Georgia (1995) Written by Barbara Turner. http://movieclips.com/wtEkS-georgia-movie-a-thousand-pounds-of-dead-weight/ Sadie: Georgia was embarrassed of me. For me. Georgia needed to help me out of there. Didn't you, Georgia? See, I thought I was doing fine, but my sister couldn't leave it alone.?For fear of what? For fear of fucking what, Georgia? Did I need saving, Georgia? How good did it feel to be able to pull me out? Georgia: It felt like a thousand pounds of dead weight, Sadie. Is that what you wanna hear? I don't want this anymore, Sadie. I want you to let go of me. Let go of me. Please. Please, Sadie. Do whatever you have to do but I don't wanna be a part of it anymore. I can't do it. I don't wanna do it. Trivia: Screenwriter Barbara Turner is Jennifer Jason Leigh's mother. I love that line “It felt like a thousand pounds of dead weight, Sadie.” Very rich, visual and perfectly sums up how Georgia feels about the relationship with her troubled sister. Screenwriting takeaway: Save your best metaphors and vivid dialogue for emotionally charged scenes like this one and when you really need to drive home a point both for the characters and the audience.

OCEAN'S ELEVEN: Virgil & Turk Malloy--"Mormon Twins" http://www.youtube.com/watch?v=XxClWgpq8Kg EXT. VACANT, WEEDY DRAG RACETRACK - DAY CLOSE ON a souped-up tractor-wheeled monster truck, its ENGINE ROARING before a starting line, itching to cross it. Now take a step back... That souped-up monster truck stands a foot-and-a-half off the ground and sprouts an antenna from its back bumper. It's a remote-controlled toy. The ROARING ENGINE comes from the vehicle next to it: an actual monster truck. Both vehicles peer down the track at a finish line a hundred yards away. This is a race. The drivers stare each other down: TURK (behind the wheel of the truck) and VIRGIL (track-side, remote control in hand) MALLOY. They're nice boys. Really. Peckerwoods, sure, but nice. RUSTY (V.O.) I talked to the Malloys yesterday. DANNY (V.O.) The Mormon twins? RUSTY (V.O.) They're both in Salt Lake City, six months off the job. I got the sense they're having trouble filling the hours. Turk: Waiting sweetheart. Virgil: Good. Go. Turk: I'm waiting. Virgil: Why? Turk: You're a little girl! Virgil: Relax. Turk: I'm going to get out and drop you like third period French. Virgil: Relax. Lights flash red-to-yellow-to-green and while the TRUCK COATS RUBBER on the track, Virgil's toy zips to a lead. It's looking to be an embarrassment for Turk until he jerks his wheel a little and -- ka-thunk -- flattens his brother's vehicle. Virgil pouts as he plucks up the wreckage of his entry. (The dialogue between brothers isn't in the screenplay I found, I just added it.) DIALOGUE ON DIALOGUE: This is classic, two brothers fighting to be King of the Hill, or track. I love the taunting, the name calling, the threats, cheater start and the ultimate "cry Uncle," when Virgil telescopes his antenna down in defeat. PERSONAL TRIVIA: The one and only demolition derby I've ever been to was at the Utah County Raceway featured in this scene.

Ferris Bueller's Day Off (1986) Written by John Hughes. http://movieclips.com/Hqmi-ferris-buellers-day-off-movie-oh-you-know-him/ INT. POLICE STATION. WAITING ROOM Jeanie's sitting on a wooden bench with a WASTED TEENAGE BOY in a Triumph t-shirt, long hair, torn jeans, creepers, studs and chains. He's studying her. BOY: Drugs? JEANIE: No, thank you. I'm straight. BOY: I meant, are you here for drugs? Jeanie stares at him. JEANIE: Why are you here? BOY: Drugs. JEANIE: I don't know why I'm here. BOY: Then why don't you go home? JEANIE: Why don't you put your thumb up your butt? The boy stares at her. BOY: You want to talk about your problem? JEANIE: With you? Are you serious? BOY: Yeah, I'm serious. JEANIE: Blow yourself. Jeanie turns away. The boy crosses his legs. Jeanie looks back at him. JEANIE: You really want to know what's wrong? The boy shrugs. JEANIE: Alright. If you've got the time, I've got the troubles. In a nutshell, I hate my brother. How's that? BOY: That's cool. Did you shoot him or something? JEANIE: No, not yet. The boy nods. He understands the emotion. JEANIE: I went home to confirm that the shithead was ditching school and a guy broke into the house and I called the cops and they picked me up for making a phoney phone call. BOY: What do you care if your brother ditches school? Jeanie stares at the boy. JEANIE: Why should he get to ditch school when everybody else has to go? BOY: You could ditch. JEANIE: I'd get caught. BOY: So, you're pissed at him because he ditches and doesn't get caught? JEANIE: Basically. The boy nods knowingly. BOY: Then your problem is you. JEANIE: Excuse me? BOY: Excuse you. You oughta spend a little more time dealing with yourself and a little less time worrying about what your brother does. It's just an opinion. Jeanie stares angrily at him. Partly because he's so bold and partly because he's so right. BOY: There's somebody you should talk to. Jeanie stares at him threateningly. JEANIE: If you say Ferris Bueller, you lose a testicle. BOY: You know him? CU. JEANIE'S HAND It curls into a fist. Screenwriting takeaway: When you need something explained to your character it's a good idea to bring in a third party; a character who is detached emotionally from the main characters and doesn't have a stake in the situation at hand; someone who can speak freely without fearing any repercussions. In this scene we learn that the rivalry between Jeanie and Ferris stems from jealousy. Jeanie would perhaps like to live her life as carelessly as her brother but knows she wouldn't be able to pull it off. It takes Tiger Blood here acting as a psychologist and mentor to make Jeanie realize her way of thinking is wrong.

Godfather http://movieclips.com/YT3yd-the-godfather-movie-dont-ever-take-sides-against-the-family/ Moe Greene: The Corleone Family wants to buy me out? No, I buy you out, you don't buy me out. Michael: Your casino loses money, maybe we can do better. Moe Greene: You think I'm skimmin off the top, Mike? Michael: [Michael shakes his head] You're unlucky. Moe Greene: You goddamn guineas you really make me laugh. I do you a favor and take Freddie in when you're having a bad time, and now you're gonna try and push me out! Michael: You took Freddie in because the Corleone Family bankrolled your casino, and the Molinari Family on the Coast guaranteed his safety. Now we're talking business, let's talk business. Moe Greene: Yeah, let's talk business, Mike. First of all, you're all done. The Corleone Family don't even have that kind of muscle anymore. The Godfather's sick, right? You're getting chased out of New York by Barzini and the other Families. What do you think is going on here? You think you can come to my hotel and take over? I talked to Barzini - I can make a deal with him, and still keep my hotel! Michael: Is that why you slapped my brother around in public? Fredo: Aw, now that, that was nothin', Mike. Moe didn't mean nothin' by that. Yeah, sure he flies off the handle every once in a while, but me and him, we're good friends, right Moe? Moe Greene: I got a business to run. I gotta kick asses sometimes to make it run right. We had a little argument, Freddy and me, so I had to straighten him out. Michael: You straightened my brother out? Moe Greene: He was banging cocktail waitresses two at a time! Players couldn't get a drink at the table! What's the matter with you? Michael: I leave for New York tomorrow, think about a price. Moe Greene: Sonofabitch! Do you know who I am? I'm Moe Greene! I made my bones when you were going out with cheerleaders! Fredo: Wait a minute, Moe, Moe, I got an idea. Tom, you're the Consiglieri and you can talk to the Don, you can explain... Tom Hagen: Now hold it right there. The Don is semi-retired and Mike is in charge of the Family business now. If you have anything to say, say it to Michael. Fredo: [Moe Greene leaves] Mike! You do not come to Las Vegas and talk to a man like Moe Greene like that! Michael: Fredo, you're my older brother, and I love you. But don't ever take sides with anyone against the Family again. Ever. There is obviously about a zillion things to say about what we can learn from the Godfather. For this particular scene, I love that Michael is simultaneously protective and threatening to his brother. Also, the way that Fredo sees Michael as the "younger brother" even though Michael is clearly more capable and powerful than him. The rivalry between them is clear based on how they perceive and respond to each moment in the scene. The conflict isn't stated or talked out in melodramatic "brother to brother" moments. Instead, the script allows them to merely inhabit truthful roles, with histories of their own, that sets up and builds tension far beyond the explicit language of the scene, giving us great subtext and characterization to digest as the plot moves forward. And of course, it's all just a tragic foreshadowing to this: Michael Corleone: I know it was you, Fredo. You broke my heart. You broke my heart!

http://movieclips.com/GqsX-adaptation-movie-the-deconstructionist/ Donald Kaufman: Anyway, listen, I meant to ask you, I need a cool way to kill people. Don't worry, for my script. Charlie Kaufman: I don't write that kind of stuff. Donald Kaufman: Oh, come on, man, please? You're the genius. Charlie Kaufman: Here you go. The killer's a literature professor. He cuts off little chunks from his victims' bodies until they die. He calls himself "the deconstructionist". Donald Kaufman: That's kinda good. I like that. Charlie Kaufman: See I was kidding, Donald Donald Kaufman: Oh, okay, sorry. You got me. Do you mind if I use it though? I love this sibling rivalry, chiefly because it's really anything but. Donald's reverence for Charlie and ignorance of his own annoying traits combine to simultaneously create and defuse tension. Like technology vs horse.

What Ever Happened to Baby Jane? 1962 Jane (Bette Davis) Blanche (Joan Crawford) http://www.youtube.com/watch?v=UydHXxZ3GlM BLANCHE: Oh, Jane, I'm sorry. I didn't mean to ring for my breakfast. I was just wondering who all those people were at the back door. JANE: Wasn't anything. Just that nosey Mrs. Bates going on about your picture last night. BLANCHE: Oh, really? Did she like it? JANE: "Oh, really? Did she like it?" She liked it. BLANCHE: I remember, when it first came out it had a tremendous reception. The critics described it as brilliant! JANE: Do you remember what year you made that picture? BLANCHE: Well, of course, you must, too. It was right after I did "Moonglow." JANE: I made a picture that year, too! BLANCHE: Oh, yes, it was that comedy directed by Lloyd, wasn't it? JANE: No, it wasn't. It was a love story. "The Longest Night." Marty McDonald said it was the best thing I ever did! They never even released it in the United States! BLANCHE: Feldman was very upset. He told me the company had a very bad year and they couldn't afford... JANE: No, they didn't! They had a great year! They didn't want to show my films. They were too busy giving a "big build-up" to that crap you were turning out. I'll clean the cage. BLANCHE: Oh, that would be Elvira. DIALOGUE ON DIALOGUE: The sister's rivalry and personalities are established pretty early in the script. Jane is aggressive, petty, and crass compared to the calm, refined, silent-suffering of her more elegant sister. This scene leads the audience into despising Jane but then complete sympathy for Blanche and we stay there...until the very end. TRIVIA VIA IMDB: In 1962, this film was a smash hit, grossing nine million dollars initially. In 2009 dollars, this amount would adjust to approximately $64,279,370.86.

From Signs: Merrill: You didn't think we'd make it through the night, did you? Listen. There's things I can take, and a couple things I can't. One of them I can't take is when my older brother, who's everything that I want to be, starts losing faith in things. I saw your eyes last night. I don't wanna ever see your eyes like that again, okay? I'm serious. Graham: Okay. Sorry couldn't find a video for these scene :-( This is one of my favorite movies because it's about brothers, brothers and sisters, there is two cute kids in it and most importantly, it's about the loss and search for God. What I think is amazing about these two brothers is that there is no sibling rivalry. This particular line was surprising for me - fast-living Merill wants to be like Graham? But the more you watch him, the more you see the search for meaning beneath the restless exterior. This is not childish admiration - this is adult admiration. The kind that sees the good with the bad. That saves the object of your admiration when he begins to fall. Great stuff. Should watch that movie again.