The Cameraman: So this new actress we’re meeting today is she good? The Director: She’s alright. The Cameraman: She’s alright? She better be. You’re only here for a couple of weeks. You hired this actress. My camera wants to eat her up. I want to see what she looks like on the box. The Director: […]
The Cameraman: So this new actress we’re meeting today is she good?
The Director: She’s alright.
The Cameraman: She’s alright? She better be. You’re only here for a couple of weeks. You hired this actress. My camera wants to eat her up. I want to see what she looks like on the box.
The Director: She’ll meet us there soon. She’s coming from the hotel. No, she’s really good, actually.
The Cameraman: Is she going to be late or what?
The Director: She better not be. I think she’s already on her way. I think she’s already there.
The Cameraman: Let’s go see.
The Director: It’s her, it’s her.
The Cameraman: You sure?
The Director: I hope so. If not, who cares.
The Cameraman: Is she ready?
The Director: This is my cameraman, Josef.
The Cameraman: How are you?
The Actress: Nice to meet you.
The Cameraman: Where are you from?
The Actress: London, England.
The Cameraman: You are? Are you sure?
The Actress: Yes. Do I look like I’m from London, England?
The Cameraman: Not really. You look like you’re from Florida. Turn around. Let me see this outfit.
The Actress: Do you like it?
The Cameraman: It’s cute. How long have you known this character?
The Actress: Two days.
The Director: Yeah, two days.
The Cameraman: What was that? Show me your teeth.
The Actress: You want me to?
The Cameraman: Let me see those teeth.
The Actress: You like them?
The Cameraman: They’re very nice.
The Director: So we’re going to get in the car. Josef’s car. And we’re just going to film you for a little bit.
The Cameraman: You are small so it’s going to make my car look big. That’s what we are going for in this scene. We want a distancing effect, right?
The Director: Uh, yeah. Right.
The Cameraman: I’d actually like to shoot you right now if you wouldn’t mind?
The Actress: Right now? In the street?
The Cameraman: My car’s over there.
The Actress: So you want me to walk over to your car?
The Cameraman: Let’s try it.
The Actress: Which car is yours?
The Cameraman: The blue one. Right over there, Across the street.
The Actress: He tells I look really good when I’m walking.
The Cameraman: He tells me that too.
The Actress: So I’m not special.
The Cameraman: When did you start acting?
The Actress: When I was about twelve.
The Cameraman: Don’t hide your face. I can’t see your face.
The Cameraman: Look at you, eating your lunch. What’s the matter, you can’t talk when your mouth is full?
The Actress: I can try.
The Cameraman: Where is she from?
The Director: Who cares.
The Cameraman: We are getting on the freeway. Watch out. We almost got in an accident. I think she liked it.
The Director: Oh shit.
The Cameraman: So where did we find this one?
The Director: On the street.
The Cameraman: Where did you meet her though? You didn’t just meet him two days ago?
The Actress: I did. And now he’s introducing me to everyone as his leading lady.
The Camera: So you were telling me a story. You like to drink your own tears.
The Actress: I do. Mine taste good, too.
The Cameraman: It does. Does it ever taste bad.
The Actress: Sometimes. I’m thinking it’s a diet thing. I eat healthy. My tears taste good.
The Cameraman: So I want to watch you eat.
The Actress: Right now?
The Cameraman: Yeah, since we’re off the freeway. Eat that sandwich.
The Director: Unless you’d rather get back in the car.
The Cameraman: I’m glad you’re in town.
The Director: Yeah.
The Cameraman: Look at me when you’re eating that sandwich. There you go.
The Cameraman: Not bad for someone from London, England.
The Director: Oh that looks so nice. The lighting is great.
The Actress: I sound so stupid.
The Director: I don’t care. You look so good right now.
The Cameraman: Yeah, the lighting is nice, isn’t it?
The Cameraman: Now she’s getting into it.
The Actress: Huh?
The Actress: The angle is weird.
The Cameraman: Then stand up. Stand up.
The Cameraman: She’s got very nice bone structure.
The Director: She does.
The Director: Do you want to do something with your hair?
The Actress: What?
The Director: Do you want to do something with your hair?
The Cameraman: Put your hands down. Put them down. There you go.
The Director: Get in close. Closer.
The Cameraman: Show me your tears. Look up. Look at the lens. Hands down. Look up, look up.
The Cameraman: Help me.
The Director: There you go.
The Cameraman: That’s teamwork. There’s no I in team.
The Director: She’s so good.
The Director: Cut.
The Cameraman: No, no, no. You got it let it play out.
The Cameraman: Straighten your arm. Just like that. That’s good. Straighten your arm. Drop your elbow. Are you getting ready to say cut?
The Director: Yes. We got what we want.
The Cameraman: Let’s start again.
The Cameraman: Get back in the car. Sit in the back.
The Actress: That take felt great.
The Cameraman: Do it the way you did it the first time. Get out of the car. Two feet at a time. Don’t do it one foot at a time. That doesn’t look right. It looks better when you get out with both feet at the same time.
The Director: Let her do it.
The Cameraman: Help her.
The Director: She’s working so hard.
The Cameraman: Lean down. Both hands off your chest.
The Director: Cut.
The Actress: Ew. That was gross. I didn’t like that.
The Cameraman: You want to stop?
The Director: I don’t know.
The Cameraman: Let’s keep going.
The Director: We can stop. You can stop.
The Cameraman: You think we’re close?
The Director: Pretty close.
The Actress: This is so hard.
The Cameraman: Help her.
The Director: This is too much.
The Cameraman: Two more minutes. That how long it takes to get used to something.
The Director: Go slow.
The Cameraman: But don’t bring your hands up to your face. It doesn’t look good.
The Director: I want you to drive the car.
The Actress: I’m not driving that car.
The Cameraman: Why not?
The Actress: Because.
The Cameraman: You might like it.
The Actress: I don’t want to cause any damage.
The Cameraman: That’s what brakes are for.
The Cameraman: Look down. Nice and slow. Back at the camera.
The Cameraman: Somebody please pass me a spoon.
The Cameraman: Let me see you. Look over here. Look over here.
The Cameraman: There’s a huge shadow in the shot.
The Actress: Let me do that one more time.
The Cameraman: Let’s move on.
The Director: She wants to do it one more time.
The Cameraman: Let’s move on.
The Actress: Huh?
The Cameraman: Are you done? Are you done?
The Actress: Did I say I was?
The Cameraman: Are you done? Tell me.
The Actress: I didn’t say that.
The Cameraman: Come here. I want to talk to you.
The Cameraman: So this new actress we’re meeting today is she good? The Director: She’s alright. The Cameraman: She’s alright? She better be. You’re only here for a couple of weeks. You hired this actress. My camera wants to eat her up. I want to see what she looks like on the box. The Director: […]
The Cameraman: So this new actress we’re meeting today is she good? The Director: She’s alright. The Cameraman: She’s alright? She better be. You’re only here for a couple of weeks. You hired this actress. My camera wants to eat her up. I want to see what she looks like on the box. The Director: […]
The Cameraman: So this new actress we’re meeting today is she good? The Director: She’s alright. The Cameraman: She’s alright? She better be. You’re only here for a couple of weeks. You hired this actress. My camera wants to eat her up. I want to see what she looks like on the box. The Director: […]
