Awesome Microcosms
A lot of popular movies have an extraordinarily (sometimes annoyingly) quotable line of dialogue. Great lines can take off as quotes or catchphrases for any number of reasons-- the line's funny, it's insightful, it's delivered by an actor audiences adore, or maybe it's coining a phrase ("Oh, that's so money!).
But it's incredible how often the most quotable lines in movies relate directly to what the story's about. Consider these examples:
"I wish I knew how to quit you!"
"You're gonna need a bigger boat."
"Get away from her, you bitch!"
"The horror... the horror..."
"Life is like a box of chocolates: you never know what you're gonna get."
"Gentlemen, you can't fight in here! This is the War Room. " (Not actually in the shooting script for Dr. Strangelove, FYI. Was adlibbed, as some of the funniest lines were.)
"Show me the money!"
It's clear how these simple, memorable lines tap into the heart of the conflict in the entire movie. (If you're wondering about "Show me the money!" I would argue Jerry's so focused on becoming a successful agent - on showing, and seeing, the money - that he completely misses the fact that he's fallen in love with his wife... until he has her at 'Hello'.
Maybe great lines aren't just great lines that can be attributed to luck, or great casting. Maybe they are such good crystallizations of the story that we can't help but be satisfied when we hear them, and can't help repeating them afterwards. There's power in the line that carries the weight of the entire story.
Do your scripts have that one, great line that encapsulates the entire conflict, story, theme?
Mine neither. But it's something to shoot for.
A lot of popular movies have an extraordinarily (sometimes annoyingly) quotable line of dialogue. Great lines can take off as quotes or catchphrases for any number of reasons-- the line's funny, it's insightful, it's delivered by an actor audiences adore, or maybe it's coining a phrase ("Oh, that's so money!).
But it's incredible how often the most quotable lines in movies relate directly to what the story's about. Consider these examples:
"I wish I knew how to quit you!"
"You're gonna need a bigger boat."
"Get away from her, you bitch!"
"The horror... the horror..."
"Life is like a box of chocolates: you never know what you're gonna get."
"Gentlemen, you can't fight in here! This is the War Room. " (Not actually in the shooting script for Dr. Strangelove, FYI. Was adlibbed, as some of the funniest lines were.)
"Show me the money!"
It's clear how these simple, memorable lines tap into the heart of the conflict in the entire movie. (If you're wondering about "Show me the money!" I would argue Jerry's so focused on becoming a successful agent - on showing, and seeing, the money - that he completely misses the fact that he's fallen in love with his wife... until he has her at 'Hello'.
Maybe great lines aren't just great lines that can be attributed to luck, or great casting. Maybe they are such good crystallizations of the story that we can't help but be satisfied when we hear them, and can't help repeating them afterwards. There's power in the line that carries the weight of the entire story.
Do your scripts have that one, great line that encapsulates the entire conflict, story, theme?
Mine neither. But it's something to shoot for.
posted by Jennica at 9:50 a.m.
8 Comments:
But do you think that the screenwriters knew that those lines would take off like they did? Or that they were so profound when writing them? Maybe this is blasphemy to write on a screenwriting blog, but I would guess that those lines came alive in the public consciousness not just because they are good lines, but because of the timing, the actors involved, how the movie was shot, the director's vision.
Am I going to get in trouble for writing this?
Thank you for that interesting bit of info about the "war room" line from Dr. Strangelove. Stanley Kubrick when filming scenes with Peter Sellers placed cameras everywhere he could to make sure that nothing was lost of Sellers' tremendously funny ad libs. He was without a doubt one of the great comedic screen actors of our time.
John, you're welcome! The shooting script is quite interesting-- it actually ends in a giant pie-fight. :)
M: There's no blasphemy here, you know that! No judgement. (Remember all the posts I've written recommending the deaths of children? I won't judge you if you don't judge me!)
I have thought about this. I don't necessarily think the writers expected those lines to be catchphrases, for sure. But I can't help thinking that many of them were intended to have huge effect. To carry the accumulated weight of the story. I can't imagine not knowing "Get away from her, you bitch" would have the power it had. Here's the scene from James Cameron's *first draft*:
The Queen spins at the sound of door motors behind her.
The parting doors REVEAL an inhuman silhouette standing there.
Ripley steps out, WEARING TWO TONS OF HARDENED STEEL. THE POWER LOADER. Like medieval armor with the power of a bulldozer. She takes a step... the massive foot CRASH-CLANGS to the deck. She takes another, advancing.
Ripley's expression is one you hope you'll never see... Hell hath no fury like that of a mother protecting her child, and that primal, murderous rage surges through her now, banishing all fear.
RIPLEY
Get away from her, you bitch!
I know this is an easier example than some of the others. But this makes me want to strive for this kind of power in a single line of dialogue... what think ye?
Wow. Great blog, and a fantastic post. Arrived here via similicio.us.com.
I'm not sure that writers especially know a line will become a catchphrase, but lines like "I wish I knew how to quit you" were certainly written with the theme in mind.
Welcome, Konrad! Nice to hear from new readers!
Actors definitely breath life into the words, but, what the heck, let's give the screenwriter credit.
And this happens in all genres.
My six-year-old daughter picked up “Out of the way chicken pox” from the kids’ movie “Otis and Milo.” She uses it all the time when she “cuts through” somewhere.
I hope I can get those type of lines into my scripts.
Can I add:
"No... wire... hangers!"
"I guess we’re not in Kansas any more!"
"May the force be with you."
I think those entered the public consciousness long ago. Or maybe the public subconscious.
Hasta la vista, baby!
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