Venice/Venice (1992) - full transcript

Dean is a maverick American film director surprised that his most recent film has been chosen as the Official U.S. Entry at the Venice Film Festival. A beautiful French journalist arrives at the festival with the apparent intention of interviewing the unique and eccentric filmmaker. In the midst of all the festival madness, she is forced to confront the wide divergence between things as they really are and things as they seem to be - both on screen and off. And so, finally, are we. Shot half in Venice, Italy and half in Venice, California, "Venice/Venice" looks at the profound effect movies have had - and continue to have - on our lives, our loves and on our dreams of romance.

I'm very much a romantic,

and movies since the time
I was five years old

have had a tremendous
effect on my dreams.

In the movies there was always
an answer to every question.

I mean, when you were there
it gave you this illusion

that anything could happen.

Movies made me think, like,
there would never be

a down time in a relationship.

People meet and they
fall in love and they break up

and they get back together again.

I always thought
that I would end up

getting married really early on.

I wanted to come home and have

the perfect Martinis
and the perfect child

and a witty, roguish,
ridiculous man.

When I was a little girl

I used to sit in front of the TV
all the time watching musicals.

And it was my expectation of life

that I would just be happy,

that nothing bad
would ever happen,

that any problems
I would encounter

would resolve magically.

I just expected
that I'd be taken care of

and life would be beautiful.

Do you want some more tea?

Excuse me.
Just one second, okay?

- Sure.
- No, I'm fine.

The papers
you were supposed to give me.

- Okay. Oh, the papers are here.
- Yeah.

This is all yours.

They all want interviews.

I don't know what they are.
You know, you figure out what...

Sweden and Germany
and Radio Publica y Cineforme.

- France?
- France, nothing.

- France, nothing?
- No.

Take this for me.

Hey, Jesus Christ.
Excuse me.

- What?
- Did you want more tea?

Did you say you wanted more tea?

No, no. Excuse me,
I gotta do an interview.

Okay, I'll be right back.

What can I do for you? Excuse me,
I have my breakfast.

Now, you're not
shooting this, are you?

- I'm just eating.
- Well, of course we're shooting it.

- That's how TV crews are.
- All right.

That's what happens
when one is the only

- representative of a big film country.
- Yeah.

Your film is the only American
film in the official selection.

In America the idea of
my being official is a joke.

I'm very much a maverick
in America.

I make small films
about human relationships,

not big films to sell popcorn.

I don't understand
representing America,

I don't understand being official.

I am the representative of,
if anything,

of the anti-establishment,
so I don't understand

how I come to
represent America here.

I think just somebody by accident

had a piece of good taste
and, um, and chose my film.

But I'm totally stunned
that this little movie

should represent America
at a festival like this.

Okay, so, um,
what is this about again?

What's the name of the magazine?

- It's a cinema magazine.
- Uh-huh.

And what kind of magazine is it?

It's a magazine about cinema.

Does it mean
that you have to jump around

and give a lot of interviews?

Yes, there's a lot more press
when you're official

than when you're unofficial,

that's absolutely true.

That's what it really means.

All it means is that I'm getting
a lot more attention.

Which I like.

Which means I will expand a little bit,
the base of my audience.

But Europeans have always been
quite sympathetic to my films.

It's the Americans
that I have trouble with.

- Be very quick, okay?
- Okay.

Well, I don't need much time.

He's very polite and he won't,
you know, he won't tell you to leave

so you've got to leave

because we have a meeting
at the Excelsior, okay?

- Okay, fine.
- Okay.

When is that? Just after
he's finished that?

Just after he finishes.

- Okay.
- Okay?

- But I'm serious, be very quick.
- Okay.

We don't have much time.

Very important interviews.

Thank you very much.

It seems to me
that a movie only exists

once you have the images.

A smile, a moment, a tear,
a laugh, a piece of music,

an emotion, a look
between two people.

Those are the things
that makes a movie a movie.

I can't know what those are
until I get them.

So I encourage my actors
to give me everything they can

in the basic thematic area
that I'm looking at,

in the theme
that I'm trying to deal with.

And then later,
in the editing room I take those pieces

and I juxtapose them as best I can

and I try to find out
what my story is.

- Dean?
- What is it?

I'm sorry, just one second.
What are you doing?

I'm in the middle of an interview.

- They want to see you at the Excelsior...
- Fine.

- we have to leave in 20 minutes.
- Not now.

Okay. Not now, Eve. Come on.

- They're coming with a car.
- Good.

Fine, yes.
No, don't...

What do you mean
should I call a car?

- Because we have to...
- Get out of here.

- What do you mean a cab?
- We have to get a cab.

- For what time?
- We gotta be at the Excelsior in 20 minutes.

So don't panic, would you,
please? Can I finish?

Excuse me. I'm very sorry.

- What should I tell them?
- I'll tell you afterwards.

No more discussion, please.
Thank you. I'm sorry.

- No, it's okay.
- You were filming her?

Oh, that's very smart.

So you're going to show what
a horrible person I really am.

This is for
German television, right?

I can assure you, this was the
most funniest interview I've ever made.

Well, thank you very much.

Thank you, that's very nice.

I appreciate it.

- Thank you very much. Bye.
- Thanks.



Pull up a chair.

Okay, what's going on?
What is on the agenda here?

- Okay.
- Okay.

Who's that young woman in the red?

French magazine,
she wants to do an interview.

- What magazine?
- I don't know, I never heard of it.

Some French movie magazine.

Well, I'll talk to her.

- But we have to go to the Excelsior.
- No, I wanna... Why?

I've just ordered a car
because we have a meeting there.

- Thank you very much, yeah. Thank you. Thank you very much.
- Nice seeing you.

- We have a meeting there.
- What kind of a meeting?

With an Italian magazine.
A very important magazine.

She came from Paris to talk to me?

They're waiting there for us.

- Well, I don't know, I mean, they're waiting for us.
- Let me...

Okay, I'll just talk to her for two
minutes and then... and then we'll go.

- Two minutes, then I'm gonna come and get you.
- Okay. Two minutes. Okay? Okay.

Hi, Mr. Dean.
My name is Jeanne Marie.


Thank you very much for
giving me some time.

What is that weird sound, the clanking?

Oh, that's the wind
in the awning. Yeah.

I couldn't shoot a movie here.

I've got only a few minutes.
What do you want to know?

Well, the first thing is that,
what are you doing here?

- Is this working?
- Yeah.

I hope so. Yeah.

You know what I'm doing here.

I have a film in the competition.

I know that...
I know that, but, um...

I'm here to do publicity,

to talk to people like
yourself about the film.

Yeah, what I mean is that,
what I like most

about your films I guess, is, uh,

how you deal with reality

and how, you know, you don't
do all that kind of Hollywood thing.

And then...

It's a little strange for me
because I just arrived here

and it seems you're enjoying
all that stuff.

You know what I mean?

No, what do you mean?

I mean this is... As far...

It's beautiful here.

You mean, I'm not supposed
to be enjoying it here?

I don't know. I didn't imagine
you would enjoy that.


It's as far as reality
as you can be.

It's as far as reality?

As far from reality as you can be.

Oh. Oh, yeah, sure.
Well, that's part of its charm.

I mean, it's a film festival
and it's Venice

and it's beautiful and...

So, um...

You mean, I'm supposed to be
somebody who doesn't like...

- What?
- I don't know.

You have a little, uh...

bit of coffee there.

So, um, despite the fact
that you're making movies

that are very much off-Hollywood

and you're still enjoying the
whole glamor and the Hollywood...

No, this is not glamor.

I'm enjoying the game,

I'm enjoying talking to people

and meeting people
from different countries

who are interested in film.

Why am I being
put on the defensive?

You feel there's
something wrong with me?

- No, tell me the truth.
- Absolutely not.

I get a feeling from you
that there's something

I'm not supposed to
be doing here. I...

- No, no, no. I was...
- What do you mean? I'm sorry.

This is a very
unusual interview, you know.

I'm sorry,
I didn't plan to ask that.

No, it's okay. It's fine.

I'm shaking.

- Why? You nervous?
- Yeah.

I'm very impressed being here.

You're impressed
being here in Venice?

I'm impressed meeting you.


Because I like your movies
and I have the feeling...

Because I've seen you
in your movies,

and I know you a little bit
and you don't know me,

so it's a little strange.

Oh, I see. Relax, take it easy.

It's very nice being
asked these questions

and told that I shouldn't be
having a good time here.

I'd say both. I mean,
some people say great stage actors

are no good on film,
but I enjoy filming

mainly because it's, you know,
so different from the theater.

'Cause the concentration
is like, you have to...

You break concentration up
right into a tiny moment,

whereas in the theater it...

Hold on just one second,
okay? I'll be right back.

You like the...

I like the intensity of it,

you know, the intensity of,
uh, you know,

even if you just have to go to a door,
open a door and go "hello."

You know, you just
have to think that.

You know, you never have to do
anything like that on stage. You know?

It's a completely
different energy.


I knew, I knew you were here.

Hi. Excuse me,
I'm very sorry.

An old friend.

What are you doing here?

Well, I'm doing, I'm...

You're doing press, too.
I'm over there.

- I'll see you right afterwards.
- Okay, great.

- Really nice to see you.
- Oh, I'm real excited to see you.

- Excuse me, I'm sorry.
- Bye.

Excuse me.

Do you know him?
Dean, of course.

- Yeah.
- Feels good.

You see what I mean?

We all meet each other
at the film festival...

Amazing. Nice to see him.

You haven't seen
each other in a while?

Not for a while, no.

Uh, what about, uh, this film
again is a period piece.

I'm sorry, excuse me,
I saw an old friend.

I remember her from your movie.

Oh, yeah? You saw it?

Sure. I loved it.

- She's a good actress.
- Yeah.

I didn't know
she was gonna be here.

Oh. You were very much
in love with her.

In the movie.

At least in the movie, yeah.

Um, people are accusing
you all of the time-

Where are you from?

Paris. Why?

People are accusing me of what?

Um, how do you say...
Do you know French a little?

Nombrilisme, we say that,
you know, when you...

Nombrilisme. Nombrilism?

- You don't say "Nombrilism"?
- No.

We don't say "Nombrilism"
that I know.

How do you say, "Nombrilisme"?

You know, when you
look here. Here.

- Belly button?
- Belly button.

Very cute belly button.

Yes, so people accuse you
of looking at your belly button,

- you say that?
- Yes.

it's called in English. Yes.

- Okay, self-indulgence...
- Oh, I see, yes.

...all the time and, um, I think
they're wrong, of course.

Thank you.

I really mean it.

I can see that you really
mean it and I appreciate that.

Okay, I canceled
all the appointments.

I canceled lunch, I canceled.

- Is there anything else?
- Have you two met?

- Yeah.
- Yeah, hi.

We've met. I brought her to you.

Hmm. Oh, yeah. I'm sorry.

The other thing,
I have two things to ask you.

First of all...

I'm doing an interview right now.

- Okay.
- I'm sorry.

No, no. It's okay,
I mean, I just... Yeah?

You know, you've missed
three interviews so far,

and this afternoon
we have La Republica.

He's a good friend of mine
and I can't do this to him,

so if you can't make it
at five o'clock this afternoon

you've got to tell me, that's all.

Okay. No, no. Five o'clock
is plenty of time, I'll make it.

And the other thing is
I want to know

if, um, I can go to the pool

because if I have
nothing else to do now

then I'd like to take a swim.

Sure, go ahead to the pool.

We'll talk a little more.
You need a little more?

Yeah, uh, what I need...
I need photos.

You have photos?

Well, she takes care of
all of that.

- Okay.
- I'll talk to you about them, sure.

You need color photos?

- Yes, for the magazine.
- We don't have that many.

We have the slides, don't we?
Don't we have the slides?

- Do we have the slides?
- We have the slides.

So you can have
a selection of slides. Sure.

- Anything you want.
- Thank you very much.

Can I go to the pool?

- Yeah. Everything else is okay?
- Mm-hmm.

- Okay, sure.
- Okay.


She's very helpful,
she's very good.

- She's been with me for about a year and a half now.
- Mm-hmm.

Speaks Italian fluently,
which helps a lot.

Good translator, you know.

Excuse me, please.

I need to bother you for a moment.

I think I saw you in a movie here.

You were really wonderful.

Oh, thank you very much.

- Sisters, wasn't it?
- Yes. Thank you.

- It was great.
- Thank you. I'm glad you liked it.

Would you like anything, sir?

Oh, no. We had enough, I think.

Do you want something?

- No, I'm fine.
- No.

Do you guys have
any pictures with you?

I have little passport photos

that I'm handing out
as PR pictures.

We have pictures.

- You have pictures.
- You should give them to me.

You guys should be trying to
do some interviews.

Italian high school
student newspapers

want to know if
I've ever had a drink

with Rob Lowe, Charlie Sheen...

Are you serious?

She said there are difficulties
with the language.

She asks you not to
answer too briefly.

You are the only
American film in competition.

Do you feel representative of
the American cinema today?

Absolutely not.

I am not representative of
anything of the United States.

I think they thought
I was Steven Spielberg.

You're very good at this.

- Oui?
- You are. Yeah.

I don't know what you said
so I'll have to wait.

The American critics
are accusing you

of always making movies
about yourself

and focused on yourself.

The way we experience the world
is initially through ourselves.

If we're not willing
to admit that,

we're not really
looking at each other.

Now bad narcissism is when
you stop at only looking at yourself.

Good narcissism is when you use

your healthy initial self love

to then turn it to somebody else

and try to get a sense of
who they are

and being open to who they are

because you have learned
something about who you are.

Otherwise I don't think you can
love anybody else

if you don't love yourself first.

Does it sound like
bullshit to you?

No. I think
it's actually very true.

Pleased to meet you.

All the big guys are here now.

Xerox picture of me like this

- I look like Casper the Friendly Ghost.
- Please, please.

Please have a good time,
please. Please.


- It's not that easy.
- Mm. It is. Kiss me.

I know you want to get
as much money as possible

and I appreciate that,
but at the same time

I just want to make sure
that finally a film of mine

gets seen correctly
and handled correctly

and it's worth a certain amount.
I hope you agree.

You talk like the guy
I'm going to meet tomorrow.

Because I told him I would
like to have you

because you're
the best distributor here.

- Right.
- And he can really guarantee a good release in Italy.

Yeah. Sorry. Yeah.

So, good, but if you're asking
too much money,

then it becomes impossible.

That's very Italian. You
always ask for high ceiling...

I understand but you...

...and then you can
always come down.

All I'm saying is
it's very important

that you also
deal with the quality

of the distribution.

- It's as important for me.
- That's what I have in mind.

What do you want to do tonight?
Go out to dinner or something?

Hmm? Come on, have a good time.

- I can't.
- Oh, you can.

- I can't.
- You can.

- What are you seeing?
- An Israeli film.

- Born in Jerusalem.
- Uh-huh.

Yeah. It's supposed to be good.

Interesting. I read
the screenplay.

- Yeah? Okay.
- Loved it. Yes.

- Okay, see you around.
- Okay, take care.

- Okay, bye.
- Bye.

- Enchante.
- Nice to meet you.

He's a nice man.

It's a little different
perspective on this whole thing.

Yeah, well, it's funny.

Never thought about you
as a business man.

I don't think of me very much
as a business man either. No.

Well, it's part of
the work I guess.

Don't sound so disappointed,
I mean, it's a part of the work.

Of course it's a part of the work.

You know, you live a little bit
maybe in a dream world.

There's just some sort of...

I do the best I can, but I have
to deal with these realities of...

Don't. I mean, you look so sad.

I am? I'm sorry,
I didn't mean to look sad.

I don't know,
maybe I'm sad a little bit. Yeah.

Why are you sad?

I don't know, it's like,
because I should be happy

and I'm just a little sad not
being as happy as I should be.

Something like that.

You know when
you're on a beautiful...

You know, like,
everything's perfect,

and it's like,
so it's perfect, so what?

- Yeah, I know.
- You know?

I saw your movies.

I felt very close to
whatever person made them.

And to you in a way,
so I wanted to meet you.

It's very flattering, you know,
but it's not me.

The movies are not real,
they are something I invent.

I mean, it's not about...
That's not real life.

It's like this is not
real life, you know?

This is some sort of a
game people play about

coming to a place
and pretending that it's...

You weren't pretending
in your movies.

- No, I...
- That was your real feelings.

- Yes, they are my real feelings.
- I hope so.

No, no, I'm not pretending in the
movies but I'm not what you think I am,

I may not be,
because what I am in the movies

is a synthesis of... I'm...

I don't know why
it worries me that

you should think that I'm
something other than what I am, but...

I dunno, I don't know you,
I just know your movies, that's right.

But I don't think anyone
can make movies like that

without being what I think
you should be.

I don't know.

You're very beautiful,
you know that?

- Thank you.
- But that can be an illusion too.

You can just seem to be beautiful

but actually not be beautiful.

And yet you seem very much to me

to be beautiful at this moment.

You mean inside I could be...

- Who knows?
- Who knows?

This could be an illusion.

- Mm-hmm.
- Like a movie.


The movies that I
appreciated were ones that

the man would come and sweep
you off your feet and you'd be swept.

Some man was gonna
come along and wake me up

and my real life would
start at that moment.

A man would just
come right up to me

and completely adore me,
completely love me,

for exactly who I was.

When a man fell in
love with a woman,

that was it forever,
and he would never stop

running after her from
the moment he met her.

He'd solve all the problems

and win all the awards
and turn out great

but be ridiculous the whole time.

This handsome prince
that rescued me

from all drudgery and took me away

and, um, took me to a castle
on a hill somewhere.

I really think
that's gonna happen.

- You're trembling, you've got goosebumps.
- I'm cold. I'm cold.

- Great legs. God, look at these legs.
- Thank you.

She likes being cold, it
makes her nipples hard, they stand out.

- Stop it.
- You can see them from across the pool.

- Stop.
- Hi.

- She says everything's okay.
- Oh, good.

- The Swedes loved you, you know.
- They did?

Swedish television
gave you a review,

they talked about
Ursula Andress and so on.

- They went nuts over you.
- Congratulations.

Yeah, they did.
They really thought...

Listen, I wanted to
tell you something.

- Said you were gonna be a big star in Sweden.
- Really?

- Dean, I have something important to tell you.
- You hear that?

Okay, anyway, the thing is...

Dinner tonight, okay?

Congratulations about the Swedes.

We have to make reservations

and we have to know how
many people we're going to be...

I think I wanna go and eat with
her. I don't wanna go with you guys.

- To come... What about the rest of us?
- Not to come.

I think you can make your own
plans. You guys okay for dinner?

- You can make your own plans?
- Yeah.

We all eat at the hotel.
Everybody eats at the hotel.

Well, I think I might go off and
do an interview with this girl.

- You have an interview with some people.
- What do you mean?

I mean, Channel Cinque. Channel Five,
it's big here.

I don't care about Channel Cinque,

I'm busy tonight.
Just tonight.

I'll do everything
tomorrow, I promise you.

Try to arrange everything
tomorrow, okay?

- No, I wish you wouldn't do this during the trip.
- I'm sorry.

It's the wrong time
for you to become social.

Do me a favor.
I'm not becoming social.

I'm in the middle of an interview.

She's asking very good questions.

You could bring her with us, then.

Okay, maybe I'll bring
her with us. I'll try to do that.

You guys are okay, huh?

- Yes.
- We're fabulous.

Still reading, huh?

Still wearing the same old hat.

- Yeah. You look good.
- So do you.

- What's happening in London?
- Oh, God.

Weren't you doing a play?

- Did you read about it?
- Yeah.

I walked out...
I didn't walk out,

I withdrew from it on Monday.

What, in the west end?
What was it?

It was The Seagull.
I was going to play Masha.

Oh, my God.
You're born to play Masha.

No, no. I know...
I know, but, um...

It just didn't
feel right, you know?

- It didn't feel right.
- You know, you always did this.

What do you mean
I always did this?

I mean, it's not about feeling
right always, is it? I mean...

What do you mean it didn't feel
right? You were gonna play Masha.

No, what do you mean?

Let's not...
We shouldn't do this.

I'm really happy to see you. I'm sorry,
I shouldn't have said that.

Who gave you that?

Pretty, isn't it?

- Yeah, it's very nice.
- Yeah.

A friend of mine gave it to me.

You're tough, huh?

Don't talk to me about...

No, I won't.
I'm not asking you anything.

- You want to smoke, you can smoke.
- Mmm.

- I understand. I'm not saying a word.
- Yeah, okay...

You started it
and asked me not to say it

- and then I'm not saying it.
- Yeah, I know. But I felt you looking.

- But you're creating an argument.
- No...

- I'm not... Nothing, no problem.
- No problem.

Just get it out of my...
Change hands for me.

That's all I ask.
Just change hands for me.

- It's completely and utterly fascist.
- I don't wanna... Look...

- I know, you're American...
- Oh, come on.

He always does this.

You know, you're the star of
this movie and I don't know...

He's treating Lauren so nicely.

He's giving her
attention, you know,

- you should really stand up for yourself.
- Figure that out.

- Stand up for myself?
- He always favors women.

You know, that's how he is. That's
the way he is. He likes women.

You know, apart from me,
he favors every other woman.

He thinks they're all wonderful.

And you should really tell him you know,
you want,

you know, you want coverage,
you want press.

- She's nice, isn't she? I just met her.
- You really like her, don't you?

- I just met her.
- I know you.

- She likes me. But it's not me...
- Oh, oh, oh.

- You are so arrogant.
- ...she likes my movies.

- It's not arrogant.
- That is such an arrogant thing to say.

"She likes me."

She's a little obsessed
with my movies.

- Oh, I see. That's... And you respond to that.
- She doesn't und...

I am subjective enough
to care for that, yes,

but I at the same time
recognize the difference

and I'm trying to let her know

that it's not me
she's responding to, but...

That's big of you.

At the same time
she's very attractive,

- interesting and bright, really bright.
- Yeah. Yeah.

But she's into a fantasy
about me and I have to...

You have to go
and fulfill the fantasy.

No, just the opposite.
I don't wanna do that now.

- No. Okay.
- I got to her to know I'm not who she thinks I am.

- Yeah.
- Which is hard to do

when I want to be
who she thinks I am.

That's good, that's really good.
That's good.

You work with him and you
have to just take those rules.

Those are the rules.

Those aren't my rules.

Okay. You did
this film, you know...

This film is working
because I'm in it.

Not because he stood
behind a camera and said

- you know...
- Well, you don't know that.

- "Wear a different shirt."
- You don't know how he does his stuff.

Can't stand that guy.

I'm gonna be 30 years old soon.

It's unbelievable
that he's got me here.

- Well...
- Unbelievable he's got me here

wasting my life
by this fucking pool.

Yeah, your movie...
A little bit.


Why are you here really? I have a feeling
there's a whole other thing going on.

I don't understand
what's going on exactly.

You're not writing now,
you're not taping now.

- That's right.
- Why?

Why do you know so much about me?

Because I've seen your movies.

You learn a lot about you
when you see your movies.

Yeah, but why is it so important?

The reason why I'm here
I would say is

movies are very important
in my life, you know.

The dream of romance
in movies was about

Fred Astaire and Ginger Rogers
and perfection.

Nobody ever had to
repeat themselves.

Nobody ever had to
rephrase themselves.

Nobody ever had to bang their
head against a wall to get understood.

They met and they fell in love or
there may have been difficulties

and in the end they fell in love,

but it gave me the hope
that there would be something

and that maybe some day
I would experience that.

When I think about movies and how

they made impressions on me
when I was younger

I think about Doris Day
and Rock Hudson.

'Cause I think about how they
used to behave towards each other

and how perfect Doris Day was

in her "dealing with" her man.

The heroic "I'm gonna make it work,"
"I can make it work," you know?

"I'll find the right man,"
and, you know,

"we'll have babies,"
I don't know. Whatever.

Even when they fought
they fought with sort of, um,

kind of, witty banter instead of,
instead of raising their voices.

They're always bickering but
everything turns out perfect in the end.

You get married,
you live happily ever after.

The end. Credits roll.

I want to go home.


They're only interested
in Dean, Dean...

There's directors here,

- auteurs, oeuvres.
- Stop. Please.

- It's a Mickey Mouse festival.
- Come on, Dylan.

Let's go into Venice tonight.

Can I have the butter please?

- Here we are, maestro.
- Here we are.

You had some movie
that was considered a cult movie.

- A cult movie?
- That's right.

I am curious
about your definition of...

Those are just words people
use. I have no idea what they mean.

My impression is that you get

more involved in the roles.

If you'd do your job instead of
worrying about what you're eating...

I don't understand what the man just said.

- I thought we were having lunch.
- I'm sorry, but she's supposed...

- I always like to teach them what to do.
- That's offensive.

would you like to know the question?

I think if you do your job
I'll find out what the question is.

He wants to know why you give
women so much importance

in your films
and really ignore men?

- All your films.
- All my films?

Because I think
women are more true.

I think you can learn much more
about emotional reality from women.

I think what women deal
with is their feelings

and if you try to make
films about emotions

and about feelings and if you
try to really look at

what we're going through
emotionally in life,

uh, I think if you look
through female characters

you're much more likely
to get close to the truth.

Because women are
much more truthful

about what they're feeling.

- So, I feel that... Do you understand? Did he...
- Yes.

Oh, is this your mic? I'm sorry.
Am I speaking into it okay?

- Yeah.
- So I just feel that it's very important to try to get

to the emotional truth and you
can't get to the emotional truth

through men because they hide it

so you can show the way
men hide all the time

from what they're really feeling.

But with women you can
explore some internal reality.

It's not about, you know,
everything outside of themselves.

They're not terrified of
looking at the confusions

and complications of their lives.

Goddammit, I asked for
water with no gas in it.

That's just got...
That's the one with no gas.

Are you getting
what you need also?

Or do you have any questions

at the same time with
your tape recorder?

I'm happy to do both.

I'm used to this, and eating,

and thinking about
the next movie, you know?

Do you really think about movies?

Always. It's very hard to think

my real life exists
independent of movies.

It's very hard to believe that
anything is really happening

if these tape recorders
aren't here

or if a movie camera
isn't somewhere.

It's, um...

It's some neurotic
attachment to having

every moment captured in life.

Then I can be sure
at least that it's happening

and I can look at it on my machine

and try to reorganize it.

It makes
you feel like your life is a movie.

Oh, the question is whether
there's something like real life?

And if that real life is something
independent of a movie.

I mean, when you make a movie
you're clearly

making something that is not real.

But is this more real

because there's not a-a camera
somewhere shooting it?

You're an actor, and as an actor

don't you feel a little
more authentically real

when you're on camera?

Absolutely, yes.
The moment the film runs out,

I feel less authentically real.

And that's what's very hard
to explain to non actors.

That's what makes us crazy
in a certain kind of way.

Because there's something
so heightened by being...

This is actually answering you.

We all feel... We really feel
that when we are on camera,

we know that there is a reality
going on that will be captured.

- And therefore it intensifies the moment, right?
- Absolutely.

In some way that makes you feel

that it's more important
than a moment in life.

If that moment will reverberate
for the rest of your life,

it'll be there... You
maybe want to translate.

- Do you understand "reverberate"?
- Yeah.

- Through your life.
- It's our postcard to posterity.

"It's our postcard to posterity,"

how very poetic, Alexander, that's lovely.

Our postcard to posterity. It's a good title for a movie.

It's a question of when
you're observing something,

whether you can observe it
without changing it.

It's the same in physics, when you
observe phenomenon it changes it.

- Really?
- You modify, yeah.

I don't know... How do
you know about physics?

I studied physics.
When you observe particles,

when you observe it,
it makes it happen in a way.

Yes, Schroedinger's cat
is all about it.

- Schroedinger's cat?
- That's an experiment.

- That's an experiment.
- What was the experiment?

For instance, you know
when you have radioactivity?

Particle radioactivity?

And you put a cat in a box
that would triangulate.

And if the particle
is disintegrated,

there's poison
and the cat is dead.

And if the particle
is not disintegrated,

there's no poison
and the cat is alive.

And all that is in the box
and as long as

nobody looks in the box,
into the box, the cat is not dead,

it's not alive, it's just nothing.

He's not real,
he's just potentially dead

or potentially alive,
and once you look into the box

through a little
hole, you make it happen.

You could be anything
you wanted to be

and I wanted to be Audrey Hepburn.

I always wanted to be Doris Day.

- I wanted to be Snow White.
- Sleeping Beauty.

- Cinderella.
- Guinevere.

I wanted to be
Nick and Nora Charles.

I wanted to be on a ranch.

I wanted to be in my long skirt
with a tiny waist,

frying up the bacon

and waiting for my cowboy
to come home.

I couldn't figure out
whether or not I wanted to be

Kim Novak with
that gorgeous blonde hair

and that voice and those eyes
and that body in that black dress

with that red necklace,

or whether or not I wanted to be
Jimmy Stewart saving Kim Novak.

I saw the movie Gidget
when I was eight years old

and I think she was
my first romantic heroine

because she was very cool
and I wanted to be Gidget

and Gidget got Moondoggie
at the end

and not any of those other bimbos.

But when I grew up
I wasn't Audrey Hepburn.

I mean, I was an okay person,
I was me,

but I wasn't Audrey Hepburn.

People didn't react to me the way
they reacted to Audrey Hepburn.

It's very hard when you grow up and
you really don't look like Kim Novak.

As I got into my teens I
found it very hard to be Gidget,

because the bimbos
were ruthless, you know,

and the Moondoggies
were really dumb.

Katharine Hepburn was
my favorite role model

'cause she was
really strong, dynamic,

intelligent and always got
this fantastic guy at the end.

But men are scared shitless
of that kind of woman.

What are you thinking?

I was thinking what if this is
all a movie that I'm making?

What if you're all actors in a
movie that I'm making, then what?

What if the camera's there?

Does that make this less real?

Does that make this that
this isn't really happening?

What if the camera's right there?

That's what I was thinking.

You know, I don't go
places like I should?

I don't go anywhere where
there's not a film festival

or I'm going to a location

to make a film
or I'm going to do press

for the opening of a film.

But I don't go anyplace in this
great big beautiful world

because I'm scared to see
something so beautiful by myself

that I will get upset at being
unable to share the beauty.

So it's very nice to have somebody

to share some of this beauty with.

Oh, my God, look at this.

You know what they
discovered in physics recently?


That we think things
are separate, and they're not.

I mean, they found out
that two particles,

when you do something
to one of them

it affects the other one.

I can't hear you.

I'm saying that
the universe isn't separated.

It's all one thing. It's real.

And if you touch one particle

it affects other particles

because all of it before
was in the Big Bang.

Before the Big Bang they were
all close to each other,

and when you touch
one thing in the universe

it affects all the other things.

So it means that
what we see as different things

is just one thing.
One whole thing.

So maybe our particles were
very close before the Big Bang.

You know, our little atoms were
just next to each other.

- Yours and mine?
- Yes.

- Maybe.
- Maybe.

And, um...

They are rediscovering each other.

- Yeah, well, that's maybe.
- In Venice.

- Something like that.
- Something...

It's a very nice,
romantic view of physics.

- Yeah.
- Yeah.

I don't know why
I'm thinking about it now.

You're a particle, huh?

I'm many particles together.

- Can you go inside here?
- Okay.

- Excuse me, Mister.
- Yeah?

Do you have a second?

Paula Bliss from The Guardian.

- From The Guardian? Sure. Yeah.
- Just a couple of questions.

Can you wait a second
and I'll just do this?

- Thanks. It won't take long.
- Thanks. Sure.

I heard you talking earlier
at the press conference

about your way of working.

Has it evolved a lot
over the years?

Evolve? I hope so,
I mean, we all try to evolve,

we all try to grow constantly,

I'm just trying to
get more in touch

with what it is
that I want to feel in life

and the only way I can do it
is by aiming a camera at things.

- No, no, just relax.
- Okay.

- Just let it go.
- Okay.

- Yeah?
- Tell me about Dean.

What do you want to know?

I know you've been together,
haven't you?

Why do you want to know?

Just tell me about him.

Why do you want to know?

His movies were
really something...

Something very special to me

because sometimes
you feel that this movie

is absolutely,
has been made for you.

I mean, you are the person
who is supposed to

watch this movie,
you know what I mean?

You take a lot of risks.

Have you learned to take
more risks over the years?

I've learned
that risks are the best thing.

Everything that happens,
good and exciting

that happens in film and in life,

it comes as a result of a risk.

- Mm-hmm.
- You can't plan life anyways.

It's just an illusion that there's

some kind of plan,
some kind of order.

We know it's totally chaos,

so risk is my middle name.

So you were still in love while you
were making the movie, so that was real.

You were really in love with him
at the time, right?

- We loved each other at the time.
- Mm-hmm.

You seemed so real on screen.

You seemed so really to be
loving each other.

I was just wondering
if it was true.

You say that your way of working
gives you a lot of freedom...

- Yeah.
- also carries a cost.

- Mm-hmm.
- What is the cost to you, to the actors?

For me limitations are
the best things in the world

because they force you
to create art.

I don't think you lose
anything essential

but along the way
you lose the comfort

and security of a lot of
external things

that people come to depend upon.

I don't think those things
are valuable.

I think those things
are dangerous.

Please, thank you.

Okay, you wanted some more?

- Yeah.
- Okay.

Okay? Okay?

The borderline,
when you're filming,

between reality and the film
is very blurred.

- Very...
- The...

The border in life
between reality and film

is very bored... Very...
What is the word?

- Blurred.
- Blurred.

The reality and life between...
The reality and life... No.

The reality... What did I say?

The borderline
between life, real life, and...

Right. The borderline
between real life and film,

you said it's blurred in film

and I'm saying out of film.
In life.

- You're telling me this is reality?
- Okay.

In life the borderline

between fiction
and reality is blurred.

If you know what's real
and what's not real, I don't.

I can't believe this is real.
This is too bizarre.

- Is that what your film's about?
- That's what life's about.

- Okay.
- Okay?

- All right. Thank you very much.
- My pleasure.

Bye-bye. Thank you.

Okay, where are you?
Okay, we've got to go inside.

- Okay, come on.
- Okay.

Why did you stop
loving each other?

We didn't stop loving each other.

So why did you separate?

Oh, God.

It's difficult.

Life, it's not a movie.

I wanted to introduce you
to these two people

- who loved your film.
- Oh, great.

What do you think
of all this, huh?

Thank you very much. Hello.

What is it?

What is it?

What is it?

Venice, I see.

- Merci beaucoup.
- Grazie. Grazie.

Molto tante. Molto tante?

No, she's French.

She's French? I thought
she was speaking Italian.

He'll put you in a movie,
you know?

You think?

It's obvious.

I'm not an actress.

Doesn't matter.

- I don't think so.
- Of course.

I'd rather have him
put me in his life.

Thank you. It's nice to meet you,
we have to go.

- Okay.
- All right. Thank you. Ciao.

- Ciao.
- Bye.

What does the paper say?

Every morning when I get up
to go to work,

I keep wondering why it can't be
like The Philadelphia Story.

I grew up watching movies

and thinking that's the way
people talked.

I didn't know it was dialogue
that was written.

Everybody looked great
and had money

and nobody worked.

Someone would be funny
and brash and cocky

and sophisticated and debonair.

Having all those great
Norell outfits.

I still see that
when I go to movies.

There's still this easiness
in the dialogue that people have

and I haven't found that in life.

Having all these men
be in love with you

but never really
having to act on it.

I was married twice and if
either one of those marriages

had been movies,
everybody would have walked out

because no one ever said anything.

- Hi.
- Hi.

- Crazy here.
- Yeah.

Everybody just takes pictures

and I can't do anything about it.

- Dean!
- Oh, John. How are you?

I want you to meet John,
my friend, John.

- Hello.
- John Landis.

- Nice to meet you.
- Nice to meet you.

- What are you doing here?
- I'm on the jury.

Oh, did you see my film, then?

- I can't talk to you, Dean.
- Why not?

I'm not allowed...
You have a film in competition.

- I just wanna ask you...
- Not now.

- Hello.
- Oh.

- You have...
- It's nuts here, isn't it?

- You have a film in competition.
- Yeah.

I'm not supposed to discuss it.

You can't say "hello, how are you?

It's nice to see you"?

- Dean, it's a pleasure.
- How is Debra?

- Debra's well.
- Is she here?

Yeah, she's here.

- Oh, great.
- We're all here.

Doesn't this make you nervous?

No, it's a part of the game.

Seriously, I'm not
supposed to talk...

If the other jurors
see me I'm in trouble.

- Oh, well...
- I can't talk to you.

All this means is I know
that I can't get your vote.

It's okay. It's safe, because...

You might get my vote,
how do you know?

You'd be accused of
tilting yourself over backwards.

- You gotta be very careful.
- Nah.

- Don't vote for a fellow American.
- No, no.

- I'm very happy to see you.
- It's nice to see you.

- Are you having a good time?
- Yes.

I've never been a juror.

The food is good,
the food is good.

- Okay, I'll see you. Bye. Best to Debra.
- Okay. Ciao.

You have an appointment
in the afternoon.

- When?
- At four o'clock.

Is it okay?

You okay?

Is it all the time like that?

Well, this is part of it, yeah.

Did you have a coffee or something?
Do you want something to drink?

No, I'm okay, thank you.

What's the matter?
You seem weird.

- Yeah, well, I don't understand, really.
- What is it?

You don't understand what?

All these interviews,
you're always talking about reality.

Look at this.

In all these interviews
you're telling,

"I'm looking for real people,
I'm off Hollywood,

I don't care about
this Hollywood bullshit"

and now I find you here

and John Landis is here
and you say, "Oh, my God."

You're so friendly and you're
giving these interviews

and all these photographs
and smiling and so nice.

I don't know.

- What's the matter?
- I don't understand.

What don't you understand?

I don't understand. This is not reality,
this is press about films.

- Yes, I know.
- You came here for a real person.

In all these interviews
you're saying how much you care

about what people
really care about

and now I find out
that you're spending your time

among all these people who are...

What do you expect from me?

You think that I'm not
making movies

and having to sell them?

So that's your life?
That's your life?

Staying in palaces, in hotels,
meeting reporters...

No, that's not my life.

This is a part of the job
that I have

so that I can make
the films about the reality.

I don't understand how you can
stay in touch with reality

if you spend your life this way.

And I couldn't imagine...

That's okay,
I mean, I just didn't...

I couldn't have imagined that.
That's all.

That's all, I'm surprised.

Sorry, I don't know
what to say to you about this.

Can we go and have
something to eat?

We have to eat,
even though it's not very poetic.

We have to eat, it's real.

We go to eat?

I don't understand
why you can't come with me

and watch a movie
like a normal person.

Because I'm not a normal person,
I'm sorry.

This is Alain Delon, you like him.

I love him
but I can't see a movie.

I've got press,
I've got interviews,

I've got all kinds of
obligations here.

I'm sorry, this is not
like a holiday for me,

I don't know why you
don't understand this.

You're a journalist,
you should understand this, no?

- Yeah.
- You go and see the movie and enjoy the movie.

I want you to enjoy the movie
and have a very good time.

It's just that I'd love you to
come with me to see a movie.

I can't just go see movies.

I go to film festivals to work,
I don't go to see movies.

These people come
to see my movies.

You never see a movie
when you go to a festival?

I never see a movie
when I go to a festival.

Will you please come
and see this movie with me?

- I can't do that.
- Please.

- I mean, I...
- We have to talk with the Japanese.

What Japanese?

- The Japanese who sent me a fax from Tokyo.
- Okay.

Dean. You've been doing
interviews all day.

Do I exist a little bit?

- Of course you exist.
- Can you come with me and...

Look... I said
in a moment, okay?

You go and see the movie,
let me do my business.

These people came
all the way from...

- Okay, okay, this is ridiculous.
- take care of me.

Don't worry,
I'll pick you up later.

What fax? What Japanese?

The Japanese that made an offer
for your film.

What is the deal?
What do the Japanese want?

They want to buy
the film for Japan.

They want all rights,
they want theatrical...

And how much are they gonna pay?

I think they are shy.

They want us to tell them
how much we want.

Movies give you this image of men,

the role models for men.

I kept looking for Burt Lancaster.

You see this guy, you think,
I want this guy to save me.

I want this guy to take me away.

I want him to look at me and know

this is the only girl for me.

He was male perfection.

He was physically beautiful

and he had this
tenderness about him.

But they're not like that.

They're too busy telling you
about their last relationship

or what BMW they've just bought.

He could love a woman in a way
that I wanted to be loved.

Men were Cary Grant,
men were Gregory Peck.

But in reality
men were not Gregory Peck,

men were assholes.

I'm sorry, I'm very sorry.

I don't know what happened.

I had a conference
and it went a little later.

I'm sorry, all these people
are looking here.

They're waiting for
whoever's coming in next.

Let's get out of here.
Let's get out of the way.

I've been waiting
here for you all this time.

What are you so upset about?
We're talking.

I don't like this thing.

What is the matter with you?

I'm sorry, let's just go away.

There are people looking at me,
they know who I am.

- You can't do this in front of people.
- You always care about yourself.

- No.
- I don't care about these people looking at me.

Okay, but we don't want to
make a scene

in front of people looking at me.

Let's go out through here.

I'm sorry, I'm really sorry.

Hey, hey,
hey. Wait a minute. Where are you going?

Wait a minute!
Wait a minute!

Why are you running away?

I don't want to stay here anymore.

- What are you talking about?
- Leave me alone!

- Why?
- Don't pull me like that.

Okay, but why...

Stay in your world,
it's very nice.

I don't belong here,
I don't know what I'm doing.

Oh, come on, let's have a coffee
and talk about it.

I don't want to
talk about it anymore.

I just... I feel like I don't
know what I'm doing here.


When I was growing up,

I thought that movies
were real life

and that my life wasn't.

I thought that if
I could just grow up,

if I could just
survive my childhood

I could get out
into the real world

and it would be the way
it was in the movies.

My favorite movie when I was
growing up as a little girl was always

It's a Wonderful Life,

because no matter how bad it was,

no matter what the struggles were,

you could always count on
the love of the parents

and the love of the children

and the love of the family
and the love of the home.

There were daddies in families

and my father left
when I was about seven.

Um, the houses were all clean

and my house was a mess 'cause
my mother took in dress making

to take care of us.

Turned out it wasn't
like the movies

and I felt betrayed.

I can't control it
like they do in the movies.

I have no way of making
it all work so perfectly

like it did for Gary Cooper

and all the beautiful people.

I mean, it makes me feel bad
about getting older,

it makes me feel like
there's something wrong with me

that my life
didn't work out that way.

I felt that all those people
who made all those movies

and wrote all those love songs

knew it was a sham

and that they were just playing
this big cruel joke on all of us

to make money off our emotions.

In the movies
there's a happy ending

and in life there
are just endings.

* How do I love thee

* Let me count the ways


Hi, um, hi.

Is that Dean's house?

- I'm Jeanne Marie.
- Peggy. Can I get your...

I'll bring you bags in,
that's what I'll do.

Thank you.

You can go,
get something to drink.

* Shall I, my love,
Compare thee to *

* Baba au rhum
Or summer's day? *

* Handel chorale or Malibu?

Thank you.

* Rubens, Ravel,
Or Mel Torme? *

* Is there a better metaphor

* For how I melt
beholding you? *

* Or shall the glow I so adore *

* Only be felt
enfolding you? *

* Racking my brain
for fitting praise *

* Seeking in vain
the perfect phrase *

* Poring through piles
of poems and plays *

* Haunting the aisles
at Doubleday's *

* I might convey
the state I'm in *

* If I could play the mandolin *

* Since I cannot
I'll just declare *

* You are beyond compare
and leave it right there *

* Who could compose
your Valentine? *

* Not Billy Rose
nor Gertrude Stein *

* Only a heart like
Larry might tell you *

* What burns in mine tonight *

* That rich of which
there's only one *

* Simply defies comparison *

* So I repeat in sweet despair *

* You are beyond compare

* And leave it right there

Great. Great.

I cannot tell
you how great that is.

I'm not sure that that
works for the movie.

- Want another?
- It's really beautiful,

but I don't think I can use it.

It's just not, um...

It's gentle,
I've got this kind of...

I love it, it's just, um...

I've reached the age now,

it's called the aging
songwriter's syndrome.

Any subject that comes up
I've written a song about that.

But now it's gotten to the point
where there are at least two.

Let's take a little break now
and everybody enjoy themselves.

Everybody, have a drink or
something. Don't worry about it.

Sunday afternoon, you know, relax,

be casual, family.

I'm not addicted to these Sundays.

- Oh, honey, please.
- When do I get to meet this Dean?

I mean, I didn't come here
to see some guy sing.

He's not gonna have a bullet
on the rap charts.

You were great in that.

Thank you very much.

Was there a script,

or did you have any kind of
storyboard or lines?

- There was no script.
- There was no script for that?

So you're in financing?

I am, yeah, we do some
international financing,

lately we've gotten into
some films.

- Right.
- And it's been interesting.

Why do you keep
looking at him like that?

I got business with him.

I want to talk to him as soon
as he's through with that girl.

- Is that all right?
- Yeah.

Okay, that's what I'm doing.

What are you doing here?
Why are you here?

How do you happen to be here?

I'm just coming from the airport.

I'm sorry, did I miss something?

I didn't... You didn't tell me
you were coming.

Well, I wanted to surprise you.

So you wanted to surprise me?


I'm in his next movie.
I'm going to be starring.

I've never worked this way.

I've never had no script.
No nothing.

You deal mostly in Deutschmarks
or are you dealing in dollars?

Oh, yeah, of course Deutschmarks.

He's got all these qualities.

Well, then that's what
he'll bring forth.

- Won't you?
- My qualities?

- Yeah.
- I'm not comfortable with my qualities.

We have to pay in
dollars of course.

That's the interesting
part for us.

- Well, it's a big risk for us sometimes.
- Sure.

You know, I wanna get with
an actor like yourself

and just work on
this kind of style.

- That's what you'll do.
- But beforehand...

No, no, no,
you don't do it beforehand.

But I'd like to,
is what I'm saying. I mean...

Well, you don't do it beforehand.

You do it.

I'm not comfortable just doing it.

Business, business, business.

Well, you're making it
very obvious

that you're looking at him.

They'll be through in a minute
and then I can talk to the man.

I just was so stunned
when I saw you. I didn't know...

Didn't you think you should write

and tell me you
were gonna come? No.

If you want me to go I can go.

No, I'm very happy
to see you. Really.


A little confused
and a little scared

- but very happy to see you.
- Mm-hmm.

I keep getting it confused,

this idea I have about love
that I've seen in movies

and my real life.

The one most important thing

that I remember
from films as a child

and that I see now
as an adult is passion.

The woman on the train platform

who by some mysterious
magnetic force

is drawn across the train platform

through 50,000 people to the
man of my dreams, you know?

The feeling of watching
these two people

go towards one another,

just drawn towards one another,

it seems as if they're just
running to be towards one another.

Our hearts would start pounding,
the music would build

and we'd run off
to the sunset together

and we'd live happily ever after.

I remember the feeling
of sitting with a man

that I was seeing
and looking at these two people

on the screen
running towards one another

and jumping into
each other's arms.

And this feeling just hit me

in the pit of my stomach
and I thought,

my God, I don't have
that with this man.

You know, I'm in a lousy mood,
I walk in the door

from being stuck, I don't know,
in a traffic jam for two hours

and, you know, I see my boyfriend

and my heart doesn't pound
right out of my shirt

and he doesn't talk
like Cary Grant does.

If I'm 80 years old
and I'm with someone

and I still love looking
at them across the table,

um, that to me
will be true passion.

Why did you and Dean break up?

Well, you know,
it was a long time ago.

- Yeah?
- You really want to know?


It's very difficult to,
you know, explain these things,

like, boom, in one.
It's many, many things.

Explain it in stages.

What is that stuff?

Rescue remedy.

It just sort of...

Rescue remedy?

You're from where?


Oh, Paris, France.

Paris, France, that's it.

You live here?
That's your place?

It's where I'm staying.

- Staying.
- Mm-hmm.

- What does it do?
- It just calms you down.

I think it'd be good for you.


Are you actually living here
or not living here?

I'm actually living here, yeah.

You live here with Dean?

Yeah, I live here with Dean.

And you're in love with him?

Why? Are you in love with him?

I'm asking about you right now.

Is it so difficult to answer?

- No.
- What's the big mystery here?

I have a feeling it's a big
mystery if you're living here or not,

- just asking you a question.
- Wait, wait, wait.

It's fine, I'll answer
the question.

I mean, you don't have to
if you don't want to.

- I just said I'd answer the question.
- Okay.

Yes, I love Dean.

He's been very,
very, very good to me.

Does he love you? I mean...

I suppose he does.

Do you have
any plans together, or...

I don't make a lot of plans.

When you fall in love
with someone it's like

the sun comes out
and it shines on part of you.

- You understand that?
- Yeah. Oh, yeah.

So, so the process
of falling in love

is highlight of self,

which makes you feel
100 times more alive.

Every time I fall in love

it's either all or nothing.

It takes me so long
to fall in love with somebody

and then I find somebody
that I really fall in love with

and I fall so much in love

that I become possessed
by this person.

Or at least my idea
of this person.

And then I spend
all my time trying to be

what I think this
person wants me to be.

My wardrobe changes,
my-my style changes,

the things I say change,
the way I think changes,

my political beliefs change.

And, the thing is that if they
fall in love with that person,

then I know that they're not
falling in love with me

so I have to play this charade for the rest of my life...

...which is crazy

because you almost hate them

for not loving you for who you are.

But if they love me for who I am

I think maybe
they're not so great.

You know that old
Groucho Marx thing.

There's somethin'...

There's something
between the two of you.

I don't want you
to feel that I'm intru...

Of course I am intruding.

You know, I'm just coming here,

- I really don't want to mess, mess up your whole life.
- No.

What was it between you and Dean?

I needed him.
I needed somebody

who would help me get
dressed in the morning.

I needed somebody who would ask if

I had had any lunch.

I needed a lot, I was a mess.

I was a mess.

He helped me to grow up

and he helped me
to accept responsibilities.

And he helped me
to... have a life.

A real life, not just...

sort of marching through.

A life that I'll always have.

I'll always be me...

because of him...

no matter what.

No matter what.

When I imagined
the Pacific, I imagined sunsets.

Cause I had this poster
above my bed all my childhood

that was called
"Pacific Sunset."

Is this what it looked
like to you? In your mind?


I don't know, it's not sunset yet.

In Brittany, where I come from,

the west coast of France,

they have their own
language, it's Breton.

I know.

And they only have one word
to say "blue" and "green."

It don't make any difference,
it's the same color for them,

because it's the color of the sea.

It was very much like that,

palm trees and all orange,

and I thought, one day,
I promised myself

one day I will see
a Pacific sunset.

It was like a huge thing
because I'd never traveled,

my parents never left France.

And here it is.


You just don't know
what's going on

in this universe.
You just don't know.

You just have
a feeling, a sensation,

but you cannot know anything
about what is really there.

But what is real
besides your perceptions?

Explain it to me,
I don't understand.

How do you know
if something really exists?

And how do you know whether
what other people perceive

is the same thing
that you perceive

or it's just imagination,

every one of us just dreaming
a world completely different

than the world you are inventing?

Where were you all day?


Out on the beach.

I just go out and take either
right or left, north or south.

It helps me think.

I just love these Sundays
with all these people coming in,

dropping by all the time.
Isn't it fun?

Dean is always wandering around.

Dean thinks it's fun.

You don't like it?

I don't know.

Is that because you don't
like that girl that's here?

French girl?

I guess she's some kind of
femme fatale.

Sort of.

I... I like her.

How can you like her?
She's so different from you.

You're so simple, you know,
jeans and California,

and she's this French,
uh, coquette.

I don't see her being
coquettish or anything.

She's so French.

Do you only like people who
are somewhat similar to you?

What the hell does he want anyway?

Total subjugation.

I think you're gonna get the part.

Dylan? Dylan, okay,
I'm going upstairs now.

Um, five minutes,
all right? Hmm?

For what?

What was that about?

I don't know.

Ugh. I mean,
I don't know if Dean is...

If they sleep together.

I mean...

Do you think he's like
playing a game with me,

you think this is
some kind of test?

- How are you?
- Nice to see you.

What business are you guys in?
Are you together in business?

- No.
- No, no. We just sat next to each other.

- Did you know Chico before you came here, Hanno?
- No.

- And Chico, Hanno?
- No, this is a chance meeting.

- You met here, today?
- Seems to be.

Why are you both here?
What business are you in?

- Finance.
- Finance.

In the finance business.

You know, sometimes
directors like to play with you

to get you in
a dependent situation

and maybe have some kind of
secret on you.

Hanno, this is amazing, that you
and Chico should sit next to Dennis.

- You know who Dennis is, don't you?
- No.

I'm Dean's producer.

- Oh, you're Dean's producer.
- Of course, I am.

- You understand what I'm saying?
- No, I don't.

They play...

- Are you interested in her?
- Yeah.


But I don't know if
I should, you know,

because he's around
and I don't know

where he's being or who's...

Go for it.

You know what Dean said to me?

He said, "You're gonna
see tonight Hanno and Chico."

- And here we sit.
- And here we sit. Isn't this amazing?

I'm sitting here and all of a
sudden it's Hanno and Chico.

- Chico, right?
- Chico.

- Hanno? Right.
- Hanno.

Well, it's more than five minutes.

I'm not going.

- She's waiting.
- No, you see, he wants me to go up there.

He does.
He's been waiting all night.

He knows I've been waiting all
night so he wants me to go up there,

then he's gonna look for me,
he's gonna say, "Where were you?"

He completely controls your life.

No, he's trying to control
my life and I'm not letting him.

I'm just going to wait here. He's
got to come here at some point.

Do you know what
F. Scott Fitzgerald said

was the difference between a sentimental
person and a romantic person?


He said a sentimental person is a
person who thinks that things will last.

A romantic person is one who has

the desperate confidence
that things won't last.

Will things last?


Well, good,
then you're not leaving.

I don't think that's
what's going to last.

So what's gonna last?

What we gave each other.

It took you long enough.

I was waiting for you. I... I...

No, no, no. Once you
came up it was fine,

but it took you long
enough to get here.

I always got the idea
that even though

you never saw them making love
in the movies,

you never really saw
anything transpire,

and even though one of them was
probably, had never had sex before,

that when they finally did it,
it was absolutely fantastic.

Oh, I love, love, love this.

What were you hovering
about downstairs, huh?

I was waiting for...
just to talk to Dean.

You would never imagine
Spencer Tracey

and Katharine Hepburn,
uh, having a quickie.

- I don't like feeling like Dean is...
- Like what?

I feel like a marionette,
feel like he's manipulating me.

H-he's not here. Will you just
relax. What's your problem?

Let him worry about
what he worries about

and you do what you have to do.

Is this... I mean, I don't know if
this is part of what I have to do.

Oh, don't be ridiculous.
Of course it isn't.

- You're very paranoid.
- I just wanted to...

I wanted to work with you.

- With me?
- Yeah. Because you've worked with Dean before.

You need to feel
secure or something?

You know, security isn't the
answer to everything, you know.

It just isn't.

What is?

There's a great line in
a play by John Webster,

which is, "Security some
men call the suburbs of hell."

Think about it.

I feel like I'm being watched, like,
you know, here, here, anywhere.

Or a tape recorder or something.

Just... Just be, just be.

I like cowboys a lot.
I always have.

I grew up in the '70s
and that was like

post-sexual revolution.

A cowboy to me always represented

everything that I
wanted in a fella.

They were strong and masculine

and they were good to their dames.

Women were having
orgasms on the screen

for the first time
and sex was this big deal.

These days there aren't
that many cowboys around

and they happen to come
in the forms of musicians.

I just couldn't wait till
I'd know what that was.

The only problem with cowboys is

they had a tendency to leave

and not necessarily for
anybody else, just to go.

In the movies the guy is
always really sexy

and virile and strong
and aggressive,

and he just takes the woman
and he grabs her and he throws her

up against the wall
and he kisses her hard,

and I always thought I wanted
that but now I realize

that if a guy really did
that to me I'd slap him.

Ever since Jeanne Marie
got here, I feel,

all of a sudden, like there's
some part of the world

that I am never going to be
capable of understanding.

I think that I've always had it
in the back of my head

but something has
made it very clear

there's some kind
of way of thinking

that I'm never gonna be
capable of.

I guess what it is
is that she and Dean

have something that they can share

that I will never...
even begin to know.

Maybe it's time for me to...

see how grown up I really got.

When you do something courageous in your
life, there's lots of movement afterwards.

And you're being
very courageous right now.

And you'll be rewarded for it.

I promise you.

I know.

I know.

We've pre-sold the film
for Germany, big, big, big sale.

- Right.
- Yeah. Even before shooting a single scene.

- Isn't that nice?
- It's fantastic.

- So what do you want?
- Carlotta told me that you wanted to see me.

Oh, yeah. Well,
I wanted to talk to you about the part,

about what you're
gonna do in the movie

but when I went looking to
talk to you you were gone,

I found out that I couldn't find
you. I didn't know where you were.

And then I find that Carlotta
told me that you were fucking her.

Which is cool,
but I just don't think,

you know, since you
chose to do that

I think that's a way
of your saying to me

you'd rather not
talk about the part.

I wasn't saying anything to you.

You knew it would come
back to me since it's Carlotta,

so I figure that
what you're trying to do

is say to me,
"Dean, I'd rather not talk about

"the details about this part,
I like your way of working,

"I like the spontaneity
and I'll just show up

on the first day of the set and
be available to you, be open."

And I think you're right. I think
your instincts are really right.

I think it's better,
I think it's better for the part,

I think it's better for our
communication, I think it's better

that you don't have too much
information to go on.

I think it-it'll stiffen you and it'll,
you know, it'll tighten you up.

I've looked at the films
over and over again,

four different films,
small scenes you've had.

You were good in them,
but there was a tightness

that I want to break.

I want to get a looseness and I'm afraid
that if I give you too much information...

I think that's what was wrong. You obviously
had a script, you had time to study,

and those films were conventional films,
and you were really good in them

or I wouldn't want you to star in
this movie. It's very important for me.

You're playing a starring role.

But since you choose
to fuck rather than

be available to talk,
that's good, too.

It tells me something about you
and I'm working that into the character.

I don't understand.

What? It's good for the character.
Because you know, I use...

I pull stuff out of actors, I don't try
to impose parts in a conventional way

like I used to on an actor,
you know?

I don't try to impose
my idea on an actor.

I want to pull the part,
the sensibility out of the actor, right?

So if you're the kind of guy
who goes off and fucks somebody

when you've got a business meeting,
which is totally fine.

It's good. I'm not saying
this as a put-down...

I waited the entire night
to talk to you.

Until you chose to
fuck Carlotta. Right?

Wuthering Heights.

Heathcliff. David Niven.

Which do I choose? Good
boy-bad boy? Bad boy-good boy?

Inevitably the movies
make the bad boy

far more appealing
than the good boy.

But in real life the bad boys,
they are never there.

I mean, they're afraid of love. They're
running around and they're afraid, and...

And they're bad.

My favorite movies were
these mythological adventures

and so I always dreamed of this
ideal romantic dark

handsome adventurer
that I'd end up with.

Inside of me I want
this rough guy, I want this cad.

If they're inarticulate and cannot
string two sentences together,

very angry...

That means they really love you.

The movies that I really
went for when I was a kid

were musicals and pirate films.

So I always ended up looking for
the swashbucklers who sang.

I was most attracted to
the movies where someone died.

Or where someone left

or there was some insurmountable
reason they couldn't be together.

I think the movies
made me need to have

a really handsome guy.

The problem was that I found that

the swashbucklers usually
ended up being abusers.

They would go to war or there'd be
some great distance between them.

Or they'd even marry someone
that they didn't love

because they couldn't be with the person
that they did love because they were dead.

If he was lacking in substance,
well, that was okay,

because he looked like he was
supposed to look,

and then I went out of my way

to look like
I was supposed to look

and it was all gonna turn out
great 'cause we looked right.

So if someone really loves you,

they leave you.
Permanently if possible.

- Thank you.
- No, you're supposed to take the little one, it's for you.

Where is Jeanne Marie?

She, um, she went out
for a walk, I think.

She's just, uh... She's a little
messed up about the time.

You know, it's exhausting
when you come from Paris.

Just the time?

it's been a long trip for her.

Anyway, back to this stuff here.

You've seen
practically all of them.

I've not seen Kathleen,
I've not seen Annie.

I have seen her.
I've not seen...

- This one you didn't want to see.
- No, no, no.

- Okay, scratch.
- What's the new movie?

The new movie is
called Happy Ending.

And it is a movie in which
I cast a woman

or look to cast a woman
play my wife.

- And it's about?
- Finding a happy ending.

He can't find the right
actress for the wife.

And finding the right actress
for the wife, yeah, you're right.

Yeah, so he thinks
that he's gonna find a woman

when he makes the movie
but I think he should just

make the movie with
who he has around him

and maybe he'll be surprised.

- It's been a long day, hasn't it?
- Indeed.

- When are you shooting, every day?
- No. Not every day.

- Oh, good! So watch some of this stuff.
- Okay.

We're doing
an interesting process.

We're kind of shooting them
being interviewed for the job.

He asks people their personal status,
personal status questions.

Marital status?
I love all these phrases.

It's time to go to sleep.
Are you tired at all?

A little bit.

- Why don't you go home?
- When are we gonna do this?

We can do it tomorrow
in the morning.

I don't wanna work now,
I'm just too tired to work now.

Tomorrow you're going to
be doing something else.

- Where are you staying? Where did they put you?
- Bel-Air.

- Bel-Air, very nice.
- You don't even wake up in the morning.

- You're gonna have your machine on...
- No, no, no.

Enough work, okay? Go home.

- Good night.
- Good night, love.

Have a great shoot.

And I'll see you when?

- Tomorrow.
- Okay.

- At the office.
- Right.

Check exactly
about the time, okay?

- Check with this little one here. Okay.
- Can I ask you something?

- Get out of here, will you, please?
- Can I ask you one thing?

- What?
- Can I audition for the wife?

- What, are you, crazy?
- Why?

- I mean, I'm an act...
- You're not an actress.

- Yeah, but I can be one.
- Okay.

We'll talk about it
some other time.

I wish you'd just stick with doing your
job the way you're supposed to do your job

and everything's gonna be fine.
You're really good at this.

- You're being a great help to me.
- Just let me read something.

Okay, speak to you later.

Good night.

- Bye.
- Bye.

- Bye.
- Bye-bye.

It's her lip liner.

- Did you steal it from her so she won't use it?
- Of course.

I try to keep her sort of stripped
bare of some of the excesses.

- Hi.
- Hi.

Big day.

An important one.


So what are you
going to do about her?

I see something she does to you.

Yeah, she's very special.

No question about it,
she's real special. It scares me.

I think that maybe you
need to be a little bit scared.

I think you should
go in the deep end.


I took and took and took from you.

You didn't take anything from me.

It was mutual taking
and mutual giving.

You have to understand,
there's always two people.

If one person
wants to let you take

then they are taking by
letting you take. That's part of it.

Yeah, but here's somebody
who can give to you.

Maybe, but in any case,
I don't want you to feel

in any way and for any moment

that you took more than you gave,

'cause it's just not true.

What I'm scared of
with her is that

there's something she wants
that I don't have to give.

I know what I can give you.

I don't know what it is
that I need to give her.

- I think you should find out.
- But what if I can't do it?

And then what? You'll fail
at something in your life?

- That's pretty scary for me.
- It's okay.

I told you many times you're
too small a kid to be so wise.

I don't want a wise-guy kid here.

Don't start growing up
too fast on me.

I just hope she fixes
your socks for you.

A touch of meow,
at least there's a little.

Meow, here.

Let's go to bed.

- Okay?
- Yeah.

Go on and I'll be there in a bit.


I've been waiting for you.

I didn't expect
anybody to be up this late.

Can't believe
you stayed outside so long.

It's cold by the ocean.


Well, you know, I don't know
what the time is anymore.

I'm still in Paris time,
I don't know.

What I should do now is
call a taxi

and go to the airport,
find an hotel,

spend the night, spend some time

and get on a plane to Paris.

- No.
- Yeah.

No, no, you can't do that.

Yes, that's what I should do.
That's what I'm going to do now.

You came here,
you came here for a reason

and you have to see it through.

I think I've seen enough really.

He doesn't care about me
that much and you're here, and...

No, don't even think about me.

No, no, no.
You don't understand. No.

I just dreamed
the whole thing, I guess.

You stay here tonight,
I'll be gone in the morning.

I feel so exhausted.

I know.

So I'll stay, I guess.

Can I sleep here?

I'll get you some sheets.

You're so nice.

I don't want you to be gone
in the morning.

You rest.

- You all right?
- Yeah.

Just close your eyes.


Stay asleep, stay asleep.


Here's everything you need.

Don't you think you oughta
take your boots off?

Yeah, I probably should.

And I'll see you
in the morning, okay?

- Mm-hmm.
- Okay?

I always felt like I was waiting.

Waiting for something to happen,

for him to come
and then my life would start.

In Disney movies
life begins at marriage.

You met someone, you fell
in love, then you got married

and you lived
happily forever after.

And I got married
and that was wonderful.

For two years.

I always had this feeling like

somebody would see me
and they'd see how sweet I was

and the birds around me

and they knew how
the animals loved me

and they'd know
what a great person I was

and they would fall in love
with me immediately.

Men that I thought were
going to fall in love with me

like I had seen in the movies

come into my life and then leave.

I'd get married and I'd go off
into the sunset

and have babies and it'd
be great. Never happened.

I've been single
for 11 and a half years.

And that's not the way
I saw it in the movies.

The movies did not
prepare me for that.

No one prepared me for that.

I was supposed to be
married and happy forever.

Bing Crosby musicals,
Fred Astaire,

I always dreamt of being
with this wonderful guy

and we'd tap dance
around the fountains

and we'd be tapping in the rain

and everybody on the street
would be going...

* She's in love She's in love *

* With a wonderful guy

Now we're gonna see the first
and most important site

that there is to see in Venice.

- Mm-hmm.
- This way, this way.

- Mm-hmm.
- This way.

- Mm-hmm.
- Straight ahead.

- So...
- Now, what do you think it is,

the single most
important Venetian site?

- The ocean.
- The ocean, huh?

- No.
- No?

But it's very close to the ocean.

The canals?

No, very close to the canals.

This is my office.

- This here? Oh.
- Yeah.

Yes, I don't have to
go very far, do I?


Oh, my God.

- Hi.
- Hi, everybody. I'm sorry I'm late.

Got a little hung up.
Sorry to keep you all waiting.

I think what we're gonna do
for the sake of efficiency

and the way I've structured it,

is that, uh, we're going to
do the auditions right here

right here, instead of
going into the other room

or setting it up.

why you see the camera here.

Somebody turn the phone off
because we've got the camera live.

You can answer it
but then turn it off, okay?

Oh, excuse me one second.

Why don't you wait in my office?

Yeah, okay.

I'm sorry, I forgot
that we had this scheduled.

You didn't remind me...

- Over there?
- Yeah, in my private office.

I'll just be like
half an hour, 45 minutes, okay?

- You'll be okay?
- Yeah.

Okay. Great. Hi.

Let's start with this extraordinary-looking
creature in the jacket.

- Are you set up okay, Hanania?
- All the way in.

Okay, I'd like you to
look right into the camera,

straight into the camera.

- What is your name?
- Stephanie.

Why are you looking at me?
Could you do it right into the camera?

You mean I have to talk the
whole time into the camera?

Why, do you object to doing that?

Well, if this is an interview,
I'd like to talk to a human being.

Yeah, but it's an
interview for the part of my wife

which can't possibly
be a human being.

So, it's, uh...
I gotta ask you stuff about...

No, I'd like you to look
into the camera.

- I can't.
- Why not?

- I can't work that way.
- Why not?

Because that's not a human eye.

If you want to know
who the human being is here,

I have to be able to
communicate with a human eye,

with hopefully a soul behind it.

God, I can't guarantee you that.

What I want to know is about you
as a potential wife and mother.

- So...
- Sorry.

Are you... I'm sorry...
You find that amusing to you?

I didn't know what the role was.

I know. I don't tell people
what the roles are.

Yeah. You know we've been
waiting about several hours today

and how many hours yesterday?

I'm sorry about yesterday.

I know that you were there
yesterday and I'm very, very sorry.

Can you see me
as the father of your children?

- No.
- Why not?

We haven't attempted
anything physical together.

How do you know
what that would be like?

- Well, I...
- What kind of a face is that?

I mean, that's...
It's as if the idea was the most

- ridiculous thing in the world.
- It's pretty ridiculous.

Come up to me
to show how hurt I am, please.

- Actually...
- Look at this face.

Why? Why?

That's a little too much, right?

Why? I really am hurt
but I'm trying to cover it up

by pretending to be hurt.
Why is it such a ridiculous idea?

I thought you were
pretty intriguing

when I met you that night.

- That's nice to know.
- Yeah. But I thought about it.

I can't believe I'm saying
this in front of all these women!

So then what you would want
to have with me is an affair

rather than a marriage.

- I don't even think that.
- No?

I'm sorry but I think
that there would just be

too much, uh, animosity.

We were so argumentative

and I thought there were
great sparks from that,

but that's not who you marry.

Let's go over here.

Let's go to her left, okay?

Okay. Hi, there.

- Hi.
- Look into the camera.

Have you had any experience
as a wife or mother?

How are you?

What is he doing?

Goodness. This is hard,
to look into the camera.

- I know.
- Okay.

It's sort of like there's,
it's, there's no one there.

Why could you play
the part of my wife?

I think I'm right for the part.

- Really? Why?
- Yeah.

I just do.

- You really want to be my wife?
- Yeah, I do.

- In life?
- Yeah.

- You mean on film and in life.
- Yeah.

- All of the above.
- Which one more?

I think it would be, um,
which one, hmm?

Well, um,
but this is for a part, right?

- I mean, initially this is for a part?
- Right.

So I think we should start there.

Okay, thank you very much.

I think it's
quite a refreshing way.

- How did he audition you?
- That's beside the point.

Off camera?

You're very cheeky.

- I'm not cheeky.
- Yes, you are.

- You're very cheeky.
- I'm learning from him.

I will never be a wife
in real life

and I just hate
what it represents.

I will never cook and clean
and pick up after anybody.

Why does a wife have to be

cooking, cleaning and picking up?

Isn't that an old-fashioned idea
of a wife?

Yeah, that's my mother's version
of a wife.

It's how I grew up,
it's traditional

and no matter what
it ends up that way.

What about children?

I'm afraid to have children.

You probably think that makes me
a terrible woman,

and I feel
guilty as hell about it but...

I don't know, maybe I'd be
a terrible mother.

I'm too selfish.

I don't think
that makes you anything.

It just makes you
whatever you are.

There's no rules here.

Nobody says you have
to be certain things.

Just what do you want to be?

I am an actress.

I want to be a strong woman.

I want to show the world

that it's not bad to be a woman.

- Thank you.
- What's he like in bed?

Why do you want to know?

Well, if I'm gonna marry the guy,

I'm going to have to know
what he's like in bed.

Listen, you've just got to
stop all this and relax

and enjoy the job you have.

I mean, this is absurd,
this behavior.

What's he like in bed?
I wanna know.

Expectations of
what marriage should be,

how you're supposed to act.

My dress started becoming
more conservative,

I started cooking meals
on a regular basis.

Not me at all. Um...

And I started becoming
like a housewife.

And I never really...

You know, like Donna Reed
or somebody like that,

and I never really
wanted to be Donna Reed.

It took me about two years
to recover myself

because I sort of
lost myself in, uh,

the ideal of what I thought
marriage was going to be.

Would you like to
get married again?


I'd like a relationship,
uh, but no marriage.

I want everything that's included
in marriage without marriage,

without the contract of marriage.

Could you play my wife?

Now, the part of me that's
Doris Day wants to say, that...

say yes, because I feel
like I should defer to,

you know, be nice to you

but the part of me that's now,
like, claiming myself says no

because I think
you're too abrasive

and that would
scare me on a regular basis.

Hold on a second.

- Is everything all right?
- Yeah, everything's fine.

How much film is he in?

Well, I feel like I should
get married in three weeks.


Because I'm 36
and I've waited too long.

Tell me about
being a wife and a mother.

I feel like I'd like to go
to the Volvo Station Wagon Store

and buy the car
with the kids already in it.

- Okay, you insist on doing this, right?
- It's about time.

What are you gonna
show me? What are you gonna do?

What did they
show you? Look at me.

Into the camera. I'd
like to give you a chance now.

Tell me why you should
play this part.

You insisted on putting yourself
in front of the camera.

Tell me something.

- I'm your wife. I'm your real wife.
- What do you mean?

I mean, I take your crap,
I take care of you,

you rely on me, I love you
in spite of everything.

That's not a very
healthy idea of a wife.

That's a very subjugated idea
of a wife.

I don't want a wife who's a slave,

I don't want a servile wife.

I want an equal, strong wife.

Do you think I'm servile?

I don't know. You're
telling me that you take my crap

and for that reason
you're a good wife?

No, it means that I like you
for what you are.

A bad person who gives you crap?

Well, that's part of you.

I want you to be stronger,
I want you to be more powerful,

I want you to not
take any crap from me.

Well, then, stop giving me crap.

No! Don't take it from anybody.

What should I do, slap you?

You should do
whatever you have to do.

Tell me what you really feel.

Okay. You never asked me
if I could be a good mother.

Well, I think that that might be
my best talent probably,

because I think I could be
a good mother to you.

And I think that's what
you really need

and that's what you've been
searching for your whole fucking life.

A mother? Okay, good for you.

What are you doing?
What are you doing?

I'm so bored,
I don't want to wait anymore.

- What are you talking about?
- It's my turn, ask me stuff.

- But you're not an actress.
- I don't care. Ask me stuff.

it's a little strange to ask you this.

I feel a little uncomfortable
with you.

Can't you just ask me
some questions

the way you were
asking other people?

You're not interested
in me at all?

Come on, come on, come on.

- Okay.
- Ask me stuff.

The problem is
I'm trying to cast somebody

- to play the part of my wife.
- Uh-huh.

I didn't know if
you understood that.

So I don't think you wanna
play the part of my wife.

I mean, what does that mean?

I'm trying to find an actress
to play my wife,

I'm having a lot of difficulty.

- Really?
- Yes.

It must be very difficult.

- What do you mean by that?
- To be your wife.

I don't know about
playing your wife,

but being your wife
must be very difficult.

- Okay.
- What would you like your wife to be?

I don't know, I'm trying to
find out what I want my wife to be.

That's exactly what I'm doing.

I'm trying to find
what I want my wife to be.

- So?
- So, uh...

Would you like to be my wife?

- Yeah, sure, absolutely.
- I'm sorry, I didn't mean that.

I'm trying to get an answer to
a part within a movie, you see.

I answer as an actress

wanting to get
the part in your movie.

Yes, of course.

I would love to be your wife
on screen. Mm-hmm.


Do you like being
in front of this camera?

I like you're looking
at me a little bit.

You're always looking at
so many people.

Yeah, well, it's difficult.

There's a lot of people
to look at.

When somebody's sitting
in front of the camera

it's much easier to look at them.

- What's wrong?
- That's your problem.

Tell me what you don't like
about it.

What really you don't like
about it.

How can someone share your life?

Do you know about your life?

Do you know the time you spend
with other people around?

Never alone, never in your home?

I don't have a home.

Home is a... no, home is a place
where you have a family,

where you have a partner,
that's a home.

Yeah, but you don't leave
any room for that in your life.

- There's no space for it.
- So how can I create space for it?

That's what I'm wondering.

You don't leave
any space for that,

you're always playing.

That's why I'm trying
to make this movie.

To find out the answer to
how I can make space for that.

And you really think
that having people sitting here

and answering your questions,
that's how you're going to find a wife?

In the movie.

I'm talking about real life.

I don't know what real life is.

Oh, my God.

Maybe you're right,
maybe this is a mistake.

Maybe what I have to do is not try
to find somebody to play my wife.

I guess I should just have someone
play a woman I meet somewhere

who may or may not become my wife.

Maybe... Maybe she'd be a...
I don't know, a journalist,

a journalist who comes to
interview me,

say, at a film festival.

You know, I'm going to the Venice,
Italy Film Festival next month.

Maybe we should
shoot the movie there.

Would you like to play
the part of a journalist?

You are a journalist, aren't you?

This was my mistake. I'm sorry,
I'm sorry I came here.

I didn't have to come here.

Okay. Just let's talk quietly.

No. It's raining anyway
and I have to go.

I'm sorry, I don't know
what I'm doing here.

- Let's have a cup of coffee...
- No!

Wait a minute.
Where are you running?

What do you think?

I just hate looking
at myself anyways.

Oh, that's very helpful.

I don't know. I hate the way
I look so much.

- Don't be stupid.
- I hate it.

I cannot understand why

we couldn't have
a makeup person there.

There's no reality if you have
a makeup person

in the middle of a movie.

Why is it more real
if I have three pimples

in the middle of my forehead?

You think anybody
can see your pimples in this?

I can't see nothing but it.

Wait, wait, wait,
listen to this. This one.

Why are you running away from me?

I don't want to stay here anymore.

- Don't be silly. Why?
- I don't want to stay here.

It's your world.
I don't belong here.

Don't touch me?

I don't care.
I told you to stay.

My character told your character.

No, no, no, you told me before
the take that I should...

No. My character told
your character to stay.

You're supposed to
resist me and run out.

- Before the take you told me to stay.
- Watch.

Heisenberg is
a very complicated principle.

Who's Heisenberg?

Heisenberg said that one particle

can be in two places at one time.

So you and I can be in
two places at one time?


Venice and Venice?


- Past and future?
- Mm-hmm.

- Movies and real life?
- Why not?

It's all possible.