- TOOK SOME PHOTOS? - MM-HMM.
- THESE ARE PRETTY GOOD, MAX. YOU OUGHT TO DO PEOPLE.
- I SAY I WANT TO TALK ABOUT POSSIBLY SELLING THE HOUSE
AND YOU PULL A YEAR-LONG PROJECT INTO THE DRIVEWAY?
- PEET MIGHT NOT BE EXACTLY WHO YOU'RE PICTURING.
- HI. YOU MUST BE JULIA. - HEY.
- OPEN YOUR EYES. I DON'T WANT YOU TO MAKE THE MISTAKES I MADE.
- YOUR MOM CALLED, LIKE, TWO OR THREE TIMES.
- SHE'S ANNOYING.
- YOU DON'T KNOW ROCK AND ROLL! - WHOA, WHOA, HEY.
- I GOTTA TELL THE BAND I'M DROPPING 'EM.
- GONNA GET THOSE SONGS BACK.
- YOU WANT ASHES OF ROME TO COME BACK HERE.
- THANK YOU.
- OKAY, DO YOU WANT HEAVY OR LIGHT PEANUT BUTTER?
- YOU ALREADY MADE MY SANDWICH.
- I DIDN'T MAKE-- - YEAH, YOU DID.
- I DIDN'T MAKE YOUR SANDWICH. - RIGHT THERE.
- OH, MY GOD, I DID MAKE YOUR SANDWICH.
WHAT AN IDIOT. OKAY. UM...
- YESTERDAY YOU GAVE ME TWO THERMOSES. I ONLY NEED ONE.
- WELL, THAT WAS INTENTIONAL, THOUGH,
BECAUSE I'M REALLY CONCERNED ABOUT YOUR HYDRATION.
IT'S MY TOP PRIORITY.
- HEY, I CAN'T FIND HIS BACKPACK ANYWHERE.
ARE YOU SURE YOU BROUGHT IT HOME FROM SCHOOL YESTERDAY?
- HONEY, I DIDN'T PICK HIM UP YESTERDAY, YOU PICKED HIM UP.
[knock on door] - NO, I DIDN'T.
- YES, YOU PICKED HIM UP FROM SCHOOL.
- HEY, EVERYBODY. - HEY, UNCLE ADAM.
- SORRY FOR THE INTRUSION. - NO PROBLEM, NO PROBLEM.
- JUST HAVE SOME MORE HAND-ME-DOWNS FROM NORA THERE.
- OH, THANK YOU. - HI, UNCLE ADAM.
- JABBAR, WHAT'S GOING ON, BUDDY?
- NOTHING. - COMING IN HOT.
- WHAT A BEAUTIFUL DAY. - COME ON, LET'S GET YOUR SHOES.
- YEAH, THAT'S A NUMBER TWO, I THINK.
- OH, YEAH? - YEAH, WE GOT A--
- GOT A LITTLE FRESH LOAD THERE? - WE SURE DO.
- LISTEN TO ME. I HAVE GOT SOME GREAT NEWS.
WE GOT THE RIGHTS.
- CONGRATULATIONS. - TO THE SONGS.
- WHAT SONGS?
- TO THE ASHES OF ROME SONGS.
THE THREE SONGS WE ALREADY RECORDED.
THE LABEL SAID WE COULD HAVE 'EM.
- YOU GOT THEM TO GIVE YOU THOSE SONGS.
- YES, I DID.
- WHAT DEAL DID YOU MAKE? THEY DON'T JUST GIVE SONG--WHOO!
- I MADE A SWEETHEART DEAL. THAT'S ALL YOU NEED TO KNOW.
- YOU MADE A SWEETHEART DEAL. - YES, I DID.
- WHAT IS THE SWEETHEART DEAL?
- I SIMPLY TRADED THE STUDIO TIME FOR THE SONGS.
- THAT WAS 72 BILLABLE HOURS! - ALL RIGHT, I KNOW, I KNOW.
BUT THESE ARE THE FIRST... - THEY WERE MY HOURS.
- THREE SONGS ON THE FIRST ALBUM--WE TALKED ABOUT THIS.
- YEAH.
- I SAID, "I'M GONNA GO GET THE SONGS," YOU SAID, "OKAY."
- BUT I DIDN'T REALLY THINK YOU WOULD
POSSIBLY BE ABLE TO PULL IT OFF.
- WELL, THAT WAS YOUR MISTAKE.
YOU DIDN'T BELIEVE IN ME. BUT LOOK AT ME. I GOT THE SONGS.
- KIND OF. - LISTEN, YOU SAID--
- BY GIVING AWAY MY LABOR... - LISTEN TO ME.
- YOU PULLED IT OFF. - YOU SAID THEY'RE GOOD.
YOU SAID THAT THEY'RE GOOD SONGS AND HE CAN SING.
- HE'S A GREAT SINGER. YOU'RE RIGHT.
BUT HE IS INSUFFERABLE, AND I'M NOT GONNA WORK WITH HIM.
- THIS IS A GOOD THING, ALL RIGHT?
SO YOU GOTTA MAN UP. I WANT YOU TO BE EXCITED.
THE LUNCHEONETTE LABEL IS ALIVE AND WELL. WE'RE MAKING AN ALBUM.
- I'LL TELL YOU WHAT, I WILL MAN UP IF YOU MAN UP.
ALL RIGHT, DEAL MAKER? DEAL WITH THAT FOR ME.
MAKE A DEAL. MAKE A DEAL WITH THE HAMPER ON THAT, OKAY?
- I'LL SEE YOU AT WORK. ALL RIGHT?
[bell rings]
- ♪ I KNOW YOU GOT MY NUMBER
- MAX BRAVERMAN, CEDAR KNOLL YEARBOOK.
- WAIT, MAX, I DON'T HAVE MY LIP GLOSS ON.
- WE WEREN'T SMILING. - IT DOESN'T MATTER.
PHOTOGRAPHY'S ABOUT REAL MOMENTS.
- FAKE SMILES ARE NOT REAL MOMENTS.
- ♪ I GOT SOMETHING ON YOU
- MAX BRAVERMAN, CEDAR KNOLL YEARBOOK.
[shutter clicks]
- ♪ YOU KNOW ME AND MY WEAKNESS ♪
♪ AND YOU KNOW MY BIGGEST SECRET ♪
♪ STILL I THINK THAT I GOT SOMETHING ON YOU ♪
- IS HE TAKING OUR PICTURE? - WHAT ARE YOU DOING?
- WHAT'S YOUR PROBLEM? - MAX BRAVERMAN,
CEDAR KNOLL YEARBOOK.
- STOP IT, GET AWAY FROM ME! - SHE'S CRYING.
- SO? - DON'T BE A JERK.
- I'M CAPTURING MOMENTS FOR THE YEARBOOK--REAL MOMENTS.
- GO AWAY! - WHAT'S WRONG WITH YOU?
- GET AWAY FROM ME! STOP IT!
- JUST LEAVE US ALONE, FREAK.
- JUST GO AWAY.
- ♪ SWEET-EET-EET PERSUASION
♪ I'VE GOT A HARD
♪ REPUTATION
[shutter clicking]
- HEY.
HEY, HEY, HEY, M-MILLIE, LOOK.
THERE SHE IS AGAIN. SHE'S TAKING PICTURES.
- HEY! HEY! - ZEEK. ZEEK.
- HEY. [whistles] HELLO! - SHE'S NOT BOTHERING ANYONE.
- WHAT ARE YOU DOING? - HI. HI. I AM SO SORRY.
- SHE'S NOT BOTHERING ANYONE. - WELL, SHE'S BOTHERING ME.
- I SHOULD'VE INTRODUCED MYSELF. I'M KAREN FILLMAN.
CORNING REALTY. - CAMILLE BRAVERMAN.
MY HUSBAND ZEEK. - NICE TO MEET YOU, ZEEK.
YOU GUYS, THIS PLACE IS SO GORGEOUS.
I WAS JUST IN THE NEIGHBORHOOD
DROPPING OFF PAPERS AT THE TAYLORS' PLACE.
- OH, I HEARD THEY SOLD. - THEY DID. 30% OVER ASKING.
FIVE SOLID OFFERS. I'VE NEVER SEEN ANYTHING LIKE IT.
THIS PLACE IS A GOLDMINE.
- DID THE TAYLORS HAVE TO DO A LOT OF WORK TO THEIR HOUSE
BEFORE THEY PUT IT UP ON THE MARKET?
BECAUSE WE HAVEN'T DONE ANYTHING IN SO LONG,
AND TELL YOU THE TRUTH, WE NEED A NEW ROOF.
- SURE, THE TAYLORS' HOUSE WAS MODERNIZED,
BUT IT DOESN'T HAVE THE CHARM THAT THIS PLACE HAS.
THIS ONE WOULD SELL AT TOP OF THE MARKET.
A HANDYMAN SPECIAL LIKE THIS WOULD GO IN A SECOND.
IF YOU WANT I COULD TAKE A LOOK,
I COULD MAYBE GIVE YOU A PRICE RANGE,
GET YOU A BETTER IDEA OF WHAT IT'S WORTH.
- THAT WOULD BE GREAT. - NO, I DON'T THINK SO.
WHAT'D YOU CALL THIS, A HANDYMAN SPECIAL?
- I-I DIDN'T MEAN ANYTHING BY IT, MR. BRAVERMAN.
- YEAH, WELL, IT'S GONNA STAY A HANDYMAN SPECIAL
IF I HAVE ANYTHING TO SAY ABOUT IT.
NICE MEETING YOU. SEE YOU LATER.
- SO YOU PLUNGED IT, EH? - I PLUNGED IT LIKE CRAZY.
- OKAY. - I'M NOT A PLUNGER.
- [chuckles] IS THE CLOG VERY VISIBLE?
- NO, NOTHING, TOTALLY-- WATCH YOUR STEP. TOTALLY CLEAN.
- OH. OH. OH, OKAY. - YEAH. YOU KNOW?
- WE HAD THIS PROBLEM IN 4E LAST WEEK, AND THIS--
OOPSIE. - WOW.
- THIS BABY FIXED IT RIGHT UP. SO I THINK--
- DO YOU NEED HELP?
- YOU'VE COME TO THE RIGHT PLACE.
- WHAT IS THAT BABY?
- THIS IS A PLUMBING SNAKE.
- IS THAT FOR TOILETS? - YEAH.
- OKAY. - AND WHAT WE'RE GONNA DO...
- LOOK AT YOU.
- IS REALLY, LIKE, WORK THAT CLOG.
- I'D LIKE TO OFFER HELP, BUT I'M USELESS.
- NO, IT'S OKAY. [grunts]
GIVE IT A REAL GOOD-- [growls]
- IS THAT TOO HARD? - REALLY GET IN THERE.
THINK I FELT SOMETHING MOVE, SO...
- NEED HELP? - NO.
- 'CAUSE I CAN'T OFFER IT. - YOU SHOULD BE ALL SET.
[toilet flushes] HA!
- REALLY? - YEAH.
- JOB WELL DONE.
♪ MAY GOD BLESS AND KEEP YOU ALWAYS ♪
♪ AND MAY YOUR WISHES ALL COME TRUE ♪
♪ MAY YOU ALWAYS DO FOR OTHERS ♪
♪ AND LET OTHERS DO FOR YOU
♪ MAY YOU BUILD A LADDER TO THE STARS ♪
♪ AND CLIMB ON EVERY RUNG
♪ AND MAY YOU STAY
♪ FOREVER YOUNG
♪ MAY YOU GROW UP TO BE RIGHTEOUS ♪
♪ MAY YOU GROW UP TO BE TRUE ♪
♪ MAY YOU ALWAYS KNOW THE TRUTH ♪
♪ AND SEE THE LIGHTS SURROUNDING YOU ♪
♪ MAY YOU ALWAYS BE COURAGEOUS ♪
♪ STAND UPRIGHT AND BE STRONG ♪
♪ AND MAY YOU STAY
♪ FOREVER YOUNG
♪ MAY YOU STAY
♪ FOREVER YOUNG
- I ORDERED THE SAUSALITOS, BUT I CAN CANCEL THEM.
SO LET ME JUST MAKE SURE I HAVE THIS.
YOU WANT ME TO MOVE THE WINDOWS
SO THEY'RE FACING SOUTH AND WEST.
OKAY. YUP.
I'LL SEE YOU THEN.
[sighs] - PEET WANTS MORE CHANGES?
- YEAH, IT'S PART OF HER CREATIVE PROCESS.
- [chuckles] THAT'S VERY NICE OF YOU TO CALL IT THAT.
- I MEAN, I CAN DO THE WORK,
IT'S JUST HOW MANY TIMES IS SHE GONNA CHANGE HER MIND?
- WELL, UNTIL YOU PUT YOUR FOOT DOWN, BABE.
- OKAY, HONEY, SHE'S AN ARCHITECT.
IT'S NOT LIKE I CAN TELL HER TO STOP HAVING IDEAS.
- OKAY, BUT YOU CAN BILL FOR THE EXTRA HOURS.
- THE BID IS THE BID.
- AM I NOT ALLOWED TO TALK TO YOU ABOUT THIS?
- NO, SORRY, I'M JUST-- I'M PISSED.
- OKAY, WELL, I'M NOT GONNA GET IN THE MIDDLE OF IT,
BUT YOU AGREED TO A JOB AND THAT JOB IS CHANGING, SO...
PEOPLE LIKE HER WILL TAKE ADVANTAGE OF YOU.
I KNOW, I'VE BEEN THERE.
- OKAY, WELL, THE SECOND I REALIZE
SHE'S TAKING ADVANTAGE OF ME, I WILL TELL HER.
- GOOD. - GOOD.
- IT'S REALLY GOOD TO HAVE BOUNDARIES, YOU KNOW?
FROM THE OUTSET. - MM-HMM.
- I MEAN, WE DIDN'T SEND A FAX AT THE FIRM WITHOUT CHARGING.
- YEAH, THIS IS NOT THE FIRM.
THIS IS A TOTALLY DIFFERENT THING.
- ALL I'M SAYING IS YOU DON'T WANT TO END UP IN A SITUATION
WHERE YOU'RE COMPLETELY BEHIND
OR YOU'VE COMPLETELY EATEN INTO YOUR PROFITS
AND YOU HAVE A FAMILY TO THINK OF.
- YOU'RE RIGHT. I'LL TALK TO HER.
- OKAY.
YOU CAN FRAME IT AS A CONVERSATION
ABOUT YOUR CREATIVE PROCESS TOGETHER,
AND SHE'LL NEVER EVEN KNOW YOU'RE TALKING ABOUT BOUNDARIES.
[cell phone rings] - ARE YOU KIDDING ME?
- PEET AGAIN? - YOUR SISTER.
HEY, SARAH.
YEAH, OKAY.
UM, NO, YOU CAN'T SNAKE IT THROUGH THE TOILET BOWL.
YOU HAVE TO USE THE OUTSIDE LINE.
OH, YOU DID.
OKAY. UH, I'LL TAKE CARE OF IT.
YOU GOT IT. - [clears throat]
- HOW DO I SET BOUNDARIES WITH YOUR SISTER?
- HER YOU JUST HELP.
- WE KNOW THAT THIS HAS BEEN A ROUGH WEEK FOR YOU GUYS.
- YEAH. I QUIT MY CUSH GRAPHICS JOB TO RECORD THIS ALBUM.
- LOOK, SCREW THE LABEL, MAN.
THEY TALK A SWEET GAME
STRUTTING OUT THEIR PIMP A&R GUY
WITH SOME ROCK CREDENTIAL CREDIT FROM 1940, ALL LIKE,
"I DISCOVERED THE BASS PLAYER FOR MINOR THREAT,
SO I KNOW WHAT ROCK AND ROLL IS."
- I THINK MINOR THREAT'S 1980, BUT YEAH, THAT'S A VALID POINT.
- ALL RIGHT, LET'S NOT QUIBBLE OVER DETAILS.
- WHATEVER, MAN,
IT'S ALL PART OF THE SAME KATY PERRY SAUSAGE FACTORY.
I JUST DON'T WANT TO BE A CREATIVE HOSTAGE ANYMORE, OKAY?
- I GET THAT, AND WE DON'T WANT YOU
TO BE A CREATIVE HOSTAGE EITHER,
AND THAT'S WHY WE WANT TO PRODUCE YOUR RECORD.
OKAY, AND WE WANT YOUR CREATIVITY TO JUST FLOW FREELY.
JUST FREE FLOW. RIGHT?
- GATES WIDE OPEN. FULL DELUGE OF CREATIVITY.
- WOULD YOU PLEASE?
- VIVA CREATIVITY.
- THAT'S AWESOME YOU FLIPPED A BUNCH OF SWITCHES
BACK IN THE DAY.
- MM.
- BUT THIS IS A RECORD, AND YOU GOTTA PRODUCE IT.
YOU'RE PRODUCING MY RECORD. - RIGHT.
- WHAT ABOUT THE SONGS WE ALREADY RECORDED?
- OH, YOU'RE GONNA LIKE THIS.
TELL 'EM ABOUT THE SWEETHEART DEAL YOU BROKERED.
- I MADE A DEAL WITH YOUR FORMER LABEL.
IN EXCHANGE FOR THE AMOUNT
THAT THEY OWED FOR THE RECORDING TIME...
- I.E. MY LABOR.
- WE HAVE THE SONGS. WE OWN THE SONGS.
AND THAT WAS A BIG PAYDAY FOR US,
AND I THINK THAT SPEAKS TO HOW MUCH WE BELIEVE IN YOU GUYS.
- I DON'T KNOW. SOUNDS GOOD TO ME, MAN.
- DOES IT? - YEAH.
- WHY SHOULD WE TAKE A CHANCE ON YOU GUYS?
- WE'RE TAKING A CHANCE ON YOU.
- ALL RIGHT, WHATEVER. I JUST WANNA MAKE MUSIC.
- GREAT. LET'S MAKE A GREAT ALBUM. WE HAVE A DEAL?
- YUP. WHATEVER. - LET'S DO IT.
- LET'S GO. - ALL RIGHT.
- YOU GOT A NICE, FIRM "WHATEVER."
- CROSBY, WOULD YOU PLEASE? - NO, THIS IS GONNA BE GREAT.
- LET'S GET CRACKIN'. COME ON, LET'S MAKE THIS ALBUM.
- YEAH. THIS FEELS MOMENTOUS.
- OH, GOD, I AM SO, SO SORRY, MR. CARLSON.
LOOK, SOMETIMES EMOTIONS ARE SO HARD FOR MAX TO READ.
YOU HAVE TO UNDERSTAND THAT, YOU KNOW,
HE'S COME SUCH A LONG WAY.
BUT I WILL SIT DOWN WITH HIM TONIGHT
AND I WILL EXPLAIN TO HIM
WHY IT WAS SO INAPPROPRIATE TO TAKE THAT PHOTO.
I PROMISE YOU THIS WILL NEVER HAPPEN AGAIN.
IT WON'T. IT JUST WON'T.
- THE GIRL WAS CRYING, MRS. BRAVERMAN,
AND SHE ASKED MAX TO STOP TAKING PICTURES,
AND HE WOULDN'T.
SO NOW THE GIRL'S PARENTS ARE FREAKING OUT AT ME,
'CAUSE APPARENTLY THE FAMILY DOG DIED THAT MORNING.
- THEY HAVE A DO-- OH, WE HAVE A DOG. OTIS.
WE RESCUED IT. IF IT DIED IT WOULD BE...
YOU KNOW WHAT, MAYBE WHAT I CAN DO IS CALL THE PARENTS
AND SOMETIMES ALL YOU NEED IS A LITTLE COMMUNICATION
AND JUST IT'LL SMOOTH EVERYTHING OVER,
AND IT'LL BE FINE. YOU'LL SEE. - NOT NECESSARY.
IT'S ALL CLEARED UP. - IT'LL BE FINE. GOOD.
- BUT I WANT TO MOVE MAX TO LAYOUT.
- WELL, LAYOUT'S WHERE YOU MOVE PICTURES AROUND.
ISN'T IT? WHERE YOU JUST SORT OF PUT 'EM ON PAPER.
- DESIGN IS A HUGE PART OF THE YEARBOOK.
- RIGHT.
I GET IT, BUT SEE, MAX IS A PHOTOGRAPHER.
LIKE, HE'S-- HE'S LOVING THIS SO MUCH.
AND IT'S SO GOOD FOR HIM. - MM-HMM.
AND I GET THAT YOU WANT TO DO WHAT'S BEST FOR YOUR KID.
BUT THERE'S 27 OF THEM IN HERE
WHO WANT TO MAKE THIS THE BEST YEARBOOK EVER.
AND YEARBOOK IS ABOUT BEST HAIR AND CUTEST COUPLE.
- MM-HMM. I REMEMBER. I WAS--I GET--
- YEAH. GREAT. MAX DOESN'T REALLY GET THAT.
OKAY, WE SENT HIM LAST WEEK TO GET PHOTOS
FOR THE GIRL'S VARSITY GAME. - MM-HMM.
- AND HE STEPPED ONTO THE COURT WITH THE CLOCK STILL RUNNING.
- [sighs] I DIDN'T KNOW THIS.
I WISH SOMEBODY WOULD HAVE-- - NO BIG DEAL.
HE CAN ALWAYS TAKE PICTURES.
JUST NOT FOR THE YEARBOOK.
- [sighs]
- MRS. BRAVERMAN. HEY.
- IT'S SARAH. HEY.
COME IN.
- [clears throat]
- CAN I GET YOU ANYTHING TO DRINK?
- NO. LET'S JUST JUMP RIGHT IN.
- OKAY.
UM, WHEN AMBER AND I HAD OUR THING,
I'M CONCERNED ABOUT IT JUST BEING A RUSH.
AND, YOU KNOW, SHE HASN'T SPOKEN TO ME IN A COUPLE OF DAYS.
- WHOA, WHOA, I'M SORRY, STOP. STOP. STOP.
- IT'S NOT PERSONAL TO YOU. - NO, I THINK THAT WE'RE--
WE'RE TALKING, MAYBE, ABOUT DIFFERENT THINGS.
I WAS TALKING ABOUT THE TOILET. LIKE, ISN'T THERE A...
THERE'S A BUSTED...
TOILET HERE, RIGHT?
- OH. [laughs] RIGHT.
FORGET EVERYTHING I JUST SAID.
- YEAH, NO, I GUESS I NEED TO TALK TO...
- NO, YOU DON'T NEED TO ANYTHING.
- TALK TO AMBER WHEN I-- - NO, NO, NO, NO, PLEASE, I--
- WHERE'S THE TOILET? - WOULD BE BETTER IF YOU DID--
UPSTAIRS. - YEAH, YEAH.
- ♪ TEN FINGERS AROUND TO MY HEAD ♪
♪ GET DOWN WITH OBLIVION ♪
♪ POUR GLITTER ALL OVER MY BED ♪
♪ 'CAUSE SOME MAGIC IS NOW... - NO, NO, NO.
STOP IT, STOP IT, STOP IT. - ♪ A LITTLE BIT OF TIME IS--
- LET'S DO, UM... IT JUST--IT NEEDS MORE LUTE.
I'M REALLY MISSING IT. - MORE LUTE.
- I JUST WANT IT TO ALMOST DROWN OUT THE MARVIN GAYE SAMPLE.
JUST ALMOST.
- YOU WANT TO ALSO PUT IN A MARVIN GAYE SAMPLE.
- YEAH, WE'RE JUST GONNA KEEP ON LAYERING AND LAYERING.
I WANT IT TO BE, LIKE, A SPLISH OF KANYE WEST,
A SPLASH OF DAFT PUNK,
WITH A LITTLE SPRINKLE OF T. REX ON THAT, BUT STILL US.
- WELL, THOSE ARE A LITTLE BIT CONFLICTING INGREDIENTS,
BUT YEAH, I MEAN, I-- MAYBE IT'LL--
- I JUST WANT THIS TO SOUND LIKE
NOTHING ANYONE'S EVER HEARD BEFORE.
- WE ARE ACCOMPLISHING THAT, I CAN PROMISE YOU THAT.
- HOW'S IT GOING? - THANKS, MAN.
PSSH. [falsetto] MAGIC TIME.
- YEAH? MAKING THE MAGIC? ALL RIGHT.
- YES, SIR.
- GOING ALL RIGHT?
- WE ARE GONNA TAKE ANOTHER STAB AT HEAR ME NOW.
- HEAR ME NOW?
- YEAH, THAT'S WHAT WE'RE FIXING TO DO NOW.
- WE ALREADY RECORDED THAT.
THAT'S ONE OF THE THREE SONGS WE ALREADY HAVE RECORDED.
- THAT'S RIGHT, BUT APPARENTLY, ACCORDING TO THE ARTIST,
IT HAD A STARTLING LACK OF LUTE AND MARVIN GAYE.
THAT'S WHAT WAS BROKE ABOUT IT. - JUST TELL HIM NO.
- I CAN'T TELL HIM NO... - WE GOTTA HUSTLE HERE.
- BECAUSE THE NEW MARCHING ORDERS HERE
ARE THEIR VISION IS OUR VISION. - I SEE. SO THIS IS MY FAULT.
- SO IF THEY WANT A BUNCH OF LUTE AND MARVIN GAYE,
THEN BY GOD, THEIR LABEL'S GONNA GIVE IT TO THEM.
- IT'S THEIR VISION--THEIR VISION WITHIN REASON, OKAY?
TIME IS MONEY. BE A PRODUCER.
- HEY, I AM AWARE OF THE NEW PARADIGM, WHICH YOU CREATED...
- OH, YOU ARE.
- AND ITS FINANCIAL CONSEQUENCES.
SO I'M DOING WHAT I CAN. - LET'S JUST KEEP IT MOVING.
- I'M GONNA KEEP IT MOVING. - ALL RIGHT.
- [tuning lute]
THE LUTE IS READY.
- NICE.
- YEAH, I USED THE 2.8 LENS, WHICH SEEMS TO HAVE REALLY
ENHANCED THE NATURAL LIGHT COMING IN FROM THE WINDOW.
- YEAH, IT REALLY KIND OF
CAPTURES THE AGONY OF HIGH SCHOOL.
I REMEMBER THERE WAS ALWAYS
SOMEBODY CRYING ABOUT SOME STUFF.
- HEY.
HI, GUYS. - OH, HEY, LOOK WHO'S HERE.
- I STILL HAVE 17 MINUTES LEFT.
- YEAH, WELL, TAKE IT UP WITH THE BOSS, ALL RIGHT?
- HEY, BUD. - LOOK AT THIS ONE.
THIS IS MY BEST ONE YET.
- THIS IS BEAUTIFUL, HONEY.
- HANK SAYS IT REALLY CAPTURES THE AGONY OF HIGH SCHOOL.
I THINK IT'S GONNA BE THE COVER OF THE YEARBOOK.
- YOU KNOW, BUDDY, THAT'S WHY I'M HERE A LITTLE BIT EARLY.
I, UM, I JUST SPOKE WITH MR. CARLSON.
AND THIS GIRL AND HER PARENTS ARE REALLY, REALLY UPSET
THAT YOU TOOK THIS PHOTO. - WHY? IT'S A GREAT PICTURE.
- I KNOW, IT'S A BEAUTIFUL PICTURE,
BUT I MEAN, LOOK AT HOW SHE'S FEELING IN THIS PHOTO.
HOW DO YOU THINK SHE FEELS RIGHT NOW HERE?
- SAD. - SAD. RIGHT.
AND SOMETIMES WHEN PEOPLE FEEL SAD,
YOU KNOW, THEY WANT TO KEEP THOSE EMOTIONS PRIVATE
AND TO THEMSELVES.
- THEN WHY IS SHE DOING IT IN PUBLIC?
- RIGHT. RIGHT. SHE WAS DOING IT IN THE MIDDLE OF THE HALLWAY.
- SOMETIMES WHEN PEOPLE EXPRESS THEIR EMOTIONS IN PUBLIC
DOESN'T MEAN THAT YOU'RE ALLOWED TO TAKE THEIR PHOTOS.
I MEAN, YOU HAVE TO ASK PERMISSION, I THINK.
- WHY? HANK SAYS PHOTOGRAPHY IS ALL ABOUT
TRYING TO CAPTURE REAL MOMENTS. - I STAND BY THAT.
- RIGHT. AND THAT'S A REAL MOMENT.
- CERTAIN PLACES AND CERTAIN TIMES,
THERE ARE, FOR REAL MOMENTS.
BUT THIS WAS NOT ONE OF THEM. - THAT'S ONE OF THOSE TIMES.
THAT RIGHT THERE IN THAT PHOTO, THAT'S--
THAT'S ONE OF THOSE TIMES.
- THAT'S A GOOD MOMENT. - BUDDY,
CAN YOU WAIT IN THE CAR FOR ME?
- NO, I STILL HAVE 15 MINUTES LEFT.
I HAD 17 MINUTES, BUT THEN YOU WASTED TWO OF THEM.
- YOU KNOW WHAT, MAD MAX,
WE GOTTA FINISH UP THAT PICTURE IN THE DARKROOM.
YOU WANT TO GET THAT?
- OKAY. - IF THAT'S OKAY.
- YEAH, IT'S FINE.
- I'LL BE THERE IN A COUPLE MINUTES.
- I CALL HIM MAD MAX. I THINK HE LIKES IT.
I CAN'T TELL. - LISTEN, HANK, I, UM...
I'M SO THANKFUL FOR YOU, FOR WHAT YOU'RE DOING FOR MAX,
BUT, YOU KNOW, I-- THAT PHOTO, IT'S NOT A JOKE.
LIKE, IT'S GOTTEN HIM--HE'S IN SO MUCH TROUBLE FOR THAT.
AND HE'S BEEN DEMOTED, YOU KNOW, TO LAYOUT. LAYOUT.
- WHAT DO YOU MEAN, NO, LAYOUT? WHAT'S HE GONNA DO IN LAYOUT?
WHAT ARE THEY DOING? - I DON'T KNOW.
I GUESS PHOTOSHOP, RIGHT?
THAT'S A GOOD THING FOR-- - THAT'S A JOKE, PHOTOSHOP.
- YOU DON'T USE--
- PHOTOSHOP SUCKS, OKAY?
EVERYBODY DOES IT, BUT IT'S NOT PHOTOGRAPHY.
PHOTOGRAPHY IS IN THE DARKROOM, MAKING PHOTOS LIKE THIS ONE.
LOOK AT THIS. THIS IS GOOD.
I MEAN, IT'S REALLY GOOD.
I MEAN, SUBJECT MATTER ASIDE, WHICH IS A KNOCKOUT,
IT'S GOT COMPOSITION, IT'S GOT DEPTH,
GREAT USE OF LIGHT.
THAT KID IS A PHOTOGRAPHER.
HE SHOULD BE TAKING PICTURES. SHOULDN'T BE ON LAYOUT.
- SO CAN WE GET THAT LEVELED
BY NEXT THURSDAY? - UH...
ALL THIS. YEAH. - YEAH. GREAT.
I REALLY WANT TO GET STARTED ON THE FOUNDATION.
WHAT ARE THOSE?
- THAT'S THE WINDOWS. - RIGHT.
HOLD THE BEAT ON THEM. - THE--THE--
THE WINDOWS YOU CALLED ME ABOUT THIS MORNING.
FACING WEST AND SOUTH. - MM-HMM. NO, I KNOW.
IT'S JUST THERE'S A BETTER WAY
TO INTEGRATE THE LIGHT AND THE PRIVACY HERE.
SO I JUST WANT TO TAKE ONE MORE LOOK
BEFORE WE SET THAT IN STONE.
- OKAY, UM...
YOU KNOW, I'D LOVE TO HAVE A CONVERSATION AT SOME POINT
ABOUT OUR CREATIVE PROCESS TOGETHER.
- SURE. YOU WANT TO TALK ABOUT BOUNDARIES?
- UH... UH, NO.
YEAH. [chuckles] YEAH.
- LET'S HAVE DINNER.
TONIGHT.
NO, NOT TONIGHT.
UM, TOMORROW.
YEAH.
GREAT. WE'LL GET DINNER AND A MARTINI.
I ALWAYS THINK A BOUNDARY CONVERSATION
GOES DOWN MUCH BETTER WITH A MARTINI.
- [laughs] RIGHT. - OR TWO. [chuckles]
- HI. - HEY.
- YOU'RE HOME SO LATE.
- I HAD A REALLY UNCOMFORTABLE
CONVERSATION WITH YOUR MOM TODAY.
- UH, WHEN-- WHEN DID YOU TALK TO HER?
- JOEL SENT ME OVER THERE TO FIX A TOILET SHE--
IT DOESN'T MATTER. WH--WHAT'S GOING ON THERE?
- WHAT DID SHE SAY TO YOU?
- SHE--SHE SAID THAT
I GUESS SHE SAID SOMETHING ABOUT THE WEDDING OR ME OR...
- [sighs]
- AND NOW YOU GUYS AREN'T TALKING TO EACH OTHER?
I FEEL LIKE YOU SHOULD'VE MENTIONED THAT.
- HONESTLY, IT WAS NOT THAT BIG OF A DEAL, OKAY?
- WELL, IT'S A BIG ENOUGH DEAL THAT SHE APOLOGIZED TO ME
WHILE I STOOD THERE LIKE AN IDIOT
HAVING NO IDEA WHAT SHE'S TALKING ABOUT.
- OKAY, I--
- I JUST DON'T GET WHY YOU'RE AV--
WHY DON'T YOU WANT TO TELL ME?
IT'S LIKE YOU DON'T TRUST ME OR SOMETHING.
- WHAT? RYAN, WHAT?
IT HAS NOTHING TO DO WITH TRUST. - THEN JUST TELL ME.
- OKAY, WHAT DO YOU WANT TO KNOW?
- I HAVE NO IDEA. - YOU KNOW HOW SHE IS.
WHAT--SHE SAYS STUFF AND MAKES A BIG DEAL OUT OF THINGS.
- LIKE WHAT?
- SHE WAS PROJECTING ISSUES THAT SHE HAS
AND HER OWN FEARS AND INSECURITIES
ABOUT HER SITUATION. - WHAT SITUATION?
- HER MARRIAGE, YOU KNOW, ONTO MINE.
AND IT WAS REALLY UNFAIR AND STUPID AND--
- LIKE YOUR DAD STUFF? LIKE STUFF--
LIKE SHE'S COMPARING ME TO YOUR DAD OR SOMETHING?
- NO, SHE WAS MAKING A BIG DEAL ABOUT--
ABOUT THE FAMILY THING.
ABOUT THE FACT THAT YOUR FAMILY'S NOT GONNA BE THERE--
- I DON'T GET WHY SHE'S SO OBSESSED WITH THAT.
- I DON'T EITHER. I DON'T KNOW WHY YOU'RE UPSET WITH ME.
I'M ON YOUR SIDE ABOUT THIS. - OKAY, OKAY, I'M SORRY.
- THIS IS WHY I DIDN'T WANT TO BRING IT UP,
BECAUSE IT DOESN'T MATTER. - I KNOW, I KNOW.
I'M NOT MAD AT YOU.
I'M JUST TRYING TO FIGURE OUT WHAT'S GOING ON.
SORRY, I JUST FEEL LIKE-- - IT'S OKAY, I JUST--
- IF THERE'S A CASE AGAINST ME, I FEEL LIKE I'M ENTITLED
TO KNOW WHAT IT IS.
- NO, IT'S--SHE JUST--
THIS IS WHAT SHE DOES. SHE JUST--
IT'S LIKE SHE, LIKE, HOLDS ON TO THINGS
AND THEN SPEWS THEM BACK AT ME ALL AT ONCE, YOU KNOW.
- WELL, WHAT THINGS? - I DON'T--
WHAT DO YOU MEAN? I DON'T KNOW--
- YOU SAID "THINGS." YOU SAID THINGS THAT SHE'S SAYING.
SHE KEEPS BRINGING STUFF UP-- WHAT'S--
- BRINGING UP THINGS FROM OUR PAST
THAT AREN'T RELEVANT ANYMORE. - LIKE WHAT?
- OUR PROBLEMS LAST YEAR. JUST LIKE THE--
- WHAT PROBLEMS? - WHAT PROBLEMS?
- [scoffs] WELL, WHAT DID YOU TELL HER?
- YOU KNOW, WITH THE CAR AND ALL THAT STUFF.
WHAT? RYAN, SHE SAW THE CAR.
I WAS GOING TO THEIR HOUSE FOR CHRISTMAS.
- DOES SHE KNOW ABOUT THE FIGHT AT THE FUNERAL?
- I DON'T KNOW WHAT YOU WANT ME TO SAY.
AT THE TIME...
BUT THAT DOESN'T MATTER.
- IT MATTERS TO ME.
- ♪ BUT YOU NEVER KNOW
♪ WELL, NOW, YOU NEVER KNOW
- HEY. OH.
[clattering]
WHAT HAPPENED?
- I HAD TO PULL OUT A SECTION OF THE WALL
TO BE ABLE TO GET TO THE BUSTED PIPE.
- OH, NO. IT LOOKS LIKE A LOT OF WORK.
HOW LONG IS IT GONNA TAKE YOU, DO YOU THINK?
- WELL, I HAVE TO PUT THE DRYWALL BACK UP AND...
- RIGHT. - TOILET BACK IN.
- OKAY. I BROUGHT YOU SOME COFFEE.
- OH, NO, THANK YOU. THANKS. - OH.
SO, UM... - I'M GONNA HAVE TO MOVE THAT.
- OH, I'M--DON'T-- I'LL GET IT.
UH...HAS A LOT OF PRODUCTS, HUH?
UM, WHAT CAUSED IT? COULD YOU TELL?
- PROPHYLACTICS. - WHAT?
WHAT DO YOU MEAN? LIKE, FLUSHING? FLUSHING THEM?
EWW...
- MRS. BRAVERMAN, IT'S-- - YEAH.
- IT'S PRETTY TIGHT IN HERE. JUST TRYING TO--
- OH, YEAH, YEAH, YEAH, YEAH.
WILL YOU PLEASE CALL ME SARAH?
- RIGHT. - PLEASE?
SORRY TO BOTHER YOU, I WAS JUST TRYING TO FIGURE OUT...
- NO, NO, DON'T BE SORRY. - A TIMELINE TO TELL MY TENANT.
- IT'S GONNA GET A LOT WORSE BEFORE IT GETS BETTER.
- RIGHT. HMM.
- HELLO. - HEY!
HEY, PARTNER!
COME ON OVER!
- YOU DIDN'T START WITHOUT ME, DID YOU, GRANDPA?
- HECK, NO, I'M NOT GONNA DO ANYTHING WITHOUT YOU.
THIS IS OUR PROJECT.
- HE'S BEEN LOOKING FORWARD TO THIS ALL DAY.
- WELL, HE'S NOT THE ONLY ONE. - GOOD. [laughs]
- OKAY, HERE YOU GO. - ALL RIGHT.
- THERE'S THE MANUAL. - OKAY...
- YOU START AND WE'LL SEE WHAT WE CAN COME UP WITH HERE.
- OKAY. "REPLACE..." - GOOD.
- "THE...
CARBOR-A-TEER."
- CARBURETOR.
- REPLACE THE CARBURETOR.
- THAT'S IT. - OKAY.
- OH, GOD, I LOVE THAT CAR.
THAT CAR IS THE BEST THING TO HAPPEN.
- WELL, I DON'T. I HATE THE DAMN THING.
- WHAT? MOM.
MOM. - NOTHING.
NOBODY CARES WHAT I THINK.
- WHAT'S GOING ON?
- HE'S JUST COMPLETELY SHUT ME OUT.
- DAD HAS?
- YEAH, DAD.
- WELL, YOU CAN TALK TO ME ABOUT IT.
- ALL I ASKED HIM TO DO
WAS TO HAVE A LOOK AT A CONDO WITH ME.
JUST LOOK.
SO WE COULD DISCUSS THE POSSIBILITY
OF WHAT OUR ACT THREE MIGHT LOOK LIKE.
AND HE GOES AND HE BUYS THAT PIECE OF JUNK TO SHUT ME UP.
THAT'S NOT OUR ACT THREE. IT'S HIS ACT THREE.
- YOU WANT TO SELL THE HOUSE?
- NO. WELL...
I DON'T KNOW, MAYBE.
YOU KNOW, THE TAYLORS GOT A LOT OF MONEY FOR THEIR HOUSE.
- YEAH. - THEY GOT OVER ASKING PRICE.
THIS IS A BETTER HOUSE. - YEAH.
- IT'S A BIGGER HOUSE. IT'S TOO BIG A HOUSE.
YOU KNOW, IT'S A LOT OF UPKEEP.
IT'S A LOT OF HOUSE FOR TWO PEOPLE.
YOU KIDS ARE ALL GROWN AND GONE.
WE COULD DO A LOT OF THINGS THAT...
THAT I HAVEN'T DONE.
THERE'S LOTS OF THINGS I WANT TO DO
AND I WANT TO DO THEM WHILE I'M STILL
YOUNG ENOUGH TO ENJOY DOING THEM.
DO YOU KNOW I'VE NEVER BEEN OUT OF THE COUNTRY?
- MOM, I HAD NO IDEA YOU WERE THINKING ABOUT ALL THIS STUFF.
- [chuckles] WHY WOULD IT EVEN OCCUR TO YOU?
JOEL. HE NEVER SHUT YOU OUT.
LISTEN, UM,
DON'T MENTION THIS TO THE OTHERS, OKAY?
EVERYONE IS SO EMOTIONAL ABOUT THIS HOUSE.
- NO, I WON'T.
- I DIDN'T EVEN MEAN TO BURDEN YOU WITH IT.
- THAT'S FINE. MOM, I'M REALLY GLAD THAT YOU DID.
I AM.
- IT'S JUST A LOT OF YEARS, JULIA.
IT'S A WHOLE LOT OF YEARS WITH YOUR DAD.
SOMEWHERE ALONG THE WAY, I--
I LOST MY VOICE IN THE RELATIONSHIP.
I DON'T KNOW HOW TO GET IT BACK.
- INCORPORATING THE OUTDOORS, EDIBLE GARDENS
AND SLIDING GLASS DOORS... - YEAH.
- THIS NATURAL FLOW BETWEEN THE INSIDE AND OUTSIDE.
- RIGHT, RAW MATERIALS, AND THAT WARM COLOR YOU USE.
- YEAH. THANK YOU, YEAH.
- IT'S THE HOUSE THAT YOU WISH YOU GREW UP IN BUT DIDN'T.
- YEAH. YEAH, IT'S THAT HOUSE. - YEAH.
- YOU'RE GONNA MAKE ME RAISE MY GAME, JOEL.
- [chuckles] WELL, I HAVEN'T EVEN BUILT ANYTHING FOR YOU YET.
- NOT YET.
BUT YOU DIDN'T COME HERE TO DISCUSS DESIGN.
YOU WANTED TO TALK ABOUT BOUNDARIES.
- YES. - FIRE AWAY.
- THANK YOU. I JUST THOUGHT I'D--
IT'D BE GOOD TO GET OUT OF THE WAY
BEFORE WE GET INTO A SITUATION
WHERE, YOU KNOW, WE'RE BEHIND
OR WE'RE EATING INTO THE PROFITS OF MY TEAM.
AND I'VE JUST HEARD HORROR STORIES FROM MY WIFE
WHO WATCHED ALL THESE YOUNG COMPANIES MAKE--
- SO IS THIS YOUR WIFE TALKING?
- NO.
- SORRY. NO FILTER.
- NO, THAT'S OKAY. [chuckles]
NO, BUT WE'RE A TEAM, MY WIFE AND I.
- MM-HMM. I GET IT.
WELL, LOOK, I'VE NEVER BEEN MARRIED.
NOT IN ANY TRADITIONAL SENSE.
BUT IN THIS MARRIAGE, THE ONE THAT YOU AND I ARE IN,
THIS IS ABOUT THE LONG HAUL.
THIS IS ABOUT, YOU KNOW, PUTTING THE SWEAT EQUITY IN NOW
AND NEVER GOING BACK TO THE CLIENT
AND ASKING FOR MORE MONEY
AND COMING IN UNDER BUDGET AND MAKING BEAUTIFUL HOMES.
THE HOMES THAT YOU WISHED YOU GREW UP IN BUT YOU DIDN'T.
- RIGHT.
- AND THEN DOING IT AGAIN AND AGAIN AND AGAIN.
AND MAKING FRICKIN' LOADS OF MONEY.
[both laugh]
- WELL, YOU SOLD ME. - I DID? THAT WORKS?
- YEAH, THAT SOUNDS-- THAT SOUNDS PRETTY GOOD.
- GOOD. - YEAH.
- WELL, I'M GLAD WE TALKED. - YEAH, ME TOO.
- LET'S GET ANOTHER ROUND OF MARTINIS.
COME ON, LET'S DO IT. - YEAH.
- CHEERS. HERE'S TO THAT.
- HERE'S TO THAT.
[band playing] - [laughs]
ALL RIGHT, OKAY.
I MEAN, THAT--THIS IS IT, RIGHT? THAT'S GOOD.
- IT'S BEEN THE SAME FOR TWO DAYS.
- PFFFT. THAT WAS TERRIBLE.
LET'S DO THAT ONE MORE TIME.
- YOU KNOW WHAT? WE GOT IT.
WITH ALL THOSE TAKES, WE GOT IT. WE'RE DONE.
SOLID GOLD. I MEAN, BOOM.
EXCELLENT.
- BOOM. WE'RE DOING IT AGAIN.
HOW 'BOUT THAT? LET'S DO IT ONE MORE TIME.
- IT'S YOUR VISION. ONE MORE TIME. JUST ONE MORE.
ONE MORE TIME. - YOU'RE SO EASY TO WORK WITH.
- OKAY, JUST ONE MORE. JUST--JUST TRY--
- "OUT OF DIAPERS. WHEN ARE YOU COMING"--OKAY, YOU KNOW WHAT?
NO, WE'RE NOT. HEY, GUYS.
I THINK EVERYONE'S PRETTY EXHAUSTED,
SO LET'S JUST GO HOME FOR THE NIGHT,
COME BACK RESTED IN THE MORNING, GIVE IT ANOTHER SHOT?
- GOTTA FINISH THIS ONE SONG TONIGHT.
- I'M NOT GOING HOME ON A PIECE OF CRAP TAKE LIKE THAT.
- YOU GUYS STAY. I'M OUT.
- YOU CAN'T--YOU CAN'T LEAVE. - I'M DONE. I'M DONE.
I'M DONE. I AM GOING TO GET DIAPERS FOR MY DAUGHTER, OKAY?
- SIT DOWN. YOU CAN'T LEAVE.
- WHAT ARE YOU TALKING ABOUT? - CROSBY.
- WHAT?
- LOOK, WE NEED TO FINISH THIS.
YOU CAN'T LEAVE UNTIL WE FINISH THIS SONG.
- HIS LABEL DROPPED HIM FOR A REASON.
HE HAS SOME CRAZY, PSEUDO-ARTISTIC FANTASY
OF HOW THIS ALBUM'S GONNA TURN OUT.
IT'S GOING TO SUCK. IT'S GONNA BE CRAP!
- OKAY, WELL, WE CAN'T LET IT SUCK, OKAY?
WE GOTTA MAKE IT GOOD! - WHAT DO YOU WANT ME TO DO?
SPRINKLE MY MAGIC FAIRY DUST ON IT.
- WELL, I WISH YOU WOULD, OKAY? - I'M NOT A PSYCHOLOGIST.
- WE'VE GOT A LOT RIDING ON THIS!
- YOU WANTED THIS. - TAKE THE LUNCHEONETTE
TO THE NEXT LEVEL. - I WOULD HAVE NEVER
TRIED TO TAKE IT TO THE NEXT LEVEL
WITH A BRAND-NEW BABY AT HOME!
I'VE GOT A LOT GOING ON. I CAN'T BE HERE WITH THIS IDIOT
FOR THE REST OF MY LIFE, OKAY? - HEY, TAKE A BREATH.
THERE'S NEVER A RIGHT TIME, OKAY?
THINK IT WAS EASY FOR ME? - WHAT?
- YOU THINK IT WAS EASY FOR ME WHEN YOU CAME TO ME WITH
THE IDEA OF THE LUNCHEONETTE WHEN CHRISTINA WAS PREGNANT?
- OH, WHEN I CAME TO YOU
WITH THE GREAT IDEA FOR THE LUNCHEONETTE?
I'M LEAVING. - HERE'S THE DEAL.
YOU CAN'T LEAVE UNTIL WE FINISH THIS SONG.
- I CAN'T LEAVE. - NO, YOU CAN'T.
YOU CAN'T LEAVE, CROSBY.
- WELL, THAT OPENED. WHAT IS THIS?
HUH. I WONDER IF... - CROSBY...
- OH, WOW, I CAN LEAVE. - CROSBY.
- OH, THAT'S RIGHT, 'CAUSE I'M AN ADULT.
- DON'T YOU GO DOWN THOSE STAIRS. DON'T--
DON'T YOU LEAVE THE STUDIO. CROSBY, I SWEAR TO GOD.
CROSBY, I--
- [claps] I HOPE THAT WAS A BEER RUN,
'CAUSE WE'RE NOT STOPPING, RIGHT?
- LET'S TAKE FIVE.
JUST TAKING FIVE.
TAKING FIVE.
- OR A PURPLE DRAGON WITH A BLUE CAR.
- PRETTY COOL CAKES.
- WHAT?
[both laugh]
WHAT ARE YOU DOING HERE? - WHAT'RE YOU DOING?
- I'M--WHAT'RE YOU DOING? WITH THE--
- DIAPERS, MAN. - RIGHT. GOOD CALL.
- YOU BUYING A CAKE? - LOOK AT YOU, DAD.
I AM. I'M--
WELL, I WAS WALKING BY HERE, YOU KNOW, WALK BY
ALL THE TIME, BUT I NEVER REALLY LOOKED AT THE CAKES.
- HOW DECORATIVE THEY ARE. - [scoffs]
LOOK AT THIS. THAT'S LIKE A WHOLE VOLCANO.
- [chuckles] YEAH.
YOU FEELING GOOD?
- YEAH. - YEAH? NICE?
- WELL, I'M DRUNK. [chuckles]
- OH, YOU ARE! I COULDA NEVER--
- IT DOESN'T--
- IT'S IMPERCEPTIBLE. - WELL, GOOD.
- YEAH. WHERE'S JULIA?
- SHE'S--SHE'S AT HOME. I WAS AT DINNER.
AT, UM, THE PLACE ACROSS THE STREET.
- HENDRICK'S? - THAT'S THE ONE.
- THAT WAY.
- WHEREVER. THAT PLACE. - YEAH, YEAH.
- HENDRICK'S. - AND HOW YOU GETTING HOME?
- I WAS GONNA--WELL, THE PLAN WAS TO STOP BEING INBRINI--
'NEBRIATED. - [chuckles] OH. UH-HUH.
- ONCE I WAS DONE BEING TIPSY I WAS GONNA GET IN THE CAR.
- ALL RIGHT. I'LL DRIVE YOU HOME.
- MY NAME'S JOEL. I'M GONNA EAT YOU.
- DON'T--DON'T MESS UP YOUR SHIRT.
WATCH YOUR COLLAR, THERE. - [groans]
- YOU'RE GONNA BE BUSTED.
- MM.
YOU KNOW, IT'S ABOUT CHOICES.
LIFE IS A SERIES OF CHOICES.
NOW, I CAN CHOOSE TO DO A LITTLE HEAVY LIFTING NOW,
AND I CAN PUT OUR BUSINESS AT THE NEXT LEVEL.
YOU KNOW? AND THAT JUST SEEMS LIKE...
- IS THAT GOOD? - OH, SO GOOD.
- IT IS. CAN I TRY IT? - SURPRISINGLY EXCELLENT.
YEAH, JUST DON'T MESS WITH MY ROAD RIGHT HERE.
THIS IS ALL MINE, THESE RICE KRIS--SEE HOW--
- OH. - HOW GOOD IS THAT?
- JOEL, IT'S TERRIBLE. THAT'S BAD CAKE.
- IS IT? - YOU'RE DR--HEY, LISTEN TO ME.
YOU'RE DRUNK. THAT'S NOT GOOD CAKE.
- REALLY? - DON'T EAT IT.
- STARTING TO MAKE ME FEEL BAD.
- ALL RIGHT, I GOTTA GO, I GOTTA GET THESE DIAPERS
BACK TO JASMINE OR SHE'S GONNA KILL ME, OKAY?
- YEAH, JULIA'S GONNA KILL ME.
HOW'D WE GET HERE?
- [laughs]
- NO, I MEAN, WITH-- YOU KNOW.
YEAH, NO, WITH, YOU KNOW, HAVING KIDS
AND, YOU KNOW, BUSINESSES ON THE PRECIPICE OF SOMETHING.
- YEAH.
AY-YI-YI, I DON'T KNOW. - YEAH.
- ♪ BRAIN IS FLAMIN' [turns up music]
- OH, MAN, THIS IS ONE OF MY FAVORITES.
- THAT'S A SONG RIGHT THERE. - OH, MAN.
WHAT A SONG. LISTEN TO HOW SIMPLE THAT IS.
IT IS HUGE. - IT JUST--WOW.
- ♪ YOU LIGHT MY MORNING SKY - YEAH, THAT'S ROCK AND ROLL.
RIGHT THERE. - ♪ BURNING LOVE
- MM. both: MM-HMM.
- ♪ OOH, HOO, HOO, I FEEL MY TEMPERATURE RISING ♪
- IS IT OKAY I USED YOUR LOOFAH?
- NO!
- OKAY. - UH-OH.
- I DON'T NEED TO LOOFAH. I HAVE VERY SOFT SKIN.
- I--YEAH.
- ARE YOU SURE THIS KID KNOWS WHAT HE'S DOING?
- WHO? - THE GUY FIXING THE TOILET?
- RYAN? HE DOES. YES, HE DOES, ABSOLUTELY.
VERY MUCH SO.
- 'CAUSE, YOU KNOW, I HAVE A PLUMBER BUDDY
WHO WOULD PROBABLY CUT YOU A DEAL.
- THAT'S OKAY. THANK YOU.
- UNLESS--OR YOU JUST LOVE HAVING ME IN YOUR SHOWER.
I CAN STAY.
- I CAN'T WAIT TILL YOU GET YOUR WATER TURNED BACK ON.
- OKAY.
UM...
SO WE COULD JUST CALL HIM, I GUESS.
- WHO? - THE GUY.
- NO, NO, NO, NO. I CAN'T FIRE RYAN.
- WHY? ARE YOU--
OH, YOU AND RYAN? ARE YOU HITTING THAT?
- WHAT? - NO?
- HE'S MY DAUGHTER'S FIANCE.
- OH. SORRY. OKAY.
- WHAT DO YOU HAVE TO SAY ABOUT THAT?
- ENOUGH SAID.
- LET'S HEAR IT. - NO, NO. I GET IT.
THAT'S TOTALLY UNDERSTANDABLE.
YEAH, RIGHT? FAMILY. DON'T MESS WITH FAMILY.
'CAUSE IT'S FAMILY AND FAMILY COMES FIRST.
AND I APOLOGIZE. I DIDN'T KNOW.
ENOUGH SAID. YEAH.
DONE.
AND GOOD NEWS HERE.
THE LESSON THAT WE'VE GOTTEN IS YOU NOW KNOW
YOU CAN'T SNAKE A TOILET BOWL.
- AND YOU KNOW YOU CAN'T FLUSH YOUR CONDOMS.
- MR. RADFORD, THANK YOU SO MUCH
FOR TAKING THE TIME TO MEET WITH US.
AFTER I LEFT MR. CARLSON I SPOKE WITH A FAMILY FRIEND.
HE'S A PHOTOGRAPHER. GREAT PHOTOGRAPHER.
HANK RIZZOLI. YOU MAY HAVE HEARD OF HIM.
- MM-MM.
- REALLY, REALLY WELL-KNOWN IN BERKELEY.
HE'S LIKE THE ANNIE LIEBOWITZ OF BERKELEY. HE'S AMAZING.
WONDERFUL PERSON, TOO.
HE REALLY BELIEVES THAT MAX HAS TALENT AS A PHOTOGRAPHER.
AND HE SHOULD BE TAKING PICTURES
OF THE YEARBOOK-- FOR THE YEARBOOK.
- OKAY, I THOUGHT I MADE IT CLEAR THAT THIS WASN'T
ABOUT TALENT, MRS. BRAVERMAN.
- YOU MADE IT CLEAR, BUT YOU KNOW,
I SAT DOWN WITH MY HUSBAND, WE TALKED TO MAX,
SO THIS WON'T HAPPEN AGAIN.
- THE DECISION'S BEEN MADE.
- I KNOW THE DECISION'S BEEN MADE.
MR. RADFORD, COULD YOU MAYBE
TALK TO MR. CARLSON ABOUT LAST YEAR
AND HOW GREAT MAX WAS WITH PRESIDENT OF STUDENT COUNCIL,
HOW MUCH HE THRIVED,
AND HOW WELL HE DID.
AND, YOU KNOW, WE HAD SOME SPEED BUMPS HERE AND THERE,
BUT IN THE END, HE DID PHENOMENAL.
- YEAH. - YEAH.
- HE DID DO WELL. AND I'M HAPPY THAT MAX HAD THAT EXPERIENCE.
BUT I GOTTA BE HONEST WITH YOU.
IT WAS REALLY TOUGH ON THE REST OF THE STUDENT COUNCIL.
- WHY DO YOU SAY THAT? I DON'T--
- I MEAN, I THINK THE REASON THAT IT WORKED OUT AT ALL,
THE ONLY REASON IT WORKED OUT AT ALL,
WAS BECAUSE MAX WAS IN CHARGE.
BUT I STILL HAD TO PUT OUT A LOT OF FIRES.
- LIKE WHAT? NOBODY TOLD ME ANY OF THIS.
- I WAS GLAD TO TRY TO MAKE IT WORK.
BECAUSE I THOUGHT IT WAS GONNA BE GOOD FOR MAX.
BUT THIS TIME I'VE GOT TO AGREE WITH MR. CARLSON.
WE CAN'T HAVE HIM DOING PHOTOGRAPHY FOR THE YEARBOOK.
IT'S JUST NOT FAIR TO THE OTHER KIDS.
- CROSBY JUST HAPPENED TO BE THERE?
- YEAH, HE WAS PICKING UP DIAPERS.
- HOW MUCH HAD YOU HAD TO DRINK?
- NOT TOO MUCH. - YEAH.
- I WAS, YOU KNOW, TRYING TO BE SAFE, SO...
- THAT'S SMART. - MM-HMM.
- OKAY, SO IF YOU HADN'T BEEN DRINKING SO MUCH,
THEN, UM, MAY I ASK THE STORY BEHIND THIS?
- UH, THAT IS A CAKE.
IT'S, UH...
LOOKED SO MUCH BETTER LAST NIGHT.
- MM-HMM. - THAT CAKE.
BUT IT WAS, UH, SOMETHING I WAS BUYING
FOR THE, UH--I WAS, UH... DRUNK.
- YEAH. - I WAS DRUNK.
- YEAH.
- AND I'M GONNA CHOOSE TO NOT BE UPSET
ABOUT THE FACT THAT YOU WERE OUT VERY LATE
DRUNK WITH PEET AND JUST LIED TO ME ABOUT IT
UNLESS YOU TELL ME THAT I SHOULD BE UPSET ABOUT IT.
- YOU SHOULD NOT BE UPSET.
- GOOD. THEN I'M NOT.
- GOOD.
- OKAY.
SO HOW'D IT GO?
- GOOD. GOOD, ACTUALLY. YOU KNOW, UM...
I'M REALLY GLAD YOU TOLD ME TO TALK TO HER ABOUT IT.
- THAT'S AWESOME.
- YEAH.
- SO IMPORTANT TO NIP THESE THINGS IN THE BUD.
- IT IS. YEAH.
- SO YOU'RE GONNA BE BILLING FOR THE EXTRA HOURS?
- UH, WE AGREED TO, YOU KNOW,
PUT THE TIME IN NOW FOR THE LONG HAUL.
- FOR THE LONG HAUL? IS THAT WHAT SHE'S SAYING TO YOU?
- THAT'S WHAT WE AGREED TO. - THAT'S WHAT SHE SAID TO YOU.
- THAT'S WHAT WE TALKED ABOUT.
SHE AND I, MY BUSINESS PARTNER. - BUT SHE SAID THAT BECAUSE
SHE'S NOT THE ONE PAYING YOUR GUYS.
- SHE'S NOT. SHE'S THE ONE EMPLOYING ALL OF US.
- SHE'S NOT THE ONE TAKING THE HIT ON THIS.
SHE IS TAKING ADVANTAGE OF YOU. - SHE'S TAKING ADVANTAGE OF ME.
- YES.
- DO YOU REALIZE HOW BIG AN OPPORTUNITY THIS IS FOR ME?
DO YOU UNDERSTAND?
- YEAH, BUT YOU'RE SETTING A PRECEDENT HERE.
AND I'M SAYING YOU LOST PERSPECTIVE ON IT--
- I'M SETTING A PRECEDENT SO THAT I CAN CONTINUE
WORKING WITH THIS WOMAN FOR YEARS TO COME.
- AND SHE'S GONNA RESPECT YOU FOR STANDING YOUR GROUND.
- STEP OFF!
I KNOW WHAT I'M DOING.
THIS IS MY BUSINESS.
THIS IS NOT YOU, THIS IS ME.
- HEY. - HEY, CAN WE TALK?
- COME WITH ME. I NEED YOUR HELP.
- ALL RIGHT.
- HEY. - SOMETHING LIKE THAT.
- GUYS, COULD YOU COME OVER HERE FOR A SECOND?
- WHAT ARE WE DOING? - LISTEN TO ME.
RIGHT HERE. MEET THE BEATLES. YOU SEE THIS?
NIRVANA, BLEACH. NEBRASKA,SPRINGSTEEN, ELVIS.
ALL THESE WERE BREAKOUT ALBUMS RECORDED ON A SHOESTRING BUDGET.
THE TITLE TRACK ON THIS ONE. $4. RECORDED FOR $4.
BLEACH-- THE WHOLE ALBUM, 600 BUCKS.
SPRINGSTEEN MADE NEBRASKA ON A FOUR-TRACK IN HIS BEDROOM.
- IS THAT RIGHT? - YEAH.
THESE ALBUMS DIDN'T HAVE ANY MONEY.
THEY WERE ALL STRIPPED-DOWN AND RAW.
THEY WEREN'T HIDING BEHIND ANY FANCY PRODUCTION.
THEY HAD SOMETHING TO SAY,
THEY SAID IT, AND PEOPLE LISTENED.
SO HERE'S WHAT WE'RE GONNA DO.
WE'RE GETTING RID OF THE LUTE,
WE'RE GETTING RID OF THE SAMPLES,
AND ALL THE LAYERS, AND WE'RE GONNA RECORD YOU GUYS
DOWN AND DIRTY BECAUSE YOU HAVE THE GOODS.
YOU'RE ACTUALLY A GREAT BAND. YOU HAVE GREAT SONGS.
OLIVER, AS ANNOYING AS YOU ARE,
YOU CAN SING, MAN.
SO JUST SING.
AND LEAVE THE REST TO US.
- OKAY. COOL.
- OKAY. - OKAY.
- HEY. - HELLO.
HOW'D IT GO, MY MAN? - GOOD.
CAN WE JUST STAY A LITTLE LONGER?
I'M NOT FINISHED CLEANING THE PARTS.
- YEAH, WE'RE NOT QUITE FINISHED DOING...
RIGHT, OKAY.
UH, TELL YOU WHAT, VICTOR, WHY DON'T YOU GO WASH YOUR HANDS,
AND WE'LL TACKLE THIS ANOTHER TIME. ALL RIGHT?
- OKAY. - THANKS. GREAT JOB.
- THANK YOU.
- MAN, I AM TELLING YOU,
THIS WHOLE CAR IDEA--
I MEAN, I SHOULD HAVE FIVE OF THESE.
- IT--[chuckles] YEAH. - YEAH.
- HOW DOES MOM LIKE IT?
- YOUR MO-- SHE LOVES IT. WHY?
- WELL...
SHE TOLD ME ABOUT THE HOUSE.
ABOUT THAT CONDO SHE WANTED YOU TO SEE,
WOULDN'T EVEN TALK TO HER ABOUT IT, SHE SAID.
- HUH. WELL, UH...
I GOTTA TELL YA, THAT'S BETWEEN YOUR MOTHER AND I,
AND I APPRECIATE YOUR ASKING, SWEETHEART,
BUT REALLY, YOU'RE KIND OF INTRUDING.
- SHE HAS A RIGHT TO TALK TO YOU
ABOUT WHATEVER SHE WANTS TO TALK TO YOU ABOUT.
SHE HAS A VOICE IN THIS, YOU KNOW?
LOOK, I AM SO GRATEFUL FOR THIS CAR,
THIS HAS BEEN SO GOOD FOR VICTOR,
BUT YOU HAVE TO TALK TO MOM. AND YOU HAVE TO LISTEN TO HER.
BECAUSE SHE'S YOUR WIFE AND BECAUSE
SHE HAS A RIGHT TO WEIGH IN ON--
ON DECISIONS THAT AFFECT BOTH OF YOUR LIVES, YOU KNOW?
- OKAY. YOU OKAY HERE?
- IT'S--I'M FINE.
SORRY.
I JUST HAD TO SAY SOMETHING. - [chuckles]
- CAN I TALK TO YOU FOR A SEC?
- HMM.
- SO, UM, I TALKED TO YOUR YEARBOOK ADVISOR
AND YOUR PRINCIPAL,
AND THEY HAVE DECIDED TO MOVE YOU TO LAYOUT ON THE YEARBOOK.
- I DON'T KNOW IF I CAN DO BOTH THE LAYOUT
AND TAKE THE PICTURES AT THE SAME TIME.
I DON'T KNOW--I DON'T THINK I'LL HAVE TIME TO DO THAT
'CAUSE I ALREADY HAVE HANK AND I'M DOING MATH WARRIORS
THREE TIMES A WEEK. - RIGHT.
WELL, YOU WON'T BE TAKING PICTURES ANYMORE.
- WHAT DO YOU MEAN?
- THEY JUST WANT YOU TO DO LAYOUT
AND LEARN PHOTOSHOP.
- NO, NO, BUT I'M THE BEST PHOTOGRAPHER.
- YOU ARE. YOU ARE THE BEST PHOTOGRAPHER.
BUT THERE ARE OTHER KIDS AT THE SCHOOL AND THEY HAVE TO--
- NO, THAT'S TOTALLY UNJUST.
I MEAN, WHY WOULDN'T THE BEST PHOTOGRAPHER
BE ALLOWED TO TAKE PICTURES?
- YOU'LL STILL BE ABLE TO TAKE PICTURES, OKAY?
YOU'LL STILL BE ABLE TO WORK WITH HANK.
- HANK DOESN'T HAVE A YEARBOOK.
- I KNOW HE DOESN'T, BUT THIS IS WHAT THE SCHOOL HAS DECIDED.
THEY THINK THAT'S BEST.
- NO, BUT IT'S STUPID AND IT'S NOT FAIR.
MOM, ANSWER ME. DO YOU THINK THAT IT'S FAIR?
- NO, I DON'T THINK THAT IT'S FAIR.
- RIGHT, YOU DON'T THINK THAT-- NO YOU DON'T THINK THAT'S FAIR,
THEN WHY SHOULD WE LISTEN T-- - LISTEN TO ME,
THIS IS WHAT THEY'VE DECIDED.
SOMETIMES IN LIFE... - IT'S NOT FAIR.
- THINGS AREN'T FAIR, OKAY?
AND AS YOU GET OLDER YOU HAVE TO DEAL WITH THAT.
OKAY, I THINK THAT THIS-- THIS SUCKS FOR YOU.
I THINK IT'S AWFUL, BUT WE CAN'T CHANGE EVERYTHING.
WE HAVE TO ABIDE BY WHAT THEY'RE SAYING.
- NO, IT'S STUPID. WHY SHOULD IT BE LIKE THIS?
I'M REALLY MAD ABOUT THIS.
- YOU KNOW WHAT? I'M REALLY MAD ABOUT THIS TOO.
I'M SO MAD ABOUT THIS.
SO WE'RE JUST GONNA SIT HERE AND WE'RE GONNA BE MAD TOGETHER.
WE'RE JUST GONNA SIT HERE AND BE MAD TOGETHER.
[sighs]
- ♪ CAN'T REMEMBER WHEN WE LAST ♪
♪
♪ TOOK THE TIME TO SEE THE SUNSET ♪
- MRS. BRAVERMAN.
- RYAN. - YEAH.
- HI. COME ON IN.
- UH, YOU HAVE JUST A SEC? - OF COURSE. COME ON IN.
- NO, I'M OKAY.
UM...
MY DAD DIED WHEN I WAS 11
AND MY MOM REMARRIED
HALF A YEAR LATER TO A GUY FROM WORK
WHO WAS OKAY TO HER, BUT THOUGHT CORPORAL PUNISHMENT
WAS THE BEST WAY TO HANDLE A WILD KID
WHO WAS PISSED AS HELL ABOUT LOSING HIS DAD.
- OH, RYAN, I'M SO SORRY.
- NO, NO, NO. I DON'T NEED PITY, I'M JUST--
I'M JUST--I'M JUST TELLING YOU THE REASON
WHY I LEFT HOME AS QUICK AS I DID
AND NEVER LOOKED BACK, NEVER WILL.
- RYAN, YOU DON'T HAVE TO GIVE ME AN EXPLANATION.
- WELL, I WANT TO GIVE YOU THE ANSWERS
TO THE QUESTIONS YOU KEEP ASKING, SO...
NOT EVERYBODY HAS A FAMILY LIKE YOURS.
AND I KNOW THAT I MESSED UP.
I KNOW THAT I DID SOME THINGS THE LAST TIME I GOT BACK
THAT SCARED YOU AND THEY SHOULD HAVE.
IT'S YOUR DAUGHTER.
BUT I LOVE HER.
I LOVE HER SO MUCH.
AND I'M WORKING SO HARD TO GET BETTER.
AND I WANT TO BE WORTHY OF YOUR FAMILY.
I WANT TO BE WORTHY OF HER.
AND I KNOW YOU THINK THAT WE'RE RUSHING,
WE'RE GOING INTO THIS TOO FAST,
BUT I CAN TELL YOU GREW UP REAL FAST ON YOUR OWN.
YOU GREW UP FAST IN THE MILITARY.
I KNOW WHAT I WANT.
AND I WANT US TO START OUR LIVES TOGETHER.
- ♪ NICE SURPRISE READY TO GROW... ♪
- OKAY.
- THANKS.
- ♪ AFTER ALL IS SAID AND DONE ♪
♪ AFTER ALL IS SAID AND DONE - OKAY.
OH, AND SARAH...
IT'S FIXED.
- THANKS.
- THE TOILET.
- ♪ AFTER ALL IS SAID AND DONE - OKAY.
♪