1:51:04
Coco. Bonjour. You made it.
Come on in.
1:51:12
-Am I early?
-Don't be silly. Let me take your coat.
1:51:15
-Where's the crew?
-You're looking at him.
1:51:17
I must have total control of
the creative product.
1:51:21
Like Godard.
1:51:23
-Jean-Luc Godard? Ever hear of that guy?
-French?
1:51:28
-You ever see any of his pictures?
-Sure.
1:51:31
Then you know what I'm talking about.
1:51:34
You see, I belong, sort of, to the
auteur school of filmmaking.
1:51:38
It's like the--
1:51:40
It's like the Mediterranean
approach, you know what I mean?
1:51:44
-Do you want a beer?
-No, thanks. I'm okay.
1:51:47
-It might relax you.
-It's all right. I have a lot on my mind.
1:51:50
I understand.
1:51:54
-What?
-Come here.
1:51:57
That's it. I want you to sit right here.
1:52:00
We're gonna do a lovely close-up
of that beautiful face.
1:52:06
I get nervous at first with cold readings,
but then I'm all right.
1:52:09
Don't worry about that.
We'll get to the dialogue later.
1:52:13
-So, you like art movies, huh, Coco?
-Antonioni and those people? Sure.
1:52:18
It beats watching
Laverne & Shirley.
1:52:20
Coco, you don't know
what you're doing to my lens.
1:52:26
You have a natural rapport
with the camera.
1:52:28
It's unbelievable. Some performers
can make love to the camera.
1:52:31
Garbo did.
1:52:33
Monroe did.
1:52:36
So could you.
1:52:37
-Yeah?
-Oh, yeah.
1:52:40
Could you take your top off, please?
1:52:45
-What?
-Could you take your blouse off?
1:52:50
-Are you kidding?
-No, I'm not kidding.
1:52:53
What's the matter?
You're acting like some dumb kid.
1:52:56
-I thought you were a professional.
-I am.
1:52:59
Well, then what's the problem?