forget, she's already forgotten you.

- Al!

- I got a call from Frankfurt.

- Please, not now.

- Mm-hm, they want me to come back.

- Don't be such a drag.

- If I don't make the Warhol interview,

they won't pay any longer the hotel.

- [laughs] Well, perhaps I can help you.

If you give me the number, can call it.

- Right now?

- Yes.

- Don't be such a drag.

- I got a secret recipe.

Like the recipe...

- And what works to make political statements

with their music?

- That's bullshit, that's dumb.

- What do you think other people should do?

- They can do whatever they want.

- Hello?

Mr. Warhol?

Oh, I can't wait any longer.

Can you tell him tomorrow to call me back in the Westbury?

He got my number.

And offer is from German television.

I wanted to make this interview with Mr. Warhol.

Well, you just called me!

Call me back in the Westbury.

Room 705.

Thanks.

- What is your occupation?

- Lying.

- Are you afraid of anything?

- No.

I know I'm gonna die one day, so who gives a shit?

[calm music]

- Operator?

I was looking for this nightclub.

Did you get the address for me?

? I was a child who wanted a love so wild ?

? Though tight as slow motion

? But crazed with devotion

? Babe, insane with devotion,

? Just a whole other notion

? I was 14 1/2 and it wasn't no laugh ?

? Love comes in spurts

? Love comes in spurts

? Love comes in spurts

? Love comes in spurts

? I just can't get wise to those tragical lies ?

? Though I now know the facts they still cut like an ax ?

? Baby, love comes in spurts, in dangerous flirts ?

? And it murders your heart

? They didn't tell you that part, baby ?

? Love comes in spurts

? Love comes in spurts

? Love comes in spurts

? Love comes in spurts

[laughs]

[mumbling]

? I can't get you

? Ain't nothing...

[slow music]

- Last drink, we are closing.

- A whiskey straight.

- Okay.

- Do you know a girl named Nada?

- Nada?

- First I come to New York and you ask me why I'm so cold

and then you don't show up for a week

and now I have to play the nursemaid again.

- Don't be so bourgeois, Alfred.

- What's wrong with your friend?

- Nothing.

- Nothing, nothing.

But weren't you complaining all the time?

- Please, all I want you to do is help me with my interview.

- You have a date with Marlowe and [mumbles] in the studio

and I know nothing about it.

- Well, he was a fame critic.

Did a movie himself.

And then disappeared to India for two years.

And now he's back in New York.

- Ready to roll.

Today, Nada Lumiere is with Jonathan B. Marlowe,

author of the book Escape To India.

10 seconds.

Five.

Okay.

- Mr. Marlowe, you went from cinema to India

and from India to school.

- To learn, you must go to school.

Less to the school of life than to the cinema as school.

- [Nada] What is the difference between cinema and school?

- You don't have to please the students in school

because attendance is obligatory.

- Do you still have the desire to escape?

- If you choose to escape,

it can become a full time profession,

leaving no room for growth, spiritual or intellectual.

I think escape is like a racetrack.

Once you have begun, no matter how fast or how long you go,

you always come back to the place where you begun.

- Mr. Marlowe, it is said that the cinema is a place

for crime and magic.

What do you think about it?

- The crime?

Film steals images from living beings.

The pleasure?

To show them to others.

- Why do people go to the cinema?

- The movie theater has its moment of glory.

One comes to sleep in a bed of images,

to get an eyeful, to blind oneself in the process.

To see too much and to see too badly.

- What are you doing?

- Sorry, I forgot to introduce myself.

I'm Lizzy Liebenfeld.

- Hi, Lizzy.

- I'm a filmmaker.

This is my first long film.

It's kind of an episodic film based on chance.

I start with a person and then I follow that person

until that person runs into the next person

and then when that person goes, I stay with the new person.

But that person is you now!

Wait a second.

I want to focus on you.

Shit.

- What's the matter?

- Gonna have to make that last shot again.

- Well, your lead needs a pass through makeup.

- Hi, I'm Lizzy.

Wanna be in my film?

- [All] Yeah.

- Can you be wild?

- [All] Sure.

- Okay, let's try.

- Want a ginger ale?

Take off your wig.

- No!

- [Billy] Take off your makeup.

- No.

- [Billy] Now take your hair down.

- Why?

- I'm writing a song called Young Girls In Funny Makeup.

- Could I talk to Mr. Warhol, please?

No, this Hoffritz from German television.

I was...

I'm trying to get ahold of Mr. Warhol since about a week.

I'm here in New York now.

Hello?

Yeah, I want to talk to Mr. Warhol, Andy Warhol?

Hoffritz, from German television.

- Everything you tell me about her sounds so strange.

- She wasn't that crazy, I guess.

- When she was really interested, she'd never say so.

- What would she do?

- An interview.

It was like it had nothing to do with us personally.

She'd make the most intimate moments look like business.

- Maybe she was just scared.

- When she finally left, she didn't talk to me.

She said goodbye on a tape, in closeup on herself,

and then just vanished.

- Imagine every family would have a video.

- Giving each family a video,

it's like giving each family a gun.

- How do you know she went back to Paris?

Maybe she's still in New York.

- If Warhol doesn't call tonight,

I'm gonna cancel the whole interview and go back to Germany.

- Mr. Kellerman, we're expecting a really important call,

so could you keep your conversation short?

[doorbell rings]

- You didn't expect me.

I called Harry at the TV studio to find out where you were.

This is Lizzy.

- Hi. - Hi.

- I brought you something.

- Oh, wonderful.

What's on it?

- Nada.

? Happy birthday to you

? Happy birthday to you

? Happy birthday dear Nada

? Happy birthday to you

- [Billy] Now blow out the candles.

- Look, Kellerman, I invited you to the party

and you spend all your time on the phone.

I told you we're expecting a real important call.

Where's your friend?

- I don't know.

- What do you think you're doing here?

- We do not think but thought.

We are fascinating possessed.

- That's fine, but you're supposed to be having fun here.

So get yourself under control.

- I never had any control.

People come and go whenever they feel like.

I'm only the manager.

- When I finish shooting it,

I'm gonna blow it up from eight to 35.

- I would never do that.

Once you're on 35, you're a stocking.

You've gotta engage more and more people,

you've gotta raise more and more money,

and in the end you have to do everything yourself.

- Did you get my message?

- You know, there's still some things of yours at the loft.

- I would have known you were moving out,

would have stayed at the loft.

- I could never stand that place.

When are you going back to Paris?

- I have to do one more interview.

- You know, I started playing again because I miss you.

- Did you really make five films in 35?

- Alright, that's it.

I want you out.

- But it was for you.

- For me?

Who was it?

- I don't remember.

- Well, can't you remember the name?

- It sounded like Factory.

- Factory?

- Alfred!

It's Warhol.

- Hello?

Yeah, that's Alfred's.

Yes, of course.

Yes, sure, Mr. Warhol.

Yeah.

Bye.

Harry.

We have to get the studio for tomorrow morning at seven.

- I've been married for 38 years.

I've never regretted it one moment.

- Yeah.

- Have I ever shown you some pictures of Alice?

- Sure, yeah, yeah.

- No, I have some brand new ones.

Here, look.

- Lovely.

She looks so happy.

- After 38 years and six children,

Alice said to me "Love is what you've been through

"with someone."

- Photograph retains all.

It's a cadaver to be worked on.

Cinema retains for a mere moment and is death at work.

Television retains nothing at all

and is the deadly procession that hemorrhages

all its majors.

- Where's Warhol?

- No answer.

- He was supposed to be here an hour ago.

- Maybe he's just leaving.

- Can you turn down those floods?

- What?

- Can you turn down those floods?

- John, could you turn off the scoots, please?

- Who's that?

[whirring]

[violin music]

- Who is this?

- I don't know.

I thought you sent them down.

- Ready for take one!

- Who are you?

- I'm Andy's assistant.

- That's fine, but where's Andy?

- Well, Andy was really busy

so he thought it would be a good idea

for me to come down and play in my goggles.

- They're very nice.

- Do like my goggles?

- It's a very good idea.

I like the goggles, I like the belts.

Maybe we can feature you on one of our next shows.

- Oh, oh, good.

Well, maybe I should come back.

- Come back, I really like the goggles.

- Come back probably tomorrow.

- That's fine, that's great.

- [Assistant] Do you think you could get some music

somehow I can play?

- [Man] Yeah.

- Who was he?

- Andy Warhol's assistant.

- Warhol's assistant?

And why was he playing violin?

- I don't know.

- Lizzy, do you have the keys to the car?

- They're in the pocket of my leather jacket.

- Bye, Lizzy.

- [Lizzy] See you later.

- Honestly?

But you're sure he's on his way?

Okay.

They just told me he's coming.

- I told you he was a serious person.

He wouldn't screw us.

- You know, this guy wasn't his assistant.

- Who was he?

- I don't know.

- Alfred.

- Harry.

- It's Warhol.

Someone has to go down there and talk to him.

- [Alfred] You speak much better English than I do.

- [Harry] It's your interview.

- [Alfred] Yes, but you are the American co-producer.

- [Harry] Hoffritz, go down there or else he'll leave.

- [Alfred] Alright, alright.

Where's my script, have you seen my script?

- [Harry] There was no script for this.

Stand by, camera one.

Stand by, camera two.

- Mr. Warhol, thank you for being our guest.

This is your show.

You can say and do whatever you like.

Our cameras will follow you.

- What the fuck is he doing?

Mr. Hoffritz, could you come to the control room?

What's he doing?

- Nothing.

- I'd like to know what you think

about sentence of [mumbles]

who says that cinema is a place for crime and magic.

- Well, I still don't understand what the crime part,

the question, but I always think about the magic part

of the question is when it really shows magic, you know.

And especially with people,

some people have that magic that when a camera goes on you

that there's an extra energy or something, you know,

for some people, it's, you know, beautiful people

and it makes such a difference

when they can get that extra magic on the screen.

I don't understand it but it happens.

Can I take a photograph of you?

- You can do it.

- Can I take another one?

[slow music]

[kisses]

- What's the matter?

- I've been thinking about us.

You and Lizzy, me I've got a friend I can work with.

There's no problem.

But is it happiness?

- [Billy] You wanna be happy?

- The only excitement I have is in my damn interviews.

What about your manager and the company?

- I try not to be a sucker.

You know, I sometimes still walk off stage.

But I've gotta cut that out, they like it too much.

Sometimes I really miss you.

- We can try to find a flat that we both like.

- Yeah.

- And I can find another job in New York and stay forever.

- Sure.

[rock music]

? I was sayin' let me out of here before I was even born ?

? It's such a gamble when you get a face ?

? It's fascinatin' to observe what the mirror does ?

? But when I dine it's for the wall that I set a place ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Triangles were fallin' at the window as the doctor cursed ?

? He was a cartoon long forsaken by the public eye ?

? The nurse adjusted her garters as I breathed my first ?

? The doctor grabbed my throat

? And yelled, "God's consolation prize!" ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Take it

? To hold the T.V. to my lips, the air so packed with cash ?

? Then carry it up flights of stairs ?

? And drop it in the vacant lot ?

? To lose my train of thought

? And fall into your arms' tracks ?

? And watch beneath the eyelids every passing dot ?

? I belong to the blank generation ?

? And I can take it--

[audience applauds]

- [Nada] Where's Billy?

- I think he went to the bathroom.

[slow music]

- I just came to say goodbye because I'm leaving to Paris.

Tomorrow.

And...

I'd like to tell you,

I just want--

- Don't tell me.

You want me to drive you to the airport?

- What do you mean you want to go alone?

- Don't get excited.

Of course I'm coming with you to Paris.

- You're coming with me to Paris?

I'm coming with you to Paris.

Because, because normally, normally I would have gone back

to Frankfurt.

- All I want to do is go alone with Billy to the airport.

- So I can carry everything myself, huh?

That's typical.

[gentle music]

[kisses]

- Nada forgot to give you this tape.

- We would have separated long ago except for the children.

- Who are the children?

- Me and Nada.

- I'm not going with you to Paris.

I want to stay here.

- What?

- I wish you good luck.

[slow music]

[rock music]

? I was sayin' let me out of here before I was even born ?

? It's such a gamble when you get a face ?

? It's fascinatin' to observe what the mirror does ?

? But when I dine it's for the wall that I set a place ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Triangles were fallin' at the window as the doctor cursed ?

? He was a cartoon long forsaken by the public eye ?

? The nurse adjusted her garters as I breathed my first ?

? The doctor grabbed my throat

? And yelled, "God's consolation prize!" ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? Take it

? To hold the T.V. to my lips, the air so packed with cash ?

? Then carry it up flights of stairs ?

? And drop it in the vacant lot ?

? To lose my train of thought

? And fall into your arms' tracks ?

? And watch beneath the eyelids every passing dot ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?

? I belong to the blank generation ?

? And I can take it or leave it each time ?

? Well, I belong to the generation ?

? But I can take it or leave it each time ?