Supporting Characters Page #7

Synopsis: Two New York film editors balance their personal relationships while reworking a movie in crisis.
Genre: Comedy
Director(s): Daniel Schechter
Production: Independent Pictures
 
IMDB:
6.4
Metacritic:
62
Rotten Tomatoes:
86%
NOT RATED
Year:
2012
87 min
Website
42 Views


She had to be a prostitute.

She had to get a job walking all sorts

of funny and eccentric little dogs.

And then, one day...

Okay, I get where

you're going with this.

She met a magical African

American named Rodney.

"Rodney, the man who opened

doors," they called him.

And she asked him,

"Rodney the Doorman,

"how do I become the most famous

actress of stage and screen?"

But poor Rodney. He could not

help this young starlet-to-be.

For, as it turns out, his advice

was entirely superfluous,

making him a character utterly

expendable and forgettable.

And therefore he was deleted

from our fairy tale

to strengthen it as a whole.

The end.

That story sucked.

I'm right, you're wrong.

Goodnight, sweet prince.

Rodney could've

helped that girl.

What are you laughing at?

Like you're the only

person who mentioned it.

Someone else could've

mentioned it.

Someone should've mentioned it.

Seven Pounds? Seven Pounds?

- Who was in that again?

- Will Smith!

Oh, it's a Will Smith movie.

Yeah, Seven Pounds was one

of the best movies ever made.

One of the best movies

ever made.

I swear to God,

Casablanca and Seven Pounds

- I'm right.

- That's a can...

It's come to my attention

that some editorial decisions

have started being made

without my awareness

or approval.

At some point,

and I'm not sure when,

you guys all sort of,

ganged up, turned on me, and

abandoned my vision for this film.

I think it's shitty.

I think it's immoral.

And at this point, I'd like

to just take the footage

and go home, please.

Fine, are we done?

'Cause I'm done.

Let's just take a breath

and talk this through. Okay?

All right,

let's talk it through,

but just know that that's

what I have to say about it,

and you're not gonna

talk me out of it.

Okay, we've heard

your statement,

now maybe we can

open up the floor

and you could hear

some of our thoughts.

In all honesty, Adrian, you're

not here that often. Okay?

You're basically never here.

And when you are here,

it doesn't seem like

you really wanna be here,

especially when Mike is around,

which is pretty much

all the time.

Clearly you guys have your own

history, your own baggage,

and I think that needs

to be resolved,

and that's a separate

conversation for a separate time.

But, I mean, Darryl and I, were basically

forced to direct actors and create

off-camera ideas for ADR session

that you don't even show up to.

No one asked you to do that.

Technically, Adrian, I did.

And I think we're doing

a really good job.

And I find out my friend's

son was cut out of the film.

No one told me anything.

Adrian, watch the film without

him in it and tell me

if you honestly miss him.

That's all I ask.

All right?

But it's your movie.

But this can't go on

for-f***ing-ever.

Look, I was sick.

Jesus Christ, look at you, man.

I was home, I stayed home

'cause I was sick.

You come in

with this f***ing note,

like a little kid who wants

to get a day off from school.

Adrian wants a sick day? "I'm

sick." "You're stealing my movie."

You're a f***ing grown man.

In front of these guys you talk

to me like that? You know what?

You don't get to me.

You don't get to me.

You want to get to me,

you don't get to me.

Maybe I should get to you

once in a while, okay?

I'm a decent person,

you're not a nice guy.

I'm fine with that.

I think a lot of good stuff was

brought up in this meeting. Um...

We know how you feel now,

you kinda see our side, so...

I feel good.

This was a good meeting.

I'm doing my first film.

We finish up,

we have the wrap party,

it's like a month

after we finish.

I walk in,

and the first thing I hear

is this guy screaming,

"Hey, Jeremy!"

So I look at this guy, I've never

seen him before in my life,

- but he's very excited to see me, yes.

- To see you.

And he says to me, "You don't

know me, but I know you,

"I've been staring at your face

"for a couple of weeks."

The editor.

The editor.

I know what that's like. You feel like

you have this deep, intimate knowledge

of these actors that you've

never even met before.

They have no idea who you are.

That's the thing, you laugh with

these people, you cry with them,

you know, you go

to battle for them,

you do all this sh*t for them,

and they have no f***ing

clue of your existence.

I remember Jamie came to

the office the other week.

And I went through

and I was like,

"I know her,

she must know me."

- Nope.

- No.

I did not.

It's like

a one-way mirror.

You know, it's like that

movie, It's a Wonderful Life.

Like, I go back in time and see all

these people that I, you know,

that I really loved,

and they have absolutely

no memory of me

being there before.

It's sad, in a way.

You know?

You gotta, like, double-Dutch,

it's like double-Dutch, you know?

Let the beat rock

I'm losing control

The piano man,

he sound like Billy Joel

Got music in my soul

You know I don't play

Be streaming downward Like

strawberry back in the shade

What's happened to empire

Like King Kong

Nick took Rodney out the

film Can't we get along?

What's wrong with you?

Me, I got a lot of swag

That's why I freestyle

F*** a pen and pad

Catch me in the lab

Runnin' the show

Like Final Cut,

I'm a f***ing pro

You knew I was gonna end right there?

That was so hot.

- We got this...

- type of thing.

She's loving me.

The one with the curly hair?

The curly hair, man! Look.

She's cute.

I'm not saying I would,

but I could f*** that girl.

I could definitely

f*** that girl.

Listen, Darryl, I don't want

to make this into a big deal.

Right, every time you say that, I

know it's gonna be a big deal.

So I'm prepared now.

- I'm somewhat ready for this, shoot.

- All right.

Mike had a chance

to chat with me recently,

and he wants me

to cut his new film.

Good. What's the film?

Uh, it's some vampire comedy, I don't

even know, he didn't really get into it.

Like Vampire in Brooklyn

or some sh*t.

But, um, the reason

I bring it up is because

the budget on the movie

is pretty tight,

and it won't allow him

to bring in two editors.

Um, and I told him, um, that

I'm not working by myself,

and I'm not dropping my quote,

and I said that

flat-out, verbatim.

Right, okay. Good, good.

All right? So...

- And he said...

- What'd he say?

He said he's gonna bring in

a college intern.

He's gonna bring in a student

intern to do my job?

That's what he said?

Yeah.

Okay, but did you tell him,

you told him about what I do,

about all the stuff

that I really do, right?

Yeah, of course.

I'm not saying you wouldn't

tell him, I'm just saying,

you know, you were open,

you told him,

you told him that 40% of the

work is probably mine alone.

- You told him all that.

- Yeah, yeah, I told him.

Okay, I'm just, I'm just

seeing if you told him that.

I told him everything

I needed to tell him, Darryl.

I told him everything.

I told him that,

you know, we've been working together

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Daniel Schechter

Daniel S. Schechter (born 1962 in Miami, Florida) is an American psychiatrist known for his clinical work and research on intergenerational transmission or "communication" of violent trauma and related psychopathology involving parents and very young children. His published work in this area following the terrorist attacks on the World Trade Center in New York of September 11, 2001 led to a co-edited book entitled "September 11: Trauma and Human Bonds" (2003) and additional original articles with clinical psychologist Susan Coates that were translated into multiple languages and remain among the very first accounts of 9/11 related loss and trauma described by mental health professionals who also experienced the attacks and their aftermath Schechter observed that separation anxiety among infants and young children who had either lost or feared loss of their caregivers triggered posttraumatic stress symptoms in the surviving caregivers. These observations validated his prior work on the adverse impact of family violence on the early parent-child relationship, formative social-emotional development and related attachment disturbances involving mutual dysregulation of emotion and arousal. This body of work on trauma and attachment has been cited by prominent authors in the attachment theory, psychological trauma, developmental psychobiology and neuroscience literatures more…

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Submitted on August 05, 2018

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    "Supporting Characters" Scripts.com. STANDS4 LLC, 2024. Web. 6 Jul 2024. <https://www.scripts.com/script/supporting_characters_19168>.

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