Original subtitles

( music playing )

- HI, DICK.

CAN YOU, UH, STEAL A MINUTE BEFORE THE SHOW?

I'D LIKE YOU TO MEET MY MAMACITA, MY MADONNA,

MY MATER, MADRONE.

- MICHAEL, PLEASE.

I DON'T HAVE MY ENGLISH-GIBBERISH DICTIONARY.

- ( chuckling ) MY MOTHER'S OUT THERE.

I DON'T SEE HER VERY OFTEN.

SHE'S USUALLY FLITTING THE GLOBE WITH PAOLO.

- PAOLO? - PAOLO CASIANO, THE CELLIST?

HER FOURTH HUSBAND.

HE'S IN BOSTON TO PLAY BRAHMS OR SOMEBODY

SO SHE'S RUN UP HERE TO SEE ME PRODUCE MY BRAINS OUT,

AND I'VE TOLD HER THAT YOU'RE THE ELEMENT

THAT REALLY MAKES MY SHOW WORK.

- YOUR SHOW?

"VERMONT TODAY STARRING DICK LOUDON"?

- GIMME A BREAK, DICK.

WHEN YOUR MOTHER'S HERE, WE'LL SAY IT'S YOUR SHOW.

OH, BY-THE-BY, DICK, I'VE FOUND SOME PEOPLE

WHO WANT TO PURCHASE COMMERCIAL TIME

ON "VERMONT "TODAY

AND THEY WANT YOU TO BE THEIR SPOKESPERSON.

- MICHAEL, I REALLY DON'T SEE MYSELF HAWKING PRODUCTS.

- DICK, DICK, DISMOUNT FROM THAT HIGH HORSE.

HOUSEMAN AND OLIVIER HAVE DONE COMMERCIALS

AND THEY HAD REPUTATIONS TO PROTECT.

READ THE SCRIPT.

THE QUEEN OF ENGLAND WOULD BE HONORED TO APPEAR ON THIS.

- YEAH, SHE AND I ARE ALWAYS UP FOR THE SAME PARTS.

- SO, I FINALLY TOLD THE STEWARDESS,

"MY DEAR, WE BOUGHT THIS CELLO A TICKET.

IF THERE ARE TOO MANY PASSENGERS,

PERHAPS YOU CAN SLIDE THEM UNDER THE SEATS."

WELL, YOU KNOW HOW PAOLO HATES SCENES.

- UH, SPEAKING OF SCENES, MUM,

THIS IS MY "VERMONT TODAY" SET.

- MICHAEL, YOU DESIGNED THIS?

- WELL, I DIDN'T ACTUALLY HOLD THE PENCIL.

- OH.

- BUT I WORKED CLOSELY WITH THE MAN WHO DID.

HE WAS WONDERING HOW PEOPLE WOULD ENTER AND EXIT.

I SAID, "HOW ABOUT A DOOR?"

VOILA.

- VERY RESOURCEFUL.

- ERNIE, MOVE THIS PLANT.

IT VIOLATES THE AESTHETIC BALANCE OF THE SET.

- OKAY, MR. HARRIS,

BUT IT'S COVERING THAT BURN IN THE RUG

FROM THE TIME THAT FIRE EATER BELCHED.

- OH, YES. WELL, BETTER LEAVE IT WHERE IT IS,

AND-- AND TELL THE OTHERS

ANYBODY WHO TOUCHES THAT PLANT ANSWERS TO ME.

- RIGHT, MR. HARRIS.

- WELL, IF NOTHING ELSE,

YOU DO SEEM TO HAVE THE RESPECT OF YOUR MEN.

- MICHAEL, YOU CONNIVING WEASEL,

I'VE READ THE COMMERCIAL.

OH, HI. HI. HI, THERE.

- DICK LOUDON, MRS. LILY CASIANO.

- THE WEASEL'S MOTHER.

- UH, LISTEN, I-- YOU KNOW, I DIDN'T MEAN...

- NO, NO, NO.

NO NEED TO EXPLAIN, MR. LOUDON.

WHEN CREATIVE PEOPLE SHOW FIRE,

I KNOW IT IS IGNITED BY A DIVINE SPARK.

- YEAH.

THAT'S-- THAT'S THE WAY, YOU KNOW, IT FELT IN HERE.

- PHONE CALL FOR MRS. CASIANO.

- OH, IT MUST BE PAOLO. EXCUSE ME.

- MICHAEL, I'M-- I'M SORRY, BUT YOU FORGOT TO MENTION

THAT THE COMMERCIAL IS FOR SWISS-STYLE DOG FOOD.

- OH, DIDN'T I? IT'S A SOCKO PRODUCT,

SHAPED LIKE LITTLE CHOCOLATE BARS.

POOCH THINKS HE'S GETTING A FORBIDDEN TREAT.

- THE SCRIPT CALLS FOR ME TO WEAR THOSE LEATHER SHORTS.

- DICK, THE GRANDFATHER IN HEIDI WORE THEM

AND HE'S ONE OF THE MOST BELOVED CHARACTERS...

- MICHAEL, I'M NOT-- I'M NOT DOING THE COMMERCIAL.

TRY TO GET THAT THROUGH YOUR THICK,

HANDSOME FACE.

- MICHAEL, DEAR, I HAVE TO GO.

- GO? BUT MUM, YOU JUST-- YOU JUST GOT HERE.

- WELL, IT'S PAOLO.

HE'S GOTTEN HIMSELF IN A MOOD, AND IF I DON'T GO COMFORT HIM,

HE WON'T BE ABLE TO PLAY A NOTE. BRAHMS NEEDS ME.

- BUT, MUM, YOU CAN'T JUST GO.

Y-- YOU HAVEN'T MET STEPHANIE.

YOU HAVEN'T SEEN MY SHOW.

YOU KNOW, I WANTED TO SHOW YOU EVERYTHING

I'VE DONE WITH THIS PLACE.

I THINK YOU'D BE PRETTY IMPRESSED.

- MICHAEL, DEAR, MATISSE IS IMPRESSIVE,

MOZART IS IMPRESSIVE,

THIS IS... ALL VERY WELL,

BUT YOU'RE 28 YEARS OLD, AND WHAT ARE YOU?

PERHAPS I CAN STOP BY LATER IN THE WEEK.

I'LL GIVE YOUR LOVE TO PAOLO.

CIAO!

( music playing )

- DICK, JOANNA, GREAT TO SEE YOU.

- HI, MICHAEL. STEPHANIE'S GETTING DRESSED.

- YEAH, FINE. DICK, JOANNA...

YOU'RE A TASTEFUL SORT OF GUY AND GAL.

I WANT YOU TO LISTEN TO SOMETHING AND--

AND TELL ME WHAT YOU THINK.

( scratchy violin playing )

WELL?

- UH, MICHAEL, YOU MIGHT CONSIDER, YOU KNOW,

TAKING LESSONS.

- OH, I'VE HAD HUNDREDS OF LESSONS.

WHEN I WAS A KID, I STUDIED VIOLIN DAY AND NIGHT,

'TIL MY TEACHER BEGGED ME TO STOP.

- MICHAEL, WHY DO YOU SUDDENLY WANT TO BE A VIOLINIST?

- WELL, LOOK AT ME, JOANNA.

I'M 28 YEARS OLD AND WHAT AM I?

- WELL, THAT'S SILLY. YOU'RE A VERY TALENTED PRODUCER.

RIGHT, DICK?

- HONEY, HE DOESN'T NEED TO HEAR IT FROM BOTH OF US.

- WELL, THANKS, YOU TWO FOR THE ATTEMPTED CODDLE,

BUT I'M HERE TO TALK TURKEY.

WHAT'S THE VERDICT?

- MICHAEL, YOU KNOW, IT'S-- IT'S TOO SOON TO TELL

AFTER ONLY HUNDREDS OF-- OF LESSONS.

- DICK, DID I JUST HEAR A CAT SCREAMING?

Joanna: GEORGE.

- IT SOUNDED LIKE SOMEBODY

WAS TRYING TO PICK IT UP WITH PLIERS.

- ( cough ) GEORGE...

- OH, HI, MICHAEL.

I DIDN'T KNOW YOU PLAYED THE VIOLIN.

OH.

- WELL, I THINK ALL THE REVIEWS ARE IN.

- MICH-- MICHAEL, WHAT--

WHAT ABOUT YOUR DATE WITH STEPHANIE?

- MICHAEL, IS THIS DRESS DAZZLING OR JUST ARRESTING?

WHERE DID MICHAEL GO?

- CERTAINLY NOT TO THE GRAMMY AWARDS.

( music playing )

- � What's love got to do �

� Got to do with it? �

� What's love but A secondhand emotion? �

� What's love got... �

- DICK, WHAT ARE YOU DOING HERE?

YOU-- YOU NEVER COME TO PRODUCTION MEETINGS.

- WELL, I'M COMING TODAY.

MICHAEL HASN'T MENTIONED A THING ABOUT THIS WEEK'S SHOW.

WHERE-- WHERE IS HE?

- HALF AN HOUR LATE.

THIRD TIME THIS WEEK.

- HEY, DICK. WANNA BE IN THE POOL?

WE'RE BETTING ON WHEN MICHAEL GETS FIRED.

- YEAH, BEV'S REALLY HAD IT WITH HIM.

I'VE GOT FIVE DOLLARS ON NOON TOMORROW.

WHAT LOOKS GOOD TO YOU, DICK?

- NO ONE'S GETTING FIRED.

LET'S START THE MEETING.

- � Oh Whoa �

� What's love got to do �

� Got to do with it �

- BUD!

- DICK, WHAT ARE YOU DOING HERE?

YOU NEVER COME TO PRODUCTION MEETINGS.

- HOW WOULD YOU KNOW?

ALL RIGHT, WHO'S-- WHO'S THIS WEEK'S GUEST?

- WE COULD START A POOL ON THAT.

- ARE YOU SAYING THAT MICHAEL NEVER MENTIONED

WHO THE GUEST IS GOING TO BE?

- I DON'T THINK MICHAEL'S HERE, DICK.

- HI, GUYS.

I HEAR MICHAEL'S AWOL...

AGAIN.

- UH, HE ISN'T AWOL EXACTLY. HE'S JUST--

GOD-KNOWS-WHERE.

BUT WE-- WE DON'T REALLY NEED HIM FOR THIS MEETING.

AS A MATTER OF FACT, WE-- WE STARTED WITHOUT HIM.

- GOOD. I'LL SIT IN.

- UH, WHAT?

- I'M SITTING IN.

I'M THE STATION MANAGER. I CAN DO THAT.

- HEY! GREAT!

- SO, WHO'S THE GUEST THIS WEEK?

- BEV, WE-- WE USUALLY OPEN THESE MEETINGS

WITH A LITTLE PRAYER.

- HI, ALL. SORRY I'M LATE.

MY BALLET CLASS RAN OVER.

DICK, TAKING AN INTEREST IN PRODUCTION, ARE WE?

BEV, GREAT PEARLS.

SO, WHAT ABOUT THIS WEEK'S GUEST?

- YEAH, WHAT-- WHAT ABOUT HIM?

- NORTON FIRTH? THE PIE-EATING CHAMPION?

HE'S GOING FOR THE WORLD'S RECORD FOR GOOSEBERRY.

HERE'S SOME BACKGROUND ON HIM.

- "ALWAYS LIKED PIES"?

- WELL, THAT'S OUR SHOW. LOOKS LIKE A WINNER.

GOOD JOB EVERYBODY.

- UH, MICHAEL? - NOT NOW, DICK.

I'VE GOTTA GET IN SOME WORK ON MY EPIC POEM:

"THE ILIAD II: THE DAY AFTER."

- MICHAEL!

- NOW THAT'S-- THAT'S WHAT I CALL A GOOD PRODUCER.

NOT-- NOT A SECOND WASTED.

- HE IS A GOOD PRODUCER,

BUT IF HE SCREWS UP ONE MORE TIME, HE'S FIRED.

- HAVE YOU GIVEN ANY THOUGHT

AS TO WHAT TIME YOU MIGHT BE DOING THIS?

- I DON'T UNDERSTAND.

HOW ARE YOU GOING TO INTERVIEW A GUY

WHILE HE'S STUFFING PIES DOWN HIS THROAT?

- WELL, IT SHOULDN'T BE SO HARD.

I'VE ALREADY LAID OUT A FEW QUESTIONS.

"WOULD YOU LIKE A NAPKIN?"

- HI, ALL. - OH, HI MICHAEL.

STEPHANIE, MICHAEL'S HERE.

- MICHAEL, I THINK I SHOULD WARN YOU,

BEV IS THIS CLOSE TO FIRING YOU.

- OH, NOT NOW, DICK.

I THINK I FINALLY FOUND MY CREATIVE MEDIUM:

CONCEPTUAL ART.

I'M SHOWING IT TO MUM TOMORROW,

BUT I'VE ARRANGED FOR A SNEAK PREVIEW.

IT'S OUT ON THE LAWN.

- OH.

- BAD NEWS, DICK.

SOMEBODY JUST DUMPED GARBAGE ON THE LAWN.

- WHAT?

- , WHAT-- WHAT DO YOU THINK?

- MICHAEL, YOU HAVE AN HOUR TO CLEAN UP YOUR MEDIUM.

- I'M TRYING TO MAKE A STATEMENT, DICK.

THIS EXPRESSES MY DESPAIR

OVER THE THREAT OF NUCLEAR DEVASTATION.

- IT'S UGLY.

- MICHAEL, ARE YOU OKAY?

- YEAH, YOU DON'T SEEM TO BE ABLE TO CONCENTRATE ON ANYTHING.

- OH, STOP WORRYING. I'M-- I'M FINE.

TWO, THREE, FOUR.

- OKAY, MICHAEL, TAKE ONE LOOK AND COMMENCE WOLF WHISTLES.

HE'S NOT HERE AGAIN.

- WELL, IF IT'LL MAKE YOU FEEL ANY BETTER,

( whistles )

YO, WHAT A BABE!

( music playing )

- MR. LOUDON, I'M WINSTON BIDDELL.

WE'RE ALL VERY EXCITED.

- I'M-- I'M EXCITED FOR YOU.

WHAT IS IT THAT'S GOT US ALL ABUZZ?

- SWISS-STYLE DOG FOOD AND HAVING YOU AS ITS SPOKESMAN.

- DID-- DIDN'T MICHAEL HARRIS CALL YOU?

- NOT SINCE HE TOLD US

YOU WERE GAGA TO DO THE COMMERCIAL.

- AHA.

WELL, IT'S A GOOD THING YOU-- YOU DROPPED BY.

THIS WAY YOU WON'T SPEND A LOT OF MONEY

FOR SET, STUDIO RENTAL, THAT KIND OF THING.

- READY FOR YOU, DICK.

- WHAT?

THERE-- THERE MUST BE A MISUNDERSTANDING.

I-- I TOLD MR. HARRIS

THAT I WASN'T GOING TO DO THE COMMERCIAL.

- HE SHOULD'VE EXPLAINED THAT TO ME.

WITHOUT YOU, THERE'S NO COMMERCIAL.

WELL, I GUESS THE THING TO DO IS TAKE THIS UP WITH HIS BOSS.

- DOG-- DOG-- DOGGONE. UM--

YEAH, I-- I GUESS IF I-- I DON'T DO IT YOU--

YOU'RE JUST GOING TO GO WITH THE QUEEN OF ENGLAND.

- DICK, THIS IS WHAT YOU'RE GOING TO BE WEARING.

- NO. NO, I'M NOT.

- WELL, IF YOU INSIST.

BUT WE'RE NOT ALL AS EXCITED AS WE USED TO BE.

- OKAY, HERE'S A RUNDOWN, DICK.

YOU READ THE CARDS, PAT THE BENCH, THE DOG JUMPS UP,

LICKS YOUR FACE, WE'RE OUT OF HERE.

- FINE, LET'S GET IT OVER WITH.

- DICK, ( chuckling ) HERE'S YOUR CO-STAR.

( chuckling )

- OKAY, PLACES EVERYONE.

TRY TO KEEP UP, DICK.

SIT.

STAY.

ALL RIGHT. ROLL TAPE.

ACTION.

- HI, I'M DICK LOUDON

AND THIS IS A BOWL OF BIDDELL'S SWISS-STYLE DOG FOOD;

LOOKS LIKE CHOCOLATE,

NOURISHES LIKE NOBODY'S BUSINESS.

MAKE YOUR PET AS GRATEFUL AS THIS LITTLE FELLA...

- HOLD IT!

- WHAT'S THE MATTER?

- YOU'RE SUPPOSED TO PAT THE BENCH.

THE DOG JUMPS UP NEXT TO YOU AND LICKS YOUR FACE?

THE DOG KNEW IT.

HE WAS JUST WAITING FOR HIS CUE.

TAKE IT BACK TO "IT LOOKS LIKE CHOCOLATE."

- LOOKS LIKE CHOCOLATE,

NOURISHES LIKE NOBODY'S BUSINESS.

( tapping )

MAKE YOUR DOG AS GRATEFUL AS THIS LITTLE FELLA HERE.

- CUT! HE DIDN'T LICK.

- NOW, WAS THAT HIS FAULT

OR WAS I SUPPOSED TO PULL HIS TONGUE OUT FOR HIM?

- BUD, HOW DO YOU MAKE THE DOG LICK?

- WELL, I DON'T KNOW.

WANT HIM TO ROLL OVER AND PLAY DEAD?

- GREAT, BUD.

THAT'LL SELL A LOT OF DOG FOOD.

- HEY, LOOK!

- WHAT'S IN THAT SANDWICH?

- LIVERWURST.

HE LIKES IT, DOESN'T HE?

- I'VE GOT IT.

WE TAKE SOME OF THE LIVERWURST,

WE RUB IT ALL OVER DICK'S FACE.

- NO!

- FINE.

NICE SUPPORTIVE CREATIVE ENVIRONMENT

YOU'RE BUILDING HERE, DICK.

- MISTER LOUDON HAS A POINT.

MAYBE WE SHOULD... CALL THIS OFF.

I'LL JUST GO TALK TO THE STATION MANAGER.

- O-- OKAY.

RUB ME WITH LIVERWURST.

- ALL RIGHT.

THE STATION'S BUYING ME ANOTHER SANDWICH.

- OKAY.

LET'S TAKE IT FROM "IT LOOKS LIKE CHOCOLATE."

ROLL TAPE.

- LOOKS LIKE CHOCOLATE,

NOURISHES LIKE NOBODY'S BUSINESS.

( tapping )

- MAKE YOUR DOG AS GRATEFUL AS THIS LITTLE FELLA HERE.

AW, COME ON.

- CUT! I DON'T BELIEVE THIS.

- HEY, YOU KNOW WHAT MY DOG LIKES?

ICE CREAM.

- OH, GOOD. ICE CREAM WOULD SHOW UP ON DICK'S FACE.

- NOT IF YOU PUT IT IN HIS EAR.

- YOU'RE A GENIUS. GO TO THE MACHINE.

- WAIT! WAIT A MINUTE.

- WHAT'S YOUR FAVORITE FLAVOR, DICK?

- TO LISTEN TO?

LOOK, THIS IS WHERE I DRAW THE LINE.

NO-- NO ICE CREAM IN MY EARS.

- HI.

HOW'S THE COMMERCIAL GOING?

- JUST GREAT.

- WELL, DON'T LET ME HOLD YOU UP.

I'LL JUST STAND OVER HERE AND WATCH.

- STRAWBERRY, ERNIE.

( doorbell rings )

- STEPH.

- MICHAEL, YOU'VE WALKED OUT ON ME TWICE.

I THINK YOU OWE ME AN APOLOGY AND A PRECIOUS STONE.

- STEPH, CAN WE TALK WHILE I PAINT?

MUM JUST CALLED. SHE'S BACK IN TOWN

AND I ONLY HAVE A FEW MORE MINUTES

TO ACHIEVE SOMETHING OF-- OF LASTING IMPORTANCE.

- CHILDREN WITH BIG EARS?

- WELL, THE ONES WITH BIG EYES GOT A LOT OF ATTENTION.

- MICHAEL, THOSE KIDS WERE CUTE.

THESE KIDS NEED PLASTIC SURGERY.

- WELL, MAYBE I CAN FINISH THE FIRST CHAPTER OF MY NOVEL.

- "HE GAVE HER A LACONIC SMILE.

'DON'T GIVE ME THAT LACONIC SMILE,' SHE SNAPPED.

THUS CONTINUED HARRIET AND MORTY'S LACONIC RELATIONSHIP."

EWW.

- WELL, "LACONIC" WAS MY WORD FOR THE DAY.

- MICHAEL, COME AND SIT DOWN.

I SAID "SIT DOWN"!

MICHAEL, NOVELS, PAINTINGS, THE VIOLIN?

WHY ARE YOU IGNORING ME

AND DOING ALL THESE REALLY UNIMPORTANT THINGS?

- STEPH, I'M TRYING TO FIND MY TALENT.

- TALENT?

( chuckling ) WHAT DO YOU WANT THAT FOR?

- THAT'S THE ONLY THING MY MOTHER RESPECTS.

I'VE BEEN TRYING TO COME UP WITH ONE

AS LONG AS I CAN REMEMBER.

ONE TIME IN SCHOOL, I MADE THIS CLAY SQUIRREL

WITH A BUSHY TAIL AND A LITTLE NUT IN ITS PAWS.

I WAS SO PROUD AND I-- I BROUGHT IT HOME TO SHOW MUM.

- AND SHE LIKED IT?

- SHE CALLED IT "DERIVATIVE" AND THREW IT IN THE TRASH.

- DIDN'T YOUR MOTHER KNOW ANYTHING ABOUT RAISING A CHILD?

EVERY TIME I MADE ANYTHING IN SCHOOL,

MY PARENTS WOULD BUY IT.

IN THE THIRD GRADE I TOOK IN $20,000

JUST MAKING TRACINGS OF MY HANDS.

- I WISH I'D HAD YOUR PARENTS, STEPH.

WELL, AFTER THE SQUIRREL INCIDENT,

I MADE UP MY MIND TO ABANDON ALL HOPE OF CREATIVITY

AND BECOME A PRODUCER.

- BUT YOU LOVE BEING A PRODUCER.

- THAT'S NOT IMPORTANT LIKE BEING AN ARTIST.

- IT'S BETTER.

PRODUCERS HAVE BIG HOUSES AND CARS.

YOU ALMOST NEVER HEAR THE WORD "STARVING"

IN FRONT OF "PRODUCER."

- TRUE.

- ARTISTS ARE POOR, HAVE NERVOUS BREAKDOWNS,

AND AMPUTATE PORTIONS OF THEIR BODY.

NOW, WHICH ONE SOUNDS GOOD TO YOU?

- WELL, I'D BE A FOOL TO BE ANYTHING BUT A PRODUCER,

IF YOU PUT IT THAT WAY.

( doorbell rings )

OH MY GOD, SHE'S HERE AND NOTHING'S FINISHED.

STEPH, STALL HER.

I'VE ONLY GOT FOUR CHAPTERS TO GO.

- YOU ARE NOT LETTING THAT WOMAN PUSH YOU AROUND ANYMORE,

AND THAT'S AN ORDER.

- HELLO, MICHAEL! FELISSIMO.

- HI.

WELL, THIS IS...

...CERTAINLY A LONG-OVERDUE MEETING.

MAMACITA, CUPCAKE.

- OH, MY! IS THIS STEPHANIE?

YOU'RE EVEN LOVELIER THAN I IMAGINED.

- THANK YOU.

MICHAEL, CARVE HER UP.

- MOM, I-- I'VE GOT SOMETHING--

I'VE GOT SOMETHING IMPORTANT TO SAY.

I'VE NEVER WANTED TO BE AN ARTIST

AND I LIKE WHAT I'M DOING RIGHT NOW.

- WELL, I'M SURE IT'S VERY PLEASANT,

BUT YOU'RE 28 YEARS OLD AND WHAT ARE YOU?

- WELL, I DO HAVE A NOVEL IN THE WORKS.

- MICHAEL! HOW CAN YOU LET HER SAY THAT?

- BUT, STEPH, SHE'S RIGHT. I'M 28 YEARS OLD AND WHAT AM I?

- YOU'RE 27!

- I'M 27?

I'M 27!

I'M 27.

YOU WERE WRONG, MOM.

- ALL RIGHT.

YOU'RE 27, AND WHAT ARE YOU?

- NOT SO FAST.

HA! THAT'S KIND OF A GLARING ERROR, ISN'T IT?

A MOTHER'S SUPPOSED TO KNOW HOW OLD HER CHILD IS.

- MINE DOES.

SHE'S JUST NOT ALLOWED TO SAY.

- VERY WELL. I WAS MISTAKEN ABOUT YOUR AGE.

- WELL, MAYBE THAT'S NOT THE ONLY THING

YOU WERE WRONG ABOUT, MUM.

THAT'S THE POINT.

WHY AM I LEARNING WORDS FOR YOU?

WHY-- WH-- WHY AM I WRITING NOVELS?

WHY AM I PAINTING KIDS WHO LOOK LIKE DUMBO?

WHY SHOULD I LISTEN TO ANYTHING FROM ANYONE

WHO'S SO SELF-INVOLVED

SHE DOESN'T EVEN KNOW HOW OLD I AM?

- ARE YOU THROUGH?

- NO.

I'VE JUST BEGUN.

I'M 27 YEARS OLD, I'M A PRODUCER,

AND I'M GOOD AT IT. I LIKE IT.

THAT'S WHAT I AM.

IF YOU CAN ACCEPT THAT,

TERRIFIC.

IF YOU CAN'T, YOU CAN LEAVE NOW

AND I DON'T THINK WE SHOULD SEE EACH OTHER.

- WELL, MY PLANE ISN'T FOR A COUPLE OF HOURS AND...

YOU DID PROMISE ME DINNER.

- A SMASHING DINNER.

I'LL WRITE IT OFF TO THE STATION.

PRODUCERS CAN DO THAT, YOU KNOW.

- MICHAEL, I'VE NEVER SEEN YOU SO FOCUSED,

SO-- SO PASSIONATE.

IF ONLY YOU COULD CHANNEL THAT INTO ART.

- MOM.

( music playing )

( music playing )