The first dialogue scene sets the tone and direction for the film.
Ford did more than any other filmmaker to enshrine Lincoln as a saintly rustic, most memorably in the classic Young Mr. Lincoln (1939), and Spielberg seems to follow his lead in
the first dialogue scene of Lincoln.
Not exact matches
«There's a
scene in Breaking Bad «s
first season in which Walter White's hoodrat lab assistant Jesse Pinkman (Aaron Paul) tells Walter he just can't «break bad,» and — when you
first hear this snippet of
dialogue — you assume what Jesse means is that you can't go from being a law - abiding chemistry teacher to an underground meth cooker... But this, it turns out, was not Jesse's point at all.
Some of the acting is pretty bad, mainly with the brother / preacher and the
first wife (but her problem is the corny «gangster»
dialogue she spouts off), but Paul Muni is quite good, especially in the
scene that closes the movie.
There's no
dialogue in Julian Rosenfeldt's Manifesto, just recitations of manifestos about art — plus the excerpt from Karl Marx and Friedrich Engels's Communist Manifesto that kicks off the
first scene.
From the very
first scene, the rhythm is off, the staging and editing graceless, and the
dialogue (the screenplay is by Kyle Pennekamp and Scott Turpel) alternates between trying too hard and not hard enough.
Clooney proves again that he knows how to direct intelligent films that rely on a great
dialogue, and this intriguing character study is gripping from the
first scene to the last, centered on a brilliant political battle and with an intense performance by the always fantastic Ryan Gosling.
The future
scenes also contain some good action beats that bookend the 1973 section, but because many of the featured mutants (like Bishop, Blink, Warpath and Sunspot) are appearing on screen for the
first time with almost no introduction, you don't really care what happens to any of them, especially when the actors only have about three lines of
dialogue combined.
(remix) music video by Danger Mouse and Jemini; deleted
scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual
dialogue from the films soundtrack (the
scene where Herbie
first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.
Deliberately awkward moments which are funny at
first, are allowed to drag into eternity;
dialogue scenes run on; and it takes far too long to get to the punch - line.
Though best known for her arch
dialogue, Cody has a knack for location, setting stories in sharply sketched places and clearly defined moments in characters» lives — qualities that sometimes make Ricki And The Flash feel like a throwback to the minor - key American filmmaking of the 1970s, when Demme
first arrived on the
scene.
But when it comes to
dialogue scenes between actors, I find it far too constricting (and unfair to the actors) to plan out those shots without the benefit of
first playing it on the actual location with the actors.
What follows is a seemingly endless string of expository
dialogue exchanges and flashbacks (including the
first instance of a slap across the face eventually leading to a deeper understanding between two characters — after Jared forces himself on Melanie during their
first meeting — and an awkward
scene that attempts to romanticize Jared's insistence that he wouldn't make Melanie feel entitled to have sex with him even if they were the last man and woman on Earth).
First we know in a Tarantino we will get a
scene or two with long
dialogue BUT... I would not have it any other way.
The Dolby 2.0 stereo track lacks much punch in the directional department with some very minor atmospheric noise during its
first rally
scene and a few moments in its second half;
dialogue is well modulated in the centre channel.
The Jazz Singer (1927) was the
first feature with a
dialogue scene, but does that make it a classic?
In celebration of The Disaster Artist movie release and The Room's 15 year anniversary, Co-star, line producer and former Wiseau roommate Greg Sestero is coming to town to present an exclusive behind the
scenes documentary about the making of The Room, a live reading of this
first edition of Tommy's screenplay, which features settings,
dialogue and plot devices that never made it on screen!
In fact, discounting a few painfully awkward
dialogue scenes, The Neon Demon's
first half makes the film seem like Refn's most surface - level - satisfying work since Drive.
Just like the
first film, Before Sunset is driven by its
dialogue and locales, and for those with little tolerance for films that don't showcase a chase
scene or an explosion at five minute intervals, you may find it talky and inconsequential, but at least it's only 80 minutes in length.
BEST
SCENE: The
first time Dylan and Jamie decide to have sex is a great showcase of fun
dialogue that includes a tennis analogy.
None of the three have a natural screen presence and struggle awkwardly with
first - time scriptwriter Dorothy Blyskal's clunky
dialogue; one senses a few
scenes were improvised, which means a lots of «Dude, this is awesome!»
The
first, dread - and tension - inducing
scene practically functions as a master - class in tone - setting and world - building on a modest budget, achieved through a relatively straightforward combination of visual composition, natural lighting, and production design and not exposition (e.g.,
dialogue, voiceover narration).
As he showed in his
first film, LaBute has penchant for sharp
dialogue and deft characterization but is less concerned with plot mechanics and visual mise - en -
scene.
Envelope pushing gags (lots of raunchy
dialogue, a donkey show, and there is a
scene of one character peeing on the other) abound, in the
first R - rated comedy from the Farrelly Brothers (Fever Pitch, Stuck on You) since Me Myself and Irene.
Still, the chemistry between Pearce and Jones is electric;
scenes between the two that are light on
dialogue and heavy on meaningful glances are striking, subtly conveying the tension building between the two characters from their
first moments on screen together.
Yet he stays fresh and alive in sparkling
dialogue scenes like their
first meeting on the beach, where he introduces himself as the Shell Oil heir and wickedly parodies Cary Grant.
The
first set of women are so fun to spend time with, just bantering and setting up the
scene, that we can happily just watch them chew up Tarantino's cleverly crafted
dialogue and inch forward with the plot.
This is
first evident in the
scenes between Bond and M, where the
dialogue has a bite and edge (and funny edge, too) between them that has not really been seen in the series until now.
Soderbergh frequently makes his presence felt as a formal annotator — periodically halting the action with freeze - frames, using elaborate color - coding schemes (as if to remind us of The Underneath, much as Keaton reminds us of Jackie Brown), and crosscutting between successive
scenes with the same characters (the
dialogue in the
first becoming offscreen narration in the second), recalling Nicolas Roeg's Don't Look Now (as well as Roeg's mentor Alain Resnais).
First - time graphic - novelist Weing has produced a beautiful gem here, with minimal
dialogue, one jolting battle
scene, and each small page owned by a single panel filled with art whose figures have a comfortable roundness dredged up from the cartoon landscapes of our childhood unconscious, even as the intensely crosshatched shadings suggest the darkness that sometimes traces the edges of our lives.
Expect to sit back and listen to a lot of
dialogue for the
first hour in a
scene that goes on a bit too long without much meaningful player interaction.
If you all remember Uncharted 4 ′ s
first cinematic trailer, there was a
scene showing Nate on the beach, exchanging
dialogue with Sully in the background.
The exhibition also presents paintings in which, for the
first time, White has begun to choreograph the narrative by pairing two seemingly separate
scenes onto the same surface, creating a self - contained
dialogue filled with ambiguous tension.
The turning point came for Murray in 1971 when she decided she was tired of «feeling out of it» — that is, to participate more in the ongoing
dialogue between artworks that constitutes the most enduring aspect of any art
scene... Murray abandoned three dimensional work completely and went out and bought a lot of oil paints for the
first time in several years.
But Hoyland's work
first appeared on the British art
scene in
dialogue with artists experimenting with colour, size and scale but with very different ambitions for their work than those of the dominant Americans.
We've been working behind the
scenes to make our
first round of improvements to the
Dialogue Tool.