Daily Dialogue theme for next week: New Year’s Eve

December 28th, 2013 by

Wrapping up a week’s worth of Christmas posts, focusing as it turns out mostly on Christmas songs, we charge toward our next holiday celebration with this week’s theme: New Year’s Eve.

You may be tempted by all the romantic movies which include New Year’s Eve, but there are also some action titles and dramas out there to draw on.

The usual drill:

* Copy/paste dialogue from IMDB Quotes or some other transcript source.

* Copy/paste the URL of an accompanying video from YouTube or some other video source.

I’d also ask you to think about why the dialogue is notable. Is there anything about the dialogue which provides some takeaway re screenwriting?

Here is our lineup for upcoming Daily Dialogue themes:

January 6-January 12: Explain the Mission [Shaula Evans]

January 13-January 19: The Boss [kevinpgoulet]

January 20-January 26: Rescue [Despina]

January 27-February 2: Directions [brettonzinger]

See you in comments with your suggestions for movie scenes featuring New Year’s Eve movie moments. And thanks in advance for your suggestions!

3 thoughts on “Daily Dialogue theme for next week: New Year’s Eve

  1. […] I’d also ask you to think about why the dialogue is notable. Is there anything about …read more […]

  2. Alejandro says:

    The Godfather Part II (1974)

    Screenplay by Francis Ford Coppola and Mario Puzo.


    There's a plane waiting for us to take us to Miami in an hour, alright? Don't make a big thing about it.
    (kisses him)
    I know it was you, Fredo. You broke my heart. You broke my heart.

    Debido a serios reveses de nuestras tropas en Guantánamo y Santiago, mi permanencia en Cuba es insostenible. Renuncio para evitar mas derramamiento de sangre y salgo de la ciudad inmediatamente. me despido a nombre de mi familia y en el mío propio deseándoles a todos muy buena suerte. Como mi último acto oficial ahora nombro un gobierno provisional.
    Salud! Salud! Salud!

    Viva Fidel! Viva Fidel!

    Fredo! Come on, come with me. It's the only way out of here tonight. Roth is dead. Fredo! Fredo! Come with me. You're still my brother. Fredo! Fredo!

    Fidel! Fidel! Fidel!

    Translation of the President’s dialogue:

    Due to serious setbacks to our troops in Guantanemo and Santiago, my position in Cuba is untenable.
    I am resigning from office to avoid further bloodshed. And I shall leave the city immediately.
    I say goodbye to you on behalf of my family and myself wishing you all good luck. As my last official act I hereby appoint a
    provisional government.

    Trivia: Co-authors Mario Puzo and Francis Ford Coppola disagreed over whether Michael should have Fredo killed. Coppola only agreed on condition that Michael would wait until their mother was dead.

    It's a very important moment in the film for the family, for Michael and for Fredo, to emphasize it it's shown during a very important event. We're at a New Year's Eve party, but not just any party, it's a party in Cuba, and the president is announcing his resignation. It means the end of some business for the family, but also the end of Fredo.

    Think of the important plot points in your script. Could they be more intense and dramtic if they happen in another location where another important event is happening? It doesn't have to be a revolution or coup d'etat, it can be an important event for the micro-universe of your movie.

  3. Mark Walker says:

    How about Sunset Boulevard and Norma’s pretend New Year’s Eve party arranged for just her and Gillis as more evidence of her overwhelming need to be needed and the revelation of her desparate feelings for Gillis.

    The scene is pivotol as it is probably the point in the film that Gillis realises really what is going on – well the Gillis in the “now” as opposed to the Gillis doing the voice-over – and is probably the moment that things take a turn for the worse and we head, inexorably, to the tragic end of the film as Gillis doesn’t take her seriously – suggestion that he really doesn’t know what he is getting into to.

    New Year’s Eve as the beginning of the end for Gillis as opposed to the new start that Norma is perhaps hoping for.

    And is a great example of the 3-Things “tool” for writing scenes with dialogue, where we get the characters to talk around a subject, making the 3rd thing they talk about the important dialogue for the scene. Here, the admission that there are no other guests is that third thing, the thing we, as the audience have been waiting for, but which hits home to Gillis after Norma’s attempts to sway the conversation away from the other guests.

    Great writing and a great scene. Comedy and tragedy all in one!


    (sorry the video cuts off before the end of the scene)

    Joe, you look absolutely divine. Turn around!


    Come on!

    Gillis makes a slow 36O-degree turn.

    Perfect. Wonderful shoulders. And I love that line.

    She indicates the V from his shoulders to his hips.

    All padding. Don’t let it fool you.

    Come here!

    She puts the gardenia on his lapel.

    You know, to me dressing up was always just putting on my dark blue suit.

    I don’t like those studs they’ve sent. I want you to have pearls. Nice big pearls.

    Now, I’m not going to wear ear-rings, I can tell you that.

    Cute. Let’s have some drinks.

    She leads him over to the buffet.

    Shouldn’t we wait for the others?

    (Pointing at the floor)
    Careful, it’s slippery. I had it waxed.

    They reach the buffet. Max is ready with two glasses of champagne. Norma hands Gillis a glass.

    Here’s to us.

    They drink.

    You know, this floor used to be wood but I had it changed. Valentino said there is nothing like tiles for a tango.

    She opens her arms.

    Not on the same floor with Valentino!

    Just follow me.

    They start to tango. After a moment —

    Don’t bend back like that.

    It’s those feathers. They tickle.

    Norma pulls the paradise feathers from her hair and tosses them away.

    As they play the tango, the musicians eye the dancing couple, take in the situation, exchange glances and turn away with professional discretion.

    Gillis glances at his wrist watch.

    It’s a quarter past ten. What time are they supposed to get here?


    The other guests?

    There are no other guests. We don’t want to share this night with other people. This is for you and me.

    I understand some rich guy bought up all the tickets for a performance at the Metropolitan and sat there listening to La Traviata, all by himself. He was afraid of catching cold.

    Hold me tighter.

    Come midnight, how about blind-folding the orchestra and smashing champagne glasses on Max’s head?

    You think this is all very funny.

    A little.

    Is it funny that I’m in love with you?

    What’s that?

    I’m in love with you. Don’t you know that? I’ve been in love with you all along.

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