- il y a 22 minutes
Wonder Man 2026 S01E02 [Full Movie] [Full Story]Full EP - Full
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00:30You're a bloody mess. He can't go in like this.
00:33And then you ran into each other at the audition?
00:36Yes.
00:37Are you sure he's buying the act?
00:39He doesn't suspect a thing.
01:09I was ten when the acting bug first bit.
01:13My first audience was my dear old mum, Dorothy.
01:17I had to keep her spirits up.
01:19It was the least I could do after all she gave to me.
01:23You can see how much she loves you.
01:26She was a saint. A true saint.
01:28She always believed in me. Believed in my acting.
01:31I'd never have made it without her.
01:34Wait.
01:36Were you in a hospital show?
01:38South Shore Hospital, yeah.
01:40The first three episodes.
01:42Yes.
01:43With Joe Pantoliano.
01:44I love him.
01:46Yeah.
01:48No, yeah.
01:50People do.
01:52Yeah.
01:56Yeah, it's true.
01:57I've had some low points.
01:59Some bits I'd rather forget.
02:01But that's all behind me now.
02:03Thirteen years sober.
02:05Back in Hollywood.
02:07Ready to make my mum proud.
02:09You know, Joe has said my acting could be important, vital, and I'm going to prove her, right?
02:18That's wonderful.
02:19Your mother would be so happy for you.
02:21Stay there!
02:23Do not move!
02:24Trevor Slattery, you're under arrest.
02:26I'm not resisting.
02:29We're not together.
02:31Some people call me a terrorist.
02:35I consider myself a teacher.
02:39America.
02:42Ready for another lesson.
02:44Thirty-nine hours ago, the Ali al-Salam airbase in Kuwait was attacked.
02:51I, I, I did that.
02:56Pretty scary stuff.
02:57He's cold acting.
03:03I'm going to shoot him in the head.
03:06Live on your television.
03:11Acting.
03:12It's squibs, blanks.
03:13You sure about that?
03:14Well, I've been going through all this again.
03:15I had my trial.
03:16I went to jail.
03:16I never finish your sentence.
03:17Not my fault.
03:18No one cares.
03:26You know, the way that I see this, you have two options.
03:30Option one is that you go back to prison and finish your sentence.
03:35I like that option.
03:36And then you have option two, which is you do a little work for the Department of Damage.
03:40Two?
03:40Option two, thanks.
03:41Okay.
03:47This is Simon Williams.
03:50You're an actor.
03:51Do you think you can get close to him?
03:53I would need some bait.
03:55An audition could work.
03:57Shouldn't it be hard to set up a fake one?
03:59No, he'd see through it.
04:00He's a, he's a working actor with an agent.
04:03This is a small town.
04:04They'll know what's real.
04:05You need to find out what projects are coming up.
04:08Something juicy.
04:10Something...
04:11Simon Williams would be particularly excited about him.
04:31One second.
04:34Hey.
04:35How in the hell did Ruth Bakshi call me about your audition for Wonder Man?
04:39Yeah, see, that's kind of a funny thing.
04:42No, no, no, it's actually not funny.
04:44I'm so mad, I don't even want to hear it.
04:45I'm sorry, Janelle.
04:47I had to, it's just, it's just something about this role.
04:51It feels like, it feels like the one, like it was made for me, you know what I mean?
04:57Actually, I don't.
04:58Mm-mm.
05:00She loved me, didn't she?
05:01Simon, stop.
05:03She loved me.
05:04She said something about you showing promise, maybe?
05:07I knew it.
05:08Yeah, but she's also realistic, like me.
05:11She's putting you up for an opportunity that you actually have a real shot at.
05:14It's a self-tape for an indie feature, the Carlisle.
05:17Get it to me as soon as you can.
05:19You better deliver for Ruth.
05:20You want her on your side.
05:22Can she type with Vaughn Colbert?
05:23Because she's a great casting director.
05:25Nah, nah, nah, nah, nah, nah, I got you.
05:27Do you?
05:27Do you got me?
05:29Bye.
05:43Poetry teacher.
05:44Close with.
05:45You never judge.
05:46Who says?
05:46Who says what?
05:47That I don't judge.
05:47How is it that no matter who I bring in here, boy or girl, my mother or that odd poetry
05:53teacher, you never judge?
06:10How is it that no matter who I bring in here, boy or girl or my mother or that odd
06:21poetry teacher?
06:22You never judge.
06:25Who says?
06:27Who says what?
06:28That I don't judge.
06:31Maybe I'm just good at hiding it.
06:50It's good.
06:51Maybe just, maybe just, like, down in the back.
06:55Go ahead.
06:55And then maybe this out.
06:56Go ahead.
06:59Yeah, I like that.
07:00Thank you.
07:01Minetti.
07:02I like it.
07:23No, no, no, no, no, no, no, no.
08:00Did you notice any signs of visible enhancement?
08:03Like what exactly?
08:05I don't know.
08:06Like a subtle glow, maybe?
08:09No, he was not glowing.
08:12I said subtle.
08:14Look, Trevor, the Department of Damage Control considers Simon Williams an extraordinary threat.
08:20And I just need some proof.
08:21And I just need some proof.
08:22And I need it fast.
08:23And I think we've wasted enough time trying to search for this perfect audition.
08:26It was worth it.
08:27I think we could have gone with Megan 3.0.
08:29That's why you hired me.
08:32That's why you hired me.
08:32Oh, what do you look at that?
08:34Simon Williams needs help with an audition, wants me to come over.
08:38You see, my friend, that is great news.
08:45I want you to wear this.
08:46When you enter his place, find his computer and place this right on top, and I'll handle the rest remotely.
08:53Got it.
08:55Why aren't you texting him back?
08:57I wouldn't want him to think I'm just sitting around all day waiting for someone to text me.
09:03Okay.
09:18I think we've waited a long enough.
09:19I'll handle the role of Trevor Slattery if you don't mind.
09:25Okay.
09:26I've put down my book.
09:28I have crossed the room.
09:30I've reached my phone.
09:32Intriguing.
09:33When were you thinking?
09:37He's thinking now.
09:38I see.
09:39That might be tricky.
09:40I would have to move some things around, but there might be a chance I could manage.
09:49Just say, see you in 20.
09:51I would never text a sentence fragment.
09:56Meeting is set.
09:58Great.
10:00How far that little candle throws his beams, so shines a good deed in a naughty world.
10:08Yeah.
10:10Shakespeare.
10:11Right.
10:12Merchant of Venice.
10:14Sure.
10:16Don't mess this up, Trevor.
10:17Yep.
10:18Let's get it.
10:31Yeah.
10:32Yeah.
10:33It's Trev.
10:34Trevor Slattery.
10:36Cool.
10:37We're right in.
10:38Wait.
10:40Aren't I coming up?
10:47Hey.
10:50Thanks for coming.
10:51Let's go shoot this thing.
10:53How are we using your apartment?
10:54Nah, it's got bad energy.
10:58Look, I just went through a breakup, so it's kind of hard to focus in there.
11:02I've got to be centered for this.
11:03It's got to be good.
11:05Okay.
11:06Okay, so where did we go?
11:07That's a self-tape studio.
11:09Not far from there.
11:10And won't pray tell.
11:11Is it a self-tape studio?
11:15They sprang up over the last few years.
11:18You rent the room by the minute.
11:19It helps.
11:21Since almost everything these days is a self-tape.
11:23It's tragic how the industry's changed.
11:26Oh.
11:27Sorry.
11:28I've got to take this.
11:29I'll sign this up.
11:34I couldn't get into his apartment.
11:36How did you already screw this up?
11:38Editing and upload are included, and there are no hidden fees.
11:42Sign right there.
11:43And I can fit you in right now if that works.
11:45Nice.
11:47Okay, fine.
11:48Just stay close and keep an eye out for anything suspicious.
11:50I think I can handle that.
11:52Trevor, we're up.
11:53Well, got to go, Uncle Vanya.
12:00So, it's an indie feature in the vein of Igby Goes Down,
12:03or The Only Living Boy in New York.
12:06And I play a waiter who the man-boy protagonist
12:09has an unexpected emotional connection with.
12:11Sounds rich and textured.
12:13This could be good for you.
12:14Right.
12:14So, I'm thinking,
12:18the waiter character
12:20is third generation from the Bronx.
12:23His father always wanted to own his own restaurant.
12:26He was a great cook.
12:27And he took Corey to the Carlisle
12:29when he was a little boy for T1,
12:30so he's always had this emotional attachment to it.
12:33I'm not sure how you'll convey all this with...
12:36Would you like to charge it to your room?
12:38May I see the sides?
12:40I'd like to prepare before we start.
12:43Oh, uh...
12:44No, sorry.
12:44The two of us, we can handle it.
12:46That's why we came together.
12:47Well, you should have read the waiver you signed,
12:49because it stipulates that I read all off-camera lines.
12:58Would you like to charge it to your room?
13:03Oh, sorry.
13:04Is that me?
13:05Yes, ma'am.
13:05Here it is.
13:08Okay.
13:09Let's start again.
13:11Pick up the paper.
13:18Would you like to charge it to your room?
13:21How is it that...
13:27Is it that...
13:28That sounds weird.
13:30I think we're good.
13:31Thank you, Marcy.
13:32Is it that...
13:33That found me either, right?
13:34Thank you.
13:35Thank you, Marcy.
13:42How do you still have a place in L.A. after all these use?
13:45Bought it.
13:46From the South Shore Hospital money.
14:00Make yourself at home.
14:05Wow.
14:06This place is crazy.
14:07Sure beats the old dungeon.
14:13Turtle Diary.
14:15Directed by...
14:16John Irvin.
14:18You've seen Turtle Diary?
14:19Of course.
14:20You and Glenda Jackson free a couple sea turtles from the London Zoo,
14:23but you really free yourselves along the way.
14:25Yeah.
14:26No, yeah.
14:27How am I just realizing that now?
14:31Coronation Street.
14:32You play Ryan Jenkins, right?
14:34Well done.
14:35A pint of bitter, please.
14:36And one for my friends.
14:38Every Brit did their stint.
14:40The producers were thrilled to get me after my runner's lear.
14:43Oh, careful with that.
14:48There's a tradition in the theater of handing down your prop
14:51to the next generation.
14:53This particular skull's had quite the journey.
14:56It was used by David Garrick when he played Hamlet.
14:59He gave it to Keane,
15:01who passed it to Irvin,
15:03who passed it to Burton,
15:04who left it in a bar,
15:05and I nicked it.
15:07Please.
15:10Is this you?
15:11Yeah.
15:12My mother, Dorothy.
15:14She was a nurse.
15:15She always believed I'd make a great performer one day.
15:19Have a positive impact on the world.
15:26Max Factor's grandson used to live in that apartment.
15:29Now we've got this.
15:30when I ask him to stop,
15:31it's just place allowed her.
15:34Shall we get to work?
15:39Would you like to charge her to the room?
15:41How is it that no matter who I bring in here,
15:43that should be whom, by the way,
15:45whom I bring in here,
15:46boy or girl,
15:47my mother,
15:47or that odd poetry teacher and poetry?
15:49You never judge.
15:50Who says?
15:51Who says what?
15:51That I don't judge.
15:52Maybe I'm just good at hiding.
15:54He stopped.
15:56All right, let's set up.
15:58Before we record,
15:59I had a thought.
16:00I think the key to this role
16:01is finding what's not being said.
16:03Think about what you're doing
16:04between your lines.
16:06That's where the character...
16:09Oh, bloody hell.
16:11It's never been this hard
16:12to do a tape in my life.
16:13Ruth Bakshi is never going to work with me again.
16:15Ruth Bakshi?
16:16Yes.
16:16Casting director on Wonder Man?
16:18Yes.
16:18You better not mess this up.
16:19I know.
16:20We could shoot on the street
16:21or in your car.
16:22No, it's too weird.
16:24It's a way to see it.
16:25You have any friends we could ask?
16:27No.
16:28You've been out here for how long now?
16:29Eight years.
16:29Eight years?
16:30You don't have any friends.
16:31What about you?
16:32You've been out here for decades.
16:33Where are all your friends?
16:34You should have plenty.
16:36Oh, there is someone I could ask.
16:41We were both in South Shore Hospital together.
16:44I played the lead.
16:46Somehow, he managed to get in the showrunner's ear.
16:49He had my character killed off.
16:50Walked away with the lead role
16:52and the people's choice award,
16:54the most promising newcomer.
16:56Man, that's cold.
16:57He owes me.
17:08Trevor Slattery.
17:10I can't freaking believe it.
17:13Oh.
17:14Oh.
17:15Get in here.
17:21Simon, Joe Pantoliano, Joe Pantoliano, Simon Williams.
17:24Everybody calls me Joey Pants.
17:26Yeah, of course.
17:26It's a plus.
17:27You know, I never eat a steak
17:28without thinking about you and the Matrix.
17:29What?
17:30Everybody always go on and on about
17:31growing at De Niro and Midnight Run,
17:33but you were the third side of that triangle, man.
17:36I like this guy.
17:37Wow.
17:39You done well for yourself, man.
17:40That's a lot of marble.
17:41Yeah, well, my wife, she designed the place.
17:44Hang on a sec.
17:47Better give the tree some life.
17:50You know, Art Linkletter taught me
17:52a crucial lesson about show business.
17:55It's not enough to make a living.
17:57You gotta make a killing.
17:59So, I got into real estate early on,
18:02bought in Venice,
18:03way before Arnold.
18:05made a disgusting amount of money.
18:08Just disgusting.
18:10So, you guys hungry?
18:11My chef'd be happy to make you something.
18:13Well, we're not really here to socialize.
18:15We're on a tight schedule.
18:16Oh, come on, Trev.
18:17Nestor's the best.
18:19I just stole it from McConaughey.
18:22Thank you, Nestor.
18:25Ah, my favorite.
18:26We got some duck prosciutto,
18:28some roasted peppers from my garden,
18:30and we just flew in the moots
18:34fresh from Hoboken.
18:36They can't audition on an empty stomach.
18:38Here, sit down.
18:39Okay.
18:42You know, people don't appreciate
18:45all the work that goes into the audition process.
18:48I'm offer only, so it's hard for me to relate.
18:56Hmm.
18:59Man, I'm so glad
19:01all that Mandarin business is behind you.
19:04I mean, the performance was good,
19:07but I was worried about you, man.
19:11That was some dark shit.
19:17Simon, what the hell is this damn audition?
19:19I'm sorry.
19:19I'm at Joe Pantoliano's house right now.
19:22He just offered me moots from Hoboken.
19:24He got a treat in the foyer.
19:25I'm just trying to be polite.
19:26I'm in here cold, switching to everything.
19:28I'll give a damn if you was having sloppy joes
19:30with Sarah Paulson.
19:30You need to hurry the hell up.
19:32That's why I'm here, to do the tape.
19:34I'm just trying to stroke the man's ego a little bit.
19:36Let me play this.
19:37Just put your face,
19:38stay in the lines, on a tape,
19:39and get it to me.
19:41Okay.
19:41Okay, all right.
19:42And don't do what you always do, Simon, okay?
19:44I know you're already overthinking
19:45and doing that bullshit.
19:46Just be normal, okay?
19:47Can you play that?
19:48Normal, man.
19:49The breakdown is go method.
19:51Go method.
19:52Go method.
19:52Go method.
19:53Go method.
19:54Go method.
19:56Go method.
20:00You know, I don't think we've crossed swords
20:03since we wrapped South Shore Hospital.
20:06Sounds about right.
20:07Well, I miss you, Dr. Jack.
20:09What's that supposed to mean?
20:11Dr. Jack Cronk.
20:12That was your character.
20:14Oh, right, lovely.
20:15Before you stole the lead from me.
20:20What the hell are you talking about?
20:22I'm surprised you bring that up, Joe Pantoliano,
20:24right to my face.
20:26Trevor, you were high.
20:29Out of your mind.
20:31You weren't showing up to set,
20:33and when you did, you were screaming.
20:35White worms were coming out of your skin.
20:38You told me that you couldn't handle
20:41the pressure of being the lead.
20:42showrunner had a rewrite to work around you
20:46until finally network had enough.
20:48Killed you off.
20:49Can we please
20:51tape this audition already, already?
21:01So let's
21:03shoot this, gentlemen, shall we?
21:07That's quite a career.
21:09Well, yeah.
21:10I've been lucky.
21:12Well, if I was British,
21:14they would have knighted me by now.
21:16Can I, uh,
21:17can I give you some free advice?
21:19It's Louis B. Mayer.
21:21He has a saying.
21:24The most important thing about acting
21:29is sincerity.
21:32Once you learn to fake that,
21:34you got it made.
21:37No.
21:38Look, look.
21:39Show business is crazy.
21:41It's built on a foundation of insanity.
21:44So success
21:45is the collateral you use
21:47to build something real for yourself.
21:50Remember this.
21:51Acting.
21:52It's just a job.
21:54I mean,
21:55yeah,
21:56it's a great way to make a buck.
21:58It's better than any other job out there.
22:00But the minute you try to get something else out of it,
22:03fame,
22:05validation,
22:06getting even with your parents,
22:07whatever,
22:08you're screwed.
22:09You keep digging that hole
22:12and you'll never get up.
22:16I gotta say, Trev,
22:19oh, I envy you.
22:21to finally be done with it all
22:24must be nice, huh?
22:27Not have to worry about your weight
22:29or your appearance.
22:31You can ignore the stupid trades.
22:35Actually, he's not done with acting.
22:38Really?
22:40He just had a huge audition
22:42for a lead role
22:43in a Von Kovac movie.
22:45Well, holy shit,
22:46that's terrific.
22:50Don't pretend to be happy for him,
22:52Joe Pantoliano.
22:53What?
22:54You think you're being nice,
22:55but you're actually condescending as shit.
22:57Do you know that?
23:00That speech was the dumbest,
23:02most patronizing thing
23:03I've ever heard.
23:04Come in, fellas.
23:06You suck, Joe Pantoliano.
23:08Baby's Day Out is garbage.
23:10Even that dumb baby
23:11couldn't make you funny.
23:17Let's get the hell out of here, man.
23:20Come on, guys.
23:24Acting isn't a job.
23:27It's a calling.
23:29It's the single most consequential thing
23:31anyone could ever do
23:33with their life.
23:51Barry,
23:53what's this I'm hearing
23:54about a new Von Kovac movie,
23:57and why am I not meeting on it?
24:01Can you believe that guy?
24:06Are you okay?
24:09Sorry, that didn't quite work out.
24:12It's all right, man.
24:17I know a place we could go.
24:29Let's ignore the mess, okay?
24:38I've been thinking about what you said earlier
24:42about how the key to this scene
24:44is finding what's not being said.
24:48All this time,
24:49I've been assuming the line,
24:50maybe I'm just good at hiding it,
24:52was like a gentleman buff
24:53telling the kid to watch himself.
24:55Right.
24:56But I'm wondering
24:58if the waiter's actually feeling
24:59some type of connection.
25:02Like, maybe it's an invitation.
25:04Maybe I'm just good at hiding it.
25:05You can trust me with your secrets.
25:08Feel free to tell me more,
25:09or that kind of thing.
25:10Might be worth a shot.
25:13Yeah.
25:30Would you like to charge her to your room?
25:32How is it that no matter
25:34whom I bring in here?
25:36Boy?
25:37Girl?
25:38My mother?
25:40Oh, that out portrait teacher
25:42I'm too close with.
25:45You never judge.
25:50Who says?
25:52Who says what?
25:55That I don't judge.
25:57Maybe I'm just
25:59good at hiding it.
26:07Who says?
26:09Who says what?
26:11That I don't judge.
26:14Maybe I'm just good at hiding it.
26:22Do I send it?
26:23You'd be crazy not to.
26:25You think it's good?
26:27It's transcendent.
26:33I'm cold.
26:41I gotta pee.
27:06Yo, Trav, said I order a pizza.
27:09Splendid.
27:12All that running around
27:13that they helped start.
27:15Never had a shoot over before.
27:17It's not bad.
27:21Yo, Trav,
27:22you like to have a run?
27:23Yeah.
27:28I'm cold.
27:29I'm cold.
27:32I'm cold.
27:33I'm cold.
27:35I'm cold.
27:36I'm cold.
27:37I'm cold.
27:39I'm cold.
27:39I'm cold.
27:47I'm cold.
27:51Pepperoni?
27:55No doubt.
27:59I'll call it in.
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