manage to reach someone
I got hold of Gordon Cole.Sunset Boulevard · 1950 — 第 14 / 19 章 · 2'34" · B1
Norma returns to Paramount expecting to work again, but DeMille answers with a warning instead of a deal. 'Pictures have changed quite a bit,' he tells her, and her script 'would be a very expensive picture.' Norma's reply — 'I don't care about the money. I just want to work again' — shows how much she still needs this.
Norma Desmond visits Paramount with Joe Gillis, hoping to restart her career. Cecil B. DeMille greets her fondly but admits her script would be very expensive, and that pictures have changed. Norma insists she only wants to work again. While a scene is shot, Max shows Joe the old dressing rooms and tells him about the studio's silent-era past.
注目の表現
sense of humorhave no ideacare aboutnothing would please me more
このシーンの表現
I would like nothing better
DeMille says nothing would please him more, then lets the if trail off unfinished.
Nothing would please me more than to work with your team.
the ability to laugh at things
not know at all
to be concerned about
the industry has moved on
examine something
34 行のセリフに 25 件のメモ
manage to reach someone
I got hold of Gordon Cole.in this line of work
You know, some crazy things happen in this business, Norma.return to a place
I just didn't realize what it would be like to come back to the old studio.noun clause: The how much clause is the object of had no idea, naming the unknown amount.
I had no idea how much I'd missed it.long to see someone
We've missed you, too, dear.back at work
We'll be working again, won't we, Chief? We'll make our greatest picture!costs a lot
Well, it's... It has some good things in it, yes, but, it would be a very expensive picture.softening would: Would be softens the verdict so the speaker avoids a flat refusal.
Well, it's... It has some good things in it, yes, but, it would be a very expensive picture.Link care into about; the t in don't is light.
Oh, I don't care about the money. I just want to work again.what something really means
You don't know what it means to know that you want me.subjunctive would: Would marks an imagined wish: nothing could make me happier than this.
Nothing would please me more, Norma, if...set to film
We're ready for the shot, Mr. DeMille.stay seated and observe
All right. Norma, why don't you just sit here and watch?a fair amount
You know, pictures have changed quite a bit.Link hit and 'em so it sounds like one word.
Hit 'em all!Roll and 'em run together into one quick word.
Roll 'em!start the cameras — Film-set jargon; keep it out of everyday talk.
Roll 'em!was formerly
They used to be Madame's dressing room. The whole row.barely anything left for someone
That didn't leave much for Wallace Reid.fitted with wheels
Oh, he had a great big bungalow on wheels.covered by something
I remember my walls were covered with black patent leather.come to you shortly
I'll be with you in a minute.why is that funny
What's so funny about it?yours to keep
Just so you don't think I'm a complete swine, if there's anything in Dark Windows you can use, take it. It's all yours.a nasty person — An old-fashioned insult; fine in self-mockery, not at strangers.
Just so you don't think I'm a complete swine, if there's anything in Dark Windows you can use, take it. It's all yours.This is a farewell wearing the mask of a meeting. DeMille is warm to Norma and careful never to say no outright; he praises the script ('It has some good things in it'), then buries it under cost and change. His line 'pictures have changed quite a bit' is the verdict, and Norma either cannot or will not hear it. 'Oh, I don't care about the money. I just want to work again,' she answers, which is everything in one sentence: the comeback is not a career plan but a need. DeMille's 'Nothing would please me more, Norma, if...' trails off exactly where the refusal should be. Around them the studio keeps moving — crew calls, lights, a shot — while Max walks Joe past empty dressing rooms and reminds him, 'You see where it says Readers' Department?' The place she remembers no longer exists.
I hope you haven't lost your sense of humor.DeMille's gentle warning before bad news: he is about to disappoint her and asks her not to take it too hard.
We'll be working again, won't we, Chief? We'll make our greatest picture!Norma's idea of a comeback: she assumes the studio will hire her and that together they will make something great.
Oh, I don't care about the money. I just want to work again.Her answer to the cost problem: money is irrelevant, because what she wants is simply to be wanted again.
You don't know what it means to know that you want me.Norma's confession of dependence, saying that being wanted by the studio means more than the work itself.
You know, pictures have changed quite a bit.DeMille's polite way of saying the industry, and her kind of film, have left her behind.
Just so you don't think I'm a complete swine, if there's anything in Dark Windows you can use, take it. It's all yours.Joe's self-mocking offer of his unproduced script to the young writers, handing over Dark Windows as if to atone for his situation.
He never refuses her outright. He admires the script's good points but warns that it would be very expensive and that pictures have changed, making her return practically impossible.
She is not looking for profit or a career plan. Being wanted by the studio again is what she has been missing, so she waves away the cost to focus on working once more.
Because the sentence would end in a refusal. He is fond of Norma and avoids saying no to her face, so he lets the promise trail off instead of crushing her hope.
Max wants the young man to understand what the studio once was and what Norma meant to it. The empty rooms and his memories are his way of defending her legend.
It is an insult meaning a contemptible person. Joe jokingly calls himself a complete swine, then gives the young writers his script Dark Windows, as if to prove he isn't one.
次のチャプター · 第 15 章sell like hotcakesJoe and Betty Write the Script Together
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
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
再生中 · 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