Being Maria (2024) Movie Script
1
Positions, please.
- Camera.
- Silence!
Rolling.
Clap!
14/2, take 1.
Action!
I don't see
why you're so attracted to her.
I'm not attracted.
I'm impressed.
She spent years searching
all over France for this guy.
It's impressive.
When you left, I didn't cross the street
to get you back.
Cut! Very good.
Very good,
but we can do better.
Say "when you left" avoiding her eyes.
Say it with more reserve.
- You're not proud.
- Great.
You, don't change a thing.
Let's go again right away!
- Camera.
- Silence!
Rolling.
Clap.
14/2 take 2.
Action!
- Here.
- Thanks.
I saw Daniel.
Who?
Daniel. My father.
At the movies?
No, in real life.
I left a letter at his agent's.
He answered.
Why did you do that?
Uh...
I wanted to meet him.
He never did a thing for you.
Think that'll change?
He was very nice.
"Very nice," right.
Sure he was. What's he got to lose now?
I just wanted to see him.
He never wanted you!
Never, you understand?
I raised you.
Your last name is mine.
No, he's not very nice.
He's like all men, he fucks around,
then goes home to his wife.
Is that what you want?
So go on.
Stop whining.
- I'm not crying.
- Stop whining.
- Not even a lead role?
- Nope.
I can't act in stuff I don't understand.
His films are pretentious.
Just because you don't understand?
Shots that never end,
the father in the desert, for no reason.
He's ahead of his time. A great director.
Nonsense!
- See his movies?
- No.
- I'll take you. You'll see.
- Good luck!
I'd love to shoot with him.
He must not know I exist.
- Come now.
- I'm an old-timer.
It's not up to me to ask for a role.
Actors don't choose roles!
Roles choose actors!
How old are you, Maria?
Oh.
Dangerous year, careful.
You have nice eyes.
Show them off more.
Thank you.
They want you on set, please.
To block the scene, thanks.
- Good?
- Very well.
- Thanks.
- Welcome.
Come on, old-timer.
What are you doing?
History test tomorrow.
Want me to quiz you?
I haven't memorized the dates yet.
Still seeing your father?
A little, yes.
Go on, tell me.
What do you want to know?
I don't know.
Did you meet his wife?
No.
But he wants me to meet my half-siblings.
See, he does care.
I guess I was wrong.
He introduced me to a friend of his.
You'll never guess who.
Who?
Alain Delon.
You met Alain Delon?
Yes.
And? What did you do with him?
Uh...
We had lunch with Daniel
and some other people.
It was fun.
See, you said Daniel.
You can't say "Dad," you say Daniel.
Why even bother studying?
No need for school now!
Now that you hang out on sets
and eat with Alain Delon.
What use is school?
- You said to tell you.
- Shut up!
Shut up!
Come on.
What are you doing?
Come, get up.
No.
No?
Get out of here!
Beat it! Get out of my house!
- Mom, Stop!
- Get lost!
Are you crazy?
Stay with your nice father!
Be a show-off elsewhere!
I don't want to see you anymore, you hear?
- I wanted to see him!
- I want you out!
Beat it!
You okay?
I looked all over for you.
I said to wait near the phone booth.
I forgot, sorry.
I was tired.
It'll be fine.
She kicked me out.
My sister has a nasty streak.
You'll stay at my place.
Tomorrow we'll call her.
She'll apologize, you'll see.
She's over me.
- She never wanted me.
- Stop that.
It's true.
Come.
- A quick word.
- Impossible.
Two minutes!
You need an appointment.
You can't just walk in.
Please.
Stop it, Miss.
Mr. Berhman?
Yes?
I'd like to see you.
On behalf of Daniel Gelin.
- Who are you?
- His daughter.
Have a seat.
Same determined gaze.
What's your name?
Maria.
Maria Schneider.
What can I do for you?
Well, I...
I want to join your agency.
To be an actress.
You're very young.
No.
Does being a star's daughter
make you an actress?
I don't know why I came.
Wait.
I said to wait.
Come back, sit.
Sit down.
- Hello.
- Hello.
So?
What did you think?
It's beautiful.
But dark.
It's not a family film.
Definitely not.
I don't understand it all.
What don't you understand?
What it's about.
A man and a woman who meet by chance
and who decide...
to put themselves between parentheses.
That is, to live a physical relationship
that's intense and desperate
while knowing nothing about each other.
Not even their names.
Like a sort of impossible challenge.
That's beautiful.
But it's nothing like me.
I never knew anything like that.
So twisted.
You're an actress. Right?
You know, my producer is very surprised
that I gave you the script.
You've only done bit parts up to now.
That's why I believe in you.
You're like a blank page.
There's something wounded about you...
that I like.
Am I wrong?
I don't know.
It's not up to me to say.
How old are you, Maria?
When you read it,
you must have noticed you're often naked.
Does that bother you?
No.
Well, it depends how...
It's mostly the sex scenes.
- How do we do it?
- Like in real life.
I'm joking.
Don't worry.
We'll shoot it
as artistically as possible.
But you mustn't forget
it's the subject of the film.
An intense physical relationship,
like I said.
Who are you considering, for the actor?
Quite a few actors
were scared of the role.
Then Marlon Brando said yes.
Brando?
You'll play the second lead. With him.
Equal billing.
So, I have to do screen tests?
No.
If the producer has doubts...
I choose who I work with.
And I choose you.
If you want to do it, of course.
Yes.
Of course I do.
Just sign. It's because I'm underage.
I'll read it, if you don't mind.
Wait.
You have the lead role?
Yes.
Well, well.
You've come a long way.
Is it well paid at least?
Yeah, well... normal.
At least they put your real name.
Meaning?
Schneider.
Maria Schneider.
What else would they put?
When you did Madly,
a reporter called you Maria Gelin.
That's nonsense.
Must have been his doing.
Anything to erase me from your life.
I know where I come from.
Stop! Hold your positions.
- Can you stay like this?
- Yes.
Cut! Excellent!
I'm not too ridiculous?
No more than me, sweetie.
Fortunately...
ridicule...
doesn't kill.
Otherwise...
there wouldn't be many actors left.
You understand?
True.
Okay.
You dropped the mask again, Marlon.
You know, you say that after every take.
Yes, and the truth just came out.
Okay.
You too, Maria, very good.
Thank you.
Now...
I'd like to do another take...
but in dog version for you.
A what?
A dog version.
A dog version?
Like a dog and a cat.
Oh, God.
A cat and a dog.
How 'bout a cow? I'll give you a cow.
I like that cow.
I'm getting married.
I'm getting married. You understand?
Wow.
This is big news.
Uh, congratulations, I guess?
Congratulations are in order.
Who's the lucky guy?
A very fine boy.
Oh.
A very fine boy.
In what way?
Young,
cultivated...
very sweet.
The opposite of you, you old donkey.
Well, yeah, be that as it may...
you're going to find...
that young, sweet cultivated boys
are lousy at fucking.
Yeah. Go ahead, look at me like that.
You say nothing,
'cause you know I'm right.
Anyway...
What would you do...
with a nice boy...
when you're a naughty girl?
Huh?
A very naughty girl.
And you know what we do
with naughty girls, don't you?
We drown 'em like kittens.
You're crazy!
You know that?
You should be in a mental hospital.
Cut!
Perfect.
You okay? I didn't push too hard?
I'm okay.
Bernardo...
Uh, what'd you think of that
head under the water,
was that a little too much?
That was great.
He makes her pay for it, all right?
The--the physical relationship
must be violent.
That's the deal between them.
The--the only way that they have
to communicate.
- All right.
- Uh-huh.
Change of set!
Back to the living room with Maria.
Dry her hair.
Bravo, little sardine.
- You want a coffee, Marlon?
- Uh, please. Black.
Sorry I couldn't come in. No room.
No problem.
Go on.
Follow me.
You scared me. How did you get in?
Stupid me, I left the door open.
I didn't even hear you come in.
I'm sorry.
You scared me.
How did you get in?
- Stupid me.
- Shut your eyes.
Sorry.
May I look, Marlon?
There you go.
Have a good look.
You like what you see?
No.
Marlon.
Please. Focus on Maria.
Hi, Maria.
- Aren't you looking marvelous.
- Shh, shh!
Okay.
Uh...
Marlon...
you blew me away yesterday.
Huh?
Yeah?
Yes.
Thank you.
Your tears at the end of the scene.
I thought you were really crying,
it seemed so real.
I don't know how you do it.
I wasn't acting.
I really cried.
- Really?
- Yes.
In real life...
I don't cry.
Usually they give me eye drops.
But here...
That one.
He got me to reveal things...
that I'm not comfortable
talking to anybody about.
He pulled it out of me.
Hm.
You know,
at The Actors Studio,
they teach you to do
all kinds of nonsense.
Be a chicken, or a dog,
or a--a cow, or a bird.
They teach you to cry on command.
And, uh...
I--I always hated it.
The lie...
the deception.
But, yesterday...
I hated the truth more.
You know?
Mm.
You'll see, the film
will be great thanks to us.
His best idea...
was bringing us together.
You and me.
That special quality of yours
which you put out, yeah?
Your...
your presence.
And your qualities.
The whole shebang, kiddo.
Really.
And me.
You...
your phras.
- My what?
- Your phras.
It means the way you speak.
Uh-huh. Well.
That matters a lot.
I sound like I'm chewing gum.
So...
Chewing gum.
- Chewing gum.
- Okay.
If you say so.
Like that.
This way.
You found it easily?
- Look, you're so pretty.
- For the film.
I'm so happy you're here.
Come.
Maria,
my first daughter.
Good evening.
Hello.
My pleasure. Judith.
Maria.
Jacques, pleasure.
Good evening. Vincent.
Good evening.
Sylvie.
Pleased to meet you.
What will you drink?
Hello, Fiona.
Hello.
You must be Manuel?
Yes.
I'm Maria.
Daniel told me lots about you.
So the shoot? Tell me everything.
How is Bertolucci?
It's fine.
We shoot a lot.
Fourteen hours a day, sometimes weekends.
That's modern cinema.
What's Brando like?
- As a person, I mean.
- Nice.
Very nice.
Very simple.
I was afraid to be intimidated at first,
but not at all.
They say he got fat.
That's the alcohol.
I learn a lot from him.
He's a real pro.
To think you're shooting with stars!
I hear you're always naked?
Always...
It's work, like the rest.
The film already has
a scandalous reputation.
I hear some scenes are...
Vulgar stuff, raw stuff.
I don't know who can say that?
About a film they haven't seen?
Reporters wanted to see Brando.
They couldn't get on set
so they make up nonsense.
Besides, it's a love story.
And he chose you.
Yes, he chose me.
Do you know why?
She probably can't say anything.
Stop bothering her.
To us.
- To movies!
- To movies!
Cheers.
Positions please, rehearsal!
Concentrate!
Come on.
As if we're shooting.
With the same intensity.
Action.
Surprise.
I brought music.
You can at least say hello.
Hello.
Did you look?
You didn't try opening it.
I bet they hid something inside.
- Maybe we'll find a treasure.
- Yeah?
- Mm-hm.
- What about that?
Maybe we'll look inside here,
maybe we'll find a treasure here.
No?
What are you afraid of?
I'm not afraid.
- No?
- Mm-mm.
Let's take a look inside, why don't we?
No.
Stop.
No? Hey.
You act like a free woman,
but, in fact, you're just a little girl.
A little girl with lots of principles.
You're really sick.
Perfect.
That's great.
We finish the light and we shoot, hm?
Did you look?
Did you look?
You didn't try opening it?
I bet they hid something inside.
- Yes?
- You okay?
Fine.
Maria...
I find this...
a little restrained.
Starting here, we need
a tonal shift in the scene.
In other words,
it must be more intense.
Huh?
More aggressive.
It's the moment...
when the sexual contract
that you agreed to,
you don't want it anymore, it's over.
- Hm.
- And he doesn't want that.
So he goes over the limit.
That's what I want to see.
All right.
- Shall we rehearse?
- No.
We'll shoot it.
Let yourself go.
Let the scene lead you.
You didn't try opening it.
You didn't try opening it.
I bet they hid something inside.
What about a treasure?
A treasure.
Maybe the treasure is here.
Surprise.
I brought music.
You could at least say hello.
Hello.
Did you look?
You didn't try opening it.
I bet they hid something inside.
What about a treasure?
What about this?
What are you hiding?
Maybe the treasure's here.
Mm-mm.
No?
Why don't we open this?
Maybe we'll find something here.
What are you afraid of?
I'm not afraid.
- No?
- No.
You sure you're not afraid?
Hm?
I'm gonna teach you about purity.
About virtue.
What are you doing?
What are you doing?
I want you to repeat this.
No, no.
Say it after me.
- No, no!
- Say it.
Say it.
- No!
- Religion educate savages.
- No, no!
- Repeat it, repeat it.
- No!
- Repeat it.
Religion educates savages.
Repeat it.
Religion...
Educates...
Repeat.
I can't.
Religion...
Religion...
Educates...
Educates...
Savages.
Savages.
- No, no!
- Yeah? Great work.
- No!
- Repeat it.
Children are punished
until they learn to lie. Repeat it.
Are punished...
Children are punished...
- Until they...
- Until they...
Until they learn to lie.
Until they learn to lie.
Repeat it.
Repeat.
Repeat.
Religion...
Are to teach...
Are to teach...
Purity and virtue.
Purity and virtue.
So they're punished until--until...
Until...
Until they learn to lie.
They learn to lie.
They learn to lie.
Cut.
Thank you.
That was great.
You okay?
Very good, Maria.
Hey.
No.
No, Bernardo, that was not good.
Maria.
I told you I wanted it intense.
Not like that.
Not the butter.
What does it change?
Everything! It changes everything!
And you know it!
We already improvised lots of stuff.
It's often our best work.
If I'd warned you, you'd have acted.
I didn't want you to act.
On my films, there are no actors,
no actresses.
Only characters.
The film...
and the characters.
That's all.
I thought you understood that.
Come on.
Come, let's do the rest.
We shoot in five minutes.
I need Maria on set.
We're almost ready to shoot.
Hurry, final checks.
Final checks, please.
Ready?
Thank you very much.
Time to shoot, come on.
Very good, thank you, final checks.
We need to put the pants like before.
Rolling.
It's only a film.
23/2 take one.
And...
action!
Whisky and Coke.
Why are you staring?
Very fancy.
It's my father's place.
What does he do?
Industrialist.
- Where is he?
- On vacation.
I'm cat-sitting. What'll you have?
A beer.
Nothing stronger?
No, I'm good.
Hello, Monster.
Give me a minute.
Come!
What's wrong? Not hungry?
Where did you get the spoon?
It's mine.
Do you mind?
No.
Want some?
No.
You're wrong.
Feel good?
Miss Schneider, Mr. Bertolucci!
Maria, this way!
Maria, here!
Look this way!
Maria, to the left!
A little smile.
Bernardo, this way!
Come closer. Thank you.
Look into the lens.
Maria.
In Italy as in France,
there's a scene that affects people.
A raw scene everyone's talking about.
Yes.
No one expects
in a film with Marlon Brando
a scene that's so...
Credible?
Yes.
If people all over are calling the film...
pornographic,
it's mostly because of that scene.
We can only wonder how you tackled it.
It's more the scene that tackled me.
It wasn't scripted like that.
I was...
taken by surprise, in a way.
I wasn't acting.
But it's you who played it.
And I must say, you took it far.
I said I had no choice.
My tears were real.
They gave me no choice.
They.
You mean Bertolucci and Brando?
Yes.
Fine.
Thank you.
Thank you too.
You can't say that in an interview!
I told the truth.
No one cares about truth.
Do your job as an actress, no more.
Say everything was wonderful, enriching.
Your job is to sell the dream!
I won't lie.
Not about that.
What do you do on sets?
Are you lying or acting?
Same with the press.
See it as a performance.
You'll get burned.
Keep it up and no one will hire you.
Fine.
I'll stop speaking.
I didn't say that.
Just don't act like a lunatic.
Something wrong?
What is it?
You haven't heard?
About what?
The lawsuit in Italy.
A handful of puritanical Catholics...
Of course, they don't like the film.
The verdict came down. The film's banned.
Bertolucci, Brando, and I got sentenced.
Sentenced to what?
Two months of prison with reprieve.
For obscenity.
Why are you so worked up?
Two months with a reprieve, and in Italy?
- You won't go to jail.
- That's not it!
I didn't write the script,
I didn't direct it.
I'm not responsible.
Bertolucci fled. Brando too.
They left me all alone
with the press badmouthing me every day.
Nasty stuff, I swear!
You know the saying.
There's no such thing as bad press.
- You wanted to be a famous actress.
- Not like this.
And you got it all at once.
And with just one role.
You're lucky as hell!
It took me years.
You put women to shame.
You don't give a damn about her.
That woman is nothing, no one.
Maria!
You good? You got big.
One meter 12.
Soon you'll be taller than me.
You were eagerly expected.
She collects all your articles.
Glued into a notebook.
Really?
At school everyone talks about you.
I brought gifts.
- What do you say?
- Thank you!
Are you doing well?
You didn't lose weight?
No.
I just have a crazy life.
There's rarely a connection to the story
but I'm naked.
I just read a script.
Naked in almost every scene.
There's even one where I cook pasta naked.
Ridiculous.
Besides Antonioni,
they all want me to redo Tango.
And not as good, if that's possible.
Nobody wants me fully clothed.
Vittorio Gassman says
he'll do a nude scene
only if there is no valid reason for it.
Just words.
You won't see Gassman's ass.
I know tons of people who find you great.
Great actress.
It's true.
On my way home last night...
I saw two guys.
When they got near me...
one said to the other...
"Pass me the butter."
They burst out laughing.
That's my fan club.
Your mother lives in Paris?
Yes, in the suburbs.
Sometimes I feel totally lost.
I don't know how to cope.
With what?
"With people, with what's going on."
With people.
With what's going on.
Cut!
I'm sorry.
Want to see the lines, Maria?
No, let's go.
All right.
Okay.
Silence!
Sound.
- Rolling.
- Clap!
14/2 take 11.
Start.
Does your mother live in Paris?
She won't be able to.
Fuck.
Why are you here?
I'm in trouble, Michel.
What?
I need money.
Fifty francs.
One hundred if you can.
You know what time it is?
The kids are asleep.
And we all wake up at 7:00.
I said I'm in trouble.
I'm family, dammit.
Go back to sleep.
Hey, honey.
You're a pain, Maria.
We'll talk tomorrow. Not now.
- Michel!
- Shh!
I said no, not tonight.
She'll wake up the neighborhood.
Where is it?
Ha?
Give it back, assholes!
Give it the fuck back!
Hey!
Hey. Stop screaming!
I left my moped here.
- Quiet!
- What?
First robbed, now silenced?
If the cops see you like this,
you'll go to jail.
I don't care!
They can look for my moped!
Stop!
You have marks all over.
Look!
You have tons of them.
If they catch you, it'll be six months.
Leave me alone!
What do you want?
Ha?
Did you steal my moped?
No?
So go back inside!
Go back inside and stop staring!
- You hear?
- Enough!
- Stop staring!
- Come!
What do you want?
I said, "Stop staring!"
Stop staring!
Stop staring.
Stop staring!
Go away!
- Hello, miss.
- Hello.
How are you this morning?
The night wasn't too rough?
Take up the Seroplex to 10 mg.
All right.
I had the phone put back on.
Starting Monday, you can have visitors.
- Goodbye, miss.
- Goodbye.
This is Marie-Christine.
Leave a message, I'll call you back.
Mom, it's me.
Maria.
I don't know if Michel told you.
I'm in the hospital.
I mean, in a clinic.
I wasn't well, but I'm better.
I got electroshocks.
I'm being treated now.
There.
I'm not a show-off anymore.
Get the address...
from Michel.
He'll give it to you.
I'd like you to come see me.
Miss?
Time to go back to your room.
I'm waiting for someone.
I know, but visiting hours are over now.
Ready to shoot?
So, move in on Maria
when he bites her, okay?
- And stay on her.
- Yes.
Is everyone ready? Lighting?
Checks.
We need to shoot now.
Go on.
Roll sound!
Silence!
Sound rolling! Silence!
Silence, please.
44/1 take 1.
Action!
Cut! Perfect.
You okay?
Yes.
Hello.
Oh, yes, come.
- You're writing a dissertation?
- Yes.
I can come back.
No, let's start.
Have a seat.
This film is different
from others you've done.
What made you decide to do it?
The story, the script?
The director?
The pleasure of shooting.
The money, too.
Even if there's not much money.
In your filmography,
which characters do you prefer?
What's your dissertation about?
The role of women in cinema.
What's your name?
Noor.
N-double O-R.
How old are you?
Twenty.
Close your eyes.
Today, what do you expect from a director?
For him to be clear.
Loyal.
That he take me seriously.
I imagine you get lots of scripts.
Do you like many roles?
No.
Most films are written by men for men.
Most directors are men.
The agents, too.
Men.
So, women's roles are limited
to pretty imbeciles or depraved lunatics.
Why take notes if you're recording?
I note what's important,
and listen to what I missed.
This is my first impression.
That's the second layer.
First one's always right, no?
Are people less forgiving...
of your "difficult" character
because you're a woman?
You mean after Last Tango?
You don't have to discuss it.
No, I will.
The problem with Bertolucci
is he wanted more than just characters.
So, if I felt humiliated,
for example,
he liked it.
He enjoyed it.
For him, Jeanne was humiliated, not me.
Except Jeanne's tears were mine.
For that scene,
I felt like I'd been raped by two men.
Marlon
and Bertolucci.
When it ended,
neither of them apologized.
Fortunately, I knew good times as well.
For example, The Passenger.
Then, I was happy.
On that film.
Did you see it?
Of course.
Did you like it?
A lot.
First time with a girl?
No.
Not at all.
How about you?
It's the first time
someone's made me feel like this.
To this extent.
Do you know I'm addicted to heroin?
No, I didn't know.
Well, I am.
Now you know.
It's been six years.
You still want to see me?
Yes.
N-double O-R.
Cut!
Gorgeous. Bravo.
Next set-up.
Wait.
Maria,
Andre would prefer you without a T-shirt.
- Excuse me?
- It's more realistic.
It's a bathroom.
Francois took a shower, he's naked.
So, I should be naked too?
Naked to put on makeup?
Just the top.
You believe the story we're telling?
Yes, I do.
And you need a specific bust size
to tell it?
No?
Then I won't get undressed.
Hear that, Andre?
It's not in the script, so it's no.
Did you like that take?
Yes.
Fine.
So, next set-up.
Okay, guys, next set-up.
It seems I signed a contract
and if I don't obey, I don't get paid.
You'll regret leaving another shoot.
Regret what? Being a whore?
That's over. I want to make movies,
not sell my ass.
That's over!
Olivier.
You?
Noor.
What?
Noor.
N-double O-R.
Where is that from?
Morocco.
You from there?
My father is.
I love Morocco, Marrakesh.
The parties. I go there often.
Come here often?
No, I hate it.
Hate what?
The nightlife, the annoying guys.
Excuse me.
Maria!
Maria!
Maria!
Please!
Please!
Call an ambulance!
Hurry, an ambulance!
Call an ambulance.
Look at me!
Look at me!
Please!
Please.
Where is it?
You won't find it.
Won't I?
Tell me where it is, you bitch!
Where did you hide it?
Open.
Open up!
Get out! Get out!
Where is it?
Tell me!
Tell me!
Tell me! Tell me!
- Where?
- Stop!
You shot up this morning.
That's all for today.
Please, it's too hard.
One more shot.
One more or I'll die!
Two is not possible.
You're a pain!
It's methadone, not dope.
That's what it's for.
I said, "No."
Go fuck yourself!
Here.
Thanks.
Why do you stay with me?
I don't know.
How do you feel?
I can't stand it anymore.
Hold on.
I'm here.
I loved Rivette's initial idea.
Two people who meet because...
the person they were supposed to meet
doesn't show up.
It's wonderful, right?
I loved working with Jacques Rivette.
It was an... "enriching experience,"
as they say.
And a beautiful film.
Thank you.
Well, thank you, miss.
Thank you very much.
- Goodbye.
- Goodbye.
Maria, Mathilde Perlado.
From l'Express.
- Hello.
- My pleasure.
Maria, it so happens
Bernardo Bertolucci is next door.
For his latest film.
Funny, right?
Do you want me to organize something?
I don't know, a lunch?
A photo-op?
It'd make a good article.
Thanks, but no.
I don't know who he is.
I don't know that man.
Excuse me.
Go on...
Positions, please.
- Camera.
- Silence!
Rolling.
Clap!
14/2, take 1.
Action!
I don't see
why you're so attracted to her.
I'm not attracted.
I'm impressed.
She spent years searching
all over France for this guy.
It's impressive.
When you left, I didn't cross the street
to get you back.
Cut! Very good.
Very good,
but we can do better.
Say "when you left" avoiding her eyes.
Say it with more reserve.
- You're not proud.
- Great.
You, don't change a thing.
Let's go again right away!
- Camera.
- Silence!
Rolling.
Clap.
14/2 take 2.
Action!
- Here.
- Thanks.
I saw Daniel.
Who?
Daniel. My father.
At the movies?
No, in real life.
I left a letter at his agent's.
He answered.
Why did you do that?
Uh...
I wanted to meet him.
He never did a thing for you.
Think that'll change?
He was very nice.
"Very nice," right.
Sure he was. What's he got to lose now?
I just wanted to see him.
He never wanted you!
Never, you understand?
I raised you.
Your last name is mine.
No, he's not very nice.
He's like all men, he fucks around,
then goes home to his wife.
Is that what you want?
So go on.
Stop whining.
- I'm not crying.
- Stop whining.
- Not even a lead role?
- Nope.
I can't act in stuff I don't understand.
His films are pretentious.
Just because you don't understand?
Shots that never end,
the father in the desert, for no reason.
He's ahead of his time. A great director.
Nonsense!
- See his movies?
- No.
- I'll take you. You'll see.
- Good luck!
I'd love to shoot with him.
He must not know I exist.
- Come now.
- I'm an old-timer.
It's not up to me to ask for a role.
Actors don't choose roles!
Roles choose actors!
How old are you, Maria?
Oh.
Dangerous year, careful.
You have nice eyes.
Show them off more.
Thank you.
They want you on set, please.
To block the scene, thanks.
- Good?
- Very well.
- Thanks.
- Welcome.
Come on, old-timer.
What are you doing?
History test tomorrow.
Want me to quiz you?
I haven't memorized the dates yet.
Still seeing your father?
A little, yes.
Go on, tell me.
What do you want to know?
I don't know.
Did you meet his wife?
No.
But he wants me to meet my half-siblings.
See, he does care.
I guess I was wrong.
He introduced me to a friend of his.
You'll never guess who.
Who?
Alain Delon.
You met Alain Delon?
Yes.
And? What did you do with him?
Uh...
We had lunch with Daniel
and some other people.
It was fun.
See, you said Daniel.
You can't say "Dad," you say Daniel.
Why even bother studying?
No need for school now!
Now that you hang out on sets
and eat with Alain Delon.
What use is school?
- You said to tell you.
- Shut up!
Shut up!
Come on.
What are you doing?
Come, get up.
No.
No?
Get out of here!
Beat it! Get out of my house!
- Mom, Stop!
- Get lost!
Are you crazy?
Stay with your nice father!
Be a show-off elsewhere!
I don't want to see you anymore, you hear?
- I wanted to see him!
- I want you out!
Beat it!
You okay?
I looked all over for you.
I said to wait near the phone booth.
I forgot, sorry.
I was tired.
It'll be fine.
She kicked me out.
My sister has a nasty streak.
You'll stay at my place.
Tomorrow we'll call her.
She'll apologize, you'll see.
She's over me.
- She never wanted me.
- Stop that.
It's true.
Come.
- A quick word.
- Impossible.
Two minutes!
You need an appointment.
You can't just walk in.
Please.
Stop it, Miss.
Mr. Berhman?
Yes?
I'd like to see you.
On behalf of Daniel Gelin.
- Who are you?
- His daughter.
Have a seat.
Same determined gaze.
What's your name?
Maria.
Maria Schneider.
What can I do for you?
Well, I...
I want to join your agency.
To be an actress.
You're very young.
No.
Does being a star's daughter
make you an actress?
I don't know why I came.
Wait.
I said to wait.
Come back, sit.
Sit down.
- Hello.
- Hello.
So?
What did you think?
It's beautiful.
But dark.
It's not a family film.
Definitely not.
I don't understand it all.
What don't you understand?
What it's about.
A man and a woman who meet by chance
and who decide...
to put themselves between parentheses.
That is, to live a physical relationship
that's intense and desperate
while knowing nothing about each other.
Not even their names.
Like a sort of impossible challenge.
That's beautiful.
But it's nothing like me.
I never knew anything like that.
So twisted.
You're an actress. Right?
You know, my producer is very surprised
that I gave you the script.
You've only done bit parts up to now.
That's why I believe in you.
You're like a blank page.
There's something wounded about you...
that I like.
Am I wrong?
I don't know.
It's not up to me to say.
How old are you, Maria?
When you read it,
you must have noticed you're often naked.
Does that bother you?
No.
Well, it depends how...
It's mostly the sex scenes.
- How do we do it?
- Like in real life.
I'm joking.
Don't worry.
We'll shoot it
as artistically as possible.
But you mustn't forget
it's the subject of the film.
An intense physical relationship,
like I said.
Who are you considering, for the actor?
Quite a few actors
were scared of the role.
Then Marlon Brando said yes.
Brando?
You'll play the second lead. With him.
Equal billing.
So, I have to do screen tests?
No.
If the producer has doubts...
I choose who I work with.
And I choose you.
If you want to do it, of course.
Yes.
Of course I do.
Just sign. It's because I'm underage.
I'll read it, if you don't mind.
Wait.
You have the lead role?
Yes.
Well, well.
You've come a long way.
Is it well paid at least?
Yeah, well... normal.
At least they put your real name.
Meaning?
Schneider.
Maria Schneider.
What else would they put?
When you did Madly,
a reporter called you Maria Gelin.
That's nonsense.
Must have been his doing.
Anything to erase me from your life.
I know where I come from.
Stop! Hold your positions.
- Can you stay like this?
- Yes.
Cut! Excellent!
I'm not too ridiculous?
No more than me, sweetie.
Fortunately...
ridicule...
doesn't kill.
Otherwise...
there wouldn't be many actors left.
You understand?
True.
Okay.
You dropped the mask again, Marlon.
You know, you say that after every take.
Yes, and the truth just came out.
Okay.
You too, Maria, very good.
Thank you.
Now...
I'd like to do another take...
but in dog version for you.
A what?
A dog version.
A dog version?
Like a dog and a cat.
Oh, God.
A cat and a dog.
How 'bout a cow? I'll give you a cow.
I like that cow.
I'm getting married.
I'm getting married. You understand?
Wow.
This is big news.
Uh, congratulations, I guess?
Congratulations are in order.
Who's the lucky guy?
A very fine boy.
Oh.
A very fine boy.
In what way?
Young,
cultivated...
very sweet.
The opposite of you, you old donkey.
Well, yeah, be that as it may...
you're going to find...
that young, sweet cultivated boys
are lousy at fucking.
Yeah. Go ahead, look at me like that.
You say nothing,
'cause you know I'm right.
Anyway...
What would you do...
with a nice boy...
when you're a naughty girl?
Huh?
A very naughty girl.
And you know what we do
with naughty girls, don't you?
We drown 'em like kittens.
You're crazy!
You know that?
You should be in a mental hospital.
Cut!
Perfect.
You okay? I didn't push too hard?
I'm okay.
Bernardo...
Uh, what'd you think of that
head under the water,
was that a little too much?
That was great.
He makes her pay for it, all right?
The--the physical relationship
must be violent.
That's the deal between them.
The--the only way that they have
to communicate.
- All right.
- Uh-huh.
Change of set!
Back to the living room with Maria.
Dry her hair.
Bravo, little sardine.
- You want a coffee, Marlon?
- Uh, please. Black.
Sorry I couldn't come in. No room.
No problem.
Go on.
Follow me.
You scared me. How did you get in?
Stupid me, I left the door open.
I didn't even hear you come in.
I'm sorry.
You scared me.
How did you get in?
- Stupid me.
- Shut your eyes.
Sorry.
May I look, Marlon?
There you go.
Have a good look.
You like what you see?
No.
Marlon.
Please. Focus on Maria.
Hi, Maria.
- Aren't you looking marvelous.
- Shh, shh!
Okay.
Uh...
Marlon...
you blew me away yesterday.
Huh?
Yeah?
Yes.
Thank you.
Your tears at the end of the scene.
I thought you were really crying,
it seemed so real.
I don't know how you do it.
I wasn't acting.
I really cried.
- Really?
- Yes.
In real life...
I don't cry.
Usually they give me eye drops.
But here...
That one.
He got me to reveal things...
that I'm not comfortable
talking to anybody about.
He pulled it out of me.
Hm.
You know,
at The Actors Studio,
they teach you to do
all kinds of nonsense.
Be a chicken, or a dog,
or a--a cow, or a bird.
They teach you to cry on command.
And, uh...
I--I always hated it.
The lie...
the deception.
But, yesterday...
I hated the truth more.
You know?
Mm.
You'll see, the film
will be great thanks to us.
His best idea...
was bringing us together.
You and me.
That special quality of yours
which you put out, yeah?
Your...
your presence.
And your qualities.
The whole shebang, kiddo.
Really.
And me.
You...
your phras.
- My what?
- Your phras.
It means the way you speak.
Uh-huh. Well.
That matters a lot.
I sound like I'm chewing gum.
So...
Chewing gum.
- Chewing gum.
- Okay.
If you say so.
Like that.
This way.
You found it easily?
- Look, you're so pretty.
- For the film.
I'm so happy you're here.
Come.
Maria,
my first daughter.
Good evening.
Hello.
My pleasure. Judith.
Maria.
Jacques, pleasure.
Good evening. Vincent.
Good evening.
Sylvie.
Pleased to meet you.
What will you drink?
Hello, Fiona.
Hello.
You must be Manuel?
Yes.
I'm Maria.
Daniel told me lots about you.
So the shoot? Tell me everything.
How is Bertolucci?
It's fine.
We shoot a lot.
Fourteen hours a day, sometimes weekends.
That's modern cinema.
What's Brando like?
- As a person, I mean.
- Nice.
Very nice.
Very simple.
I was afraid to be intimidated at first,
but not at all.
They say he got fat.
That's the alcohol.
I learn a lot from him.
He's a real pro.
To think you're shooting with stars!
I hear you're always naked?
Always...
It's work, like the rest.
The film already has
a scandalous reputation.
I hear some scenes are...
Vulgar stuff, raw stuff.
I don't know who can say that?
About a film they haven't seen?
Reporters wanted to see Brando.
They couldn't get on set
so they make up nonsense.
Besides, it's a love story.
And he chose you.
Yes, he chose me.
Do you know why?
She probably can't say anything.
Stop bothering her.
To us.
- To movies!
- To movies!
Cheers.
Positions please, rehearsal!
Concentrate!
Come on.
As if we're shooting.
With the same intensity.
Action.
Surprise.
I brought music.
You can at least say hello.
Hello.
Did you look?
You didn't try opening it.
I bet they hid something inside.
- Maybe we'll find a treasure.
- Yeah?
- Mm-hm.
- What about that?
Maybe we'll look inside here,
maybe we'll find a treasure here.
No?
What are you afraid of?
I'm not afraid.
- No?
- Mm-mm.
Let's take a look inside, why don't we?
No.
Stop.
No? Hey.
You act like a free woman,
but, in fact, you're just a little girl.
A little girl with lots of principles.
You're really sick.
Perfect.
That's great.
We finish the light and we shoot, hm?
Did you look?
Did you look?
You didn't try opening it?
I bet they hid something inside.
- Yes?
- You okay?
Fine.
Maria...
I find this...
a little restrained.
Starting here, we need
a tonal shift in the scene.
In other words,
it must be more intense.
Huh?
More aggressive.
It's the moment...
when the sexual contract
that you agreed to,
you don't want it anymore, it's over.
- Hm.
- And he doesn't want that.
So he goes over the limit.
That's what I want to see.
All right.
- Shall we rehearse?
- No.
We'll shoot it.
Let yourself go.
Let the scene lead you.
You didn't try opening it.
You didn't try opening it.
I bet they hid something inside.
What about a treasure?
A treasure.
Maybe the treasure is here.
Surprise.
I brought music.
You could at least say hello.
Hello.
Did you look?
You didn't try opening it.
I bet they hid something inside.
What about a treasure?
What about this?
What are you hiding?
Maybe the treasure's here.
Mm-mm.
No?
Why don't we open this?
Maybe we'll find something here.
What are you afraid of?
I'm not afraid.
- No?
- No.
You sure you're not afraid?
Hm?
I'm gonna teach you about purity.
About virtue.
What are you doing?
What are you doing?
I want you to repeat this.
No, no.
Say it after me.
- No, no!
- Say it.
Say it.
- No!
- Religion educate savages.
- No, no!
- Repeat it, repeat it.
- No!
- Repeat it.
Religion educates savages.
Repeat it.
Religion...
Educates...
Repeat.
I can't.
Religion...
Religion...
Educates...
Educates...
Savages.
Savages.
- No, no!
- Yeah? Great work.
- No!
- Repeat it.
Children are punished
until they learn to lie. Repeat it.
Are punished...
Children are punished...
- Until they...
- Until they...
Until they learn to lie.
Until they learn to lie.
Repeat it.
Repeat.
Repeat.
Religion...
Are to teach...
Are to teach...
Purity and virtue.
Purity and virtue.
So they're punished until--until...
Until...
Until they learn to lie.
They learn to lie.
They learn to lie.
Cut.
Thank you.
That was great.
You okay?
Very good, Maria.
Hey.
No.
No, Bernardo, that was not good.
Maria.
I told you I wanted it intense.
Not like that.
Not the butter.
What does it change?
Everything! It changes everything!
And you know it!
We already improvised lots of stuff.
It's often our best work.
If I'd warned you, you'd have acted.
I didn't want you to act.
On my films, there are no actors,
no actresses.
Only characters.
The film...
and the characters.
That's all.
I thought you understood that.
Come on.
Come, let's do the rest.
We shoot in five minutes.
I need Maria on set.
We're almost ready to shoot.
Hurry, final checks.
Final checks, please.
Ready?
Thank you very much.
Time to shoot, come on.
Very good, thank you, final checks.
We need to put the pants like before.
Rolling.
It's only a film.
23/2 take one.
And...
action!
Whisky and Coke.
Why are you staring?
Very fancy.
It's my father's place.
What does he do?
Industrialist.
- Where is he?
- On vacation.
I'm cat-sitting. What'll you have?
A beer.
Nothing stronger?
No, I'm good.
Hello, Monster.
Give me a minute.
Come!
What's wrong? Not hungry?
Where did you get the spoon?
It's mine.
Do you mind?
No.
Want some?
No.
You're wrong.
Feel good?
Miss Schneider, Mr. Bertolucci!
Maria, this way!
Maria, here!
Look this way!
Maria, to the left!
A little smile.
Bernardo, this way!
Come closer. Thank you.
Look into the lens.
Maria.
In Italy as in France,
there's a scene that affects people.
A raw scene everyone's talking about.
Yes.
No one expects
in a film with Marlon Brando
a scene that's so...
Credible?
Yes.
If people all over are calling the film...
pornographic,
it's mostly because of that scene.
We can only wonder how you tackled it.
It's more the scene that tackled me.
It wasn't scripted like that.
I was...
taken by surprise, in a way.
I wasn't acting.
But it's you who played it.
And I must say, you took it far.
I said I had no choice.
My tears were real.
They gave me no choice.
They.
You mean Bertolucci and Brando?
Yes.
Fine.
Thank you.
Thank you too.
You can't say that in an interview!
I told the truth.
No one cares about truth.
Do your job as an actress, no more.
Say everything was wonderful, enriching.
Your job is to sell the dream!
I won't lie.
Not about that.
What do you do on sets?
Are you lying or acting?
Same with the press.
See it as a performance.
You'll get burned.
Keep it up and no one will hire you.
Fine.
I'll stop speaking.
I didn't say that.
Just don't act like a lunatic.
Something wrong?
What is it?
You haven't heard?
About what?
The lawsuit in Italy.
A handful of puritanical Catholics...
Of course, they don't like the film.
The verdict came down. The film's banned.
Bertolucci, Brando, and I got sentenced.
Sentenced to what?
Two months of prison with reprieve.
For obscenity.
Why are you so worked up?
Two months with a reprieve, and in Italy?
- You won't go to jail.
- That's not it!
I didn't write the script,
I didn't direct it.
I'm not responsible.
Bertolucci fled. Brando too.
They left me all alone
with the press badmouthing me every day.
Nasty stuff, I swear!
You know the saying.
There's no such thing as bad press.
- You wanted to be a famous actress.
- Not like this.
And you got it all at once.
And with just one role.
You're lucky as hell!
It took me years.
You put women to shame.
You don't give a damn about her.
That woman is nothing, no one.
Maria!
You good? You got big.
One meter 12.
Soon you'll be taller than me.
You were eagerly expected.
She collects all your articles.
Glued into a notebook.
Really?
At school everyone talks about you.
I brought gifts.
- What do you say?
- Thank you!
Are you doing well?
You didn't lose weight?
No.
I just have a crazy life.
There's rarely a connection to the story
but I'm naked.
I just read a script.
Naked in almost every scene.
There's even one where I cook pasta naked.
Ridiculous.
Besides Antonioni,
they all want me to redo Tango.
And not as good, if that's possible.
Nobody wants me fully clothed.
Vittorio Gassman says
he'll do a nude scene
only if there is no valid reason for it.
Just words.
You won't see Gassman's ass.
I know tons of people who find you great.
Great actress.
It's true.
On my way home last night...
I saw two guys.
When they got near me...
one said to the other...
"Pass me the butter."
They burst out laughing.
That's my fan club.
Your mother lives in Paris?
Yes, in the suburbs.
Sometimes I feel totally lost.
I don't know how to cope.
With what?
"With people, with what's going on."
With people.
With what's going on.
Cut!
I'm sorry.
Want to see the lines, Maria?
No, let's go.
All right.
Okay.
Silence!
Sound.
- Rolling.
- Clap!
14/2 take 11.
Start.
Does your mother live in Paris?
She won't be able to.
Fuck.
Why are you here?
I'm in trouble, Michel.
What?
I need money.
Fifty francs.
One hundred if you can.
You know what time it is?
The kids are asleep.
And we all wake up at 7:00.
I said I'm in trouble.
I'm family, dammit.
Go back to sleep.
Hey, honey.
You're a pain, Maria.
We'll talk tomorrow. Not now.
- Michel!
- Shh!
I said no, not tonight.
She'll wake up the neighborhood.
Where is it?
Ha?
Give it back, assholes!
Give it the fuck back!
Hey!
Hey. Stop screaming!
I left my moped here.
- Quiet!
- What?
First robbed, now silenced?
If the cops see you like this,
you'll go to jail.
I don't care!
They can look for my moped!
Stop!
You have marks all over.
Look!
You have tons of them.
If they catch you, it'll be six months.
Leave me alone!
What do you want?
Ha?
Did you steal my moped?
No?
So go back inside!
Go back inside and stop staring!
- You hear?
- Enough!
- Stop staring!
- Come!
What do you want?
I said, "Stop staring!"
Stop staring!
Stop staring.
Stop staring!
Go away!
- Hello, miss.
- Hello.
How are you this morning?
The night wasn't too rough?
Take up the Seroplex to 10 mg.
All right.
I had the phone put back on.
Starting Monday, you can have visitors.
- Goodbye, miss.
- Goodbye.
This is Marie-Christine.
Leave a message, I'll call you back.
Mom, it's me.
Maria.
I don't know if Michel told you.
I'm in the hospital.
I mean, in a clinic.
I wasn't well, but I'm better.
I got electroshocks.
I'm being treated now.
There.
I'm not a show-off anymore.
Get the address...
from Michel.
He'll give it to you.
I'd like you to come see me.
Miss?
Time to go back to your room.
I'm waiting for someone.
I know, but visiting hours are over now.
Ready to shoot?
So, move in on Maria
when he bites her, okay?
- And stay on her.
- Yes.
Is everyone ready? Lighting?
Checks.
We need to shoot now.
Go on.
Roll sound!
Silence!
Sound rolling! Silence!
Silence, please.
44/1 take 1.
Action!
Cut! Perfect.
You okay?
Yes.
Hello.
Oh, yes, come.
- You're writing a dissertation?
- Yes.
I can come back.
No, let's start.
Have a seat.
This film is different
from others you've done.
What made you decide to do it?
The story, the script?
The director?
The pleasure of shooting.
The money, too.
Even if there's not much money.
In your filmography,
which characters do you prefer?
What's your dissertation about?
The role of women in cinema.
What's your name?
Noor.
N-double O-R.
How old are you?
Twenty.
Close your eyes.
Today, what do you expect from a director?
For him to be clear.
Loyal.
That he take me seriously.
I imagine you get lots of scripts.
Do you like many roles?
No.
Most films are written by men for men.
Most directors are men.
The agents, too.
Men.
So, women's roles are limited
to pretty imbeciles or depraved lunatics.
Why take notes if you're recording?
I note what's important,
and listen to what I missed.
This is my first impression.
That's the second layer.
First one's always right, no?
Are people less forgiving...
of your "difficult" character
because you're a woman?
You mean after Last Tango?
You don't have to discuss it.
No, I will.
The problem with Bertolucci
is he wanted more than just characters.
So, if I felt humiliated,
for example,
he liked it.
He enjoyed it.
For him, Jeanne was humiliated, not me.
Except Jeanne's tears were mine.
For that scene,
I felt like I'd been raped by two men.
Marlon
and Bertolucci.
When it ended,
neither of them apologized.
Fortunately, I knew good times as well.
For example, The Passenger.
Then, I was happy.
On that film.
Did you see it?
Of course.
Did you like it?
A lot.
First time with a girl?
No.
Not at all.
How about you?
It's the first time
someone's made me feel like this.
To this extent.
Do you know I'm addicted to heroin?
No, I didn't know.
Well, I am.
Now you know.
It's been six years.
You still want to see me?
Yes.
N-double O-R.
Cut!
Gorgeous. Bravo.
Next set-up.
Wait.
Maria,
Andre would prefer you without a T-shirt.
- Excuse me?
- It's more realistic.
It's a bathroom.
Francois took a shower, he's naked.
So, I should be naked too?
Naked to put on makeup?
Just the top.
You believe the story we're telling?
Yes, I do.
And you need a specific bust size
to tell it?
No?
Then I won't get undressed.
Hear that, Andre?
It's not in the script, so it's no.
Did you like that take?
Yes.
Fine.
So, next set-up.
Okay, guys, next set-up.
It seems I signed a contract
and if I don't obey, I don't get paid.
You'll regret leaving another shoot.
Regret what? Being a whore?
That's over. I want to make movies,
not sell my ass.
That's over!
Olivier.
You?
Noor.
What?
Noor.
N-double O-R.
Where is that from?
Morocco.
You from there?
My father is.
I love Morocco, Marrakesh.
The parties. I go there often.
Come here often?
No, I hate it.
Hate what?
The nightlife, the annoying guys.
Excuse me.
Maria!
Maria!
Maria!
Please!
Please!
Call an ambulance!
Hurry, an ambulance!
Call an ambulance.
Look at me!
Look at me!
Please!
Please.
Where is it?
You won't find it.
Won't I?
Tell me where it is, you bitch!
Where did you hide it?
Open.
Open up!
Get out! Get out!
Where is it?
Tell me!
Tell me!
Tell me! Tell me!
- Where?
- Stop!
You shot up this morning.
That's all for today.
Please, it's too hard.
One more shot.
One more or I'll die!
Two is not possible.
You're a pain!
It's methadone, not dope.
That's what it's for.
I said, "No."
Go fuck yourself!
Here.
Thanks.
Why do you stay with me?
I don't know.
How do you feel?
I can't stand it anymore.
Hold on.
I'm here.
I loved Rivette's initial idea.
Two people who meet because...
the person they were supposed to meet
doesn't show up.
It's wonderful, right?
I loved working with Jacques Rivette.
It was an... "enriching experience,"
as they say.
And a beautiful film.
Thank you.
Well, thank you, miss.
Thank you very much.
- Goodbye.
- Goodbye.
Maria, Mathilde Perlado.
From l'Express.
- Hello.
- My pleasure.
Maria, it so happens
Bernardo Bertolucci is next door.
For his latest film.
Funny, right?
Do you want me to organize something?
I don't know, a lunch?
A photo-op?
It'd make a good article.
Thanks, but no.
I don't know who he is.
I don't know that man.
Excuse me.
Go on...