The Flying Machine Page #4

Synopsis: 'The Flying Machine' is a 3D live action/animation family feature film about a stressed out business-woman, Georgie (played by Heather Graham), who takes her two children to see the animation film 'Magic Piano', which is being performed live by world famous pianist Lang Lang. A magical event occurs and Georgie's kids get transported inside the animation world, and Georgie has to pursue them, with a little help from Maestro Lang Lang. The "Magic Piano" which is a stop-motion animation tells a story of Anna, a girl whose dad had to leave Poland to work in London. Anna and her cousin Chip Chip find a broken piano which magically transforms into a flying machine and takes them across the Europe. The girl hopes to meet her longing dad.
Genre: Adventure, Animation, Family
Director(s): Martin Clapp, Geoff Lindsey, Dorota Kobiela
Actors: Heather Graham, Benedict Wong, Lang Lang, Steve Cookman
Production: Media International Pictures
 
IMDB:
4.9
  The Flying Machine Movie Quotes »
Collection  Edit  Watch  PDF  Buy   
NOT RATED
Year:
2011
85 min
40 Views

WE STILL HAVE QUITE A WAY TO GO.

HOLY CROSS CHURCH."

WE STILL HAVE QUITE A WAY TO GO.

MM-HMM.

WE STILL HAVE QUITE A WAY TO GO.

MM-HMM.

[ MUSIC STOPS ]

MM-HMM.

[ MUSIC STOPS ]

[ HUMMING ]

[ MUSIC STOPS ]

[ HUMMING ]

NO. THEY'RE LEAVING.

[ HUMMING ]

NO. THEY'RE LEAVING.

AND THAT'S NOT THE WAY HOME.

NO. THEY'RE LEAVING.

AND THAT'S NOT THE WAY HOME.

WE HAVE TO FOLLOW THEM.

AND THAT'S NOT THE WAY HOME.

WE HAVE TO FOLLOW THEM.

IT MIGHT BE A BUMPY RIDE.

WE HAVE TO FOLLOW THEM.

IT MIGHT BE A BUMPY RIDE.

[ PLAYS CHOPIN'S

IT MIGHT BE A BUMPY RIDE.

[ PLAYS CHOPIN'S

"REVOLUTIONARY TUDE ]

[ SCREAMS ]

I THINK I'VE HEARD THIS ONE

BEFORE.

IT'S THE

BEFORE.

IT'S THE

"REVOLUTIONARY TUDE."

IT'S THE

"REVOLUTIONARY TUDE."

SO, WHY WAS CHOPIN REVOLTING?

"REVOLUTIONARY TUDE."

SO, WHY WAS CHOPIN REVOLTING?

FOR THE FREEDOM OF HIS

SO, WHY WAS CHOPIN REVOLTING?

FOR THE FREEDOM OF HIS

COUNTRY, POLAND.

FOR THE FREEDOM OF HIS

COUNTRY, POLAND.

I THOUGHT HE LIVED IN PARIS.

COUNTRY, POLAND.

I THOUGHT HE LIVED IN PARIS.

HE LIVED THERE AS AN EXILE.

[ GASPS ]

THIS IS DANGEROUS.

THE KIDS ARE HERE?

[ SCREAMS ]

MY PHONE!

[ GASPING ]

MY PHONE!

[ GASPING ]

WE HAVE TO FIND OUR WAY OUT OF

[ GASPING ]

WE HAVE TO FIND OUR WAY OUT OF

THIS.

WE HAVE TO FIND OUR WAY OUT OF

THIS.

YOU KNOW WHAT SCHUMANN SAID

THIS.

YOU KNOW WHAT SCHUMANN SAID

ABOUT CHOPIN'S MUSIC?

YOU KNOW WHAT SCHUMANN SAID

ABOUT CHOPIN'S MUSIC?

HE SAID IT WAS, "CANNONS HIDDEN

ABOUT CHOPIN'S MUSIC?

HE SAID IT WAS, "CANNONS HIDDEN

AMONG FLOWERS."

[ GASPS ]

WE STILL NEED TO GET HIGHER.

[ CHUCKLES ]

THAT'S NOT SO EASY.

PROBABLY BLOWN EVERYTHING BY

NOW, ANYWAY.

[ MUSIC INTENSIFIES ]

[ MUSIC STOPS ]

FRED, I'M REALLY NOT SURE WE

HAVE TIME FOR A FOOD STOP.

[ TWINKLING ]

HAVE TIME FOR A FOOD STOP.

[ TWINKLING ]

VIENNA.

[ TWINKLING ]

VIENNA.

"TO MAKE A CAREER AS AN ARTIST,

VIENNA.

"TO MAKE A CAREER AS AN ARTIST,

CHOPIN HAD TO LEAVE HIS HOME IN

"TO MAKE A CAREER AS AN ARTIST,

CHOPIN HAD TO LEAVE HIS HOME IN

POLAND.

CHOPIN HAD TO LEAVE HIS HOME IN

POLAND.

HE STARTED HERE, WHERE ALL THE

POLAND.

HE STARTED HERE, WHERE ALL THE

GREAT COMPOSERS HAD LIVED."

HE STARTED HERE, WHERE ALL THE

GREAT COMPOSERS HAD LIVED."

[ DOG BARKS ]

GREAT COMPOSERS HAD LIVED."

[ DOG BARKS ]

IT'S PRETTY DARK.

[ DOG BARKS ]

IT'S PRETTY DARK.

[ BELL TOLLING ]

IT'S PRETTY DARK.

[ BELL TOLLING ]

MUM WOULDN'T WANT US TO GO DOWN

[ BELL TOLLING ]

MUM WOULDN'T WANT US TO GO DOWN

THERE.

MUM WOULDN'T WANT US TO GO DOWN

THERE.

[ TOLLING CONTINUES ]

FRED, I JUST THOUGHT -- WE DON' HAVE ANY MONEY.

MAYBE THEY'D HAVE SOMETHING TO

HAVE ANY MONEY.

MAYBE THEY'D HAVE SOMETHING TO

EAT.

MAYBE THEY'D HAVE SOMETHING TO

EAT.

HELLO?

EAT.

HELLO?

[ MID-TEMPO MUSIC PLAYS ]

HELLO?

[ MID-TEMPO MUSIC PLAYS ]

SOUNDS LIKE ALL THOSE COMPOSERS

[ MID-TEMPO MUSIC PLAYS ]

SOUNDS LIKE ALL THOSE COMPOSERS

ARE STILL HERE.

SOUNDS LIKE ALL THOSE COMPOSERS

ARE STILL HERE.

HMM.

ARE STILL HERE.

HMM.

MAYBE THEY'RE GHOSTS.

HMM.

MAYBE THEY'RE GHOSTS.

WOULD ANY OF YOU HAVE SOME SPARE

MAYBE THEY'RE GHOSTS.

WOULD ANY OF YOU HAVE SOME SPARE

FOOD?

WOULD ANY OF YOU HAVE SOME SPARE

FOOD?

HELLO?

FOOD?

HELLO?

[ BELL TOLLING ]

HELLO?

[ BELL TOLLING ]

YOU IN THERE.

[ BELL TOLLING ]

YOU IN THERE.

I'M TALKING TO YOU.

[ SIGHS ]

I THINK CHOPIN MUST'VE HAD HIS

WORK CUT OUT TRYING TO GET HEARD

I THINK CHOPIN MUST'VE HAD HIS

WORK CUT OUT TRYING TO GET HEARD

AROUND HERE.

WORK CUT OUT TRYING TO GET HEARD

AROUND HERE.

[ GRUNTING ]

AROUND HERE.

[ GRUNTING ]

FRED, STOP IT.

[ GRUNTING ]

FRED, STOP IT.

FRED! FRED!

FRED, STOP IT.

FRED! FRED!

STOP IT.

FRED! FRED!

STOP IT.

WHAT IF THEY REALLY ARE GHOSTS?

STOP IT.

WHAT IF THEY REALLY ARE GHOSTS?

HMPH!

WHAT IF THEY REALLY ARE GHOSTS?

HMPH!

[ TOLLING CONTINUES ]

[ SIGHS ]

[ DOG BARKING IN DISTANCE ]

[ SIGHS ]

THANK GOODNESS.

WE FOUND THEM.

THANK GOODNESS.

WE FOUND THEM.

[ SLOW-TEMPO MUSIC PLAYS ]

WE FOUND THEM.

[ SLOW-TEMPO MUSIC PLAYS ]

WOULD YOU RATHER WE JUST TURN

[ SLOW-TEMPO MUSIC PLAYS ]

WOULD YOU RATHER WE JUST TURN

AROUND AND GO HOME?

WOULD YOU RATHER WE JUST TURN

AROUND AND GO HOME?

[ TWINKLING ]

[ TWINKLING ]

"CHOPIN COULDN'T GO BACK TO

POLAND BECAUSE OF THE UPRISING

THERE.

POLAND BECAUSE OF THE UPRISING

THERE.

HE NEVER RETURNED HOME TO HIS

THERE.

HE NEVER RETURNED HOME TO HIS

FAMILY."

HE NEVER RETURNED HOME TO HIS

FAMILY."

WOW.

FAMILY."

WOW.

NEVER?

WOW.

NEVER?

SHH.

NEVER?

SHH.

I'M TRYING TO LISTEN.

SHH.

I'M TRYING TO LISTEN.

I HAD TO LEAVE MY HOME, TOO,

I'M TRYING TO LISTEN.

I HAD TO LEAVE MY HOME, TOO,

WHEN I WAS VERY YOUNG -- TO

I HAD TO LEAVE MY HOME, TOO,

WHEN I WAS VERY YOUNG -- TO

FOLLOW MY STUDIES.

WHEN I WAS VERY YOUNG -- TO

FOLLOW MY STUDIES.

I HAD TO LEAVE MY HOME AND MY

FOLLOW MY STUDIES.

I HAD TO LEAVE MY HOME AND MY

MOM.

[ SIGHS ]

DO YOU THINK MUM'S MISSING US?

OF COURSE, I'M MISSING YOU.

DO YOU THINK MUM'S MISSING US?

OF COURSE, I'M MISSING YOU.

UNH-UNH.

OF COURSE, I'M MISSING YOU.

UNH-UNH.

YOU'RE RIGHT.

UNH-UNH.

YOU'RE RIGHT.

ALL SHE THINKS ABOUT IS HER

YOU'RE RIGHT.

ALL SHE THINKS ABOUT IS HER

WORK...AND THAT NEW DREAM HOME.

ALL SHE THINKS ABOUT IS HER

WORK...AND THAT NEW DREAM HOME.

WELL, THAT'S NOT FAIR.

WORK...AND THAT NEW DREAM HOME.

WELL, THAT'S NOT FAIR.

I'M DOING IT ALL FOR YOU.

WELL, THAT'S NOT FAIR.

I'M DOING IT ALL FOR YOU.

I HAVE TO WORK.

I'M DOING IT ALL FOR YOU.

I HAVE TO WORK.

WE CAN'T JUST DO WHATEVER WE

I HAVE TO WORK.

WE CAN'T JUST DO WHATEVER WE

WANT.

WE CAN'T JUST DO WHATEVER WE

WANT.

EVER SINCE I WAS A LITTLE GIRL,

WANT.

EVER SINCE I WAS A LITTLE GIRL,

I WANTED TO BE IN THE

EVER SINCE I WAS A LITTLE GIRL,

I WANTED TO BE IN THE

CORPS DE BALLET, ALL IN WHITE --

I WANTED TO BE IN THE

CORPS DE BALLET, ALL IN WHITE --

LES SYLPHIDES.

CORPS DE BALLET, ALL IN WHITE --

LES SYLPHIDES.

BUT THERE WAS NEVER ENOUGH MONEY

LES SYLPHIDES.

BUT THERE WAS NEVER ENOUGH MONEY

FOR THE LESSONS.

BUT THERE WAS NEVER ENOUGH MONEY

FOR THE LESSONS.

SO I SCRIMPED AND I SAVED AND

FOR THE LESSONS.

SO I SCRIMPED AND I SAVED AND

WHEN I WAS OLD ENOUGH, I FLEW TO

SO I SCRIMPED AND I SAVED AND

WHEN I WAS OLD ENOUGH, I FLEW TO

PARIS.

WHEN I WAS OLD ENOUGH, I FLEW TO

PARIS.

I LIVED IN A TINY, FREEZING

PARIS.

I LIVED IN A TINY, FREEZING

APARTMENT.

I LIVED IN A TINY, FREEZING

APARTMENT.

I DID JOBS I HATED.

APARTMENT.

I DID JOBS I HATED.

BUT I GUESS I JUST WASN'T GOOD

I DID JOBS I HATED.

BUT I GUESS I JUST WASN'T GOOD

ENOUGH.

BUT I GUESS I JUST WASN'T GOOD

ENOUGH.

THEN, ONE DAY, I CAME HOME, AND

ENOUGH.

THEN, ONE DAY, I CAME HOME, AND

IT WAS FLOODED, AND WORSE, THERE

THEN, ONE DAY, I CAME HOME, AND

IT WAS FLOODED, AND WORSE, THERE

WERE RATS.

IT WAS FLOODED, AND WORSE, THERE

WERE RATS.

I'D BEEN OFFERED A REAL JOB IN

WERE RATS.

I'D BEEN OFFERED A REAL JOB IN

LONDON, SO I TOOK IT.

I'D BEEN OFFERED A REAL JOB IN

Rate this script:0.0 / 0 votes

Geoff Lindsey

Geoff Lindsey is a British writer and director who has written episodes for television series including the BBC soap opera EastEnders and The Bill. Lindsey trained in directing at the Bournemouth Film School, where he wrote and directed the short film The Band Parts starring Graham Fellows. In 1999 he was selected for the Carlton Screenwriters course. This led to his writing the anthology tribute Inspector Morse: Rest In Peace, and to his first television episode commissions. As a lead writer on the soap opera Family Affairs, he wrote the UK's first ever interactive soap episodes. Lindsey directed Michael Palin in the short How to Use Your Coconuts for the DVD of Monty Python and the Holy Grail. With BreakThru Films, he wrote and directed the short film The Clap starring Steve Furst which was a finalist in Turner Classic Movies Classic Shorts 2005. For BreakThru Films' Magic Piano, Lindsey wrote the screenplay, and selected and arranged the musical score performed by Lang Lang. He also directed Lang Lang and Heather Graham in the live action segments of the feature-length The Flying Machine. Lindsey is also a pronunciation coach and gives workshops on contemporary English pronunciation, at University College London and internationally. He was interviewed on intonation as the studio guest of Stephen Fry on the BBC radio series Fry's English Delight. He has argued that the phonetic transcriptions for Received Pronunciation used in dictionaries are outdated as the upper-class accent of the 20th century has died out. He has proposed a replacement transcription system for a more modern form of British English.Lindsey previously worked as a lecturer in phonetics at University College London. He has an MA from UCL and an MA and PhD from University of California Los Angeles. more…

All Geoff Lindsey scripts | Geoff Lindsey Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Flying Machine" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/the_flying_machine_8364>.

    Powered by CITE.ME Cite.Me

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Flying Machine

    Browse Scripts.com

    #ABCDEFGHIJKLMNOPQRSTUVWXYZ

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "exposition" in screenwriting?
    A The dialogue between characters
    B The climax of the story
    C The ending of the story
    D The introduction of background information