Lud, zbunjen, normalan - 170. epizoda (S7E2)
Lud, zbunjen, normalan - 171. epizoda (S7E3): https://dai.ly/x91jt8m (Sledeca epizoda)
Lud, zbunjen, normalan - 169. epizoda (S7E1): https://dai.ly/x91jt8k (Prethodna epizoda)
Lud, zbunjen, normalan - 169. epizoda (S7E1): https://dai.ly/x91jt8k (Prethodna epizoda)
Transcript
00:00Wait, wait, you're telling me that I only tell him that if I want to make a beer?
00:15Okay, okay, I'll try.
00:17Come on.
00:18And tell me, please, what does this State of America have?
00:21Oh, Kufa, I know it's expensive to talk on a mobile phone with State of America,
00:26but you don't admit that this is not my mobile phone at all.
00:29Come on, tell me.
00:31Don't tell me that they let you go again.
00:34Come on, Kufa, for God's sake.
00:36Mala, are you new?
00:38I am, I started working a few days ago.
00:40Great, give me another one.
00:42Damir, when you ordered the second brandy, you said,
00:45I came for two legs, I want to drink two brandies.
00:48Where am I?
00:50This is your fourth.
00:51Maybe I came for two legs, but I plan to go out for all four.
00:56Srećo, what's your name?
00:59Suada.
01:00Suada, my soul, give me five.
01:02My life is a total shit.
01:05Damir!
01:06Don't worry, you know what?
01:07I was just talking to a local, you know,
01:09with one of my friends from Ali Pasha's field.
01:11You know, it didn't even cost five francs.
01:14Mentoriška, do you want to pay for the beer or not?
01:18Run, Kufa, you're always looking at me.
01:20Run.
01:21Republic of Kosovo.
01:24My mother calls me so well.
01:26Suada, give him a beer.
01:28Republic of Kosovo.
01:30My sunshine, look at me.
01:32Where are they?
01:33I just had them.
01:35Oh, brothers.
01:37Okay, here they are, in front of my eyes.
01:41Oh, Faruk.
01:43Oh, that's good.
01:45I didn't know you could do that.
01:48Faruk, my dear.
01:50Where did you learn how to massage a bat?
01:54I'm sorry, but I've never told anyone about this.
01:58I'm ashamed.
01:59I have a trauma from my childhood.
02:01When I was little,
02:03my uncle always forced me to massage a bat.
02:07He'd come home from work, take off his shoes,
02:09take off his socks,
02:11and he'd force me to massage a bat.
02:14That's the biggest trauma of my childhood.
02:17You see, I told you so nicely back then.
02:22Massage, son, massage.
02:24You never know when it's going to happen in your life.
02:28Is it going to happen?
02:48What's wrong with you?
02:52Come on.
02:54I'm not good, Damir.
02:56I'm not 100% good.
02:58Wait, uncle.
02:59Let's drink some rakija first.
03:01You want one?
03:02Ever since Izet came back,
03:04we've had his miraculous maksuzija again.
03:08This is pure medicine for you.
03:10You know what?
03:11Maksuzija's been bothering me a lot lately.
03:14Let me go, I've got a problem.
03:17Look at me.
03:18This is my first rakija in 15 days.
03:20And this is my first rakija in the next 15 days.
03:23Cheers.
03:24Cheers.
03:29Damir, I'm telling you, I'm not good at all.
03:35Fuck, what is this?
03:37I've never tried anything like this in my life.
03:39Loza?
03:40Loza, Loza.
03:41And it's from Pop's field.
03:43Izet's secret log.
03:44It's strange that it's so vital.
03:46It goes up like cocaine and down like heroin.
03:49I could recognize the elements of elixir.
03:52Thank you for that analysis.
03:54But what?
03:55You have a stomachache?
03:56Yes, Damir.
03:57You know what?
03:58In the last couple of days, not at all.
04:01What kind of medicine do you take?
04:03Nothing.
04:04Just olive oil and cooking chocolate.
04:07Olive oil and cooking chocolate?
04:09Expensive?
04:10What's expensive?
04:11God forbid.
04:12Tommy Chumba recommended it to me.
04:14He says I'm confusing shit.
04:16You know, olive oil makes you sick,
04:19and chocolate makes you sick, you know.
04:22And then shit is really confusing.
04:25Did it help you?
04:26Even worse.
04:27Here, doctor, I'll just rely on you now.
04:30I'm not a gastrointestinal specialist,
04:32but I'll send you to my colleague.
04:34He's a gastroenterologist.
04:36Wait, Damir, don't.
04:37I'm begging you.
04:38I thought you were going to send me to a real doctor,
04:41not some gastroenterologist.
04:44Trust me, Fufe, this is a doctor for you.
04:47And if you ever want to build a chest,
04:49or shrink your nipple,
04:51contact me.
04:52Deal?
04:53I don't agree.
04:54Why would I shrink my nipple?
04:56Why would you build a chest?
04:58That little one of mine isn't normal at all.
05:03With whom, doctor?
05:04You won't believe it,
05:05but I'm with that genetic mutant Fufe.
05:08He doesn't care who he's messing with.
05:11He's just messing around.
05:13You know what?
05:14I feel like firing a shot at him,
05:16five or six times.
05:18What about the nipple?
05:19What did they agree on for the nipple?
05:21I have no idea.
05:22He didn't tell me anything about the baby.
05:25Hey, Golubchik,
05:26a cup of coffee?
05:28Sure, sure.
05:29Come on, sit down.
05:35Here you go.
05:36Thank you.
05:37Here you go, Markic.
05:38Excuse me?
05:39Oh, sorry.
05:40You dropped it.
05:41Listen, son,
05:42I know it's hard for you.
05:44I know Barbara's nagging you,
05:46and I understand.
05:47But you've really come to your senses.
05:50You're messing with Fufe.
05:52I can't believe it.
05:53You're a doctor!
05:54I'm not messing with Fufe.
05:56What's the matter with you?
05:57He's got health problems,
05:59so he's here to consult me.
06:02Look at him.
06:03Look at what he's doing.
06:04He's pouring the coffee.
06:05Why?
06:06He's pouring it in a Bosnian way.
06:07Want to try?
06:08Damir, are you serious?
06:09The court will forbid you
06:10from seeing Djebra.
06:12I rarely see him.
06:13Won't Djebra live with us?
06:15He's staying with Barbara.
06:17Did Izet know about that?
06:19How did Izet react
06:20when he heard
06:21Djebra wouldn't live with him?
06:22Well, since it's about
06:24a pretty crazy person,
06:26he reacted reasonably.
06:28Reasonably.
06:29Reasonably.
06:35Damir, son,
06:38what exactly does that mean?
06:42When can I see
06:44my brother-in-law Djebra?
06:46That's why my kitchen was demolished.
06:49He's an absolutely incredible man.
06:53I'm just amazed and jealous
06:56how much he loves Djebra
06:58and how careful he is with her.
07:01When I was little,
07:03my only intimacy with Izet
07:05was when I washed his feet
07:07and massaged his calves.
07:09Until I was six,
07:11I thought my name was
07:13Ostavito,
07:14and I called him horse.
07:16He only called me
07:17Ostavito the horse.
07:20Ugh.
07:22We'll work on that.
07:24Tell me this.
07:25Did you make any arrangements
07:26with Barbara?
07:28Barbara won't talk to me.
07:30Izet was with her yesterday.
07:31So?
07:32First, she didn't want us
07:33to see the little one.
07:34She's stubborn as a mule.
07:36No way!
07:37That's right.
07:38God, I wouldn't
07:39get along with you at all.
07:41And you don't care about that.
07:43Maybe you could
07:44be interested in something else.
07:46What's that?
07:47When I was in Sweden,
07:49I didn't just hang out there
07:51and chase these
07:52greedy Swedish
07:53half-wits and loafers
07:55like you do
07:56when you're talking
07:57about couloirs.
07:58It was good, but...
07:59But?
08:00But you were doing
08:01something else.
08:02Yes, yes.
08:03And I, my dear,
08:04wrote a script.
08:07A script?
08:08I wrote a script
08:09for a play,
08:11a comedy,
08:12just to make you laugh.
08:17It's called
08:18Don Juan
08:19from the Alps.
08:20Come on, Izet,
08:21don't make me laugh.
08:22I really don't have time for that.
08:23No, no, no,
08:24don't make me laugh, Bulan.
08:25This Bakir Masnica,
08:27when he read
08:28the first episode,
08:30he laughed so much
08:32that he had to come
08:33to Kocena
08:34as soon as he could.
08:35Bakir Masnica?
08:37The general director
08:39of TV in the Alps?
08:40Yes, general.
08:41Bulan says
08:42the series is great.
08:44He bought 24 episodes.
08:46We're filming
08:47in Faruk's production.
08:48That's why
08:49I came back from Sweden.
08:52Really?
08:53And?
08:54We're filming.
08:55We need
08:56an actress and an actor.
08:57Okay, you have
08:58a wife,
08:59a dog,
09:00and a dog,
09:01but when you were in America,
09:03the generation came out
09:05better and better.
09:12The main female role.
09:13You see the girl
09:14half an hour
09:15once a week.
09:17A slow female role.
09:19I see the girl
09:20half an hour
09:21every other day.
09:23The main female role.
09:24You see the girl
09:25half an hour
09:26every third day.
09:27The main female role.
09:29I see the girl
09:30half an hour
09:31every other day.
09:34The main female.
09:38Izzet.
09:39Izzet wrote
09:40the script
09:41for the series.
09:42Mare,
09:43I didn't get to tell you.
09:45I read it
09:46and it's not bad at all.
09:47Don Juan from the Alps.
09:49That's his name.
09:50Yes,
09:51he sent it
09:52via Swedish e-mail
09:53to the TV director
09:54Bakir in Masnica.
09:55He really liked it.
09:57Wow,
09:58you'd do it too?
09:59You?
10:00Why wouldn't I
10:01when Bakir liked it?
10:04Hello, producer.
10:05How do you think
10:06you can make
10:07such important decisions
10:08without talking to me?
10:10Mare,
10:11what do you have
10:12to do with production?
10:15What do you have
10:16to do with hospitality?
10:17Every day
10:18you mess up
10:19the way I run the café.
10:20Who messes up?
10:21You!
10:22For example,
10:23at night.
10:24Beer is good,
10:26but if a bottle
10:27of vodka
10:28was colder
10:30it would be dark.
10:32But, dear Mare,
10:33I really understand
10:35the temperature oscillation
10:37caused by the glass
10:39effect on the beer bottle.
10:42What are you blabbering about?
10:43Well,
10:44your hospitality
10:45has nothing to do with it.
10:46Do you appreciate my work?
10:48Me?
10:49You.
10:50No, never.
10:51What do you want?
10:52Leave that to her.
10:55I want
10:56to ask
10:57when this family
10:58invests money
10:59in something.
11:00That's what I want.
11:01Well,
11:02let her read the script
11:03and let her say
11:04what she thinks.
11:05Okay,
11:06I'll give you the script,
11:07but tell me
11:08what you think
11:09by tomorrow.
11:10Because tomorrow
11:11I have a meeting
11:12with Bakir Masnic.
11:14Where is he?
11:15I haven't seen him
11:16all day.
11:17Oh,
11:18he went for a walk.
11:19Today is the first day
11:20he's with her.
11:24Your mom
11:25will come
11:26to get you soon.
11:27You know,
11:28she wants
11:29your great-grandfather
11:31to give you something.
11:33Look what I bought
11:34for you
11:35in Sweden.
11:36Look at it.
11:38Money?
11:39Yes, money.
11:40Well,
11:41Mom won't give it to me.
11:43She doesn't have to know
11:44about it.
11:45Let it be
11:46our little secret.
11:47Okay?
11:48Okay.
11:49Hey,
11:50hold it
11:51under the pillow
11:52so that it
11:53vibrates.
11:54How do you say it?
11:55Vibrates.
11:56So that it vibrates
11:57and when
11:58your great-grandfather
11:59calls you,
12:00you show up
12:01so that no one knows.
12:02Hide it.
12:03Here it is.
12:04Here it is.
12:05It's here.
12:06It was here.
12:07Twenty-nine.
12:08Fifty-eight.
12:09Fifty-nine.
12:10Fifty-nine.
12:11Sixty seconds.
12:12Half an hour has passed.
12:13Gramps, kiss Grandpa.
12:14Let's go.
12:15Come on, kiss Grandpa.
12:16Kiss Grandpa.
12:17Let's go.
12:18I read the script.
12:19Yes.
12:20It's not bad.
12:29Hello?
12:30Fufe, can you hear me?
12:32You know, Fufe,
12:33that Rukvas told us
12:34to clean the equipment.
12:36We're about to start filming.
12:38Here I am.
12:39Here I am.
12:40I'm just entering the production.
12:41Well, I stayed at the doctor's.
12:43Why did you go to the doctor's?
12:45Oh, fuck.
12:46You know, I can hear you well.
12:47It's like we're in the same room.
12:48Fufe,
12:49we're in the same room.
12:52Well, why are you calling me
12:53on the cell phone?
12:55You're wasting your phone.
12:56Stop following me, please.
12:58Let it go.
12:59Why did you go to the doctor's?
13:00I have a rare disease, you know.
13:02I have gastroenteritis.
13:05My stomach hurts.
13:06I hear that.
13:07I have incontinence.
13:08Incontinence?
13:09What?
13:10Incontinence.
13:12You know,
13:13that's the inability
13:14to hold your breath.
13:15In other words,
13:16uncontrollably farting.
13:18Here.
13:25Oh, mother of God.
13:28Oh, mother of God.
13:35Oh, mother of God.
13:38Oh, mother of God.
13:42Listen up, everyone.
13:45The 2024 plenum is starting.
13:50Hello, Izet, hello.
13:52What are you doing?
13:54There are people here
13:55who would like to join us.
13:56You would like to join us?
13:58And those houses,
13:59these problems,
14:00let them solve themselves.
14:01Let me go,
14:02rich man.
14:03I'm like a boss.
14:04Anyway, dear,
14:05I have a great tactic
14:07against Murluk.
14:09Tell me, grandpa,
14:10what is it?
14:11Alcohol reduces,
14:12my dear son.
14:13Sit down.
14:14The plenum
14:15of the Central Committee is starting.
14:17Have you heard
14:19the last call,
14:21the last call?
14:23Oh, mother of God.
14:25People invented phones,
14:27cell phones,
14:28e-mails,
14:29text messages,
14:30but you don't care.
14:31You like these pans
14:32and wooden spoons,
14:33so use your brain
14:34with that megaphone.
14:36I'll be right back.
14:37Oh, Izet,
14:38what are you doing?
14:40You're shaking,
14:41as if it's a Chevrolet Corida.
14:43Friends,
14:44dear friends,
14:45Maria,
14:46we're all here.
14:47The materials are on the table.
14:49Sit down,
14:50so I can open the chair.
14:52You're calling
14:53one of your famous meetings.
14:55Him?
14:56The plenum
14:57of the Central Committee
14:58is starting.
14:59Maria, he's like that
15:00when he's drunk.
15:01We don't need
15:02to be here at all.
15:03Let's go, let's go.
15:04Faruk says
15:05not to run.
15:06Faruk,
15:07I've been waiting
15:08for this opportunity
15:09with impatience.
15:10Maria,
15:11you're getting
15:12crazier and crazier
15:13as you get older.
15:14Friends,
15:15listen to Mara,
15:16she's the voice
15:17of reason.
15:18Thank you.
15:19So,
15:20while I was waiting
15:21for this opportunity,
15:22as I said,
15:23and for this event,
15:24I prepared myself.
15:25So,
15:26we can keep
15:27this work material,
15:28please,
15:29take this.
15:30And I prepared
15:31the materials
15:32for today.
15:33Here you go.
15:34What are you doing,
15:35my friend,
15:36a woman's head?
15:37I believe
15:38you'll agree
15:39with me
15:40when I say
15:41that I,
15:42as the owner of the apartment,
15:43should chair
15:44this,
15:45as you said,
15:46plenum.
15:47To me,
15:48this looks like
15:49a coup d'etat.
15:50Mother of God,
15:51I've turned to stone.
15:52Sit here,
15:53brother,
15:54move away from there.
15:55It's okay
15:56that I,
15:57as the chairman,
15:58sit at the table.
15:59Right?
16:00Yes.
16:01Come on,
16:02I'm here,
16:03of course.
16:04It looks like
16:05the government
16:06fell
16:07without
16:08a shot.
16:11Down with tyranny!
16:12Down with tyranny!
16:13Down with tyranny!
16:14Down with tyranny!
16:15Down with tyranny!
16:16Long live democracy!
16:17Long live...
16:19Yes,
16:20that's what I needed
16:21when I was
16:22in the coalition with you.
16:23Oh,
16:24now I understand
16:25why not a single
16:26of my proposals
16:27could last
16:28for years.
16:29Sorry,
16:30I'm sorry,
16:31it was a mistake.
16:32I had to join
16:33the coalition with him.
16:34It was a shame.
16:35Well,
16:36you know what he told me?
16:37He told me
16:38he would throw me out
16:39of the apartment.
16:40And my apartment
16:41was a serious matter.
16:42Oh,
16:43don't flatter me,
16:44please.
16:45You could have called
16:46for a vital
16:47apartment interest.
16:48What apartment interest?
16:49You know very well
16:50that I didn't have
16:51a right to vote
16:52when it was a serious matter.
16:53And now,
16:54when it's a serious matter,
16:55I have a right to veto.
16:56You have a soul.
16:57You have a right
16:58to defend yourself
16:59when it's a serious matter.
17:00Let's start.
17:01Today's agenda
17:02has several points.
17:03Oh,
17:04no,
17:05you can't
17:06lead the meeting
17:07like that.
17:08First,
17:09we have to state
17:10that we have a quorum.
17:11If we don't have a quorum,
17:12there's no plenum.
17:13Look,
17:14it's obvious
17:15that we have a quorum.
17:16Two,
17:17four,
17:18we're all here.
17:19Well,
17:20let it be obvious.
17:21If it's not obvious,
17:22hold on,
17:23you,
17:24businessman.
17:25Maria,
17:26mother,
17:27state that we have
17:28a quorum.
17:29Since I state
17:30that we have a quorum...
17:31Well,
17:32look how he's leading the meeting.
17:33Can't you see
17:34that we don't have a plenum?
17:35Someone has to turn on
17:36the dictaphone.
17:37Here,
17:38I'll turn on
17:39the dictaphone.
17:40Now,
17:41lead the meeting.
17:42Maria,
17:43start.
17:45I open
17:46the first session
17:47in a new call
17:48with the next
17:49daily order.
17:50Is this okay for you?
17:53While the red sultan
17:55descended
17:56on a dusty road.
17:59What do you think?
18:00Is it okay?
18:03What's wrong with this woman today?
18:05She's not normal.
18:08Hey, Fufa,
18:09don't come to me
18:10when we're in public.
18:11I beg you.
18:12Why, mentor?
18:14I'm ashamed
18:15of the disease
18:16that attacked you.
18:18What disease?
18:22This disease.
18:26Aaaaah!
18:29What's wrong with you, Barbara?
18:30That's the disease.
18:32What am I going to do?
18:33The disease is the disease.
18:37So,
18:38with the information
18:39about the employment
18:40of a new waitress
18:41in the hospitality
18:42unit with Andrej,
18:43I bring this point
18:44of the daily order
18:45to an end
18:46and put this information
18:47for voting.
18:49You can't
18:50lead the meeting
18:51like that.
18:52That's
18:53out of business.
18:54People,
18:55the plenum
18:56can only
18:57accept the information
18:58to the knowledge,
18:59and they can't
19:00complain about it
19:01by voting.
19:02What's wrong with that?
19:04Maria,
19:05there's logic here,
19:08but it's not legal.
19:10I'm just filming you.
19:11You're all against him
19:12as soon as you
19:13shut up and support him.
19:14Mali,
19:15shut up
19:16and don't talk nonsense.
19:17Maria,
19:18if it's something,
19:19information,
19:20I really think
19:21we shouldn't
19:22vote on it.
19:23That's right,
19:24it's completely logical.
19:25Okay,
19:26and what am I going to say now?
19:27You're saying
19:28that the plenum
19:29accepted the information
19:30to the knowledge
19:31and you're going to
19:32point three.
19:33I don't know,
19:34Maria,
19:35you can think
19:36about it,
19:37if I were the chairman,
19:38I'd be much more
19:39efficient.
19:41So we're going
19:42to the point
19:43of the daily order
19:44number three.
19:45But first
19:46you have to say
19:47that the plenum
19:48accepted the knowledge.
19:50The chairman,
19:51Maria Sharafova,
19:52states that
19:53the plenum
19:54accepted the information
19:55to the knowledge.
19:56So we're going
19:57to the point
19:58of the daily order
19:59number three,
20:00and that is
20:01the program
20:02of employment
20:03of the working unit,
20:04accord,
20:05in the current quarter.
20:06Well,
20:07on that point,
20:08I would immediately
20:09start paying attention.
20:10You can't.
20:11I don't remember
20:12you asking for a word
20:13at all,
20:14and you haven't
20:15said a word
20:16yet.
20:17I don't remember
20:18you asking for a word
20:19at all,
20:20and even less
20:21I remember
20:22giving it to you.
20:23Let someone
20:24take away
20:25a word
20:26from you
20:27without force.
20:28Faruk,
20:29it's the same
20:30with you.
20:31I don't even know
20:32that you got a word.
20:33Come on,
20:34two fingers up,
20:35and let the word
20:36be spoken
20:37by the one
20:38who has
20:39something to say.
20:40There is no
20:41intention
20:42to take away
20:43a word.
20:44There you go.
20:45You have a word,
20:46a word,
20:47a reply,
20:48two minutes,
20:49start the conversation
20:50now.
20:51Comrade
20:52Chairman,
20:53fellow guests,
20:54first of all,
20:55I would like to
20:56greet you
20:57and wish
20:58the new chairman
20:59at least half
21:00a successful
21:01job
21:02in relation
21:03to what
21:04he had
21:05last season.
21:06Thank you,
21:07comrade,
21:08the chairman
21:09is completely
21:10exhausted.
21:11As you know,
21:12I wrote
21:13a script
21:14for a play
21:15called
21:16Don Juan
21:17from the Alps.
21:18Autobiography,
21:19true story,
21:20only the names
21:21and the place
21:22of events
21:23have been changed.
21:24If I understood
21:25correctly,
21:26you and Faruk
21:27intend to
21:28shoot it.
21:29Yes,
21:30Maria,
21:31I read
21:32the script
21:33and Izet wrote
21:34a really
21:35good script,
21:36full of jokes,
21:37jumping,
21:38jumping,
21:39funny
21:40to the point
21:41of pain,
21:42top-notch
21:43but
21:44a little
21:45off
21:46to Swedish.
21:47Okay,
21:48let him
21:49enter the
21:50notebook
21:51that the
21:52chairman
21:53has nothing
21:54against it.
21:55However,
21:56before I formally
21:57support the
21:58initiative,
21:59it would be
22:00better if I
22:01read
22:02the script.
22:03You can't
22:04read it
22:05when Faruk
22:06has a meeting
22:07with Bakir Masnic.
22:08That's right,
22:09Maria,
22:10I have
22:11a meeting
22:12with Bakir Masnic
22:13or Bupa.
22:14Well,
22:15how many episodes
22:16does a page have?
22:17Well,
22:18how many?
22:19From 50 to 100.
22:20I'll manage.
22:21And,
22:22tonight,
22:23on time,
22:24you'll have
22:25my official position.
22:26Before,
22:27a meeting
22:28with Bakir
22:29Mudric.
22:30Not Bakir,
22:31Masnic.
22:32Whatever.
22:33Who's going to
22:34give me the script?
22:35Mr. Chairman,
22:36can I sleep?
22:37I'm constantly
22:38majorized here.
22:39Are you looking
22:40for a word?
22:41What are you waiting for?
22:42Can I start
22:43the conversation?
22:44I'm right in the corner.
22:45My name is Dangla.
22:46Can I sleep?
22:48You can't.
22:53Listen, Ada,
22:54what do you think
22:55if I recite
22:56a poem to you
22:57from an Albanian
22:58writer?
22:59Which language?
23:00Albanian.
23:01Albanian,
23:02okay.
23:03Come on,
23:04if it's in Albanian.
23:05Just for you.
23:06I'm reciting it
23:07for the first time.
23:08I don't know
23:09how long
23:10I've been
23:11reciting poems
23:12and poems
23:13and poems
23:14for a long
23:15time now.
23:16Today I've been
23:17reciting poems
23:18for so long
23:19and my eyes
23:20have been
23:21blindingly
23:22closed.
23:23What are you doing?
23:24Your line
23:25is in Albanian.
23:26Can't you stop it?
23:27I've been
23:28reciting for
23:29the first time.
23:30Director,
23:31I'm sorry
23:32to interrupt
23:33your allergic reaction,
23:34but could you
23:35please explain
23:36why Faruk
23:37suggested tonight's dinner?
23:38Well, tonight
23:39he decided
23:40Are you serious or not?
23:42Yo, who's that?
23:44Faruk.
23:46You and Maria are the same.
23:48Like you're from Twilight Zone.
23:50I even like the same men.
23:52But this guy can be a grandpa.
23:54What does that have to do with being a grandpa?
23:56I like older, more experienced men.
23:58And where are the others?
24:00I told Fufa to meet them at 10.
24:02What's at 10?
24:04I told her the meeting is at 8, and Reza at 10.
24:06It's better for you that Fufa doesn't come to this meeting.
24:08It would be too windy if he comes.
24:12As if Fufa is important.
24:14The main actress is here.
24:16Do we want to film this series or not?
24:18Barbara, I'll pretend I didn't hear that.
24:22But I'll remind you.
24:24It's important that Maria is here.
24:26Maria? What Maria?
24:28Trust me, mentors, the sooner we get used
24:30to Maria asking for production,
24:32for directing and for acting,
24:34the easier it will be for all of us.
24:38Here she is.
24:42I'm here.
24:46Is everyone here?
24:48Here I am.
24:50Wait.
24:52Maria, fix your mother's shoes.
24:54Someone will break her neck.
24:56Did you read the script?
24:58What are they like?
25:00Take it easy. Let's get organized.
25:02Let's all sit over there.
25:04Meeting.
25:08Meeting.
25:10Meeting.
25:12I wrote another one last night.
25:14What are they like?
25:16I have to say you surprised me.
25:18Pleasant.
25:20Reading this script and studying it,
25:22I realized that I made a mistake
25:24two or three times.
25:26And we know
25:28that it's not easy for me to make a mistake.
25:30Yes, yes.
25:32Maria is a serious copyist.
25:34I knew that.
25:36When I saw the script,
25:38I knew the plot.
25:40My comedy is in my little finger.
25:42Wait, Maria.
25:44Does that mean we're shooting a series?
25:46Yes.
25:48Mala, Mala!
25:50Bring us a drink to celebrate.
25:52We didn't even meet.
25:54I'm Suada, my dear.
25:56You can call me Suki.
25:58My dear, I'm Faruk.
26:00My little soul.
26:02How many days do you work here?
26:04Three.
26:06If you're going to work for four days,
26:08watch who you're flirting with.
26:10Maria, who's this guy?
26:12He's my actor,
26:14you're his actress.
26:16So, you have my official position.
26:18I'm in.
26:20We're shooting a series.
26:22But we have to cut costs drastically.
26:24Excuse me,
26:26when you were shooting the previous series,
26:28were you the accountant?
26:30If I wasn't, we'd go bankrupt.
26:32In your opinion,
26:34what's the most expensive part?
26:36According to my experience,
26:38I think it's the actors.
26:40Professional actors, but worse.
26:42The actors are the most expensive.
26:44Okay.
26:46We'll fire the actors.
26:48But, Maria Zlato,
26:50how are we going to shoot a series without actors?
26:52I don't think
26:54Otoman will act.
26:56No, no, Faruk.
26:58Of course Otoman won't.
27:00I was talking about professionals.
27:02We'll hire actors.
27:04Aren't you satisfied with my acting skills?
27:06Did I get it right, Maria?
27:08You're not Barbara.
27:10You're in charge of the female role.
27:12We'll hire you.
27:14But this one's smaller.
27:16We'll hire actors.
27:18Maria,
27:20it's half of the production.
27:22I'm afraid we'll make a huge series.
27:24There's no need to be afraid.
27:26When I think about it,
27:28people in Tuscany
27:30act for little money.
27:32They act for money.
27:34I hear some people pay to act.
27:36If we make a smart, good division,
27:38there won't be any problems.
27:40For example,
27:42in this scenario, there's a guy,
27:44a Greek, what's his name?
27:46Dopola Popunjan.
27:48He's Greek, small, black,
27:50he doesn't speak our language well,
27:52he has a strong accent.
27:54What is it?
27:56We need to figure out
27:58who can act
28:00that character perfectly.
28:06Mentor,
28:08congratulations.
28:10You got the part.
28:12Next.
28:14The guy, the pensioner,
28:16who was Don Juan's brother-in-law.
28:18Irfan.
28:20It's clear to me
28:22that you wrote that character
28:24because you're special.
28:26Yes, I'm special,
28:28but I've had
28:30more success in my life than Jane.
28:32Good.
28:34As for Irfan,
28:36I agree.
28:38Izet can play that role.
28:40Izet is a born actor.
28:42Exactly.
28:44Izet plays Irfan.
28:46We solved that too.
28:48With this principle,
28:50we can make a perfect division
28:52of professional actors.
28:54Maria, as a director,
28:56I have a problem
28:58with dividing this stupid Marinka.
29:00Marinka's character
29:02is stupid to the core,
29:04and only a good,
29:06good, stupid
29:08professional actor can play her.
29:10You know, that scene
29:12where she spins,
29:14like this,
29:16all around herself.
29:18Yes, yes,
29:20it's funny.
29:22Yes, I understand,
29:24but at this moment,
29:26I don't know
29:28who could play that role.
29:36Oh, my God,
29:38my head always spins
29:40when we change actors.
29:42Cheers!
29:44To our happiness!
29:46Mala, give me one double
29:48I have a phone call.
29:50Maybe I have the same one,
29:52but this one is for Šanka.
29:56Faruk, love,
29:58it's your turn now.
30:00What time do you have a meeting
30:02with that blue girl?
30:04At nine.
30:06She's not a blue girl,
30:08she's a fat one.
30:10It would be best
30:12if you pick him up
30:14and bring him home.
30:16A professional actor
30:18can't play a blue girl.
30:20I don't get it.
30:22Why should we hire actors
30:24from Turkey to play this role?
30:26Mentor, take this.
30:28What's the name of the actor?
30:30Kapundopulo.
30:32That one.
30:34I've seen a lot of actors
30:36from Turkey lately.
30:38Oh, my God,
30:40my life is a mess.
30:42Don't worry,
30:44you just need to think
30:46a little bit more
30:48and let him come back.
30:50They both suffer.
30:52I can never forgive him.
30:54Me neither,
30:56but I tried.
30:58And Izet,
31:00he suffers a lot.
31:02Half an hour every other day.
31:04It's not enough for the two of them.
31:06It's too much for him.
31:08The only good thing
31:10is that he doesn't see
31:12what he's done to him.
31:14He sits with him every night
31:16and we tell him stories
31:18about titums,
31:20about silly things.
31:22If nothing else,
31:24it's good that Damir and I
31:26got separated.
31:28Give me another one.
31:32Hello.
31:34See you.
31:36Talk to you later.
31:38Talk to you later.
31:40Look how good
31:42today's technology is.
31:44But Mom said
31:46I have to go to bed at nine.
31:48No problem.
31:50We'll just edit a few things
31:52tonight.
31:54You'll read this part
31:56from the book
31:58that talks about
32:00why aunt's country
32:02was superior
32:04to all other countries.
32:06Listen, dear son.
32:08I don't know where you are.
32:10I have to go to the bathroom.
32:12Mr. Masnica,
32:14have a drink
32:16and see
32:18the main building
32:20where our series will be filmed.
32:22Trust me, Mr. Masnica,
32:24you won't make a mistake
32:26if you decide to finance
32:28our series.
32:30In my production,
32:32only professionals work.
32:34When I choose partners,
32:36I always demand
32:38young people,
32:40degrees, experience.
32:42My cameraman
32:44graduated in Prague
32:46and worked for Miloš Forman
32:48for years.
32:50He graduated
32:52from the course
32:54Camera on the Shoulder.
32:56He's coming.
33:02It looks creepy.
33:04Mr. Masnica,
33:06do you mind
33:08if we edit something?
33:16This can't be a thousand percent.
33:18What can it be?
33:20Son, I thought
33:22one of the characters
33:24would be Greek.
33:26I'm Greek.
33:28It would be better
33:30if Kosovo was Albanian.
33:32I don't know.
33:34Where's Dad?
33:36He's in his room.
33:38Where have you been?
33:40I know.
33:42I know where you've been.
33:44Using the parameters
33:46you don't have a wet cloth
33:48on your head,
33:50you don't have anything to drink,
33:52and it's clear
33:54as the sun
33:56when you go to the bar.
33:58When it's clear,
34:00you don't have anything to drink.
34:02Son, let me explain.
34:04Using the parameters
34:06you don't have a wet cloth
34:08on your head,
34:10and it's clear
34:12when you go to the bar.
34:14You'll explain it to me tomorrow.
34:20I don't know
34:22what this kid sees
34:24in that alcohol.
34:26Let's see.
34:28It's so good.
34:30Now, son...
34:32Again, the left massager.
34:34I'm sorry, kids.
34:36I was thinking
34:38about the massager again.
34:40You go on.
34:42Bravo, son.
34:44Just like that, it's great.
34:46Gentlemen, your Bosnian kebabs
34:48are wonderful.
34:50We don't have anything like that in Greece.
34:52Gentlemen, your Bosnian kebabs
34:54are wonderful.
34:56And then she says,
34:58do you have something
35:00similar to food?
35:02Then I say, we do,
35:04but all the plates are broken.
35:06In Greece, we like to break the plates
35:08and play bouzouki.
35:10Mentors,
35:12I can't do this anymore.
35:14I'm going to throw up in the closet.
35:16I can't learn the script
35:18while you fart around me.
35:20I farted like a horse.
35:22If you don't want to do it anymore,
35:25fart.
35:27Man,
35:29did you say
35:31you don't want to be a horse anymore?
35:33I don't want to anymore,
35:35but it looks like I don't want any less.
35:37Count.
35:42Well, normally,
35:44you don't spin it from the palm,
35:46but you spin it
35:48around your bone.
35:50That's not counting.
35:52You have to spin a man with your whole body.
35:54And don't make me nervous,
35:56I beg you.
35:58Is everything ready?
36:00Yes, sir.
36:02Just to take the kebabs.
36:04Tell me, did you remember
36:06this change in the script?
36:08Yes, I'm not from Greece,
36:10but from Kosovo,
36:12and my name is not Papandopoulos,
36:14but Ragipi.
36:16Bravo, mentors.
36:18Let's go.
36:20Action!
36:26Ladies,
36:28your Bosnian kebabs are wonderful.
36:30In Kosovo,
36:32we don't have anything like that.
36:34Do you have
36:36a similar dish in Kosovo?
36:38We do, but all the plates are broken.
36:40In Kosovo,
36:42we like to break the plates.
36:44Our custom is to break the plates
36:46and play the bouzouki.
36:48Marinko,
36:50are you going to put on the sunglasses
36:52or are you going to spin all day?
36:54I want to, but I'm not.
36:58Sorry, I really can't do it anymore.
37:02Let's go again.
37:04This is not a ballet.
37:18This is not a ballet.
37:20This is not a ballet.
37:22This is not a ballet.
37:24This is not a ballet.
37:26This is not a ballet.
37:28This is not a ballet.
37:30This is not a ballet.
37:32This is not a ballet.
37:34This is not a ballet.
37:36This is not a ballet.
37:38This is not a ballet.
37:40This is not a ballet.
37:42This is not a ballet.
37:44This is not a ballet.