00:00One of the techniques that Jill and I use in editorial is that if we need to do reshoots,
00:06we make a little maquette or a little dummy scene, if you like.
00:09So what we do is we take pre-existing footage, say a shot of Ziedler and a shot of the Duke,
00:13and we freeze frame it, get a microphone, and, you know, I very badly act out the soundtrack, if you like.
00:19The advantage of this is that when we go to shoot what we call the pickups,
00:22we don't need to build the whole set.
00:24What we can do is just build, you know, this little section, say, behind me,
00:27and we shoot the actor going, you know, Ziedler, Ziedler, Ziedler,
00:31and then you drop that little piece into the already cut existing scene.
00:35We call these maquettes. I hope you find them interesting.
00:43Yes, the moon and the stars had conspired to bring us together.
00:48But the magic of the night had also cast its spell on the unsuspecting Duke.
00:54The young writers, setting in faraway India is brilliant,
00:57and sat in, oh, she will be a star.
01:00But the conversion of the Moulin Rouge into a theatre will cost an extraordinary sum of money, Ziedler.
01:05I shall require some security.
01:06I shall require the deeds to the Moulin Rouge.
01:09Mind it, there's no need for that.
01:12This is an agreement between gentlemen.
01:14I'm not naive, Ziedler.
01:15I shall hold the deed to the Moulin Rouge.
01:18And if there's any shenanigans,
01:19my manservant, Warner,
01:21will deal with it in the only language you underworld folk understand.
01:25Do I make myself clear?
01:26As clear as crystal.
01:29Now we have a clear understanding,
01:31it would appear that you have the means to transform your beloved Moulin
01:34into a theatre!
01:35I was wondering if you'd have time to look at the
01:51Will the Lovers Be Meeting at Their Usual Rendezvous Tonight scene?
01:54My dear, we've heard of the opera.
01:55I can assure you I will be giving the
01:57Lovers Will Be Meeting at Their Usual Rendezvous Tonight scene
02:00by our most attention.
02:01Pertinence?
02:02Of course you will.
02:04They are such selfish lovers,
02:06would make sense above their brothers.
02:08Mama Haja will discover they run away.
02:11Mama Haja, I must insist that you're more secure with your lines.
02:15How dare you?
02:16How dare you suggest that I am not
02:18rehearsing my lines day and night?
02:20Call the time and I shall be there.
02:22I'm sorry, Duke, we really can't make dinner once again.
02:25But my dear, I'm my dear Duke.
02:26Hope we be strong.
02:27I am your rock.
02:29Love should be free.
02:31It's all we have to sell.
02:33Don't give your love away.
02:34I feel her affections are waning.
02:45Impossible.
02:46No, no, it's my fault.
02:47I'm too cold.
02:48I know, it's just that I have trouble saying it.
02:51What?
02:52The L word.
02:53Do you know?
02:54Love.
02:55Duke, have no fear.
02:56It's what Shatton's been waiting to hear from you.
02:58Yes, but I can't find the right opportunity to tell her
03:01because she's out today and I'm with that damn writer.
03:05No, no.
03:06That was wrong of me.
03:08I know how important her work is.
03:10It's just that there are limits.
03:13And I, if I don't see her tonight,
03:16I'm leaving, Ziedler, I'm leaving.
03:19No, dear Duke.
03:20Alan, she's Shatton, take the night off
03:22with a range of candlelit dinner for the two of you in the tower.
03:26And you can tell her exactly how you feel.
03:28Yes.
03:28Good.
03:29Well, I'll get in for me then now.
03:31What the?
03:35Oh, my God.
03:37Are you mad?
03:38Are you mad?
03:41Will the lovers be meeting at the Penny Lisseter Place Garrett tonight?
03:46Of course.
03:47Hindi courtesan.
03:48Shatton, I demand you cease work with the writer immediately
03:51and join the Duke for a very special supper tonight.
03:54Ziedler, I wanted to tell her that.
03:59Oh, sorry, Duke.
04:00Oh, Duke, I'm so excited.
04:02Eight o'clock then?
04:04Don't be late.
04:04I'm counting the minutes.
04:06Are you mad?
04:07That man holds the deeds to the Moulin Rouge.
04:09He's spending a fortune on you.
04:10He's making you a star and all our dreams are coming true.
04:13And you're dallying with the writer.
04:15Oh, Charles, don't be ridiculous.
04:16I saw you.
04:17I saw you together.
04:20It's just an infatuation.
04:21The infatuation will end forthwith.
04:25Charles, tell him it's over.
04:26He's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you a star and he's making you
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