if you would be so obliging
If you would be so kindThe Gentlemen · 2020 — 第 1 / 15 章 · 2'10" · C1
Fletcher Pitches His Story to Ray, Explained：old school
Fletcher, drinking a bottle of scotch worth a fortune, refuses to lower his price and turns his pitch into a movie. He asks Ray to imagine a character, insists on film, grain and old-school cinema, and invites him along on the 'cinematic journey' — while insulting him with a smile.
あらすじ
At Mickey Pearson's mansion, the journalist Fletcher shares an expensive scotch with Ray and refuses to lower his price. He proposes a game: Ray must imagine a dramatic character, on actual film, not digital. Fletcher calls it a 'cinematic journey,' names the old-school format, says 'roll camera,' and starts narrating his protagonist.
注目の表現
not greedyshit eatingmy quote is my quotetalk dirty
00:00 / 02:10Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
old school
traditional and old-fashioned
Fletcher keeps insisting on old-school film, branding his taste as a mark of expertise.
My grandfather is old school about handwritten letters.
このシーンの他の表現
- not greedy
mock thanks that really accuse
- shit eating
foul insult for someone contemptible
- my quote is my quote
a pun on price and quotation
- talk dirty
speak in crude sexual talk
- spend that much on
pay so much for one thing
このシーンのメモ一覧
29 行のセリフに 28 件のメモ
hand someone everything
I will give you everything.the whole lot
memory cards, contact sheets, recordings, the lot.wait a moment
Hold on.in comparison with
compared to what I could and perhaps should be asking.noun clause: The noun clause after compared to names what he could have demanded instead.
compared to what I could and perhaps should be asking.a very offensive insult — Extremely offensive; never use it in polite company.
Oh, well, thank God you're not greedy, Fletcher, you deluded shit-eating cunt.like quite a lot
I quite like it when you talk dirty to me.join me for a drink
Come on, have a drink with me. It's really yummy.tasty — Playful and childish; fine with friends, not at a formal dinner.
Come on, have a drink with me. It's really yummy.pay so much for one thing
Raymond marvels that a single bottle can cost so much, both surprised and probing.
I didn't know you could spend that much on a bottle of scotch.tell someone a story
I'm gonna tell you a story to demonstrate why my quote is my quote. 19945520Gonna swallows going to into two blurry sounds before tell.
I'm gonna tell you a story to demonstrate why my quote is my quote. 19945520going to — Everyday speech; avoid it in formal writing.
I'm gonna tell you a story to demonstrate why my quote is my quote. 19945520play a game together
Will you play a game with me, Ray?want to — Casual speech; too loose for formal settings.
I don't wanna play a game.Both words are stressed, with a hard stop between the plea and the refusal.
Please. No.vulgar intensifier — A vulgar intensifier; keep it out of polite talk.
I said play a fucking game with me, Ray.picture a character
Now, I want you to imagine a character.want someone to do: The pattern want someone to do marks a direct instruction rather than a wish here.
Now, I want you to imagine a character.keep the film texture Here grain means the visible film texture he wants.
Analog. Chemical process. Keep the grain in the picture, I say.echoed auxiliary: The repeated I am at the end adds emphasis and rhythm, not new meaning.
Now I'm seeing this through a lens, I am.traditional and old-fashioned
Fletcher keeps insisting on old-school film, branding his taste as a mark of expertise.
As I said, old school cinema format.come along with me on
And I want you to join me on this cinematic journey, 'cause it is cinema, Ray.reason clause: Cause introduces the reason in casual speech and is short for because.
And I want you to join me on this cinematic journey, 'cause it is cinema, Ray.Link join me on into one run of sound.
And I want you to join me on this cinematic journey, 'cause it is cinema, Ray.start filming
Now, roll camera.the main character
Enter our protagonist.「Fletcher Pitches His Story to Ray」を読み解く
What's really going on
The scene is the film explaining its own method. Fletcher refuses to just tell Ray the story; he makes Ray watch it the way he wants it told — on film, with grain, in the old-school format — and his insistence on 'cinema' is both an aesthetic credo and a power move. He controls the frame, so he controls the deal. The language slides between threats and flirtation — he calls Ray lucky, jokes about talking dirty, and says that what he could ask for is bigger than what he is asking — and the charm is the trap. The line "And I want you to join me on this cinematic journey" is the invitation that is really a demand, and the cut to "roll camera" turns an extortion pitch into a movie. It is the film telling you exactly how it will be told.
Theme
PowerFletcher controls the story, the frame, and the price; turning the pitch into a film is his way of staying in charge.
DeceptionThe charm and the movie talk hide an extortion; a friendly drink is the setting for a threat delivered as entertainment.
このチャプターで学べること
- Fletcher sells threats with a filmmaker's confidence.
- Praise can be the sharpest insult in the room.
- Movie jargon here is a status game, not small talk.
- The price sounds fixed because his story never changes.
発音のポイント
- gonna tell — Gonna swallows going to into two blurry sounds before tell.
- Please. No — Both words are stressed, with a hard stop between the plea and the refusal.
- join me on — Link join me on into one run of sound.
And I want you to join me on this cinematic journey, 'cause it is cinema, Ray.Fletcher invites Ray into the story as if it were a movie, which is also his way of running the negotiation on his own terms.
Yeah, but I would argue that you're lucky, because that is nothingA threat dressed as generosity: what Fletcher is asking for is minor next to what he could demand, so Ray should feel fortunate.
Now, I want you to imagine a character.The framing device begins: Fletcher asks Ray to picture a character, casting the tale as fiction even though it is about real people.
Analog. Chemical process. Keep the grain in the picture, I say.Fletcher's aesthetic manifesto: film, chemical development, visible grain — old-school cinema as a mark of taste and control.
このシーンについての質問
Why does Fletcher insist on telling the story as a film?
It keeps him in control of how the events are framed and lets him move between charm and threat. By casting it as cinema, he decides what Ray sees and when.
Why won't Fletcher lower his price?
He says his quote is his quote and argues Ray is lucky, because what he is asking is small compared to what he could demand. The refusal is part of the pressure.
What is the game Fletcher proposes?
He wants Ray to imagine a dramatic character, as if in a book, play, or film, and he insists it be played on film rather than digital — a storytelling game that is really a power play.
Why does Fletcher keep insulting Ray?
He mixes insults with flattery on purpose. The crude jokes and the expensive scotch are all part of the same performance, keeping Ray unsettled while the deal is negotiated.
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