Andrea Serrano is a young aspiring writer who, to make ends meet, is forced to wash corpses in a mortuary, while struggl | dG1fLVprUktCV1lsNDQ
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Short filmTranscript
00:01Oscar Martello, did you like the film about the Camorra?
00:04What Camorra? He doesn't give a fuck about the Camorra.
00:08What do you mean he doesn't give a fuck about the Camorra?
00:11Because in this film the Camorra is a symbolic fact,
00:13a great metaphor of the country.
00:15What the fuck are you talking about?
00:16In this film Andrea put all our shit.
00:19Do you understand?
00:20Very interesting.
00:21So the film is inspired by her.
00:23You don't understand.
00:24Let's see.
00:26And now you understand how we look.
00:29Stop.
00:30What the fuck are you doing?
00:31The film won't be released.
00:32What do I care?
00:33I'll lose a lot of money because I want to die for a film.
00:35Yes, you have to release the film.
00:37What are you saying, Oscar?
00:39I didn't understand then.
00:40Why didn't you understand?
00:41Don't you speak Italian well?
00:43Then I'll explain it to you better.
00:44All the murderers, all the robbers,
00:46all the shooters who are in this fucking film are shit.
00:50They are the confidences that I made over the years.
00:52We are linked by professional vicissitudes,
00:54not by the dismemberment of corpses.
00:56The real author of the film is me.
01:02And so?
01:03And so, my father, my resort,
01:05not only will you release this film,
01:08but there will be a lot of publicity
01:10because I want to become famous all over the neighborhood.
01:12Do you understand?
01:13No problem.
01:14I'll get you involved.
01:15Once you have recovered the investment,
01:16I'll give you two or three points on the cash register.
01:18It's not a cash register.
01:20I don't have cash.
01:21It's not a cash register.
01:23It's all electronic.
01:25Come on, let's go.
01:27Let's go.
01:30Come on.
01:41As you can see, there's nothing.
01:43It's a copy of the film.
01:44It's worthless.
01:45Then why are you in the locker room?
01:48Stay like that.
01:49Don't get up.
01:50Hello, Mr. Martello?
01:51I have a story to make a film with the shovel.
01:54It's a beautiful story.
01:55When we put the bricks in the concrete,
01:58we mixed them with asphalt.
02:00Mr. Martello?
02:01There's the police.
02:02Inspector Ventura.
02:03You see that our people are coming at the end.
02:05Permission.
02:06Good morning, Mr. Martello.
02:08Here I am, Inspector.
02:09I'll be right with you.
02:10So, I would say to interrupt the tests,
02:12but it seemed like a good start.
02:13I would say to work more on the dynamics of the scene
02:15because, above all, he is not very credible.
02:18We would need, as the Neapolitans say,
02:20a lot of things.
02:21Even the gun.
02:22It must be held in another way.
02:24We really need...
02:25Like they do in the movies.
02:26Come on, let's talk about it.
02:27Excuse us, Mr. Martello,
02:28if we have not lived up to your expectations.
02:31We are preparing ourselves to internalize
02:33this Neapolitan meta-language,
02:34but we do it ours,
02:35we do it intrinsically, okay?
02:37Don't worry.
02:38Let my coach come and help you.
02:39All right.
02:40For that story, we agree, right?
02:42Sure.
02:43So, we'll keep this for the tests.
02:44Absolutely.
02:46Have a good day.
02:47Congratulations.