Daily Dialogue — March 2, 2015

March 2nd, 2015 by

SANDECKER (O.S.): Better not hurt my boat!
GIORDINO: Engine two is out! Ward them off, man, what do you wanna do?
PITT: Uh…I think we need to pull a Panama!
GIORDINO: Panama? A Panama?
SANDECKER: Panama?
GIORDINO: You think? Really?
PITT: Yeah! Really!
SANDECKER: Somebody pick up—They’re ignoring…They’re ignoring me! Everybody is ignoring me. Pick up the phone!
GIORDINO: Take it! We’re doing the Pnama!
GUNN: What’s a Panama?
GIORDINO: Navy thing.
GUNN: I didn’t know you were in Panama.
GIORDINO: Weren’t. We were in Nicaragua.
GUNN: Then why do you call it a Panama?
GIORDINO: We thought we were in Panama!
SANDECKER (O.S.): No Panama!
GUNN: What are you looking for?

Boat is straffed by machine gun fire.

GUNN: Al? Al? Al, I’m really confused!
PITT: How are we doing, Al?
GUNN: Go help Dirk!
GUNN: How I use this?
GUNN: Just go!
PITT: Open the engine hatch.
GUNN: Okay!
PITT: Let’s go, Al!
GIORDINO: Got it! (To Gunn) Here, light this!
GUNN: Aren’t these the admiral’s?
GUNN: Just light it!

More boat chase action. Giordino cuts one of the fuel lines.

PITT: Whenever you’re ready, Al!
GIORDINO: Come on!
GUNN: What are we doing?

Giordino places the lit cigar in the leaking gasoline stream.

GUNN: I don’t think we should be doing that!
GIORDINO: Okay! Drop it! (To Pitt) We’re good!
PITT: Yeah! All right, hold on!
GIORDINO: Hold on!
GUNN: Okay!

Pitt swings the boat around heading straight at their pursuers. Giordino jumps ship.

GUNN: Hey, I need a life jacket!

Pitt tackles Gunn and both jump overboard. The empty boat passes between the two pursuers and explodes.

SANDECKER: Crap. He did a Panama. He did a Panama.
GUNN: Cool! Is that how it worked the first time?
PITT: Well, didn’t really work the first time?

Sahara (2005), screenplay by Thomas Dean Donnelly, Joshua Oppenheimer, John C. Richards, and James V. Hart, novel by Clive Cussler

The Daily Dialogue theme for the week: Chase. Today’s suggestion by Will King.

Trivia: The ship used to portray the Martha Ann was one of the vessels Bob Ballard used to find the Titanic. It has since been dismantled and sold for scrap.

Dialogue On Dialogue: Commentary by Will: “The beauty of this dialog is in the ending. The scene builds to a frantic pace full of tension, the good guys escape, then the final line gives the audience a chance to release all that tension through a good laugh.”

If you have any suggestions for this week’s theme, please post in comments – and thanks!

Daily Dialogue — March 1, 2015

March 1st, 2015 by

Jake: Happy birthday, Samantha. Make a wish.
Samantha: It already came true.

Sixteen Candles (1984), written by John Hughes

The Daily Dialogue theme for next week: Birthday.

Trivia: The German title of the film, “Das darf man nur als Erwachsener”, translates to “One may do that only as an adult”.

Dialogue On Dialogue: One of the best birthday movies ever!

Daily Dialogue theme for next week: Chase

February 28th, 2015 by

The Daily Dialogue theme for next week: Chase.

“Who are those guys?”

There’s a ton of great chase movies and chase scenes. Let’s see if we can get together 7 kick-ass examples with some memorable dialogue for this week.

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:

March 2-March 8: Chase
March 9-March 15: Reunion
March 16-March 22: Competition
March 23-March 29: Ghost
March 30-April 5: Foreigner
April 6-April 12: Interrogation
April 13-April 19: Amnesia
April 20-April 26: Betrayal
April 27-May 3: Stammer
May 4-May 10: Graduation

Check this out: The GITS Daily Dialogue Topic Index! You can read about Liz and Allie, two sisters who are big fans of the blog, and were inspired to create the index. A great resource for writers looking for inspiration for their own dialogue writing. You can be a part of this proud tradition with your ideas for weekly themes and Daily Dialogue suggestions.

Please post your ideas for this week’s theme — Chase — in comments. Thanks!

Daily Dialogue — February 28, 2015

February 28th, 2015 by

“Make a wish, Harry.”

Harry Potter and the Sorcerer’s Stone (20010), screenplay by Steve Kloves, novel by J.K. Rowling

The Daily Dialogue theme for next week: Birthday.

Trivia: Warner Bros. originally considered making the entire “Harry Potter” series as a set of CGI animated films, or attempting to combine several of the novels into a single movie. The studio’s reasoning mainly had to do with concern over the rapid aging of child actors-if production ran too long on any of the films, or if production was delayed between sequels, the leading actors might have to be recast. Author J.K. Rowling vetoed both the ideas of combining books and an animated film, so the studio decided instead to produce all seven (later eight) films back to back so the same child actors could play their roles in every film.

Dialogue On Dialogue: Pretty much where it all started: A birthday wish.

If you have a suggestion for this week’s theme, please post in comments.

Daily Dialogue — February 27, 2015

February 27th, 2015 by

“I don’t want to shop at old lady stores. I don’t want to go to J. Jill and Chico’s and Ann Taylor.”

This is 40 (2012), written by Judd Apatow

The Daily Dialogue theme for next week: Birthday.

Trivia: The main characters from “Knocked Up”, Ben (Seth Rogen) and Alison (Katherine Heigl), do not appear in this “sort-of sequel”, but references to both characters are made: A picture of Alison can be seen on the wall and Pete plays Scrabble on his iPad with Ben and later mentions getting marijuana cookies from Ben. Three other, more minor characters from Knocked Up, do appear in this movie as well: Charlyne Yi’s character Jodi (an amiable stoner in Knocked up; now an employee in Debbie’s store), Jason Segel’s character Jason (one of Ben’s best friends with a crush on Debbie in Knocked Up; now Debbie’s personal trainer) and Tim Bagley reprises his role as OB/GYN Dr. Pellagrino.

Dialogue On Dialogue: Why is it some birthdays are cause for celebration while others fill people with dread? Here it’s the ‘dreaded’ 40th birthday. Also interesting how certain birthdays are a time for reflection, a point in time to consider the choices one has made… or not made.

If you have a suggestion for this week’s theme, please post in comments.

Daily Dialogue — February 26, 2015

February 26th, 2015 by

Mitch: Hi, Mom.
Mom (on telephone): It’s September 8th, 1952. We’re driving back from your Aunt Marsha. My water breaks. Your father jumps the divider of the highway and races me to Doctor’s Hospital. And… [laughs] … at 5:16, out you came. Oh… happy birthday, Darling. Here’s your father.
Dad (on telephone): Hello, boy. Happy birthday.
Mitch: Hi, Dad. How you doing?
Dad (on telephone): I’m losing feeling in my left leg. Here’s your mother.

City Slickers (1991), written by Lowell Ganz, Babaloo Mandel

The Daily Dialogue theme for next week: Birthday.

Trivia: Aside from the Yankee game story that Mitch tell, another true story from Billy Crystal’s life is the wake up call from his mother on his birthday. According to Billy in the DVD Commentary, in real life, his mother would call him on his birthday at around 5 o’clock in the morning (the time he was born) and verbally re-enact the event over the phone. The rendition in the film is word-for-word the true story of Billy Crystal’s birth.

Dialogue On Dialogue: This scene is part of the story’s setup to sell Mitch’s sense of growing old and wondering if this is all there is to life. It’s his 39th birthday. Next one is the big Four Oh.

If you have a suggestion for this week’s theme, please post in comments.

Daily Dialogue — February 25, 2015

February 25th, 2015 by

At a birthday party.

Peppers: She’s a beauty, ain’t she?
Frank: Yeah, what kind of gun is this?
Peppers: It’s a tranquilizer gun. If any of these little fuckers decide to freak out on the kids, I get to take them down. Ain’t that right? [yank’s on the mule’s reigns] Oh, what? That’s what I thought. Shut up.

Frank cocks the gun.

Peppers: Hey, hey. Careful with that. That’s the most powerful tranq gun on the market. Got her in Mexico.
Frank: Cool.
Peppers: Yeah, it is cool. They say it can puncture the skin of a rhino from…

Frank shoots himself in the neck with the dart.

Peppers: YES! That’s awesome!
Frank: What?
Peppers: You just took one in the jugular, man.
Frank: What? I did.

Feeling his neck.

Peppers: YES!
Frank: Oh, my God. Is this bad? Is this bad?
Peppers: You better pull that shit out, man. That shit is not cool.
Frank: Wait. What? Pull what out?
Peppers: You got a fucking dart in your neck, man.
Frank: [laughing] You’re… you’re crazy, man. I like you, but you’re crazy.

Old School (2003), screenplay by Todd Phillips & Scot Armstrong, story by Court Crandall and Todd Phillips & Scot Armstrong

The Daily Dialogue theme for next week: Birthday.

Trivia: There were plans to produce a sequel, with the main characters on college spring break. Upon reading the script, Will Ferrell when promoting Semi-Pro (2008), said that he and Vince Vaughn had the same reaction when the story just felt like it was repeating itself.

Dialogue On Dialogue: Here’s how I imagine the process went coming up with this bit. The writers brainstormed things common to a child’s birthday party. They hit on the whole guy-brings-animals thing. That led to tranquilizer gun. And that led to this scene.

If you have a suggestion for this week’s theme, please post in comments.

Daily Dialogue — February 24, 2015

February 24th, 2015 by

Children chattering.

Annie Hayworth: Alright, here we go. One, Two, Three…there you go.

Children laughing.

Child: Look! Look! Child: Look! Look!
Girl wearing blindfold: Hey, no touching allowed.
Annie Hayworth: Oh.

Birds squawking. Children screaming.

Annie Hayworth: Help me get the children into the house.
Mitch Brenner: There you go.
Lydia Brenner: Have they gone, Mitch?
Mitch Brenner: I think so.
Lydia Brenner: Is anyone hurt?
Lydia Brenner: Well, Jenny got a scratch down her cheek, but it’s nothing.
Annie Hayworth: That makes three times.

The Birds (1963), screenplay by Evan Hunter, story by Daphne Du Maurier

The Daily Dialogue theme for next week: Birthday. Today’s suggestion by James Schramm.

Trivia: The sound of reel-to-reel tape being run backward and forward was used to help create the frightening bird squawking sounds in the film

Dialogue On Dialogue: Commentary by James: “Leave it to the Master to take something innocent like a children’s birthday party and making it a horror scene that puts the audience on edge; no one is safe.”

If you have a suggestion for this week’s theme, please post in comments.

Daily Dialogue — February 23, 2015

February 23rd, 2015 by

“I don’t like it when people come up to me after my plays and say, ‘I really dug your message, man.’ Or, ‘I really dug your play, man, I cried.’ You know. I like it when people come up to me the next day, or a week later, and they say, ‘I saw your play. What happened?'”

— Tootsie (1982), screenplay by Larry Gelbart & Murray Schisgal, story by Don McGuire and Larry Gelbart

The Daily Dialogue theme for next week: Birthday.

Trivia: Barry Levinson and Elaine May contributed writing to the script.

Dialogue On Dialogue: I was going to feature Dustin Hoffman’s character Michael Dorsey at his birthday party because it’s important in establishing both his loneliness and his sexist attitudes toward women, but I got waylaid by Bill Murray who is brilliant in the movie.

If you have a suggestion for this week’s theme, please post in comments.

Daily Dialogue — February 22, 2015

February 22nd, 2015 by

Andy Dufresne: I just don’t understand what happened in there.
Heywood: Old man’s crazy as a rat in a tin shithouse, is what.
Red: Oh Heywood, that’s enough out of you!
Ernie: I heard he had you shittin’ in your pants!
Heywood: Fuck you!
Red: Would you knock it off? Brooks ain’t no bug. He’s just… just institutionalized.
Heywood: Institutionalized, my ass.
Red: The man’s been in here fifty years, Heywood. Fifty years! This is all he knows. In here, he’s an important man. He’s an educated man. Outside, he’s nothin’! Just a used up con with arthritis in both hands. Probably couldn’t get a library card if he tried. Know what I’m tryin’ to say.
Floyd: I do believe, Red, you’re talkin’ outta your ass.
Red: You believe whatever you want, Floyd. These walls are funny. First you hate ‘em, then you get used to ‘em. Enough time passes, you get so you depend on them. That’s institutionalized.
Heywood: Shit. I could never get like that.
Prisoner: Oh yeah? Say that when you been here as long as Brooks has.
Red: Goddamn right. They send you here for life, and that’s exactly what they take. The part that counts, anyway.

The Shawshank Redemption (1994), screenplay by Frank Darabont, short story by Stephen King

The Daily Dialogue theme for the week: Prison.

Trivia: The film is generally faithful to the Stephen King novella “Rita Hayworth and Shawshank Redemption.” Here are some of the differences:

* The novella specifies that Andy smuggled $100 into the prison in his rectum; exactly how he pays Red the agreed-upon price of $10 for the rock hammer is never made clear in the film.

* Andy orders a second rock hammer from Red in the novella, after the first wears down. This does not occur in the film.

* Multiple wardens oversee the prison in the novella. They are combined in the Norton of the film. For example, the warden who agrees to mail Andy’s letters and the warden who treats him so harshly at the end are not the same person in the novella.

* In addition to Red being a white Irishman, the novella also gives details of his crime that the film doesn’t.

* In the film, Hadley and his guards beat up Bogs as a favor to Andy for all his financial tips. In the novella, Andy uses the money he smuggled in the prison to pay thugs to do it.

* Tommy’s story is slightly different. He tells Andy that his old cell mate bragged that the double-murder he committed was pinned on a lawyer, rather than a banker, and Andy latches onto the idea that the two professions were commonly confused at that time.

* Tommy is also not killed in the novella; after agreeing not to testify on Andy’s behalf, he is sent to another prison.

* The ending received perhaps the most significant changes. When Red is released from Shawshank Prison, he finds a package Andy left for him in a hayfield. In the film, he simply goes directly to it, while in the novella, his hunt for the appropriate hayfield is a fairly substantial piece of the plot. The final scene of Andy sanding a boat on the beach as Red meets him again is not present in the novella; that ends with Red on his way south to meet Andy, the matter of whether they found each other again left ambiguous.

Dialogue On Dialogue: The Brooks subplot is one of the best in movies. He functions as a Negative Mentor, creating a path toward “Get busy dying,” an option Red confronts when he is a free man still feels the grip of instituionalization. Instead he chooses to “Get busy living” because of a promise he made to Andy — Red’s Attractor.