- 2 months ago
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TVTranscript
00:03Nobody knows the systems on this rig better than I do.
00:07God, I hate that bitch.
00:10Probably shouldn't have married her then, huh?
00:17I wouldn't even call.
00:19Here.
00:20You put this over.
00:21No, no!
00:21What are you doing?
00:23Don't argue, bad damn it!
00:24No, look, this is not an option, so just forget about it, all right?
00:27Lindsay, shut up!
00:27Shut up!
00:28Put this thing on!
00:29Just be logical for what?
00:30Fuck logic!
00:30I can listen!
00:31Just listen to me for one second.
00:33You've got the suit on, and you're a much better swimmer than I am, right?
00:36Yeah, maybe not.
00:37Right?
00:37Yes!
00:38I've got a plan.
00:39What's the plan?
00:40I drown when you throw me back to the rig.
00:43What the hell kind of plan is that?
00:46I drown now.
00:47No!
00:47This, yes, this water.
00:49No!
00:49Only a couple of degrees above freezes.
00:51I go into deep hypothermia.
00:53My blood will go like ice water.
00:55My body systems will slow down.
00:57They won't stop.
00:58Lindsay.
00:58You told me back, and I can, I can be revived after maybe 10 or 15 minutes.
01:03Lindsay, put this on!
01:05You put it on!
01:05The only way!
01:06Bud, please!
01:08This is insane.
01:14You can do this.
01:15God, Lindsay, I can...
01:16I know.
01:17You can tell me, maybe...
01:28Bud, this isn't me.
01:32I'll pass you!
01:58No!
02:00No!
02:01U publici u principu nije baš puno važno kako vi zamišljate poslove sa strancima, njima je važno da gledaju dobre
02:06filmove, no možda ipak nije nezanimljivo reći šta je novo u tom cijelom načinu poslovanja koji se sada mijenja, o
02:13kojem se toliko piše. Šta to sad znači kako domaći distributeri počinju kupovati filmove od stranaca?
02:18Pa mi smo do sada fiksno kupovali filmove, pogodili se za svoju cijenu, imali smo jedan sistem nekih i liste
02:27i tako dalje, malo je kompliciran sistem koji neće vjerojatno publicivitni i zabavan.
02:31Uglavnom, negdje 15. kajoslavijskih distributera su, stavljući određene filmove na listu, imali isključivo pravo kupnjutog filma. E sad, ako je
02:40bio dovoljno akumulativan, dovoljno propulzivan, on brzo to je ugao, a ako ne, onda bi film negdje čekao i postao
02:46stari i kasno dolasio.
02:47Stranac nuti sada cijelikupnu svoju robu na procenat. On želi da razgovara o svakom svom proizvodu kako će ga pasirati
02:56na naše tržište. Želi da razgovara o reklami, propagandi, o broju plakata, o načinu eksploatacije i tako dalje.
03:05To prilike znači da ste vi na neki način u takvom vrsti zaključivanja poslova zapravo partneri sa stranacom?
03:11Da, da, mi smo tu partneri koji snose dosta isto tako veliki rizik. Dodušu u ovom slučaju je rizik stranaca
03:20znatno veći jer trenutno imamo užasno visoku inflaciju i on želi ne da uzme naše dinare, nego konvertira to u
03:27dolare i da povuče određeni profit. Ne radi samo zbog ljubevi toga.
03:32Jugoslavijsko prikazivačko tržište nije strani kompanijima toliko neinteresantno, recimo jače od portugalskoga, egipatskoga, atraktivnije od turskoga i tako dalje.
03:42Kada bi neki parametri bili malo stabilni, kad ne bi imali 2500 inflacije u prosicu mjeseca i tako dalje, to
03:49bi čak, vjerujem, dovoljno stranaciju situaciju da se pozabavi i onim drugim dijelom, vranama.
03:55Što će biti presudno u tome, u tom trenutku kad stranci uđu sa velikom količinom hit filmova paralelno, to što
04:03smo malo prije rekli sa premijerama u mnogim svjetskim gradovima, na koji način će oni gledati na taj posao?
04:10Da li je tu presuda novac koji će na tome povući ili nešto drugo?
04:14Pa mislim da je prije svega da se ne zavaravamo prije svega u pitanju novac, prije svega u pitanju profit.
04:19I za njih i za nas, s jedne strane, ne da imamo samo neku kulturnu misiju i tako dalje, sada
04:26bi ja tu mogo pričati i pričio o kulturnoj misiji, ali počite da je profit prije svega.
04:51Učenje na taj, učenje na taj, učenje na taj.
05:05Učenje, učenje.
05:07Učenje na taj postoviči nisem še učenje na taj.
05:09Another service!
05:19The future.
05:22Unbelievable.
05:24I gotta check this out, Doc.
05:25Well, have a good time, Marty. We're on a tight schedule here.
05:27Tell me about my future. I mean, I know I make it big,
05:30but what, do I become like a rich rock star?
05:32Please, Marty, no one should know too much about their own destiny.
05:34Right, right.
05:36I am rich, though, right?
05:37Marty, please, take off your shirt.
05:38For the future.
06:15Welcome to Texaco.
06:18You have to bust your car into the system with the star.
06:23Check the noise.
06:24Check the classic gear.
06:37What do the Nazis want with you, Dad?
06:39They wanted my diary.
06:41Yeah.
06:42I knew I had to get in that book as far away from me as I possibly could.
06:49Yeah.
06:54Dr. Jones.
06:56Yes?
07:00I will take the book now.
07:04What book?
07:06You have the diary in your pocket.
07:10You don't.
07:12Do you think my son would be that stupid that he would bring my diary all the way back here?
07:19You didn't, did you?
07:22You didn't bring it, did you?
07:23Well, I...
07:24You did.
07:26Look, we'll discuss this later.
07:28I should have mailed it to the marks, bro.
07:30Will you take it easy?
07:32Take it easy?
07:33Why do you think I sent it home in the first place so it wouldn't fall into their hands?
07:37I came here to save you.
07:40Oh, yeah?
07:40And who's gonna come to save you, Junior?
07:49The saga of the Karate Kid continues with the Karate Kid Part 3 in which Daniel must fight his most
07:56difficult battle alone.
07:58After returning from Okinawa, hoping for a peaceful life working with his mentor, Mr. Miyagi,
08:03he is blackmailed into competing against the vicious bad boy of karate, Mike Barnes.
08:09To his shock, Daniel discovers that Mr. Miyagi won't help him.
08:14Mr. Mr. Miyagi, I gotta be honest with you.
08:16I don't stand a chance against this guy unless you train me.
08:19Understand.
08:20Well, then you train me, right?
08:24Daniel, sir, Miyagi always train you.
08:28But what tournament cannot do?
08:41The first two Karate Kid films were overwhelming successes, garnering over $300 million at the box office worldwide.
08:51The Karate Kid Part 3 continues this phenomenal success, earning over $14 million during its first week of engagements in
08:59the U.S.
08:59U dosredošićim kontaktima mislim da si vi oni toga svjesni da taj profit neće tako brzo skočiti u odnosu na
09:07prije,
09:08protekle godine, koliko su ga oni ustarivali, iz jednostavnog razloga zato što je naše tržište totalno destabiliziran.
09:15There are high inflation, there are high inflation, there are high standards, and there are high expectations.
09:23First, we have to return to the audience.
09:24We always return them to the most simple way.
09:28Give them a film when they write them.
09:30And it's not a big hit.
09:32We have some names that have been given for years.
09:36For example, Kubrick from Odissea,
09:39no one of them did not go to Yugoslavia,
09:41because he did not do it with a country,
09:44if he did not do it,
09:48if he did it.
09:49When we come to the problem of piratization,
09:52there is a popular idea that piratization is usually
09:55that the piratization is against those who are making video,
09:57that is a video.
09:59But it seems to me that the central problem is
10:02that piratization is making video production,
10:06which is the process of piratization,
10:09which is the most important thing to do in the future.
10:11What do you do in the future?
10:14I think that before all,
10:15it is the most important thing to do in the future,
10:18because he takes a lot of cassette,
10:20and looks at the film,
10:22and says,
10:23why should I go to the cinema and pay for something
10:28that is something that I don't like?
10:29I don't like the film,
10:30even if I don't like the cassette,
10:32even if I don't like the information,
10:36with the one that is that I want to talk.
10:42We want to talk,
10:45and want to read the truth to them and say,
10:46I want to be in real,
10:46and we want to be civilized,
10:48and then we want to talk about piratization.
10:51It is a language that is a language that is not going to be
10:55but that is at the end.
11:03It is certainly not cheap, it is just that it is possible, but the profit is quite high.
11:12Look at this, with the program and films, there are three people in Yugoslavia
11:19who deal with the highest title of the film, and those are in Beograd.
11:26We get a complete master copy from the original or copy from the original.
11:31The first copy is a pirate copy that comes to Yugoslavia.
11:35Okay, tell me, the pirate copy that you use and title of the master, they sell you?
11:42Yes, yes.
11:43And how are the prices?
11:45The original copy is 8 marks, the pirate copy is 14 marks.
11:54If you take it, it is a complete reproduction of it.
11:58It is a complete masterpiece.
12:01No, it is a complete masterpiece.
12:02It is a complete package of films.
12:04If he works from 250 to 350, he has to take it completely.
12:10We are the beautiful, we are the only, Ghostbusters!
12:16We are back!
12:23Ghostbusters!
12:24I am afraid of no ghost.
12:25I am afraid of no ghost.
12:26I am afraid of no ghost.
12:27I am afraid of no ghost.
12:29Ghostbusters!
12:30I am afraid of no ghost.
12:31Something strange going on.
12:33Something's wrong.
12:34Room in the room.
12:36Outside is the storm.
12:38All alone.
12:39Certified check.
12:40What kind of money order?
12:42Yo, is that what I did?
12:43Did I see something move?
12:46Chilled on the spine.
12:47Your heart goes astride.
12:49Not filled by the flames.
12:51That gold bump into the night!
12:53Walk through the wall, with no time to stall, you call the Ghostbusters, but that's who you call the Ghostbusters!
13:11The first time we do it with 100-150 copies, and then after that we break a little bit, we
13:18just leave one or two copies.
13:21The first 4-5 days are gone.
13:26How long is the first one?
13:32How long is it?
13:3410 days.
13:36The whole thing is completely slavadi.
13:39What do you do in China?
13:44How long is it?
13:49It's still growing.
13:50It's still growing.
13:51Yes, because people who know, who watch films, know that Batman is here.
13:59There are a lot of people who don't know, who don't hear about that film.
14:06Then, through the radio radio, through the television, we have to increase the volume of that film.
14:14It's indirect advertising for us.
14:19We, in this episode, the modern concert appears, we demonstrate inserts from movies
14:23that we will have the opportunity to watch, and the future will be the opportunity.
14:28Of course, what's the most interesting thing.
14:30Let's say, and in a short chapter understand what can you expect in China,
14:35What are the new products that come from prompting?
14:39It's something new, something old.
14:41For example, the movie was hit on the show,
14:43and they had to see it on the show,
14:45but they didn't have it on the show.
14:47The Abyss is no day,
14:49and even worse on the show,
14:51everything is happening in the sea,
14:52and he will start.
14:55The film that we had before a year,
14:57and that's the Zeku Rodger,
14:59which is brilliant,
15:00and it's a great atmosphere,
15:02and the animation of the live,
15:04and the television is a lot,
15:06and it's a great atmosphere.
15:09When he says everything that is old,
15:11from Indiana Jones,
15:13from the spirit of the spirit,
15:14and so on, in the third month,
15:18we will be able to get the European premiere.
15:32I'll drive.
15:33But I'm gonna drive.
15:35No, I'll drive.
15:36I'm the cab.
15:37Out of my way, Pencil Mac.
15:39How about this weather, huh?
15:41It never rains.
15:44They sprung the cab. Let's go.
15:47And how about those Brooklyn Dodgers?
15:49Are they bums or what?
15:50Move over, I'm drivin'.
15:54Benny, Eddie, we got company.
15:56Well, you look at these two heads.
15:58Excuse me, Lenny.
16:00Now, that's what I call a couple of road hogs.
16:04I'm gonna blow his head off.
16:06Benny, look out for the dead.
16:08Benny, look out for the dead.
16:15Benny, this guy's spicy high bed.
16:20Not for long, Roger.
16:23Now, the way in front of us.
16:27And if we're going backwards, turn us around!
16:29Give me the wheels!
16:30Give me the wheels!
16:34Give me the wheels!
16:35The cab's just on the tail!
16:37I know the cab's just on the tail!
16:38I know the cab's just on the tail!
16:38But you see, I am black!
16:39Benny!
16:40No!
16:42Pull the lever!
16:44Which one?
16:45Which one?
16:45Which one?
16:46Which one?
16:48I'm gonna ram him.
16:51One time.
16:56I'm getting too old for this!
17:06Jumping jippers!
17:07Hey, Roger!
17:07What do you call the middle of a zoo?
17:09Gee, I don't know!
17:14Well, fellas, where can I drop you?
17:16Somewhere we can hide!
17:17I got just the place!
17:19And incidentally, if you should ever mean to arrive, just stick out your phone!
17:24Hey, share the road!
17:25Me, lady!
17:26We continue our conversation about the situation in domestic photography today.
17:31I'm pleased to welcome me in the studio to greet another guest, Voju Mirić, director Inex Films from Beograd.
17:37Vojo, viewers who are interested in domestic films and better memories, and those who are still watching other films of
17:43domestic films,
17:43Whoever is interested in the film,
17:45What are a fan of the film film director in the film?
17:49We know that Ronald Reagan was being the president.
17:51How did you make the title of a film director?
17:55I think that with Reagan was not bad, I think that was a fan of the film director,
18:02but what am I sure is?
18:04and as a reader, I've always been connected to some organizations,
18:10connected to the construction and making different relationships
18:14and in the cinematography, to form a team and so on.
18:19In that sense, I'm still interested in that way.
18:24You are also in a situation where you talk about a very big film
18:28and before signing up with us,
18:31maybe for our viewers, what is the company, the UIP?
18:35First, I don't want to say that the new connections are being
18:40the ones that are being the ones that are 40 years ago
18:44in relation to the natural connections
18:45that are in the world, and in the world of kinematography
18:50that we have with our new system
18:53to block and block and stop and stop and stop
18:56and create a new partner that is to be on the way
19:00as well as we all have to be on the way.
19:01We have to say that the new connection is to be on the way.
19:03We have to go on the way.
19:04As we have to go on, we have to go on the way,
19:09we have to go on the way.
19:10and all of that.
19:10In other words, the media and other surroundings
19:13because of that, in the sense of the program,
19:17in the sense of, if you want to,
19:19and in the competition and all of that,
19:21we are completely atrofing,
19:23completely not able to react to anything else.
19:27And, as you can see,
19:29in our druidstvene,
19:30we are putting some of these things
19:32that are not the right to be,
19:33that are not the right to be,
19:35and on this plan,
19:36it comes to, if we can say,
19:39returning to natural relationships.
19:59I don't believe this!
20:01Where?
20:01It's a cop, man!
20:03That's not a strike, stupid!
20:04Can't you hear that?
20:06No!
20:20Did you see that?
20:22No!
20:22No!
20:23No!
20:27No!
20:28No!
20:29No!
20:31No!
20:33No!
20:34No!
20:35No!
20:46No!
20:47No!
20:52No!
20:54No!
20:55No!
20:56What are we doing?
20:58What are we doing, Sergeant?
21:06We've incarcerated a B.C. suspect, is that what you're talking about?
21:14She's a B.C. whore, and we're gonna have a little phone with her.
21:19Yeah, but she's just a farm girl.
21:21Oh, that's Erickson, look.
21:23We'll carry her right for right now.
21:25Just let me carry it away.
21:28What's the problem, Sergeant?
21:30Erickson don't think of B.C. whores of B.C. whore.
21:33Don't?
21:35Wow, man, you've been to town, Erickson.
21:37They'll sell you their children.
21:38Clock, these people are sleeping in that bitch.
21:42You got the whole wrong outlook on this thing, man.
21:44He's all discombobulated.
21:46You got the whole wrong outlook on this thing, Erickson.
21:51What are you talking about?
21:52He's talking about she's a B.C.
21:55She ain't.
21:57I'm telling you, Erickson.
22:02This ain't a B.C.
22:05What can you?
22:08Actually, he ain't no B.C.
22:15This ain't a B.C.
22:23I ain't no B.C.
22:26What is?
22:34This is a B.C.
22:36It began in Berlin.
22:39A routine assignment for Sergeant John Gallagher.
22:44There you go, Sergeant.
22:45He's all yours.
22:46Yeah.
22:48You go to that court, Marshal.
22:49You better get those ribbons on your chest.
22:50Be all you can make.
22:52I think you're going to prison, Walter.
22:54You don't know where I'm going.
22:57But something went wrong.
22:59I need your help, Melanie.
23:00I know.
23:00They caught you climbing out the window of some lady's boudoir.
23:03No, I lost my package.
23:05A prisoner I was bringing back from Germany.
23:07Dead wrong.
23:11Something weird has come up on this guy.
23:13Why would someone want to take the place of a guy going to prison?
23:16He gets another country without a passport.
23:18Now he's in over his head.
23:20From all indications, we have an agreement.
23:23Damn it, Bob.
23:24We've exhausted the option.
23:25Tell us, it's insane.
23:28Gallagher knows too much already.
23:30He has to be eliminated.
23:31Ralph Burns, Arlington, please.
23:33Somebody wants you real bad, Johnny.
23:37What, are you working for the Russians?
23:39If he doesn't get some answers...
23:40But they're set up.
23:41Let's get out of here.
23:44These people can be anybody they want to be.
23:46It may be too late.
23:48Who are you working for?
23:49I'm a public servant.
23:50For everyone.
23:51Who pays you?
23:52Everybody pays me.
23:56There hasn't been a world war in 50 years, Sergeant.
23:59You ever wonder why?
24:00Time is no water.
24:02Time is no water.
24:19Time is no water.
24:21How is the company's decision to go to the company?
24:25It is known that the company's decision to go,
24:27look at the terrain, talk with everyone,
24:30and then they decide to go to the company's business
24:35and start to prepare a conversation.
24:37What is, for you, what is the difference between the company's business
24:41and the company's decision to go to the company's business?
24:44I think that we have the company's decision to go to the company.
24:59There are three, or four companies that have talked about
25:04and they will have the first one and that they will be the first one
25:08and when you look at the company,
25:10the company, the strany,
25:12who are here with us,
25:14they will see that this is not the case.
25:18There are three
25:19subjekte films.
25:22One is the most powerful
25:24film organization
25:26in the world,
25:27which is one of the most powerful
25:31production companies,
25:33which is Warner.
25:34It is not the case.
25:35We have a powerful
25:41network
25:42that is called FOX,
25:45which is the most powerful
25:47organization of the world
25:49that is the most powerful
25:51organization of the world
25:52and they are also the most powerful
25:54We have a powerful
25:57organization of the world
25:59that is called UAP,
26:00which is a part of the world
26:02that is called
26:03the world of the world of the world.
26:05We have a great technology
26:10that we have a great technology
26:12that is the world of the world
26:16with their presentation.
26:18Many of them are smart from us.
26:20They know very well about our situation and our situation.
26:24In other words, they have, as it looks now,
26:27they have a very serious risk,
26:31and they need to be used for it.
26:34They know how to be used for it.
26:36They know how to be used for it.
26:37They know how to be used for it.
26:39They know how to be used for it.
26:44They know how to be used for it.
26:47They know how to be used for it.
26:48They know how to be used for it.
27:14What acting is missing from this romantic story book world?
27:17Oh, the little families.
27:19Mummies and daddies and dear little children.
27:22How lucky they all are.
27:24To see how the other half lives,
27:26meet Ruth Patchett,
27:28a domestic demon.
27:30Your father loves mushroom soup.
27:32Queen of a suburban paradise.
27:35I'm in a bar.
27:35The woman is a walking disaster area.
27:38What could these two women possibly have in common?
27:43You look like an angel.
27:45Look like an angel.
27:47Walk like an angel.
27:50Walk like an angel.
27:52Talk like an angel.
27:54But I got one.
27:57Someone get this deranged woman out of here.
28:00You're the devil in the sky.
28:03Oh, yes, you are.
28:05The devil in the sky.
28:07Oh, yes, you are.
28:09Justice serves those who serve themselves.
28:14We love you the whole night through.
28:17You told me over and over again you'd leave, Miriam.
28:20We made plans.
28:21I did.
28:21You did.
28:21With the dawn, they'll go on, dreaming of you.
28:25I know I told you this before,
28:26but if you play your cards right, you could have my body.
28:29Wouldn't you rather leave it to science?
28:31You're every song.
28:32You're everything.
28:33You're every song I ever sing.
28:34If a woman won't listen to reason, then you go on to the next step.
28:38What?
28:39Threats?
28:40Violence?
28:40What are we talking about here?
28:41She can be gotten rid of.
28:43I mean, I know a lot of people.
28:44Money will buy whatever's necessary.
28:46You're not even going to comment on that.
28:47That's mind-boggling.
28:48And were there more than 24 hours a day
28:52Baby's been asleep and ten dreaming away
28:55Hey, listen.
28:56Marry me.
28:57I'm serious.
28:58That's the only thing that will satisfy me.
28:59Marry me.
29:00I'm crazy about you.
29:01You're single.
29:02You know, my marriage is not going to lie.
29:03I've got to talk to you.
29:04The sky's are green, sky's are blue, morning, new, and night, night, night, night, night, night, night, night, night, night,
29:09night, night.
29:26I'm not going to lie.
29:49I'm not going to lie.
29:51I'm not going to lie.
29:56That's it.
29:59But, you know, I'm sorry, nobody needs to know again.
30:06We wanted to lie.
30:07I'm not going to lie.
30:07You know, one will lie.
30:08And he's given me.
30:09You know, I'm not going to lie.
30:28Oh, my God.
31:10Oh, my God.
31:22Oh, my God.
32:18Oh, my God.
32:40Oh, my God.
32:44Oh, my God.
32:45Oh, my God.
33:15Oh, my God.
33:45Oh, my God.
33:57Oh, my God.
34:18Gee whiz, let's break it up.
34:20Get set for a swing-in, chum.
34:22Now, the detonator is fully charged.
34:25In a few minutes, I'll pull that lever and we'll make the Chicago fire look like a backyard cookout.
34:39Move!
34:40Get out of the way!
34:40Come on, let's go.
34:42Oh, my God.
34:45I don't know.
35:16I don't know.
36:02The report would be routine retirement of a replicant, which didn't make me feel any
36:07better about shooting a woman in the back.
36:10There it was again.
36:13Feeling in myself for her, for Rachel.
36:23Decker, B26354.
36:26We continue our conversation about the situation in domestic photography.
36:30I'm happy to welcome you to another guest of modern times, Marceo Štefančić from Ljubljana.
36:36Can you tell us what we call the American people coming to Yugoslavia?
36:42What do you think of now?
36:46I think that in the film, in the film, in the film, in the film, I think that it means
36:53that it is a big breakthrough from the film.
37:05I think that it is a big breakthrough from the film.
37:25I think that it is a big breakthrough from the film.
37:51A Nino Benga!
38:00San!
38:02What is that?
38:05I saw you there.
38:07Where are you from?
38:08Where are you from?
38:09Where are you from?
38:10Where are you from?
38:13Where are you from?
38:24Where are you from?
38:24Niga!
38:25For a little bit more, look.
38:27You're asleep.
38:30You're asleep?
38:31Three months.
38:32How did I see that?
38:33I'll see you there.
38:34I'll see you there.
38:35I'll see you there.
38:46Good morning, doctor.
38:48Good morning.
38:48Good morning.
38:49Good morning.
38:50Good morning.
38:50Good morning.
38:51Good afternoon, sir.
38:52We need to take care of you.
38:52Yes, yes, yes.
38:55Welcome.
38:55We are all of you, ma'am.
38:55You are all of you.
38:56Yes, please.