[DIRECTOR and their ASSISTANT DIRECTOR are reviewing rushes from a day's shooting. Sounds on the rushes are slightly tinny, to differentiate. The film has the style of a soapy melodrama]
GLADYS: [Tinny] You've got a nerve, coming back here. [Beat] After...after last night. [Stifles a sob]. Did any of what you said mean a damn thing? [Beat. Then emotional] Why don't you speak to me?
DIRECTOR: Alright, stop there.
ASSISTANT: Gladys was pretty convincing, I thought.
DIRECTOR: Sure, yes, Gladys was fine, but what about him? Look, he's nowhere near his bloody mark. Howe many times did we go through this?
ASSISTANT: Oh, it's OK. Tell you what, we've got time, we'll shoot a few placement shots and edit them in, plus we'll throw in a bunch of close ups, and it'll work a treat.
DIRECTOR: Alright, I suppose; start it up again.
GLADYS: [Tinny] God, I can't believe I let you get me into this mess.
DIRECTOR: Oh, come on, look he's barely in the frame at all there.
GLADYS: You're a monster, McGonagal!
DIRECTOR: And now - he's not, is he? He's urinating. He's actually urinating on the set. I don't know why I let you talk me into hiring him.
[Tinny dog bark]
God, that wasn't even his cue! Stop the tape, there's no point watching any more of this, it's a cocking disaster.
ASSISTANT: OK. OK. Right. I think you're being a tiny bit overly critical, rushes always look ropy. What we'll do, we'll dial down the picture quality in post-, give it a nice grainy, voyeuristic feel, stick a good score underneath, and we'll be away. These things always come together in the edit.
DIRECTOR: Steve, what we're supposed to be seeing here is a hitman torn between the woman he loves, and loyalty to the gangsters who brought him up from the ghetto gutter, the only family he ever knew. What we're actually seeing is a dachshund sniffing a chair, then taking a long piss. We'll have to just cut our losses and recast, he's never going to work.
ASSISTANT: Well, you could get more out of him if you tried.
DIRECTOR: What's that supposed to mean?
ASSISTANT: He's a young actor, overwhelmed by the studio environment, you're not giving him the nurturing care he needs to grow. He could be one of the greats, I honestly believe that.
DIRECTOR: He's a dog!
ASSISTANT: He's a brilliant actor, in my professional opinion.
DIRECTOR: Steve, he's your dog!
ASSISTANT: No, he's not. At home he's my dog, right, granted; at work he's just another colleague, and my objective opinion is that he's destined for the big time. Let's leave it one more day, eh? I'll have a quiet word, and tomorrow you'll see magic.
DIRECTOR: Alright, Jack - last chance, mind. Now, I wasn't sure about some of the shadows on those takes, get that lighting man in here, will you?
ASSISTANT: [Shouting] Gareth!
[Huge clomping sound, and strange growl-screech. DIRECTOR and ASSISTANT drop out of character]
DIRECTOR: What was that?
ASSISTANT: My pet stegosaur.
DIRECTOR: Is that how a stegosaur sounds?
ASSISTANT: Well, nobody knows, do they? Probably close enough.
DIRECTOR: Yeah, but it's supposed to be a cat. Everyone knows what a cat sounds like. That's the joke, see - the lighting director is your pet cat.
ASSISTANT: I know, I know, I just thought stegosaur was funnier.
DIRECTOR: But it makes no sense.
ASSISTANT: That's why it's funny! Take it one step further, get the bigger laugh.
DIRECTOR: Only once you know it should have been a cat. Nobody knows that except us.
ASSISTANT: Course they do. It's bleeding obvious from about line 6.
DIRECTOR: Is it?
ASSISTANT: Jesus, yes. Right off the bat you know how the sketch will end.
DIRECTOR: Yeah, I guess. Shall we just drop this one?
ASSISTANT: Never really liked it. [Loud voice] OK, everyone, we're cutting the rushes sketch.
[Some VOICES of sketch recording crew sound disappointed]
GLADYS: [Out of character, and angry] For Christ's sake! [Storms out]
DIRECTOR: Stupid sketch, it really is. The dog was decent though, wasn't it?
ASSISTANT: That's the irony, the dog did a bloody good job. We should totally work with him again...