collaborate
It seemed like a good idea if we are to work together.Sunset Boulevard · 1950 — 第 7 / 19 章 · 4'11" · B2
Norma Moves Joe Into Her Mansion, Explained：not by a long shot
Norma has already moved Joe's clothes into the house and paid his debts, so the job comes with a room whether he likes it or not. Joe protests, 'There's nothing in the deal about my staying here!' but he takes the money. The scene shows how she turns a contract into a trap.
あらすじ
Norma Desmond has Joe's belongings brought upstairs and his rent paid off, making it plain that he is expected to live in the mansion while he rewrites her script. Joe objects that the arrangement was never part of the deal, but he needs the money and stays. When he tries to cut a scene without her, she insists it go back in.
注目の表現
make up your mindthe doughthrew outkeep books
00:00 / 04:11Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
not by a long shot
not at all
Recalling the silent-film evenings, Joe says her tuberose scent was not his favorite, not by a long shot.
That's not the whole story, not by a long shot.
このシーンの他の表現
- make up your mind
decide finally
- the dough
money
- threw out
discard, cut
- keep books
keep accounts
- deduct it from
take it out of
このシーンのメモ一覧
56 行のセリフに 19 件のメモ
be behind on rent
You can't work in an apartment where you owe three months' rent.The t in taken care of often flaps toward a d sound.
- I'll take care of that. - It's all taken care of, it's all paid for.take it out of
Since Norma paid his rent, Joe offers to have it deducted from his own salary.
Okay, we'll deduct it from my salary.keep accounts
When Joe offers to keep accounts, Norma waves it off and says they will not keep books.
Now, now, don't let's be small about such matters. We won't keep books.wrap and box things
Well, pack them up again! I didn't say I was staying!decide finally
With Joe still stalling, Norma loses patience and forces him to decide on the spot.
Suppose you make up your mind. Do you want this job or don't you?money
Joe admits in voice-over that he stayed for the money and a fast way out.
I wanted the dough, and I wanted to get out of there as quickly as I could.leave that place
I wanted the dough, and I wanted to get out of there as quickly as I could.Get out of blurs into a single run of sound.
I wanted the dough, and I wanted to get out of there as quickly as I could.money — Street slang for money; keep it out of formal talk.
I wanted the dough, and I wanted to get out of there as quickly as I could.subject clause: A what-clause is the subject, balanced by a that-clause after was.
And what made it even tougher was that she was around all the time,The t in that often drops before she.
And what made it even tougher was that she was around all the time,harm something
hovering over me, afraid I'd do injury to that precious brainchild of hers.discard, cut
Norma asks about a missing scene, and Joe answers casually that he threw it out.
- What's that? - Just a scene I threw out.relative clause: Where introduces a relative clause naming the scene or place being discussed.
The one where you go to the slave market.probably for the best
They were silent movies, and Max would run the projection machine, which was just as well.non-defining clause: The which-clause comments on the whole previous idea, set off by a comma.
They were silent movies, and Max would run the projection machine, which was just as well.not at all
Recalling the silent-film evenings, Joe says her tuberose scent was not his favorite, not by a long shot.
and she smelled of tuberoses, which is not my favorite perfume, not by a long shot.「Norma Moves Joe Into Her Mansion」を読み解く
What's really going on
Everything here is done for Joe and nothing is negotiated with him. Norma pays his debts and has his clothes unpacked before he can agree, then asks the one question that decides it: 'Do you want this job or don't you?' Joe takes the money — 'I wanted the dough' — and tells himself he will escape in a couple of weeks. What he cannot do is edit her. When he cuts the slave-market scene, she hears only that she is being removed: 'Cut away from me?' Her ownership of the film is not vanity but identity, which is why Joe describes her as a sleepwalker and refuses to argue. The mansion, the silent pictures, the tuberoses: all of it is a world built to keep time away.
Theme
IdentityNorma cannot let a single scene be cut, because the film is not a story to her but the proof that she still exists.
PowerShe pays Joe's debts and moves his things, turning generosity into control until he has no room to refuse.
このチャプターで学べること
- Catching someone stalling is how Norma wins the deal.
- The dough is the honest, unglamorous word for pay.
- A sleepwalker metaphor hides both pity and calculation.
- Keeping books with her would be a losing game.
発音のポイント
- taken care of — The t in taken care of often flaps toward a d sound.
- get out of there — Get out of blurs into a single run of sound.
- was that she — The t in that often drops before she.
There's nothing in the deal about my staying here!Joe's protest: the work agreement said nothing about living in the house, and he is being moved in without consent.
Suppose you make up your mind. Do you want this job or don't you?Norma forcing a decision, refusing to let him keep the job or leave on his own terms.
I wanted the dough, and I wanted to get out of there as quickly as I could.Joe's honest motive, stated flatly: he took the job for the money and planned to leave fast.
You don't yell at a sleepwalker. He may fall and break his neck.Joe's explanation for humouring her rather than arguing: you do not confront someone living that far outside reality.
They were always her pictures. That's all she wanted to see.His summary of the film nights: she watched only her own old movies, because they were the only image of herself she could bear.
このシーンについての質問
Why does Norma move Joe into the house?
She wants him close while he rewrites her script, and she argues he cannot work in an apartment where he owes three months' rent. She has already paid what he owes.
Why does Joe agree to stay?
He needs the money and has nowhere better to go. He tells himself he will finish the job and get out of there as quickly as he can.
Why does Norma refuse to cut the slave-market scene?
Cutting it would remove her from the scene. She does not see an edit, she sees herself being taken out of her own picture.
Why does Joe not argue with Norma?
He treats her like a sleepwalker: he believes that confronting her illusions directly would only make her fall, so he humours her instead.
What do they watch at night?
Her own silent films. Max runs the projector, and Joe notices she sits close and clutches his arm, forgetting she is his employer.
サンセット大通り · 全 19 章
すべて見る →
次のチャプター · 第 8 章a matter of life and deathNorma Buys Joe New Clothes
第 1 章there's gonna be fireworksThe Repo Men Come for the Car
第 2 章over a barrelJoe Pitches Bases Loaded at Paramount
第 3 章a white elephantJoe Is Mistaken for the Undertaker
第 4 章It's the pictures that got smallNorma Desmond: The Pictures Got Small
第 5 章a pressing engagementNorma Makes Joe Read Salome
第 6 章make it worth your whileNorma Hires Joe to Fix Her Script
再生中 · 第 7 章not by a long shotNorma Moves Joe Into Her Mansion
第 8 章a matter of life and deathNorma Buys Joe New Clothes
第 9 章take me for grantedNorma's New Year's Eve Confession
第 10 章close, but no cigarJoe Meets Betty at Artie's Party
第 11 章sell on somethingNorma Sends Her Script to DeMille
第 12 章write on specBetty Asks Joe to Write With Her
第 13 章give someone the brushNorma Desmond Returns to Paramount
第 14 章nothing would please me moreNorma Desmond's Comeback Falls Apart
第 15 章sell like hotcakesJoe and Betty Write the Script Together
第 16 章come cleanBetty Tells Joe the Nose Story
第 17 章wipe outBetty Confesses She Loves Joe
第 18 章a good dealJoe Shows Betty Norma's Mansion
第 19 章have the heart toJoe Tells Norma He's Leaving第 7 / 19 章 · 残り約 39 分