For Your Consideration Page #2

so just watch for a second.

Marilyn, you had a swooning,

kind of a fainting move which I love.

It's great. I love the eyes rolling back.

I want you to add one more thing,

something more...

...almost from the bottom

of your womanhood to make it a:

So let-- Let me--

- Let me see what that would look like.

- Okay.

Exactly. And Brian, I love that thing.

Let me see that, just that flash.

No, not the intake of breath,

just the eyes flashing as if:

"Mommy is going now?"

So this is gonna be great.

Whitney? Hi there.

- Can I talk with you for a moment?

- Oh, yeah.

Hi. You okay in there?

- Not interrupting a meal or anything?

- No.

Sorry I'm on this thing. I hurt my back.

- I fell over the side of an escalator.

- Great.

Whitney, I have to tell you that

I have been a publicist for 20 years--

Fifteen and five strapped to the gurney.

I have never experienced

the hostility that this little picture...

...which I think is a charming show,

is engendering in the community.

I've had hang-ups.

I've had rude-- Rude responses.

- That's not what I'm getting on this one.

- That's not good. But you know what?

It's all right because we should go

a whole different angle...

- ...that no one's even thought of.

- Okay.

What if we go the angle of

let's play it down?

Let's tell people not to see our show?

- What about--?

- That's a dangerous sell, Whitney.

Put a big ad in the paper

and say, "Don't come."

Okay. True enough.

But as my proud ancestors,

the Choctaw, say...

...what we're dealing with

on this picture is:

Difficult to translate it.

Basically, we don't have a blanket.

We don't have a blanket for a--

It's a diuretic pony, I'm sorry--

Urinary-problem pony to piss on.

Excuse me.

- Give me one sec.

- Okay.

- Just look up.

- I just need one sec.

Can you do that without touching me?

You're fine.

- Gorgeous.

- Thank you.

- I'm almost set here. We're rolling.

- We're good?

Okay. Actors.

Actors acting.

- Good.

- Not right now.

- But, yeah.

- Oh, you don't think you are?

I mean, we're all acting all the time.

You know, but I'm acting differently.

So tell me, Home for Purim.

- Home for Purim.

- Yeah.

It's a period film.

- Yeah.

- I play Rachel Pischer.

I play Sam Pischer,

her brother, little brother.

Yeah.

But, which brings me to,

I heard a rumor that you two are:

- Yeah...

- Is that true?

- Depends on what you mean by:

- That's so cool.

- That's really cute.

- It is.

We are-- That-- It's a very--

It's a very interesting scenario,

playing siblings, living the life of lovers.

Well, tell me how you both

got started in acting as art?

I started doing standup

at Jerry Seltzer's Laff Emporium.

I was at Chortles, The Comedy Place.

And-- But no one really--

- No one really got it.

- I got it.

- I thought it was hysterical.

- What did she do?

She has a show. Tell her the title.

- No Penis Intended.

- Oh, I actually did hear, yes.

- What was that about?

- One critic described it as:

"A humorless romp

into Miss Webb's dysfunctional psyche."

- That's a humorless critic.

- That doesn't make sense.

- No.

- No.

Tuesday night. Eleven-ish.

Diamond Pawnbroker

on Sterling and Fifth.

- Ring a bell?

- Yeah. There was a break-in.

And did you make out the report?

- Did I what?

- You heard me, son!

Yes, I made out the report.

This report is an I-N270,

file number 79251J.

It is not a 35-DIB...

...and should not be filed as such.

Do I make myself clear?

That's a good clip. That was a good clip.

I loved that. I love the movie.

Paper Badge, I just loved it.

What a roller-coaster ride.

Nothing happened!

- Nothing happened in that clip.

- But that's the beauty--

Yes, it's about time in a film

nothing happened. It's about time.

It always, it's-- People get

to story points and have a little problem...

- ...and then they say, "Let's blow it up."

- I am not one for violence...

...but I would have given anything

to see a coffee pot explode.

What a brave choice the director made.

What a-- What a pioneer this guy is.

"Let's do nothing."

Sometimes it looks like somebody hit you

with a frying pan and you enjoyed it.

But I have been hit.

Been hit a couple of times.

You know, this film reminds me of your wife

and her ceramic turtle collection.

Can't believe you keep this

in your purse.

- Well, you never know.

- Yeah.

Mr. Orfkin, for the third time,

Victor Allan Miller is waiting.

Oh, okay, just give me five seconds

and then send him in.

Right this way, Mr. Miller.

Now, you listen to me, Bernie,

you may run a studio...

...but I've got way too much respect for

my clients to put up with this kind of crap.

Hang on. Simi, hold all my calls.

I'm in a meeting with Victor Allan Miller.

I do not wanna be disturbed.

I gotta run. Ciao.

- Thank you, Simi.

- Hey, look at you.

- Look at you.

- You look fantastic.

- Thank you. Thank you.

- You should be stopping by more often.

- Really? I know, I know.

- Yes, you should.

But we're not filming today,

I thought I'd drop by, say hello...

...while my tires are being rotated.

- Well, let's talk movies.

- Okay.

Okay? Movies.

There's nothing going on

in movies right now for you.

I mean, it's just-- This is the thing.

There was just--

There's no interest, okay?

You're like a cold piece of toast.

I'm not gonna

candy-coat things for you...

...because if you want candy-coated

information, go someplace--

Go to one of the bigger agencies.

Okay? Because I--

My thing is say it like it is.

But right now I don't think film

is what we should be focusing on.

Quite frankly, I think television

is where we should be looking.

- I know, but television--

- Okay, we're on a couple of pilots. Listen.

Listen, Victor.

There are some very exciting things.

Joel?

Singing the Blues.

The dysfunctional Blue family

rises to a position of prominence...

...in a small New England town.

- Very, very powerful. And I--

- Was that a drama or a comedy?

It's a comedy because it's--

They're dysfunctional.

The whole family's dysfunctional.

The father doesn't know.

The kids don't know. Nobody knows!

Nobody knows what's going

because of the whole dysfunction.

And that's-- That's the beauty of that.

Simon, all I'm saying is I want it

to be brighter. That's all I'm saying to you.

I want to come in the room

and I wanna see an object like the--

Like a chair or a light or a sofa

and be able to make out what it is.

- Do you understand me?

- I get it.

If you get it, then you turn it up.

Look, I know my job is to translate

your vision into the real world, okay?

But the problem is, I don't see a vision.

- Can I ask you a question?

- Yeah, sure.

Do you know how tight my aperture is

right now? Have you any idea?

If you're being a smart-ass,

I'm gonna put you across my knee.

I want it to be bright.

It's bright. It's brighter than

Stephen bloody Hawking in here.

- Up, up, up. Just turn it up for me.

- All right. Fine.

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