"Here's the script." "No, don't read it right away." "Go ahead, if you feel like it." "But when you read" "No ready-made behaviour." "No more thumb in your mouth" "No feeling...or anything." "But we haven't Come to that yet." "You must know that one of the fundamentals of Hinduism ls the belief in an afterlife." "That is, in reincarnation." "The Hindus are convinced that our soul lives on entering another body lf we've been good," "We can hope to be reborn Into a decent state." "If we've led an evil life we might find ourselves reduced to frogs or flies." "You've got to be relaxed." "Don't act just be yours!" "elf." "You can cog On wringing your hands." "In this scene we see that" "Emily realizes her dog is dead, and that her mother is responsible for it." "She's going to say what she has on her mind." "It's a very important scene." "Now we can begin to read, without letting any expression come through." "What we've got to find is that mysterious union between you and the Emily in these lines." "The only way we can achieve this is if you begin with no fixed ideas." "If you come with an already existing Emily, we'll never find the true Emily." "And our job now, is to find the true Emily." "That's the aim of a film." "I owe this method to Simon." "When I worked with Michel Simon he kept talking about the Italian method" "You read a text as if you read a phone directory;" "with no expression whatsoever" "You read and read words, just words." "Gradually, they sink in." "You get the spirit, the feeling, and the meaning becomes clearer." "There's a spark, And you're off!" "You've grasped your role." "Now we can begin!" "to read." "Without any expression." ""Mother, you want me to kiss you."" "First, I have something to say to you."" "I have to stop you." "Too much expression on "he could've bit a child"" "When you thing of the child who's been bitten immediately, a picture comes to your mind." "You visualize the tragic scene." "You mustn't cause you might hot see it in the same way once you're in Emily's skin." "You might discover that she's so resentful that she doesn't feel at all sorry for the child but for Dong." "Maybe we'll find out that Emily has a strange way of showing her sorrow." "Perhaps she laughs, gets insulting, or spils." "What if she juste freezes and does nothing." "Then, let's not shut out the future by determining Emily's behaviour now." "We're simply reading to penetrate Emily, to get to know her." ""l know how he died, and I know why he died." "Of course, for the others you were right to put Dong to death."" ""He could've been mad."" ""He could've bit a..child or even me." ""l'd've died in convulsions and pain."" ""At any rate Dong had a soul an immortal soul and if he" "died in a state of sin now he might be reincarnated into a flea."" ""You'd like to think Dong is a flea?"" "I'll have to stop you here." "You can't help putting expression in." "You said "You'd like to'think" "Dong is reincarnated as a flea,"" "with a tone of reproach, because the situation calls for reproach, maybe it does, and you've already got Emily." "But to be sure We'll start over ag!" "ain." ""Mother you want me to k!" "iss you."" ""First, I have something to say to you."" "Wait, try to say it in an even more neutral tone." ""Mother, you want me to kiss you."" ""First, I have something to say to you."" "As neutral as that." "There's a tinge of sentimentality on "something"." "We shouldn't be sentimental." "We're real, or rather we're trying to be." "You have cute a cute little intonation." "Let's not be cute let's be strong." ""You want me to kiss you."" ""First, I have something to say to you."" "I have a feeling it's coming." "But to be sure" "Would you like to repeat the first few lines." "No expression." "O.K. Neutral." "No, no you're "mother" is much too sentimental." ""Mother" sharply." "Say it once more, it's coming." "Your anger is beginning to show." "That girl's got to be full of anger." "Go on now, "Mother"." "Very good." "Now that you know the lines that follow" "We're going to add expression in." "I've a feeling you'd like to get up." "From the start ?" "Look at me;" "I'm the mother." "Wait a minute that's too much like'a child who's sorry for having broken her doll." "Dong was killed, it's a horrible thing." "You have to throw it in her face." "We got up too soon." "It doesn't matter." "Now that we're up, we'll go on that way," "You "First I have something to say to you" is good" "Say "Mother, you want me to kiss you"" "with more hatred and more viciously." "As if you were going to devour her.." "We'll have to do better." "Maybe it's the cigarette that gets in your way." "Sit down again, and then come towards me." "No, that's not good either." "Don't speak, when you come towards me." "Approach." "There!" "You've got it." "Go on." "It's very good until "he died"." "On "l know why he died"" "You fall back into sentimentality." "Above all don't copy me." "I want it to be Gisèle acting and no Jean Renoir your personality, not mine." "It's got to be a cry of despair." "That dog was the love of her life." "Take it from the starrt." ""Mother"." "Sit down." "You're not aggressive enough." "Spit it out" "As if you meant "bite" instead of "kiss you."" "You can keep on scratching your head." "That's a good idea." "Starrt over again." "This time with the scratching." "I thing we can go on to the next stage, in other words to find your personal interpretation." "Above all, try to forget all other scenes of this kind." "Can I move around a bit ?" "Come closer." "That's not very good." "is it ?" "You've become weak again." "What I want is a strong angry girl." "A mean, bickering one." "Stand her you'll be bett!" "er." "Look me straight in the eyes." "O.K. Let's try something else." "You've got the anger now." "Let's try out an anger that is hidden under a perfectly calm exterior." "Try that straight into the eyes;" "As you speak you feel like scratching my eyes out," "But the words come out in a very calm voice." "Try that." "It's much better." "Repeat it once more, and I'll stop you as soon as something seems off." "I think it's good." "I thing we're ready to move on to the set." "Don't worry about the spot." "It's not at all imporrtant." "The only thing that counts now" "That you're no longer." "Gisèle Braunberger, but Emily." "Very good." "Don't stop." "We'll go on with the shooting." "Without being sentimental try to be more upset." "A l.i.ttle while back you gave me a few lines in which you'd lost complete self-control." "We've got to recapture that." ""Mother, you want me to kiss you."" ""First... I have something to say to you"." ""l know what you've done" "to Dong"." ""He's dead." "I know how he died."" ""l know why he died."" ""Of course, for the others you were right to put Dong to death"." ""He could've been mad." ""He could've bit a..child;" "or even me." ""l would've died in convulsions and pain." ""You were right for the others, but not for me."" ""You can't kill a being with a soul."" ""Westerners claim that dogs don't have soul."" ""At any rate, Dong have a soul, an immorrtal soul" "and it Dong died, in a state of sin now he might be reincarnated" "into a flea"