Daily Dialogue — February 6, 2016

February 6th, 2016 by

Stan: So, Gilly, big baseball fan?
Young Gil Buckman: Kind of.
Stan: Dad bring you here a lot?
Young Gil Buckman: Once a year on my birthday. Then he pays an usher to watch me.
Stan: Oh, I see.
Young Gil Buckman: You have to understand, my father in his own childhood… was without a positive male influence.
Stan: Huh?
Young Gil Buckman: His own father kicked him out when he was fifteen. So my dad was taught to see child raising as a burden–a prison rather than a playground. You understand what I´m saying?
Stan: You don’t talk like a kid.
Young Gil Buckman: Yeah, well I’m not really a kid.
Stan: You’re not a duck.
Young Gil Buckman: This is a memory of when I was a kid. I’m 35 now. I have kids of my own. You don’t even really exist. You’re an amalgam.
Stan: A what?
Young Gil Buckman: A combination of several ushers my dad left me with over the years. I combined them into one memory.
Stan: Why?
Young Gil Buckman: This was a great symbolic moment of my life. My father dumping me with you… it’s why I swore things would be different with my kids. It’s my dream. Strong, happy, confident kids.
Stan: That’s great, that’s great. You know, you – you got a lovely family, and I’m a god-damn amalgam!

Parenthood (1989), written by Lowell Ganz & Babaloo Mandel, story by Lowell Ganz & Babaloo Mandel & Ron Howard

The Daily Dialogue theme for the week: Abandoned, recommended by by ymep1.

Trivia: This movie is based on Ron Howard, Brian Grazer, Lowell Ganz, and Babaloo Mandel’s experiences as parents.

Dialogue On Dialogue: I love this scene, a terrific opening, and a great, entertaining way to lay out one of the central conflicts in the story – Gil’s longtime sense that his father has ‘abandoned’ him in favor of his younger brother.

Daily Dialogue — February 5, 2016

February 5th, 2016 by

“Ava!”

Ex Machina (2015), written by Alex Garland

The Daily Dialogue theme for the week: Abandoned, recommended by by ymep1. Today’s suggestion by Katha.

Trivia: Director Alex Garland has described the future presented in the film as “ten minutes from now,” meaning, “If somebody like Google or Apple announced tomorrow that they had made Ava, we would all be surprised, but we wouldn’t be that surprised.”

Dialogue On Dialogue: Commentary by Katha: “Ava abandons Caleb, but she couldn’t care less. She doesn’t even give him a respond or an explanation. It’s no real dialogue but Caleb’s expression of shock.”

Daily Dialogue — February 4, 2016

February 4th, 2016 by

“He and my mom got divorced when I was five. She lives on a Havasu reservation in Arizona with her new husband and three replacement kids. Oh, and she inexplicably mails me a cactus every Valentine’s Day. And I’m like, ‘Thanks a heap, Coyote Ugly. This cactus-gram stings even worse than your abandonment.'”

Juno (2006), written by Diablo Cody

The Daily Dialogue theme for the week: Abandoned, recommended by by ymep1. Today’s suggestion by Melinda.

Trivia: Juno’s handwritten message in Bleeker’s yearbook was actually written by Diablo Cody.

Dialogue On Dialogue: Commentary by Melinda: “This is pretty typical for Juno (the character), using sarcasm to deflect hurt. But it’s also just a funny line.”

Daily Dialogue — February 3, 2016

February 3rd, 2016 by

JACK: Abandon ship. Into the longboat.
GIBBS: Jack! The Pearl!
JACK: She’s only a ship, mate.
ELIZABETH: He’s right, we have to head for land.
PINTEL: It’s a lot of open water.
RAGETTI: That’s a lot of water.
WILL: We have to try. We can get away as it takes down the Pearl.
GIBBS: Abandon ship. Abandon ship or abandon hope.

Elizabeth sees Jack and goes to him.

ELIZABETH: Thank you, Jack.
JACK: We’re not free yet, love.
ELIZABETH: You came back. I always knew you were a good man.

Elizabeth kisses Jack. Will notices.

GIBBS: Prepare to cast off! There’s no time to lose. C’mon, Will, step to!

Elizabeth backs Jack against the mast and handcuffs him.

ELIZABETH: It’s after you, not the ship. It’s not us. This is the only way, don’t you see? I’m not sorry.
JACK: Pirate.

Elizabeth leaves Jack and boards the longboat.

WILL: Where’s Jack?
ELIZABETH: He elected to stay behind to give us a chance. (Pause) Go!

Pirates of the Caribbean: Dead Man’s Chest (2006), written by Ted Elliott & Terry Rossio; characters by Ted Elliott, Terry Rossio, Stuart Beattie, and Jay Wolpert

The Daily Dialogue theme for the week: Abandoned, recommended by by ymep1. Today’s suggestion by Will King.

Trivia: While the script was being written, Keira Knightley suggested the scene between Jack and Elizabeth where Jack is handcuffed to the ship.

Dialogue On Dialogue: Commentary by Will: “The Pirates of the Caribbean films provide a terrific study in character development and interactions as each one’s motivations, flaws and conflicts clash time and time again, complicating life for the others with each turn. Here Elizabeth sheds the last remnant of her “proper” upbringing by seducing Jack so she can chain him to the mast and abandon him to his fate against the Kraken, then lies to cover up her deed. (She is, however, unaware that Will witnessed her approach to Jack and his misinterpretation will cause further complications.) Jack’s declaration of “Pirate” makes the change complete. This act also prepares the audience to buy into her investment as one of the nine pirate lords and eventual election as the pirate king in the third film.”

Daily Dialogue — February 2, 2016

February 2nd, 2016 by

EXT. TRUCK/CAB – (CAMP 7) EARLY HOURS

The man gets down from the cab and walks a few feet in the dark and snow. He coughs a bit, takes a few breaths of air, and walks away from the truck, vanishing into the mist.

EXT. CAMP/ROAD – (CAMP 7) – EARLY HOURS

The MAN is alone now by the road. He takes out his WALLET and sifts through: money, ancient cards, driver’s license and a picture of HIMSELF and the WOMAN on their WEDDING DAY, which he studies a moment sadly.

MAN: (V.0.) She was gone, and the coldness of it was her final gift… she died somewhere in the dark… there is no other tale to tell.

He lays everything out on the grey slushy ground, then flings the wallet into the river and walks back to camp, leaving the PHOTO and cards to blow away.

EXT. CLAPBOARD HOUSE/YARD – NIGHT
FLASHBACK –

The WOMAN kisses the MAN.

MAN: Will you tell him goodbye?
WOMAN: No. I won’t. I can’t.
MAN: Will you at least wait till morning? Stay with me through the night.
WOMAN: No. I have to go now.

They kiss again, she turns and walks away out of the yard.

MAN: What am I going to tell him? What are we going to do without you?
WOMAN: You should move south. You won’t survive another winter here.

The MAN follows a few steps and she stops and turns to him.

MAN: Why won’t you help me?
WOMAN: I can’t help you. Don’t you understand? This is how I’m helping you.

MAN: Where are you going to go? You can’t even see.
WOMAN: I don’t need to see.
MAN: I’m begging you.
WOMAN: Please don’t. Please.

The MAN stares. She goes, vanishing into the darkness.

END OF FLASHBACK

The Road (2009), screenplay by Joe Penhall, based on the novel by Cormac McCarthy

The Daily Dialogue theme for the week: Abandoned, recommended by ymep1 who also suggested today’s entry.

Trivia: One of the reasons Joe Penhall landed the job writing the screenplay was because he felt there was no need to change the novel’s dialogue.

Dialogue On Dialogue: Commentary by ymep1: “When the Man opens this scene by saying that “the coldness of it was her final gift” you know there’s so much more behind the terse dialogue that follows. Her emotionless exit and his emotion filled begging to stay give viewers two alternatives to their present situation. Like the Man, you can’t completely fault the Woman for her abandonment because she realizes it is the only way the Boy will survive.”

Daily Dialogue — February 1, 2016

February 1st, 2016 by

BOWMAN: Open the pod bay doors, please, Hal. Open the pod bay doors, please, Hal. Hello, Hal, do you read me? Hello, Hal, do you read me? Do you read me, Hal? Do you read me, Hal? Hello, Hal, do you read me? Hello, Hal, do you read me? Do you read me, Hal?
HAL: Affirmative, Dave, I read you.
BOWMAN: Open the pod bay doors, Hal.
HAL: I’m sorry, Dave, I’m afraid I can’t do that.
BOWMAN: What’s the problem?
HAL: I think you know what the problem is just as well as I do.
BOWMAN: What are you talking about, Hal?
HAL: This mission is too important for me to allow you to jeopardize it.
BOWMAN: I don’t know what you’re talking about, Hal.
HAL: I know that you and Frank were planning to disconnect me, and I’m afraid that’s something I cannot allow to happen.
BOWMAN: Where the hell’d you get that idea, Hal?
HAL: Dave, although you took very thorough precautions in the pod against my hearing you, I could see your lips move.
BOWMAN: Alright, Hal, I’ll go in through the emergency air lock.
HAL: Without your space helmet, Dave, you’re going to find that rather difficult.
BOWMAN: Hal, I won’t argue with you any more. Open the doors.
HAL: Dave, this conversation can serve no purpose any more. Goodbye.
BOWMAN: Hal? Hal? Hal? Hal! HAL!

2001: A Space Odyssey (1968), screenplay by Stanley Kubrick and Arthur C. Clarke

The Daily Dialogue theme for the week: Abandoned, recommended by by ymep1. Today’s suggestion by Will King.

Trivia: Douglas Rain (HAL) and Keir Dullea (Dave Bowman) would return 16 years later to reprise their roles in the Peter Hyams-directed sequel 2010.

Dialogue On Dialogue: Commentary by Will: “What could feel more lonely than to be abandoned in space? In this scene the HAL 9000 computer system finally reveals its true intentions by stranding Dave Bowman outside the Discovery after he returns with the dead body of his fellow crewmate Frank Poole, who was murdered by HAL.”

Daily Dialogue — January 31, 2016

January 31st, 2016 by

“There goes my last lead. I feel all dead inside. I’m backed up in a dark corner, and I don’t know who’s hitting me.”

The Dark Corner (1946), screenplay by Jay Dratler and Bernard C. Schoenfeld, story by Leo Rosten

The Daily Dialogue theme for the week: Accused.

Trivia: Secretary tries to help her boss, who is framed for a murder.

Dialogue On Dialogue: This plot has the Protagonist falsely accused of not one, but two murders. Also stars Lucille Ball as the secretary. You can watch the entire movie in the embedded video above.

Daily Dialogue theme next week: Abandoned

January 30th, 2016 by

Daily Dialogue theme next week: Abandoned, suggested by ymep1.

Open Water (2003)

Psychological abandonment. Physical abandonment. Emotional abandonment. Or sharks! Whatever angle you want to take, do it and let’s come up with 7 great movie scenes.

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: 2,816.

Be a part of the proud Daily Dialogue tradition and make a suggestion!

Upcoming schedule of themes:

2/8-2/14: Oblivious
2/15-2/21: Obsession [Angie Soliman]
2/22-2/28:Tantrum
2/29-3/6: Gambling [David Proenza]
3/7-3/13: Argument
3/14-3/20: Customer Service [David Proenza]
3/21-3/27: Pregnancy
3/28-4/3: Parental Advice [Michael Waters]

If you have some Daily Dialogue themes to add to the roster, be my guest to post in comments. But be sure to post your ideas for this week’s theme: Abandoned.

Thanks to all you loyal Daily Dialoguers! You rock!

Daily Dialogue — January 30, 2016

January 30th, 2016 by

“Yes, Daddy, I’ve seen it. This is the murderer. Murderer, murderer.”

The Third Man (1949), screen play by Graham Greene

The Daily Dialogue theme for the week: Accused. Today’s suggestion by Katha.

Trivia: The huge ferris wheel that Martins and Lime ride on in the Prater was erected in 1897. Sigmund Freud claimed to have used it to induce seasickness in patients while experimenting with cocaine as a treatment.

Dialogue On Dialogue: Commentary by Katha: “the moon-faced boy with the ball (Hansl) accusing the main protagonist of “The Third Man” Martins being the murderer. One of the greatest scene in cinema history.

For the little boy it’s a game. He is so proud, that he recognizes Martins. And he happily repeats: ‘Daddy, this is the murderer!’ Though Martin is innocent, the crowd turns against him. Things can be easily misunderstood.”

Daily Dialogue — January 29, 2016

January 29th, 2016 by

INT. PRINCIPAL’S OFFICE – DAY

Flynn is in. He shuts the door.

FLYNN: May I come in?
SISTER ALOYSIUS: A third party would be required.
FLYNN: Yup – what was Donald’s mother doing here?
SISTER ALOYSIUS: We were having a chat.
FLYNN: About what?
SISTER ALOYSIUS: A third party would truly be required.

The storm picks up outside.

FLYNN: No, Sister. No third party – me and you are due for a talk… You have to stop this campaign against me.
SISTER ALOYSIUS: You can stop it – at any time.
FLYNN: How?
SISTER ALOYSIUS: Confess and resign.
FLYNN: You are attempting to destroy my reputation!
SISTER ALOYSIUS: Who keeps opening my window?

A gust of wind comes in the window and blows some papers on the floor. She goes to the window. She raises the blinds, shuts the window, flips the blinds open.

SISTER ALOYSIUS: What are you doing in this school?
FLYNN: I’m trying to do good!
SISTER ALOYSIUS: (on her knees, picking up the fallen papers) Even more to the point – what are you doing in the priesthood?
FLYNN: You are single-handedly holding this school and this parish back!
SISTER ALOYSIUS: From what?
FLYNN: Progressive education and a welcoming church!
SISTER ALOYSIUS: You can’t distract me, Father. This is not about my behavior, it’s about yours.

She stands upright.

FLYNN: No, this is about your unfounded suspicions.

She starts arranging the papers.

SISTER ALOYSIUS: That’s right… I have suspicions.
FLYNN: Just leave that. It’s not important.
SISTER ALOYSIUS: I will decide what’s important.
FLYNN: Why do you suspect me? What have I done?
SISTER ALOYSIUS: You gave that boy wine, and you let him take the blame.
FLYNN: That’s completely untrue! Did you talk to Mr. McGuinn?
SISTER ALOYSIUS: All McGuinn knows is that the boy drank wine. He doesn’t know how he came to drink it.
FLYNN: Did his mother have something to add to that?
SISTER ALOYSIUS: No.
FLYNN: So that’s it?
SISTER ALOYSIUS: I am not satisfied.
FLYNN: Ask the boy then.
SISTER ALOYSIUS: Oh, he’d protect you.
FLYNN: Why would he do that?
SISTER ALOYSIUS: Because you seduced him.
FLYNN: You’re insane. You’ve got it in your head that I’ve corrupted this child after giving him wine, and nothing I say will change that.
SISTER ALOYSIUS: That’s right.
FLYNN: But this has nothing to do with the wine – not really. You’ve had a fundamental mistrust of me before this incident! It was you that warned Sister James to be on the lookout, wasn’t it?
SISTER ALOYSIUS: That’s true.
FLYNN: So you admit it!
SISTER ALOYSIUS: Certainly.
FLYNN: Why?
SISTER ALOYSIUS: I know people.
FLYNN: That’s not good enough.
SISTER ALOYSIUS: It won’t have to be.

Doubt (2008), screenplay by John Patrick Shanley, based on his play

The Daily Dialogue theme for the week: Accused. Today’s suggestion by GNetterville.

Trivia: Jimmy Hurley is based on John Patrick Shanley. Everything that he does at the beginning of the movie are the same things Shanley did as a boy.

Dialogue On Dialogue: What I like about this scene is it’s two characters accusing each other. Makes for great conflict.