Ça rend heureux (2006) - full transcript
Good evening. "Folie Privée",
a Belgian movie.
Here you go. At the Arenberg Cinema,
Queen's gallery.
"Folie Privée", a Belgian movie,
At the Arenberg Cinema, Queen's gallery.
Playing tonight:
"Folie Privée", a Belgian movie.
At the Arenberg Cinema,
Queen's gallery.
Good evening, "Folie Privée",
a Belgian movie,
at the Arenberg Cinema,
Queen's gallery.
Let's switch back.
You can't work both on a movie
and get unemployment benefits.
Listen, I've tried everything to get a job.
I don't know what more to do.
I've been applying
for funding for three years.
I understand.
But, you've made a movie,
you worked on this movie
while you were receiving benefits...
You can't do that.
- But that's how my job works!
I have to show producers what I can do
so that later they trust me
and give me a contract.
So, you made this movie.
You got money, you got paid for it?
No, I wasn't paid.
- Listen, sir.
I don't have to believe you,
I don't know you.
With all due respect, I don't know
of any jobs without a contract.
If you haven't found a job
in seven months,
we'll have to stop benefit payments.
I'm sorry, that's how it goes...
When will you just fuck me?
Fab, I can't take it anymore.
You've been saying you're tired
for the last six months.
Where are you going? Wait!
Stay here.
Tell me what's wrong.
I don't know.
I can't manage.
- I don't understand. Manage what?
I don't want to be the guy
who says "not with me".
What do you mean "not with me"?
What are you talking about?
In ten years' time,
I won't be able to manage.
But manage what?
I don't know.
I don't want you to blame me.
- Blame you for what?
For that.
For not managing.
Excuse me,
what does "holiday" mean?
When you can't come to sign on,
you write "holiday",
except for Sundays.
Why do they call it "holiday"?
You're entitled to 24 days off a year.
So for each day,
you put an H, for holiday.
But as I don't work,
I'm always on holiday anyway!
It's just the word you use.
H for Holiday.
Except for Sundays.
- Right.
Hello.
There you go, sir.
- Bye!
François?
- Hi, Fabrizio.
How are you doing?
- Fine.
I've been better, but I'm fine.
Four years unemployed,
and how much more?
Just to tell your sad little stories
which are boring anyway.
But I'm happy now.
Two days ago, I woke up and said
"That's it. You're done. Move on."
I want to work now.
No more wanking off.
Four years is enough wanking.
So, what are you going to do?
- I'm going to work.
Anything!
I'll even sell vegetables.
I just want to feel useful.
Do something,
be a part of things.
Not just a wanker!
Wait here.
Hello, how's it going?
- Fine, and you?
Fine. And?
- Well, today...
First showing, three tickets sold.
Three?
- Yes.
See you tomorrow?
Thank you.
- Bye.
Three?
- Three.
Last night it was fifteen.
I do what I can with the means I have.
We don't have much money
for the promotion...
That's your job, you're the producer!
Even if we had a million posters,
we wouldn't have a big audience
for a film like this one.
It's a difficult movie...
Say that once more,
and it's all over.
There are no difficult or easy movies!
Movies are either good or bad,
they're either right or wrong!
Fabrizio, calm down please,
it's no use.
Just stop!
What do we do now?
Stop!
This is perfect.
- Go on!
Mind the glue!
You've spilled the glue!
Be careful.
Not the small ones, the big ones!
Not too low.
Is this ok?
- It's fine!
I was on the pill when we first met.
Then I wanted to change contraceptives
as I was afraid of putting on weight
and I couldn't quit smoking
and that's a bad combination
for your heath.
He reacted really...
violently,
with excess,
I couldn't understand.
You really were...
violent, remember?
I don't want to become a father
by accident.
Do you realise what you're saying?
As if I...
That's the problem.
You don't trust me.
How can you think
that I would play you a dirty trick?
If you don't trust me, how can we go on?
At least I said so, didn't I?
Maybe you could explain?
I'm not ready for kids.
- Who's speaking of kids?
Do I ask you for kids?
I never asked for kids, ok?
Who's speaking about kids here?
Nobody!
Not once I asked for kids!
What should we do?
Call it off because one day,
maybe I'll want some hypothetical kids?
You're ok?
You're ok?
Sorry!
You didn't hurt yourself?
Take it easy.
Yes, he's hurt.
You're ok?
What's wrong?
I don't feel good.
I don't feel good...
You're going to be sick?
You have to do something.
You have to do something. Wake up!
Wake up!
We have to do something.
We have to do something, starting now.
I'm dying here.
Let's make a movie!
- A show!
Let's make a show!
- You can be the lead!
I'll give you the part of your life!
Really?
Then you can be the director!
Let's start right now!
Right here!
- Here's where it happens!
You're my witnesses:
I'm making a movie with this guy!
Hi there, you want to make
a movie with us?
This is the director, not bad, huh?
Hello sir, will you be my witness?
- Do you want to be an actor?
Thanks.
You don't look good, Fabrizio.
I think I need to make a movie.
Would you be up for it again?
I'd love to,
but...
all my money went into "Folie privée".
Everything.
I can't afford to start anything new.
Sorry, I just can't.
What's the most difficult thing in life?
I don't know.
What a question!
What's the most difficult thing in life?
Being consistent.
Are you saying this for me?
I don't look serious? Is that it?
I think it's making money.
What?
- I think it's making money.
And for you?
It's love!
And being consistent.
Do you want to be in my movie?
- You make movies?
Yeah.
What are you doing later?
I think you should go home.
It's not right.
- Yes it is. It's a movie.
And a movie is a story:
it starts here and it ends there.
And between there are challenges.
- That's a cliché!
Maybe it is but it's understandable!
What you want to say is too complex.
- But life is complex!
But you're talking about everything:
about yourself, about the others
and you mix everything.
No one will understand,
my mother wouldn't get it!
What I want is this:
this guy is down,
he can't take any more.
His girlfriend dumped him, it's over,
he's unemployed,
loaded with problems.
He doesn't know where to go,
he wants to make a movie
but no one will give him money.
He's down and when no one
thinks he'll ever make it...
it's like Rambo:
he begins to move, opens his eyes,
he's hurt everywhere,
he's bleeding,
he starts sewing up his wounds,
he puts on his bandana.
He grabs his gun
and his knife,
jumps up ans says:
"Now I want to make a movie anyway!"
Hi, Fabrizio.
Kris, haven't you forgotten something?
You have to pick Jacoba up from school.
You're going to be late.
And then Jef from the day-nursery.
Ok, I'm off.
- Hurry up.
I'm going.
You also promised you'd cook.
I'm off...
Do you have any money?
You see?
- Yeah, yeah.
I'm going to pick up the kids
and do some shopping.
I'll be right back,
wait for me here.
Long time no see! How are you?
Good.
I heard you have a son now.
Congratulations.
What's his name?
- Jef.
That's pretty. It's a nice name.
And you're ok?
- Fine.
I'll have a beer.
- Sure.
Do you want one too?
- Yes.
A bottle is fine.
You know her?
Here you go.
Is your offer still on?
What offer?
- Don't you remember?
What you suggested the other day.
Remember?
- Yes, yes.
It's still on then?
Yes of course.
Because if it's okay
I'd like to try.
I've never acted,
I'm not an actress...
but I wouldn't mind trying.
Yes, that's great!
- Great.
When are you shooting?
In two months' time.
- Two months, already?
Ok.
I'll go and clear some tables.
What shooting is this?
Our movie.
Our movie?
Whose movie, what movie?
What movie?
Well, our movie!
Our film?
- Yes.
Yours, mine and hers.
Mariet, she's not an actress.
She's called Mariet?
- Yes.
So you're promising everyone
they'll make a movie.
Not everyone.
I promised Mariet.
Yeah, so everyone.
And you're also in it?
You're an actor, aren't you?
I am an actor.
Yes I am.
But you know more than I do, Mariet,
more than me.
He has to be in your movie.
Yes. Of course.
Why not?
Well, we really liked your movie
and would like to help you
but you'll have to explain things
because we've never done this before.
There's always a first time!
Have you already produced something?
No.
Well, we've done some theater.
I've produced
a one-man show for Cedric.
It wasn't bad.
But do you know anything
about movie producing?
No, but we can learn.
We're interested,
and later we can figure out
which way to go.
Maybe it would be good
to give an idea
of the story, the plot...
What we want to say.
It's the story of a filmmaker
who's unemployed.
He's having trouble
with his girlfriend,
and when they break up
he decides to write a movie.
And while he's working on it
he meets a waitress and falls in love.
So we're using real life and...
...writing it into the script.
- Right.
We're up for it.
- Sure.
I'll need 10.000 Euros.
That's a minimum.
Like for "Folie privée".
That cost us 10.000 Euros.
Do you think it's possible?
Anything's possible.
- It's just about hard work.
Do you have any money?
No, not right now.
But we can find some,
no problem.
Hello.
How are you?
- Fine. You?
Hello.
- Catherine, this is Jean-Benoit.
The baby already sleeps
through the night.
That's great.
How are you?
- Fine, and you?
So what are you up to?
Well, I'm writing a movie.
I'm shooting in March.
Really?
- Yeah.
But I don't have a sound team yet.
- Well...
You're all in movies?
I'm up for it!
- Do you still have your equipment?
I have my console.
Because right now, honestly...
Will you manage with your baby?
- Yes.
That way they'll get out,
see people.
So what are the terms?
- There's no money.
That's ok.
At least I'll get out,
see some people. Great!
Well...
I have nothing better to do so...
...great.
So call us then.
Bye.
Good luck!
How are you?
- Fine, you?
I've brought you the script.
You're Els.
I'll read it then.
Do you want a beer?
- No thanks.
A coke? Some water?
- No.
I'm off. Bye.
Bye.
Welcome everybody.
I admit I'm a bit nervous as...
Sorry for being late.
- It's ok.
This is Mariet who plays the character
the filmmaker falls in love with.
You're very pretty.
- Thanks.
Can I continue?
- Yes, sure.
So I'll start with a surprise:
at the moment we don't have
any money to make this movie.
But we'll probably find some
so I hoped everybody is ready
to get involved in this project.
But right now, we can't pay anyone,
that's how it stands.
But will we get contracts?
Well, that seems a bit complicated
without money...
Because if we don't have a contract
we have to ask for permission
to do voluntary work.
Because, I think most for us
are unemployed
and if there is an inspection
we would lose our benefit payments.
So I don't mind working for free,
I've done it before
but I can't afford to lose my benefits,
they're what I live on.
It's really important.
- I had to point that out.
Dirk will take care of that,
he'll find out what to do
and keep you posted.
Let's let him finish first.
Just some practicalities.
We start shooting in a month,
so quite soon,
and we'll be shooting for five weeks.
- Oh that's fine then!
This is Jean-Benoit,
we met at our local council
and as he wasn't working I asked him
to help out with set organization.
You have to give it a try!
Well, thanks for your van.
I'm also lending equipment so...
Welcome to Jean-Benoit.
I've read the script...
and it's ok.
It's starting to develop
but...
I'm worried about Mariet.
At first I didn't realize but...
she's taking on importance,
too much importance.
Are you jealous or what?
No, I'm...
I'm worried.
I'm starting to believe in this.
We're putting together something
that will work, I'm sure of it.
We're a whole team, everything's on course
and I'm afraid we're heading...
for a fall just because you're in love.
Everything isn't about professional actors!
The greatest filmmakers
have made outstanding movies
with non-professional actors
so don't start...
How pretentious!
- Hey, take it easy!
Typical of actors!
Do you need a degree
to be an actor now?
I can't believe it.
I can't talk to you anymore.
If I was pretentious,
I wouldn't be here,
I would never have worked
with you.
Just be careful with what you say.
The only thing I'm saying is
I don't want to be there
when it all goes wrong.
That's it.
So we all moved to Brussels
a few years ago
and now I live here
with Christof and Carl.
In the same house, picture that!
And where are you from?
- Immigrants from Limburg.
West Flanders.
Where's that?
- Sounds exotic!
She's from Antwerp.
Merksplaats in the North of Belgium.
Come on, guys, it's party time!
What's this?
You're talking about us?
Are you kidding?
You're making a movie
about us, is that it?
You want me to play myself?
It's only a movie.
You'd play the part
of the director's girlfriend.
- No kidding!
So, are you interested or not?
- Do you mind?
Can I have a second
to look at the script?
A lot of actresses would be interested
in this part, you know.
You're crazy!
We're going to go mad.
We can't do this, we'd go mad!
We only just broke up.
Listen...
- We know each other, we'll go mad.
We'll drive each other
up the walls, that's for sure.
Listen, I suggested this
because for me it's not an issue.
This script is only one truth,
it's my truth.
Exactly! if I agree, It'll be to check
you're not telling rubbish.
I never said it like that!
"When will you just fuck me?"
I'm not that coarse!
Stop screaming!
- I'm not screaming!
I never said it like that!
- Ok, so what...
See what I'm afraid of.
- Stop screaming! Are you insane?
I'm not screaming, you are.
You're screaming.
See, that's exactly
what I'm afraid of:
That you'll make me look like a slut!
- I'm not making you look like a slut.
I'm not coarse like that!
"When will you just fuck me?"
I would never say it like that,
I never said that. You're making it all up!
Ok, keep your voice down!
- I'm not raising my voice.
So what would you say?
- I don't know what I'd say.
She could say:
"When are we going to fuck?"
She wouldn't say "me",
"fuck me",
she'd include him, she wouldn't
castrate him that way.
No, that's not right! He's terrified
because he can't take her.
Why? I don't know.
It's normal that
she wants to be fucked.
Not "to be fucked"!
- Stop screaming!
Not to be fucked, she doesn't just
want to be taken by any...
Ok, I get it!
- No you don't get it, listen to me!
You're playing on words!
- We have to play on words.
Not with anybody, she wants to make love
to the man she loves.
She would never...
"to be fucked", really!
Keep your voice down please.
- No one's listening anyway.
Ok so she wants her man...
- She wants her man to fuck her,
she doesn't want
to fuck just any guy.
So we agree!
It's normal.
Her man hasn't fucked her for ages.
We agree, that's what I said.
Ok, so I think you've all read the script.
I'm waiting for your criticisms,
your comments.
I'm just listening
to what you have to say.
I'll try not to make any comments.
So please don't be afraid...
to comment, to criticize...
because it will help me progress.
I don't know...
It seems a bit long to me.
I don't think
it'll work like this.
There's a lot to read,
I haven't finished it yet.
It's too long.
But that's not the biggest issue right now.
For me, the main problem
with this script
as it is now...
is that the main character,
whom we follow throughout,
doesn't attract sympathy,
we end up disliking him.
I think there's a risk
he'll be perceived as a...
...middle-class brat
who's making a movie on a whim.
Just to chat up a girl in a bar.
- That's right.
There's a risk people will think
he's just making a movie
to chat up girls in bars.
The real issue is:
what difference does the movie make?
But François, he's not making
the movie alone.
He rounds up people to help him.
By himself he's not productive.
Why are we all
around this table right now?
To make a movie.
It's the same story.
Together we are productive.
Well, there's a risk around this table too.
I have also a question,
not quite the same.
When I read the script
I really wondered who it was aimed at,
who you were making the movie for.
With all due respect,
I wonder whether it wasn't
the typical narcissistic vision
of a filmmaker
writing about his own movie.
So what I'd like to know is
who it's for, will people be interested
and what your personal interest is,
what it means to you.
Would you wonder about
what making furniture means to a carpenter?
But Fabrizio...
I'm just asking.
A carpenter makes furniture
for people to store their stuff.
And that's it.
- Then what?
Well, a filmmaker must also make movies
in which people can store stuff.
So, is there room in this movie
for people's stuff? That's the question.
Well, if I may,
I don't have much experience,
as we already told you
it's the first time we're producing
but when I first read the script,
I was really touched.
So I think it's universal and...
...we have a good story
that can appeal to anyone.
I just find it moving.
It's also about work, finding a job.
Right, I think it hits the right note.
It's about a guy
who is in search of something.
But making a movie
isn't your average job.
Ok, let's hear... Anne.
Well, the scenes I'm in,
they're not finished yet,
and I'd like to know...
...how they'll turn out...
I'd like to have some input,
to have a say in them.
I'll just say this once,
then we can move on,
but it's also about us,
our intimacy,
which is a delicate matter,
so I'd like...
...to work on them with you.
No problem.
- And something else.
My character is called Anne,
I want it changed,
I need a bit of distance,
of perspective.
I want us to put some distance
between this and real life events.
But this isn't real life,
this is fiction,
a fictional script
with fictional characters.
So let's cut short
this business about real life.
But all your characters
are inspired by real people!
You can't deny you're speaking
about your own life.
We're still just talking here,
we're not shooting yet
and now's the time
to sort this out.
You're playing with fire, Fab.
Now deal with it.
- And it's deliberate!
I don't deny that this story
is inspired by real life,
a certain version of truth...
- It's almost therapeutic.
That's got nothing
to do with it. Nothing.
This movie isn't a therapy.
I'm asking for comments
about the script: what's there,
what's missing maybe,
what still has to be polished.
You all received the script, I just want
comments about what you've read.
You want comments about
what we've read
but what's written is strangely
similar to our own lives,
so we have to talk about that!
What do you expect?
That's what makes it interesting.
Writing is autobiographical.
You can't help that.
What's interesting is that
it's about a certain reality, our reality.
What this movie asks is:
Is life a movie?
Is this character's life a movie?
Is his life interesting enough
to make a movie?
Is life in general?
If you put a camera here,
does it make a movie?
Not necessarily. That's the risk.
So this guy pulls out
his director's card
to hit on the little...
That's the risk.
- Listen, I'll read what I've written.
You said we could express ourselves,
so here you are.
"Who does this guy think he is?
He's uptight, spoilt, gay in denial.
What kind of a self-centred
macho pervert is this?
It's like bad TV,
he takes everything for granted.
And what about his girlfriend,
what happens to Anne?
He never thinks of that.
And he's going to hurt Mariet too,
he's going to make her bitter,
put out her fire, like he did to Anne!
He's living in a fantasy.
He thinks he's ideal, a prince charming
who's going to rescue her
from her evil bar, is that it?
Is that all he's got,
to hit on a girl?"
Who are these guys,
who think we're princesses,
who have us then dump us?!
You can just tell
he's going to ruin her.
Maybe I'm a bit extreme and
oversensitive right now but let me finish!
Women always end up
being crutches for men!
And talent doesn't excuse everything!
I'm sorry but it's true!
We're not going to make
another movie about that.
Are you having problems with Jean-Claude?
- I'm fine.
So they weren't kidding
about artistic sensibility, then...
Do you want anything?
It will be fine.
- I'm sorry, Fab, but...
You know, your movie will be fine.
I think so.
And if you need help
with the script, I'm here.
Really.
For the scenes in Flemish for instance.
Really, François, this is
the ideal place to find extras.
You don't need real unemployed people
to play people on the dole.
Of course you do.
- What does it change?
It could be embarrassing.
- No, it isn't.
Asking people on the dole
to play themselves for no money!
I do it, why shouldn't they?
Forcing them together like that,
like animals in the zoo...
That's not the point.
We could get anyone...
- No, not anyone.
Why? Do I look unemployed?
- You are unemployed!
Yes but I don't necessarily look it,
it's not written across my face.
You look more like a cop.
Come on, ask them.
- No way!
Make a speech.
- No.
Excuse me.
Hello, my name is Fabrizio,
I'm an unemployed filmmaker
and currently working on a movie
and I need extras to play people
queuing up for their dole money.
Do you pay us?
No.
People are really
falling over each other!
So, could everybody come over...
for the rehearsal? Thanks.
Sorry but this is the old script,
I don't have the latest version.
No it's the right version.
- No, she doesn't say:
"When will you just fuck me?"
- Yes she does.
She doesn't say that.
It's what the latest version
of the script says.
What's the matter?
We'd agreed I wouldn't say that,
I'm not saying it.
I never said that.
- What? Come here.
She doesn't say that.
- We never agreed on it.
Stop lying!
You set me a trap!
I did not! We worked on it
together and agreed...
We agreed I'd say
"When will we fuck?"
That line doesn't work,
it doesn't sound right.
Can we work this out?
We'd agreed on it!
No we didn't, now stop playing the diva
and get on with it.
We'd agreed on it.
I won't say it. She wouldn't say it!
She would, the rest doesn't work.
- Let's find common ground here.
If you want this scene,
I'm not saying it.
She doesn't say it.
- Then get lost.
Anne, wait, come back!
- That's no help.
Please, Anne!
You shouldn't leave it
till the last minute.
We're not going to fight over a line.
- It stays in the script.
But did she know?
She didn't.
Then find a compromise,
change the line and that's it.
So, let's clear the set.
- Ok, let's go.
We're ready?
Let's roll.
A last rehearsal?
- No, it's fine, let's shoot.
All ready? Get ready then,
let's do it, let's go!
We need to rehearse.
- No we don't, use the energy, let's go.
Ok, let's shoot. Fabrizio...
Stand by, ready to roll.
104/1, take one.
Action.
When will you just fuck me?
What's wrong?
Am I ugly? Do I stink?
Tell me what to do.
I'll do anything for you, to you.
It's not you, it's me.
- Anything at all.
I'm tired.
Cut. Wonderful.
Great.
- Was it ok?
The actors were perfect,
don't change a thing.
Anne, wonderful.
Change nothing.
I have to go now
and breast-feed,
I can hear my baby.
I'm off.
Move over, she has to sit down.
It's ok, my angel, it's fine.
Look at all these people
around you.
How long do you need?
- About half an hour.
Ok, we have half an hour
so let's have the lunch break now.
Couldn't you just do half now?
- No, I can't.
Fabrizio, really!
We're running two hours late.
It won't be two hours!
I warned you, you knew.
Making a movie takes time,
so does breast-feeding.
Fabrizio, come and eat.
How's your film coming along?
Fine.
Call it.
- 106/1, take eight.
Action.
Are your hands cold? Did you come by bike?
Cut, she looked at the camera.
Sorry.
Sorry.
Fabrizio, could you...
- Let's do it again.
It's no use.
- Let's just do it again.
106/1, take nine.
Action.
Are your hands cold?
Did you come by bike?
Wait, sorry!
Wait till I tell you to cut.
But it was worthless!
- No Fabrizio, it was me.
The bit about the hands...
...it wasn't in the script so...
But Mariet...
Kris, by itself it's not a problem but...
I didn't know how to react.
It wasn't in the script.
- No hands then?
I'd rather not.
Ok, I get it.
106/1, take ten.
Silence!
Action!
You came by bike?
You're not too cold?
- No, I'm fine.
Blow your nose.
Fabrizio, it's not...
- I'm taking five minutes with the actors.
So Kris, were you improvising?
I just took a longer way round
to get to the same point.
You mustn't improvise. You just say
what's written in the script.
Listen.
Well, it is about sex...
What's the matter?
- Well, he never auditioned her.
She can't act. She's not an actress.
- Sure, but what do we do now?
I have no idea.
Can I talk to you for a second?
- What's wrong?
If she can't cry,
slap her.
Are you nuts?
- No!
No more fooling around, we're making a movie.
- You stop your bullshit.
François, call the unit back.
Call them yourself!
We're starting again,
film unit back on set.
It will be fine.
It's just us here,
forget the rest.
Let's go.
106/1, take 14.
Jan, I want to have your child.
What?
- I want your child.
No Mariet, please.
I'm getting older
and it's almost too late.
For whom?
For whom is it too late?
- For me.
For you?
You're still a baby!
For me, maybe it's...
I can't, Mariet. It's impossible.
Impossible, we can't!
Cut.
You have to do something!
- I know what I have to do!
It's not working!
Don't tell me what to do!
I know what to do, ok?
Look, I don't want to interfere
but I don't think
this is working out.
No, I know.
And I'd like to know how we...
Leave my actors alone!
You're the producer,
I'm the director.
Mind your own business.
Only I talk to my actors, ok?
Can I ask just a question?
No, you can't!
Listen, Fabrizio, I know that...
...it won't work.
It's too tough, I can't do it.
I'm not an actress. So there.
You know what we'll do:
take a break,
go over your lines and you'll see
how everything will be ok.
There's no problem.
- No. A break won't help.
I just can't.
- Don't let her leave.
You're not leaving.
Mariet, stay here!
Don't let her go!
Stop her!
Fabrizio, she can't leave!
- Let me take care of this.
You're not leaving,
you're not letting us down!
Let me go, I really can't.
You have to stay.
Everybody's counting on you.
You're a wonderful actress.
- No, I'm not. I'm not wonderful
and I'm not an actress. So...
- We'll rehearse, we'll take a break!
I'm leaving, sorry.
Stop her!
Did you audition her?
- Yes I did.
Did you?
- I did.
We're working for you,
we're all killing ourselves working.
And you just mix everything!
You want everything and now...
We're losing everything, Fab.
Losing it all.
I made a mistake.
I never auditioned Mariet.
So if you agreed
to continue with the movie,
I'd be very happy.
Thanks, Jean-Benoit.
Move back.
Forward.
Look forward.
Hello.
Hi. How are you?
- Fine.
Come and meet the unit.
This is François, the assistant director.
- Hello, Karine.
Welcome.
- Thanks.
Jean-Benoit, catering.
- I'll take your coat.
Dirk, our producer.
Welcome, we spoke on the phone.
Isabelle, our boom operator.
She's a waitress at the "Markten".
What?
She's the waitress from the "Markten".
Is this a joke?
He's not at it again!
And this is Kris...
whom you're doing the scene with.
He's the lead actor.
Sit down.
Ok, let's try.
Can I call you Karine?
Sure.
François, ready for rehearsal?
Did you come by bike?
What's wrong, Karine?
Did I say something wrong?
Do you want to go somewhere else?
Can't you talk to me?
I want to have your child.
What?
We can't. It's impossible.
I can't.
Why?
I'm just not ready.
I like you
but I'm just not ready.
Just forget it.
Something like that?
It's perfect, really great.
Sorry.
To walk the streets.
With no aim.
To speak softly.
Alone in the crowd.
To look at people,
it makes me happy.
That's what happiness is
A door suddenly opening
That's what happiness is
A new opening in your life
That makes me happy
That makes me happy
That makes me happy
That's what happiness is
The feeling you're not alone
That's what happiness is
Finally being alone together...
When will you just fuck me?
Am I ugly?
Do I stink?
Did I say something wrong?
Tell me what I can do for you.
I'm tired.
There, what do you think?
Don't we have
another version without that line?
No, we don't have a version
without "when will you just fuck me?"
It's not working.
You said it was
the cornerstone of the scene!
"When will you just fuck me?"
and then the rest.
I know I did.
It's just not working.
And if we cut out the whole scene,
would that work?
Ok, sorry but I'm lost here.
Cut out the whole scene, no.
Or else your movie will be a mess.
A complete mess.
We could also just drop
the whole movie.
I'd like you to let me know
as I've been working on that scene
for two days!
- I know.
I'm sorry.
Do I stink?
Did I do something wrong?
Tell me what I can do for you.
Tell me.
What do you think?
- It's great.
It works, doesn't it?
- It's great!
Really great.
I am, you are, he is,
we are, you are. All together.
I am Eva.
You are, he is,
we are, you are, they are.
I have a child,
you have, he has,
we have, you have, they have.
Ok, good!
How long is it?
Two hours and forty five minutes.
You put everything in there!
It makes the storyline
nice and clear but...
...it should be more...
- That's right...
...more concise.
The information should be more...
It lacks...
...rhythm.
You can really shorten it.
I think you can cut out
a whole hour.
What do you think?
Well, it's not bad.
I like it.
But what is its audience?
And the ending...
I don't get the ending.
I think it's strange, not in keeping
with the rest of the movie.
It's a bit... light.
It's true that it's a bit...
...corny.
Yes, corny.
Do you want it to be
a happy ending or not?
Happy.
- Great.
Then, they get together.
It ends with them being together.
What do you think is best?
I just think it's more interesting,
for the movie,
if they're not together.
But if you want a happy ending,
then have it.
So, for instance, Firuz,
what do you like to do?
I like to run.
And where do you run?
I run in the park.
I write, I ride my bike.
You ride a bike?
Just for fun?
Where do you go on your bike?
To go and visit friends.
To go to the pub.
So you're an active cyclist to...
Yes, in town, in Brussels.
To get around then.
I've come to apologize.
I was stupid.
I was a jerk.
I feel...
I feel unhappy
about what happened.
I know it's difficult for you
but I'd like you to come
and see the movie.
I don't know.
It's really not easy for me
to come and watch it.
You don't have to come.
I'm really happy to see you
all here at the Arenberg
for the première of our movie,
the movie we all made together.
I won't be too long,
I just wanted
to thank you all very much,
thank you for your enthusiasm,
for the energy
you put into this movie.
It was a pleasure for Cedric and I
to work with you.
So thanks a lot!
I won't be long either.
Thanks, everyone.
The film exists thanks to you.
What I want is this:
this guy is down,
he can't take anymore.
His girlfriend dumped him,
it's over.
It's a mess with his father.
He's unemployed, loaded with problems.
He doesn't know where to go,
he wants to make a movie
but no one will give him money.
He's down and when no one thinks
he'll ever make it...
It's like Rambo:
he begins to move,
opens his eyes,
he's hurt everywhere, he's bleeding,
he starts sewing up his wounds,
he puts on his bandana.
He grabs his gun and his knife,
jumps up and says:
"Now I want
to make a movie anyway!"
a Belgian movie.
Here you go. At the Arenberg Cinema,
Queen's gallery.
"Folie Privée", a Belgian movie,
At the Arenberg Cinema, Queen's gallery.
Playing tonight:
"Folie Privée", a Belgian movie.
At the Arenberg Cinema,
Queen's gallery.
Good evening, "Folie Privée",
a Belgian movie,
at the Arenberg Cinema,
Queen's gallery.
Let's switch back.
You can't work both on a movie
and get unemployment benefits.
Listen, I've tried everything to get a job.
I don't know what more to do.
I've been applying
for funding for three years.
I understand.
But, you've made a movie,
you worked on this movie
while you were receiving benefits...
You can't do that.
- But that's how my job works!
I have to show producers what I can do
so that later they trust me
and give me a contract.
So, you made this movie.
You got money, you got paid for it?
No, I wasn't paid.
- Listen, sir.
I don't have to believe you,
I don't know you.
With all due respect, I don't know
of any jobs without a contract.
If you haven't found a job
in seven months,
we'll have to stop benefit payments.
I'm sorry, that's how it goes...
When will you just fuck me?
Fab, I can't take it anymore.
You've been saying you're tired
for the last six months.
Where are you going? Wait!
Stay here.
Tell me what's wrong.
I don't know.
I can't manage.
- I don't understand. Manage what?
I don't want to be the guy
who says "not with me".
What do you mean "not with me"?
What are you talking about?
In ten years' time,
I won't be able to manage.
But manage what?
I don't know.
I don't want you to blame me.
- Blame you for what?
For that.
For not managing.
Excuse me,
what does "holiday" mean?
When you can't come to sign on,
you write "holiday",
except for Sundays.
Why do they call it "holiday"?
You're entitled to 24 days off a year.
So for each day,
you put an H, for holiday.
But as I don't work,
I'm always on holiday anyway!
It's just the word you use.
H for Holiday.
Except for Sundays.
- Right.
Hello.
There you go, sir.
- Bye!
François?
- Hi, Fabrizio.
How are you doing?
- Fine.
I've been better, but I'm fine.
Four years unemployed,
and how much more?
Just to tell your sad little stories
which are boring anyway.
But I'm happy now.
Two days ago, I woke up and said
"That's it. You're done. Move on."
I want to work now.
No more wanking off.
Four years is enough wanking.
So, what are you going to do?
- I'm going to work.
Anything!
I'll even sell vegetables.
I just want to feel useful.
Do something,
be a part of things.
Not just a wanker!
Wait here.
Hello, how's it going?
- Fine, and you?
Fine. And?
- Well, today...
First showing, three tickets sold.
Three?
- Yes.
See you tomorrow?
Thank you.
- Bye.
Three?
- Three.
Last night it was fifteen.
I do what I can with the means I have.
We don't have much money
for the promotion...
That's your job, you're the producer!
Even if we had a million posters,
we wouldn't have a big audience
for a film like this one.
It's a difficult movie...
Say that once more,
and it's all over.
There are no difficult or easy movies!
Movies are either good or bad,
they're either right or wrong!
Fabrizio, calm down please,
it's no use.
Just stop!
What do we do now?
Stop!
This is perfect.
- Go on!
Mind the glue!
You've spilled the glue!
Be careful.
Not the small ones, the big ones!
Not too low.
Is this ok?
- It's fine!
I was on the pill when we first met.
Then I wanted to change contraceptives
as I was afraid of putting on weight
and I couldn't quit smoking
and that's a bad combination
for your heath.
He reacted really...
violently,
with excess,
I couldn't understand.
You really were...
violent, remember?
I don't want to become a father
by accident.
Do you realise what you're saying?
As if I...
That's the problem.
You don't trust me.
How can you think
that I would play you a dirty trick?
If you don't trust me, how can we go on?
At least I said so, didn't I?
Maybe you could explain?
I'm not ready for kids.
- Who's speaking of kids?
Do I ask you for kids?
I never asked for kids, ok?
Who's speaking about kids here?
Nobody!
Not once I asked for kids!
What should we do?
Call it off because one day,
maybe I'll want some hypothetical kids?
You're ok?
You're ok?
Sorry!
You didn't hurt yourself?
Take it easy.
Yes, he's hurt.
You're ok?
What's wrong?
I don't feel good.
I don't feel good...
You're going to be sick?
You have to do something.
You have to do something. Wake up!
Wake up!
We have to do something.
We have to do something, starting now.
I'm dying here.
Let's make a movie!
- A show!
Let's make a show!
- You can be the lead!
I'll give you the part of your life!
Really?
Then you can be the director!
Let's start right now!
Right here!
- Here's where it happens!
You're my witnesses:
I'm making a movie with this guy!
Hi there, you want to make
a movie with us?
This is the director, not bad, huh?
Hello sir, will you be my witness?
- Do you want to be an actor?
Thanks.
You don't look good, Fabrizio.
I think I need to make a movie.
Would you be up for it again?
I'd love to,
but...
all my money went into "Folie privée".
Everything.
I can't afford to start anything new.
Sorry, I just can't.
What's the most difficult thing in life?
I don't know.
What a question!
What's the most difficult thing in life?
Being consistent.
Are you saying this for me?
I don't look serious? Is that it?
I think it's making money.
What?
- I think it's making money.
And for you?
It's love!
And being consistent.
Do you want to be in my movie?
- You make movies?
Yeah.
What are you doing later?
I think you should go home.
It's not right.
- Yes it is. It's a movie.
And a movie is a story:
it starts here and it ends there.
And between there are challenges.
- That's a cliché!
Maybe it is but it's understandable!
What you want to say is too complex.
- But life is complex!
But you're talking about everything:
about yourself, about the others
and you mix everything.
No one will understand,
my mother wouldn't get it!
What I want is this:
this guy is down,
he can't take any more.
His girlfriend dumped him, it's over,
he's unemployed,
loaded with problems.
He doesn't know where to go,
he wants to make a movie
but no one will give him money.
He's down and when no one
thinks he'll ever make it...
it's like Rambo:
he begins to move, opens his eyes,
he's hurt everywhere,
he's bleeding,
he starts sewing up his wounds,
he puts on his bandana.
He grabs his gun
and his knife,
jumps up ans says:
"Now I want to make a movie anyway!"
Hi, Fabrizio.
Kris, haven't you forgotten something?
You have to pick Jacoba up from school.
You're going to be late.
And then Jef from the day-nursery.
Ok, I'm off.
- Hurry up.
I'm going.
You also promised you'd cook.
I'm off...
Do you have any money?
You see?
- Yeah, yeah.
I'm going to pick up the kids
and do some shopping.
I'll be right back,
wait for me here.
Long time no see! How are you?
Good.
I heard you have a son now.
Congratulations.
What's his name?
- Jef.
That's pretty. It's a nice name.
And you're ok?
- Fine.
I'll have a beer.
- Sure.
Do you want one too?
- Yes.
A bottle is fine.
You know her?
Here you go.
Is your offer still on?
What offer?
- Don't you remember?
What you suggested the other day.
Remember?
- Yes, yes.
It's still on then?
Yes of course.
Because if it's okay
I'd like to try.
I've never acted,
I'm not an actress...
but I wouldn't mind trying.
Yes, that's great!
- Great.
When are you shooting?
In two months' time.
- Two months, already?
Ok.
I'll go and clear some tables.
What shooting is this?
Our movie.
Our movie?
Whose movie, what movie?
What movie?
Well, our movie!
Our film?
- Yes.
Yours, mine and hers.
Mariet, she's not an actress.
She's called Mariet?
- Yes.
So you're promising everyone
they'll make a movie.
Not everyone.
I promised Mariet.
Yeah, so everyone.
And you're also in it?
You're an actor, aren't you?
I am an actor.
Yes I am.
But you know more than I do, Mariet,
more than me.
He has to be in your movie.
Yes. Of course.
Why not?
Well, we really liked your movie
and would like to help you
but you'll have to explain things
because we've never done this before.
There's always a first time!
Have you already produced something?
No.
Well, we've done some theater.
I've produced
a one-man show for Cedric.
It wasn't bad.
But do you know anything
about movie producing?
No, but we can learn.
We're interested,
and later we can figure out
which way to go.
Maybe it would be good
to give an idea
of the story, the plot...
What we want to say.
It's the story of a filmmaker
who's unemployed.
He's having trouble
with his girlfriend,
and when they break up
he decides to write a movie.
And while he's working on it
he meets a waitress and falls in love.
So we're using real life and...
...writing it into the script.
- Right.
We're up for it.
- Sure.
I'll need 10.000 Euros.
That's a minimum.
Like for "Folie privée".
That cost us 10.000 Euros.
Do you think it's possible?
Anything's possible.
- It's just about hard work.
Do you have any money?
No, not right now.
But we can find some,
no problem.
Hello.
How are you?
- Fine. You?
Hello.
- Catherine, this is Jean-Benoit.
The baby already sleeps
through the night.
That's great.
How are you?
- Fine, and you?
So what are you up to?
Well, I'm writing a movie.
I'm shooting in March.
Really?
- Yeah.
But I don't have a sound team yet.
- Well...
You're all in movies?
I'm up for it!
- Do you still have your equipment?
I have my console.
Because right now, honestly...
Will you manage with your baby?
- Yes.
That way they'll get out,
see people.
So what are the terms?
- There's no money.
That's ok.
At least I'll get out,
see some people. Great!
Well...
I have nothing better to do so...
...great.
So call us then.
Bye.
Good luck!
How are you?
- Fine, you?
I've brought you the script.
You're Els.
I'll read it then.
Do you want a beer?
- No thanks.
A coke? Some water?
- No.
I'm off. Bye.
Bye.
Welcome everybody.
I admit I'm a bit nervous as...
Sorry for being late.
- It's ok.
This is Mariet who plays the character
the filmmaker falls in love with.
You're very pretty.
- Thanks.
Can I continue?
- Yes, sure.
So I'll start with a surprise:
at the moment we don't have
any money to make this movie.
But we'll probably find some
so I hoped everybody is ready
to get involved in this project.
But right now, we can't pay anyone,
that's how it stands.
But will we get contracts?
Well, that seems a bit complicated
without money...
Because if we don't have a contract
we have to ask for permission
to do voluntary work.
Because, I think most for us
are unemployed
and if there is an inspection
we would lose our benefit payments.
So I don't mind working for free,
I've done it before
but I can't afford to lose my benefits,
they're what I live on.
It's really important.
- I had to point that out.
Dirk will take care of that,
he'll find out what to do
and keep you posted.
Let's let him finish first.
Just some practicalities.
We start shooting in a month,
so quite soon,
and we'll be shooting for five weeks.
- Oh that's fine then!
This is Jean-Benoit,
we met at our local council
and as he wasn't working I asked him
to help out with set organization.
You have to give it a try!
Well, thanks for your van.
I'm also lending equipment so...
Welcome to Jean-Benoit.
I've read the script...
and it's ok.
It's starting to develop
but...
I'm worried about Mariet.
At first I didn't realize but...
she's taking on importance,
too much importance.
Are you jealous or what?
No, I'm...
I'm worried.
I'm starting to believe in this.
We're putting together something
that will work, I'm sure of it.
We're a whole team, everything's on course
and I'm afraid we're heading...
for a fall just because you're in love.
Everything isn't about professional actors!
The greatest filmmakers
have made outstanding movies
with non-professional actors
so don't start...
How pretentious!
- Hey, take it easy!
Typical of actors!
Do you need a degree
to be an actor now?
I can't believe it.
I can't talk to you anymore.
If I was pretentious,
I wouldn't be here,
I would never have worked
with you.
Just be careful with what you say.
The only thing I'm saying is
I don't want to be there
when it all goes wrong.
That's it.
So we all moved to Brussels
a few years ago
and now I live here
with Christof and Carl.
In the same house, picture that!
And where are you from?
- Immigrants from Limburg.
West Flanders.
Where's that?
- Sounds exotic!
She's from Antwerp.
Merksplaats in the North of Belgium.
Come on, guys, it's party time!
What's this?
You're talking about us?
Are you kidding?
You're making a movie
about us, is that it?
You want me to play myself?
It's only a movie.
You'd play the part
of the director's girlfriend.
- No kidding!
So, are you interested or not?
- Do you mind?
Can I have a second
to look at the script?
A lot of actresses would be interested
in this part, you know.
You're crazy!
We're going to go mad.
We can't do this, we'd go mad!
We only just broke up.
Listen...
- We know each other, we'll go mad.
We'll drive each other
up the walls, that's for sure.
Listen, I suggested this
because for me it's not an issue.
This script is only one truth,
it's my truth.
Exactly! if I agree, It'll be to check
you're not telling rubbish.
I never said it like that!
"When will you just fuck me?"
I'm not that coarse!
Stop screaming!
- I'm not screaming!
I never said it like that!
- Ok, so what...
See what I'm afraid of.
- Stop screaming! Are you insane?
I'm not screaming, you are.
You're screaming.
See, that's exactly
what I'm afraid of:
That you'll make me look like a slut!
- I'm not making you look like a slut.
I'm not coarse like that!
"When will you just fuck me?"
I would never say it like that,
I never said that. You're making it all up!
Ok, keep your voice down!
- I'm not raising my voice.
So what would you say?
- I don't know what I'd say.
She could say:
"When are we going to fuck?"
She wouldn't say "me",
"fuck me",
she'd include him, she wouldn't
castrate him that way.
No, that's not right! He's terrified
because he can't take her.
Why? I don't know.
It's normal that
she wants to be fucked.
Not "to be fucked"!
- Stop screaming!
Not to be fucked, she doesn't just
want to be taken by any...
Ok, I get it!
- No you don't get it, listen to me!
You're playing on words!
- We have to play on words.
Not with anybody, she wants to make love
to the man she loves.
She would never...
"to be fucked", really!
Keep your voice down please.
- No one's listening anyway.
Ok so she wants her man...
- She wants her man to fuck her,
she doesn't want
to fuck just any guy.
So we agree!
It's normal.
Her man hasn't fucked her for ages.
We agree, that's what I said.
Ok, so I think you've all read the script.
I'm waiting for your criticisms,
your comments.
I'm just listening
to what you have to say.
I'll try not to make any comments.
So please don't be afraid...
to comment, to criticize...
because it will help me progress.
I don't know...
It seems a bit long to me.
I don't think
it'll work like this.
There's a lot to read,
I haven't finished it yet.
It's too long.
But that's not the biggest issue right now.
For me, the main problem
with this script
as it is now...
is that the main character,
whom we follow throughout,
doesn't attract sympathy,
we end up disliking him.
I think there's a risk
he'll be perceived as a...
...middle-class brat
who's making a movie on a whim.
Just to chat up a girl in a bar.
- That's right.
There's a risk people will think
he's just making a movie
to chat up girls in bars.
The real issue is:
what difference does the movie make?
But François, he's not making
the movie alone.
He rounds up people to help him.
By himself he's not productive.
Why are we all
around this table right now?
To make a movie.
It's the same story.
Together we are productive.
Well, there's a risk around this table too.
I have also a question,
not quite the same.
When I read the script
I really wondered who it was aimed at,
who you were making the movie for.
With all due respect,
I wonder whether it wasn't
the typical narcissistic vision
of a filmmaker
writing about his own movie.
So what I'd like to know is
who it's for, will people be interested
and what your personal interest is,
what it means to you.
Would you wonder about
what making furniture means to a carpenter?
But Fabrizio...
I'm just asking.
A carpenter makes furniture
for people to store their stuff.
And that's it.
- Then what?
Well, a filmmaker must also make movies
in which people can store stuff.
So, is there room in this movie
for people's stuff? That's the question.
Well, if I may,
I don't have much experience,
as we already told you
it's the first time we're producing
but when I first read the script,
I was really touched.
So I think it's universal and...
...we have a good story
that can appeal to anyone.
I just find it moving.
It's also about work, finding a job.
Right, I think it hits the right note.
It's about a guy
who is in search of something.
But making a movie
isn't your average job.
Ok, let's hear... Anne.
Well, the scenes I'm in,
they're not finished yet,
and I'd like to know...
...how they'll turn out...
I'd like to have some input,
to have a say in them.
I'll just say this once,
then we can move on,
but it's also about us,
our intimacy,
which is a delicate matter,
so I'd like...
...to work on them with you.
No problem.
- And something else.
My character is called Anne,
I want it changed,
I need a bit of distance,
of perspective.
I want us to put some distance
between this and real life events.
But this isn't real life,
this is fiction,
a fictional script
with fictional characters.
So let's cut short
this business about real life.
But all your characters
are inspired by real people!
You can't deny you're speaking
about your own life.
We're still just talking here,
we're not shooting yet
and now's the time
to sort this out.
You're playing with fire, Fab.
Now deal with it.
- And it's deliberate!
I don't deny that this story
is inspired by real life,
a certain version of truth...
- It's almost therapeutic.
That's got nothing
to do with it. Nothing.
This movie isn't a therapy.
I'm asking for comments
about the script: what's there,
what's missing maybe,
what still has to be polished.
You all received the script, I just want
comments about what you've read.
You want comments about
what we've read
but what's written is strangely
similar to our own lives,
so we have to talk about that!
What do you expect?
That's what makes it interesting.
Writing is autobiographical.
You can't help that.
What's interesting is that
it's about a certain reality, our reality.
What this movie asks is:
Is life a movie?
Is this character's life a movie?
Is his life interesting enough
to make a movie?
Is life in general?
If you put a camera here,
does it make a movie?
Not necessarily. That's the risk.
So this guy pulls out
his director's card
to hit on the little...
That's the risk.
- Listen, I'll read what I've written.
You said we could express ourselves,
so here you are.
"Who does this guy think he is?
He's uptight, spoilt, gay in denial.
What kind of a self-centred
macho pervert is this?
It's like bad TV,
he takes everything for granted.
And what about his girlfriend,
what happens to Anne?
He never thinks of that.
And he's going to hurt Mariet too,
he's going to make her bitter,
put out her fire, like he did to Anne!
He's living in a fantasy.
He thinks he's ideal, a prince charming
who's going to rescue her
from her evil bar, is that it?
Is that all he's got,
to hit on a girl?"
Who are these guys,
who think we're princesses,
who have us then dump us?!
You can just tell
he's going to ruin her.
Maybe I'm a bit extreme and
oversensitive right now but let me finish!
Women always end up
being crutches for men!
And talent doesn't excuse everything!
I'm sorry but it's true!
We're not going to make
another movie about that.
Are you having problems with Jean-Claude?
- I'm fine.
So they weren't kidding
about artistic sensibility, then...
Do you want anything?
It will be fine.
- I'm sorry, Fab, but...
You know, your movie will be fine.
I think so.
And if you need help
with the script, I'm here.
Really.
For the scenes in Flemish for instance.
Really, François, this is
the ideal place to find extras.
You don't need real unemployed people
to play people on the dole.
Of course you do.
- What does it change?
It could be embarrassing.
- No, it isn't.
Asking people on the dole
to play themselves for no money!
I do it, why shouldn't they?
Forcing them together like that,
like animals in the zoo...
That's not the point.
We could get anyone...
- No, not anyone.
Why? Do I look unemployed?
- You are unemployed!
Yes but I don't necessarily look it,
it's not written across my face.
You look more like a cop.
Come on, ask them.
- No way!
Make a speech.
- No.
Excuse me.
Hello, my name is Fabrizio,
I'm an unemployed filmmaker
and currently working on a movie
and I need extras to play people
queuing up for their dole money.
Do you pay us?
No.
People are really
falling over each other!
So, could everybody come over...
for the rehearsal? Thanks.
Sorry but this is the old script,
I don't have the latest version.
No it's the right version.
- No, she doesn't say:
"When will you just fuck me?"
- Yes she does.
She doesn't say that.
It's what the latest version
of the script says.
What's the matter?
We'd agreed I wouldn't say that,
I'm not saying it.
I never said that.
- What? Come here.
She doesn't say that.
- We never agreed on it.
Stop lying!
You set me a trap!
I did not! We worked on it
together and agreed...
We agreed I'd say
"When will we fuck?"
That line doesn't work,
it doesn't sound right.
Can we work this out?
We'd agreed on it!
No we didn't, now stop playing the diva
and get on with it.
We'd agreed on it.
I won't say it. She wouldn't say it!
She would, the rest doesn't work.
- Let's find common ground here.
If you want this scene,
I'm not saying it.
She doesn't say it.
- Then get lost.
Anne, wait, come back!
- That's no help.
Please, Anne!
You shouldn't leave it
till the last minute.
We're not going to fight over a line.
- It stays in the script.
But did she know?
She didn't.
Then find a compromise,
change the line and that's it.
So, let's clear the set.
- Ok, let's go.
We're ready?
Let's roll.
A last rehearsal?
- No, it's fine, let's shoot.
All ready? Get ready then,
let's do it, let's go!
We need to rehearse.
- No we don't, use the energy, let's go.
Ok, let's shoot. Fabrizio...
Stand by, ready to roll.
104/1, take one.
Action.
When will you just fuck me?
What's wrong?
Am I ugly? Do I stink?
Tell me what to do.
I'll do anything for you, to you.
It's not you, it's me.
- Anything at all.
I'm tired.
Cut. Wonderful.
Great.
- Was it ok?
The actors were perfect,
don't change a thing.
Anne, wonderful.
Change nothing.
I have to go now
and breast-feed,
I can hear my baby.
I'm off.
Move over, she has to sit down.
It's ok, my angel, it's fine.
Look at all these people
around you.
How long do you need?
- About half an hour.
Ok, we have half an hour
so let's have the lunch break now.
Couldn't you just do half now?
- No, I can't.
Fabrizio, really!
We're running two hours late.
It won't be two hours!
I warned you, you knew.
Making a movie takes time,
so does breast-feeding.
Fabrizio, come and eat.
How's your film coming along?
Fine.
Call it.
- 106/1, take eight.
Action.
Are your hands cold? Did you come by bike?
Cut, she looked at the camera.
Sorry.
Sorry.
Fabrizio, could you...
- Let's do it again.
It's no use.
- Let's just do it again.
106/1, take nine.
Action.
Are your hands cold?
Did you come by bike?
Wait, sorry!
Wait till I tell you to cut.
But it was worthless!
- No Fabrizio, it was me.
The bit about the hands...
...it wasn't in the script so...
But Mariet...
Kris, by itself it's not a problem but...
I didn't know how to react.
It wasn't in the script.
- No hands then?
I'd rather not.
Ok, I get it.
106/1, take ten.
Silence!
Action!
You came by bike?
You're not too cold?
- No, I'm fine.
Blow your nose.
Fabrizio, it's not...
- I'm taking five minutes with the actors.
So Kris, were you improvising?
I just took a longer way round
to get to the same point.
You mustn't improvise. You just say
what's written in the script.
Listen.
Well, it is about sex...
What's the matter?
- Well, he never auditioned her.
She can't act. She's not an actress.
- Sure, but what do we do now?
I have no idea.
Can I talk to you for a second?
- What's wrong?
If she can't cry,
slap her.
Are you nuts?
- No!
No more fooling around, we're making a movie.
- You stop your bullshit.
François, call the unit back.
Call them yourself!
We're starting again,
film unit back on set.
It will be fine.
It's just us here,
forget the rest.
Let's go.
106/1, take 14.
Jan, I want to have your child.
What?
- I want your child.
No Mariet, please.
I'm getting older
and it's almost too late.
For whom?
For whom is it too late?
- For me.
For you?
You're still a baby!
For me, maybe it's...
I can't, Mariet. It's impossible.
Impossible, we can't!
Cut.
You have to do something!
- I know what I have to do!
It's not working!
Don't tell me what to do!
I know what to do, ok?
Look, I don't want to interfere
but I don't think
this is working out.
No, I know.
And I'd like to know how we...
Leave my actors alone!
You're the producer,
I'm the director.
Mind your own business.
Only I talk to my actors, ok?
Can I ask just a question?
No, you can't!
Listen, Fabrizio, I know that...
...it won't work.
It's too tough, I can't do it.
I'm not an actress. So there.
You know what we'll do:
take a break,
go over your lines and you'll see
how everything will be ok.
There's no problem.
- No. A break won't help.
I just can't.
- Don't let her leave.
You're not leaving.
Mariet, stay here!
Don't let her go!
Stop her!
Fabrizio, she can't leave!
- Let me take care of this.
You're not leaving,
you're not letting us down!
Let me go, I really can't.
You have to stay.
Everybody's counting on you.
You're a wonderful actress.
- No, I'm not. I'm not wonderful
and I'm not an actress. So...
- We'll rehearse, we'll take a break!
I'm leaving, sorry.
Stop her!
Did you audition her?
- Yes I did.
Did you?
- I did.
We're working for you,
we're all killing ourselves working.
And you just mix everything!
You want everything and now...
We're losing everything, Fab.
Losing it all.
I made a mistake.
I never auditioned Mariet.
So if you agreed
to continue with the movie,
I'd be very happy.
Thanks, Jean-Benoit.
Move back.
Forward.
Look forward.
Hello.
Hi. How are you?
- Fine.
Come and meet the unit.
This is François, the assistant director.
- Hello, Karine.
Welcome.
- Thanks.
Jean-Benoit, catering.
- I'll take your coat.
Dirk, our producer.
Welcome, we spoke on the phone.
Isabelle, our boom operator.
She's a waitress at the "Markten".
What?
She's the waitress from the "Markten".
Is this a joke?
He's not at it again!
And this is Kris...
whom you're doing the scene with.
He's the lead actor.
Sit down.
Ok, let's try.
Can I call you Karine?
Sure.
François, ready for rehearsal?
Did you come by bike?
What's wrong, Karine?
Did I say something wrong?
Do you want to go somewhere else?
Can't you talk to me?
I want to have your child.
What?
We can't. It's impossible.
I can't.
Why?
I'm just not ready.
I like you
but I'm just not ready.
Just forget it.
Something like that?
It's perfect, really great.
Sorry.
To walk the streets.
With no aim.
To speak softly.
Alone in the crowd.
To look at people,
it makes me happy.
That's what happiness is
A door suddenly opening
That's what happiness is
A new opening in your life
That makes me happy
That makes me happy
That makes me happy
That's what happiness is
The feeling you're not alone
That's what happiness is
Finally being alone together...
When will you just fuck me?
Am I ugly?
Do I stink?
Did I say something wrong?
Tell me what I can do for you.
I'm tired.
There, what do you think?
Don't we have
another version without that line?
No, we don't have a version
without "when will you just fuck me?"
It's not working.
You said it was
the cornerstone of the scene!
"When will you just fuck me?"
and then the rest.
I know I did.
It's just not working.
And if we cut out the whole scene,
would that work?
Ok, sorry but I'm lost here.
Cut out the whole scene, no.
Or else your movie will be a mess.
A complete mess.
We could also just drop
the whole movie.
I'd like you to let me know
as I've been working on that scene
for two days!
- I know.
I'm sorry.
Do I stink?
Did I do something wrong?
Tell me what I can do for you.
Tell me.
What do you think?
- It's great.
It works, doesn't it?
- It's great!
Really great.
I am, you are, he is,
we are, you are. All together.
I am Eva.
You are, he is,
we are, you are, they are.
I have a child,
you have, he has,
we have, you have, they have.
Ok, good!
How long is it?
Two hours and forty five minutes.
You put everything in there!
It makes the storyline
nice and clear but...
...it should be more...
- That's right...
...more concise.
The information should be more...
It lacks...
...rhythm.
You can really shorten it.
I think you can cut out
a whole hour.
What do you think?
Well, it's not bad.
I like it.
But what is its audience?
And the ending...
I don't get the ending.
I think it's strange, not in keeping
with the rest of the movie.
It's a bit... light.
It's true that it's a bit...
...corny.
Yes, corny.
Do you want it to be
a happy ending or not?
Happy.
- Great.
Then, they get together.
It ends with them being together.
What do you think is best?
I just think it's more interesting,
for the movie,
if they're not together.
But if you want a happy ending,
then have it.
So, for instance, Firuz,
what do you like to do?
I like to run.
And where do you run?
I run in the park.
I write, I ride my bike.
You ride a bike?
Just for fun?
Where do you go on your bike?
To go and visit friends.
To go to the pub.
So you're an active cyclist to...
Yes, in town, in Brussels.
To get around then.
I've come to apologize.
I was stupid.
I was a jerk.
I feel...
I feel unhappy
about what happened.
I know it's difficult for you
but I'd like you to come
and see the movie.
I don't know.
It's really not easy for me
to come and watch it.
You don't have to come.
I'm really happy to see you
all here at the Arenberg
for the première of our movie,
the movie we all made together.
I won't be too long,
I just wanted
to thank you all very much,
thank you for your enthusiasm,
for the energy
you put into this movie.
It was a pleasure for Cedric and I
to work with you.
So thanks a lot!
I won't be long either.
Thanks, everyone.
The film exists thanks to you.
What I want is this:
this guy is down,
he can't take anymore.
His girlfriend dumped him,
it's over.
It's a mess with his father.
He's unemployed, loaded with problems.
He doesn't know where to go,
he wants to make a movie
but no one will give him money.
He's down and when no one thinks
he'll ever make it...
It's like Rambo:
he begins to move,
opens his eyes,
he's hurt everywhere, he's bleeding,
he starts sewing up his wounds,
he puts on his bandana.
He grabs his gun and his knife,
jumps up and says:
"Now I want
to make a movie anyway!"