Day for Night (1973) Script

DAY FOR NIGHT Silence, please, and watch the notes carefully.

Slowly. Nice and relaxed.

The beginning again.

All together, give me a nice clean attack.

Here's where you can speed up a bit.

Keep the legato going. No breaks.

That's it.


Accent that last chord, but then hold it.

Take it from 13.

Don't get sentimental. Just play the notes.

DEDICATED TO LILLIAN AND DOROTHY GISH


Cut!

Everyone over here, please!

We're gonna do it once more.

What happened coming out of the Métro?

It was better last time.

And the bus was two seconds late.

The background action by the beauty parlor was late too.

A lady was supposed to come out. I never saw her.

The bicyclist never came by either.

So let's do it again.

The beginning was especially off, around the Métro.

Everyone came out together, then suddenly everyone was gone.

Feet and frames, start and finish, then circle this.

And who's this for? You.

You mean I keep it?

Kill that light! Yes, sir.

Ladies and gentlemen, here we are at the Victorine Studios in Nice, where we'll be watching the first day of filming on...

Meet Pamela.

Unfortunately you won't actually be meeting Pamela, because the young actress playing Pamela, Julie Baker, is still in Hollywood, but she's due soon.

But all the other stars are here, and I hope to interview them shortly.

I'll have a swollen cheek for three weeks, but no big deal.

This is our male lead.

I'll leave you two. But Mr. Bertrand!

You're the producer. Come talk to us.

No, a producer should stay out of sight.

It's the story of a man in his '50s whose son brings his young English bride home to meet his parents.

It's the story of a young man who marries an English girl.

Three months later, he introduces her to his parents at their seaside villa.

My character falls in love with his daughter-in-law, and she with him.

She falls in love with her father-in-law.

It shows this adulterous couple running off together.

Then what happens?

The film is played as a tragedy, and each character meets with his inevitable destiny.

And now please excuse me. I'm needed on the set.

Pamela 1, take 4!

Put some life into it!

The bus!

News vendor, more energetic!

Lady with the dog, faster!

More activity around the Métro!

Now the white car!

Alphonse, get ready.

Come up out of the Métro.

Faster.

More activity on the café terrace.

Lady with the dog, keep going.

Red car.

Faster, red car.

Red car, drive off.

Get ready, Walter.

Camera, move in on Alexandre.

Closer.

Cut! Let's do it again.

Roll camera!

Cut!

That last one was good. But let's redo it.

Starting places again, everyone!

And go!


In Nice. Hold on, please.

I have a tub. I wanted a shower.

Could I change rooms?

I have a shower. I prefer a tub. Then we can trade.

Shall we go up together? Great!

Is your room quiet? Yes, I can't stand noise.

Mine too, so it's a good trade.

Can you give him these pictures of Julie?

All right, Joëlle.

Joëlle said to give you these pictures of Julie.

Thanks, Odile.

Walter, the pictures of Julie.

Ah, I've seen her before! That movie with the car chase.

Didn't she crack up once?

She had a nervous breakdown, but that was a year ago.

I heard she didn't even finish the film.

True, but then she married her doctor, so I think she's probably doing fine now.

Bertrand's not worried? I don't think so.

She's lovely. This is a good likeness.

Any of her in the short wig? Here's one.

It's a bit dark. We can lighten it.

Because she'll be wearing a wig.

She has lovely eyes.

Yes, light green eyes.

Looks so much like her mother.

Her face has a pretty shape. She's lovely.

This one's good too. She looks sad... but sexy too.

I'd like to show you the -

Fine, Bernard. Let's have a look.

The trick candle for the costume party.

You just plug it in. Could you light it?

The actress has to it keep it turned toward her face, so the light seems to come from the candle.

She mustn't turn the light toward the camera, or it'll give away the trick.

Very good. All right?

Okay, I'm sold.

And the wire goes...? Up her sleeve and then down.

Look at this vase.

This hotel vase isn't bad.

I'd like to see it in Séverine's dining room in the film.

It's all cracked. Take it. Not a word to anyone.

Hi, Liliane. Hi, Alphonse.

For you.

Thanks for the internship.

It's nothing. Think you'll enjoy being a script girl?

It's hard to say after just one day.

It's a great job. You'll see. I'll let you know in two months.

Okay. So long, kids.

Hey, you didn't tell me he was stone deaf.

“Stone deaf”! His ear got a little messed up in the artillery.

Really? Listen... do something for me.

Walk ahead of me so I can watch your ass.

Like this?

That's great.

I saw that. Saw what?

You've got your eye on the maid.

Bastard.

Just your type. A bouncy little duckling.

Don't tell me you're jealous.

Not at all. Jealousy is dumb.

Unless you're ready to go all the way and commit murder.

You're the jealous type. Me?

It's obvious. Your eyebrows almost touch.

They do?

No, they don't.

These beds look so sad. Shall we put them together?

Yes, let's.

But we have to move the table.

You could have asked for a double bed.

That meant asking Lajoie, the production manager.

It's heavy.

Careful.

Now the other one.

This is tougher than moving an audience.

What shall we do tonight?

Pierrot, the set photographer, gave me a list of great little restaurants up in the hills.

Great little restaurants?

We have to go eat, don't we?

You gotta be kidding.

We're in a city with 37 movie theaters.

We check the paper, pick a movie, go to the theater, find out when it starts, and if there's time, we grab a quick sandwich.

So your photographer can take his list of quaint little bistros and shove it.

You're impossible.

You kill me.

I'm not going to a movie tonight, and I'm not eating here.

You decide.

Okay. We'll do whatever you want.

On one condition.

Which is?

That you marry me.

Odile, try this on so you can be in the scene.

Hold that. Not bad, huh?

Nice. Let's see the apron.

Sold? - Yeah, I'll buy it.

Shooting a film is like crossing the Wild West by stagecoach.

You set out hoping for a nice trip, but soon you wonder if you'll ever reach your destination.

Sorry to bother you, sir.

I'm Lajoie, the new production manager. Ah, of course!

Regarding the car for Pamela's accident, you have your choice of these two.

These two?

The white one would work. Could we paint it blue?

For 2,000 francs.

Just to paint it blue? We'll use it as it is.

But it is awfully white.

What about that blue one?

That belongs to your assistant director, Jean-François.

He might not mind.

I'll ask him. Yes, do that.

What is a director?

Someone who's asked endless questions about everything.

Sometimes he has answers, but not always.

Did this square work out? Very well.

And we had great weather too.

Can I show you the bungalow? Sure, let's go.

No, it's not built yet. Just the sketches.

It will be completely furnished: bed, night tables, chairs -

Hold on. The camera will never go inside.

We'll shoot through the window from outside, so all we'll see is the bed. Okay.

Ah, Ferrand.

Sorry to bother you with this, but the Americans insist on the original plan to shoot the film in seven weeks.

Think you can do it? it won't be easy.

A few extra days for pickup shots with a skeleton crew won't be the end of the world, but the actors must be finished by October 31.

I'll have another look at the schedule with Jean-François.

Seven weeks, five days per week - 35 days.

I 'll never shoot this film in 35 days!

Could you look at this?

It's Séverine's wig.

Is it a bit too light?

Too light? Listen, I really don't know.

Tell Joëlle to see Walter about it.

He's the cameraman. They'll work it out.

The prop guy wants to show you something.

Bernard! Coming.

Which of these do you like for the final scene?

Alphonse has small hands.

But we won't take the smallest. The next largest. This one.

Pamela crew, report to the screening room.

Here they are.

Rank and file all present and accounted for?

You'd be lost without the rank and file.

Yann, what are we seeing?

Séverine and Alphonse. “I'll kill them both.” And the scene in the square? It didn't come in.

That's strange. We never got the scene in the square.

Lajoie, call and ask the lab in Paris.

It's Sequence 1.

We'll go ahead. Who's missing? Séverine?

She never comes to rushes. I see. Roll it!

Alexandre's not here. He's at the airport, as usual.

Why's he always there? He must be expecting someone.

I suspect trouble in his private life.

Mother, I have to talk to you.

About them. Do you mind?

- Yes. But I have to.

I know where they are. In Paris.

They're not even hiding.

Why torment yourself, son?

Be like me. Put them out of your thoughts.

I can think of nothing else.

Shall we go away, you and I? Far away?

We can do whatever you like.

I've made up my mind. I'm going to Paris... to kill them both.

Scene 1, take 4.

Mother, I have to talk to you.

About them. Do you mind?

- Yes. But I have to.

I know where they are.

They're in Paris.

They're no! even hiding. That line's better in take 3.

Why torture yourself, son?

Be like me. Put them out of your thoughts.

I can think of nothing else. I refuse to just accept it.

Shall we go away, you and I? Far away?

We can do whatever you like.

I've made up my mind. I'm going to Paris... to kill them both.

We have a big problem.

A power failure at the lab ruined the crowd scene with all the extras.

The whole thing has to be reshot.

When can you do it? The day after tomorrow.

No, not before Monday. We have to round up 150 extras.

Will the insurance cover it? I hope so!

You know, real estate is where the money is today, not movies.

I only stay in it because I love it.

If we have to reshoot the scene, we'll reshoot the scene.

Alexandre, how are you?

Nice. Is that for me? No.

Lajoie, our production manager.

What's that? For Madame Séverine.

In newspaper? Looks like crap. Go wrap it properly.

Tell me... does Séverine know I'm playing her husband?

Of course. She was delighted.

Glad to hear it. Go say hello.

I'd love to. Where's her dressing room?

Come in.

I'm so happy to see you!

Divinamente bella!

What about you, you old dog!

How do you stay so young?

I'm so happy to be working with you. Same here.

Remember when we first met in Hollywood?

Shut up!

No dates, no numbers, or I'll tell everyone you had a facelift.

Not yet, but soon.

You know what?

Just for you...

I could take up cooking again.

Remember how you loved my risotto alla milanese ?

Well, not anymore. What?

Just kidding!

I'll eat your risotto anytime.

Are we working together today? No, you and Alphonse are.

I'm going to the airport. See you tomorrow.

That man is adorable!

I worked with him - mamma mia! -

20 years ago in Hollywood.

We were there at the same time.

He was a real ladies' man. Really?

In Hollywood they called him...

I loved him myself. Is he married?

I don't know about now.

He was married and divorced twice.

Maybe he's living with someone.

No one knows these days. He's very secretive.

He has a mustache in the movie. I like him better that way.

Mustache or not, he's still playing lovers, and look at me!

I'm typecast now as the neglected wife - a desperate, tragic pain in the ass!

You're beautiful. I look awful!

Help me rehearse today's scene.

I can't remember a line.

I don't know why, but lately... my memory has gone to hell.

Monsieur Walter to set 7, please.

Terrific dressing room.

Nice and spacious. All that's missing are the flowers.

They've been ordered.

You know, I admire Julie Baker as much as you do.

You wanted her. We got her.

But if she walks out, we're up a creek.

What do you mean?

After her medical exam, the insurance doctor refused to okay her.

Said she's still too nervous and that we should wait a month.

What did the Americans say?

Thankfully, they're more flexible than the French.

They're willing to risk it.

But if she cracks up, no one will take the blame, and we'll all be screwed!

Well, if we didn't trust our luck now and then...

You're right. ...we'd be in some other line of work.

Still, it's a gamble.

Did you discuss the rushes with Séverine?

I went to say hello.

You know she and Alexandre had an affair once?

Yes, I heard. Very stormy.

Really set tongues wagging.

And it ended disastrously.

No producer could get them to work together for four years.

They hated each other.

But time heals all wounds.

Hello, Alphonse. Got a minute?

Don't forget about my check. I think of nothing but.

Me too.

This'll only take a minute.

Great dressing room! Much nicer than mine.

It's Julie's.

You know Liliane and I are getting married?

Wonderful! Glad to hear it.

Here in Nice, before we finish shooting.

I was wondering: Would you mind being my best man?

Not at all. I'd be delighted.

You think this looks all right?

It's not bad. Nice blue.

Buddy, hit the fireplace with a senior spot.

Open it up a bit.

That's good. Hold it.

And use a barn door on the fire, or we won't see it.

I can't take my eyes off the fire.

People used to watch a fire like they watch TV now.

I think we've always needed to watch flickering images after the evening meal.

I never thought of that.

Liliane, Alphonse told me the news.

I'm very happy for you. Congratulations.

Congratulations?

Gilbert, light up the central. Put out the fire.

It's smoking up the set.

I'd like to introduce two German girls.

They're sisters: Greta and Diana.

She was in a big German political film.

You make political films?

She made an erotic film. Why don't you make one?

I have an interesting script about pollution.

Excuse me, sir. We have a problem.

What problem? I'm just rescuing you.

Ferrand, this is Mr. Giacometti.

Got a minute? This is a tricky shot. Afterwards.

Who's that guy? The cop who okayed us to shoot in the streets. So Bertrand invited him to watch us work.

Do I watch him when he works?

When he questions people?

Séverine, we're ready.

You start here.

Quiet. A full rehearsal.

Quiet, everyone. And go, Séverine.

I really don't understand you, Alexandre.

You've been acting -

“Peculiar.” That's okay. From the top, right away.

I really don't understand you, Alexandre.

You've been acting peculiar lately.

Walking out during dinner last night was very rude to Julie -

Shit! I said “Julie” instead of “Pamela.” Don't worry.

That's no good.

It's okay. From the top. I have an idea.

Why don't I use numbers, the way I do with Federico?

Instead of “I really don't understand you, Alexandre...” I say, “22, 83, 16, 72...

5, 3, 18, 9, 14, 7, 9...

17, 10, 10, 4, 18, 69!” How's that?

Impossible, Séverine. it's very nice, but -

Here in France, we have to say the lines.

We're recording direct sound.

You have to say the real lines.

You always give me my lines at the last minute.

Then we'll use cue cards.

Joëlle, come here, darling.

It's all your fault, Ferrand.

“L really don't understand you, Alexandre.

You've been acting peculiar lately.”

- Cut lots. We'll need them. Who asked you?

How's this?

A bit more this way.

The last one's over behind the column.

Starting position, Séverine. Wait. Sound's reloading.

No, sound's ready.

Hurry up, Bernard.

Go ahead, Séverine.

I really don't understand you, Alexandre.

You've been acting peculiar lately.

Walking out during dinner last night was rude to... Pamela.

She is Alphonse's wife, after all.

You seem to hate her, to purposely avoid speaking to her.

What do you want? You can see we're talking.

Go away.

And I won't put up with it.

Cut!

I did it! That was good, right?

Very nice... but that's not the right door. I thought it was.

That's the closet. This is the door.

Let's do it again.

From the top again.

I thought it was the same door. No problem. Ready.

They do look alike.

Roll camera!

I really don't understand you, Alexandre.

You've been acting peculiar lately.

Walking out during dinner last night was very rude to Pamela.

She is Alphonse's wife, after all.

You seem to hate her, to purposely avoid speaking to her.

What do you want? You can see we're talking.

Go away.

And I won't put up with it.

Darling, look.

I know the doors look alike.

Not that one. This one.

Bernard... you're the only one who understands.

Will you come to my dressing room?

Come to my dressing room. Of course.

It's not this one...

I really don't understand you, Alexandre.

You've been acting peculiar lately.

Walking out during dinner last night was very rude to Pamela.

She is Alphonse's wife, after all.

You seem to hate her, to purposely avoid speaking to her.

What do you want? You can see we're talking.

Go away.

And I won't put up with it.

She'll never get it.

It's not my fault!

Cut. Let's do it again.

It's not my fault. I'm so confused.

I don't know if she's Odile the actress or Odile the makeup girl.

In my day, acting was acting, and makeup was makeup.

It's not my fault.

Everyone not needed on the set, please leave now. Thanks.

Alphonse, come back.

That doesn't mean you. Stay if you like.

I wanted to go to the movies anyway.

Give me my mirror.

It's her fault, hitting the bottle like that.

Her son's dying of leukemia.

She knows a phone call could come any minute.

She almost turned down the film.

I really don't understand you, Alexandre.

You've been acting peculiar lately.

Walking out... during dinner last night... was very rude to Pamela.

She is Alphonse's wife, after all.

You seem to hate her...

It'll be all right, Séverine.

We'll take a little break.

I don't know what it is.

Maybe the wig's giving me a headache.

This has never happened before.

It's the first time.

It's all right.

We'll continue the scene tomorrow. Get some rest.

Where's Odile? No, not Odile.

Where's the makeup girl? I'd like my scarf.

Mr. Ferrand, why don't you make political films?

Why don't you make erotic films?

The Americans insist you finish shooting in seven weeks.

Madame Séverine needs Odile in makeup.

Who's that woman I keep seeing?

Lajoie's wife. She follows him everywhere.

Want me to get rid of her?

No, I'm getting used to her.

I don't know why Ferrand cast me.

He can't stand me. Where'd you get that idea?

And I know he thinks I'm a lousy actress.

Just between us, he may be right.

No, he didn't cast me. Was it the producer?

There's something strange about this film.

He never considered anyone else.

Really? I'm positive. Come on.

You never understand anything anyway.

I certainly don't understand this! It's destroying me!

I'm sorry, but I was hired to play a secretary.

No one ever mentioned a bathing suit.

If they had, I'd have brought my own.

It may not be in the script, but the scene works better.

Alexandre has brought his secretary along as a guest on vacation.

You're swimming, and he calls you to dictate a letter.

Sorry. I just can't. I'm not just being difficult.

I even took typing lessons.

I wasn't told I'd be swimming.

I won't go near the water.

Joëlle... what can we shoot until that idiot calms down?

The pool scene's all we have until Julie Baker gets here.

Then go talk to her. Try to convince her.

An actress who won't appear in a bathing suit in 1972 is ludicrous.

Action! Messenger!

Darling, a telegram!

The kids are coming.

You see, sir, we've never met our son's wife.

No, wait. This is for you.

So they're coming? Day after tomorrow.

They finally decided? I'm very happy.

I'll write and tell Stanley to arrange everything.

Stacey, would you mind taking a letter?

It must go out today. Coming, sir.

Don't worry, Stanley will work things out.

Renting the house across the way would be ideal.

That would be marvelous, having them so close!

Stacey, sorry to bother you with this. it's a letter to Stanley.

“Dear Stanley...

I'm pleased to announce that my son Alphonse is arriving with his young bride...” Now I see why she wouldn't wear a bathing suit. Look.

She looks lovely.

You don't get it. Look closer.

Good God!

Stacey pulled a fast one. She's three months' pregnant.

I say we fire her and get another actress.

I don't agree. Frankly, I don't think it shows.

Come here a minute.

Look at our schedule.

She shoots one more day, and then she comes back in six weeks.

By then it will be obvious.

No, we have to replace her.

It's not that hard. We'll pick someone now and call their agent.

There are all kinds of girls.

Stacey has an iron-clad contract. I can call her agent, but he has us over a barrel.

You know why?

Because in this world, the stronger hand always wins.

Package for you, sir.

Ah, the books I ordered.

The composer calling from Paris. It's Georges.

Ferrand, here's the playback for the costume party scene.


It's beautiful. I'm very pleased.

Thanks so much. Talk to you later.

The airport, Julie's plane, press conference.

I can't be late.

Listen, you're so fond of improvising.

Why can't the secretary be pregnant in the film?

Ah, maybe that could -

No, it will look like Alexandre's the father.

It'll confuse the story line. No, it won't work.

Come to think of it...

Stacey isn't married.

I wonder who the father is.


Your questions, gentlemen.

Can you tell us about your new film?

Meet Pamela is the story of an English girl who falls in love with her husband's father and runs off with him.

I believe it's based on a real-life incident.

How does it end?

Since it's a tragedy, it ends unhappily, but I'd rather not reveal all the details.

Do you think that people these days are interested in a girl who sleeps with the son and then the father?

When I like a script enough to do it, I trust that audiences will like it too.

You really feel that? Yes, and I hope I'm right.

Forgive me for intruding into your private life, but American papers reported that you were in fragile health and you married your doctor.

No, I didn't marry my doctor.

I married a man who is a doctor.

Why isn't the lucky man among us?

My husband came with me and is in fact here in this very room.

Where is he?

I can't tell you. He hates publicity.

On that little note of mystery, we'll let Miss Baker get to her hotel.

We'll let the reporters leave first.

Meet my husband, Dr. Nelson.

Could you move back, please?

You're in the shot there.

Thank you very much.

She's always around!

That's Lajoie's wife.

Is she learning his job or what?

No, she thinks all the women are after him.

She makes his life hell, and he's too weak to dump her.

We all call them “The Sorrow and the Pity.” Lajoie, we're ready to shoot.

What's going on there?

That looks like bad news.

You have le tract?

What's that mean?

Liliane, slate this one, please.

Our photographer keeps busy!

Roll camera!

The car!

Hello, my darlings!

My parents.

Here she is. Meet Pamela.

Walter, get to the stairs.

I know you'll be happy here.

It's a shame our house is so small.

Come out on the balcony. You can see the ocean.

She's charming.

Do you like it?

My son never tells me anything.

He's never even told me how you met.

Really?

I was on vacation in Yorkshire with two of my cousins, Dorothy and Elizabeth.

He had a date with Dorothy, but she got chicken pox, and I took her place.

I don't know Dorothy, but I'm glad you didn't get chicken pox.

Who got chicken pox?

Guess.

Cut!

Was that okay?

Not bad, but let's try something else.

We're doing it again?

Was I late?

Walter, let's try a different angle.

You can take a break, Séverine.

I wanted you here with me, so I got you the internship.

I wanted us to be together.

I don't want to be a script girl. I'm not learning a thing.

I want to learn film editing.

Film editing?

You just had to say so. I'd have arranged it.

Say, Pierre... you're here to take stills, right?

Watch out for the camera, idiot!

Odile, get this bottle out of my sight.

How's your mother?

Fine. I told her we'd be working together.

She sends her love.

Marvelous woman. Everyone in Hollywood loved her.

It's a shame she quit so early.

Oh, she keeps very busy.

She could never adjust to how movies are shot in bits and pieces.

I remember escorting her to the premiere of her first big Hollywood movie.

A fantastic evening.

When the film ended, she looked at the screen, then turned to me and said...

“I did all that? All I remember is the waiting.” It's so true.

I'm not yelling. I'm very calm. But I say you're on the make.

That's not true. Oh, no? I'm a wreck.

I'm worried all the time. I can't wait to finish a scene so I can come looking for you. I'm a complete wreck.

I can't find Alphonse.

I know where he is.

It's casting a shadow. Move it to the right.

I'm anxious the whole time I'm shooting.

You think I can perform now like this?

I need to be calm for this scene.

If I blow this scene, it's your fault.

Sorry to make you die again.

I'm used to it.

In 80 films, I've died 24 times.

Electrocuted twice, hanged twice, stabbed a few times, a couple suicides, lots of fatal accidents - but never a natural death.

Which is fine, because I don't think death is natural.

Julie will be right down. She's changing.

Did things go well? I'm very pleased.

I'd never worked with an actress I hadn't met before.

But Julie's just right - determined yet fragile.

She's perfect for the role.

It'll go fine. See you later.


Sorry to keep you waiting, Stacey. That's okay.

I'll just be five minutes, Bernard.

You won't miss your plane.

I better not. I've got a TV show.

Hi, Yann and Martine. Hi, everyone.

Ready with the pool scene?

Let's run it.

Stacey, would you mind taking a letter?

It must go out today. Corning, sir.

It doesn't show at all. Really? Good.

Very nice. As long as you're happy.

It's not too...?

No, it's fine.

Then it's okay? You can leave with no worries.

Have a nice trip.

Have a good trip. Good luck with the film!

Let's run the rest.

Julie Baker and Alexandre to the bungalow set in 15 minutes, please.

Know what?

I want to touch you.

What's that set? The love nest.

It's in the script. I never read scripts.

It's after Alexandre and Pamela have run off.

They stop at one of those places that caters to couples who... you know.

It's morning, and they want to make love, so she sets the tray outside so the maid won't disturb them.

I gotta go, and you're not in this scene.

I'm hanging around anyway.

Jean-François, I just have a quick question:

Are women magic?

No, and neither are men.

If a woman says she's known exceptional men, it just means she's laid a lot of guys.

You can check the frame in the viewfinder.

Excuse me, sir.

I have to take three days off.

Really? Are you leaving the crew?

My mother just died.

I see. Was it sudden?

No, she'd suffered a long time. She's better off now.

I see. Take the time, of course. Someone will fill in for me.

I understand. I'm sure they will.

I think we can start now.

Come back, Doctor. You're not in the way.

Have a seat. This shot should be fun.

I just came to say good-bye. My plane leaves in an hour.

I'm going to the airport after this. I'll take you.

What are we waiting for now?

Bernard, as usual.

No, I'm ready.

This one's poison, this one's the antidote.

All right, we can start.

Ready, Alexandre? Julie?

Roll camera!

Action!

Don't make the kiss too romantic.

Now the cat.

Go on.

Your stupid mic is scaring it.

We'll dub in cat sounds later.

At the fish market!

Once more. Roll camera!

Send the cat in.

Make it go there.

Ah, hell!

Cut. Once more.

Do it this time or else.

Walter, follow the cat.

Send the cat in.

What's the problem?

I swear it hasn't eaten in three days.

Toss it right in there.

Cut. We'll shoot the scene when you find a cat that can act.

I told you to get two cats.

Miss Know-it-all.

It could be 20 minutes.

I still have to remove my makeup.

Why didn't you do it?

And I get yelled at!

Where did Joëlle go?

I found one. it's the studio cat.

I can tell just by looking that it's not gonna perform.

Stop arguing. We'll try the studio cat.

Places, everyone. The kiss.

The tray.

Get ready for the door.

Send the cat in.

Fix the focus!

Keep the cat in focus, damn it!

Cut!

Alexandre, I know you're in a hurry, but I have a quick question.

In your opinion, are women magic?

Some are, yes.

But some aren't!

You needn't worry about Julie.

I know. She's very happy on this film.

I'm sure she'll do fine.

Actors are so vulnerable. it's only natural.

Everyone's afraid of being judged, but in your profession... being judged is part and parcel of your work and your personal life.

We meet someone and immediately think, “Do they love me?” It must be the same for all artists.

As a child, when Mozart was asked to play, he'd reply...

“Gladly, but first tell me you love me.” And there's more kissing in your job than any other.

You noticed, huh?

Yes, we do a lot of kissing.

They say the handshake was invented to show one was unarmed, not a foe.

That's not enough for us.

We have to show we love each other.

“My darling, my love, you're so wonderful.” We need that.


This is Christian Fersen. Our director, Mr. Ferrand.

Were you waiting outside? You should've come inside.

I'll be damned! You see that?

Bernard, are women magic?

Not women. Their legs.

That's why they wear skirts.

Cut the crap. We going to a movie tonight.

Joëlle, when's it start? We gotta leave now.

You have to shoot the kitchen scene tomorrow night.

The union contract calls for a 12-hour break.

Joëlle, we have to shoot the kitchen scene tomorrow.

Can you work with me tonight?

I can't go to the movies.

I hear we're shooting the kitchen scene.

Yes, we have to. Tomorrow night.

I'd like to get my lines. Tonight after dinner.

That's cutting it close. It's not written yet.

Read it once, then put it under your pillow.

In the morning you'll know it by heart.

Optimist!

Reporters always ask the same questions.

“How's it feel to be famous, to be asked for autographs, recognized in public?” But no TV program I've seen has ever shown that an actress on a film shoot gets up at 6:00 a.m. and gets home at 9:00 p.m. - a 15-hour workday!

Not really 15.

Maybe 13 - 14 if you go to the rushes.

All right.

Madame Séverine isn't in her room. I'll try the bar.

The Godfather is at the Kursaal, the Rexy, the Forum.

No other film has a chance.

Speaking of godfathers, how about that Alexandre?

He fooled everybody. We all expected a Lolita, and a handsome Romeo got off the plane.

I was thinking:

Maybe he could do Pamela's car-accident stunt.

You crazy? Too dangerous! That takes a real stuntman.

Let's get back to the kitchen scene.

That night, Alexandre finds Pamela in the kitchen.

Why the kitchen?

Anywhere else might seem suspicious.

I'm not too happy with my first draft.

He: “You realize what's happening to us, don't you?” She: “I think I do.” That's no good.

Pamela has to be sure, or her character will seem spineless.

The scene isn't working. Why not call Jean-Marius?

I thought of it, but he's in Japan.

He's adapting Turgenev's First Love, setting it in modern Japan, a great idea.

Better than Pamela. I should have done that.

Though you can make a film about anything.

“Kissinger's Successful Mission,”

“Heart Transplant,” “Jeweler Stabs Wife.” Back to work. You dictate, I'll type.

You promised Julie her lines tonight.

Okay, back to the kitchen.

Let's ditch any sense of shame or sneaking around.

They very consciously decide to run away like thieves in the night.

She could even say that. “Like thieves in the night.” We must show she knows exactly what she's doing.

She once loved the son, but now she loves the father.

That has to come across.

Julie put it very well.

Here's her interview in the morning paper.

“The girl realizes the boy she's married is but a pale reflection of his father.” She's the only one who really got it. Why?

Because her mother was an actress, and because she knows Hollywood, where lots of kids try to live up to their famous parents:

Fairbanks, Barrymore, and on and on.

Alexandre: “You realize what's happening to us, don't you?” Damn, the phone.

Mr. Ferrand, a Miss Dominique is here. Should she come up?

Tell her I'm working. I'll call her tomorrow.

I'll give her the message.

He's sorry, but he has to work tonight.

He'll call you tomorrow.

What do you think? Sexpot?

Riviera beauty? Local call girl?

A little R&R? Exactly.

Hey, it's the movie quiz!

In what film based on Shakespeare did Jeanne Moreau costar with Orson Welles?

Falstaff.

Correct.

In what film did she play Charles IX's sister and wife of the king of Navarre?

That thing with Henry IV - La reine Margot.

You know your stuff.

Julie, your lines for tomorrow.

“Yes, I'm in love with you.”

“Same as you, I think: ever since the costume party.”

“I can't stay here. I've decided to leave tomorrow.”

“Ever since the costume party...”


I'll close the window.

Just one thing: Don't get sentimental in this scene.

Keep it blunt, almost aggressive.

The rehearsal was good.

Let's do a take.

Lights out. Rain.

Less rain.

Hold it there.

Can't you sleep?

I heard someone. I knew it was you.

You couldn't sleep either.

I was thinking of you.

You realize what's happening to us, don't you?

Yes. I'm in love with you.

How long have you known?

Same as you, I think: ever since the costume party.

I can't stay here. I've decided to leave tomorrow.

I thought of that too... but I want us to leave together.

No, that would be like running off together.

Yes, it would. I realize that.

But I don't want to lose you.

Nor I you. Let's leave right now, like thieves in the night.

Cut. How was it, Walter?

Fine. Perfect. What do we do next?

We do it again.

Let's leave right now, like thieves in the night...

Like thieves...

We've been looking for you for an hour!

I was in my dressing room.

But you were told last night.

No, or I'd have been here. I didn't get a call sheet.

Fine. Let's get started.

We're at the halfway point.

Before starting, I hope to make a fine film.

When the first problems arise, I lower my sights and hope to just get through it.

Halfway through, I do some soul-searching and think...

“You could have worked harder, given more.

You have the second half to make up for it.” And I start trying harder to bring the film to life.

Meet Pamela flhally seems on the right track.

The actors are into their roles, the crew has come together, personal problems have been resolved. Cinema is king.


The drinks are on Alexandre tonight!

Any champagne left?

No, we'll have to switch to Pernod.

Make yourselves at home.

Help yourselves.

You were in Paris then?

For you. I see you're set.

He's very handsome. Does he want to be in movies?

My God, no! He wants no part of it.

But his tennis is going well.

In that case, auguri!

But I wanted to ask you something.

I've decided to adopt Christian.

You know I've always wanted a son.

And you'll think it silly, but I'd like someone to carry on my name when I'm gone.

It's a wonderful idea.

But there are some legal issues.

I'm not married now, and he doesn't have a French passport.

Know what you should do?

Speak to the president.

The electrician's grandfather.

Go fish.

The cameraman's mother.

This is Mark Spencer.

The British stuntman, just in from London.

He speaks no French. Julie will help.

Tell him the car crash we're shooting tomorrow will be in nuit américaine. What's that?

A night scene shot in daylight, using a filter on the lens.

That's called “day for night” in English.

Yes, dressed just like that.

He doesn't understand.

I speak it very well, but I don't understand.

Liliane, stay here with me this morning.

Are you crazy?

They don't need you. What are they shooting?

Pamela's death in the car, with the English stuntman.

See? it's not an important scene.

I've gotta go. They're all down there.

Follow me. You can't miss the road. It's marked.

See you later.

Where'd you get this watch?

Pierrot lent it to me. Mine's being fixed.

Give it back.

I can afford a watch if you need one.

Making it hard for me to leave? No, go on.

But that's mine. Keep it for me.

I will.

Come on, guys! Move it!


What are you doing today? What about you?

I'm going antique hunting.

I'm going to a movie.


What's wrong?

I got a damned flat.

And I suppose you can't change a tire.

Come on, just help. We'll be late.

No need for a man when the car's cruising along fine.

We'll be late.

Move. This goes up front.

I see you've never used a jack. I'm not a mechanic.

Neither am I, but what if you run out of gas?

Then I put some in.

In the carburetor, I bet.

There. Now we're all filthy.

I'll change into my sweater.

Hold this.

Listen, if you're in the mood...

For what?

Well, we're... all alone.

Okay, you're on.

W-What?

I see you're all talk and no action.

You mean, you want to...? Sure.

But we haven't got all day.

Come on, hurry up.

What's happened to Joëlle?

She's not here, and neither is Bernard.

You guys could have this blow-up doll in your car.

Or in your bathtub.

You're disgusting. If he understood French, he'd slug you one, and it'd serve you right.

Hurry! Is that what you learned in film school?

Bunch of perverts, talking dirty all day long.

Whatcha doin', makin' a movie?

If ya need stars, we're available.

Let the workers by.

We're all peasants, right?

Right, we're all peasants. No, we're all Jewish peasants.

Hey, Pierrot, heard from your wife and kids?

Glad you could make it, guys! I got a flat.

Good thing I was behind her or she'd still be there.

Fill me in.

Continuity slip. You changed.

Ready to shoot!


Okay, second camera?

And the stuntman? He's all done.

Then he can pack up and go.

What's going on?

He promised me a ride but took Liliane instead.

Fast worker!


What's all this luggage?

I might as well tell you.

We're in love.

He's taking me to London.

The film's not finished.

They'll do fine without me. I'm just a fifth wheel.

You don't just walk out on a film.

They only hired me for Alphonse's sake.

And what's he say?

He'll get the surprise tonight.

He'll be terribly upset.

He's always terribly upset.

He's a spoiled child who refuses to grow up.

He loves you. You were to be married.

He mentioned marriage, not me.

Just the word gives me the creeps.

He needs a wife, a mistress, a nanny, a nurse, a sister.

I can't play all those roles.

This is wrong. You don't realize how cruel you're being.

I'm through with Alphonse.

He expects the whole world to pay for his unhappy childhood.

Julie, come be in the picture!

What picture?

A souvenir for me. it's my last day.

Wait. Here comes Stacey.

Hi, Bernard. How are you?

We're all waiting for you.

Come, Stacey. We're proud of you.

Stand right there. Looks like it's due soon.

And it's not even twins.

She's lucky. She'll get nothing but close-ups!

Hold still.

Wait, we're missing Liliane. Where is she?

I have to talk to you.

Liliane won't be coming.

She was right to leave.

I understand. It had to end this way.

Don't move.

Now Alphonse has disappeared!

And where's Odile?

What happened?

Liliane ran off with the stuntman.

Does Alphonse know?

I had to tell him.

The stuntman!

I'd dump a guy for a film but never a film for a guy!


Can you manage?

I'll explain the setup.

We built this to suggest you're staying across from your in-laws.

We can start now.

I'll cue you, since Alphonse isn't here.

Alphonse's love life - what a mess!

True. One day I'll make a film: “A Lovely Mess.” Action, Julie.

Hello, kids!

Alphonse, hurry up!

Come have breakfast with us.

Alphonse is still in bed.

Next line, Julie.

We're invited over. Tell them okay.

We'll be right there.

Cut. Once more.

Come have breakfast with us.

Alphonse is still asleep.

No, “in bed.” We're invited over.


Alphonse, I know you're in there.

Open up. Everyone's asking for you.

They are not!

They are. Séverine's leaving tonight.

I don't want to see anyone! You hear me?

This actor had always dreamed of playing Hamlet.

He finally staged his own production.

But he was so bad, he was booed every night.

One night he'd had enough.

He stopped right in the middle of “To be or not to be...” and turning to the audience, he said...

The champagne's here at last!

Ferrand, you still have to finish Pamela.

Darling, I'm so sad to be leaving.

Come join us, you male chauvinists.

Slide your table over.

And you, sir, why are you all alone over there?

Are you sad? In love? Heartbroken?

You mustn't. He's a hotel guest.

So what?

Come join us, Mr. Hotel Guest!

We're a film crew having a farewell party.

I'll introduce you.

I need to talk to you.

I think someone should go get Alphonse.

He's sulking in his room. Besides, he's a real pain.

You're too hard on him. Hard on him?

I've put up with him for ages.

Then I'll go.

I'll try again.

Julie, come look at these marvelous pictures.

She's so lovely.

She's not!

It's a strange life we lead.

We meet, we work together, we grow to love each other, and then -

As soon as we grasp something... it's gone. Gone!

Séverine's an extraordinary woman.

We made a film together in Italy.

She was so good, the director kept saying...

“She's better than Eleonora Duse!” So I said, “Yeah, she's a real doozy.” That's a good one.

Good night, sweetheart.

Did you talk to Alphonse?

He's locked in and won't come out. I didn't even see him.

Well, Séverine's gone -

Can someone give me money for a whorehouse?

Come here, Alphonse.

Go back to your room, work on your lines, and try to get some sleep.

Tomorrow's a workday, and it's the work that matters.

Don't be a fool.

You're a very good actor.

No one's personal life runs smoothly.

That only happens in the movies.

No traffic jams or useless down time.

Movies move along like trains in the night.

And people like you and me are only happy in our work.

Good night. I'm counting on you.

“Alphonse, what costume should I choose for the party Saturday?”

Please put this call through to room 415.

Julie, it's Alphonse.

I'm leaving tonight. I wanted to tell you first, because you've always been honest with me.

Tell Ferrand for me.

I have to talk to you. Wait.

Good-bye, and thanks.

Wait for me.

What's all this about? You're not really leaving!

I am. I'm giving it all up.

No, you're going to stay and finish the film.

Even if I stayed, I couldn't possibly work.

I'm a physical wreck.

You think it's normal for someone to suddenly stop loving you and just walk out?

Then it was all phony and rotten.

I know what you're feeling. It hurts terribly.

But I think Liliane still loves you.

Besides, you're being selfish too.

You know it's hard for an outsider to live with an actor.

But to leave with just anyone! Some Brit stuntman!

Careful! I'm a Brit too.

And I know all about these stuntmen.

It's not hard to guess what will happen.

At first, he'll take her everywhere with him.

Then he'll get tired of her, and she'll feel lost and all alone in London.

She'll be back in two weeks.

Think so?

Even so, it's all over now. No, thanks. I'd rather suffer.

You see...

I've made a terrible discovery.

You can be desperately in love with someone you despise, whose every gesture, word, and thought you detest.

What right do you have to despise her like that?

Perhaps you made a mistake, but never be ashamed of having loved.

By despising Liliane you're merely debasing yourself.

Maybe you're right.

Anyway, my love affairs have always been disasters.

I believed women were magic.

Of course they're not magic - or else men are too.

Everyone's magic... or no one is.

I'm sure Ferrand is wrong. Life is more important than movies.

I have to go. Thanks for everything.

Don't be a fool.

You're going to stay and finish your work.

Lucien! Is that clock working?

It's 6:00 a.m. Time to make coffee!

Have you seen Julie?

No. I'm looking for Lajoie.

Know what that idiot did?

He thought we'd shot the costume party. He sent the costumes back.

So you've been up for hours? All night!

I've been at the airport getting the costumes, or we couldn't shoot today.

Where could Julie be?

You looked in her room? Yes. Her bed wasn't slept in.

Everyone on this movie is nuts!


What time is it? 6:00.

Where are you going? To work.

You can sleep two more hours. I set the alarm.

Stay with me.

I can't.

Don't go.

I have a makeup call for the costume party scene.

Wait.

Kiss me.

Don't forget:

We're going away together when the film's done.

Sleep.


Dr. Nelson? This is Alphonse.

I have something to tell you.

I love your wife. I slept with her. Set her free.

Julie Baker is wanted on the set.

Just a minute.

Julie, call for you.

I think it's your husband.

I'm coming.


You owe me for this. Not now!

Later you'll say it's too late!

You looked everywhere? He's not in his room?

Gentlemen, Alphonse has disappeared.

Could he have gone back to Paris?

There are flights at 8:50 and 10:10.

Call the airport.

You call. I'll rush there.

If he's there, I'll bring him back.

We've got trouble! I know. Alphonse is gone.

I mean Julie. it's probably nerves.

She's locked herself in and won't see anyone.

You can hear her crying.

I hope it's not a relapse.

We'll soon find out.

There's Odile.

She got a call. I think it was Dr. Nelson.

Then she asked me to leave and locked the door.

It's me. Open the door!

Open up. We're your friends!

It's Bertrand. I want to help you.

Quiet.

You don't think she'd...?

Well?

Will she talk to you? She won't open the door.

You can hear her crying.

That's too much! She keeps us out but lets her in!

Perhaps she feels an expectant mother would understand.

We can't find Alphonse. We tried the airport and hotel.

Julie didn't sleep in her room.

Alphonse disappears. Dr. Nelson calls long-distance.

The picture's pretty clear.

What is this movie business of yours?

Where everyone's so chummy and sleeps with everyone else and lies!

You think that's normal?

Your precious cinema!

I think it stinks!

I despise it!

Lajoie, get your wife out of here!

That woman's wrong.

Movie people may be more obvious about it, but love makes the world go round.

Did you talk to her? She wants tub butter.

Country butter, in a block.

Is she crazy? What's she doing?

She's crying.

She'll stop, but we have to find some tub butter.

Bernard, go find some tub butter.

No way! That's not in the script!

You're not being very understanding.

Aren't we one big family?

So were those patricidal folks in Greek tragedies.

Fine! I'll find some tub better myself.

For all his moaning, he's quite lucky.

I've known far more costly whims.

There was an Austrian actress, Hedy Lamarr, who became a Hollywood glamour queen.

She missed the rainy climate of her native Tyrol so much that she installed, in her garden in California, a rain-making machine.

So a little thing like tub butter...

Joëlle, come help me. This is all I could find.

But this isn't -

There's no tub butter on the whole Riviera!

We'll knead these sticks into one block and wrap it in gauze to make it look like tub butter.

Think it'll work? It has to. What a profession!

I found Alphonse.

You'd never guess where. I'm bringing him back.

There you are!

Here's Julie's “tub butter” - but I'm not taking it to her.

No! Like the old cook in Rules of the Game, “I indulge diets but not whims.” Ferrand.

Very well.

Come in.

Julie, here's what you asked for.

You didn't!

I can't believe it. I'm so sorry.

I'm so ashamed.

I'll be all right. Just give me a minute.

I know it's not very professional.

I don't like being like this.

Everyone's waiting. I've never done this before.

It's all right. We can wait awhile.

We'll change the schedule.

No, don't change it because of me.

I'll be all right in a minute.

Could you lend me a handkerchief?

I must look awful.

Why did Alphonse do it? He completely misunderstood!

He acted like the child he is.

I saw enough of your husband to know he's a wonderful man.

Yes, he is... but you don't know the whole story.

When I had my breakdown, he did a very serious thing.

He left his wife and children.

He left his wife and the life he'd spent 20 years creating.

He did that for me.

He devoted himself to me and tried to turn me into a responsible woman.

Now he must think it was all an awful waste!

No, when he finds out exactly what happened, he'll understand.

He'll forget, and all will be like before.

You think so?

Even if that's true, I'll never be able to forget.

Thanks to him, I know I can change my life.

I've decided to live alone.

I'm tired of disguises. I'm quitting movies.

Now I know that life is rotten.

Since we can't film, let's record some sound effects.

When you're ready. First, applause.

Now some crowd noise.

And don't discuss movies.

Now more applause.

It's Dr. Nelson!

Julie's dressing room is in the first hallway on the right.

No one was doing anything, so I called him, and he agreed to come.

What is it?

I screwed up royally. Now I'm about to face Julie.

I don't know what to tell her. Should I apologize?

Listen, Alphonse: The less you say, the better.

I've made up my mind. I'm quitting movies.

Good idea. You do that.

There. All ready.

Are you going to see Julie now?

Tell her this is the new dialogue for the scene.

Ask her to learn it.


May I touch up your makeup now?

Of course, Odile.

I'm fine now.

Let's make ourselves beautiful.

Mr. Ferrand sent this up.

It's your new dialogue for the scene.

“Even if that's true, I'll never be able to forget.

I've decided to live alone.

Now I know that life is rotten.” That man will use anything!

Ready, Julie?

Begin.

I've decided to live alone.

Now I know that life is rotten.

No, life isn't rotten.


Cut. Once more for the hands.

Was the candle okay? Fine.

Starting places. Places, quickly and quietly.

I'll stroke your cheek with this hand instead.

Places.

Let's go right into it.

Roll camera.

I've decided to live alone.

Now I know that life is rotten.

No, life isn't rotten.


Cut. That was the best one!

Alexandre's been killed!

In a car accident, coming back from the airport.

He'd gone to pick up Christian.

A truck hit their car.

Christian is badly hurt, but he'll recover.

Alexandre died... on the way to the hospital.

Alexandre was buried this morning in a little cemetery above Nice.

We're waiting for the English insurance representative.

The film's fate is in his hands.

What I've always dreaded has happened: a production halted by an actor's death.

The era of studio films died with Alexandre.

Films will be shot in the streets, without stars or scripts.

There will be no more films like Meet Pamela.

Come have breakfast with us.

Alphonse is still asleep.

No, “in bed.”

- We're invited over. Tell them okay.

We'll be right there.

- Was that good? Fine. Cut.

Wait for me! I'm coming over!

I was afraid he might get in an accident.

That's why I offered him a driver.

That man was never at home anywhere.

Always rushing off somewhere.

A man in a hurry.

I disagree. He was at home everywhere.

He liked people. He lived for the moment.

He couldn't tear himself away.

He was rushing back so as not to be late.

You could say his own thoughtfulness killed him.

Maybe you're right.

Now we have to finish the film.

It's up to the insurance company. What does Mr. Johanssen say?

Mr. Johanssen spoke at length with London last night.

They will not allow you to reshoot Alexandre's scenes with another actor.

The only solution is to simplify the plot and finish in five days instead of two weeks.

Then the insurance will cover everything.

Five days.

We'll have to simplify things.

We'll leave Alexandre out of the costume party scene.

Then the candle scene with Julie and Alphonse makes no sense.

Then we'll cut the costume party.

The story works without it.

Then the only important scene left is when Alphonse shoots his father.

We can film it from a distance and find a stand-in for Alexandre.

But it'll still be obvious, unless Alphonse shoots him in the back.

That's it! He'll shoot him in the back!

Much better. Much more powerful.

Why not have it all take place in the snow?


Walter, let's go.

Just like last time.

Yes, but much tighter on Alphonse.

Of course. But we have to see the gun at some point.

Here's the stand-in.

Ah, hello. He'll do, right?

Would you take a few steps to give us an idea?

His hair's too long. It has to work.

Odile, that's Alexandre's stand-in.

Trim his hair more like Alexandre's.

This is the gun you wanted for Alphonse, right?

If that's the one I chose.

Places, everybody. Quickly.

Quickly, please!

The places I indicated earlier.

I don't want the snow too white or too clean.

Don't worry. I'll make it like in Stain on the Snow.

Great.

I've got an offer for a film in Tokyo. I'm tempted to take it.

Turgenev's First Love. It's a good story.

Think it could work?

Sure, with a Japanese girl and you as the Frenchman.

I'll do it because it's Tokyo, 13,000 miles from my problems.

Listen, should I hold the gun like this... or like that?

Like that, so it stands out against the snow.

Dr. Nelson and Julie want to say good-bye.

Are they off to London? Australia. A medical conference.

Be ready to shoot when I get back.

See you in Paris soon for the post-synch.

Let's start before it gets dark.

Good luck.

You too.

Action!

Be more discreet.

Walk faster.

Now the gun.

Now run.

Run off into the square.


Cut!

We're all done. Thanks, everyone.

Going back to Paris?

No, I'm staying around here for a rest.

Have a nice rest.

Listen, my car was wrecked in the stunt.

I've got another one in Paris, but I need a ride.

With me? Impossible! it's full of my gear, and I like to be independent. No problem.

Yann, wait for me!

See you at unemployment. We can sign up together!

You're going back on that?

I'm taking Odile to meet my folks.

We're getting married.

You certainly hid it well! I'm sure no one suspected.

She's experienced and I'm not. It averages out.

All the best. Congratulations.

Bye, Walter.

And thanks. Great camera work.

I'm happy you're happy.

Bye, kids! Have a nice trip!

Drive carefully!

Could you say a few words about Alexandre?

No, it's too personal. Ask Bertrand, the producer.

He refused.

Alphonse? He won't talk about death.

Sorry.

I'll talk to you!

Is he in the frame?

Who is this guy? Propman, I think.

Tell me: Wasn't this a hard film to make?

I heard there were some rocky moments.

Not at all. It went fine!

And we hope audiences enjoy watching it as much as we enjoyed making it.