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مسلسل The Studio مترجم - Episode 1
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00:28ترجمة نانسي قنقر
00:41ترجمة نانسي قنقر
01:07ترجمة نانسي قنقر
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01:32ترجمة نانسي قنقر
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02:05ترجمة نانسي قنقر
02:16ترجمة نانسي قنقر
02:18ترجمة نانسي قنقر
02:19ترجمة نانسي قنقر
02:22ترجمة نانسي قنقر
02:24ترجمة نانسي قنقر
02:38ههذا هودو جزيلا
02:39احسساً، مجزيلاً في هذا المصاب، تحريراً
02:41شكراً، شكراً، تحريراً
02:42شفوها، تحريراً، تحريراً يسبب سبيل phases
02:46شاء رجالس فلم؟
02:47احراريها، أحريراً، احرارياً علامة، بإضافة
02:49الموضوع درى يا شعور، من شبه جداً
02:51حسنت، ماهي كانت بشدة من اتراضيات في شعور
02:54لقد حرارتترضسم من هكذا؟
02:55حرارتترض، احرارييب، أحراريب
03:02حقاً، حرارتل
03:03دعو التAST squat Hanani Guthrie
03:07عملت على علاو scent
03:08حسابة
03:08سنطعت at Charlyse's party
03:12من الدور سنطعت
03:18كان لت optimization
03:19خارك
03:19حسابة
03:22قالي sar creatively
03:24approach
03:26علاوة
03:27حيثيرًا خارجه أوار الانضاعات
03:28بأس مباشرة سوف أسطل الحدث
03:31أقول جيدًا
03:32جيدًا جيدًا
03:33الكبلي
03:33تحدث bullet
03:34شويح
03:34صحيح
03:34منتج
03:35بدي
03:35صحيح
03:42لا
03:43تحدث
03:44نحو
03:47تحدث
03:48بديน
03:48وأنك لا تستطيع أن تشجح الفيدي.
03:50ثم هكذا ذلك يحفل Ultraية من قطعها.
03:52ميزاً سأسهل.
03:54من الأسفل الزوج لم يوهج تشجح الفيدي.
03:57سأسهل.
03:57لذا كان لدينا تنظر على مرسلوز روز مرسلوز بباية
04:00أو إماني حول أو لتنظر مرة أكبر بيزة
04:05أحيانا تنظر مرات بيزة مرائزة
04:06تنظر بيزة من دماغية
04:09من 1927 في Lacan في ذلك المنظر المشكلة
04:12في ميان العديد من التجاهل
04:13كان لطرق بجملة سمرة
04:17سمرة أكبر بيزة مرائزة
04:19أصبح لتنظر مرائزة من نظر
04:20طرق بيزة المرائزة
04:21دماغيه المرائي للتنظر
04:24ولكنه طوحوه أحب ثمًا
04:52تزيد لبست Anth
04:53她 spent $30 million dollars per storeing this building
04:56she's done
04:58and I kind of feel like I'm gonna replace her
05:02I mean I kind of also feel as though I could replace her
05:07oh yeah no yeah of course you never know no matter what
05:10our friendship cannot be affected
05:11of course yeah when it happens I got you dawg
05:14I love you
05:15Esther Chang right now thank you
05:20Quinn Quinn
05:21you will never believe what Sal just said
05:23إنني أتحدث عنها.
05:25كان عبرها مهما.
05:26تتخلقها لتصغيرها.
05:28ليس قد تشغيلها.
05:28أيها المهما.
05:28تشغيلها مهما تحرك البقاء.
05:31وهي متجمعاً.
05:33أعرف هذا سيئ.
05:35سعبت أن أفعلها بأنني عبدتك بالوضع.
05:37ولكن هذه سيئة في وضعها.
05:39في النهاية لنرى أنه أصدقائك لنرى.
05:41لا يجب أنا أعرف.
05:42مهما أعرف يجب أن يكون فيه في وضعاً.
05:44وهي مهما أعرف يتحدث.
05:48مرمك؟
05:49إنني نجد.
05:51ومن.
05:53رفن مل wants to see you right now.
05:54He's set up in scenic paintings.
05:59I'm about to get promoted or fired.
06:01But if I get this job,
06:03I'm bumping you up to creative executive.
06:05Holy shit!
06:06I thought you only ever said that so I wouldn't quit.
06:09I did.
06:10But I also meant it.
06:20Would you like a green juice or anything?
06:22Oh, I'm OK.
06:23Thank you.
06:28You can go right in.
06:41Welcome.
06:42Thank you.
06:44Sorry about the strange surroundings.
06:48I just had some business I needed to take care of,
06:51and I thought a discreet environment might be thoughtful.
06:54Of course, yeah, discretion is key.
06:56Yes, exactly.
06:57Because nobody wants to hear somebody else
06:59crying and losing their shit while being fired.
07:02Here, have a seat.
07:04Um, Matthew, out of respect,
07:07I'm going to get right down to business.
07:14Patti's time has come and gone,
07:17and I'm seriously considering you to replace her.
07:20Oh, my God.
07:21Yes, yes.
07:22I'm the guy.
07:23I'm the guy for the job.
07:24Why are you?
07:24Tell me that.
07:25Why are you the guy?
07:26Well, um...
07:27I've worked at Continental for 22 years.
07:29I bought the original spec script for MKUltra,
07:32which, as I'm sure you know,
07:33spawned a franchise that's made us over $3 billion for the...
07:36Hey, Rene!
07:36Where the fuck's my green juice?
07:38You want a green juice?
07:39Uh, yeah, I'd love one.
07:41Two green juices.
07:43Now.
07:44Yes, sir.
07:44Sorry.
07:46Continue.
07:47Film is my life.
07:49Ever since I came to the studio as a kid
07:51and went on the tour,
07:52being the head of Continental
07:54is the only job I've ever wanted.
07:56That is adorable.
07:58All right, well, listen.
07:59I honestly just have one strong reservation about you.
08:03Oh.
08:04I've heard you are really into artsy, fartsy filmmaking bullshit.
08:09That you're obsessed with actors and directors liking you,
08:14rather than being obsessed with making this studio as much money as possible.
08:20Me?
08:21Yeah.
08:21That could not be further from the truth.
08:23I am as bottom line oriented as anyone in this town.
08:28I believe you.
08:30Great.
08:30Good.
08:31Good.
08:31Good.
08:32Because at Continental we don't make films, we make movies.
08:37Mm-hmm.
08:37Movies!
08:39That people want to pay to see.
08:41Yes.
08:43Come here.
08:43I got a little secret for you.
08:45Not for anyone else to hear this,
08:48but I am very close to closing on the deal
08:51to get the rights to Kool-Aid.
08:54And I'm talking a huge four-quadrant version of it.
08:59Kool-Aid.
08:59Kool-Aid.
09:00The red drink?
09:01Yeah.
09:01The guy who breaks through walls and says, oh, yeah?
09:04Yes.
09:05That is fucking perfect.
09:09That's exactly what we should be doing, Mr. Mill.
09:12Yes.
09:12Finally, someone who gets it.
09:14Oh, I get it.
09:15Oh, my God.
09:15That's great.
09:16Yes.
09:17I mean, because look, if Warner Brothers can make a billion fucking dollars
09:21off the plastic tits of a pussy-less doll,
09:25we should be able to make two billion dollars off the legacy brand of Kool-Aid.
09:32Can you make that happen?
09:35Oh, yeah.
09:37I get it.
09:38Yeah, you get it.
09:39And you get it.
09:40Now, let's go get it.
09:43Let's get it.
09:45All right.
09:46All right.
09:47Did I get the job?
09:49Oh, yeah.
10:09Matt?
10:10Everyone's gathering in the conference room.
10:12Oh, great.
10:13Thank you, Petra.
10:13Um, question.
10:15Has Patti returned any of my phone calls?
10:18Patti?
10:19Patti Lee?
10:20The lady whose job I just took?
10:22Patti?
10:22Sorry, sorry.
10:23Former head of the studio?
10:24Patti, yes.
10:25Yes?
10:25No, no, no.
10:25She hasn't called back.
10:26Oh, okay.
10:26I have so many new names, it's really hard.
10:28It's a lot to process.
10:29I get it.
10:29Quinn!
10:30Hey.
10:30You ready?
10:31Your first big meeting as creative executive?
10:32Yes, I'm so fucking ready.
10:33You got your little notebook and everything.
10:35Big dog.
10:37What's up?
10:38Congrats, man.
10:39Thank you.
10:39Yo, like we talked about, this cannot get in the way of our friendship, right?
10:42Of course, man.
10:42And now that I'm the big dog, I got yo back, man.
10:44I like the sound of that.
10:45Yeah.
10:46Oh, fuck.
10:46John Cena.
10:47Oh, get that.
10:47I'm gonna take it.
10:48I'm gonna take it.
10:48He'll beat me up.
10:51Come on, man.
10:53Fuck this shit.
11:02He says hi.
11:03Oh, cool.
11:04Thanks.
11:05Hey!
11:06Maya, Tyler.
11:08Next time the Variety wants to interview, why don't you check in with Marketing first,
11:11so we can get a decent picture of this guy.
11:13I actually quite like the photo they used.
11:15Oh, really?
11:15The lighting too?
11:16Yeah.
11:17Look.
11:17Okay.
11:18Thank you, everyone, for assembling.
11:20You know, I just kind of want to get the core team together for what I guess is the
11:24first official meeting of the Remick years.
11:29Now, I know Patty was like a mentor to all of us, but that doesn't mean I'm not going
11:33to do things, you know, a little bit differently for, as I very eloquently said in my interview
11:38with Variety.
11:39You know, prestige films and box office hits, those are not mutually exclusive.
11:44We can do both and we will do both.
11:46And that is why I am excited to announce that we are fast-tracking a Kool-Aid movie.
11:55Wait, what?
11:57Let's fucking go!
11:59I was hammering Patty to make moves like this for like months.
12:02Oh my God, we can get Mr. Beast to put a bunch of people in a giant picture of Kool
12:05-Aid,
12:05see how long they can hold their breath for money.
12:08Ooh, actually that would crush, right?
12:09I could sell the fuck out of this.
12:12That is amazing, Mayan.
12:13I'm glad you like it and you'll like it even more when you hear my take.
12:16Can't wait.
12:16So what made Barbie stand out so much in the marketplace?
12:20Famous white people.
12:21Kinda.
12:22It was actually one quasi-famous white lady.
12:25Ooh.
12:25Greta Gerwig.
12:26That's the reason Barbie worked.
12:28It had a writer-director behind it.
12:30It was a filmmaker's vision.
12:31So that's what we're going to do with Kool-Aid.
12:33We are going to make the auteur-driven, Oscar-winning Kool-Aid film.
12:38Oh, fuck me.
12:39You want to make a fucking fancy Kool-Aid movie?
12:42Why?
12:42Why?
12:43Nobody even fucking watches the Oscars anymore.
12:45Did Mario Brothers win an Oscar?
12:47No, it didn't.
12:48No, no, it didn't.
12:49But you know what it did win?
12:52$1.3 billion.
12:55So this could be our that.
12:56Yeah, I'm going to make $1.3 billion, but I'm also going to make a great film.
13:01All right?
13:02Hey, Petra!
13:03Set some meetings.
13:05Only the finest of auteurs for Kool-Aid.
13:08Oh, yeah.
13:10You've got two accents.
13:12To hate the positive and evil.
13:16Beneath the negative and latch on to the affirmative.
13:21Thank you.
13:22I'm confused.
13:23Why are we making the Kool-Aid movie?
13:24You hate this stupid IP shit.
13:26You just gave this jerk-off interview about how you want to make cinematic works of art.
13:30I know.
13:30Look, Griffin Mill would only give me this job if I agreed to make the Kool-Aid movie.
13:34Oh.
13:35Yeah.
13:35Okay, that makes a lot more sense.
13:37Yeah.
13:37Because when this shit's announced, you're going to look like a fucking hypocrite.
13:39I was going to say a fucking idiot, but yeah.
13:41Yeah, unless we make the fancy version of Kool-Aid.
13:43Then I actually look like a fucking genius, you know?
13:45That's what the agents got for us.
13:46Hey, Mitch Whites!
13:47Hey!
13:48And they say there's no more Jews working in Hollywood, huh?
13:50Look at this.
13:51We're almost to a minion.
13:52Yeah.
13:52Hilarious.
13:53You guys need some Manischewitz, huh?
13:54Shake a fucking mula.
13:55Yeah, we're all Jewish.
13:56It's very, very funny.
13:57Look, we're fast-tracking the Kool-Aid movie, and we're really interested in meeting with some of your clients.
14:02Yeah, so I gave him a heads up.
14:03I spoke to Nick Stoller, and it took him a second to wrap his head around it, but yeah, he's
14:08got a pitch.
14:09I really like Nick Stoller for this.
14:11Storks, Captain Underpants, the Muppets.
14:13That's not the direction we want to go with this, okay?
14:15Okay.
14:15Don't you represent Wes Anderson?
14:17You want Wes Anderson to direct a fucking Kool-Aid movie?
14:21He's going to think I'm fucking crazy, man.
14:23He's going to fire me over Zoom from Lichtenstein or wherever the fuck he is.
14:27Okay, what about Guillermo del Toro?
14:29Go fuck your mother.
14:31Have you lost your...
14:33Okay, that's...
14:33He's an Academy Award winner.
14:35He's not going to stoop to the fucking Kool-Aid movie.
14:38Why not?
14:38It's like the Barbie movie.
14:39You know what I mean?
14:41Barbie is 10,000 million times better IP than fucking Kool-Aid.
14:47Okay, why?
14:48Because people love Barbie.
14:50Barbie's hot.
14:50People want to fuck Barbie.
14:52I want to fuck...
14:53Anybody trying to fuck the Kool-Aid man, dude, okay?
14:57He doesn't even have an asshole.
14:58I'm pretty sure there's no way to fuck the Kool-Aid man.
15:01Am I wrong?
15:02How would you fuck him?
15:03I don't fuck...
15:04What are we talking about?
15:05This has nothing to do with anything.
15:06This is an actual opportunity for a director to get a huge budget and make like a real film,
15:11you know?
15:13Matt.
15:13Okay.
15:14Listen to me.
15:15I get it.
15:16You're a new studio head.
15:17You want to make great art and make a billion dollars doing it.
15:20Well, guess what?
15:21That never fucking happens.
15:23And you're gonna fuck everything up trying to make it happen.
15:25You understand?
15:26Hey, man.
15:27He's right.
15:28Make one for them.
15:29Make one for you.
15:31Martin Scorsese is pitching you a movie this week.
15:33Make that shit.
15:34Take the easy W here.
15:35Listen, listen to your Jew.
15:36Your exec.
15:38Thank you.
15:38No, seriously, you've got Stoller.
15:40Stoller's fucking great.
15:40He's really good.
15:42He's really good.
15:42Oh, shit.
15:43Can we say...
15:44Can you see a Jew more?
15:46Wouldn't you like that?
15:47Hey, listen.
15:48Hello, Mr. Mill.
15:48Matthew, just checking in on Kool-Aid.
15:51Listen, I have a board meeting this Friday,
15:53so I'm gonna need you to pull the trigger on a director by then.
15:57You can do that, right?
16:00Yeah.
16:00Uh, totally.
16:02Shouldn't be a problem.
16:03Uh, yep.
16:03I can do that.
16:05All right.
16:10Yeah, uh, set the meeting with Nick Stoller.
16:13Mazel Tov.
16:17Kool-Aid Man is a logo in a world of logos.
16:21He's friends with Jell-O and Chef Boyardee.
16:23They go to the bar to, like, hang with Velveeta.
16:25Uh-huh.
16:26And the Kool-Aid Man, you know, he was famous in the 80s,
16:28but it's time for him to retire because he's, you know,
16:31he's too old to break through walls and do his job anymore.
16:33He wants his son to replace him.
16:36There's a whole family of Kool-Aid people,
16:37so we get to incorporate the other flavors, you know, yellow, green.
16:40But his daughter, she really wants to break through walls.
16:44But Kool-Aid, he doesn't think she's strong enough.
16:48When the whole Kool-Aid family goes missing,
16:51Kool-Aid Girl becomes their only hope.
16:56I hope this doesn't sound crass,
16:59but I feel like I just got double stuffed by Walt Disney and Aaron Sorkin.
17:02All right? Walt's up in my mouth.
17:05The Sork has absolutely destroyed my ass.
17:08Oh.
17:09Well, uh, thanks. Thank you.
17:11No, thank you. So good.
17:13And that family shit as a father of daughters,
17:15it really resonates with me.
17:17Yeah, sure it does.
17:18It was a great pitch, Nick.
17:19Thank you so much for coming in, especially on such short notice.
17:22We really appreciate it.
17:22Let us just, you know, rally on our end,
17:25and yeah, we'll let you know ASAP.
17:26Oh, cool. Thanks, man.
17:27Thank you.
17:27And, um, have you, uh, talked to Patty recently?
17:30I mean, I, uh, she gave me my first break as a writer.
17:32Yeah, yeah, yeah.
17:32And I, you know, love her.
17:34Yeah, she's the best.
17:35Um, and, uh, is she doing okay?
17:36She's doing great, yeah.
17:37I was actually, I was just talking to her this morning, actually.
17:40Okay.
17:40Yeah, and she's, you know, transitioning very well.
17:42She's, uh, overall very optimistic about the future.
17:45So, uh, yeah, I'll let her know you said hi.
17:47That would be, that'd be awesome.
17:47Yes, great job.
17:48And I, I love Kool-Aid.
17:49Yeah, cool, great.
17:50Thanks, man.
17:51Thirsty, thirsty for Kool-Aid.
17:53Did you really talk to Patty?
17:55No, I've called her a thousand times.
17:57She will not call me back at all, man.
17:58Yeah, me too.
17:59Hey, that pitch was really good.
18:01This movie can work, man.
18:02He's the doctor.
18:03Yeah, you know, I gotta say, it's for sure the best version
18:06of the very, very, very, very middle-of-the-road version of this,
18:09and it's not what I want to be, you know, coming out of the gate with.
18:13But Griffin Mill will love it, and more importantly,
18:15he will have it by the end of the week.
18:16So, thank you, Sal.
18:17I got your back.
18:18Okay.
18:19It's Wednesday, March 27th.
18:21I'm Matt Bellany, and this is The Town,
18:23the podcast that takes you inside Hollywood.
18:25The big news in town today I've heard from multiple sources
18:28that Matt Remick, head of Continental Studios,
18:30he's been taking meetings trying to find a director for a Kool-Aid movie.
18:34Days after telling Variety he wants to revive cinema and make bold choices,
18:38Remick has instantly become a punchline on social media
18:41now that he's making what sounds like a dumb movie based on a bad drink.
18:45Fuck.
18:46I can't believe Patty's out.
18:48You know, she was ahead of Continental for as long as I can remember.
18:51It's like since before the flood.
18:54And now you're here.
18:55Yes.
18:56Congratulations.
18:57Thank you.
18:57Congratulations.
18:58Very exciting.
18:58All the best.
18:59Yes, I seem stressed out, honestly.
19:01I've had quite the day.
19:03Oh, yeah.
19:04Was it bad?
19:05Bad?
19:06No, not really.
19:06Just got a lot going on.
19:08So, what do you got?
19:09I can't wait to hear it.
19:10Well, I know you're busy, so I'm just going to jump right into it, okay?
19:12This is a project that I've been really wanting to make for a very, very long time.
19:17Only thing is, the budget's a little bit up there.
19:20Some may say extreme.
19:21The scope is huge.
19:23Cool.
19:23The themes are heavy.
19:24But I want the film to be entertaining.
19:26Cool.
19:27Yeah.
19:27Entertainment, okay?
19:28Now, it's a story we all know about, but not one that we really know about.
19:37You know?
19:39Oh, I know.
19:41What is it?
19:43Jonestown.
19:45Huh?
19:47Jonestown.
19:48Jonestown.
19:49Like the cult massacre?
19:51Yes, exactly.
19:53Exactly.
19:54The Jonestown cult massacre.
19:55It's about Jim Jones, United States Senate, America.
19:58It's sprawling.
20:00It's big.
20:00It's fun.
20:01It's fucked up.
20:02Granted, it's fucked up.
20:04But I see it as a meditation on cults, hero worship, mass murder, suicide, everything.
20:09It's life.
20:12Jonestown.
20:14Jonestown.
20:17Now, correct me if I'm wrong.
20:21Is that the massacre where everybody committed suicide by drinking Kool-Aid?
20:29Exactly.
20:29That's the phrase.
20:30They drank the Kool-Aid, drink the Kool-Aid, whatever it is.
20:33That's the phrase.
20:34That's the climax of the picture.
20:36It's a big, big sequence.
20:37That's great.
20:38That's, though, in a sense, I guess you could say that your film is about
20:44Kool-Aid.
20:47Well, I mean, yeah, in a sense, I guess.
20:49In a sense.
20:50In a sense.
20:50Yeah, great, great, great.
20:51So what are you thinking in terms of budget?
20:54Well, I mean, budget...
20:59200.
21:02I'm going to tell you what, Mr. Scorsese.
21:05I will green light your film right now with a budget of $250 million,
21:09and I'm going to buy your screenplay for $10 million.
21:12Whoa.
21:14Matt.
21:15Jesus.
21:16You move fast.
21:18Oh, I love that.
21:19I love it.
21:20Decisive, huh?
21:21Yes.
21:21Decisive and good taste.
21:23I don't mean that in a bad way.
21:24No, of course.
21:26Now, there's one little tiny catch.
21:30All right.
21:31I know.
21:31You know, I've been around.
21:32Always a catch, right?
21:33What is it?
21:34Trust me here.
21:35This in no way affects you making the exact film that you want to make.
21:39Yeah, because the whole thing is about freedom.
21:41Exactly.
21:41You'll have all of that.
21:42It does, however, it sort of affects what we call the film.
21:48Okay, so what do you want to call the movie?
21:54Kool-Aid.
22:00Kool-Aid.
22:02Kool-Aid.
22:19Kool-Aid.
22:21Kool-Aid.
22:21No, I did it.
22:22When this breaks on deadline, I'm going to look like a genius.
22:26All those people who wrote posts and articles about what a dumb schmuck I am, they're going
22:31to have to write new posts and new articles about what a genius I am.
22:34That's the dream!
22:35Matt, look.
22:37Oh, my God.
22:38Matt, what?
22:39I'm sure at least they aren't inviting me to her party.
22:41Oh, fucking wait.
22:41Can I come with you?
22:42No!
22:43This is the best day of my life.
22:45This is it!
22:50Marty Scorsese, on God.
22:53Um, no fucking way!
22:55Yeah.
22:56What's the idea?
22:57Is there a document?
22:57Let's go.
22:58There's a whole script.
23:00Wait a minute.
23:01Martin Scorsese just happened to be writing a script about Kool-Aid.
23:04Even better.
23:05Martin Scorsese just happened to be writing a script that he is enthusiastic about turning
23:09into our Kool-Aid film.
23:11Great!
23:12What the fuck is it?
23:14Just know.
23:15Uh, it's one of those ideas that when you first hear it, you're going to be like,
23:19huh?
23:19But then once you really process it and wrap your head around it, you're going to be like,
23:23wow!
23:24What the fuck is it?
23:25It is, uh, an exploration of Kool-Aid through, uh, the events that centered around the place
23:35that is most commonly known, uh, as Jonestown.
23:43Jonestown?
23:49What the fuck is wrong with you?
23:50What the fuck is wrong with you?
23:51You want to bring down this fucking studio?
23:53Oh my God!
23:54You're the fuck out!
23:55Everyone's watching!
23:56I need a fucking Xanax right now!
23:58You're all good!
23:59Look, okay, it's not a line drive down the middle take!
24:02This is even better!
24:03This version can actually be cool!
24:06Cool?!
24:07Who are you the fucking fun?!
24:09Look, okay, okay!
24:09Once Upon a Time in Hollywood by Quentin Tarantino, a fun, cool movie about a real cult massacre that
24:16wins Oscars and makes $377 million, or can Sony market a movie better than you?
24:22You know what Sony had?
24:24The Holy Trinity.
24:26Leo, Brad, and Marco.
24:29Who do you have?
24:31It's funny you should ask.
24:33I was just talking to Marty, and he actually has really strong feelings that the lead role
24:41of, you know, Jim Jones should be portrayed by none other than Steve Buscemi.
24:53Okay, Steven Buscemi is absolutely the worst case scenario.
24:58Either people know his name, but they can't recognize his face, or they know his face, but
25:02they have no idea what his name is.
25:03He is not good for minutes.
25:04He is quite literally one of the greatest actors who's currently alive.
25:08Hey, if he walked in this room, I would splay him on this table and fuck him to death.
25:13He does not have the clout to carry a franchise like Kool-Aid.
25:17Wait, hold on, is it Buscemi or Buscemi?
25:18It's Steve Buscemi.
25:20Buscemi?
25:21No, it's Buscemi like Buscemi.
25:22We've been talking about this guy for an hour, and no one here can pronounce his name correctly.
25:26What does that tell you, Matt?
25:27Okay, so here's the deal.
25:29Griffin is gonna ask me what marketing thinks of your take, and I'm gonna have to be honest
25:33with him and tell him that your take is gonna bomb.
25:36That movie is going to bomb, okay?
25:39But I also know you need to show him something, so I had marketing with a little something up
25:43to bail your ass out.
25:51What the fuck is this?
25:55It's a teaser, asshole.
25:56A teaser for what, asshole?
25:58The fuck do I know?
25:59That's your fucking job.
25:59Can we please just do the Stoler ID, okay?
26:02It was not that bad.
26:03Hey kid, guess what?
26:04This fucking dumbass killed the deal yesterday.
26:06Oh my god.
26:06Hey, I know you love Martin Scorsese.
26:08His vision for this movie is going to bankrupt us.
26:10Yes.
26:10You need to show Griffin this teaser right now.
26:13This is nothing.
26:14This has a fucking story.
26:16It's nothing.
26:16Who gives a shit if it has a story?
26:18He's gonna be delighted by the Kool-Aid man doing the Zay Zay Shuffle.
26:21What the fuck is the Zay Zay Shuffle?
26:22It is the number one dance trend on TikTok.
26:24Matt, as our boss, you should know more.
26:26Look, guys.
26:28We got Martin Scorsese to agree to write and direct a fucking Kool-Aid movie for us.
26:35So it's not the most commercial cast.
26:37And it's not the most marketable take.
26:39It's one of the greatest directors of all time wanting to make a film for us.
26:43If this isn't the type of thing we're fucking saying yes to, what are we doing with our lives?
26:48We're going with Scorsese's version of Kool-Aid.
26:52End of story.
26:54Griffin Mills ready for you all?
26:59Oh, my God.
27:00What?
27:01It says here it was actually Flavor-Aid that they drink at Jones House.
27:04Shh.
27:05Not helpful.
27:06Just let me do the talking.
27:07It's fine.
27:09Hello.
27:10Whoa, looky here.
27:12Yeah.
27:12All marching in like good school children.
27:15Yeah.
27:16Good to see you, sir.
27:17All right.
27:18Yeah.
27:18So, Kool-Aid me.
27:24What's happening?
27:26I'll tell you what's happening.
27:37I'll tell you what's happening.
27:43When I dip, you dip, we dip.
27:44I couldn't hold it any longer.
27:46Getting silly with this shit.
27:47But if you slip, it's gonna cost it.
27:53Seriously.
27:57That is fucking fantastic.
28:00Yes, it is.
28:01I mean, that's huge.
28:03That's huge.
28:03Huge.
28:03Huge movie.
28:04So fun.
28:05Right?
28:05It's so amazing.
28:07And he's doing the Zay Zay, right?
28:09I love the show.
28:10Oh, yeah.
28:10Zay Zay.
28:12The best.
28:13So, Matt, what's the story?
28:16The story?
28:17Yeah.
28:18What's the story?
28:19What's it about?
28:21Oh.
28:22Um, the story's actually the best part.
28:25Good.
28:26So, yeah.
28:28Well, Kool-Aid Man exists in a world of corporate logos.
28:34He's friends with Velveeta.
28:35He goes and hangs out at the bar with Chef Boyardee.
28:38and he's got a whole family of Kool-Aid people.
28:40So, you get the other flavors in there.
28:42You know, you got yellow, green, red.
28:44Oh!
28:44I love all this.
28:45Thank you.
28:46Very, very impressive.
28:48Thank you.
28:48Very diverse.
28:49Yes.
28:50Right?
28:50You've got red, yellow, green.
28:52It ain't white.
28:53Am I right?
28:55Right?
28:56Very diverse.
28:57And we got you, brother.
28:59Uh-huh.
29:00You too, sister.
29:01Thank you.
29:02So, who's gonna be directing?
29:05Nick Stoller.
29:05Oh, yeah.
29:06We got him locked down.
29:07I loved him.
29:08Very funny.
29:09All right.
29:09Lock it up.
29:10I will.
29:10Thank you so much.
29:11Good work.
29:12Pleasure.
29:12Matt, good to see you, Griffin.
29:15Oh, uh, one more question.
29:20This Martin Scorsese Jonestown movie, what's all that about?
29:27You spent $10 million on a Martin Scorsese Jonestown script.
29:33But we can't be making a movie about Kool-Aid and its lovable mascot and also be making a movie
29:41about how Kool-Aid is associated with one of the most infamous mass murders of all fucking time.
29:53Of course not.
29:54Thank God.
29:55Yeah.
29:56I knew you'd have a good reason.
29:58Yeah.
29:58So, tell me, why did you spend the $10 million on it?
30:06Well, you know, I got wind that Scorsese was making this Jonestown movie and I had the exact same concerns.
30:13You know, we can't let this art house bullshit get in the way of our billion dollar franchise.
30:18And so I bought the Jonestown script, uh, specifically to kill it.
30:29So, we'll own the project.
30:32Mm-hmm.
30:33But nobody will ever get to make it.
30:36Mm-mm.
30:38Oh, Matt.
30:40That is so fucked up.
30:42Yeah.
30:43I love it.
30:44Great.
30:45Boop.
30:45Thank you.
30:47Good work.
30:48Yes, obviously I know that we are the ones who blew up the deal, but we've had second thoughts and
30:53we would love to have Nick Stoller on Kool-Aid.
30:55I'll double his quote.
30:56Oh, you're gonna be dumping shekels on Stoller, but the problem now is that he came up under Patty and
31:00he talked to her.
31:01He did?
31:02Yeah, she's pissed off at Jew, the studio, and she convinced Nick not to work with you on this.
31:06I need that idea!
31:07I don't know what to tell you, you fuck yourself!
31:09Patty's the only issue?
31:11Yep.
31:12Well, then you will be absolutely thrilled to hear that we're actually bringing Patty onboard Kool-Aid as a producer.
31:17That's the first smart thing you've done.
31:19Great.
31:19Keep it under wraps for now, but we are gonna get this deal done.
31:22Good pace, huh?
31:23Why do you keep lying?
31:24I don't know!
31:25You can't even get her on the phone!
31:27I knew that!
31:29I'm just gonna go to her house and confront her in person.
31:32Yo, you're coming with me to Charlize's tonight.
31:34If we pull this off, we're gonna celebrate.
31:36Oh, yeah!
32:05Agh!
32:13Oh, how dare you show your face at my door.
32:16You of all people.
32:17Hi, Patty.
32:21Oh, God, it's so humiliating!
32:24Well, don't you stand there like a fucking door dasher!
32:27Come in!
32:28Fuck!
32:30You know I quit swearing and you're making me do it, motherfucker!
32:33I know, I'm sorry.
32:35Fuck!
32:35Look, I just wanted to come by, you know, see how you're doing, you know, make sure everything was okay.
32:40How I'm doing?
32:41Oh.
32:42Oh, I, you know, I gave 40 years of my life to the studio and then this Griffin Mill, some
32:48dime store, Bob Evans comes in and wants to put his stamp on the place.
32:52Like he's urinating on a hydrant.
32:55I know, he's so brutal.
32:57Yeah, he is.
32:58But guess what?
33:00You're even worse.
33:02Me?
33:03You broke my heart, Patty!
33:04What did I do?
33:05You stole my job!
33:08I did not steal your job, okay?
33:11I had absolutely nothing to do with that.
33:13I barely even got hired, you know?
33:16I raised you like a son.
33:18And the moment my back is turned, you stab it.
33:22I did not stab you in the back.
33:24If anything, I'm here trying to carry your torch, Patty.
33:28Well, you may not have thrust the knife, but you sure seem happy working with people who do.
33:33I'm not happy about any of this.
33:35You believe me on that one.
33:37And, and, and I love our working relationship and that, that's why I'm here.
33:41I want to keep it going.
33:43I'm offering you a producerial role on our biggest and best new franchise.
33:50Kool-aid?
33:51Yeah.
33:52Is that your offer?
33:53It is.
33:54Oh, shit.
33:55You're like a cat bringing in a mutilated pigeon.
33:59You're all funny.
34:00Oh, I know.
34:00I talked to Stoler.
34:01You just want me to pull your ass out of the fire to get him to sign on.
34:05Well, you need me to pull your ass out of the fire, too, you know?
34:07You're on your own, Patty.
34:08You need a gig, okay?
34:10Matthew!
34:11So you offer me Kool-aid?
34:12Like I want my name on that monstrosity?
34:15Ew!
34:15Ew!
34:16That thing should have been smothered in the crib.
34:17No, if I wanted to make that trash, I'd still have my job!
34:25Okay, here's my counter.
34:26Okay.
34:27I will call Stoler and get him on board on your movie.
34:30Great.
34:30Uh, but I will need a three-year overall $10 million overhead to put pictures a year.
34:37First look, non-exclusive.
34:40No!
34:41Maddie!
34:43Oh, look, Maddie, look!
34:45I'm sorry, I just can't do it!
34:47That's so good!
34:48Nobody in all of Hollywood has a deal that lucrative!
34:50I don't care!
34:51You owe me everything!
34:53I don't owe you...
34:53Look, I owe you a lot.
34:54I will give you that.
34:55I don't think I owe you everything.
34:56I just can't do it!
34:57Maddie, that job was my life.
35:00Just like it is yours.
35:02Right?
35:03And without it.
35:06Without it.
35:07I'm afraid.
35:09I don't...
35:10I...
35:10I don't like it.
35:12I'm...
35:12I'm afraid, Joe.
35:15I'll give you $7 million a year.
35:17No put pictures, fully exclusive.
35:20$8 million?
35:21One put picture, and the budget's under $5 million.
35:26Fine, but you gotta be exclusive.
35:28No exclusivity!
35:29Those people railed me raw!
35:32They railed me raw, Maddie!
35:35Please!
35:36Okay, I'll do it.
35:39Deal.
35:42Maddie, thank you.
35:45Thank you.
35:45Thank you.
35:47Oh, thank you.
35:49Okay.
35:50Let's call Nick Stoller.
35:53Oh, you poor thing.
35:55You have to kill Martin Scorsese's movie.
35:58I killed one of Warren's movies in 88,
36:01and he never slept with me again.
36:03I have the same fear with Marty.
36:06So, how do you feel in all this?
36:09You know, I've worked, obviously, a long time to get here.
36:13My parents are very thrilled, very proud.
36:16I think Griffin is, you know, optimistic with the plan.
36:21Maddie, not one of those words is about how you feel.
36:25Yeah, I, uh, feel miserable, honestly.
36:29I'm anxious, stressed out, panicking pretty much all the time.
36:33I was so much happier two weeks ago when I was just angry and resentful that I didn't have this
36:37job.
36:37I would give anything to be angry and resentful compared to how I feel right now.
36:42You know, I walk past the tour guide every morning,
36:45and they say that the office was built as a temple to cinema,
36:48but it feels much more like a tomb.
36:51Heavy as the head, Maddie.
36:53Yeah, yeah, I'm honored, obviously, to be one of the people that gets to choose, you know,
36:58which movies get made and which ones don't.
36:59That's, that's huge.
37:01And I got into all this because, you know, I love movies, but now I have this fear that my
37:11job is to ruin them.
37:13The job is a meat grinder.
37:15It makes you stressed and panicked and miserable.
37:20One week you're looking your idol in the eye and breaking his heart,
37:23and the next week you're writing a blank check for some entitled nipple baby in a beanie.
37:29But when it all comes together, and you make a good movie,
37:36it's good forever.
37:41You'll make a great studio hit.
37:43You know why?
37:45Because you had the best teacher.
37:51I still do.
38:03Oh, I'm so glad I'm not the guy who has to tell Marty his movie's dead.
38:07What do you even say to him?
38:08I'm not gonna say shit to Marty.
38:09I talk to his agent on Monday, and then I avoid him for the rest of my life.
38:12Hopefully I just never see him again.
38:14Hey, Matt!
38:15Oh, fuck me.
38:15Hey!
38:16Marty!
38:18Matt!
38:18Yay!
38:19Hey!
38:19Hey!
38:20Great to see you.
38:21Oh, God, hi.
38:21This is Sal.
38:22Hi.
38:23Hi.
38:23Well, I'm Matt.
38:24Yes.
38:25Matt.
38:25I have been thinking nonstop about Kool-Aid.
38:27Oh, great.
38:28That's great.
38:29I mean, Kool-Aid.
38:30By the way, I've got some great ideas for actors to put around Buscemi.
38:33Perfect.
38:33Great, yeah.
38:34And honestly, I couldn't have come to the title Kool-Aid on my own.
38:37I mean, I can't believe that title.
38:39It's fantastic.
38:39I'm gonna take credit for it.
38:40It's all yours.
38:41I love how your brain doesn't stop working, Marty.
38:44But, you know, we don't have to talk shop at a party.
38:46Let's talk about something else.
38:47You know, sports, cars.
38:52What's going on?
38:54Nothing.
38:54I mean, you're acting weird.
38:55There's something funny.
38:56There's something funny going on here.
38:58I'm pretty sure this is how I always act.
39:00I know this guy like the back of my own dick.
39:02Yeah.
39:02This is classic Matt Rebecca.
39:04Totally, yeah.
39:04No, no, no, no, no, no, no.
39:05This performance, it's inauthentic.
39:07I promise.
39:08It's nothing, yeah.
39:09I saw that look.
39:10What look?
39:11I saw that look.
39:11Nope.
39:12It's a furtive look.
39:13It was furtive.
39:14We are not being furtive.
39:15Never been furtive in my life.
39:16No.
39:16Oh, no, no, that's furtive.
39:18I know furtive.
39:18If there's one thing I know, it's furtive, okay?
39:22Look, Marty, um, there's something you should know,
39:27and Sal is actually gonna take the lead on this and tell ya.
39:31Sal?
39:31Yeah.
39:32Now I don't.
39:33Now you talk.
39:37Marty, first of all, can I say,
39:39you're the reason I'm in this business?
39:42Who the fuck are you?
39:43And what are you trying to say?
39:46We're going in a different direction
39:47and we're not doing the Jonestown version of Kool-Aid.
39:55You know what?
39:57I'm fine.
39:59Fine.
40:01All right?
40:01I mean, it's fucked up.
40:02But I gotta tell you, Matt, honestly, it's not surprising
40:07because you're just another run-of-the-mill, faceless, talentless, spineless suit.
40:16I have a face.
40:17Just give me back my movie and let me go sell it to fuckin' Apple
40:20the way I should have done it in the first place.
40:23I can't do that.
40:26Let me get this straight.
40:29You bought my movie...
40:32just to kill it?
40:35I did.
40:35He did.
40:45We'll leave you alone, Mr. Scorsese.
40:46I love the Departed.
40:47Oh, God, oh, God.
40:49That was so much worse than I thought it was gonna be.
40:52God, he's crying.
40:53He's sobbing.
40:54You made him fuckin' sob.
40:55You made him stop.
40:56You told me.
40:57Fuck Charlize is talking to him.
40:58Shit.
40:59Damn it.
41:00I was telling her what happened.
41:01Little rat, keep your fuckin' mouth shut.
41:02What a dick.
41:04Fuck, she's looking at us.
41:05It's okay.
41:05Just be cool.
41:06She's gonna kick us out again.
41:08Get the head of the studio.
41:08Stop kicking you out.
41:09Fuckin' chill.
41:10Hi Charlize.
41:11Get the fuck outta here.
41:13Okay, sorry.
41:14Thank you for having us.
41:14Sorry, Marty.
41:15Fuck.
41:16Jesus Christ.
41:18Hey!
41:19Matt Remick, right?
41:21Steve Buscemi.
41:22Hey.
41:23Buscemi.
41:23Oh, sorry.
41:24That's okay.
41:25I hear we're making a film together.
41:27Yeah, we are.
41:28Um, yeah, can't wait.
41:30How about Marty's script?
41:32Yeah.
41:32Did it just, like, blow your mind?
41:34Yeah, it was amazing.
41:35Just give him the Oscar now.
41:36I know.
41:37It was really great stuff.
41:38Yeah.
41:38You have to think, we're gonna be making Martin Scorsese's last movie.
41:42His what?
41:44Oh, he didn't tell you?
41:45No.
41:45Oh, yeah.
41:46No.
41:47This is his swan song.
41:48He's done after this.
41:50Wow.
41:51I mean, what a true honor.
41:54Yeah.
41:54How lucky are we?
41:55So lucky.
41:56Amazing, right?
41:57Yeah.
41:57Thank you, man.
41:58Thank you for making it happen.
41:59Thank you.
41:59Seriously.
42:00I'll see you on set.
42:01Can't wait.
42:02All right.
42:02Okay.
42:04Hey, Marty.
42:06Are you crying?
42:08What happened?
42:15Well, he walked up to me and he asked me if I wanted to dance.
42:23He looked kind of nice and so I said I might take a chance.
42:40to Martinis coming up.
42:41Here you go, dude.
42:43Thank you, sir.
42:44Cheers.
42:57Even after what happened tonight, I still love watching this film.
43:01Oh, my God.
43:02Yes.
43:03Marty's a goat.
43:05I don't think we can call him Marty anymore.
43:07Oh, no.
43:08It's Mr. Scorsese.
43:09Yes.
43:09Very much so.
43:13Ray Bracco's so fucking hot.
43:15Dude, Ray Liotta's so fucking hot.
43:17Ah, yes.
43:18I heard Patty was fucking him while they made this movie.
43:21Shut the fuck up.
43:22Yeah.
43:22And I heard he has a huge dick.
43:24Oh, I believe that.
43:26Rest in peace, King.
43:28Rest in penis, King.
43:33And one day he took me home to meet his mom and his dad.
43:40Then he asked me to be his bride.
43:44And always be right by his side.
43:47I felt so happy I almost cried.
43:50And then he kissed me.
44:02Then he asked me to be his bride.
44:05And always be right by his side.
44:09I felt so happy I almost cried.
44:12And then he kissed me.
44:14See you.
44:17I felt so happy.
44:23I touched her too.
44:28He is up and is off and is off.
44:28Can he go?
44:29He does education, he is if he doesn't have any fun.
44:29he's not a big fan that I'm very Holiday to introduce him to the International Network.
44:29I don't know where he was, couldn't he?
44:30He seems to have more spite of this time.
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