Daily Dialogue — September 29, 2016

September 29th, 2016 by

Oracle: I’d ask you to sit down, but, you’re not going to anyway. And don’t worry about the vase.
Neo: What vase?

Neo turns to look for a vase, and as he does, he knocks over a vase of flowers, which shatters on the floor.

Oracle: That vase.
Neo: I’m sorry…
Oracle: I said don’t worry about it. I’ll get one of my kids to fix it.
Neo: How did you know?
Oracle: Ohh, what’s really going to bake your noodle later on is, would you still have broken it if I hadn’t said anything?

The Matrix (1999), written by Lilly Wachowski (as The Wachowski Brothers), Lana Wachowski (as The Wachowski Brothers)

The Daily Dialogue theme for the week: Clairvoyance.

Trivia: “Know thyself”, the phrase in the kitchen of the “oracle”, was the inscription above the entrance of the Delphic Oracle.

Dialogue On Dialogue: This Oracle uses some reverse psychology on Neo, at first telling him he’s not the one.

Daily Dialogue — September 28, 2016

September 28th, 2016 by

TRELAWNEY: He will return tonight.
POTTER: Sorry?
TRELAWNEY: Tonight, he who betrayed his friends at Hogwarts with murder shall break free. Innocent blood shall be spilled, and servant and master shall be reunited once more.

Harry Potter and the Prisoner of Azkaban (2004), screenplay by Steve Kloves, based on the novel by J.K. Rowling

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

Trivia: J.K. Rowling based the dementors on her battle with depression.

Dialogue On Dialogue: Commentary by Will: “Up to this point, Professor Trelawney has appeared to be a somewhat distracted, less-than-fully-aware character. Her build-up to this moment painted her as hardly someone to be wary of. Even after her pronouncement she seems completely unaware of what just transpired. It was a choice bit of writing to use her to deliver this prophecy, which heightened the gravity of its importance to Harry.”

Daily Dialogue — September 27, 2016

September 27th, 2016 by

“There is no death. There is only a transition to a different sphere of consciousness. Carol Anne is not like those she’s with. She is a living presence in their spiritual earthbound plane. They are attracted to the one thing about her that is different from themselves – her life-force. It is very strong. It gives off its own illumination. It is a light that implies life and memory of love and home and earthly pleasures, something they desperately desire but can’t have anymore. Right now, she’s the closest thing to that, and that is a terrible distraction from the real LIGHT that has finally come for them. You understand me? These souls, who for whatever reason are not at rest, are also not aware that they have passed on. They’re not part of consciousness as we know it. They linger in a perpetual dream state, a nightmare from which they can not awake. Inside the spectral light is salvation, a window to the next plane. They must pass through this membrane where friends are waiting to guide them to new destinies. Carol Anne must help them cross over, and she will only hear her mother’s voice. Now hold on to yourselves… There’s one more thing. A terrible presence is in there with her. So much rage, so much betrayal, I’ve never sensed anything like it. I don’t know what hovers over this house, but it was strong enough to punch a hole into this world and take your daughter away from you. It keeps Carol Anne very close to it and away from the spectral light. It LIES to her, it tells her things only a child could understand. It has been using her to restrain the others. To her, it simply IS another child. To us, it is the BEAST. Now, let’s go get your daughter.”

Poltergeist (1982), screenplay by Steven Spielberg & Michael Grais & Mark Victor, story by Steven Spielberg

The Daily Dialogue theme for the week: Clairvoyance.

Trivia: After Diane rescues Carol Anne from Afterlife and they falling violently to living room, Tangina urges to take both to the bathtub, which was full of water. Since then water is considered the element of life, it implies that they comeback dead from Afterlife, and that mother and daughter resurrect in the bathtub, as pretending a rebirth.

Dialogue On Dialogue: Clairvoyants often take on the role of Mentor because they have special knowledge about the spiritual realm. This monologue by Tangina in Poltergeist is filled with deep insight into that other realm.

Daily Dialogue — September 26, 2016

September 26th, 2016 by

ERRONIUS: (V.O.) Home at last. After years of searching for my long-lost children, how good it is to see this street once more. These tired old eyes fill with tears at the sight of the little they see. (Bumps into Hysterium) Pardon me, young woman. I’m sorry but I— (touches chicken Hysterium is holding) Oh, what a lovely baby! Just about the age of my children when they were stolen in infancy by pirates. But at least I have the comforts of my lonely home.
HYSTERIUM: (Racing ahead of Erronius) Sir!
ERRONIUS: Who are you?
HYSTERIUM: Hysterium, Sir, servant to Senex.

Senex is singing in his bath.

ERRONIUS: What was that?
HYSTERIUM: I didn’t hear anything. (More singing by Senex) I didn’t hear that, either.
ERRONIUS: It was an eerie sound.
HYSTERIUM: Eerie sound?
ERRONIUS: Like the house was haunted.
HYSTERIUM: Sir, what I’m about to tell you is eerie. Your house is haunted.
ERRONIUS: Haunted?
HYSTERIUM: Haunted as the day is long. Perhaps you should stay with relatives. Distant relatives.
ERRONIUS: Yes. No! Fetch me a soothsayer.
HYSTERIUM: A Soothsayer?
ERRONIUS: He must search my house at once.

Pseudolus disguises himself as a soothsayer.

PSEUDOLUS: (Chanting) Sir, you’re in need of a soothsayer.
ERRONIUS: How did you know?
PSEUDOLUS: I’d be a fine soothsayer if I didn’t.
ERRONIUS: Well, there’s a spirit in my hou—
PSEUDOLUS: Silence! I’m about to say the sooth! You…are…are…I see it. I see everything. You…you have been (looking to Erronius for guidance through pantomime)…you have been…abroad for…twenty years. You have been…searching for…a child…no, no, no. Two childs. A fine big boy…and a strange little boy. No, no…no…(chants)…ahh…a girl! A girl. A boy and a girl.
ERRONIUS: Can you find they for me?
PSEUDOLUS: Certainly I can find them.
ERRONIUS: Each wear a ring that has engraven upon it a gaggle of geese. There are only two more like this in the world and my children wear them.
PSEUDOLUS: How many geese in a gaggle?
ERRONIUS: At least seven.
PSEUDOLUS: SEVEN! Before I say the sooth again you must run seven times around the seven hills of Rome.
ERRONIUS: And the spirit?
PSEUDOLUS: It will be gone by the time you’ll have done my bidding.
ERRONIUS: Thanks.
PSEUDOLUS: To the hills!
ERRONIUS: To the hills! (He heads off the wrong direction)
HYSTERIUM: This is the way, Sir.
ERRONIUS: Thank you, young woman.

A Funny Thing Happened on the Way to the Forum (1966), screenplay by Melvin Frank & Michael Pertwee, book by Burt Shevelove and Larry Gelbart, based on the play by Titus Maccius Plautus

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

Trivia: This was Buster Keaton’s final film before his death on February 1, 1966 at the age of 70.

Dialogue On Dialogue: Commentary by Will: “Pseudolus’ pretended clairvoyance serves to further reinforce his fraudulent nature, as well as his gift for quick thinking and action. Ever on the lookout for an opportunity to serve his own interests to gain his freedom from slavery, every time he puts his talents to use it helps others more than himself. Pseudolus thinks he just saved the day by preventing Erronius from stumbling upon Senex occupying his house, but Erronius will return at the end of the story to be reunited with his adult children, just as Pseudolus (unknowingly) prophesied.”

Daily Dialogue — September 25, 2016

September 25th, 2016 by

“What have I done?”

The Bridge on the River Kwai (1957), screenplay by Carl Foreman and Michael Wilson, novel by Pierre Boulle

The Daily Dialogue theme for the week: Military Moments, suggested by Will King.

Trivia: The bridge cost $250,000 to build; construction began before anyone had been cast.

Dialogue On Dialogue: The pivotal moment in the movie’s Final Struggle in which Nicholson (Alec Guinness) realizes he has undone the Allied plan to blow up the bridge, setting the stage for the dramatic finale.

Daily Dialogue theme for next week: Clairvoyance

September 24th, 2016 by

The Daily Dialogue theme for next week: Clairvoyance.

“Redrum.”

The Shining (1980)

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: 3,054.

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:

October 3-October 9: Cooking [Katha]
October 10-October 16: Coaching
October 17-October 23: Cover Up [Will King]
October 24-October 30: Discipline
October 31-November 6: All Is Lost [Melinda]
November 7-November 13: Embarrassment
November 14-November 20: Bechdel Test [Will King]
November 21-November 27: Enthusiasm
November 28-December 4: Alien Invasion [Michael Waters]
December 5-December 11: Excuse
December 12-December 18: Fish Out Of Water [Will King]
December 19-December 25: Faith
December 26-January 1: Failure [Will King and Melinda]

Be sure to post your ideas for this week’s theme: Clairvoyance.

Continued thanks to all of you Daily Dialogue devotees, your suggested dialogue and dialogue themes. Grateful for your ongoing support of this series.

Daily Dialogue — September 24, 2016

September 24th, 2016 by

Sergeant HARTMAN stops in front of a black recruit, Private SNOWBALL.

HARTMAN: What’s your name, scumbag?
SNOWBALL: (shouting) Sir, Private Brown, sir!
HARTMAN: Bullshit! From now on you’re Private Snowball! Do you like that name?
SNOWBALL: (shouting) Sir, yes, sir!
HARTMAN: Well, there’s one thing that you won’t like, Private Snowball! They don’t serve fried chicken and watermelon on a daily basis in my mess hall!
SNOWBALL: Sir, yes, sir!
JOKER: (whispering) Is that you, John Wayne? Is this me?
HARTMAN: Who said that? Who the fuck said that? Who’s the slimy little communist shit twinkle-toed cocksucker down here, who just signed his own death warrant? Nobody, huh?! The fairy fucking godmother said it! Out-fucking-standing! I will P.T. you all until you fucking die! I’ll P.T. you until your assholes are sucking buttermilk.

Sergeant HARTMAN grabs Cowboy by the shirt.

HARTMAN: Was it you, you scroungy little fuck, huh?!
COWBOY: Sir, no, sir!
HARTMAN: You little piece of shit! You look like a fucking worm! I’ll bet it was you!
COWBOY: Sir, no, sir!
JOKER: Sir, I said it, sir!

Sergeant HARTMAN steps up to JOKER.

HARTMAN: Well … no shit. What have we got here, a fucking comedian? Private Joker? I admire your honesty. Hell, I like you. You can come over to my house and fuck my sister.

Sergeant HARTMAN purnches JOKER in the stomach. JOKER sags to his knees.

HARTMAN: You little scumbag! I’ve got your name! I’ve got your ass! You will not laugh! You will not cry! You will learn by the numbers. I will teach you. Now get up! Get on your feet! You had best unfuck yourself or I will unscrew your head and shit down your neck!
JOKER: Sir, yes, sir!
HARTMAN: Private Joker, why did you join my beloved Corps?
JOKER: Sir, to kill, sir!
HARTMAN: So you’re a killer!
JOKER: Sir, yes, sir!
HARTMAN: Let me see your war face!
JOKER: Sir?
HARTMAN: You’ve got a war face? Aaaaaaaagh! That’s a war face. Now let me see your war face!
JOKER: Aaaaaaaagh!
HARTMAN: Bullshit! You didn’t convince me! Let me see your real war face!
JOKER: Aaaaaaaaaaaaaaaaagh!
HARTMAN: You didn’t scare me! Work on it!
JOKER: Sir, yes, sir!

Sergeant HARTMAN speaks into cowboy’s face.

HARTMAN: What’s your excuse?
COWBOY: Sir, excuse for what, sir?
HARTMAN: I’m asking the fucking questions here, Private. Do you understand?!
COWBOY: Sir, yes, sir!
HARTMAN: Well, thank you very much! Can I be in charge for a while?
COWBOY: Sir, yes, sir!
HARTMAN: Are you shook up? Are you nervous?
COWBOY: Sir, I am, sir!
HARTMAN: Do I make you nervous?
COWBOY: Sir!
HARTMAN: Sir, what? Were you about to call me an asshole?!
COWBOY: Sir, no, sir!
HARTMAN: How tall are you, Private?
COWBOY: Sir, five foot nine, sir!
HARTMAN: Five foot nine? I didn’t know they stacked shit that high! You trying to squeeze an inch in on me somewhere, huh?
COWBOY: Sir, no, sir.
HARTMAN: Bullshit! It looks to me like the best part of you ran down the crack of your mama’s ass and ended up as a brown stain on the mattress! I think you’ve been cheated!n Where in hell are you from anyway, Private?
COWBOY: Sir, Texas, sir!
HARTMAN: Holy dogshit! Texas! Only steers and queers come from Texas, Private Cowboy! And you don’t look much like a steer to me, so that kinda narrows it down! Do you suck dicks!
COWBOY: Sir, no, sir!
HARTMAN: Are you a peter-puffer?
COWBOY: Sir, no, sir!
HARTMAN: I’ll bet you’re the kind of guy that would fuck a person in the ass and not even have the goddam common courtesy to give him a reach- around! I’ll be watching you!

Hartman moves down to Pyle.

HARTMAN: Did your parents have any children that lived?
PYLE: Sir, yes, sir.
HARTMAN: I bet they regret that. You’re so ugly you could be a modern art masterpiece! What’s your name fat body?
PYLE: Sir, Leonard Lawrence, sir.
HARTMAN: Lawrence? Lawrence what… of Arabia?
PYLE: Sir, no, sir.
HARTMAN: That name sounds like royalty. Are you royalty?
PYLE: Sir, no, sir.
HARTMAN: Do you suck dicks?
PYLE: Sir, no, sir.
HARTMAN: Bullshit. I bet you could suck a golf ball through a garden hose.
PYLE: Sir, no, sir.
HARTMAN: I don’t like the name Lawrence, only faggots and sailors are called Lawrence. From now on you’re Gomer Pyle.
PYLE: Sir, yes, sir.
HARTMAN: Do you think I’m cute, Private Pyle? Do you think I’m funny?
PYLE: Sir, no, sir!
HARTMAN: Then wipe that disgusting grin off your face.
PYLE: Sir, yes, sir.

Tries to stop smiling.

HARTMAN: Well, any fucking time, sweetheart!
PYLE: Sir, I’m trying, sir.
HARTMAN: Private Pyle I’m gonna give you three seconds; exactly three-fucking-seconds to wipe that stupid looking grin off your face or I will gouge out your eyeballs and skull-fuck you! ONE! TWO! THREE!
PYLE: Sir, I can’t help it, sir.
HARTMAN: Bullshit! Get on your knees scumbag!

Pyle drops down to his knees.

HARTMAN: Now choke yourself.

Pyle wraps his own hands around his throat.

HARTMAN: Goddamn it, with MY hand, numb-nuts!

Pyle reaches for Hartman’s hand.

HARTMAN: Don’t pull my fucking hand over there! I said choke yourself; now lean forward and choke yourself! [Pyle does so] Are you through grinning?
PYLE: [gagging] Sir, yes, sir.
HARTMAN: Bullshit, I can’t hear you!
PYLE: [louder] Sir, yes, sir.
HARTMAN: Bullshit, I STILL can’t hear you! Sound off like you’ve got a pair!
Private Gomer Pyle: SIR, YES, SIR!
HARTMAN: That’s enough! Get on your feet. Private Pyle you had best square your ass away and start shitting me Tiffany cufflinks or I will definitely fuck you up!
PYLE: Sir, yes, sir.

Full Metal Jacket (1987), screenplay by Stanley Kubrick & Michael Herr & Gustav Hasford,

The Daily Dialogue theme for the week: Military Moments, suggested by Will King. Today’s suggestion by Lois Bernard.

Trivia: R. Lee Ermey went to Stanley Kubrick and asked for the role of Gunnery Sgt. Hartmann. In his opinion, the actors on the set were not up to snuff. When Kubrick declined, Ermey barked an order for Kubrick to stand up when he was spoken to, and the director instinctively obeyed. Ermey got the role.

Dialogue On Dialogue: Talk about an introduction to military life. Hartman is a ‘hard’ man, indeed.

Daily Dialogue — September 23, 2016

September 23rd, 2016 by

LEWIS: Sergeant Ross, this is the most pathetic group of trainees I have ever laid my eyes on.
ROSS: Ma’am.
LEWIS: Ladies, my companies are the best-trained, the best-disciplined soldiers on this base–
BENJAMIN: Excuse me.
LEWIS: Huh?
BENJAMIN: Um, I hate to interrupt you, but, um, could I speak to you for a sec?
LEWIS: Oh, my Lord. Sergeant, would you look at this?
ROSS: I’ve seen it, Ma’am.
LEWIS: What’s…what’s your name, Princess? Huh?
BENJAMIN: Judy.
LEWIS: Judy.
BENJAMIN: Judy Benjamin.
LEWIS: Judy Benjamin.
BENJAMIN: Um, I think they sent me to the wrong place.
LEWIS: Uh huh.
BENJAMIN: See, uh, I did join the army, but I joined a different army. Uh, I joined the one with the condos, and the private rooms. (Lewis and Ross laugh.) What? No, really. My…my…my recruiter, Jim Ballard, to me that–
LEWIS: I don’t care…I don’t care what your lousy recruiter told you, Benjamin. Now, I’m telling you there is no other army.
BENJAMIN: Wait a minute. I don’t want to have to go to your boss, or anything, okay? I just– look, to be truthful with you, I can’t sleep in a room with twenty strangers.
LEWIS: Oh, dear.
BENJAMIN: And, I mean, look at this place. The army couldn’t afford drapes? I mean, I’ll be up at the crack of dawn, here.
LEWIS: Oooh.
BENJAMIN: And I have to tell you I am frankly a little shocked.
LEWIS: You’re shocked?
BENJAMIN: Yes.
LEWIS: Why?
BENJAMIN: This place is a sty.
LEWIS: It’s a sty?
BENJAMIN: Yeah. I mean, look…look. Look at these…look at these stains. God knows where this has been. And, have you seen the bathroom?
LEWIS: Well, ah, do you think that the latrine…do you think that it’s unsanitary?
BENJAMIN: Oh! It’s disgusting!
LEWIS: Disgusting.
BENJAMIN: There are urinals in there.
LEWIS: Well, that’s because this is the army, Benjamin, it’s not a sorority house. Um, may I see your toothbrush, please? Please?

Private Benjamin (1980), written by Nancy Meyers, Charles Shyer and Harvey Miller

The Daily Dialogue theme for the week: Military Moments, suggested by Will King who also recommended today’s selection.

Trivia: This movie was the first ever movie screenplay especially written and tailored for actress Goldie Hawn.

Dialogue On Dialogue: Commentary by Will: “What’s interesting to me in this exchange is how understated it’s kept. Judy is the sheltered rich girl who meets the by-the-book worldly Captain Lewis, and the clash of outlooks could be overplayed to make either character too melodramatic. But here Judy plays out as innocent and out of touch without becoming the “dumb blonde” and Lewis’ sarcasm comes across quietly rather than being in-your-face nasty. It sets up the upcoming battle of wills between the characters.”

Daily Dialogue — September 22, 2016

September 22nd, 2016 by

“15… 14… 13… 12… 11… 10… 9… 8… 7… 6… 5… 4… 3… 2… 1… zero…”

Paths of Glory (1957), screenplay by Stanley Kubrick & Calder Willingham and Jim Thompson

The Daily Dialogue theme for the week: Military Moments, suggested by Will King.

Trivia: For box-office reasons, Stanley Kubrick intended to impose a happier ending. After several draft scripts he changed his mind and restored the novel’s original ending. Producer James B. Harris then had to inform studio executive Max E. Youngstein and risk rejection of the change. Harris managed by simply having the entire final script delivered without a memo of the changes, on the assumption that nobody in the studio would actually read it. Apparently, he was right.

Dialogue On Dialogue: An incredible scene with Col. Dax (Kirk Douglas) marching past dozens of soldiers in the trenches as bombs blast overhead, then the countdown in which Dax leads the men up and into battle.

Daily Dialogue — September 21, 2016

September 21st, 2016 by

BARNICKE: Where the hell have you been, soldier?
WINGER: Training, sir!
PLATOON: Training, sir!
BARNICKE: What kind of training, son?
WINGER: Army training, sir!
PLATOON: Army training, sir!
WINGER: Platoon, just like last night, only better! And right shoulder, ho! Order, ho! Side step right! Why does a chicken cross the road?
PLATOON: To get from the left to the right.
WINGER: Right.
PLATOON: Left. Hey. Hut.
WINGER: He stepped out of rank, got hit by a tank.
PLATOON: He ain’t no chicken no more. No!
WINGER: Left flank, left! Queen Anne salute! Three, five, seven! Razzle-dazzle!
PLATOON: Hut, two, three, four! Hut, two, three, four. The quick brown fox jumped over the lazy dog, sir!
BARNICKE: Where’s your drill sergeant, men?
WINGER: Blown up, sir!
PLATOON: Blown up, sir!
STILLMAN: Yes, Sir. These are Sergeant Hulka’s men. He was injured during basic training.
BERNICKE: I see. So am I to understand that you men completed your training on your own?
WINGER: That’s the fact, Jack!
PLATOON: That’s the fact, Jack!
BERNICKE: Captain.
STILLMAN: Yes, sir?
BERNICKE: These are exactly the kind of go-getters I want working on my EM-50 project in Italy.
STILLMAN: Oh, but, sir, these men are–
BERNICKE: Don’t “but” me, captain. I want them on the plane tonight.
WINGER: Gentlemen, it’s party time, Italian style!

Stripes (1981), written by Len Blum, Daniel Goldberg, and Harold Ramis

The Daily Dialogue theme for the week: Military Moments, suggested by Will King who also proposed today’s post.

Trivia: The cast improvised virtually all of the dialog where they sit around and tell their back stories. This includes Bill Murray’s lines about ‘Lee Harvey’ making out with a cow and calling Sgt. Hulka a ‘big toe’.

Dialogue On Dialogue: Commentary by Will: “In this scene the bunch of misfits from city streets and blue collar backgrounds never falls out of character. Their drill cadence is both comical and befitting. They move from losers to winners without losing touch with who they are. In fact, being true to their natures is what propels them toward success.”