Teddy Pasternak at 2012-05-12 18:32:26:

I love this scene (and the whole film!) The look on RL's face when he learns that his dad will be away for a few days is priceless. And the way the boys act says it all. Now they're free to play, enjoy life and be kids again without having their abusive father hovering over them. And Mrs. O'Brien is free to be the mother she wants to be – to raise her kids with love, laughter and encouragement instead of fear. The Tree Of Life (2011) http://movieclips.com/2npa-the-tree-of-life-movie-dads-gone/ EXT. PATIO The next morning RL turns to his mother: RL Where's Dad? MOTHER Gone on a trip. The boys go wild. They crawl around on the floor, they bounce on the beds, they let the screen door slam carelessly behind them. She cannot contain their energy. JACK We're going to stay up late. MOTHER Oh no, you're not! STEVE All night! Don't say no, because you know it makes me angry. Look at me! I mean it! They run through the sprinkler. Finding a lizard, they chase her into the bathroom with it. Laughing, they ignore her pleas, and when they hear the lock click shut, they slip it under the door. MONTAGE – WHILE THEIR FATHER IS AWAY She shows them flowers, glowing colors and birds that sing, the fruit tree at the edge of the woods, the gardenias, the wings of little creatures beneath a magnifying glass. So many mysteries! She shows them a barn swallow's nest. MOTHER They trust us – not to knock it down. She gives them a book of natural history. His hands leaf through the pages. There are dinosaurs, frogs and armor- plated fish with names too long to pronounce. The Seven Wonders of the Ancient World. She shows them the leaf of a tall locust tree and sets it next to a pea vine, demonstrating the family relation there sometimes is between things large and small. For a time all is at it was. The hours go by uncounted.

blknwite at 2012-05-13 11:55:48:

Joe vs.the Volcano John Patrick Shanley EXT. LITTLE RAFT - NIGHT Again, it is a great starry night. Joe, weak and sick and bleary-eyed, looks up at the stars. He closes his eyes. He opens them again. Again, he is astonished. JOE'S POV - HEAVENS All the lines and astrological signs are back, brilliant and splendid. JOE rouses himself, crawling to his knees to look. He stares in utter wonder. The signs begin to rotate again. MUSIC. Earlier, in L.A. Joe stared at the horizon, just before dawn, and big, magical music began to play. But then it stopped prematurely. That MUSIC begins to play now, but this time it does not stop. It's the big, dramatic pas de deux music from "The Nutcracker." The astrological signs melt away into Disney dust as a light appears at the horizon. ANOTHER ANGLE ON HORIZON A light appears at the horizon's edge. ENORMOUS MOON with slow majesty rises from the glittering sea, directly to Joe's front. Joe and his little raft are utterly dwarfed by this great heavenly body. JOE ON HIS RAFT - NIGHT Though he is on the verge of utter collapse he is so moved by what he sees he clambers his way to his shaky feet and raises his arms over his head in complete reverence. He is dwarfed. He's a bug. The raft is a mote in the eye of God. Joe is deeply moved, humbled, awestruck. The moon continues to ascend up and up and out of view. http://www.youtube.com/watch?v=H1EOnVSSJYs&feature=colike

Teddy Pasternak at 2012-05-13 19:03:31:

The Devil Wears Prada (2006) Here is the scene from the script (March 10, 2005 draft), pages 36-37. INT. NIGEL'S OFFICE –- DAY NIGEL closes the door. She looks at him, lips trembling. NIGEL Let me guess. You were trying not to cry the whole time you were with her? And she promptly bursts into tears. He puts his arms around her. NIGEL (cont'd) Wow. So been there. ANDY No matter what I do, I can't please her. I've always done well at anything I applied myself to, but this is so hard. She's just so scary and horrible and frightening and scary. She sniffles, blows her nose. He looks at her. NIGEL Are you done? What? NIGEL (cont'd) You want me to say , oh, poor you, Miranda is picking on you? Get real, Cincinnati. Miranda Priestly is impossible. Always has been, always will be. Your job is not about pleasing her. It's about surviving her. He studies her. NIGEL (cont'd) Andy, I've seen a lot of assistants come and go. And you've got talent –- you're bright and hard-working. But you're not committed to this job. I bet you don't even read the magazine. Beat. He looks at her. NIGEL (cont'd) Andy, if you want this, start giving this your all. Be who Miranda needs you to be. Or else... quit. ANDY Nigel, I don't want to give up. I don't. NIGEL Then... what do you say? Are you in or are you out? ANDY I'm in. I'll do what it takes. I swear. He looks at her. NIGEL Well, if that's the case... ANDY Oh, no... NIGEL Andy... ANDY Isn't there another way? He shakes his head. And she realizes he's right. She sighs. NIGEL Go ahead. Say it. Say the words. ANDY I can't. Please. Have mercy. NIGEL Say it. Say those three little words I've been dying to hear since I met you. ANDY (goddamn it) Okay, fine. Make me over. INT. CLOSET –- DAY With a grand gesture, NIGEL swings open the door to... ...a large room that's like a treasury cave, plied high with shoes, bags, clothes, furs, jewelry. - And here is the scene in the movie: http://movieclips.com/wpcxj-the-devil-wears-prada-movie-andy-gets-a-makeover/ ANDY She hates me, Nigel. NIGEL And that's my problem because... Oh, wait. No, it's not my problem. ANDY I don't know what else I can do because if I do something right, it's unacknowledged. She doesn't even say thank you. But if I do something wrong, she is vicious. NIGEL So quit. ANDY What? NIGEL Quit. ANDY Quit? NIGEL I can get another girl to take your job in five minutes... one who really wants it. ANDY No, I don't want to quit. That's not fair. But, I, you know, I'm just saying that I would just like a little credit... for the fact that I'm killing myself trying. NIGEL Andy, be serious. You are not trying. You are whining. What is it that you want me to say to you, huh? Do you want me to say, "Poor you. Miranda's picking on you. Poor you. Poor Andy"? Hmm? Wake up, six. She's just doing her job. Don't you know that you are working at the place that published some of the greatest artists of the century? Halston, Lagerfeld, de la Renta. And what they did, what they created was greater than art because you live your life in it. Well, not you, obviously, but some people. You think this is just a magazine, hmm? This is not just a magazine. This is a shining beacon of hope for... oh, I don't know... let's say a young boy growing up in Rhode Island with six brothers pretending to go to soccer practice when he was really going to sewing class and reading Runway under the covers at night with a flashlight. You have no idea how many legends have walked these halls. And what's worse, you don't care. Because this place, where so many people would die to work you only deign to work. And you want to know why she doesn't kiss you on the forehead and give you a gold star on your homework at the end of the day. Wake up, sweetheart. ANDY Okay, so I'm screwing it up. He looks at her. ANDY (cont'd) I don't want to. I just wish I knew what I could do to... She sighs. ANDY (cont'd) Nigel? Nigel. Nigel. He looks at her. NIGEL No. INT. CLOSET –- DAY etc... - So, I included both versions to demonstrate how much a little non-verbal communication can do to improve a scene. In my opinion the movie version is much better than the earlier scripted version. A large chunk of dialogue was eliminated and replaced with a simple look between the two characters. And because of that, it made the scene catapult into the next scene. Since we don't know what is going on, it keeps us on edge and we are curious to find out what that look was about. Great choice to eliminate the “Make me over” bit. Now, the filmmakers are showing us instead of telling us what's going on. Plus, we are thrown into this new setting – the closet – and we are picking up information as we go along which makes the whole experience much more immersive. Had we known going into the closet that there's a make-over coming, we would have lost that energy. Also worth noting: In the movie, Nigel doesn't explicitly say “Be who Miranda needs you to be.”, it is Andy who gets it after hearing Nigel's side of the story.