:51:02
-Anything wrong?
-Please continue, please.
:51:04
The Bureau of Approvals which would....
:51:07
l wonder, l wonder.
:51:11
No, l couldn't ask it.
:51:12
What is it? Ask me. Go ahead, ask me.
:51:15
l couldn't ask you. You are a policeman.
:51:18
That's what policemen are for.
To ask them things.
:51:20
Go ahead, ask me.
:51:25
l couldn't ask you to actually act...
:51:29
...in the picture because l only use
professionals for the talking parts.
:51:33
No, l couldn't act. l'm a policeman.
:51:36
-Don't ask me to act.
-Of course not.
:51:40
What were you going to ask me?
:51:44
lf, after l got the permit to film in Sevalio...
:51:47
...if, during the shooting of the film...
:51:50
...my sensitive camera were
to come across an interesting face...
:51:54
...with good bone structure...
:51:56
...a face that could be...
:51:59
...in a crowd, sitting at a café.
:52:01
-Walking along a street.
-Walking along a street.
:52:04
Who could object to that?
:52:06
You would not be acting because
you would not be saying anything.
:52:09
l couldn't say anything
because that would be acting.
:52:12
l could say, ''Good morning.''
:52:15
That wouldn't be acting.
l always say good morning.
:52:17
There is a character in this film
that says ''Good morning.''
:52:21
lt's a milkman,
l could change it to a policeman.
:52:23
l wouldn't want you to change the story.
:52:25
No, l just take out the milkman
and put in a policeman.
:52:29
And l'm a policeman, so l could do it.
:52:31
Yes, it's settled.
:52:34
You start the picture.
l'll take care of the application.
:52:39
That is a wonderful wink.
:52:41
Maybe we could use that wink
when you say, ''Good morning.''
:52:45
Whatever you want. You're the director.
:52:48
Again my deepest gratitude.
:52:50
And, good morning.
:52:53
Good morning.
:52:55
Such a deep rich voice.