Don't Look Up (2009)

[bunniefuu]

Clear! Clear the frame!

Lila! Cut! Cut! Lila!

Bela, what is it?
There's no one in frame.

Something is in here.

I saw it.

Bela. Bela, what is it?

Yeah.

Uh, hold up.

"Olt sees the Mulli. "

God, this is good.

What's up?

On my way.

Sorry to call, Marcus.

You're supposed to let
the doctors know

when your temperature
gets like this, Claire.

You know that.

Chemo could send you
into septic shock.

I hate that.
It sounds like a human toilet.

You weren't sleeping, were you?

It's still haunting you.

I should be there with you.

No.

Claire, you can't be there.
It's impossible.

Somebody's gonna be happy
to see me.

What are you doin' here?

I'll call you when I land.

Guilt, right?

You had your chance,
and you blew it.

Or your life's just too much
to deal with, huh, Marcus?

Stick with runnin' away.
You do that just fine.

Don't listen, Marcus.

You can mess
with my sister's head

and bullshit people
about your visions

or whatever they are,

but you're not special,
you're just sick.

There ain't gonna be
any comeback for you, Marcus,

this time or any time.

Marcus, just go.

Run away, Marcus!

Romania or wherever the hell
you're goin' this time.

But do not come here
when you get back

'cause I'm changing addresses,
you got it?

Marcus, just tell him.
It's my fault.

Claire, stop it.

No, you don't have to defend me
and take the blame.

I was the one who gave up on us.

Claire!

Just leave it.

You better get used to it.

Some directors are self-delusional.
Marcus is just delusional, period.

Hey, Marcus.

Yo. Wake up.

Huh? Where are we?

Oh, roughly about 6,000 bucks
over budget in your line item.

Geographically, Josh.

We are in "villoge" soon, Mr. Marcus.

Village, Grigore. Village.

Grigore, please, call me Marcus.

I'm not sure he wants
to call you anything

after your little schizotypal display.

Josh, you ever consider

maybe I really do have
apparitional experiences?

No.

Welcome.

Is famous. Man who become
rich making Kashkaval.

Famous Romanian cheese, he build.

Well, this is it.

I'm banking on that
demented mind of yours,

so, don't screw this up.

I can't.

I'm doing it for Claire.

And it's... it's none
of my business, but, uh...

She did leave you
before she got ill.

Maybe you should just
let all that go. Yeah?

Mr. Petri?

Mr. Petri? Do I take it in?

Just leave it.
Take Marcus to the stage.

Now? But is dark.

Let's go take a look at the sets.

It's not good time
to go now, Mr. Marcus.

Ugh. Geez.

Is no good place, this place.

Why do you want
to come here, Mr. Marcus?

I wanna sh**t in the same studio
as Bela Olt's original film.

Why?

Well, a long time ago,

I came across a production still
of the old movie...

the only production still
as far as I know.

It stuck with me...

the mood, the look.

This movie is never finished.

And no one ever see it, Mr. Marcus.

Is bad luck for these people.

Is bad luck here, for you, too.

What do you mean?

Mr. Marcus, I tell Mr. Petri
we must stay in Bucharest.

No film crew come here anymore.

It's late now. We go back, yes?

No.

Somebody's gotta be here.

The art department never sleeps.

Mr. Marcus!

Mr. Marcus! Someone is here!

There was man at gate.

Maybe the gatekeeper?

You see? Crew's sleeping now.

No one is here, Mr. Marcus.

Set, it is good, no?

You like?

Sweet.

Is almost finished.

We go back now, yes?

Hey, what is it, Mr. Marcus?

What is wrong?

Something.

Please, Mr. Marcus.

Where you go, Mr. Marcus?
What is it?

Mr. Marcus.

Mr. Marcus!

Don't smell good.

Check that side.

Grigore!

Mr. Marcus?

Mr. Marcus, I am not feeling well.

I- I think...

TAMl: All right, people.
Let's settle.

Mag jam.

Oh! Whoa!

Cut!

Cut.

TAMl: Okay, that's a cut!

Everybody back to one
and we'll do it again.

- Dude.
- What? What is it?

Sorry, the, uh, film was, uh,
I don't know, jamming or some...

I... I just saw...

Davis? Juice?

TAMl: Can we get some lights on
down here, please?

Okay.

Davis!

I'm right here.

Eddie!

Yo!

Same deal. Keeps kickin' off.

- What does it mean?
- I don't know what to tell you.

There's some drain on the power
comin' into this place or something.

How much time, Davis?

TAMl: Where is she going?

Can we please
get somebody up there

who knows what the hell he's doing?

Davis, you gonna be able to fix this?

You want steady current,
you get locations to figure it out.

He's the genius
who booked us into this toilet.

Mr. Davis,
is old here, yes.

But please do not say toilet.

Studio is historic, very historic.

What are you, a booster
for the Romanian Rotary Club?

This dump was wired at the dawn
of the electric light bulb.

Well, short of bringing in
a new Jenny from Bucharest,

which I can't afford to do,

what would you like me to do
to help you out?

What, like rewire the whole joint?

We already been up
in that stinkin' hotbox,

pre-riggin' this place
till we're both sick,

pukin' our guts out.

I'm sorry
we took this gig, Petri.

Your pay sucks, we're three
wrong turns from nowhere,

and Frankenstein's
manservant here

has got us lodging
in an abandoned sh*thole

that wouldn't pass
for a crack wh*re's flop house.

You don't want to move,
you don't wanna spend money...

Deal with what
we're dealing with here.

Okay.

Okay, well thanks

for your professional
technical opinion, Davis.

Igor... this is who you mean?

What?

Frankenstein... his assistant.

His name... it is Igor.

I am Grigore, not Igor.

Actually, his name... it is Fritz
in first two movies.

Then it become Igor.

Keep this guy
away from me, please.

Also he is Swiss, not Romanian.

Let's give these dipshits
a reminder of who's upstairs

with their hand on a plug.

You can't really say

our film's a remake
of Bela Olt's lost movie,

because nobody's ever seen
his version.

I was inspired by the same
Gypsy folktale he tried to adapt.

He never finished his film,
it seemed, so...

I thought, you know,
maybe somebody should.

Well, why don't you talk a little
about the original story,

the old legend?

Well, it's like a lot of Gypsy stories
about the Devil.

It starts with a beautiful
young Gypsy girl, Chavi...

a singer, a dancer.

She wants more than anything
not to be an outcast,

so she begs Beng,
the Gypsy devil,

to give her the most
powerful husband in the land

so she can escape
the hardship of her life.

And Beng agrees, of course.

Yeah, but like most deals
with the Devil, there's a price.

And in this case, he wants
Chavi's firstborn daughter

to take as his consort
to mother his evil offspring.

So, a pact is made.

Beng puts the powerful lord
under Chavi's spell.

From that doomed union,
a child is born...

Matya...

hidden away in a garret

until it's time to be
the bride of Beng.

Hey man,
just shut it down, all right?

There's no steady current.

Unplug all the cables
going into the distribution box,

and we'll reconnect everything again.

Davis, can we get
some house lights?

Checking!

Hey, I'm on it!

Whoa!

Oh, my God!

Eddie?!

It's three hours
to Bucharest.

Not to worry,
I bring you to hospital.

I can't believe this.

Grigore, you said something
about this place

the night we arrived,
about Olt's crew having bad luck.

Is Mulli's revenge.

They say she k*lled them all...
all the crew... like legend.

What?

No one talk about it, Mr. Marcus.

I go to Bucharest now.

Next village have nothing,
no one who can help.

Uh, hold up, hold up!

Take this with you.

What, you want him
to do a lab run?

We're supposed to shut down?
It's bad enough we lost a day.

Grigore, go to the emergency room
first, then the lab. Is that okay?

A little cavalier, maybe.

TAMl: All right, guys, show's over.
Everybody get back inside.

You saw those guys.
My a*s is on the line here.

I heard they felt sick
from being up in the fly gallery.

I was up there with Grigore.
He got sick.

They were screwing around
up there,

and they're trying to screw us.

Look, Josh,
something doesn't feel right.

No, stop right there.

Do you remember the last time
something didn't feel right,

and you felt all funny
about that house in Maine?

You wouldn't go inside

and they had to shut
the production down

'cause they couldn't
reschedule the actors

or extend the deals
with the crew or the equipment.

Is that all coming back to you now?

'Cause that marked your descent
from first film "wunderkind"

to second film "who gives a sh*t. "

Look, I'm here. I'm doing it.

Okay, don't get me wrong,

because I want you to keep
conjuring up all this weird sh*t

that's in your head
and putting it on film,

but I want you to remember
that it's just in your head.

You've never actually seen
or touched or spoken

to any of these apparitions,
have you?

Right.

See, because you just
hallucinate them very, very vividly

in these little episodes,
or whatever they are.

And you're very, very lucky

because this is the one business,
the film business,

where being
a complete and total nut job

actually has economic benefits.

So let's not piss
in the punch here, okay?

Stay focused.

And I may not be an expert
in psychopharmacology,

but I do know when it's time
for you to take your medications.

Hey. And let's get us
back on track... tomorrow!

Back on schedule!

Excuse me, sir?

Sorry. Do you speak English?

Uh, you work here?

What you want?

Uh, a maintenance person, I guess.

There's an odor in the fly gallery.
It's making people sick.

Dead rats, maybe.

Do you poison them?

No one working here many years.

No one.

What do you do, then?

I am waiting.

I am waiting long time.

For what?

For someone like you
to make film again here, of course.

Cut!

All right, that's a cut.

Camera moved, everybody.

Can we get
all hands on deck, please?

We used a stand-in.
Can you bring Romy back?

Yeah.

Let's get Romy touched up.
Last looks, please.

Make sure the Chavi
costume doubles

are standing by
for the Matya birthing scene.

I'm not gettin' enough spill
from those overheads.

You need to get her in closer
to the edge of the grid, understand?

Dude, she is into you.

I'm zeroing in on another target.

Crina, assistant wardrobe.

How do you say,
"What can I do to get you

to make all my sexual desires
come true," in Romanian?

I think that'd be, "green card. "

Dude, that might actually work!

Hey, Mr. Marcus.
- Good night.

See you tomorrow.

What? What's going on?

Looks like footage
from '20s... '30s perhaps.

Possibly the lab is restoring it,
got it mixed up with yours.

Mnh-mnh. The images
look composited,

like it was done in camera,

like the film stock was previously
exposed, or something.

Heard of sh**ting short ends
to save money,

but not 80-year-old short ends.

That film stock's brand new.
I'm not that cheap, for Christ's sake.

Guys, that's Lila Kis playing Chavi.

This is Bella Olt's film...

the original film.

It's been lost for 80 years,

but suddenly, there's
a piece of it in our dailies.

Look, whatever it is,

it's a lab screw up and nothing
more pretentious than that.

Wadim, transmit the footage to L.A.,

and send them an e-mail
and give them a heads up

so they don't think Marcus
has gone flaky on them.

We should cut this anyway.
It never went anywhere.

It's the only shot that actually
has a reference to Olt's movie.

It means something.

Look, neither you, nor anybody else
knows what this scene means

taken out of context from a film
that no one's ever seen.

Anybody under 100
who's off resuscitation

won't even get that it's a reference
to Olt's lost movie.

Just cut it, like I said.

I'll call the lab on this.
We'll get another print of the neg.

They can have it here tomorrow.

None of these should be on there.
You should be all right.

Look, man. I don't wanna sound

like some psycho Hollywood
scientologist or something,

but whatever caused that shot...

it ain't got nothing to do
with the mag jamming, like I said.

It's some freak thing, man.
It's like...

It's like one time I actually had
a hand, right, a palm,

show up
in the middle of a shot.

Exterior wide of a field, right?
Daytime... nobody in it.

And then this freakin' palm
shows up, out of nowhere,

right in the middle of the frame
when we print.

It's a warning.

What do you mean?
What do you mean? Like...

Like... halt?

Slow for seniors?

You ever hear
of residual haunting?

Uh, nope.

But if it's anything like
a residuals check, it doesn't exist.

Think of it like a photo imprint
from the past.

Traumatic events release energy.

That energy gets stored
into materials like film or tape.

Stone, metal, slate.
They all absorb emotional imprints.

There are even people
who do... supposedly.

So, you...

Sorry, I just gotta...
I gotta get this processed.

Uh, you think that, um...

that, uh, emotional events
from the past

are on automatic rewind
all around us,

and we filmed one.

Dude, that's Ret*rded.

I'm sorry.
You can't really believe that.

Not unless you also believe
in fairy tales,

like, uh, I don't know...

like, net profits.

I believe it.

I believe it, 'cause it's better
than the alternative.

And what's that?

That it's not just
the harmless imprint

of somebody's misery
from long ago,

but something
that can come through here,

into the present.

You're a head case, dude. For real.

Exceeding all my expectations,
awesome.

Excellent.

Are you all right?

You were shouting.

Could you come in?

They say I've got a disorder.

I exhibit eccentric behavior
and unconventional ideas.

And I have an unfounded belief
that I have extrasensory abilities.

That could apply to every member
of the Director's Guild...

I know... by the way.

You see things?

Such as?

Let's say someone died
under emotional circumstances.

My subconscious kind of pieces
the event back together.

I see it, hear it, feel it...

like I'm there.

And here...

what do you see here?

Do you feel threatened
by something?

No, these things
never breach our world.

They never touch us.

Now, they may be anguished

and run us out of a house
by their presence.

Or they may just always wanna be
there for us, to watch over us,

to make amends
for some past mistake.

No... no danger.

Just, there are times...

when I see things
I really don't wanna see.

I want you to know something.

I saw you interviewed
on the DVD of your film.

You seemed strong, powerful.

I wanted to work with you,
to meet you.

I thought it would change my life.

Claire? You there?

Hope you're not changing
the address, like Garret said.

Look. I know this is
why you broke up with me.

But I need to talk to you.

I'm having them again. Strong ones.
A lot, but different.

There's, like,
not just visions, but...

I'm a part of what I'm seeing.

I'm worried... about everyone.

Fight!

Yeah, I'll call you right back.

Hey! Hey, you guys, stop!

Hey!

Aah!

- Where'd you get that?
- You pull a weapon on my set?

Look, something's wrong here.

Nobody pulls a weapon on my set!

You're gone, man.

They know.

They know what's goin' on!

I heard about you, Reed.

I had friends on that show
you shut down in Maine.

You're wacked, man!
You're mental as hell!

You're the one
bringing this sh*t out!

Hey, you shut up, Davis!

You don't know
what you're talkin' about!

Did you see
what happened to Eddie?

You know, what are you doin'
this for, man, huh?

For this? For a movie?
I'm gonna shut your a*s down!

Okay, you've lost your mind!

Now you get outta here!
I mean it! Get off my set!

You go see the office.

They'll pay you
and arrange your flight home.

Now get out of here! Go!

What the hell is everybody
standin' around here for, huh?

Get back to work. Come on.

This is over. Let's make
some filmed entertainment.

Everybody, go on. Back to work.

Anca, that does not make
the B-roll. I want that take.

Okay, whatever you say,
Josh. As always.

TAMl: Yeah, can one of my A.D.s...
if anyone's on walkie...

go to the office

and let production services
and pre-dress know

that we're two guys down
and we need help?

Hello?

Ugh.

You okay?

Thanks.

Tami, I wanna add a pickup
for today.

What pickup?

The scene from day one...
I wanna reshoot it.

I don't know, Marcus.
We're already pretty tight.

- Josh.
- What's up?

He wants to reshoot the scene
from yesterday. You know.

I told you to cut that.

Anyway, Peter tells me
Wadim's ordered a reprint, so...

let's check and see
if the new print's clean or not

before we talk about reshoots.

No, I want to sh**t it different,
from up there.

She's looking up in the original.
She's looking right in the camera.

You want me to move
the camera up there?

No, Peter, hold up.

Look, you want me to be
inspired by things, right?

So I'm telling you I'm feeling
something about this shot

and I wanna put that on screen,
okay, Josh?

Okay.

Something good? Something weird?
The money shot?

Let's move the freakin' camera,
people.

Get him off!

Listen to me!

Everybody!

They're not tellin' you the truth.

This guy... this guy's psychic.

He's attracted to places like this
where bad sh*t happens.

That's why nobody's worked here
for 80 years!

Oh, my God!

Get a medic! Call a medic!

TAMl: We need a medic onset!
Medic!

Where's the Medic?

TAMl: Where's the medic?

Oh, God!

Hey!

Marcus!

Marcus!

Marcus, get back down from there!
Come on!

Come down!

Just maybe, somebody,
some young girl like Matya

really existed at one point,
and bad things happened to her.

If so, she was
a victim of superstition

because of this caul thing,

not because of some deal
with the Devil.

That's folktale nonsense.

You told me
you could control yourself.

You call jousting at curtains
with a scimitar control?

I can't do this.

No. Hold on.

You said places like this
were rich in sensation for you.

Inspirational, you said.

You wanted this job, you needed it.
It was a second chance.

Those are your words.

You're willing to step back

into whatever psychopathic
nightmare you live in

in order to create
another scary movie...

a commercially scary movie,
like your first movie.

And I put the money together
based on that agreement.

There's something on the stage.

Listen to me.

You have weird dreams.
And you are a freak, yes.

But you are not
Haley Joel Osment.

People probably died here.

Yeah, people have died everywhere.

A guy died in the co-op I bought.

Does that mean
he's gonna come in one morning

when I'm on the crapper
casting a bronze

and drop a weight
on my head? Does it?

I have a responsibility.

Yeah, to the investors!

Look. I know you've been
through a lot...

with the other movie...
and with Claire...

with your... your condition.

I- I'm just askin' you
to keep it together, please.

Please, I'm beggin' you.

This is my baby.

It's all up here, Marcus.

It's not out there.

Find the location.

Ah, Mr. Davis,
is good location for you.

Mr. Davis?

Help!

Hello?

Help!

Hello?!

Help!

Help!

Hello?!

Help!

Open the door!

We want to be paid!
This film is finished!

The film is not finished.

What happened on this other film
Davis talk about?

We want to know!

Okay, okay.

I wanna tell you everything.

And I can assure you
that once you hear it,

you'll be in complete sympathy
with Marcus, and you'll wanna help...

Okay. Okay, okay. Listen.

The first thing I wanna say is,

everyone who stays on
will get a bump in their pay.

No.

No.

Okay.

Wadim?

Wadim?

You get the print?

Peter!

- sh*t!
- What?

Tami, you snuck up on me.

Sorry, I was just looking for Wadim.

Um, Josh is asking
about the new dailies print.

Just saw it. Nothin' on it.

None of that schmutz is on the neg?

Well, you want my opinion?

Ask for a new print.

Because, this one ends
right where the problem is.

It's like the lab didn't want us
to see it, or something.

So, uh, okay. I'll be sure to him.

He loves paranoid overreactions
to possible slights and conspiracies.

- Hey, Tami?
- What?

Listen. All this sh*t that's
going down about Marcus...

Straight up, okay,
I heard about him, too.

And I heard that Josh paid
some people off on that show

to clam up about what happened

so that none of us
would hear about it.

So, I'm wondering...

What? If... if he's gonna pay you
to clam up, too?

No.

Why would Josh do that?
Why does he wanna hide stuff?

Why would he pay people to lie?

'Cause he's a producer.

Let me know if you reach Wadim.

Wadim, Wadim, Wadim, Wadim.

Get off my set!

Hey, relax. I'm doing my job.

Go!

Bela, what is wrong?

You seem threatened by something.

There's something unstable.
Do you hear me?

Stay away from me!
What do you want from me?

You must...
you must go back to work.

Finish this film.
That is what we came here to do.

And you... I want to help you.

I've seen you before.

Marcus.

Marcus. Marcus.

You were shouting again.

I came in. It was like
you were sleepwalking.

What?

I found these.
They are for your disorder.

You must take them.

No.

No, I can't.

It takes everything away.
I- I-I can't sense anything.

But this is good, Marcus.

The crew have voted
to return to work.

You must take the pills
and finish the film, yes?

Oh.

Marcus, I want to help you.

Look at me.

Take the pills.

It's time.

We must finish it.

That is what we came here to do.

Oh, Marcus.

TAMl: Quiet on set, please.
We're rolling.

And action.

Marcus?

Cut!

Stop! Stop!

Marcus.

Look out!

Whoa, where's Romy?

Where's Romy?

- Have you seen Romy?
- Get off me!

Romy!

- Say, Tami, have you...
- Get away from me!

Aah!

Hey, Peter!

Stop it!

Marcus, you get inside!

Marcus!

Marcus, where are you going?

I'm gonna stop this.

Marcus, come on.

Come back. Get inside.

No!

- Mama!
- Matya!

Stop!

Soon she is reborn.

Then mother and child,
that they cry no more.

Who are you?

But this, I tell you already.

I am waiting.

All the years, I keep seed waiting...

waiting for someone like you
to plant again.

What do you want from me?!

Just take it, Mr. Reed... the seed.

You have the blade.
That is why you have the blade.

Take it. Take it.

Take it.

Yes! Yes!

No!

Ugh!

It is yours now. It is in you.

Plant it well for me.

I want my girl.

Do you hear? I want my girl!

I must have her!

Where are you?

No!

Aah!

I know what they did to you.

Matya.

Marcus.

I promised him.

I promised I would carry his child
and raise it to be his.

I chose you, Marcus. Please.

Whatever we want, it is ours.

I beg you.

Marcus, I chose you.

All we must do is have his child.

He just wants his child.

He just wants his child.

Give him his child
and nothing will happen to you.

Marcus!

Marcus, no!

You can stop her!

Put her out of her pain!

You can give her life again, Marcus!
I beg you!

Marcus!

Please come down!

Marcus!

Claire!

I told you not to come.
I told you.

No, Marcus, I told you.

Marcus.

What?

Who are you talkin' to?

Claire.

Marcus, Claire's dead.

Claire died months ago.

It's the reason you wanted
to come back to work.

To get your life back, remember?
It's a second chance.

No!

I should be there with you.

No.

Claire, you can't be there.
It's impossible.

What are you doin' here?

I'll call you when I land.

I didn't do a good job
looking after you.

I'm gonna make amends
from now on.

You can mess
with my sister's head.

You can bullshit people
with your visions

or whatever the hell they are,

but you're not special,
you're just sick!

It's my fault.

Marcus, just go.

Claire, stop it.

Marcus,
you're seeing things again.

You need to talk to somebody.

Hey, hey. Take it easy.

No!

Marcus!
- Don't hurt him.

Romy.

Romy, I'm sorry.

I'm sorry. He's... he's not well.

It'll be okay. I'll get this film
back on track.

I'll get it made.
I'll make sure of it.

You'll see.

Marcus, you can stop her!
Put her out of her pain!

You can give her life again, Marcus!
I beg you!

Marcus, you can stop her!
Put her out of her pain!

You can give her life again, Marcus!
I beg you!

Claire.

Pleasure to meet you, Romy.

Can you tell us
where you're from, please?

I am from Moldova.

Oh. How did you hear
about us?

I am here
in Bucharest, auditioning.

I heard about your movie.

Okay, great.
Uh, how tall are you?

I am almost 1.8 meters.

That's in, uh, U.S...?



Oh. Would you mind slating
your name for the camera, please?

Just look directly into camera.

Romy Bardoc.

Thank you.

Please also just say
which role you're reading for.

I am auditioning for Chavi.
I would like to play this part.

Okay. Go ahead.

Perhaps you're upset
because you've lost her.

And that makes her
even dearer to you.

But I've lost people, too.

Josh.

And I can't bear to go
through this again.

Please, understand.

You can't let the past
keep holding you back

from what lies ahead in the future.

I want you to know something.

I saw you interviewed.

But when I first saw you,
you seemed strong...

powerful even, if I may say so.

And I wanted to meet you.

I thought, I hoped,
that you would change my life.

I chose you.