My Life Directed by Nicolas Winding Refn (2014) - full transcript

[in English]

[Alejandro] What is your question?
[Nicolas] My question is...

- I've just been in Bangkok...
- Yes.

- ...shooting my movie...
- Yes.

- ...and I'm almost done with it.
- Yes.

But I need to know if it was
the right thing to do.

Yes. That is what
you want to ask about?

- Yes.
- One, two, three.

- Yes. That's good.
- This.

Yeah. Yeah.

That is the world. What you are
doing now is working for success.



Why? You need to forget
the big success.

You need to have
the pleasure to do it.

In the first pictures
you are doing...

...before Drive, you are not thinking
too much in success.

No.

After Drive,
you're thinking about success.

Yes.

This can change your creativity.
You need to be careful.

Not think about success.

And you need to ask your wife,

what she's doing of you.
What does she want, your woman?

- [Liv] What do I want of him?
- What do you want of him?

- [Liv] What do I want from him?
- Yeah, what do you want?

[Liv] Family man.



- Family man?
- [Liv] Yes.

And what is his soul?

[Liv] Artist?

Artist? You want an artist?
Then help him.

Because you are his helper.

- [Liv] I'm his help.
- Yes.

- [Liv] That's me, I'm his help.
- Yes.

- You are.
- You are his helper. Help him.

Because a part of what
he's doing now, is for you.

For the children,
for you, for the family.

To pay for the apartment.
He does that.

It's a part of why
he's changing.

[Liv] But I didn't ask for it.
It's himself.

It's responsibility.
But... That's life.

Okay.

[in Danish]
Honey, go film over there.

[Liv] What?

Film out of the window and pan to me.

[Liv] Now he's bossing me around.
You can see my reflection.

[Nicolas] You're in this film, too.

[Liv] Yes.

- [Liv] Did you sleep well?
- Yes.

- Hi.
- Hi. Mummy's filming.

Mummy's filming.

This is our new house.

- Hi!
- Hi.

Do you like living in our new,
huge apartment?

[Liv] We're going to be in Bangkok
for six months.

Jang is shooting his next movie,

and I've agreed to document it.

This is new, to be with him
while he is shooting.

Last time I stayed
home with the kids.

That was ten months,

and it was just too hard to be apart.

But I think it is a huge decision
to go with him,

and take the kids out of school

and go live in Bangkok, which is
so far away.

But it's not an option for Jang to stay
in Denmark and shoot there.

Why should he, when his career abroad
is going so well?

- [Liv] Were you sad?
- And then I went into the hole...

- Lola is Skyping.
- Can I say something?

Your shorts had fallen down into
that hole,

- and I had to climb down to get them.
- What?

That hole, before you fall down...

Lola, you are not
allowed to climb down.

No, but it was to get your shorts!

You come and get one of us, then.

[Liv] You climbed outside
on the 42nd floor?

- Yeah!
- [Liv] You're living on the edge.

[indistinct]

Let me just show it to Jang
really quickly.

- And then I went down there...
- You must never do that, Lola!

- But they would've blown away!
- It's okay if they blow away.

- [Liv] What did you do?
- You must never climb over this.

- [Liv] Did you climb over that?
- Yes, she is quite the acrobat.

But Lola, you can never
climb over these, you understand?

[Liv] Let's go inside to Clara.
And they're waiting on Skype.

Why hang laundry out here?
It's dangerous for the kids.

Can't we hang the laundry someplace
else, so she won't do that again?

[Liv] It was you who wanted to live
on the 42nd floor.

But it's a very nice view.

[indistinct]

[in English]

[Supasit] You want to go with
last one, from last time?

If you want something to
really sound like a Thai movie,

you should go backward.

This one has two versions.

- New also?
- Yeah.

[instrumental music playing]

- I like this song.
- Like it?

I think it's great.

If I was a Thai musician
I would sing that kind of song.

[Supasit laughing]

[instrumental music continues]

[in Danish] I've discovered that
it's like playing chess.

I only have so many scenes
to change around,

because I don't want any more
scenes. I can't afford them.

I have to find out how I make
the most of these scenes.

It's like being black and white.
The audience is black and I'm white.

So I make the first move.

Is the audience bored now?

Second move.
Are they bored? Do they get it?

Those are things I consider
until I deliver a checkmate.

Or maybe they don't like
the film. Then I'm checkmate.

[Liv] Are you making any progress?

Yes, but I don't think it'll be
as commercial as Drive.

That's what...

And you're saying...

I'm saying that it probably won't be
as commercial as Drive...

...and then I know that everyone
will be on my back.

I don't think it will be
as commercial as Drive either.

But that's a conscious choice
you made, right?

Yes, but the audience is of
a different opinion.

They want more of the same.

It doesn't matter how many times
you tell them, they still think that...

[in English]
Hi, Liv.

- [Liv] Hi Ryan.
- Cool camera.

What do you think, darling?

You think it's gonna
be any good?

[Liv in Danish] He's asking
if you think it'll be any good.

It's the movie up there.

[in English] I don't know.

[laughs]

- Don't do like that.
- Like what?

Well, I push it like that.

Okay. Hit it as hard as you can.

One, two, ready, go!

[laughing]

Okay, my turn.

[in Danish]
Mum, can you help me?

[Both, in English] One, two, three.

[squealing]

The violence works
in the buildup.

So, it's not so much... this.

Because that's gonna
go by so fast.

But it's that separation of...

[breathing heavily]

...and the fear
that builds up in one

and it's like
"Okay, here we go again."

It's like that... Like,
"I survived it this time."

And then we're back
in the corners again.

It's like violence
is like sex.

It's all about the buildup.

Did you get that?

[chuckles]

[chuckling] Yeah, but...
Do you know what I'm saying?

It's like, it's like
the climax itself is not...

It's not as interesting.

Well, okay, let me
rephrase that.

What I mean is that...

[laughing]

Violence, the sexuality
of violence is that

the more you engage
in the buildup,

compared to the
actual act itself.

So, it's the breaks in between
that's the buildup to the...

...to the slicings.
And then it's back.

And then, it's in again,
you know.

[both laughing]

Hua Hin, here we come.

[siren wailing]

Beat it. Beat it.

I got an e-mail
saying that if we...

...if we on Friday...

...not tonight but next Friday,

show up in Hua Hin
which is two hours drive away,

for a Drive screening,

they will pay us
40,000 dollars in cash.

[laughing]

Do we, can we use it
for the movie?

We have to. I really need
the money for the production.

We're trying to get
it pushed to 100,000 dollars in cash.

[Ryan] Right. And can it
come in a suitcase?

- It can come in a suitcase.
- Really?

If they'll put it
in a suitcase, then I'm in.

[Liv] And Johnny's
gonna carry it back?

The money's gonna go in Johnny's car,
because I'm paranoid having it here,

because we may get stopped
by some robbers or something.

You really sticking Johnny
with the cash?

If Johnny was smart, he'd just take off

[Liv laughs]

outta here and never look back.

[sirens blaring]

So we're gonna ride back with
four million Baht in cash,

so we can give the movie
a little injection.

Some extra special effects,
some more stunts.

Yeah, yeah.

Well, it'll be an adventure.

I think I forgot my socks.

No, I gave you black socks.

- You forgot them?
- I think I forget them.

- You wanna go back?
- I don't think so.

[people chattering]

Let's do 1.5 million first.

So that...
it's not exact half.

But, you know, just so that...

You don't have to take
too long to count,

because very soon we have to go.

Yeah, it's okay.

[in Danish] How much is it?

In Danish kroner? 200,000.

90, 91, 92, 93, 94,

95, 96, 97, 98, 99, 100.

That's right. You can tell that they've
been counted at the bank.

[in English] It's okay.
This is one and a half million.

Thank you.

I feel like, you know, like,
okay, bring in the cows.

[moos]

Okay, hi, cows.

[laughing]

36, 37, 38, 39, 40,

41, 42, 43, 44, 45, 46...

Happy to do business.

Thank you.

Thank you for coming.

Okay.

What other stuff? What other
stuff doesn't work then?

[Matthew] It all works, mate.
It all works.

What bit are you
worried about?

Worried about
if I can pull it off.

I'm worried
about repeating...

I'm worried about
repeating myself.

I mean, I don't...
I'd really don't see that.

Well, it's because it's again
a movie about evil people.

And it deals with part of the
underworld. And it just...

you know, somebody
asked me for Drive,

"Why do you always make
movies about crime?"

And I'm like "I don't make
movies about crime!"

I think it could easily be about crime.

It's a movie about
a guy and his mother.

It is. And I think what's good
about that...

See, that's why I always tell
the metaphor of Shakespeare.

Shakespeare wrote his best plays
about the role of family,

because it was a matter
of life and death.

Yeah. More than ever, before this film
about a man's spiritual quest.

It's a fusion of all the things
that you've been looking at before,

in this kind of
mad Eastern setting.

[Nicolas] Yeah. Yeah, you're right.

Maybe I just shouldn't
be too worried.

[Nicolas, in Danish ] I'm worried that
the story of Ryan and the girl won't work.

[Liv] I understand.

Why do you understand that?

Because it has to be done right.

So you don't think it works either?

- I didn't say that.
- Yes, you did.

That's what you're saying
when you say you understand it.

I understand that
you're worried about it.

Those are the extras.

[in English]
Just keep going, going, going...

[in Danish]
Why is there so much stuff, Johnny?

Why does it have to be so vast?

[in English]
So... now I begin.

Nice.

By the power of Greyskull!

That looks pretty cool.

Do you want shadows on my hands
or do you want them to be pure?

Let me see the shadows.

You can play with it a little bit.
I think pure.

Well, you can start
with shadows, because you could just...

...bring one of them up and then
the other one up, you know.

We're shooting in slow motion.

Let's just figure out
how you're gonna fight him, actually.

But I think that what's good
about it is that,

once the first guy you need,
is out, out,

then you can drag him
by the mouth out, like that.

That's pretty tough, right? You seen
that ever? You've done that to anybody?

- Not yet.
- Okay, here we go.

This has to be more filthy
in a way, you know?

And I think we lose out on
the fact, if it's one take,

it's like, we're gonna spend
so much time getting all the...

It's all the things
that goes wrong.

It's the falling, it's the missing,
all those things that are real

so it doesn't become
one of those...

[imitating fight noises]

It has to be dirty
in that way.

And we should just try and do it
in as few moves as possible.

- Yeah.
- And keep it really efficient.

[Nicolas] Yeah. It's about getting the
guys out. But that's why...

[Sang] And smashing through
the thing. Something like that?

Demo part, demo part.

See, I just throw him
to the wall, and go after him,

get him up
and slam him to the...

[Nicolas] And then the knee,
and then...

- Yeah.
- Bam, bam.

[laughing]

Bam, bam, bam!

- The knee or this, this. The elbow.
- The elbow.

- Yeah. Yeah.
- Yeah.

And then it's like,
then you can take him,

bang, bang, and then it's
to the other wall. It's just bang!

- You like that?
- Love it.

Okay, me too.

- Do you?
- Yeah.

- Sang?
- Yes.

Okay, now make it dirty, unique,

interesting and everything
before and violent.

Yes. That we'll do.

Okay. Yeah.

[Liv, in Danish] How did it go yesterday?

It went okay.

Not really or what?

Yes, it was okay. It's just that...

I've spent three years on this movie,

and I don't really know what it's about.

But you seemed
so enthusiastic yesterday.

I have to. Right?

I can't show fear, doubt, nervousness...

Must be calm, when everybody else...

[muffled]

[instrumental music playing]

[in Danish] The only thing you can do
is make it different.

I think you're doing that.

You always do that.

Why are you nervous about
people's expectations?

It's because when you read the blogs
and distributors are talking

about us being a classic duo...

You can't possibly live up to that.

With Drive there weren't
any expectations.

I'm the guy who made Drive.

For many years you were
the guy who made Pusher.

Every time you make a film, people will
also watch your older films.

Yes, but Lars isn't the guy
who made Breaking the Waves.

No...

[in English] Okay.

Quiet.

All right.

[Nicolas] And?

Whenever you're ready.

Hi, can I see?

You look good.

[Nicolas] I can't stop thinking about when
you said to me, the fear of God.

Which I think is very important,
and I think it's fun.

But then I came up
with this idea that,

Chang comes in
but you never see him.

That's a good idea.

At the end, you suddenly
see he comes in. And then...

It's just basically giving you
a much more...

...space to play in.

But also for
the audience to know,

"Uh-oh! The shark
is right behind you."

And you not knowing it,
until the last moment when you see him.

- And then he kills you.
- Yeah.

So you don't have to spend,
you know,

so many beats playing
"Oh, no, what am I?" you know,

Yeah, yeah, yeah.

And it's gonna be
much more fun that way.

So you'll kill me
and disembowel me tomorrow.

[Nicolas] I'll kill you tomorrow
and disembowel you the following day.

Just putting his sword
through your head,

into your head and slicing up your neck
is gonna take some time.

He's weird.

So, when you're ready,
come out, okay?

But I'm glad you like this.

I think that it's gonna
work for us much more.

It's easier in the 25.

'Cause this has
quite a good depth.

- What at 18?
- It has quite a good depth.

Anyway, yeah.

So we'll leave
everything open down there.

[in Danish] What do we do with LizzieLou
when she comes home?

Where will they go?

[Liv] You're finished by six.

- Yes, she'll be home by two.
- They'll go down to the water.

[in English] Okay, okay.

And then we can
put the 18 here.

I like it. Watch out.

Okay, you just added ten percent
more gay people to your fan base.

Yeah, so he's gonna be this.

And you can go up to there.

Like that.

- Okay. Okay, let's do it again.
- I'm trusting you.

Cut! That was great blood.

And her falling down was great.

How you fell back
was very, very beautiful.

All right, quickly, Charlie.

[in Danish] Should we get some sleep?

I just need to wind down a bit.

And think about today's problems
and tomorrow's problems.

And the day after tomorrow's
and next week's.

You do that while watching a film?

Yes.

- Why are you in a bad mood?
- Honey...

Because sometimes
I need a little love, too.

- I'm not a machine.
- Oh, please.

Why do you say that?
What are you complaining about?

- I'm not complaining.
- I do show you love.

You don't show me
any love either.

I show you plenty.

You're working all the time.
I have to work, too.

I... Okay.

Sometimes I think you just
want me to be a housewife.

Come again?

See, now you're mad at me.

Yes. Because I don't think it's fair.

I run around taking care of
everything with the children.

I do the laundry and the grocery
shopping and I film this.

[crying]

I want a new one!

Is there no more, sweetie?

I want a new one!

[in Danish]
What?

I can feel...

Nothing.

[Liv] You're so annoying.
Just say it, honey.

What is it you're feeling?

- What?
- Nothing.

- Just tell me.
- No.

- What is it?
- No.

What are you feeling?

- That people are tired?
- Yes.

It wasn't that. No.

Is it to do with Ryan?

I think we have to
go slowly today.

Honey, stop.

[Liv] It's hard sometimes to do
this film about you,

because you won't let me film
whenever there's a crisis.

What do you mean?

Like yesterday.

You're completely
depressed right now.

But what we saw in
the editing room looked great.

Yes, but you can't spend
two hours looking at that.

[man yelling indistinctly]

[man, in English] And action!

[gunfire]

Let's do it again.

Whoever needs to eat,
go to lunch.

But can the crew
start resetting?

- Yeah.
- Okay.

So we should be ready
after lunch to shoot again.

Not that, not that fast.

- You know, they need...
- It's 45 minutes.

- No, they need two hours.
- Two hours?

[indistinct chattering]

[Liv, in Danish] How'd the first take go?

Not well.

[in English] Okay...

Let's just take
five seconds.

Let's get Larry
and John and Sang.

[repeats in foreign language]

And meet in the trailer.

All right, let's rethink.

There's something about this
that didn't work 100 percent.

All this motorcycle...

It's too...

it's too nothing,
in a way, you know?

Everything in here works.

It's just all of this, that just
did not have what I thought.

And that's probably my fault.

Basically, we should set up for

this one shooting this way,
with the guy coming into shooting.

Because we can
set it up for now.

And we have this one and him getting
off the bike and getting off shooting.

All right? Set that up.

[man] And action!

[gunfire]

Do we have any more?
Do we have any more? Do we...

Charlie.

Do we have any more
of those windows?

- We have one more.
- Set it up now.

[Liv, in Danish] Stressful night, eh?

And it's our last, so we have
to get all the takes we need.

[in English] And we're not coming back.

No, we aren't.

[Nicolas] Maybe prolong
the fight a little more.

Because once we get into
the real sound of the punching,

we can make those
more effective.

Although it's great, Matt,
it's terrific.

I mean, we'll see. I think
the first 20 minutes,

half an hour
of this film is a done deal.

I mean, you're just gonna get
sucked into it immediately.

There's so much happening
and it's so clear.

I wanted to keep watching.

[Liv, in Danish]
It looks really good, Jang.

Maybe you don't have
to be so depressed.

[Nicolas, in English] I'll be honest
with you. This morning, I actually cried.

Because Matt called
and said to me that,

he'd seen the scene with you
and your mother in the back,

and he says now he understood
what the fight was about.

And I was very glad.

- At least somebody understood.
- [Liv] So you cried?

Yeah, I was a very... What?

No, I mean, it's only
me, you and him.

Everybody else scratches their
head every time we do a setup.

It was good.

Liv Corfixen.

Take two.

[in Danish]
Go away.

Jang, leave me alone.

- Tell me what happened.
- No.

You haven't slept?

Three years.

[laughs]

I'm so tired of this film.
You're depressed all the time.

[Nicolas] I'm not depressed right now.

No, because now, you finally have...

...something to laugh at.

[coughing]

Listen. I've been coughing like this

for 24 hours. I haven't slept.

24 hours? I thought it was three years.

I haven't slept for three years.
I've been coughing for 24 hours.

I slept from 2 to 5 AM.

[Nicolas] I slept from 7 to 10.

- No. You slept until noon.
- No, I woke up at 10.

You get to sleep in all the other days

because you're working so hard.

"Jang has to get some sleep".
I never get any sleep.

If the kids are crying at night...

This film is about you, not me.

It's about us.

[Liv] This is how Jang spends his Sundays.

Is the coconut giving you trouble?

Yes.

Look at the fireworks.

[in English] They're over.

But I think some fireworks
just went off in the diaper.

In fact, I'm sure of it.

- Did you get Ryan's present?
- Yes.

[LizzieLou] No! No!

[in Danish]
We're just giving him a present.

[in English]
It's your first day as director.

- You are now...
- I get to play.

You get a blanket.

Oh, my God.

You have to wear it
around your stomach.

Just to keep my chi in?

Yeah.

She took it.

Is there a special way
to tie it?

Yeah, I'll show you.

[in Danish] LizzieLou, can I try?

[LizzieLou] Can I try? Can I try?

[in English] Always keep this tight.

[laughing]

That's the power. Try it.

Ryan is doing second
unit on the movie.

How's that?

Do I got the power?

- Do I look powerful?
- [laughing] No, no.

What did he do differently?
Something's different.

- Do I tuck?
- It has to hang more.

[Liv] You put it on
higher than Nicolas does.

I'm gonna go direct.

[Ryan] We're rolling.

I'm not saying, "Action!"

I'll just say "Act."

All right, Bangkok. Act.

[Nicolas] Okay, cut!

I think that is a wrap
for Ryan Gosling!

[cheering]

[Nicolas] My pal!

[in Danish]
The scene out here turned out well.

Great.

[Mark, in English] All right, what can
you tell us about Only God Forgives?

So, Ryan has described it
as the strangest thing he's ever read.

Is that fair?

Well, I don't know.
it seems very normal to me.

So your folks were both
in the business?

Oh, yeah, yeah.

My father is a film editor.
My mother is a photographer.

My stepfather's a photographer.

Right.

So there was never any chance,
you were never gonna do this, or...

Let me put it like this.

my mother was not surprised
this is where it ended up.

[laughing] Right, Okay.

And what do they
make of your movies?

Well, they like, you know...

I think my mother
was very proud at Cannes.

Yeah.

That was an extraordinary...

I've only been to
a few premieres at Cannes.

- But that was just crazy!
- It was.

I mean, that standing ovation
went on for days!

How did that feel
when you won best director?

It was great! It was kind of...

It was wonderful and
it was a lot of experience.

But then I spent the last
five months saying to everybody,

"I'm not doing Drive 2.

This is not Drive 2.

No, it will never be Drive 2.

I'm not doing
that movie again."

But that really must put
a lot of pressure, I guess.

Because it's your follow-up,
and Ryan's, in this one as well.

It's, you know,
and I can't change that.

Yeah.

I can only make
the movie I wanna make,

the way I wanna make it,
and then hopefully people will like it.

Yeah.

[Nicolas] Um...

It's like, just fast forward.
Fast, fast, fast, fast...

Oh, no, that's the old version.

Both the hands.

[Nicolas, in Danish] There are still some
things that need to be constructed better

so that they don't end up somewhere
between strange and normal.

If it's right in the middle
then it's just nothing.

That was the problem with Fear X.
It was in-between.

That's why it didn't really go anywhere.

[Liv] So it has to be stranger?

No, just more cogent.

Strange is not a bad thing, honey.

No.

[Liv] Are you happy about the film?

I think it turned out quite well.

I think it's better than Drive.

Don't you think so, too?

Do you think Drive is better?

Did you like Drive better?

This one is not as commercial.
Don't you realize that?

Yes. Sure.

It'll divide opinions. Some will
love it, and some will think it's...

Do you think it's childish?

No, I don't think so.

You think so, a little.

Childish? No.

[LizzieLou] I'm hungry, mum. Mum!

[Liv] Why are you in such a bad mood?

I think it's a bad film.

Should we eat now or wait a while, Lola?

[Lola] I want to finish
reading my story first.

[LizzieLou] Mum?

[Liv] Not now. Earlier
you thought it was good.

I don't think it's good. How many times
do I have to tell you?

- What has happened?
- It's done.

It's not good enough.
Can't you understand that?

It didn't really "click".

Right?

Do you understand that?
It didn't turn out well.

I think, ultimately, there's nothing
more to be done about it.

I can't change anything,
and then you see the final result.

And it's not what I hoped for.

Those are the realities.

[sighs]

I wasted six months of our lives.

[in English] And then...

- We do it like this.
- Yes.

You think of a question.

Okay? Okay.

And then we do like this.
What is the question?

What will happen if I don't
stand behind Nicolas and his movies,

you know, woman behind him,
because you said to me, "Help him."

You said to me. But...

I want to know
if that's my future.

It's difficult to be
with Nicolas...

...and have your own career,
because his career is so big.

So, someone has to be there for
the kids, you know, for the children.

So I can't work
as much as he could.

Pick another card.

[Liv] Ooh la la. Not good?
What does that mean?

No, because this is...

To destroy something
and to be free.

And destroying
what you constructed.

[Liv] So, I have to
divorce Nicolas to be free?

Yes.

I don't think
that's the solution, no.

You told me...

You love him. He loves you.
I'm sure he loves you.

- Yes, I'm sure.
- I understand, I suppose...

[instrumental music playing]

[in Danish]
Why aren't we going anywhere?

- Are you okay?
- Yes.

- Are you sad about the rain?
- Yes.

Jang, it's not the end of the world
when it rains.

It's just a film.

Exactly.

Jang is very superstitious.

- I always think...
- He thinks rain is a bad omen.

[Lola] It's not, Jang.

[people chattering]

- [in English] Thank you.
- The very last one?

- That is the last one.
- Thank you very much.

- Thank you.
- Thank you.

[in Danish] I had my eyes closed and my
fingers in my ears during the screening.

I was so nervous.

I was so nervous. Sometimes, I peeked
to see if anybody had left.

No one had.

[sighs]

[yawns]

I have a tension headache.

- You, too?
- I was so nervous.

[sigh]

[in English] And how was,
how was the box office?

We're good?

[in Danish]
Why do they have to be so mean?

- [Liv] The critics?
- Listen to this one.

Hollywood Elsewhere wrote:

[in English] "Movies really don't get
much worse than

Nicolas Winding Refn's
Only God Forgives.

It's a shit macho fantasy,
hyper-violent,

ethically repulsive,
sad, nonsensical,

deathly dull, snail-paced,
idiotic, possibly woman-hating,

visually suffocating
and pretentious.

I realize I sound like
Rex Reed on one of his rants.

But, trust me please,
this is a defecation by an over-praised,

over-indulgent director,

who thinks anything he craps out
is worthy of your time.

I felt violated, shat upon,

sedated, narcotized,
appalled and bored stiff."

[Liv, in Danish]
There must be positive reviews.

There are so many.
But you don't read those. They're okay.

It's the mean ones...

In a way you asked for it.

It's not a crowd pleaser.

It would be boring if
we all just made safe films.

One more. Just one more.

One more.

- Can I have a kiss as well?
- Yes.

[people chattering]

[Nicolas, in English]
So that's when you know

you've made great cinema when
half love it and half hate it.

Thank you.

[laughs]

[Liv, in Danish]
What did Jodorowsky say?

He said I had talent.

And that there are
billions of followers.

That was very sweet of him,

so it doesn't matter
what everyone else thinks.

Here it is.

You, too. You, too, mum.

- You, too, mum. You, too.
- [Liv] Thank you.

- So now we're back.
- [Liv] What?

Now we're back in Denmark.

I think it's nice being back,
don't you?

Yes, I think it's nice.

And now we're leaving
for new adventures.

If you want to.

I'm up for it. I didn't want to be in
Bangkok, but I went.

- A great experience.
- Oh, yes.

- Not the end of the world.
- Did I say that?

No, no.

You're not easy to live with.

No.

But I love you anyway.