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> Best Movie Lines Ever, "Are you talking to me?"
Zoe
post Oct 14 2006, 09:42 AM
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To make a change from all the bitching and whining, how about we celebrate some of the all time great screen dialogue?

More than 'favourite quotes' this is for celebrating the truly great screenwriters of the world and their best work.

My favourite line of film dialogue of all time is from 'When Harry Met Sally' and it never fails to make me cry.

QUOTE
"You see, that is just like you Harry. You say things like that and you make it impossible for me to hate you. And I hate you Harry... I really hate you. I hate you"


The final "I hate you" is barely audible and combined with Meg Ryan's eyes welling up and a smile of pure love. Followed by the kiss, it's the perfect end to a perfect film.

It's endlessly romantic, but avoids being even slightly sentimental. I never tire of it.
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maian
post Oct 14 2006, 09:56 AM
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I've always loved Orson Welles' speech in The Third Man when Holly meets him in the fairground and tries to lecture him on morality. The climax of it is brilliantly written and his delivery is perfectly pitched:

QUOTE
Don't be so gloomy. After all, it's not that awful. Remember what the fellow said - in Italy, for 30 years under the Borgias, they had warfare, terror, murder, bloodshed, but they produced Michelangelo, Leonarda Da Vinci and the Renaissance. In Switzerland, they had brotherly love. They had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long, Holly.


This post has been edited by maian: Oct 14 2006, 09:57 AM
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Zoe
post Oct 14 2006, 10:16 AM
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That's a fabulous choice. Definitely one of the greatest pieces of dialogue in film history.

My favourite screenwriter is William Goldman. His finest script is arguably 'Butch Cassidy and the Sundance Kid' and this piece of dialogue from the film's finale shows why.

Both men know escape is impossible, they know they're going to die and so their ignoring of the facts is both funny and heartbreaking.

QUOTE
Butch: I got a great idea where we should go next.
Sundance: I don't want to hear it.
Butch: You'll change your mind when I tell you.
Sundance: Shut up.
Butch: OK, OK.
Sundance: It's your great ideas that got us here.
Butch: Forget about it.
Sundance: I don't ever want to hear another one of your ideas. All right?
Butch: All right.
Sundance: OK.
Butch: Australia - I figured secretly you wanted to know, so I told you. Australia.
Sundance: That's your great idea?
Butch: Oh, the greatest in a long line.
Sundance: Australia's no better than here.
Butch: That's all you know.
Sundance: Name me one thing better.
Butch: They speak English in Australia.
Sundance: They do?
Butch: That's right, smart guy, so we wouldn't be foreigners. They got horses in Australia. And they got thousands of mountains you hide out in. And good climate. Nice beaches. You could learn to swim.
Sundance: No swimming! It isn't important. What about the banks?
Butch: They're easy. Easy, ripe, and luscious.
Sundance: The banks or the women?
Butch: Once you've got one, you've got the other.
Sundance: It's a long way, isn't it?
Butch: Ah, everything's got to be perfect with you.
Sundance: I just don't want to get there and find out it stinks - that's all.
Butch: At least think about it.
Sundance: All right, I'll think about it.


Australia represents heaven for Butch and Sundance, and that's the only place they're going as they burst through the doors to face the super posse
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purple prole
post Oct 14 2006, 11:53 AM
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I love David Mamet's style of script-writing. I was going to quote something from Glengarry Glen Ross, then I changed my mind to go with Paul Newman's closing speech from The Verdict -

QUOTE
You know, so much of the time we're just lost. We say, "Please, God, tell us what is right; tell us what is true." And there is no justice: the rich win, the poor are powerless. We become tired of hearing people lie. And after a time, we become dead... a little dead. We think of ourselves as victims... and we become victims. We become... we become weak. We doubt ourselves, we doubt our beliefs. We doubt our institutions. And we doubt the law. But today you are the law. You ARE the law. Not some book... not the lawyers... not the, a marble statue... or the trappings of the court. See those are just symbols of our desire to be just. They are... they are, in fact, a prayer: a fervent and a frightened prayer. In my religion, they say, "Act as if ye had faith... and faith will be given to you." IF... if we are to have faith in justice, we need only to believe in ourselves. And ACT with justice. See, I believe there is justice in our hearts.
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maian
post Oct 14 2006, 12:00 PM
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(Edit: In reply to Zoe:) That is one of Goldman's finest moments. I think The Princess Bride wins out for sheer quotability but there's nothing in there that quite rivals Bitch and Sundance's finest moments for such great dialogue that's both funny and meaningful.

I've recently become quite a fan of Billy Wilder, both as a director and as a screenwriter and he often excelled at both. Probably my favourite lines of dialogue from him come from two very different movies. First; Some Like It Hot:
QUOTE
Osgood: I called Mama. She was so happy, she cried. She wants you to have her wedding gown. It's white lace.
Jerry: Osgood, I can't get married in your mother's dress. She and I, we're not built the same way.
Osgood: We can have it altered.
Jerry: Oh no, you don't. [pause] Osgood, I'm gonna level with you. We can't get married at all.
Osgood: Why not?
Jerry: Well...In the first place, I'm not a natural blonde.
Osgood: Doesn't matter.
Jerry: I smoke. I smoke all the time.
Osgood: I don't care.
Jerry: I have a terrible past. For the past three years now I've been living with a saxophone player.
Osgood: I forgive you.
Jerry: [Feigning sadness] I can never have children.
Osgood: We can adopt some.
Jerry: You don't understand, Osgood. Ah [pulls off wig and adopts his regular voice] I'm a man.
Osgood: Well, nobody's perfect.


It's such a fantastic set-up all the way through. It builds and builds as we see that Jerry wants to break the news gently to Osgood but doesn't quite know how to go about it. The pay-off line is a fantastic punchline but, like all great jokes, needs the build up to be so hilarious.

And now, Sunset Blvd.:

QUOTE
And I promise you I'll never desert you again because after 'Salome' we'll make another picture and another picture. You see, this is my life! It always will be! Nothing else! Just us, the cameras, and those wonderful people out there in the dark!... All right, Mr. DeMille, I'm ready for my close-up.


Perfectly illustrates just how insane Norma has become at this point in the film as she believes that everything around her is part of a movie set; the stairs, the movie cameras, the people around her, the reporters, all seem to her to mark her glorious comeback. Contained within it, though, is the central message of the film; Hollywood may chew people up and destroy them but it is all worth it for them because it is their life; they love the fame, the glory and the adulation, even if they know it may never last.

This post has been edited by maian: Oct 14 2006, 12:02 PM
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GundamGuy_UK
post Oct 14 2006, 12:25 PM
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To flip a quote in the other thread:

Leia: "I love you."
Han: "I know."
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dandan
post Oct 14 2006, 12:28 PM
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QUOTE (maian @ Oct 14 2006, 01:00 PM)
Bitch and Sundance


tee-hee...
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Ghost_862
post Oct 14 2006, 12:32 PM
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QUOTE (maian @ Oct 14 2006, 09:56 AM)
I've always loved Orson Welles' speech in The Third Man when Holly meets him in the fairground and tries to lecture him on morality. The climax of it is brilliantly written and his delivery is perfectly pitched:
*


That's some excellent dialogue and one of my favourite scenes ever.

And Orson Welles actually wrote all that dialogue himself smile.gif
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DazDaMan
post Oct 14 2006, 12:55 PM
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Two from Jaws:

"We're gonna need a bigger boat!"

and

"Smile you sonofabitch!"

Just two great lines!

Think I need to watch it again - SOON!
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Zoe
post Oct 14 2006, 01:02 PM
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In my opinion the cleverest script ever written is 'Adaptation' by Charlie Kaufman. There are many sections of dialogue I could pick out for praise, but I particulary like the discussions between Kaufman and Robert McKee (here played by Nic Cage and Brian Cox) about the nature of screenwriting and the elusive third act problem.

QUOTE
KAUFMAN: You talked about Crisis as the ultimate decision a character makes, but what if a writer is attempting to create a story where nothing much happens, where people don't change, they don't have any epiphanies. They struggle and are frustrated and nothing is resolved. More a reflection of the real world --

MCKEE: The real world? The real fucking world? First of all, if you write a screenplay without conflict or crisis, you'll bore your audience to tears. Secondly: Nothing happens in the real world? Are you out of your fucking mind? People are murdered every day! There's genocide and war and corruption! Every fucking day somewhere in the world somebody sacrifices his life to save someone else! Every fucking day someone somewhere makes a conscious decision to destroy someone else! People find love! People lose it, for Christ's sake! A child watches her mother beaten to death on the steps of a church! Someone goes hungry! Somebody else betrays his best friend for a woman! If you can't find that stuff in life, then you, my friend, don't know much about life! And why the fuck are you taking up my precious two hours with your movie? I don't have any use for it! I don't have any bloody use for it!

KAUFMAN: Okay, thanks.


And later

QUOTE
KAUFMAN: ... We followed it like a beacon all the way to the road.

MCKEE: Then what happens?

KAUFMAN: That's the book. I wanted to present it simply, without big character arcs or sensationalizing the story. I wanted to show flowers as God's miracles. I wanted to show that Orlean never saw the blooming ghost orchid. It's about disappointment.

MCKEE: I see. That's not a movie. You must go back and put in the drama.

KAUFMAN: I've got pages of false starts and wrong approaches. I'm way past my deadline. I can't go back.

MCKEE: Ah, the everpresent deadline. Yes, I was doing a Kojak once and... it was hell.

MCKEE (cont'd): Tell you a secret. The last act makes the film. You can have an uninvolving, tedious movie, but wow them at the end, and you've got a hit. Find an ending. Use what you've learned this weekend. Give them that and you'll be fine.

KAUFMAN: You promise?


It's spectacularly clever and brilliantly funny and builds to one my favourite endings of all time. A masterclass in the unteachable nature of great writing.
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GundamGuy_UK
post Oct 14 2006, 01:54 PM
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QUOTE (DazDaMan @ Oct 14 2006, 01:55 PM)
Two from Jaws:

"We're gonna need a bigger boat!"

and

"Smile you sonofabitch!"

Just two great lines!

Think I need to watch it again - SOON!
*


I think the whole scene when they're talking about their scars is brilliantly written.
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Starscream`s Gho...
post Oct 14 2006, 01:57 PM
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And of course...

QUOTE
I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time, like tears in rain. Time to die.
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Sostie
post Oct 14 2006, 02:01 PM
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North By Northwest

Eve Kendall: Roger O. Thornhill. What does the O stand for?
Roger Thornhill: Nothing.


The Thing...it's packed full of corkers

Garry: The generator's gone.
MacReady: Any way we can we fix it?
Garry: It's "gone", MacReady


Two that mean nothing out of context, but in the film are great.

MacReady: Yeah, fuck you too!

and

Palmer: You gotta be fucking kidding
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DazDaMan
post Oct 14 2006, 02:04 PM
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QUOTE (GundamGuy_UK @ Oct 14 2006, 02:54 PM)
I think the whole scene when they're talking about their scars is brilliantly written.
*


Brody: "What's that one?"
Quint: "What?"
Brody: "That one, there, on your arm."
Quint: "Oh, that's tattoo, I got that removed."
Hooper: "Don't tell me, don't tell me. Mother!"
(laughter)
Quint: "Mr Hooper, that's the USS Indianapolis."
(silence)
Hooper (awed): "You were on the Indianapolis?"

Brilliant scene. It's not unknown for me to do Quint's whole speech to my mates in the pub! rolleyes.gif
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maian
post Oct 14 2006, 02:12 PM
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QUOTE (Zoe @ Oct 14 2006, 02:02 PM)
In my opinion the cleverest script ever written is 'Adaptation' by Charlie Kaufman. There are many sections of dialogue I could pick out for praise, but I particulary like the discussions between Kaufman and Robert McKee (here played by Nic Cage and Brian Cox) about the nature of screenwriting and the elusive third act problem.
And later
It's spectacularly clever and brilliantly funny and builds to one my favourite endings of all time. A masterclass in the unteachable nature of great writing.
*


I love Kaufman's stuff. His films amaze me more than any other writer in recent years, though it does help having the perfect directors, in the shapes of Spike Jonze and Michel Gondry, to realise his ideas. Eternal Sunshine of The Spotless Mind contains, for me, the best piece of writing he has ever done. The entire sequence in the falling down house in Joel's memory is just beautiful:
QUOTE
[Cut away to image of the house beginning to collapse as Joel and Clementine are walking around]
Clementine: I'm Ruth-less at the moment.
Joel: I really should go. I've gotta catch my ride.
Clementine: So go.
Joel: I did. I thought maybe you were a nut, but you were exciting.
Clementine: I wish you'd stayed.
Joel: I wish I'd stayed, too. Now I wish I'd stayed. I wish I'd done a lot of things. Oh, God, I wish I had-- [looks at the ground forlornly] I wished I stayed. I do.
Clementine: Well, I came downstairs, and you were gone.
Joel: I walked out. I walked out the door.
Clementine: Why?
Joel: I don't know. I felt like a scared little kid. I was like--It was above my head. I don't know.
Clementine: You were scared?
Joel: Yeah. Thought you knew that about me. I ran back to the bonfire, trying to outrun my humiliation, I think.
Clementine: Was it something I said?
Joel: Yeah. You said, ''So go'', with such disdain, you know?
Clementine: Oh, I'm sorry.
Joel: It's okay.
Clementine: Joely? What if you stayed this time?
Joel: I walked out the door. There's no memory left.
Clementine: Come back and make up a good-bye, at least. Let''s pretend we had one. [they walk up to each other] Bye, Joel.
Joel: I love you.
Clementine: Meet me in Mantauk.
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