Lud, zbunjen, normalan - 173. epizoda (S7E5): https://dai.ly/x91jt8q (Sledeca epizoda)
Lud, zbunjen, normalan - 171. epizoda (S7E3): https://dai.ly/x91jt8m (Prethodna epizoda)
Lud, zbunjen, normalan - 171. epizoda (S7E3): https://dai.ly/x91jt8m (Prethodna epizoda)
Category
🚗
MotorTranscript
00:00I'm sorry, I'm sorry.
00:03I'm sorry, I'm sorry.
00:06I'm sorry, I'm sorry.
00:12A whip! A whip from hunger!
00:16It should have been a spoon, fork, knife a long time ago.
00:19And that Mary, as far as I know,
00:22commanding with a hammer and a sickle.
00:27Oh, crap.
00:29Let me see what's on the TV.
00:31Football.
00:32I don't know what she thinks,
00:34but it's the most important thing in the world.
00:38It is the most important, for sure.
00:40And if it's the most important, it's not you.
00:43Right?
00:44Here it is, the billiard.
00:47This is the game of Tana.
00:50It has logic and interest.
00:54I knew it! I knew it!
00:57You'll be here when...
00:59Where are you?
01:01Grandpa, you've become a star!
01:04Get out! Why are you so nervous?
01:07Break my ears, man!
01:09Okay, son, Damir, I'll tell him, he's here.
01:12What would he do if he didn't watch this billiard?
01:15Come on, hello.
01:16Son, Faruk.
01:18Hello, Faruk.
01:19Call Damir.
01:20What do you want?
01:21Do you know how long I've been talking about your Maria
01:26and what I tell her when I go to her tavern?
01:30Well, I'm talking to you right now, too.
01:32Oh, Mara.
01:35This billiard is getting worse and worse.
01:39Not that!
01:40And that, but not that.
01:43What do I tell her every time about that Basamak?
01:48Stepenec.
01:49Do I always tell her that she has to do something about it?
01:54Here, my dear, this is the famous Sanrem.
01:58Oh!
02:00I swear to God, I'll break this Maria's neck.
02:04Is that why you're running to the tavern like a tornado?
02:08Well, it's not up to me, it's up to Basamak.
02:11It's up to you and your tornado.
02:13What are you talking about, you sick son?
02:16Oh, my dear, you have dementia.
02:19Do you remember that you were the only one
02:23who fell from that Basamak?
02:25What did you do? Did you break a horse?
02:28A couple?
02:30Look, it's not up to Basamak.
02:33It's up to that crazy Samir who poured engine oil on Stepenec.
02:37It's important that what I told Maria
02:41comes true one day.
02:47Oh, my God, Mare, Mare, do you know what?
02:51I know how to fix Basamak.
02:53It's simple, a thousand times.
02:55Don't let me down.
02:57Okay, but watch what I'm about to tell you.
03:00You're going to break it yourself.
03:04That's what I told you.
03:07Wait, wait.
03:08What?
03:09You're not going to tell me, are you?
03:11That's what I want to tell you.
03:13Samir fell out of the hospital.
03:15Maria fell out of Basamak.
03:17She got a little drunk.
03:21That's how it usually is when you don't listen to your uncle Iza.
03:26I forgot.
03:32I forgot.
03:35Wait a minute.
03:39I didn't forget anything, did I?
03:43A thousand times I forgot.
03:45There was an empty tank in the basement.
04:05What's wrong with you?
04:08Come on, Mare.
04:09Easy, honey.
04:10If they're going to attack you, they're going to attack me.
04:13Thank you, Faruk, but I already have a stick.
04:16And me.
04:17What is this, please?
04:19Look at this sidewalk and these shoes.
04:21Why do I have to fly around in these clothes?
04:24Faruk, we agreed that you would fix the shoes.
04:28Maria, I made my own.
04:30Izet made this mess.
04:31Izet, you're just making fun of each other.
04:34As if you weren't even a bed before me.
04:37Yes, Mare.
04:38That's why I made it perfect.
04:40Hello, Izet.
04:41How are you?
04:42How are you, dear?
04:43As soon as you talk, I fix my own shoes.
04:46I'm good.
04:47I'm very sorry that my confusion has become true to you.
04:52It's not true.
04:53I'll give it to you.
04:55I got really angry.
04:58And if you think you're lying, and you think,
05:01I'll ask you to do it yourself.
05:04I'm not really in the mood.
05:06Mother, I'm not going to take any more.
05:08Here, I made coffee for you.
05:11Did you eat?
05:12Well, thank you.
05:14It will really heal me.
05:15I waited for this Faruk for three fat hours to come to me.
05:20I could afford it for that time.
05:22Well, I told you nicely.
05:23I ran out of fuel.
05:25But the car went over 50 meters.
05:28So I have a red ball.
05:30What do you need it for?
05:31Here.
05:32The coffee is here.
05:33I already drank it.
05:34I'm going to get dressed.
05:36Faruk, you have to go to production later.
05:39Why?
05:40That journalist is coming.
05:42Oh, I forgot.
05:44What journalist?
05:45That journalist.
05:46He wants to make a report about us.
05:48About Fazlinović?
05:50I asked him the same thing.
05:52About us?
05:53Why are we so interesting to Fazlinović
05:56that someone would want to make a report about us?
05:59No, not about you as a family.
06:02About the TV series you are making.
06:04You are not interesting to us.
06:06We should make a report about that.
06:08Yes, that would certainly interest people.
06:11Our new series will be a big hit.
06:14Don Žoan from Lipašin's Field, is that right?
06:17That's right.
06:18I wrote the script.
06:20Whoever reads it, says it's brilliant.
06:23Yes, and as you know,
06:25without a good director,
06:27the script is just a dead word on paper.
06:31Without a good script,
06:33you could direct the show,
06:35at the very least, this wedding.
06:37Get out of here,
06:38without a firm editorial stick,
06:41if someone asks you,
06:43there is no hit.
06:45You watch this until the afternoon,
06:47to get to production,
06:48I'm going to pee.
06:50They don't give interviews every day.
06:53Watch your hand, please.
06:56Give me that phone.
06:58Just so you know, Marija,
07:00Izet is right.
07:01He's been telling you for years
07:03that you have to fix those steps.
07:05We'll fix it.
07:10Faruk,
07:12somehow...
07:13I'm sorry I upset you a little while ago.
07:16I've been waiting for you for too long.
07:19I'll untie those buttons for you.
07:22Come on, Marija.
07:23Let me catch my breath.
07:28Hello, Meho.
07:29Marija Sharafova here.
07:31Yes, that Marija from Sanrevo.
07:33Look, I need something.
07:35Jump in as soon as you can,
07:37to my office,
07:38to fix those...
07:39forced steps.
07:41Will you?
07:42Okay, see you.
07:44There.
07:46If you had called him earlier,
07:48he wouldn't be in the gypsum now.
07:50The steps aren't just to blame
07:52for me falling down.
07:54There's another factor.
07:56What's that?
07:57That imbecile Fufe.
07:59What Fufe?
08:00He's to blame for me
08:02getting a nosebleed.
08:06Oh, God.
08:07Oh, numbers.
08:08No.
08:09Faruk will have to
08:11cut this wire from the phone.
08:13Cut it.
08:14This must be that Fufe,
08:16from Ivka,
08:17the brothers in America,
08:18the one with the hat and the bag.
08:21Tax inspector Malgazar.
08:27If only I knew
08:28where that imbecile
08:29got the idea
08:30to mess up like that.
08:31Yes.
08:32I'm begging you,
08:33cut the wire.
08:34If someone were to fire me,
08:36I'd call her to protect me.
08:38She's not afraid of anything.
08:40Who?
08:42Listen,
08:43if you want to
08:44cut the wire,
08:45all you have to do
08:46is lie down
08:47on your back
08:48and shout,
08:50Contraception!
08:52Contraception.
08:53Inspection!
08:54Inspection.
08:57I have a feeling
08:58someone advised him
09:00to cut the wire.
09:02Oh, God.
09:05Where did that idea come from?
09:07Where?
09:08He's too stupid
09:09to think that way.
09:10Tell me,
09:11what computer
09:12were you looking at
09:13when you were climbing the stairs?
09:15Let me see.
09:16Your phone
09:17from production.
09:19Here,
09:20find it.
09:21Someone was
09:22talking to the Americans
09:23for two hours.
09:24You have one
09:25on your gadget.
09:27Yes,
09:28I have one
09:29to kill him with.
09:30Really, Gubalan,
09:31push that antenna
09:32the right way,
09:33don't mess up
09:34the jam.
09:35Hey,
09:36what's this?
09:37Are you playing chess?
09:38Help yourself.
09:39Why is there no
09:40a drop of alcohol
09:41in this house?
09:42Maria,
09:43is Remo working?
09:44He is.
09:45Great,
09:46I'll go downstairs
09:47to drink your beer.
09:48Bye.
09:49There's a thin line
09:50between contemporary
09:51drinking
09:52and pure alcoholism.
09:53I'm afraid
09:54your little one
09:55is already
09:56crossing the line.
09:57I'm worried, Maria,
09:58about how
09:59Barbara
10:00left him
10:01drunk.
10:03Yes,
10:04but he has
10:05a genetic predisposition
10:06for alcoholism.
10:07He doesn't have
10:08an afternoon,
10:09he's already
10:10looking for it.
10:11You see,
10:12it's not my fault.
10:13In his years,
10:14I only got up
10:15in the afternoon.
10:17It's not good
10:18for anyone
10:19what he's doing.
10:20The sun is shining,
10:22just when I need it,
10:24I get drunk
10:25when I'm alive.
10:26Maria,
10:27I'm going to the bedroom
10:28to drink your beer,
10:29whatever it is.
10:30There,
10:31we finally solved
10:32the dilemma
10:33of who Damir is.
10:34Don't you think
10:35it's a rocket
10:36to just give an interview
10:37for TV?
10:38You see,
10:39at least that's why
10:40I drink.
10:41I can't give an interview
10:42if I don't drink.
10:43That way,
10:44I'll lose my temper.
10:45As for the interview,
10:46I thought
10:47we should make
10:48a strategy,
10:49huh?
10:50Say it.
10:51I thought
10:52you should praise the director,
10:53and I should praise
10:54the script.
10:56Sure,
10:57I'm in.
10:58Come on,
10:59there's nothing
11:00more stupid
11:01than when a man
11:02has to talk
11:03about himself
11:04affirmatively.
11:05You praise me,
11:06and I praise you.
11:07That's right.
11:08It's better
11:09when someone else
11:10praises you,
11:11not like here
11:12in Sarajevo,
11:13the director praises himself,
11:14the producer praises himself,
11:15everyone praises themselves.
11:16Agreed.
11:17Agreed.
11:19Maria,
11:20here's the antenna,
11:21now cut it
11:22so I can give you
11:23juice and honey.
11:24I just don't know
11:25where you're going
11:26and how it's pulsating.
11:27Let it be.
11:28Wait,
11:29let me
11:30take a look at you.
11:31Come out
11:32so I can see your clothes.
11:33Oh,
11:34they look
11:35very elegant.
11:36The button
11:37will be in front
11:38of the collar.
11:39Be nice
11:40and smart,
11:41Bogdan.
11:42My pleasure.
11:43I wish you
11:44all the best.
11:45Don't say
11:46anything to Fufe
11:47for the interview.
11:48He's reliable
11:49like a slave.
11:56Talk to me,
11:57Kufe.
11:58Where is Čombe?
11:59What is he doing?
12:00I don't understand
12:01how they didn't
12:02take him to the choir.
12:03He sings,
12:04that's Čombe.
12:05Ah,
12:06well,
12:07that makes sense.
12:08They can't take him
12:09to the women's choir.
12:10Tell him
12:11that every beginning
12:12is difficult,
12:13even his
12:14in his 40s.
12:15OK,
12:16nothing.
12:17Cheers,
12:18cheers,
12:19cheers,
12:20cheers,
12:21cheers,
12:22come on.
12:23Oh,
12:24my God.
12:25I'm so unlucky
12:26in front of Čombe.
12:27Wait,
12:28let me see
12:29what's on
12:30this cable.
12:31What is this?
12:32Cable shit.
12:33I don't know
12:34why this handkerchief
12:35is crying.
12:36When the cable
12:37doesn't work anymore,
12:38something is working.
12:39Now it's your turn.
12:45Hello,
12:46cable.
12:47Fufe is here.
12:48We don't have
12:49a TV.
12:50What Fufe?
12:51Well,
12:52Accord Production.
12:53Up above
12:54Cafe San Remo,
12:55you know?
12:56I'll call you back.
12:57Thank you.
12:58Let me see
12:59what that means
13:00right now.
13:01No,
13:02not before tomorrow.
13:03I need to see that.
13:18Good afternoon.
13:19Accord Production?
13:20Yes,
13:21excuse me.
13:22We're from the TV.
13:23Can we come in?
13:24What?
13:25From the TV?
13:26Yes.
13:27Oh,
13:28fuck me.
13:29Konto,
13:30you're so fast.
13:31Of course you can.
13:32Today we're good.
13:33TV.
13:36Here's the cable.
13:38Drive.
13:51Good afternoon.
13:52In today's episode
13:53Behind the Scenes,
13:54we visited
13:55an interesting team
13:56from the TV series
13:57Don Juan
13:58from Alipasha Field.
13:59Before we talk
14:00to the main actors
14:01of the TV series,
14:02let's watch
14:03a few of their interviews.
14:06Hey son,
14:07how are you?
14:10Don't ask me anything,
14:11father.
14:13My legs are dead
14:14and tired.
14:18Judging by the smell,
14:20they died
14:21about three days ago.
14:23I walked all day
14:25and I still
14:26haven't found a job.
14:28I don't know,
14:29but it's not good.
14:31You have to
14:32start bringing
14:33some money
14:34to this house.
14:36What?
14:37I don't need it.
14:38I just need
14:39some bread,
14:40a liter of milk
14:41and one cat,
14:42father.
14:43You want a cat?
14:45To drink milk,
14:46father.
14:49We just had a chance
14:50to see a few
14:51interviews
14:52from your successful
14:53Don Juan
14:54from Alipasha Field.
14:55Can you tell me
14:56what is key
14:57in production
14:58to make
14:59such a
15:00hit series?
15:01I would like
15:02to use
15:03a metaphor.
15:04A fish
15:05stinks
15:06or smells
15:07from its head.
15:09So,
15:10the answer
15:11to your question
15:12is
15:13the producer.
15:14Because
15:15it depends
15:16on the producer
15:17whether you will
15:18get
15:19a golden
15:20adornment
15:21of honey
15:22or a golden
15:23palm
15:24in Warsaw.
15:26Yes,
15:27but I suppose
15:28the script
15:29is also important.
15:30For example,
15:31your father,
15:32who we just
15:33saw in the inserts,
15:34he is the main actor,
15:35but also
15:36the screenwriter
15:37of this series.
15:38Yes.
15:39I'm glad
15:40you asked me that.
15:41In production,
15:42we really
15:43respect
15:44everyone's work
15:45and effort,
15:47but
15:48the producer
15:49is the creator
15:50of the whole.
15:53Well,
15:54that would be
15:55all.
15:56Thank you.
15:57Faruk,
15:58who's next?
15:59Well,
16:00the screenwriter
16:01is somewhere here.
16:02Hey,
16:03get out.
16:04Ah,
16:05it's time
16:06for the screenwriter.
16:07Son,
16:08I just need
16:09to take
16:10this
16:11concentration
16:12booster
16:13and this
16:14anxiety reducer.
16:15Come on,
16:16old man,
16:17now it's your turn.
16:18How was it?
16:19It was great.
16:20I said
16:21that the script
16:22is the most important.
16:23That your script
16:24is the most important,
16:25and that you're
16:26like this.
16:27Now you
16:28start the script,
16:29come on.
16:30Don't worry,
16:31son,
16:32you, me,
16:33and me,
16:34and you.
16:35Don't worry,
16:36son.
16:37Go,
16:38sit here,
16:39so we can
16:40go over
16:41the questions
16:42before shooting.
16:43Marica,
16:44why did you come?
16:45Why didn't you
16:46stay at home
16:47to lie down?
16:48Go lie down
16:49at home.
16:50I don't trust
16:51this little one,
16:52so she's a bit
16:53nervous.
16:54I told her
16:55to put me under
16:56this plaster
16:57to make me crazy.
16:58My nose is still growing.
16:59I can feel
17:00it's growing.
17:01Come on,
17:02sit down.
17:03Sit down, son.
17:04Sit down a little.
17:05Come on.
17:06Give me your leg.
17:07Here you go.
17:08Here's the antenna.
17:09Push it
17:10up, please,
17:11through that hole.
17:12Come on,
17:13push it.
17:14There.
17:15Is it good?
17:16Come on,
17:17push it a little deeper.
17:18Men are not
17:19talented.
17:20Push it.
17:21Push it.
17:22I'm pushing it
17:23deep, Maria.
17:24It's nothing,
17:25for God's sake.
17:26Doctor,
17:27I heard
17:28you're divorced.
17:29Is that true?
17:30Yes,
17:31I'm divorced.
17:35I think
17:36you've been practicing
17:37lately.
17:38Who's that fish
17:39who's getting
17:40a low start
17:41with John?
17:44I know her,
17:45Nikolina.
17:46She's been like that
17:47for days.
17:48That good fish
17:49is getting
17:50a low start
17:51with John,
17:52but he doesn't
17:53give a damn.
17:54She's getting
17:55a low start
17:56every day.
17:57He,
17:58who's a retard,
17:59doesn't see,
18:00doesn't hear,
18:01doesn't give a damn.
18:02I'm all
18:03cooked up.
18:04Is it hot for you,
18:05doctor?
18:06No,
18:07it's not.
18:08Not even snow.
18:09At least it was yesterday
18:10when I came here.
18:11I think
18:12I'm right.
18:13Doctor,
18:14can you check
18:15if I can hear
18:16your expert opinion?
18:17Here.
18:18Look,
18:19please,
18:20how my heart
18:21is beating so fast,
18:22doctor.
18:23Marija,
18:26completely normal rhythm,
18:27pulse
18:2970.
18:30I think it's
18:31completely normal.
18:32She's been like that
18:33for days,
18:34even though she's
18:35a bit ugly,
18:36so let's go
18:37help her.
18:38Look at her,
18:39look at him,
18:40she's twice as good,
18:41but he's
18:42a wimp.
18:43He's not a wimp,
18:44he doesn't know
18:45who he's messing with.
18:46On the outside,
18:47we know he's not.
18:48Faruk,
18:50don't be like that, Marija.
18:51I did mess up
18:52when it came to women.
18:53You did.
18:54But I have
18:55charisma.
18:57I'll tell him.
18:58What will you tell him?
18:59That she's flirting with him.
19:00If I tell him,
19:01maybe he'll look at
19:02what's obvious
19:03to everyone else.
19:04I, Marija,
19:05don't want to be fooled
19:06by my experience
19:07and say that
19:08it's not a good idea
19:09to be fooled by those things.
19:10Here's the antenna,
19:11you can clean it yourself,
19:12and I'm going
19:13to the clinic.
19:14It's best
19:15for me to keep my mouth shut.
19:17Well, then,
19:18maybe we'll see each other
19:19sometime.
19:20If you come here tonight,
19:21we'll probably see each other.
19:22I don't think
19:23I'll leave.
19:35Hey, Damir,
19:36what's up?
19:37Same goal,
19:38same distance.
19:39In other words,
19:40same shit.
19:42Let's have a drink,
19:43just the two of us.
19:44Sure.
19:45Thanks.
19:46Damir, give me
19:47a drink.
19:48And nothing new,
19:49not even on the emotional level,
19:50let's have a new girl,
19:51a new romance,
19:52something like that.
19:53Come on,
19:54you don't remember
19:55the last time
19:56I flirted with a woman.
19:57There you go.
19:58And you didn't even notice
19:59that a woman
20:00was flirting with you.
20:01Well,
20:02if she wants to flirt with me,
20:03I'm a totally uninteresting
20:04guy.
20:05Believe me,
20:06I know.
20:07Damir,
20:08you're,
20:09above all,
20:10a charming guy.
20:11Yes, yes,
20:12say something.
20:13We, women,
20:14sometimes send
20:15specific signals
20:16that clearly
20:17give the man
20:18the information
20:19that we like him,
20:20that he attracts us.
20:21And you,
20:22you don't even have
20:23a receiver
20:24for that kind of signals.
20:25What do you mean?
20:26Well,
20:27that you like women,
20:28and she does everything
20:29to give you information,
20:30to flirt with you,
20:31mercilessly.
20:32And you,
20:33like a dead horse,
20:34I don't know,
20:35Damir,
20:36what else
20:37do we women
20:38have to do
20:39to attract
20:40the man
20:41that we like?
20:42Well,
20:43I don't know
20:44what else
20:45do we women
20:46have to do
20:47to make it clear
20:48to you
20:49that we like you,
20:50that you attract us.
20:51Maria,
20:52are you saying...
20:53Maria,
20:54darling,
20:55are you normal?
20:56What?
20:57Don't you think
20:58that you're attracted
20:59to women?
21:00Oh,
21:01shame on you!
21:02Don't you understand
21:03what I'm talking about?
21:04Well,
21:05you're not normal!
21:06How dare you
21:07come up to me
21:08and say something like that?
21:09That's not the point.
21:10What is the point,
21:11huh?
21:12Oh,
21:13you,
21:14you,
21:15you evil,
21:16evil man!
21:19Why are you
21:20putting me in a fix?
21:22Maria,
21:23why is this
21:24getting worse
21:25little one?
21:26I wouldn't even
21:27know how to repeat this.
21:28I told you
21:29not to make a fuss.
21:30No,
21:31no,
21:32no,
21:33I wouldn't want
21:34you to have
21:35the wrong impression
21:36because I'm
21:37a screenwriter.
21:38I mean,
21:39there's no dilemma
21:40that for success
21:41of a series,
21:42the most important
21:43is the screenplay.
21:45You have to know
21:46that many directors
21:47have made
21:48great screenplays,
21:49they've made
21:50a ton of films,
21:51and none of them
21:52could make a good film
21:53out of a bad screenplay.
21:56In other words,
21:57you need a screenwriter
21:58if you don't have
21:59a good proposal,
22:00dear viewers.
22:03Yes,
22:04but a director
22:05is a creator
22:06of a whole,
22:07right?
22:08Listen,
22:09a thousand directors
22:10and directors
22:11in the Ministry,
22:12but there's only
22:13one Branslav Nusic,
22:15simply
22:16like a bean.
22:17He was the main
22:18screenwriter
22:19and the main actor
22:20of the series
22:21Don Juan
22:22from Ali Pasha's Field.
22:23Let's watch
22:24a few more
22:25inserts from the series
22:26and we'll come back
22:27to talk to some
22:28of the protagonists
22:29of this
22:30successful series.
22:33Done.
22:34Thank you,
22:35Mr. Fazlinović,
22:36it was great.
22:37It was a pleasure.
22:38Who else do we have?
22:39We have Barbara,
22:40she's our main
22:41female character,
22:42but she's late.
22:43You know
22:44what kind of actresses
22:45there are.
22:46Okay,
22:47do we have anyone else?
22:48I mean,
22:49I'm waiting for her.
22:50Maybe this actor,
22:51we saw him
22:52in the inserts.
22:53No,
22:54no,
22:55he doesn't like
22:56to give interviews.
22:57What idiot
22:58won't give an interview?
22:59I don't know,
23:00the director says
23:01you're not
23:02ready to give an interview.
23:03Me?
23:04Who says
23:05I'm not ready?
23:06I'm very ready.
23:07On the contrary,
23:08I'm very excited.
23:09Fufe,
23:10I don't think
23:11that would be
23:12the smartest thing to do.
23:13Then let's go
23:14to the set of the series
23:15and talk.
23:16Oh,
23:17very great,
23:18very great.
23:19I've always wanted
23:20to give an interview,
23:21at least to a journalist.
23:22Wait,
23:23are you a journalist?
23:24I am,
23:25I mean,
23:26I work on TV.
23:27Well,
23:28you're a TV guy.
23:29This idiot
23:30won't give an interview.
23:31He'll bury us.
23:32I'm sorry,
23:33Mr. Journalist,
23:34I just have
23:35something to say
23:36to Fufe.
23:37He says
23:38that one,
23:39me and Izet
23:40will stand behind the camera
23:41and give you
23:42the signs.
23:43You don't have to
23:44complicate anything.
23:45Just answer
23:46simply
23:47with
23:48yes
23:49and no.
23:50No problem,
23:51chief.
23:52I'm counting.
23:53Let's go.
23:56Listen,
23:57start
23:58from me
23:59loudly
24:00and then slowly
24:01move to the double shot.
24:02Are you counting?
24:03Okay, let's go.
24:04Mr. Fufe,
24:05how are you?
24:06Yes,
24:07we're good.
24:09Are you satisfied
24:10with the way
24:11the filming is going?
24:13Yes,
24:14yes,
24:15we're very
24:16satisfied
24:17with the way
24:18the filming is going
24:19and
24:20we're satisfied
24:21with the way
24:22the filming is going
24:23in the future.
24:24My answer is yes.
24:25Is there anything
24:26in the filming
24:27that doesn't suit you?
24:28Something you're not
24:29completely satisfied with?
24:31No,
24:32no,
24:33there's nothing
24:34in the filming
24:35that doesn't suit us.
24:37My answer is no.
24:39I heard
24:40that you lived
24:41in America,
24:42or rather,
24:43lived and worked
24:44in Hollywood.
24:45Yes.
24:47When you compare
24:48the Hollywood production
24:49with the production
24:50in the region,
24:51do you like
24:52the series
24:53that are shown
24:54here?
24:56Yes
24:57and no.
24:59Yes and no.
25:01I don't know
25:02how to say
25:03yes and no.
25:04In other words,
25:05how can I say no?
25:09Thank you.
25:15I can't believe it!
25:17Are you sure?
25:18I'm 100% sure.
25:19I'm not crazy.
25:20She says
25:21how much I like her,
25:22how it's wrong
25:23that I don't notice
25:24the signals
25:25she sends me.
25:26How can I notice
25:27those signals?
25:28How?
25:29I didn't even think
25:30that something like that
25:31could happen.
25:32Come on, son.
25:33She's an experienced
25:34witch.
25:35If she managed
25:36to scare you,
25:37it would be hard
25:38to defend yourself.
25:39I'm telling you,
25:40there's no chance
25:41that I could do
25:42something like that
25:43to my old man.
25:44Be careful, son.
25:45I'm begging you.
25:46Be careful.
25:47Don't let her
25:48seduce you.
25:49There's no chance.
25:50Men.
25:51And we,
25:52men,
25:53are not really
25:54sensible
25:55when women
25:56are offered to us.
25:57We usually let them go
25:58because we don't think
25:59in our heads
26:00that at that moment
26:01this head
26:02will come out.
26:03You say that
26:04for yourself.
26:05I'm different.
26:09Damir,
26:10I need you.
26:11Do you want me
26:12to come over
26:13and talk to you
26:14a little bit?
26:16There's nothing
26:17for you and me
26:18to talk about.
26:19That's it, Damir.
26:21Damir,
26:22don't force me
26:23to repeat myself.
26:24You're supposed
26:25to make yourself
26:26there in the room
26:27in ten seconds.
26:28Whatever.
26:30Oh,
26:31you're so sharp.
26:32I'm going
26:33to put her
26:34on the list now.
26:35Son,
26:36I'm begging you,
26:37be careful.
26:38I'm telling you
26:39again.
26:40Don't let her
26:41seduce you.
26:42Don't let her
26:43think
26:44with this head.
26:45Don't worry.
26:46I'll be back
26:47in five minutes.
26:48Come on.
26:50Oh,
26:51listen.
26:52Mezhet,
26:53this is the last time.
26:54Whenever,
26:55whoever,
26:56wherever you give me
26:57any interview.
26:58I know, chief.
26:59I know, I know.
27:00You're Mezhet.
27:01Yes.
27:02And Mezhet
27:03has no right
27:04to give any interview.
27:05That's right, chief.
27:06That's right.
27:07No other way.
27:08So, let's repeat.
27:09If any television comes in,
27:10internet,
27:11new media,
27:12what is Mrki Mezhet
27:13doing?
27:15Mrki Mezhet
27:16at that moment
27:17flies,
27:18gallops,
27:19grabs the computer
27:20and runs as fast
27:21as he can.
27:22So, you jump
27:23through the window
27:24and you jump
27:25through the closed
27:26window if necessary.
27:27Clear, chief.
27:28If necessary,
27:29and listen.
27:30The horse
27:31gallops
27:33and Mrki Mezhet
27:34runs.
27:35I'm going
27:36to the toilet
27:37to celebrate
27:38the first time
27:39you understood
27:40something in your life.
27:41Yes, chief.
27:45So,
27:46Mezhet
27:47runs
27:49and the horse...
27:50Go.
27:51Go, asshole.
27:52What are you doing?
27:53Close the door.
27:56Let's repeat.
27:57Mezhet runs
27:58and the horse
27:59grabs him.
28:01Good day.
28:02Production Accord?
28:03Yes, please.
28:04We are from the TV.
28:10Fufo!
28:11Fufo!
28:14Fufo, what's going on?
28:16Good day.
28:19What do you want?
28:20We are from your cable operator.
28:22We have a request
28:23for a TV.
28:24Yes, yes.
28:25The TV is here.
28:26The TV.
28:28What's that?
28:29Who broke the window?
28:30We have nothing to do with it.
28:31When we came in,
28:32your colleague
28:33jumped on his head
28:34through the closed window.
28:36Asshole!
28:38Mezhet runs
28:40and the kangaroo jumps.
28:42Oh,
28:43you didn't think...
28:45You thought
28:46about...
28:47About Nikolina.
28:48It's normal
28:49that I thought about Nikolina.
28:50I didn't think about myself.
28:51Shame on you,
28:52Damir.
28:54How could you
28:55go through
28:56your head
28:57filled with alcohol?
28:58Ungrateful.
28:59I'm telling you,
29:00you know,
29:01that's how you think about me.
29:02About me,
29:03who takes care of you.
29:04I take care of you.
29:05I wash you,
29:06I clean you,
29:07I cook you,
29:08I sing to you before bed,
29:09I lower your temperature
29:10when you're sick,
29:11I go to your parent's...
29:12Hey, what parent's?
29:13Okay, I don't go to your parent's,
29:14but even if I did,
29:15you would still be ungrateful.
29:16I really have to
29:17stop drinking.
29:18I'm really starting to get lost.
29:19Mara,
29:20I'm begging you,
29:21I'm begging you,
29:22I'm sorry.
29:23I really don't know
29:24what to tell you.
29:25I have to ask you,
29:26do you really think
29:27that this
29:28Nikolina,
29:29that she
29:30threw herself at me,
29:31huh?
29:32Oh,
29:33it's easy to say.
29:34Well,
29:35you fool,
29:36look,
29:37the woman
29:38who didn't write
29:39on her forehead
29:40Damir,
29:41I want to sleep
29:42with you.
29:43And on her breasts
29:44she wrote...
29:45She, Damir,
29:46she
29:47wrote on her breasts
29:48Damir,
29:49and I wouldn't
29:50look at what
29:51she wrote on my forehead.
29:52What's she like?
29:53Did you get it
29:54or do I have to repeat it?
29:55I got it, I got it.
29:56Oh, how did you
29:57break my leg?
29:58Oh,
29:59I know,
30:00you really know
30:01how to be uncomfortable,
30:02huh?
30:03You have no idea
30:04how much.
30:05Here,
30:06this antenna is for you.
30:07Come on,
30:08I'm begging you,
30:09I'm begging you.
30:10Come on,
30:11push it,
30:12push it,
30:13I can't reach it.
30:14Come on,
30:15here,
30:16through this hand.
30:17Here?
30:18Yeah,
30:19here,
30:20here.
30:21Is it good here?
30:22The antenna,
30:23it's not working,
30:24maybe the kid
30:25didn't let it go.
30:26If he did,
30:27it would be
30:28a disaster
30:29for Fazlinović.
30:30Push it,
30:31you can do it.
30:32Push it,
30:33push it,
30:34you can do it,
30:35I can.
30:36Come on,
30:37come on.
30:38Here.
30:39Oh,
30:40you're scratching
30:41my skin,
30:42just don't stop.
30:43Here,
30:44push it,
30:45push it.
30:46It's cramping.
30:47Here,
30:48push it.
30:49Enough!
30:50Enough!
30:51Marvopolička, you are the richest man in the Grbac people!
30:58I'm going to protest on the street.
31:01Enough, Marvopolička!
31:04What was that?
31:05Something caught him.
31:07Where did we stop? Let's go, let's go.
31:09Let's go. That's it.
31:18I don't know what you think,
31:20but I have a feeling that I didn't emphasize enough
31:26what I wanted to say.
31:28I have a feeling that I was left out.
31:31That's not a problem. We can record another speech.
31:35That wouldn't be bad.
31:36I would like to emphasize the importance
31:39of the intellectual directing concept.
31:43We just used the space. We recorded from all angles.
31:47We can go to my production.
31:50I think it's a good idea.
31:52That's a good idea. Let's go.
31:54Come on, guys. Pack your things. Let's go.
31:56Come on. Pack your things.
31:59Technician Halašo!
32:01What are you doing here?
32:04Hurry up!
32:05So, it's not a joke.
32:07I have a 100% pass with this little Nikolina.
32:09Definitely.
32:11When I tell you, and the moment you look at her,
32:14ask her to go out with you.
32:16If she rejects you, I'll re-register San Remo on you.
32:21Boss, it's done. I'm leaving.
32:24See you later, Meho. Thank you very much.
32:27You're welcome.
32:28You should have fixed those stairs.
32:30I couldn't listen to Gizet anymore.
32:32I was about to get kicked on the head.
32:35Maria, my dear,
32:37these are just pure horrors.
32:41Someone will die worse than you, my dear.
32:44You're not right.
32:46You were here with the technician,
32:48and the stairs were fixed.
32:50They're really fixed.
32:52At least I got used to not falling.
32:55Where's Faruk?
32:56He went out with the journalists.
32:58I think they're in the production.
33:00Really?
33:01I guarantee it.
33:02It's that interview again.
33:04I have to prevent it as soon as possible.
33:06They're fixed.
33:08My shoes are fixed.
33:10If I could fix the elevator here,
33:12the stairs would fall again.
33:16Here it is.
33:17Kid, now or never.
33:19And don't you dare ask Mahia.
33:22I'm running to the bar.
33:25Maria!
33:27Hi, Damir, how are you?
33:29Here you go.
33:30Thank you.
33:31I'm good, I'm good, I'm good.
33:33I hope you're well.
33:34It's great that you came.
33:36I want to ask you something.
33:38Only if you want.
33:39Of course, if you want.
33:41If you want, I'd like to ask you
33:43if you'd like us,
33:44only if you want, of course,
33:46to go to some breakfast, lunch, dinner,
33:48chocolate, ice cream.
33:50You know, I've been waiting for you to ask me that.
33:53Really?
33:54Yes.
33:55Great.
33:56I'll pick you up tomorrow night.
33:57I'd love to, Damir.
33:58Great, great.
33:59Where are we going?
34:01There's a great, great restaurant.
34:03It's called La Pomodoro.
34:05Great food.
34:06Everyone says so.
34:07I know, I know.
34:08I heard.
34:09The food is great,
34:10but the prices are great, too.
34:11It's just like a barbecue.
34:12What's missing?
34:13You're a doctor.
34:14I guess a doctor can afford
34:15a dinner at La Pomodoro.
34:17I am a doctor,
34:18but I'm in some kind of debt.
34:20I'm in debt,
34:21then I pay for food,
34:22the child is there,
34:23the job doesn't go well,
34:24this doctor is not the most solvent.
34:27What's that?
34:28I mean,
34:29if I had money,
34:30I wouldn't be drinking this shit here at Maria's.
34:32This is what we agreed on yesterday.
34:34Now I remember.
34:35I have something I can't postpone.
34:37I'm in debt tomorrow.
34:38Then we'll go the day after tomorrow.
34:40We can't go the day after tomorrow.
34:42I have something so important the day after tomorrow.
34:44When I think about it,
34:45I'm in debt for a whole year.
34:48I can't.
34:49Bye, doctor.
34:52In debt for a whole year.
34:54Did she burn me?
34:56No.
34:58She burned you from the catapult,
35:00my doctor.
35:01She burned you from the catapult.
35:03It's incredible how quickly
35:05you always find the right words
35:07to drive a woman away from you.
35:10Well done.
35:11Give me more.
35:12We continue our conversation
35:14with director Faruk Fazilinović.
35:16Mr. Fazilinović,
35:17can you tell me,
35:18you were a little late,
35:20you said she was a director.
35:22Actually...
35:24Oh, sorry,
35:26I'll be late.
35:27Let me help you, son,
35:28so I can sit down.
35:29Come on.
35:30I had a brilliant idea for the script.
35:34Here,
35:35we have a scriptwriter with us,
35:38so I'll rephrase my question.
35:41Can the two of you tell me
35:43what is the most important element of production
35:46for a TV series to be successful?
35:53The script...
35:56The script,
35:57if you haven't heard,
35:58I hope you haven't.
36:00You're smart.
36:01You're smart, too.
36:04You're spoiled,
36:05like a mule.
36:09Dad!
36:10Tell me, dear,
36:12we got 100 marks on the fridge.
36:15Great!
36:16Give them all to my parents.
36:19But no,
36:20they're mine.
36:21I paid for the leaflet.
36:23Dad gave it to you to pay.
36:26But no,
36:27I'll pay you your 5 marks.
36:29The rest is mine.
36:31You're not normal, son.
36:34Give them to me.
36:35No, they're mine.
36:36They're mine.
36:37They're mine.
36:38They're mine.
36:40God,
36:41son,
36:42you've gone too far.
36:57THE END