A Running Jump Page #3

Synopsis: Members of a family lives frantic lives of Olympian proportion.
 
IMDB:
6.2
Year:
2012
35 min
58 Views


No, no, no. He won't be long.

Only be a minute.

Hi, Dad! Are you here?

Is that you, Hayley?

No, it's me.

Has the geezer been here?

Yeah.

All right? Where's Dad?

He's on his way.

He phoned me. Give us a lift to work!

- No!

- Go on, I'm running late.

- All right, then. Hurry up.

- Oh, thanks!

I'll put the meter on.

Nijinsky.

Where do you think he was born?

What?

He's the only racehorse

I know come from Canada.

Do you like the flat or the jumps?

Here! Who won the Derby in 1953?

I don't know.

Pinza.

Yeah, I like the flat and all,

but the greatest jumper of all

was Red Rum. Three times he

won the National, three times!

They buried him at the finishing post.

Big lump in the ground. Horse-shaped.

- Have you seen me necklace?

- No.

I'm not usually such a mess!

- Hello, babe.

- All right, Dad.

Sorry to keep you waiting. Terrible traffic.

I'm Doug.

Hello, Dad, you here again?

Let's do some business.

Want a cup of tea?

Coffee? It's Roger, innit?

- Step this way, I'll sort you out.

- It's Gary, actually.

Let me get my keys. You'll love this.

Get me paperwork.

Hold onto your money, it's all outside.

Follow me.

Now, do yourself a favour, Roger.

If you're going to buy a car,

it's a lot of money, so you want to

make an educated choice.

Choose wrong, you're in trouble.

Choose right, you're in clover,

and I'm your man. Now,

you've got three cars here.

You got your town car,

lovely metropolitan blue,

- goes great over speed bumps.

- No, no...

You got your country car. Seat in the back

for the dogs, roof rack.

- And for the beach, your four by two.

- Four by four! - Yeah, all right, Dad.

So that's your choice.

That's the car for you,

it's got your name on it, it's a lovely car.

- Ladies love it. You'll have

Dorises hanging at the window.

Listen...

Do yourself a favour, sit in here

and experience state-of-the-art

Japanese technology. Live a little.

Get in. It's like Tokyo on a Saturday night.

- You can almost smell the geisha girls.

- No, listen...

- Dad, what are you doing?

- What?

I'm trying to earn a living. Give us

five minutes. Why don't you go home?

This car, if I had a showroom

with all the overheads,

that'd be three grand. I'd do it for 1,200

but I can do it for you for 1,100

and I'll tell you why, Rog.

- Gary.

- What?

It's Gary.

Yeah, whatever... Gary. Now, I'm going to

be honest with you, Gaz.

- I sold the Punto.

- I don't believe...

You know I told you to come today as

I had a geezer coming tomorrow?

He came yesterday with his daughter

and she was wetting her knickers

over the motor. She loved it,

but he didn't have the dosh. Tragic.

This morning, first thing,

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Mike Leigh

Mike Leigh (born 20 February 1943) is an English writer and director of film and theatre. He studied at the Royal Academy of Dramatic Art (RADA) before honing his directing skills at East 15 Acting School and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theatre work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996), the Golden Lion winning working-class drama Vera Drake (2004), and the Palme d'Or nominated biopic Mr. Turner (2014). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujirō Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked—and remarked that the list of actors who have worked with him over the years—including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in The New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." more…

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Submitted on August 05, 2018

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    "A Running Jump" Scripts.com. STANDS4 LLC, 2024. Web. 5 May 2024. <https://www.scripts.com/script/a_running_jump_2015>.

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