Some of her actors are real - life couples and others have been yoked together by casting, and it's not always easy to tell the difference — or, for that matter, to distinguish
between scripted dialogue and spontaneous utterances.
Not exact matches
The
script, by Michael Schiffer («Crimson Tide,» «Colors»), does have some wit, and certainly the
dialogue exchanges
between intellectual Kidman and macho Clooney manage to avoid the usual cliches.
And though Cody's writing is often reduced to arch, mock - slang
dialogue (i.e., her
script for Juno), Young Adult showcased a writer who was able to walk the fine line
between caricature and character study.
The
dialogue and sparks seemed to flow so effortlessly I often wonder how much of it was improvised
between them or if they stuck pretty closely to the
script.
The
script, by Hope Floats screenwriter Steven Rogers, identifies a pattern of abuse in the athlete's life, passed like a baton
between two domineering figures: insult - slinging stage mother from hell LaVona (Allison Janney, relishing every line of bilious
dialogue) and Harding's impotently frustrated, small - town - loser of a beau, Jeff (Sebastian Stan, who apparently can act, when not playing the brainwashed sidekick of a super soldier).
The
script features some clever
dialogue, especially
between and among all the students.
There are occasional bursts of well - observed comedy in Comet «s largely insipid
script but they are too few
between the dreary
dialogue and occasional badly judged observations on subjects such as rape and eating disorders.
There is indeed a
script full of
dialogue between Irving and Billy in the car throughout their trip.
In order to show the sparks
between her characters, Crane uses sharp
dialogue — also a feature of her
scripts.
Despite the comedicly unique relationship
between Tonto and John, as well as the stunning the make - up and costumes, that Verbinski creatively highlights in the film, screenwriters Justin Haythe, Ted Elliott and Terry Rossio unfortunately at times infused the
script with plot holes and uninspired, cliched
dialogue.
Lawrence Kasdan's
script, which he wrote 20 years ago for Steve McQueen, has spots of funny
dialogue, like one exchange
between Frank and an older woman (Woman: «I've been watching you all night from across the room.»
Director Will Gluck («Easy A», «Friends with Benefits»), who also co-wrote the
script with Aline Brosh McKenna («Morning Glory»), nicely balances funny situations and clever
dialogue (mostly remarks from Foxx) with a sweet and emotionally effective relationship
between young Annie and Stacks.
Although it sometimes takes artistic license with interactions
between personalities, it pays strict attention to the technicalities and timelines, even using the actual transcripts to generate the
script's
dialogue.
The teacher may elect to narrow the focus, asking observers to
script the questions he asks, the responses students give, the interaction among a small group of kids, or the
dialogue between the teacher and certain students.
I want to begin by emphasizing that the below
script is not comprehensive has not been taken from a transcript of an actual bankruptcy consultation but rather represents a generalized account of a
dialogue that would commonly be seen at the initial meeting
between lawyer and client.