How about Break-Ups? There has to be a million scenes to choose from. Here's a classic: Say Anything (1989) http://movieclips.com/KN5k-say-anything-movie-breaking-up/ DIANE: We’ll see. LLOYD: Okay. It’s good knowing this. DIANE: Yeah, uh-huh. (Lloyd brings the car to a full stop.) LLOYD: Okay, what did we just decide? DIANE: We decided… LLOYD:?’Cause I’m worried, did you just break up with me? DIANE:?No, no. LLOYD: It sounded like you did. DIANE: No. We decided that we’re friends. I mean, I know it’s a terrible word… LLOYD: Well, if we’re friends, why can’t we see each other? DIANE: I think that we should stop going out on dates. LLOYD:?I feel like a dick. You must think I’m a dick. DIANE: No, I don’t, I don’t. LLOYD: Yeah you do. DIANE: Lloyd, we shared the most intimate thing two people can share. LLOYD: You shared it with a dick. DIANE: No I didn’t. LLOYD: Is this because of your dad? DIANE: No. LLOYD: Did you talk to Corey? DIANE: Why, did you tell Corey what happened? LLOYD: She figured it out. I’m sorry if that upsets you. DIANE: No, that’s fine. She’ll tell everybody, but that’s fine. LLOYD: Did you tell anybody? DIANE: Just my dad. LLOYD: You told your dad? DIANE: You have Corey and D.C. I have my dad. LLOYD: What, I’m sorry I said that. Forget I said it, it’s what I thought I meant, but forget DIANE: Lloyd, I love you, okay? LLOYD: What is that? What are you doing with your hands? Talk to me, you’re talking like that girl Sheila. DIANE: Don’t be mean, this is hard for me too. LLOYD: Then don’t do it. DIANE:?Oh shit. (She turns away from him and takes the pen from her coat pocket.) DIANE: Just take this pen please, and write me? (She puts the pen on the car dashboard, and turns away again.) LLOYD: I can’t believe this; you just broke up with me. (They both sit in silence.)

flashbacks..

Franklin tweeted: "Celebrating victories" as a possibility.

Another break-up: Frida (2002) http://movieclips.com/MXNsJ-frida-movie-youve-never-been-my-husband/ DIEGO: It makes no sense. It was for his own well-being. FRIDA: He's not thinking of his well-being. He's thinking of hers. DIEGO: What are you talking about? FRIDA: I'm talking about somebody willing to sacrifice a little of their own pleasure rather than go on hurting the woman who loves him. DIEGO: Have you lost your mind?! FRIDA: Go to hell, Diego. DIEGO: You know what the consequences of this could be? FRIDA: He's not scared. Why should you be? DIEGO: Oh, dear, God, Frida, of all people, why?! FRIDA: Because we wanted to. DIEGO: You've broken my heart, Frida. FRIDA: It hurts, doesn't it? But why? It was just a fuck, like a handshake. DIEGO: I told you who I was when you married me. FRIDA: Yes, you did, and I married you anyway, and you promised to be loyal. You've been my comrade, my fellow artist, my best friend. But you've never been my husband. DIEGO: Fridocha...

And another classic: Kramer vs. Kramer (1979) http://movieclips.com/njtp9-kramer-vs-kramer-movie-im-leaving-you/ JOANNA (she takes a deep breath, then:) Ted, I'm leaving you. TED: That represents a gross billing in excess of two million -- (hearing her) What?! Joanna opens her purse, takes out her keys and wallet. JOANNA: Here are my keys. I won't be needing them any more. Note: Ted does not for a moment believe that his wife will really leave him. All he can think of right now is that he will have to spend the rest of the evening coping with one of her moods. TED: (sardonic) I'm sorry I'm late, all right? I'm sorry I didn't call--I was busy making a living. CROSS-CUTTING BETWEEN THEM: Joanna doesn't even bother to look up at him. She opens her purse, takes out her wallet and begins removing credit cards. JOANNA: My American Express...My Bloomingdale's Credit Card... My check book-- TED: (the martyr) Okay, okay...What is it this time? What did I do now?... JOANNA: (ignoring this) I took two thousand out of the savings account. That was what I had in the bank when we got married. TED: Joanna, whatever it is, believe me, I'm sorry. JOANNA: Here are the slips for the laundry and the cleaning. They'll be ready on Saturday. TED: (hard lining it) Now listen, before you do something you'll really regret you'd better stop and think-- JOANNA: (not bothering to look up) I've paid the rent, the Con-Ed and the phone bill, so you don't have to worry about them. She checks off the last item on her list as her husband watches, dumbfounded. JOANNA: There, that's everything. Joanna gets to her feet and starts toward the front door. In an instant Ted is after her. TED: (panic starting) For God's sake, Joanna, would you at least tell me what I did that's so terrible! Would you do me that little favor? ON JOANNA--at the door. JOANNA: Look, it's not your fault, okay? It's me. It's my fault—you just married the wrong person. TED: (placating her) So we've got problems. Everybody's got problems--that's normal-- Joanna opens the door and they step out into the hallway. INT. HALLWAY OUTSIDE KRAMER APT. - EVENING JOANNA: Ted, you're not listening to me. It's over, finished. TED: I'm listening, Joanna--believe me, I'm listening. My wife is walking out on me after eight years of-- JOANNA: (bitter) You just don't get it, do you? (as though to a child) I - am - really - and - truly - leaving - you. TED: I heard you, Joanna. I promise I heard you. JOANNA: No you didn't. (quietly) You didn't even ask about Billy. TED: (stiffening) What about Billy? JOANNA: I'm not taking him with me. TED: What? JOANNA: (tears start) Ted, I can't...I tried...I really tried but...I just can't hack it anymore... TED: C'mon, Joanna, you don't mean that. You're a terrific mother-- JOANNA: (from her gut) I am not! I'm a terrible mother! I'm an awful mother. I yell at him all the time. I have no patience. No...No. He's better off without me. (unable to look at Ted) Ted, I've got to go...I've got to go. TED: (desperate) Okay, I understand and I promise I won't try and stop you, but you can't just go... Look, come inside and talk...Just for a few minutes. JOANNA: (pleading) NO!...Please...Please don't make me stay...I swear...If you do, sooner or later...maybe tomorrow, maybe next week...maybe a year from now... (looking directly at him)I'll go right out the window. Sound-effect: The elevator approaching. CROSS-CUTTING BETWEEN THEM--There is nothing more that can be done, this is the last moment of intimacy. TED: (quiet) Where are you going? JOANNA: I don't know... The elevator door opens, Joanna steps inside. TED: Do you want me to help you get a cab? Joanna shakes her head. The elevator door closes behind her and it starts to descend.

Victories is a great idea because of the variety. Celebrating a battle in an epic action film like 300 would be very different than winning in sports like Bend it like Beckham. Or a favorable verdict in a courtroom thriller such as Witness For The Prosecution verses the victory of motherhood in the drama Waitress or the success of friendship in a family movie like Toy Story. It would be fun to pick seven different genres as I would suspect the dialog would be very different from genre to genre. And so would the victory.

Okay, I think we have three worthy candidates: Break-ups, flashbacks, celebrating victory. So let's plan those for the next three weeks: 1/16-22: Celebrating victory. 1/23-1/29: Flashbacks. 1/30-2/5: Break-ups. Teddy, I'll take your suggestions [thanks!] and put those into drafts for that 3rd week. Alexander, thanks for that suggestion re flashbacks. That will be interesting because often they are used to provide insight / valuable info about the past, so we can try to spotlight memorable examples of that. And Saint, you're thinking like I'm thinking re celebrating victory, intriguing to see that across a variety of genres, moods, tones, etc. If you don't mind, I'll quote you in the post today about this week's theme. Thanks all!