Transcripts - Forever Dreaming

- Yes.

-Gently.

Tilt it slowly.

-Little.

Take the frame.

Same direction?

Yes.

Ease it.

Not too much.

Little.

Yes.

-It's not working.

We need to do it again.

A bit smaller, poppet.

-Okay.

-Maybe...

Maybe I can help you come up

with some ideas.

-Sit.

So, tell me about your idea.

-Well, uh...

-Yeah, because you work

with your dad,

working for dad.

-Yeah. I want to finish my home.

-Yeah, we haven't worked

on it for 10 years.

-Yeah, I'm always developing,

and I'm trying anything,

ya know.

-Yeah.

-But I do get paid

to produce music.

Hey. She emerges

from her cave.

-Ella, look at you.

So, this is one

that we did last year.

The client was a b*tch.

-Is this new stuff?

-Uh, well, this one's new,

and this one's new.

-Oh, wow, it's really good.

-Oh. Thanks, babe.

-You want a drink?

-Um. I'm okay. Thanks.

What are you...?

What are you doing?

-I need to go.

Playtime is over.

-Come on. I need to get back

before she wakes up.

I feel so used right now.

No, no, no.

-No, stay.

-Get off me.

I've got work to do.

-No, you haven't.

-When you think you'll finish

this film of yours?

-It's not my film.

It's my mom's.

-She's a legend. That's true.

-Her hands are getting worse.

I promised I'd help her

finish this last film.

So, she's the brains,

and I'm the hands.

That's the way it is.

-You don't want to make

your own films?

Find your own voice, ya know?

-I don't have my own voice.

- Poppet!

Poppet!

Wake up, poppet!

Time to work.

Are you tired, poppet?

Are you a little bit grumpy

this morning?

-No, I'm fine.

-All I want is

to finish this film...

before I die.

Is it such a burden?

Left 2 millimeters.

-What?

-Head left 2 millimeters.

Head left 2 millimeters!

Take the frame.

Left, half a millimeter.

What is wrong with you?

Half a millimet...

millimeter.

Leave it.

Back to where you were.

Put your hands on the puppet.

Leave it there.

Don't you dare move!

Don't move a muscle.

Don't blink.

Don't you dare...

move!

Don't move a muscle!

-Mom.

Mum.

Mom.

Don't move.

Mom.

- Well, she's not

responding to any stimuli.

We'll take her to ICU,

and have her for a CT scan.

She's in a coma.

Has she had

a stroke in the past?

Ella, has your

mother had a stroke in the past?

-She has arthritis

in her hands, and, uh...

She doesn't look real.

-Ella.

Look, you can stay here

as long as you like. Okay?

You shouldn't go back

to that place.

Ella.

Ella, you okay?

-I need to finish it.

-This is it.

Most people have moved out now.

We're gutting the place, so it's

going to be empty for a while.

They're all the same.

-Sh.

Can I see this one?

-I mean, it's

a pretty good studio.

I'd only hope for you

to use this as a space.

You can come back

to mine at night.

-Tom.

-All right. Well.

I'll stay with you, then.

-You'll distract me.

-No, I won't.

-I have to work.

I'm not stopping you.

-All right.

Uh, so,

I'll see you later, then?

Bring you some dinner.

I'm looking after you now.

Good luck with the film.

Excuse me.

Hear the echo

Hear the echo

Come play with me,

come play with me

-Hear the echo,

hear the echo

Wait!

-What's all that stuff?

-I'm making a film.

-Is it a cartoon?

-It's called

stop-motion animation.

-Can I see?

-Hey, hey, hey, hey!

That's not a toy.

It's okay. It's just.

It's delicate.

Look, I'll show you

how it works.

So, here's Mrs. Cyclops,

and inside her is an armature.

-An arm chair?

-Armature.

It's -- It's like her skeleton.

- Armature.

- Here.

-Say, that's inside that.

-See, I move her

a tiny bit like this.

And then, I take a picture

with this camera here.

Click.

I'll move her again.

Click, and again, click.

-And when you play

it all back,

it looks like she's moving.

-That's right.

-Yeah, that's a cartoon.

It must take ages.

-It does.

-Why bother?

-Well, because I like it,

and I'm good at it.

And...

And it feels like you're

bringing something to life.

It's about a Cyclops.

She traded one eye with the gods

to see her destiny.

But she saw her own death.

What do you think?

-Hm?

Well?

It's a bit boring.

-It's not finished,

and it's not boring.

Well, how do you think

I could make it better?

-I'm serious.

How would you do it?

-Make a new one.

-A new one?

-Yeah.

I know a better story.

You want to hear it?

-Go on then.

-There's a girl in the woods,

and she's scared.

-Why is she scared?

-Because she's lost.

-And what's so scary

about that?

-There's someone coming.

-Who's coming?

-What's that stuff?

-Uh, it's called

Mortician's Wax.

They use it to fix up the faces

of dead bodies for, like,

when the families want to see.

-You should definitely

make a girl from this.

-Yeah, right.

-Like, definitely.

-Look, I've got

to get on now, so...

-What else do you got here?

-It's been really nice

to meet you.

-How long are you

going to be here?

-I don't know.

-Someone's been busy.

Ella.

Give me your hand.

We'll go back to mine.

You need a break.

You'll feel

better after some food.

-I'm not hungry.

-Look at that. Huh?

There's someone coming.

-Hi.

Are you looking for, Tom?

He's not here.

-I came to see you, actually.

Tom told me about your mom.

I just...

I wanted to see

if you were okay.

Hm?

-I'm okay. Thank you.

-So...

What are you doing in there?

-Um, just a project.

-Oh, yeah?

-Uh, do you wanna come in?

-Oh.

Okay. Yeah.

What are you on?

-I'm not on anything.

-No?

Get my best ideas

when I'm tripping my tits off.

You know what? This might be

good for something we're doing.

You should come in for a chat.

-The adverts?

Mm, mm, mm, mm, mm

-Bye.

-Hm, hm, hm, hm

You're making my film?

-Well, really, it's my film.

-What do I press?

-Hang on. Settle down.

I'll press it.

-You don't like it?

Well, what's wrong with it?

-She doesn't look real.

-She's not supposed

to look real.

You told me to use the wax.

What are you looking for?

-See?

-See what?

-Make a new girl out of this.

Just imagine.

-It's raw meat. Dead meat.

-Yeah, but you

bring it to life.

-Well, it's too late anyway.

I've already started

with the other one.

-No, the next bit.

-Well, then it won't be

the same as the first bit.

-So what? Maybe she's

growing up or something.

Go on. Please.

I'll tell you what happens next.

Please!

Armature, armature,

armature

Armature, armature, armature

So, the guy runs away

through the woods.

She finds a house,

and she hides in it.

-And who's coming for her?

Maybe a wolf, like a "Red

Riding Hood" type thing.

-It's a man.

-What man?

-A man no one wants to meet.

He comes on three nights.

-What does he want?

-Hey, that's much better.

See.

You can use our skin.

See?

Looks better from down here.

-Like that?

-Yeah.

-What should we call this guy?

-Hm.

Ashes to ashes.

-The Ash Man.

-The man no one wants to meet.

-What are you doing?

- This new...the album.

How's your film going?

-It's going well.

Actually, um.

There was something.

No, I was --

I was wondering if...

Would it be okay if you don't

tell your sister what I'm doing?

She visited today.

Thanks.

Yeah. No, um, we could have

lunch tomorrow, if you like.

-Can't, I'm working.

See you at the party?

Flat 28. Ground floor.

-Mm-hm.

-He will come...

on three nights.

-What are you doing?

Why are you up?

Come on, I found something.

-Come on.

-Slow down.

-If you're going to make

The Ash Man,

you need to do it properly.

-I've already made The Ash Man.

-No, he needs to be made

out of something dead.

We could make an arm trowel

with the bones,

wrap them in skin, and give them

teeth and a tongue.

-Okay. I think we need

to go back now.

-Oh. Come on.

-No.

-Yes.

-Look, using a bit

of leftover meat is one thing.

This is something else.

-Well, I won't tell you

the next bit of the story, then.

-This is my film.

-Is it?

What happens next?

What happens

on that first night?

Do it without me, then.

-So, it's the first night,

and The Ash Man

comes and knocks.

And then...

And then...

I came to say, I'm sorry.

I couldn't finish your film.

I started my own.

Except it wasn't mine, was it?

Just someone else's.

Again?

I just don't have it in me,

do I?

Without someone telling me

what to do.

-Hey. You came.

-Where's your sister?

-Uh, she is...

-Hey. Hey!

-Hey, how are you?

I was just talking about you.

When are you going to come in

for that chat?

-You know what you said

about getting

your best ideas.

You know, um,

"Tripping your tits off."

-Yeah.

-Have you got some?

-Are you sure?

-Hey. All good?

I'm serious

about that job, you know.

We're pitching next week,

so how about tomorrow?

-I'd k*ll myself if I had

to work in a place like that.

-Howdy.

Hear the echo.

Come with me.

It is her.

Look for it.

Find it, Ella.

Find it.

-The Ash Man

comes on three nights.

-"The Ash Man

comes on three nights."

-On the first night...

He sees her.

-Talking to yourself is

the first sign of madness.

-Look who's talking.

-The Ash Man has to be made

out of something dead.

I see that now.

Dum-de-dum

Dum, de, dum, de, dum, mm

-Well, come on, then.

Much better.

See.

So, the girl is in the bungalow,

and The Ash Man's coming.

She tries to hide, but...

...he sees her.

- Ella.

Ella.

He saw me.

-Who saw you?

Hey, it's me.

Look...

did you take something

last night?

Snacks will probably

give you something.

-I didn't touch it.

The men from my film,

he came and looked

through the door, saw me.

-No, no, no, look,

you animated it. See?

-I want to go.

I want to go.

I want to go.

I want to go. I want to go.

-All right,

we're gonna go, okay.

-I need a shower.

-How'd you sleep?

-Good.

-What do you want?

-Um...

-You don't have to lie to me.

I know you didn't

sleep last night.

Whatever it is you think you saw

back there, it's not real.

-Yeah.

-You can have a bit of fun,

as well.

It's like me,

I don't let music rule my life.

It's all about balance.

-It's f*cking Barry Gibb

from the "Bee Gees."

-Don't you see,

it's f*cking Barry Gibb?

It's the hair.

-Sh.

- Sorry.

Thank you.

-Tomorrow, I just -- I think

you should just go out

and do something.

-Like what?

-Something normal.

It's not healthy to stay in...

Don't you want to hear

the next bit of the story?

-Leave me alone.

I've changed my mind.

I don't want to make

this film anymore.

-On the first night,

he sees her...

-Shut up.

-On the second night,

he touches her.

-Maybe, I was

too quick to leave.

-Well, hang on. There is

no way you're going back there.

-What else am I going to do?

I can't stop thinking about it.

I-I don't know

how to do anything else.

-Okay, okay, then -- then --

Then, you can come

help me at work,

and that will distract you.

-What, in some admin office

on a building site.

-Yeah. Sure. No.

I appreciate your efforts.

It's just time is money.

-Best if you don't

wander around.

Just call me

If you need something.

-Am I not working

with you?

-Here's the director.

-Stop whining.

-Brett, this is Ella Blake.

-Ah, hi.

Uh, Ella, over here.

We've got a crowd

scene tomorrow

for this toothpaste gig.

And we need a hundred eyes.

-I thought I was animating.

-Got to go

prep my pitch.

Have fun.

-No, you're not animating.

You're making eyes.

You just roll them up like that.

And don't forget they're people.

They don't need to be

exactly the same.

-Just roll them up?

-Yeah, you just roll them up.

7 mil wide. People, 3 mil.

Well, I'll be on 205, mate.

Let's move like cg, okay?

-I watched your mom's films

in uni.

The Medusa one.

Must been amazing growing up

in that environment.

Great -- Great writers.

-Always for me.

-Thank you.

-I think it really...

-Sorry.

-What is this?

-It's a mood board.

-These are pictures of my film.

-For reference.

Anyway, it's not

exactly the same.

I smartened up a bit.

Besides, I offered it to you,

and you told me to stick it.

-It's mine.

-Don't be so precious.

Anyway, I was going

to give you some money.

- What are you doing?

Hey. Stop! Stop! Stop!

Okay, okay.

Thank you, thank you.

Please, that's enough.

Ella.

-It's a wonderful medium,

isn't it?

Bringing dead things to life.

-What happens when it takes

on a life of its own?

-Are you scared?

-I'm scared at what'll happen

if I carry on?

And I'm scared of what will

happen if I don't.

-Poor, poppet.

Such a morbid imagination.

-I must take after my mum.

-Mm, the difference

is I can control it.

You can't.

-Of course, you'd think that.

Look at you now.

I'm the one living my life.

It's my turn.

You can't control anything.

You're a puppet...

caught in your own strings.

And if it isn't me pulling them,

it's somebody else.

But when the puppets are done

with their play...

...they're put back in the box.

-So, now it's the second night.

And The Ash Man comes back.

And this time, he touches her.

-No, that's not what happens.

The girl escapes,

and The Ash Man

doesn't touch her.

-That's not how it goes.

He comes three nights.

On the first night, he sees her,

and on the second night,

he touches her.

-Not anymore.

-You can't change it.

-Yes, I can, it's my film.

-Okay, then.

-On the second night,

she escapes.

-I told you.

-Keep your head still.

Follow my finger.

You were found wandering

near your building.

Do you remember how you got

that cut on your leg?

-My head still hurts.

-We're keeping you

in overnight under observation.

Rest now.

We'll talk more later.

She's got a nasty cut

on her leg,

and she's got...

-Thank you.

-If you think I did this

on purpose, the answer is no.

Ella.

Look...

I'm not saying

that you can't do your films.

Once you're better,

you can go back to making stuff.

I mean, we could

even work together.

You could do my music videos

for my album.

What's so funny?

-Nothing.

-No. Go on.

-You don't make music, Tom.

You put on a suit

and go to work.

f*ck you, Ella.

And you're what?

You're some f*cking

artistic genius animating

a steak and a dead fox.

Like, who the f*ck

wants to see that?!

Yeah, I-I thought you were

trying to work

through something,

so I was trying to help you.

I'm just not doing it anymore.

Do you know what?

I'm going to go there

right now,

and delete

the whole f*cking thing.

-Don't you dare.

-I'm going to clear the flat.

I'm going to throw it all away,

so, we can be done

with this shit.

-Wait, wait. Let me do it.

Just let me do it.

Okay. You're right.

I know this needs to stop.

I know it's bad for me.

But I started it.

I need to be the one to end it.

Please.

-No.

We'll do it together.

I'll drive you there

in the morning,

and I want you to do it.

-Thank you.

-I'm so sorry, Ella.

-Are we done here?

Hm, hm, hm, hm

Hm, hm, hm, hm,

hm, hm, hm, hm

The fox meat doesn't work.

It's all dried out now.

We need to find

something better.

-Something more bleedy.

Hm, hm, hm, hm

Hm, hm, hm

-Hey, come here a sec.

-What for?

-Come here.

I want to look at you.

-What are you doing?

-Have you got that out

of your system now?

-Hey, hey.

It's okay.

We're nearly there.

-I'm scared.

What happens on the third night?

What does The Ash Man do?

-Don't be scared.

It'll be all right.

It will be worth it.

Something only you

could have made.

Great artists always put

themselves into their work.

Hand me that.

Go!

-Oh, God.

-It's okay.

Come on, Ella.

-Let's get you out of here.

-Oh, gosh. Help me!

Stop! Stop!

-Stop!

-They're gonna ruin this.

-You're bleeding, Ella!

Tom!

Help me. Help me.

-This is even better.

-That bit.

Wow.

-Ready?

Steady.

Go.

-Isn't she going

to do anything?

-Sh. Watch.

What's he doing?

This isn't what happened.

-I love it.