Tadashi: You better make this up to Aunt Cass before she eats everything in the cafe.
Hiro: [not really listening] For sure.
Tadashi: And I hope you learned your lesson, bonehead.
Hiro: [faces him, looking honest] Absolutely.
Tadashi: [realizes he’s lying, frustrated] You’re going bot fighting, aren’t you?
Hiro: [casually] There’s a fight across town! If I book, I can still make it!
[He grabs his battle bot and starts to leave. Tadashi grabs him and turns him back around]
Tadashi: [exasperated] WHEN are you going to do something with that big brain of yours?
Hiro: What? Go to college like you? So people can tell me stuff I already know?
Tadashi: [hurt by Hiro’s words] Unbelievable.
— Big Hero 6 (2014), screenplay by Jordan Roberts, Robert L. Baird, Daniel Gerson
The Daily Dialogue theme for the week: Brothers. Today’s suggestion by Katie Cobb.
Trivia: T.J. Miller improvised most of his character’s exclamations.
Dialogue On Dialogue: Commentary by Katie Cobb: “In this scene, Tadashi tells the audience about Hiro’s disunity. Hiro is too smart to be wasting his talents on bot fighting when he could be doing something great for humanity. This moment serves to motivate Hiro towards his goal, and sets up his heroic journey. They have a great brotherly dynamic and banter.”
Mufasa: Scar! Brother, help me!
Scar: Long live the king.
— The Lion King (1994), screenplay by Irene Mecchi and Jonathan Robert and Linda Woolverton, story by Brenda Chapman & Burny Mattinson & Barry Johnson & Lorna Cook & Thom Enriquez & Andy Gaskill & Gary Trousdale & Jim Capobianco & Kevin Harkey & Jorgen Klubien & Chris Sanders & Tom Sito & Larry Leker & Joe Ranft & Rick Maki & Ed Gombert & Francis Glebas & Mark Kausler
The Daily Dialogue theme for the week: Brothers.
Trivia: The wildebeest stampede took Disney’s CG department approximately three years to animate. A new computer program had to be written for the CG wildebeest stampede that allowed hundreds of computer generated animals to run but without colliding into each other.
Dialogue On Dialogue: Brother betrays brother. A story as old as Cain and Abel.
BLACKWOLF: The trouble with you, my brother, is that you’ve always been too good.
AVATAR: Well, that may be, but I still think I look more like Ma than you do; y’know, uh, lots of character. I’m aging better.
BLACKWOLF: Brother, there is no need for me to destroy you. Surrender, surrender your world.
AVATAR: (Applauding, chuckles) You always did need an audience, you sap. Lemme tell ya, I ain’t practiced much magic for a long time. I wanna show you a trick mother showed me when you weren’t around, to use on special occasions like this. Ah, oh yeah, one more thing…I’m glad you changed your last name, you son of a bitch.
— Wizards (1977), written by Ralph Bakshi
The Daily Dialogue theme for the week: Brothers. Today’s suggestion by Will King.
Trivia: Bob Holt modeled Avatar’s voice after Peter Falk.
Dialogue On Dialogue: Commentary by Will: “At a time after the apocalyptic end of mankind when magic has returned to the earth, two brothers struggle for control of the world. Blackwolf uncovers “technology” left buried from the time of men and uses it (in the form of weapons of war: tanks, guns) to lead a Nazi-like attack to subjugate those remaining alive and defeat their magic. In this final scene, Avatar confront his megalomaniac brother and uses the very technology Blackwolf worshipped to defeat him.”
— Saving Private Ryan (1998), written by Robert Rodat
The Daily Dialogue theme for the week: War.
Trivia: The script went through over ten revisions, changing many things from the original draft. The list of changes (1) Mellish and Caparazo did not exist in the original draft. As a result, the famous sniper scene and the grueling stabbing of Mellish didn’t exist, either. (2) Capt. Miller’s character was very one dimensional–a tough-as-nails, by-the-book officer, a far cry from his final version that humanized him very well. (3) Steamboat Willie did not exist. (4) Upham is killed in the original draft during the final battle. (5) Capt. Miller survives the final battle. The film ends with Miller telling Ryan about the lives of the men who died trying to find them. We also learn that Jaxkson was a preacher from Tennesese. (6) in a later revision, Mellish and Caparzo are included, but Mellish is gunned down instead of being stabbed to death.
Dialogue On Dialogue: Two words which pack a mighty punch.
All sorts of movie brothers. If you need some help, check out this site which features 10 notable brothers in cinema. Let’s see if we can summon up 7 great examples of brothers dialogue.
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 related to the craft of writing? If so, feel free to lay that wisdom on us.
Consecutive days of Daily Dialogue posts: 2,907.
Be a part of the proud Daily Dialogue tradition, make a suggestion, and have your name emblazoned on a blog post which will forever hold a hallowed spot in the Go Into The Story archives!
Upcoming schedule of themes:
May 9-May 15: Vixen
May 16-May 22: Celebration
May 23-May 29: Coen Brothers
May 30-June 5: Teacher
June 6-June 12: Dog
June 13-June 19: Stoned
June 20-June 26: First Date
June 27-July 3: Rant
July 4-July 10: Apology
Be sure to post your ideas for this week’s theme: Brothers.
Kurtz: Did they say why, Willard, why they want to terminate my command?
Willard: I was sent on a classified mission, sir.
Kurtz: It’s no longer classified, is it? Did they tell you?
Willard: They told me that you had gone totally insane, and that your methods were unsound.
Kurtz: Are my methods unsound?
Willard: I don’t see any method at all, sir.
Kurtz: I expected someone like you. What did you expect? Are you an assassin?
Willard: I’m a soldier.
Kurtz: You’re neither. You’re an errand boy, sent by grocery clerks, to collect a bill.
— Apocalypse Now (1979), written by John Milius and Francis Ford Coppola
The Daily Dialogue theme for the week: War.
Trivia: Marlon Brando improvised a lot of Kurtz’s dialogue, including an eighteen-minute speech of which only two minutes survived the final cut. According to Peter Manso’s “Brando,” Meade Roberts, screenwriter for The Fugitive Kind (1960), later heard the entire monologue and said that while some of it was incoherent, most of it was brilliant. At the end of the speech, Brando reportedly said to director Francis Ford Coppola, “Francis, I’ve gone as far as I can go. If you need more, you can get another actor.”
Dialogue On Dialogue: The first intersection of these two characters. No subtext. Up top direct dialogue, both men laying cards out on the table.
LT. COL. JOHN CAMBRIDGE: So, you getting along with the other soldiers in your unit?
SPECIALIST OWEN ELDRIGE: Yeah, My team’s great. My team leader is inspiring.
Are you being sarcastic, soldier?
SPECIALIST OWEN ELDRIGE: No. He’s going to get me killed. Almost died yesterday. At least I’ll die in the line of duty, proud and strong.
LT. COL. JOHN CAMBRIDGE: You know, this doesn’t have to be a bad time in your life. Going to war is a – is a once in a lifetime experience. It could be fun.
— The Hurt Locker (2008), written by Mark Boal
The Daily Dialogue theme for the week: War. Today’s suggestion by Katha.
Trivia: After Lina Wertmüller for Pasqualino Settebellezze (1975), Jane Champion for The Piano (1993) and Sofia Coppola for Lost in Translation (2003), Kathryn Bigelow is only the fourth woman to direct a film nominated for the Academy Award for Best Picture.
Dialogue On Dialogue: “Going to war is a – is a once in a lifetime experience.” What a line! This could meant sarcastically but as the psychiatrist states some lines before, he is not so much into sarcasm. And this kind of lifetime experience stops the film characters to resume their normal life at home (thinking of the protagonist totally overwhelmed by the choice of cereals).
FIRING SQUAD LEADER: Would you like a padre?
LT. HARRY “BREAKER” MORANT: No thank you. I’m a pagan.
FIRING SQUAD LEADER: And you?
LT. PETER HANDCOCK: (to Breaker Morant) What’s a pagan?
LT. HARRY “BREAKER” MORANT: Oh, it’s somebody who doesn’t believe there’s a divine being dispensing justice to mankind.
Hancock turns to the firing squad leader.
LT. PETER HANDCOCK: I’m a pagan, too.
LT. HARRY “BREAKER” MORANT: There is an epitaph I’d like. Matthew 10:36.
FIRING SQUAD LEADER: All right, gentlemen.
LT. HARRY “BREAKER” MORANT: Well, Peter, this is what comes of empire building.
The pair are marched away from the prison grounds.
MAJ. J.F. THOMAS: Matthew 10:36?
REVEREND HESS: (reading from a Bible) “And a man’s foes shall be they of his own household.”
EXT. SOUTH AFRICAN VELDT – DAYBREAK
Harry and Peter are marched to the crest of a high grassland hill. A pair of chairs are placed side by side. As they walk the last 10 paces, Harry extends his hand, and Peter takes it.
At the chairs they turn to face the firing line, and sit down. The escorting soldier offers Harry a blindfold. He shakes his head no. Peter also refuses the offer.
The escorts march back to the firing line. The blood-red crest of the sun breaks the horizon. Its golden light filling the faces of Peter and Harry. As the squad leader moves down the line, handing each rifleman a single bullet, in VOICEOVER, we hear Harry reciting a now-famous poem written by the real-life “Breaker” Morant:
LT. HARRY “BREAKER” MORANT (V.O.): “It really ain’t the place nor time to reel off rhyming diction / But yet we’ll write a final rhyme while waiting crucification / For we bequeath a parting tip of sound advice for such men / who come across in transport ships to polish off the Dutchman / If you encounter any Boers, you really must not loot ‘em / And if you wish to leave these shores, for pity’s sake don’t shoot ‘em / Let’s toss a bumper down our throat before we pass to heaven / And toast the trim-set petticoat we leave behind in Devon.”
Silhouetted against the sun, the line of soldiers prepares to fire.
FIRING SQUAD LEADER: Aim!…
LT. HARRY “BREAKER” MORANT: Shoot straight you bastards! Don’t make a mess of it!
— Breaker Morant (1980), screenplay by Jonathan Hardy, David Stevens and director Bruce Beresford, based on a play by Kenneth G. Ross
The Daily Dialogue theme for the week: War. Today’s suggestion by John Arends.
Trivia: Considered by many to be the greatest Australian film ever made. Based on real events and a now-legendary Aussie soldier, horse “breaker” and poet, this story of war, injustice and betrayal resonates even today.
Dialogue On Dialogue: Commentary by John: “The ending dialogue, in particular, sticks with you. The entire sequence, as filmed and edited, is astonishingly beautiful, even as it’s juxtaposed with the stark brutality, duplicity, soldierly discipline, courage and bloody irony of the story and its thematics.
And when you have your protagonist/hero shout the final iconic order/command to his own firing squad? Timeless perfection.”
“You know I can’t run away, that’s why you accuse me. I tell you I didn’t want to kill you. I tried to keep you alive. If you jumped in here again I wouldn’t do it. You see when you jumped in here you were my enemy and I was afraid of you. But you’re just a man like me and I killed you. Forgive me, Comrade. Say that for me, say you forgive me. Oh no you’re dead. Only you’re better off that I am. You’re through. They can’t do any more to you now. Oh God, why did they do this to us. We only wanted to live, you and I. Why should they send us out to fight each other. If they threw away these rifles and these uniforms, you could be my brother, like Kat and Albert. You’ll have to forgive me Comrade, I’ll do all I can. I’ll write to your parents, I’ll write to -”
Paul searches the dead soldier
“I’ll write to your wife, I’ll write to her. I promise she’ll not want for anything. And I’ll help her and your parents too, only forgive me. Forgive me. Forgive me. Forgive me.”
— All Quiet on the Western Front (1930), writing by Erich Maria Remarque (novel), George Abbott, Maxwell Anderson, Del Andrews
The Daily Dialogue theme for the week: War. Today’s suggestion by Michael Waters.
Trivia: Won the 1930 Oscar’s for Best Picture and Best Director. Nominated for its writing.
Dialogue On Dialogue: Commentary by Michael: “First World War soldiers were often executed as cowards or deserters when suffering from trauma related medical conditions that would take another 70+ years to be recognized. The brilliance of this 1930 scene is that it is years ahead of it’s time. Protagonist Paul is starting to lose his mind, trapped in a shell hole with the soldier he has just killed. On another level it is a simple and effective construction of a scene by the writers. Trap the Protagonist with the dead enemy and he’s forced to confront what he’s doing and expose it’s effects on himself.”
MINER FROM DISTRICT 2: Give me one reason I shouldn’t shoot you.
BOGGS: Drop the gun!
KATNISS: I can’t. I guess that’s the problem, isn’t it? We blew up your mine. You burned my district to the ground. We each have every reason to want to kill each other. So if you wanna kill me, do it. Make snow happy. I’m tired of killing his slaves for him.
MINER FROM DISTRICT 2: I’m not his slave.
KATNISS: I am. That’s why I killed Cato. And he killed Thresh. And Thresh killed Clove. It just goes around and around. And who wins? Always Snow. I am done being a piece in his game. District 12, district 2. We have no fight. Except the one the capitol gave us. Why are you fighting the rebels? You’re neighbors. You’re family.
— The Hunger Games: Mockingjay – Part 2 (2015), screenplay by Peter Craig and Danny Strong, based on the novel by Szanne Collins
The Daily Dialogue theme for the week: War. Today’s suggestion by Katha.
Trivia: The scene where Haymitch reads Plutarch’s letter to Katniss was scripted to be Plutarch talking to Katniss in person. It was changed because Phillip Seymour Hoffman, who played Plutarch, died before the scene was filmed.
Dialogue On Dialogue: Commentary by Katha: “Bloodshed leads to more bloodshed. And normal people kill normal people. This arguments, which fits every war, and Katniss being totally honest about feeling a slave in this games let her hostage-taker sets her free.”