Retina Dikiz Matinesi

The thick of it

2023-01-10T01:58:00.002-08:00

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(Glenn) Producing better stuff...

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You're late. And you look like shit.

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I know both ofthose things already.

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Margaret Thatcher used to survive

on less than four hours' sleep a night.

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- How is that possible?

- Monkey glands.

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(Glenn) She was mad.

Mad people have different needs.

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(Hugh) And she lived above the shop,

so she didn't have to commute.

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God, I mean, London is so big.

Can't we devolve some ofit?

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- (Glenn sighs)

- IfI could get one decent night's shut-eye...

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Well, do yourselfa favour and stay in the flat.

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I can't break my promise to Kate.

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Do you actually get to see the children?

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Glenn, I don't have time for that. All I do...

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I work, I eat, I shower...that's it.

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And occasionally...

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I take a dump, just as a sort oftreat.

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I mean, that really is my treat.

That's what it's come to. That's...

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I sit there and I think...

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''No, I'm not gonna read the New Statesman.

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''This time is just for me.

This is quality time just for me.''

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- Is that normal?

- It's sad.

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- At least I've made something.

- Morning, Secretary ofState.

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We've got quite a lot to get through.

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- I've cancelled that interview for BBC Norfolk.

- Why?

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Well, it was gonna clash

with the two minutes' silence.

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- Good call.

- Ifyou're not remembering the dead

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and talking about benefit fraud in Kings Lynn

you are gonna look a bit ofa dick.

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Olly, could you get me another coffee?

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(Terri) Remember what I told you?

When I was working at Waitrose?

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- Yes. I know.

- Do you remember that?

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It was two minutes' silence, ordinary Sunday,

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and somebody went on the Tannoy

about a spillage alert.

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- The tabloids were like rats up a drainpipe.

- Were they?

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Can you just...? It's the Times.

Could you just have a quick look at that?

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- Is it about me?

- Have a read ofit first.

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I find this job exciting enough

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- without injecting artificial suspense.

- (Mobile)

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You're cock-teasing, Terri, tell me what it is.

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- Hello, Malcolm.

- (Shouting, indistinct)

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- No, he hasn't yet. No.

- What?

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- He is, isn't he? He's a prick.

- (Glenn) Who's a prick?

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- Am I a prick?

- Yep, rip the ball sack off.

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- (Glenn) Whose ball sack?

- Whose ball sack?

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- (Shouting continues)

- Whose balls?

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- Hello, Malcolm.

- Have you seen Simon Hewitt's piece?

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I haven't quite been through it, er, yet.

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Have you got to the bit

where he calls you out ofyour depth?

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No, at the moment he's calling me...

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''the political equivalent ofthe house wine

at a suburban Indian restaurant''.

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That's not very good, is it? Hang on a second.

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Ooh, ''insipid'', yeah. (Mumbles)

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''Uninspiring''.

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(Olly) Christ, that's bad, look at that.

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Ooh, ''disconnected to the point ofautism''.

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We're gonna get this tosser, Hugh,

don't you worry.

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He'll be at the Sport, Photoshopping the tits

ofHollyoaks extras by the end ofthe month.

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Can I just... Hello? No, he's gone.

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That's great. Malcolm's backing me.

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- (Olly) Yeah?

- So, how do we respond to this?

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Right, we don't exchange insults

with bloody Simon arsepipes titty-twat.

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Is that honestly the best swearing

you can come up with?

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This is a bucket ofshit. Ifsomeone throws shit,

we throw shit at them. We start a shit fight.

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We throw so much shit back at them

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that they can't pick up shit,

throw shit, or do shit.

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- (Terri) Mm.

- That's top swearing, Glenn, well done.

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- Watch and learn.

- (Hugh) We're all agreed

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that the department needs to look a bit less...

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- (Olly) Autistic.

- ..badly staffed.

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So we need to, at this morning's policy review,

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come up with some sort ofnew announcement

that's a bit more connected, bit more...funky!

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(Olly) Funky.

(Terri) Look, erm...

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I hope you're not gonna just

toss offsome policy

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just to get back at some journalist.

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So, erm, essentially this is just us again

but in a bigger room, isn't it?

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- And without Terri.

- Yeah, I've block-booked 14 meeting rooms.

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- She'll never find us.

- It's foolproof.

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It's the only way to get any work done.

Chris from Health does it all the time.

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OK, all right, I'll start. There was a key worker

policy I worked up a couple ofmonths ago.

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Quite like that. We need to find an angle.

A very good angle.

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Youths. You know? People are afraid ofyouths.

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- I mean, I know I am.

- Grrr.

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- You taking the piss?

- (Olly) No. I'm just joshing.

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- It sounds as though you're taking the piss.

- It's just good-natured joshing.

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- Will the two ofyou just shut up?

- I am being good-natured.

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Shut up for a minute, please.

Where else can we go?

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Pollution, the environment.

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Litter, dog shit.

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- (Olly) Aiming high.

- We aimed high, now we're at dog shit.

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- (Olly) So what you're...

- This is what we're doing.

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- I'm putting it about...

- (Glenn) Morning, Malcolm.

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..that Hewitt's piece was a packet ofbollocks,

a favour to Cliff.

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- Cliffbeing...?

- (Glenn) CliffLawton.

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Hugh's predecessor.

He and Hewitt are tight as arse cheeks.

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- Are they now?

- Fuck knows, but that's what we're saying.

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It's personal, it's back-slapping,

it's borderline homoerotic,

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and you are the innocent victim

ofa nasty media stitch-up.

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- OK, right.

- I'm fixing you up

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with a ''me and my media'' piece

with your ex Angela Heaney.

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But it is a perfect opportunity

to show just how clued up you are, actually.

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Hughy Abbot, the in-touch guy.

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You're on the ball, you know the price ofa pint

ofmilk, you love HBO imports, VH1, Pixar,

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- you dig the Streets...

- Yeah, no, they're all great.

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You've got absolutely no fucking idea

what I'm talking about, do you?

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Yeah, yeah, I do.

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Who's the only gay in the village?

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Eddie Grundy. I-I don't know.

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No, he's got children. Mind you, a lot of

them do, these days. Ben at the Foreign Office...

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- What's a chav?

- Ch... Erm...

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- It's...erm...

- You must know this, Hugh.

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- Hugh, what is a chav?

- Chav.

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- (All) Chav. Chav.

- Just saying ''chav'' isn't very helpful.

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This is important stuff, Hugh. Right.

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We do a weekly digest for the Prime Minister.

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We boil down the week's television, cinema,

music, so on...

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- The Zeitgeist tapes.

- (Malcolm) Exactly. Zeitgeist tape.

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EastEnders highlights, choice bits from

the reality shows, ten-second music videos.

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God, that's why the PM always looks so clued

up.

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I always though he was genuinely quite with it.

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No, he uses phrases like ''with it'' as well.

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I'm gonna bike that over to Terri. Watch it,

OK?

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And when you talk to Angela Heaney,

stick the boot into Hewitt, remember?

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I'm putting it about that Cliffoffered him

two weeks at his Tuscan villa for that piece.

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- Ten-four, daddy-o.

- Hey, hey, hey, hey, this is serious.

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You have got 24 hours to sort out your policy

on EastEnders, right?

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Or you're for the halal butchers.

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(Imitates EastEnders drums)

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Even he knows.

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Terri.

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- Two main contenders for our policy decision.

- Right.

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Er, we change arts and music policy funding

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so that we give most ofthe money

to the bad kids,

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give them intensive arts and music tuition,

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stop them turning into

tomorrow's crims and offenders.

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Perhaps you'd like to outline your...?

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I'm for we punish disruptive kids by cutting

them out ofextra music and arts tuition.

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Show them the carrot and the stick early on.

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The bad kids, they get no money.

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- And, Olly, the same bad kids, they get...

- More money.

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- More money.

- They could both play.

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- They're fundamentally contradictory.

- So which one should we go with?

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Why don't you go with both ofthem

or neither ofthem or a different policy?

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(Hugh) You're being quite flippant.

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- Do you have a preference?

- That's not my role.

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I sell the apples.

Ifyou want me to sell apples, I will.

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Ifyou want me to sell oranges,

I'll go and tell people

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that the apples are shit, Olly. They're shit.

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I'll say, ''Go on, check out our oranges.''

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Which do you prefer? Apples or oranges.

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- Apples.

- (Hugh) Apples.

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- Apples.

- OK. Thank you.

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- Apples.

- (Glenn) Ifwe spend taxpayers' money

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putting thugs into productions

ofthe fucking Cherry Orchard

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we're gonna get crucified, and rightly so.

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Hang on a second. Terri, which was apples?

Was Olly apples or was Glenn apples?

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She's...she's gone.

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(Olly) Let's throw this to a focus group.

(Hugh) Yeah. Yeah, whatever.

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So, this is where you've been having

these secret meetings, is it?

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- (Hugh) Yeah. No.

- No. Yeah.

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- Well?

- I cannot keep abreast ofall this.

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- Can't you précis some ofit for me?

- Yeah. Yeah, sure.

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I'll take a précis ofthe transcripts

and a précis ofthe press packs.

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Could you précis this for me, the Zeitgeist tape?

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Check this out. This is a tape

ofthis morning's focus group.

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This is Mary, she is a focus group legend.

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- (Hugh) Mary.

- Mary she's called.

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Everything that she's said in the last 12 months

in every focus group

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has chimed exactly with the core voter.

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And she loved

my arts for hearts and minds policy.

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- Arts for hearts and minds?

- That's what we're calling it.

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And she said, Glenn, that it chimed brilliantly

with stay-at-home mums like her.

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And she's really core Middle England, is she?

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Totally, totally core Middle England.

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(Mary) If children are put in a position

where they've got responsibility,

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I think they'll rise to that challenge.

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Art is all about expression, isn't it.?

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Can we get her in for a one-to-one?

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- Yeah. Absolutely.

- What, we're gonna précis the focus group?

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- Yeah.

- We'll just make it a bit more...focused.

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Everybody else basically agrees with

what she says. She's got everything.

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Very good way to work. I like this.

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Cut out all the extraneous stuff, you know.

Just the facts, man.

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Just the protein. Atkins government.

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(Olly) OK, I'll get her in.

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In fact here they are now.

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- Hello!

- Hi. I'm Mary.

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This is Hugh Abbott, this is Mary.

And, Mary, this is Glenn Cullen.

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- And this is Mary, our focus group star.

- (Hugh) Great to meet you.

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(Mary) Thank you. I keep getting asked back.

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Well, you are one ofthe most articulate

ofour focus groupees.

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That's... Yeah...

Not groupie, groupees with two Es.

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- Yes.

- You're very kind, thanks.

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(Olly) All right, listen, just to push on...

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I was thinking that ifI am representative

ofthe public at large

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- you're gonna listen to what I say...

- You're every woman.

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- ''It's all in me.''

- (Olly chuckles) Something like that.

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- It's, er, it's a song, Hugh.

- Yeah, I know.

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- So, Mary, the policy we were talking about...

- Great policy.

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- Thank you.

- Yeah, really good, well done.

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- We were wondering...

- I was thinking about it afterwards.

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And ifthose extra classes, you know,

the drama and the music and the art classes,

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ifthey have them after school

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it saves the potentially naughty children

from missing out on the core curriculum.

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- That's important.

- (Olly) That's a good angle.

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And also it would be, I think,

a really welcome breathing space

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for some ofthe single parents, like me.

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(Hugh) Yes.

(Olly) Excellent.

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I thought ofa name for it.

I thought you could call it Play For Tomorrow.

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(Olly) Play For Tomorrow. Yeah, excellent.

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Thank you so much for coming in,

and good luck with the single mother thing.

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- Thank you.

- (Olly) I'll be right... Erm...

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I'll see you in a bit, Glenn.

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- And you're against it?

- It'll die on its arse.

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''My Grandma was mugged by some

ferret-faced teenager with a neck tattoo.

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''What are you gonna do about it?''

''Teach him the bassoon.''

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It is, as my dear old mother would have said,

double wank and shit chips.

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But you think it's got legs, Hugh?

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- Several.

- How did it play with the focus groups?

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- She loves it.

- Sorry?

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(Olly) They absolutely love it.

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You've got 94% approve/strongly approve

rating. That's enormous.

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- Why did you say ''she''?

- I don't know.

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- You can call boats she.

- 94%. It's all there, black and white.

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It's difficult to argue with that, Glenn, whatever

your foul-mouthed mother might have said.

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Yes, I can feel a stiffy in the post.

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00:12:01,960 --> 00:12:04,960

- My guts still say no.

- Substantial as they are, they're outvoted.

226

00:12:05,840 --> 00:12:08,840

- I'll talk to Tom about green-lighting this.

- So that's a go, Terri.

227

00:12:10,120 --> 00:12:13,120

Just, erm, put the smell out,

see ifanybody...gags on it.

228

00:12:14,320 --> 00:12:16,439

Just...just float it.

229

00:12:16,440 --> 00:12:18,879

- OK, er...

- Problem?

230

00:12:18,880 --> 00:12:21,880

Can we please try and...

231

00:12:22,280 --> 00:12:24,479

stop making policy on the hoof?

232

00:12:24,480 --> 00:12:27,480

We've been on the hoof

and we have been too hoofy.

233

00:12:28,000 --> 00:12:31,000

- Have we?

- Ifthere could just be some sitting down.

234

00:12:31,160 --> 00:12:34,160

- Yeah.

- Just, you know, sitting down.

235

00:12:35,400 --> 00:12:37,599

- That's all I'm saying.

- Yeah.

236

00:12:37,600 --> 00:12:39,959

We've got the chairs, we should use them.

237

00:12:39,960 --> 00:12:42,719

- I think so. That was it.

- OK. Is that it?

238

00:12:42,720 --> 00:12:45,720

- That's the problem. No more.

- Problem solved. Good point.

239

00:12:46,600 --> 00:12:48,759

- I'll go and float.

- OK.

240

00:12:48,760 --> 00:12:50,799

- Face up?

- Ifyou like, yep.

241

00:12:50,800 --> 00:12:53,359

(Malcolm) See you, Terri.

242

00:12:53,360 --> 00:12:56,360

Malcolm, I know you were keen

on Terri's appointment but...

243

00:12:57,000 --> 00:12:58,879

- She's shit.

- I wouldn't go that far.

244

00:12:58,880 --> 00:13:01,880

She's a box-ticker, Hugh.

She can't think outside the box.

245

00:13:02,720 --> 00:13:05,720

She's built a box inside the actual box

and she's doing her thinking inside that box.

246

00:13:07,880 --> 00:13:10,119

- Exactly. I like that.

- Sorry, I'm so tired.

247

00:13:10,120 --> 00:13:13,120

- No, that's good.

- I have so much stuffto read and think about.

248

00:13:14,800 --> 00:13:17,800

- You seem to get through it all right.

- Yeah, I find the time, somewhere.

249

00:13:21,320 --> 00:13:24,119

Do you get lonely?

250

00:13:24,120 --> 00:13:27,120

- No.

- No. Neither do I.

251

00:13:27,360 --> 00:13:30,360

- So did you watch the Zeitgeist tape?

- Some ofit, yeah.

252

00:13:30,800 --> 00:13:33,599

So you know your EastEnders?

Little Mo, Big Mo?

253

00:13:33,600 --> 00:13:36,439

- (Imitates EastEnders drums, gets it wrong)

- What?

254

00:13:36,440 --> 00:13:39,399

- I haven't watched it, no.

- What the fuck are you playing at?

255

00:13:39,400 --> 00:13:42,400

Are you playing at being a minister

or are you a real-life fucking minister?

256

00:13:43,600 --> 00:13:45,799

I am a real-life minister.

257

00:13:45,800 --> 00:13:48,399

- I've never seen headlines like it.

- In what way?

258

00:13:48,400 --> 00:13:51,400

- It's all gone to shite.

- Oh, the papers didn't like the policy?

259

00:13:52,000 --> 00:13:55,000

They fucking loathe it.

Are you getting all this, Hugh?

260

00:13:55,400 --> 00:13:57,759

Yes, you're very clear.

261

00:13:57,760 --> 00:14:00,760

- (Terri) Do they all hate it? The Times?

- Especially the Times.

262

00:14:01,480 --> 00:14:04,480

(Hugh) But the first editions

haven't gone to bed yet.

263

00:14:04,880 --> 00:14:07,199

- How do you know.?

- Because I'm connected.

264

00:14:07,200 --> 00:14:10,159

I'm plugged into the matrix.

I am the fucking matrix.

265

00:14:10,160 --> 00:14:13,160

- What...what... Sorry.?

- Have you not watched that tape?

266

00:14:13,800 --> 00:14:16,639

I'm taking it home now to watch it there.

267

00:14:16,640 --> 00:14:19,640

We'vejust bought a new vdeo player

off the back ofAlicia's obsession with Pingu.

268

00:14:21,000 --> 00:14:23,319

- OK, pay attention.

- I've heard of Pingu.

269

00:14:23,320 --> 00:14:26,320

This arts policy is dead, OK? As ofnow.

270

00:14:27,000 --> 00:14:30,000

Get a press release together

and bung it in the oven. Fuck off, the lot ofyou.

271

00:14:31,200 --> 00:14:33,239

And, Hugh, watch that tape.

272

00:14:33,240 --> 00:14:36,240

I was in the Blackwall Tunnel,

can you repeat all that.?

273

00:14:36,680 --> 00:14:39,680

These focus groups, they're absolutely useless.

274

00:14:39,880 --> 00:14:42,880

Oh, it's useless to ask people what they think,

is it? Before we formulate policy?

275

00:14:45,360 --> 00:14:48,360

Look, people either don't know what they think

276

00:14:48,640 --> 00:14:51,640

or they think you should bring back

hanging for traffic wardens.

277

00:14:52,160 --> 00:14:55,160

Or they just think

what every right-minded person would think.

278

00:14:55,880 --> 00:14:58,880

Oh, yeah, ''I'm GeoffAverage,

and I think the same as everybody else

279

00:14:59,800 --> 00:15:02,679

''cos I'm a normal bloke

and everybody thinks like me

280

00:15:02,680 --> 00:15:05,680

''cos I work in IT, and every weekend

I pop a few pills and do a bit ofDJing,

281

00:15:07,000 --> 00:15:09,999

''spare cash cos I'm a single mum,

and I'm in the National Trust,

282

00:15:10,000 --> 00:15:12,599

''I enjoy sports on TV, anything with Colin

Firth.

283

00:15:12,600 --> 00:15:15,600

''I enjoy domestic violence

and sun-dried fucking...karaoke.''

284

00:15:16,240 --> 00:15:19,119

Not everybody is the same, Glenn.

285

00:15:19,120 --> 00:15:22,120

People can surprise you.

286

00:15:22,400 --> 00:15:25,239

Was that good-natured joshing?

287

00:15:25,240 --> 00:15:28,240

- (Mobile rings)

- (Sighs)

288

00:15:28,360 --> 00:15:31,360

- Tucker.

- Malcolm, er...hope I didn't wake you up.

289

00:15:31,800 --> 00:15:33,399

(Spits) Hewitt.

290

00:15:33,400 --> 00:15:36,400

Yeah, I'm doing a piece this Sunday,

a big piece on focus groups,

291

00:15:37,800 --> 00:15:40,800

it's sort ofinspired

by your latest policy disaster.

292

00:15:41,560 --> 00:15:44,560

I'm gonna be concentrating on how

your man Abbot can't do a single thing

293

00:15:45,920 --> 00:15:48,839

- without focus groups.

- I'm shaking with fear.

294

00:15:48,840 --> 00:15:51,840

- Yeah, well, that's sexual jealousy.

- You're so witty.

295

00:15:52,400 --> 00:15:54,759

Pity none ofit makes it into your columns.

296

00:15:54,760 --> 00:15:57,760

Listen, I'd love to spend the evening listening

to you but I've got better things to do.

297

00:15:59,200 --> 00:16:02,200

Fuck offback to your match reports, you twat.

298

00:16:03,360 --> 00:16:06,360

- (Mobile rings)

- Hello.

299

00:16:06,600 --> 00:16:08,959

- Hugh, it's Terri.

- Yeah, hello.

300

00:16:08,960 --> 00:16:11,559

- Sorry, I've woken you up.

- I wasn't asleep.

301

00:16:11,560 --> 00:16:14,560

I just got dropped offand I'm being picked up

again in three hours so I kept my trousers on.

302

00:16:16,840 --> 00:16:19,840

Listen, I've just heard

that Simon Hewitt's doing another piece on you

303

00:16:21,680 --> 00:16:23,839

about how you rely on focus groups.

304

00:16:23,840 --> 00:16:26,840

- Oh, cock.

- (Yawning) Look, I'll be on it in the morning

305

00:16:28,400 --> 00:16:31,400

- so don't lose any sleep over it.

- Are you taking the piss?

306

00:16:31,720 --> 00:16:34,720

- Erm, no.

- Sorry, I've got to go. I've got an egg on.

307

00:16:35,760 --> 00:16:38,039

(Yawning) See you in the morning.

308

00:16:38,040 --> 00:16:41,040

- Bye-bye.

- Night, Hugh. Bye.

309

00:16:41,600 --> 00:16:43,719

Bitch.

310

00:16:43,720 --> 00:16:46,079

How fucked am I?

311

00:16:46,080 --> 00:16:49,080

Well, you look awful.

You quite often look bad, but...

312

00:16:49,360 --> 00:16:52,360

In terms ofnegative publicity.

On the fuckometer, where am I?

313

00:16:53,400 --> 00:16:55,999

- Oh, 12.

- (Olly) Yeah.

314

00:16:56,000 --> 00:16:57,679

- 12, say.

- Out ofwhat?

315

00:16:57,680 --> 00:17:00,680

- Er...50.

- Oh.

316

00:17:01,080 --> 00:17:03,719

Mine was out often.

317

00:17:03,720 --> 00:17:06,720

Right, so I'm...24% fucked according to you

318

00:17:06,960 --> 00:17:09,119

but according to you I'm 120% fucked.

319

00:17:09,120 --> 00:17:11,159

(Olly) Erm, yeah. I didn't...

320

00:17:11,160 --> 00:17:14,160

- Terri, have you got anything?

- I can't ask them to drop the piece,

321

00:17:14,600 --> 00:17:17,600

- it would make us look pathetic.

- I don't mean to come across all Mr Gradgrind

322

00:17:18,720 --> 00:17:21,399

but this is your job, sorting out the press.

323

00:17:21,400 --> 00:17:24,400

This is Malcolm's problem, anyway,

it's him that spun that...

324

00:17:25,240 --> 00:17:27,319

All right, this is what we're gonna do.

325

00:17:27,320 --> 00:17:30,320

I'm bringing forward Hugh's interview

with Heaney to this afternoon.

326

00:17:30,600 --> 00:17:33,600

- (Glenn) Morning, Malcolm.

- It goes out tomorrow morning.

327

00:17:33,760 --> 00:17:36,760

That way we can get our side ofthe story across

and piss all over Simon Hewitt's cornflakes,

328

00:17:38,880 --> 00:17:40,959

sadly only metaphorically. Yeah?

329

00:17:40,960 --> 00:17:43,960

Right, OK. Olly, call Heaney. Terri, get on

to her editor. Glenn, book her room.

330

00:17:45,680 --> 00:17:48,680

Bodie, Doyle, you go round the back.

331

00:17:49,400 --> 00:17:51,719

At times ofstress, I make jokes!

332

00:17:51,720 --> 00:17:53,759

(Hugh) Right. Erm...

333

00:17:53,760 --> 00:17:55,719

What do I do?

334

00:17:55,720 --> 00:17:58,720

Sit down at the TV with me.

You're gonna watch that Zeitgeist tape now.

335

00:18:00,120 --> 00:18:03,120

(# Theme from The Bill)

336

00:18:04,560 --> 00:18:07,319

(Woman) You don't seem to be able to understand...

337

00:18:07,320 --> 00:18:09,919

- Shit.

- I know, but people watch it.

338

00:18:09,920 --> 00:18:12,920

- This gets six million.

- Oh, shit.

339

00:18:14,440 --> 00:18:16,199

What?

340

00:18:16,200 --> 00:18:19,200

- She's an actress.

- Who?

341

00:18:19,880 --> 00:18:22,759

Mary from the focus group, she's an actress.

342

00:18:22,760 --> 00:18:24,839

Oh, relax, that doesn't matter.

343

00:18:24,840 --> 00:18:27,840

Iffocus groups are short ofnumbers

they bung in a couple ofactors.

344

00:18:29,080 --> 00:18:32,080

It doesn't matter because it's a focus group -

key word, group.

345

00:18:33,920 --> 00:18:35,959

(Man) I need to think. I'll call you.

346

00:18:35,960 --> 00:18:38,199

Ooh, I've just remembered. Erm...

347

00:18:38,200 --> 00:18:41,200

- Can you just...

- I'll pause it.

348

00:18:41,240 --> 00:18:44,240

Ifyou could pause it for a second, I'll be...

I'll be back in a sec.

349

00:18:46,920 --> 00:18:49,920

- (Whispers) Glenn, got a bit ofa problem.

- What?

350

00:18:50,400 --> 00:18:52,559

You remember Mary from the focus group?

351

00:18:52,560 --> 00:18:55,560

What, Miss Immaculate bloody Conception?

352

00:18:56,000 --> 00:18:59,000

- She's an actress.

- What do you mean?

353

00:18:59,680 --> 00:19:02,680

I mean that she's... There's no clearer way

ofsaying it - she's an actress.

354

00:19:04,120 --> 00:19:07,120

- Are you sure?

- I've just seen her in The fucking Bill.

355

00:19:07,320 --> 00:19:09,159

Oh, Jesus.

356

00:19:09,160 --> 00:19:12,160

This doesn't necessarily have to be

a total fucking disaster.

357

00:19:12,600 --> 00:19:15,600

It does. It means she's not really

a stay-at-home Middle England housewife,

358

00:19:17,800 --> 00:19:19,839

she's just playing a part.

359

00:19:19,840 --> 00:19:22,840

- So, what she said wasn't, you know...

- Yes, I do know.

360

00:19:23,520 --> 00:19:26,520

- What? Who said what? What?

- We are organising focus groups

361

00:19:27,120 --> 00:19:29,519

to listen to the opinions ofordinary people,

362

00:19:29,520 --> 00:19:31,919

except they're not ordinary people,

they're fucking actors,

363

00:19:31,920 --> 00:19:34,920

- so they're not technically people at all.

- Can I get back to you?

364

00:19:35,240 --> 00:19:38,240

Your fucking legend is a fucking actress.

365

00:19:38,640 --> 00:19:40,919

Focus group companies do it all the time.

366

00:19:40,920 --> 00:19:43,920

Ifthey can't cobble together the right

cross-section, they call a casting agency.

367

00:19:45,800 --> 00:19:48,800

Dial an opinion, is it?

Send me three liberals, two mavericks

368

00:19:49,040 --> 00:19:51,359

- and a racist. Brilliant!

- (Terri) Shh.

369

00:19:51,360 --> 00:19:54,360

(Whispering) We've based

the whole thing on her. Just her!

370

00:19:54,720 --> 00:19:57,559

Her alone! Don't you see?

Why didn't you run it past me?

371

00:19:57,560 --> 00:19:59,479

(Whispering) Shit. Shit.

372

00:19:59,480 --> 00:20:02,480

(Olly and Glenn whispering argumentatively)

373

00:20:03,040 --> 00:20:06,039

(Olly) It's not real.

(Terri) I thought I recognised her.

374

00:20:06,040 --> 00:20:08,199

She was in Midsomer Murders.

375

00:20:08,200 --> 00:20:11,200

(Olly) Why didn't you say anything?

(Terri) I thought she might've had a twin.

376

00:20:12,960 --> 00:20:15,239

(Olly) What a stupid thing to...

377

00:20:15,240 --> 00:20:18,240

(Whispered arguing continues, indistinct)

378

00:20:19,440 --> 00:20:22,039

(Shouting) Fuck! Fuck!

379

00:20:22,040 --> 00:20:24,599

(Banging and crashing)

380

00:20:24,600 --> 00:20:27,600

(Malcolm) You said ''she''.

(Hugh) Yes.

381

00:20:28,320 --> 00:20:31,320

- Come out ofthe cupboard, Hugh.

- No.

382

00:20:33,480 --> 00:20:36,480

Hugh, we have to sort this out.

383

00:20:39,440 --> 00:20:42,440

- When I asked you about the focus group...

- Yeah.

384

00:20:42,600 --> 00:20:45,600

..you said ''she'' loved it.

385

00:20:47,000 --> 00:20:50,000

We gave her a one-on-one.

386

00:20:50,520 --> 00:20:53,520

Why?

387

00:20:54,280 --> 00:20:57,280

She's Middle England.

388

00:20:57,680 --> 00:21:00,680

So, Middle England is a big fucking field

389

00:21:01,120 --> 00:21:03,159

with one woman standing in it?

390

00:21:03,160 --> 00:21:05,279

Do you think Hewitt will find out?

391

00:21:05,280 --> 00:21:08,280

Ofcourse he fucking will, she's his mole!

392

00:21:08,320 --> 00:21:11,119

That's why he's got

a piece in the paper tomorrow.

393

00:21:11,120 --> 00:21:13,719

We've got to shut this down now, right?

394

00:21:13,720 --> 00:21:16,439

I want this leaked to Angela Heaney.

395

00:21:16,440 --> 00:21:18,479

It's damage control, OK?

396

00:21:18,480 --> 00:21:21,480

We put out the story the way we want it

before Hewitt fucks us up the bugle.

397

00:21:23,000 --> 00:21:26,000

- Get onto it, now.

- Yeah... It was Olly's, erm...

398

00:21:26,160 --> 00:21:28,599

- It's not my fault.

- It was Olly's idea.

399

00:21:28,600 --> 00:21:31,600

- I went with it.

- The agency lied to us, Hugh.

400

00:21:31,760 --> 00:21:34,760

- The agency lied to me.

- I fought for going with it.

401

00:21:35,120 --> 00:21:38,120

- (Hugh) We should get her in.

- Get on to Heaney's editor.

402

00:21:38,200 --> 00:21:41,200

- I'm on to it, Malcolm.

- Talk to Angela, get her to do this.

403

00:21:41,680 --> 00:21:44,399

- Right, OK.

- Can I speak to Angela Heaney?

404

00:21:44,400 --> 00:21:47,400

- (Terri) Can I leave a message?

- Malcolm, may I just suggest...

405

00:21:47,640 --> 00:21:49,359

Shh!

406

00:21:49,360 --> 00:21:52,360

- I didn't know that she's an actress.

- Exactly. We've been lied to, abused.

407

00:21:54,240 --> 00:21:56,479

- We are the victims ofabuse.

- (Terri) Olly.

408

00:21:56,480 --> 00:21:58,519

- Shut up.

- Can you call her?

409

00:21:58,520 --> 00:22:01,520

- You are a broken vase.

- What the fuck are you talking about?

410

00:22:02,440 --> 00:22:05,440

How do I know she's an actress?

I never watch television.

411

00:22:05,480 --> 00:22:08,199

That's why you gave me the stupid tape. (Sighs)

412

00:22:08,200 --> 00:22:11,200

We're gonna get her in, talk to her,

she'll meet us, we'll...

413

00:22:11,680 --> 00:22:14,119

I will talk to her because I'm good with people.

414

00:22:14,120 --> 00:22:17,120

She can help us, she'll see our point ofview,

we'll be fine.

415

00:22:17,640 --> 00:22:19,919

I hope so, I hope that's what happens.

416

00:22:19,920 --> 00:22:22,879

- Or we kill her.

- It will...

417

00:22:22,880 --> 00:22:25,880

(Malcolm) Make him look presentable.

(Olly) I've got a big story.

418

00:22:26,480 --> 00:22:29,480

- Comb his hair, change his tie and his shirt.

- No, it's fine, don't worry about it.

419

00:22:31,040 --> 00:22:34,040

(Malcolm) You're looking evening television,

I want you to look afternoon.

420

00:22:34,880 --> 00:22:37,880

(Malcolm) What do you want me to wear,

a fucking Hawaiian shirt?

421

00:22:38,240 --> 00:22:41,240

- (Terri) Shall we see ifyou've got one?

- No, she can't have a car.

422

00:22:42,960 --> 00:22:45,479

Just don't fucking mother me, OK?

423

00:22:45,480 --> 00:22:48,480

I...it's...I'm not so much mothering,

it's just...wanting to help.

424

00:22:49,280 --> 00:22:52,280

Are we getting her...Mary...

Can we get her in tonight?

425

00:22:52,680 --> 00:22:55,680

- Won't that look a bit odd?

- Does anyone have her number?

426

00:22:56,200 --> 00:22:59,200

- I've got a number for the agency.

- Get on to the agency.

427

00:22:59,760 --> 00:23:02,760

(Glenn) It's all right.

(Terri) It's not, actually.

428

00:23:11,040 --> 00:23:14,039

Mary, you know Hugh. You've met Glenn

before.

429

00:23:14,040 --> 00:23:17,040

This is Malcolm Tucker,

he's our director ofcommunications.

430

00:23:17,760 --> 00:23:20,760

- (Hugh) Take a seat, Mary.

- Thanks.

431

00:23:21,080 --> 00:23:24,080

We are so grateful for you coming in

at this ungodly hour.

432

00:23:25,320 --> 00:23:28,320

- Is there...a problem?

- Yeah, there is - you flapping your trap!

433

00:23:29,320 --> 00:23:32,320

The issues is...the issue of

your being an actress.

434

00:23:33,520 --> 00:23:35,039

Right.

435

00:23:35,040 --> 00:23:38,040

- I actually prefer actor.

- I'm sorry. Sexist, sorry.

436

00:23:38,840 --> 00:23:41,599

- Slightly, yeah.

- Essentially, you know,

437

00:23:41,600 --> 00:23:44,600

what you told us, that was

fundamentally...honest, it was the truth,

438

00:23:46,560 --> 00:23:49,560

- it was honestly...genuinely what you thought.

- Yeah. Yeah. Well, yeah.

439

00:23:51,320 --> 00:23:54,320

I haven't got two children,

but apart from that it was essentially...

440

00:23:55,040 --> 00:23:58,040

- Most... Yes, ofcourse...

- (Hugh) You invented the kids?

441

00:23:58,640 --> 00:24:01,640

- I... Yeah, I was...

- You made up small children?

442

00:24:01,960 --> 00:24:04,599

- I know small children.

- That's sick.

443

00:24:04,600 --> 00:24:07,199

- Jesus Christ.

- I was just being representative.

444

00:24:07,200 --> 00:24:09,399

- You invented children.

- (Coughs)

445

00:24:09,400 --> 00:24:12,400

- Small children that don't exist.

- I was giving you what you wanted.

446

00:24:13,440 --> 00:24:16,440

So, eventually you lose track,

the lies compound themselves

447

00:24:16,720 --> 00:24:19,720

and you end up all over the place

like a crazy woman's shit.

448

00:24:19,760 --> 00:24:22,760

And that's the problem

that we're now trying to deal with.

449

00:24:23,400 --> 00:24:26,400

We've given this story to a tame journalist,

450

00:24:27,080 --> 00:24:29,519

one who's more likely to be sympathetic...

451

00:24:29,520 --> 00:24:32,520

Do you just want to think about

what is going to happen tomorrow?

452

00:24:33,480 --> 00:24:36,319

You are gonna find the press all over you...

453

00:24:36,320 --> 00:24:38,639

- In a good way?

- No, not at all.

454

00:24:38,640 --> 00:24:41,640

- You know that film Notting Hill?

- She's probably fucking in it.

455

00:24:42,120 --> 00:24:43,999

You know that bit where he opens the door

456

00:24:44,000 --> 00:24:47,000

and there's millions ofjournalists

and photographers

457

00:24:47,240 --> 00:24:49,519

and all flashbulbs are going off?

458

00:24:49,520 --> 00:24:51,599

In about four hours, that's gonna be you.

459

00:24:51,600 --> 00:24:54,600

They're gonna be all over you

like fucking cockroaches.

460

00:24:56,160 --> 00:24:59,160

- It's OK.

- No, no, no, no, no, it's not OK.

461

00:24:59,720 --> 00:25:02,239

It's not gonna be OK, and I'll tell you why.

462

00:25:02,240 --> 00:25:04,159

Because you're fair game.

463

00:25:04,160 --> 00:25:06,439

So I hope your knickers are clean.

464

00:25:06,440 --> 00:25:09,440

Because every seat-sniffing little shitbag

that's ever filed a by-line

465

00:25:09,960 --> 00:25:11,999

is gonna be questioning you.

466

00:25:12,000 --> 00:25:15,000

Cos now it's in the fucking public interest,

isn't it?

467

00:25:15,480 --> 00:25:18,480

And they're gonna hit you

with any shit they can find

468

00:25:18,560 --> 00:25:21,560

and you're gonna be spread out there

in front ofthem like a trollop in the stocks!

469

00:25:23,040 --> 00:25:26,040

- (Olly) We-we've done...

- I still don't understand what's going on.

470

00:25:26,920 --> 00:25:29,920

- We can hold those dogs back.

- (Mary) What do you mean?

471

00:25:30,400 --> 00:25:33,400

- We can get you a nice journalist.

- Yes, exactly.

472

00:25:33,800 --> 00:25:36,800

We can get you to a nice, young journalist,

Angela Heaney,

473

00:25:37,600 --> 00:25:40,600

and maybe you... I don't know what he made

you sign, but whatever it was, it was bullshit.

474

00:25:43,400 --> 00:25:46,400

Maybe ifyou just say that you were misquoted

475

00:25:47,000 --> 00:25:49,479

and also that Simon Hewitt's a prick.

476

00:25:49,480 --> 00:25:51,479

- Ifyou just said that...

- Who?

477

00:25:51,480 --> 00:25:54,480

- The journalist that you told your story to.

- I...I didn't...I didn't talk to any journalist.

478

00:25:56,400 --> 00:25:59,359

- No, no, no.

- You spoke to Simon Hewitt.

479

00:25:59,360 --> 00:26:01,879

- No, I...

- You fucking spoke to Simon Hewitt,

480

00:26:01,880 --> 00:26:04,880

he's a fat guy with a tiny dick

the size ofa bookie's biro.

481

00:26:05,200 --> 00:26:08,200

- You fucking spoke to him.

- I'd like to go now.

482

00:26:08,520 --> 00:26:10,439

(All shouting)

483

00:26:10,440 --> 00:26:12,999

- (Glenn) Shh-shh!

- You didn't speak to him.

484

00:26:13,000 --> 00:26:16,000

- She didn't fucking speak to him.

- I don't know anyone called...Simon...

485

00:26:18,160 --> 00:26:20,199

- whatever the fuck.

- Hewitt.

486

00:26:20,200 --> 00:26:22,239

- Hewitt, yeah.

- (Malcolm yells)

487

00:26:22,240 --> 00:26:24,519

- She doesn't even know.

- (Malcolm yells)

488

00:26:24,520 --> 00:26:26,999

(Glenn) Fuck's sake.

(Mary) What's the matter with him?

489

00:26:27,000 --> 00:26:29,839

(Glenn) Olly.

(Hugh) Sorry ifI upset you.

490

00:26:29,840 --> 00:26:32,840

Sorry, darling, sorry. Crossed lines, darling.

Sorry about that.

491

00:26:33,800 --> 00:26:36,800

- (Mary) Will you leave me alone?

- Ifyou need a car, I'll get whatever you need.

492

00:26:37,880 --> 00:26:39,799

For fuck's sake!

493

00:26:39,800 --> 00:26:42,800

- She didn't even know.

- (Malcolm) Fuck him!

494

00:26:43,960 --> 00:26:46,479

That didn't really work, did it?

495

00:26:46,480 --> 00:26:49,480

- (Glenn) Is it too late...

- Can I get this straight for my own sanity?

496

00:26:50,040 --> 00:26:52,839

Ifwe get on the phone,

can we pull the front page?

497

00:26:52,840 --> 00:26:55,840

- No. It's too late.

- Heaney's piece is gonna go ahead anyway?

498

00:26:56,880 --> 00:26:59,880

Ofcourse it fucking is. I'm good

but I can't fucking hold back the tide, can I?

499

00:27:02,440 --> 00:27:04,919

All right, that's it. I'm going to bed.

500

00:27:04,920 --> 00:27:07,920

- Kind ofironic, really...

- You're fucking on your own!

501

00:27:08,480 --> 00:27:11,480

..because she hasn't actually spoken to Hewitt,

502

00:27:12,160 --> 00:27:14,439

er...and we've...

503

00:27:14,440 --> 00:27:17,039

ofour own volition, voluntarily...

504

00:27:17,040 --> 00:27:20,040

released the story to the press...

505

00:27:20,680 --> 00:27:22,079

unnecessarily.

506

00:27:22,080 --> 00:27:23,919

Erm...

507

00:27:23,920 --> 00:27:25,879

Damn.

508

00:27:25,880 --> 00:27:28,880

- (Mary) Who was that evil Scottish guy?

- He's the director ofcommunications.

509

00:27:29,520 --> 00:27:31,719

He was ordering me what to say to the papers.

510

00:27:31,720 --> 00:27:34,720

- No, no, no, he wasn't ordering you.

- That's quite a big story,

511

00:27:35,000 --> 00:27:38,000

dragging me out ofbed and telling me...

I think some papers might be interested in that.

512

00:27:39,320 --> 00:27:42,320

No, look... The department has

a lot ofinitiatives coming up...

513

00:27:43,240 --> 00:27:45,279

- Right. Right. Has it really?

- Yeah.

514

00:27:45,280 --> 00:27:48,280

And we're going to need the face

ofurban renewal for the...thing,

515

00:27:49,280 --> 00:27:52,280

a whole campaign, there's gonna be stationery,

pens... Face probably won't fit on...

516

00:27:54,880 --> 00:27:57,880

- We've got all that coming up.

- You are trying to bribe me...

517

00:27:58,560 --> 00:28:00,959

with a stationery photo shoot?

518

00:28:00,960 --> 00:28:03,519

Er, no, erm...

519

00:28:03,520 --> 00:28:06,479

None ofthis is happening. No, not bribe, no.

520

00:28:06,480 --> 00:28:09,480

(Olly) That was just small talk. You understand

that, right? I was just chatting. Small chat.

521

00:28:12,200 --> 00:28:15,200

Can you wake me in a couple ofhours?

522

00:28:15,520 --> 00:28:18,520

There's no time to go home,

I'll pass myselfcoming back in.

523

00:28:20,200 --> 00:28:21,639

(Hugh sighs)

524

00:28:21,640 --> 00:28:24,640

I'll ring Catherine and say you won't be home.

525

00:28:25,040 --> 00:28:27,079

Hi.

526

00:28:27,080 --> 00:28:29,119

How did you get on?

527

00:28:29,120 --> 00:28:31,559

Happiness?

528

00:28:31,560 --> 00:28:34,560

Go away, Terri.

529

00:28:34,840 --> 00:28:37,840

I'll clear up a few biscuits whilst I'm at it.

530

00:28:38,120 --> 00:28:41,120

(Glenn) Kate, just leaving a message for you -

I know you're asleep by now -

531

00:28:42,160 --> 00:28:45,160

from Hugh. Love to the kids,

see Alicia in the morning

532

00:28:46,440 --> 00:28:48,799

and, erm...big kiss

533

00:28:48,800 --> 00:28:51,799

and sorry about the bedtime story.

-------------------------------------------------------------------

2010-06-25T09:01:00.001-07:00

On body and soul

Ahirette ve dünyada

Sorular buralardan çıkacak

Boşalma sırasında bünyede olup biten (Füze kalkanı)

Bir Woody Allen filmine harcadığım zaman için hayatımda ilk kez pişman olmak üzereydim ki, ekranda son episotun başlığı belirdi: "What happens during ejaculation?"

Göğüs estetiğinde deneysel bir yaklaşım veyahut müteveffa porno yıldızı için "nasıl bilirdiniz" merasimi (Büst)

Kedi maması, mucizesini "Easy Slider" Viveca St. John'ın (Veronica Hart) ölü bedeni üstünde gösteriyor. Onun cenaze merasimi dolayısıyla Six Feet Under'ın 1. sezon 5. bölümününe sektörün seçkinleri konuk oluyor.

Yapışık ikizlerin aşk hayatı (Çoğulcu ilke)

1932 yapımı, kenarda köşede kalmış bir cevher. Tod Browning imzalı "Freaks" filminden tadımlık bir kuple.

18. yy.'da Londra'da sokak lambaları nasıl çalışıyordu? (Yak)

İzleyin, bilenlerden olun. Watson'ın zekasını sömüren Holmes versiyonunun nasıl enfes hikayelere kapı araladığını görmek için ise Thom Eberhardt'ın 1988 yapımı "Without a clue"sundan daha uzun bölümler izlemek lazım. Mesela tamamını...

Domuz besiciliğinde kadavradan organ naklinin yeri ve önemi (Nemesis)

Acemi katiller için Tuğla Kafa'dan cesedi ortadan kaldırmakla ilgili paha biçilmez tavsiyeler. Snatch (2000)'den Guy Ritchie işi diyaloglara kulak kabartın.

Genelevde bir papa (Münasebep)

Meşhur olmak mı istiyorsunuz? Şeytanla pazarlık etmeden önce bir kere daha düşünün. Woody Allen'den 1977 yapımı "Annie Hall".

Kurşun kalemle insan beyni arasındaki unutma yarışı (Muhafıza)

Hafızayı sorumluluklarından kurtarmak için insan önce yazıyı uydurdu. Yazıya, biriktirdiği hatıralar nasıl unutturuluyor peki? Bakın işte şöyle:

Böyle gider daha bu

Night and the city

2010-06-21T01:21:00.000-07:00

Gölgerengi hayatlar
Final

The Merchant of Venice

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Parça
Pinçik

Snatch (2000)

2010-05-06T12:10:00.001-07:00

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Müziklerine kulak kabartın

A Zed And Two Noughts

2010-05-06T12:10:00.000-07:00

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Videodrome (1983)

2010-05-05T10:06:00.004-07:00

"Television is reality and reality is less than television."

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Organik ve araçsal

2010-05-05T10:06:00.003-07:00

Film, video görüntüsünün yaydığı dalgalar yoluyla maruz kalanlara geçirilen ve bedende tümöre benzer organik teşekküllere yol açan bir güdüleme mekanizması tasavvuru üzerine kurulu. Mekanizma, televizyon görüntülerinin izleyicilerin dolaysız ve saf görsel tecrübeleri olduğu ve biriktirilebileceği keşfinden yola çıkılarak geliştirilmiş. Bundan sonra, insanların kitleler halinde güdülenebilmesi için iki önemli şeye ihtiyaç duyuluyor. Birincisi gelişkin (ya da sonuna ulaştırılmış) görsel deneyimle elde edilecek video kasetlere, ki bu kasetler organ nakli gibi bedenlere aktarılabiliyor; ikincisi de bu görüntülerin yayınlanmasında kullanılacak bir televizyon istasyonuna.

Prof. Brian O'Blivion, bu tecrübenin sonuna kadar giden ilk kişi. Tümörünün farkına vardığında bunun başkaları tarafından kullanılmasını engellemeyi düşünüyor ve öldürülüyor. Tümör muhtemelen kristalleşmiş görsel tecrübe ya da video kasetleştirilebilen halüsinasyon. Ama ermiş uçmuş aşmış bir halüsinasyon görücü olarak onun için bedenin ölümü de anlam değiştiriyor. İmajlar halinde yaşanan bir başka hayatın mümkün olduğunu keşfeden O'Blivion, bu sayede ölümünün üzerinden yirmi yıl geçtikten sonra bile televizyon programlarına katılıp soruları cevaplandırabiliyor.

Gelelim asıl adamımız, Max'e... Silahı ellerine geçirmiş olanlar için uygun bir denek oluşu, her şeyden önce porno film yayını yapan bir televizyon kanalının üç ortağından biri olmasından kaynaklanıyor. Kanal ele geçirilecek ve Videodrome yayını için kullanılacak.

Denek olmak için Max'i elverişli yapan bir başka neden de sanırım ki, izleyicilerini ekran başında tutmaya çalışan sorumlu bir porno kanalı patronu olarak eldeki ürünlerden duyduğu tatminsizlik. Max, daha daha dolaysız bir algı nesnesi, pornografi içinde şiddet arıyor. Aslında bu arayış onun seçilmesindeki bir etken değil ama yakalanıp ele geçirilmesinde çok işe yaradığı kesin.

Neyse; şunu biliyoruz: Max de Videodrome'un kötücül ellere geçmeden önceki haline, yani O'Blivion'un gösterdiği gibi ölümü aşan bir tecrübe olabileceğine ikna oluyor ve bedenini onun organik bir parçası halindeki silahla vurup ortadan kaldırarak, hem kötücül taleplere amade bir aracı ve aynı zamanda Videodrome'un son kalesini çökertmiş oluyor, hem de bu yolla öteki tarafa, O'Blivion'un evrenine atlamayı umuyor.

Başarıyor mu? Bunu bilemiyoruz. Ekran kararıyor, pek bir şey görünmüyor. Ardından da yazılar giriyor zaten...

Yıllar önce izlediğimde bu filmden çok etkilenmiştim. Cronenberg her zaman favori yönetmenlerim arasında yer alır. Bence iyi bir "anlatıcı". Ama bu kez izlediğimde, evet, vajina gibi açılan yarıklara kasetlerin girip çıkması, pırtlayarak köpüren bedenler, "içerde neler oluyor" merakımıza birer armağan gibi. Bütün bunlara rağmen filmin gücü görsel dille kurulandan değil, daha çok sözlerle iletilen tezden geliyor. Ya da şöyle diyelim: tez, yeterince görselleşmiyor. Neyin halüsinasyon, neyin reel olduğunu kaybedip şaşırmaktan zaman zaman hoşlandık. O kadar. Prof O'Blivion'un karıncalı bir ekrandan konuşurken söylediği şu sözler, bütün öteki görsel efektlerden daha fazla aklımda kaldı:

"The television screen is the retina of the mind's eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, televizison is reality and reality is less than television."

Belki olayların başından sonuna kadar bütün gelişmeleri, Max Reen'in hezeyanlarından, paranoyalarından ve halüsinasyonlarından ibaretti ve biz bu "öylelikler dünyası"nda olan bitene rasyonel anlamlar yüklemek için debelenip durduk. Sanırım filmin çekildiği yılları (1983), dijital efektler vesaire konularında da dezavantajlı bir dönem saymak gerekir.

Peki, daha iyisini daha ucuza satan başka bir bakkal dükkanı var da ben pazarlıkta fiyatı mı düşürmeye çalışıyorum? Başka bi'dolu aynı malın arasından seçilebilecek bir tanesi değilse, biricikse, eşi menendi yoksa eğer, benim cüretimin, dağa bakıp, "tepeler olmamış, biraz sivriltmek lazım" demekten farkı ne?

Öyle değil mi?

İleri geri konuşurken biraz dikkatli olmak lazım.

Pekiiiii...

Gerçekten kötü bi' filme nasıl kötü diyeceğiz o vakit?

Kandırılmış hissedip etmemek galiba buradaki kriter. Size ne vaadedildi, siz ne aldınız? Ona bakarak haklı konuşmalar yapılabilir. Cronenberg Videodrome'da bize vaadettiğini veriyor. Ukalalık etmeyelim.

2010-05-05T10:06:00.002-07:00

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