Daily Dialogue — August 26, 2016

August 26th, 2016 by

“What did you expect? ‘Welcome, sonny’? ‘Make yourself at home’? ‘Marry my daughter’? You’ve got to remember that these are just simple farmers. These are people of the land. The common clay of the New West. You know… morons.”

Blazing Saddles (1974), screenplay by Mel Brooks, Norman Steinberg, Andrew Bergman, Richard Pryor and Alan Uger, story by Andrew Bergman

The Daily Dialogue theme for the week: Mentor, suggested by Michael Waters. Today’s suggestion by Will King.

Trivia: Supposedly, this movie officially marks the first time the sound of farting has ever been used in a film (at least according to the filmmakers in the DVD Documentary). According to Mel Brooks, they came up with the idea after watching numerous old westerns where cowboys only consume black coffee and plates of beans, concluding that such a food combination would inevitably lead to farting.

Dialogue On Dialogue: Commentary by Will: “Sometimes all a mentor character needs to do is provide a little perspective.”

Daily Dialogue — August 25, 2016

August 25th, 2016 by

Dr. Ian Malcolm: [after the T-Rex failed to appear for the tour group] You see a Tyrannosaur doesn’t follow a set pattern or park schedules, the essence of chaos.
Dr. Ellie Sattler: I’m still not clear on chaos.
Dr. Ian Malcolm: It simply deals with predictability in complex systems. The shorthand is the butterfly effect, the butterfly flaps its wings in Central Park, you get rain in central Asia.

Ellie motions – the idea is over her head. They both laugh.

Dr. Ian Malcolm: I’m going to fast. Give me that glass of water. We’re going to conduct an experiment.

She gives him a glass of water.

Dr. Ian Malcolm: Put your hand flat like this. Now, let’s say a drop of water falls in your hand. Which way is the drop of water going to fall off?
Dr. Ellie Sattler: Thumb.

He drops water on her hand and it rolls toward her thumb.

Dr. Ian Malcolm: Okay, freeze your hand, don’t move. We’re going to do the same thing, start in the same place again. Which way is it going to roll off?
Dr. Ellie Sattler: Let’s say back, same.
Dr. Ian Malcolm: Same…

He drops water on her hand. It rolls in a different direction.

Dr. Ian Malcolm: It changed. Why? Because tiny variations… the orientation of the tiny hairs on your hand, the blood cells and imperfections in the skin.
Dr. Ellie Sattler: Imperfections in the skin?

He is totally flirting with her.

Dr. Ian Malcolm: Never repeat and vastly effect the outcome. That’s–
Dr. Ellie Sattler: Unpredictability.

Meanwhile Dr. Grant gets out of the car.

Dr. Ian Malcolm: There. Look at this. See? See? I’m right again. Nobody could’ve predicted that Dr. Grant would suddenly, suddenly jump out of a moving vehicle.
Dr. Ellie Sattler: Alan? Alan!

She jumps out of the vehicle.

Dr. Ian Malcolm: There’s, another example. [laughs to himself] See, here I’m now sitting by myself, uh, er, talking to myself. That’s, that’s chaos theory.

Jurassic Park (1994), screenplay by Michael Crichton and David Koepp, novel by Michael Crichton

The Daily Dialogue theme for the week: Mentor, suggested by Michael Waters.

Trivia: While discussing chaos theory, Ian Malcolm (Jeff Goldblum) shamelessly flirts with Ellie Sattler (Laura Dern). After meeting on this film, the two actors began a romantic relationship, and were engaged for two years before breaking up.

Dialogue On Dialogue: Malcolm is a wonderful Mentor figure in that he’s smart, funny, obnoxious… and right! Chaos to ensue in 3… 2… 1…

Daily Dialogue — August 24, 2016

August 24th, 2016 by

DODGER: Well, well. Looks like Louie’s got a visitor. Could be time for The Dodge to turn this into a total cat-astrophe.
LOUIE: Hey, get off me! Hey! Get out of here! Go on! Shoo!
DODGER: Boy, you sure picked the wrong guy to get hot dogs from, kid.
OLIVER: Hey, get away from me.
DODGER: Whoa, chill out, man. I don’t eat cats. Too much fur. I’ve been watchin’ ya, and I think you’re in serious need of some professional guidance. Now, what do you say we team up and change Old Louie’s mind about sharin’ some of those hot dogs?
OLIVER: I’m not going back there again.
DODGER: Hey, it’ll be a snap, kid. I’m an expert at these things. All you gotta do is learn some moves.
OLIVER: Moves?
DODGER: Y’know…tempo. A rhythm. This city’s got a beat. You gotta hook into it. Now, once ya got the beat, you can do anything.
OLIVER: I can?
DODGER: Absitively posolutely. The man you see before you is affectionately known as Old Louie, a well-known enemy of the four-legged world. Our mission, cat, is to liberate those all-beef kosher franks and high-tail it out of here. Startin’ to feel that rhythm?
OLIVER: Well…uh…yeah. Yeah, I do feel it. When are we gonna get those hot dogs?
DODGER: Right…now.

Dodger begins barking at Oliver and chases him into Louie’s cart. While Oliver tangles with Louie, Dodger loads up with hot dogs.

DODGER: Hey, you really got that rhythm, kid.
OLIVER: Uh, yeah? We were good, huh? So, when are we gonna eat?
DODGER: We?
OLIVER: Yeah. I’m starving.
DODGER: Listen, kid, I hate to break it to you, but the Dynamic Duo is now the Dynamic Uno.
OLIVER: What do you mean?
DODGER: What I mean is our partnership is herewith dissolved.
OLIVER: But, wait! Wait, you’re not being fair!
DODGER: Fairs are for tourists, kid. Consider it a free lesson in street savoir faire from New York’s coolest quadruped. Check ya later.
OLIVER: Hey, wait, I helped you get those! Half of those are mine!

Oliver & Company (1988), screenplay by Jim Cox, Tim Disney and James Mangold, inspired by the novel “Oliver Twist” by Charles Dickens

The Daily Dialogue theme for the week: Mentor, suggested by Michael Waters. Today’s suggestion by Will King.

Trivia: The first Disney film to have its own department set up expressly for the purpose of generating computer animation.

Dialogue On Dialogue: Commentary by Will: “Not all mentors have the best of intentions, and some lessons are not meant to be beneficial to the student. Little Oliver learns a valuable lesson, but gets used in the process.”

Daily Dialogue — August 23, 2016

August 23rd, 2016 by

Malone: You said you wanted to get Capone. Do you really wanna get him? You see what I’m saying is, what are you prepared to do?
Ness: Anything within the law.
Malone: And then what are you prepared to do? If you open the can on these worms you must be prepared to go all the way. Because they’re not gonna give up the fight, until one of you is dead.
Ness: I want to get Capone. I don’t know how to do it.
Malone: You wanna know how to get Capone? They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That’s the Chicago way. And that’s how you get Capone. Now do you want to do that? Are you ready to do that? I’m offering you a deal. Do you want this deal?
Ness: I have sworn to capture this man with all legal powers at my disposal and I will do so.
Malone: Well, the Lord hates a coward.

Malone shakes his hand.

Malone: Do you know what a blood oath is, Mr Ness?
Ness: Yes.
Malone: Good, ’cause you just took one.

The Untouchables (1987), screenplay by David Mamet, suggested by book written by Oscar Fraley, Eliot Ness

The Daily Dialogue theme for the week: Mentor, suggested by Michael Waters who also suggested today’s dialogue

Trivia: According to Brian De Palma and Art Linson in the DVD documentary, it was Sean Connery’s idea to film the “blood oath” scene between Ness and Malone in a Catholic church. Originally it was going to take place on the street (in the same scene that follows the church scene). Connery felt that a church would be the only “safe” place in Chicago where the two characters would make such a commitment to fight Capone.

Dialogue On Dialogue: Commentary by Michael: “The trick to writing a great Mentor seems to be that the mentor has already walked the path the Protagonist is on.”

Michael also notes of the scene: “It’s outside of the ambit of screenwriters comments but it’s worth noting that the usual shot-reverse camerawork has been replaced by a two shot series in which both actors are in all shots. It seems to add to the significance of the threshold they are about to cross.”

Daily Dialogue — August 22, 2016

August 22nd, 2016 by

CODY: Uh, I don’t know. I guess I’d like—
BIG Z: What you…what you want is something in between. Trust me, I’m the expert here, okay?
CODY: Okay.
BIG Z: So, uh, here are your shaping tools. Now, remember, the board’s already inside there, see, somewhere, and what you’re doing is you’re trying to find it, you know, reveal it.
CODY: Okay. Okay.
BIG Z: All right. Every carve counts. Why are you smiling? Don’t smile.
CODY: I’m not…I’m not smiling. I’m just, you know, I’m excited.
BIG Z: This isn’t like hacking a piece of ice. You know, it takes patience and finesse.
CODY: All right, already. I’m trying to—will you just give me the tools, please? Sheesh!
BIG Z: All right, here, take it, take it. Go ahead.
CODY: Thank you. Here we go.
BIG Z: What are you doing? Look, if you’re going to do it, you do it right. All right, look, first of all, with the grain. With the grain. You see what I’m doing here? You let the tool do the work, you see? Just like you’re riding the wave, you let the wave do the work. You don’t fight the wave. You can’t fight these big waves, Co. Long strokes. Loads of finesse. Find the board within the tree. Nice and easy.
CODY: Yeah, I got it.
BIG Z: See, then you just…just…
CODY: Maybe I could do it now?
BIG Z: …move with…with the…
CODY: Can I do it now?
BIG Z: Shhh.
CODY: (Whispers) Can I do it now?
BIG Z: Yeah. My bad. Got carried away, sorry about that. It’s your board.
CODY: My board. K, with the grain. I got it.
BIG Z: Don’t forget to eyeball it.
CODY: I got it.
BIG Z: Once in a while.
CODY: Okay, long strokes with the grain.
BIG Z: Not too long.
CODY: (Sighs) Here we go.
BIG Z: You’re doing it wrong—
CODY: Will you just, will you just, will you just let me—I can’t, I—no finesse when you’re in my face, okay? Just let me make the board!
BIG Z: Do you want my help?
CODY: Do I—no, I don’t want your help. I don’t want your help.
BIG Z: Oh, you don’t want my help?
CODY: I don’t want your help.
BIG Z: Oh, all right.
CODY: Okay?
BIG Z: Fine. Fine.
CODY: I just want to make my board.
BIG Z: Build the board yourself, man, all right. Fine.
CODY: Thank you. Thank you.
BIG Z: I don’t care what the board looks like. You’re the one who’s got to ride it.
CODY: Fine, I’ll—thank you.
BIG Z: It’s in there somewhere. Go find it.
CODY: Do you—walk over there, please! Please!
BIG Z: Don’t cut yourself.

Surf’s Up (2007), screenplay by Don Rhymer, Ash Brannon, Chris Buck and Christopher Jenkins; story by Christopher Jenkins and Christian Darren

The Daily Dialogue theme for the week: Mentor, suggested by Michael Waters. Today’s suggestion by Will King.

Trivia: When Cody washes up on the beach while Z is training him, Z laughs and says “Wipeout.” This is an homage to the beginning of the song “Wipeout” by The Surfaris, where a similar laugh and the word “wipeout” begins the song.

Dialogue On Dialogue: Commentary by Will: “Surf’s Up is a story about the failure of the mentor character. Young Cody Maverick idolized Big Z, a world-class surfer. When Big Z died during a surfing competition, Cody vowed to become like his hero. He travels to Pen Gu Island to participate in the Big Z Memorial surfing competition and discovers that Big Z is still alive but living in isolation under an assumed name. Z lost his interest in competition and tries to convince Cody there’s more to life than winning a surfing trophy, but Cody is so wrapped up in the idea of winning he can’t give up the dream. When Cody learns that his hero faked his death to avoid losing to up-and-coming competitor Tank Evans, Cody’s entire world comes crashing down.

In this scene, Big Z tries to teach Cody the secret of making the perfect surfboard, and their values clash becomes apparent. Z is very zen (“find the board”) while Cody just wants to make the board so he can get on with learning from Z how to win the upcoming competition.”

Daily Dialogue — August 21, 2016

August 21st, 2016 by

Sutter walks with Aimee at an outside party. He produces a flask from his back pocket.

Aimee: Ooh, can I try that.
Sutter: I don’t know. It’s pretty serious stuff.
Aimee: Just a taste.
Sutter: You sure?
Aimee: Yes.
Sutter: Awright, here you go. Go for it.

He hands her the flask. She takes a sip.

Aimee: Oh my God.
Sutter: Yeah.
Aimee: (grimaces) Ooh.
Sutter: I know. I told you.
Aimee: How can you drink that?
Sutter: I dunno, I guess I’ve been doing it for a while. You know who gave me my first beer?
Aimee: Who?
Sutter: My dad. I was probably six years old. Used to take me to baseball games every Saturday and then he’d let me have little sips of it.
Aimee: Did you get drunk?
Sutter: Nah, I didn’t get drunk, but it tasted really nice and warm.
Aimee: Where’s your dad now?
Sutter: He’s an airline pilot, he flies all across the country.
Aimee: Sutter, that’s awesome.
Sutter: He is awesome.

The Spectacular Now (2013), screenplay by Scott Neustadter and Michael H. Weber, novel by Tim Tharp

The Daily Dialogue theme for the week: Alcoholism.

Trivia: At one point during preproduction, the script began to change. Shailene Woodley was worried that the new rewrites would make the story less honest, and at one point even called Miles Teller to tell him that she was thinking of dropping out. Teller managed to convince her to stay on the movie, and the rewrites never happened.

Dialogue On Dialogue: The phrase “spectacular now” refers to Sutter’s insistence on living in the present, fueled in large part by a constant alcoholic buzz. The fact that here he lies about his father being “awesome”, something we discover later on, points out why in part Sutter refuses to move into the future because to do so, he would have to confront some tough truths in the past.

Daily Dialogue theme for next week: Mentor

August 20th, 2016 by

The Daily Dialogue theme for next week: Mentor suggested by Michael Waters.

So many memorable Mentor characters in movies. They teach. Inspire. Give directions. Provide insight. And sometimes they have to get in the face of the Protagonist and lay down the God’s honest truth.

Let’s see what we can do this week: 7 great examples of dialogue featuring a Mentor figure.

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: 3,019.

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:

August 29-September 4: Blame
September 5-September 11: Argument [Mark Twain]
September 12-September 18: Bullying
September 19-September 25: Military Moments [Will King]
September 26-October 2: Clairvoyance
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: Mentor.

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 — August 20, 2016

August 20th, 2016 by

Henry: I had an idea I’d be discovered after my death.
Tully: You look well on the way. You might be on a deadline.
Henry: Hey, what’s with this deadline crap, huh?
Tully: Don’t you remember? You sent us dozens of stories. Why did you send your stuff to us?
Henry: I liked the title of the mag, it boggled my scrotum.
Tully: Why don’t you stop drinking? Anybody can be a drunk.
Henry: Anybody can be a non-drunk. It takes a special talent to be a drunk. It takes endurance. Endurance is more important than truth.

Barfly (1987), written by Charles Bukowski

The Daily Dialogue theme for the week: Alcoholism.

Trivia: The movie’s “screenplay [was] commissioned in 1979” according to the Turner Classic Movies website. This was around eight years prior to the picture being made and released.

Dialogue On Dialogue: To sustain a life as an alcoholic, an individual has to come up with a world view which supports the lifestyle. Here Henry provides a glimpse into his world view in support of his drunken ways.

Daily Dialogue — August 19, 2016

August 19th, 2016 by

OLD TIMER #2: How much has he had?
CHESTER: None. That’s the first one. He hasn’t touched it, yet. He just likes to hold it.
MARTY: Doc! Doc! What are you doing?
DOC: I’ve lost her, Marty. There’s nothing left for me here.
MARTY: Alright, that’s why you gotta come back with me.
DOC: Where?
MARTY: Back to the future.
DOC: Right. Let’s get going.
MARTY: Great.
DOC: Gentlemen, excuse me but my friend and I have to catch a train.
OLD TIMER #1: Here’s to ya, Blacksmith!
OLD TIMER #3: And to the future.
OLD TIMER #2: Amen!
DOC: Amen!
CHESTER: Emmett, no!

Doc downs his drink and falls to the floor.

MARTY: Doc! Doc! Doc! C’mon, Doc, wake up! Wake up, Doc. How many did he have?
CHESTER: Just the one.
MARTY: Just the one? C’mon, Doc.

Back to the Future Part III (1990), screenplay by Bob Gale, story and characters by Robert Zemeckis and Bob Gale

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

Trivia: When Doc and Marty are at the drive-in preparing the DeLorean for the trip to 1885, Marty mentions Clint Eastwood and Doc replies, “Clint who?” In this shot, there is a movie poster on the drive-in’s wall showcasing Revenge of the Creature (1955) and Tarantula (1955), containing some of the first film appearances of a young, then-unknown Eastwood.

Dialogue On Dialogue: Commentary by Will: “Throughout all three films Doc has shown no signs of interest in alcohol, so it’s not surprising it affects him so drastically once he does imbibe. However, how do you get a non-drinker to take that first drink? In this scene, Doc reacts instinctively to the proffered toast, and that’s what puts him under.”

Daily Dialogue — August 18, 2016

August 18th, 2016 by

Mac heads inside the store, the Newspaper Reporter following him to the door.

Newspaper Reporter: Dixie told me a lot about you. Don’t you want to tell me some things about her? She said alcohol is what licked you. You still drink?

Mac heads outside. No response.

Tender Mercies (1983), written by Horton Foote

The Daily Dialogue theme for the week: Alcoholism.

Trivia: The screenplay by Horton Foote was turned down by many American film directors prior to Bruce Beresford being hired by producers Philip Hobel and Mary-Ann Hobel.

Dialogue On Dialogue: Mac, a washed-up country singer, has turned his life around after giving up alcohol. Yet as the Newspaper Reporter symbolizes, addiction and its effects never goes away. Mac’s last line, offered much earlier in the interchange between he and the Reporter, is, “I got nothing to say about that.” True to his word, he offers no answers to the Reporter’s questions. He tries to escape the past, but knows he has to face it. This scene sets up Mac going to see his ex-wife Dixie and confront another turbulent time from his alcoholic past. Duval won a Best Actor Oscar for his portrayal of Mac Sledge.