Uncle Buck (1989) Written by John Hughes Qs start at 1:36 http://movieclips.com/CAyi-uncle-buck-movie-im-your-uncle-buck/ Miles: Where do you live? Buck: In the city. Miles: You have a house? Buck: Apartment. Miles: Own or rent? Buck: Rent. Miles: What do you do for a living? Buck: Lots of things. Miles: Where's your office? Buck: I don't have one. Miles: How come? Buck: I don't need one. Miles: Where's your wife? Buck: Don't have one. Miles: How come? Buck: It's a long story. Miles: You have kids? Buck: No I don't. Miles: How come? Buck: It's an even longer story. Miles: Are you my Dad's brother? Buck: What's your record for consecutive questions asked? Miles: 38. Buck: I'm your Dad's brother alright. Miles: You have much more hair in your nose than my Dad. Buck: How nice of you to notice. Miles: I'm a kid - that's my job.

Apollo 13 (1995), screenplay by William Broyles Jr. & Al Reinert, based on a book by Jim Lovell & Jeffrey Kluger. http://cli.ps/c9vph INT. LOVELL HOME - JEFFERY'S ROOM - MORNING As JIM LOVELL sits at the kitchen table across from JEFFREY, MARILYN watches and listens from the doorway as JIM tries to explain his upcoming mission and the Apollo-1 fire to JEFFERY. TITLE:MARCH 23, 1970 - 3 WEEKS PRIOR TO LAUNCH JIM LOVELL: ... Something bad might happen. Stars will fall down on you or something. JEFFREY LOVELL: That's silly. Stars can't fall on us. JIM LOVELL: Oh, you are a smarter kid than I was. JEFFREY LOVELL: How long will it take you to get to the Moon? JIM LOVELL: Four days... But that's pretty fast, you see. This is the Saturn IVB booster, and it shoots us away from the Earth - pshhh... It's fast, as a bullet from a gun. Until the Moon's gravity actually grabs us and pulls us into a circle around the Moon, which is called an orbit. All right? Fred and I float down the tunnel into this guy - the lunar module. This is a spidery-looking guy. Only holds two people. And it's just for landing on the Moon. And I take the controls, and I steer it around, and I fly it down, adjusting it here, the attitude there, pitch, roll, for a nice soft landing on the Moon. Better than Neil Armstrong. Way better than Pete Conrad. JEFFREY LOVELL: Dad... Did you know the astronauts in the fire? JIM LOVELL: Yeah, yeah I did. I knew the astronauts in the fire, all of 'em. JEFFREY LOVELL: Could that happen again? JIM LOVELL: Well, I'll tell something about that fire. Um... A lota things went wrong...The door; it's called a hatch. They couldn't get it open when they needed to get out. That was one thing... And a... Well, a lot of things went wrong in that fire. JEFFREY LOVELL: Did they fix it? JIM LOVELL: Oh, yes. Absolutely. We fixed it. It's not a problem anymore. A nice piece of exposition here disguised as an answer to a kid's question with Jim explaining how the mission is supposed to go down. Plus, a nice ending to this short scene foreshadowing the accident with the line “It's not a problem anymore.” and the shot of Marilyn in the doorway looking worried. That shot may have been too much if we didn't already know what was about to happen, but in a movie based on a historical event like this you have to assume that the audience already know the major plot points and you can exploit the characters' reactions in order to bring in some emotion to the scene without the risk of giving away something you shouldn't. We experience this scene through Marilyn's POV – from hearing the conversation from the bedroom, to seeing Jim and Jeffrey through the doorway (notice the framing and placement of the camera at her height), to ending with a shot of her reacting to what we just heard - thus connecting on an emotional level with the events through a character on screen. It brings us into the drama as we feel we're experiencing it first hand.

Knocked Up (2007) Written by Judd Apatow Question Scene Ends at 1:34 http://youtu.be/fsaidN93VnA Clearly the adults have some awkwardness about Ben being at breakfast. The kid's break up the tension, causing Ben to tell them about the baby, annoying Debbie. Debbie and Pete's dialogue illustrate how they try to keep their kid's innocent. A child asking questions is a good device to move an awkward scene along naturally. INT. DEBBIE AND PETE'S HOUSE, KITCHEN Debbie, Pete, Charlotte, Sadie, Alison and Ben eat breakfast together. CHARLOTTE: Who’s he? BEN: I’m Ben Stone. ALISON: He’s my boyfriend. PETE: That’s nice. SADIE: I never met him before. ALISON: He’s a new boyfriend. BEN: But a boyfriend. SADIE: So he came over for breakfast because he’s your new boyfriend? DEBBIE: He came from his house, drove over to our house because he thought it would be fun to have breakfast with us, so he drove his car from his house to our house to have breakfast. PETE: Because he likes breakfast so much. CHARLOTTE: I love breakfast. BEN: You guys wanna hear something neat? We’re gonna have a baby together. SADIE: What? BEN:Yeah, a baby. SADIE: Well, you’re not married. Aren’t you supposed to be married to have a baby? PETE: You don’t have to be. DEBBIE: But they should be because they love each other and people who love each other get married and have babies. SADIE: Where do babies come from? DEBBIE: Where do you think they come from? SADIE: Well, I think a stork, he drops it down, and then, a hole goes in your body and there’s blood everywhere, coming out of your head, and then you push your belly-button, and then your butt falls off and then you hold your butt and you have to dig and you find a little baby. DEBBIE: That’s exactly right.

The Family Man (2000), written by David Diamond & David Weissman. http://cli.ps/crUvd Annie stares at him a beat. Then... ANNIE: You’re not really our dad, are you? Jack turns to her. She’s looking back at him with complete earnestness. They stare at each other another moment. Then... JACK: No, I’m not. A look of curiosity from Annie. JACK (CONT’D): I work on Wall Street, you know with the big buildings...? No response from Annie... JACK (CONT’D): I live in an apartment house with a doorman, I can buy just about anything I want... Annie nods at Jack, still suspicious. JACK (CONT’D): This isn’t my real life. It’s just a glimpse... ANNIE: Where’s my real dad? JACK: I don’t know... A concerned look on Annie’s face, Jack’s petrified that she’s about to cry. JACK (CONT’D): But don’t worry, he loves you and I’m sure he’ll be back very soon... (to himself) ...very, very soon... Annie approaches Jack, climbing up on a little chair and tugging firmly at his hair. ANNIE: They did a pretty good job. JACK: Who did? ANNIE: The aliens...In the mother ship. You look just like him. JACK: Uhh...thanks...slightly better looking though, right? Annie’s now stone faced, trying to decide about Jack. JACK (CONT’D): You’re not going to start crying, are you? Because I’m not really sure I could deal with that right now. She thinks about it for a moment. ANNIE: Do you like kids? JACK: On a case by case basis... ANNIE: You know how to make chocolate milk? JACK: I think I could figure it out. ANNIE: You promise not to kidnap me and my brother and implant stuff in our brains? JACK: Sure. Beat. Then...a smile from Annie. ANNIE: Welcome to earth. - A sweet little scene with a great ending line showing Annie's acceptance of Jack.

"Little Miss Sunshine." After Grandpa's dead body has been rescued from the hospital and unceremoniously dumped in the back of the van, Olive asks her atheist Uncle Frank a question that triggers this exchange: Olive: Do you think there's a Heaven? Frank: Well, it's hard to say, Olive. I don't think anyone knows for sure. Olive: I know, but what do *you* think? Frank: Well... um... uh... Olive: I think there is. Frank: Think I'll get in? Olive: Yeah. Frank: Promise? Olive: Yeah. Just an incredibly poignant scene. Innocence meets experience, and innocence wins out. I love how Uncle Frank, an avowed atheist, doesn't want to tell her what he really thinks because she's just a child, so he gives her a weaselly adult non-answer -- "I don't think anyone knows for sure." But that's not good enough for Olive. She wants to know what Frank thinks. And as he struggles to come up with another safe adult non-answer, she tells him she thinks. Then the scene reverses course, with Frank asking the wise Olive a child-like question: "Think I'll get in?" Great scene from a great movie. Could only find the trailer: http://www.youtube.com/watch?v=VWyH_twcMl0

Here's one of literature's most famous answers to a child's question: Oliver! (1968), screenplay by Vernon Harris, based on the musical by Lionel Bart, and the novel by Charles Dickens. http://www.youtube.com/watch?v=K4iEdMMjqdA Oliver: Please, Sir, I want some more. Bumble: What?! Oliver: Please, Sir... I want some... more? Bumble: More?!!!

This is one of the scenes that sums up my entire feelings about Happiness. There is a horrible greatness to it. You want to laugh at the same time your skin crawls. To experience the scene fully you have to know that Bill likes to have sex with little boys. However, he has never touched his son Billy. http://movieclips.com/8emub-happiness-movie-im-not-normal/ 22. INT. BILL'S BEDROOM - LATER. 22. While TRISH puts CHLOE and TIMMY to bed, BILLY comes and sits beside BILL on his bed. BILLY- Dad? BILL- Yes, Billy? BILLY- What does come mean? BILL- Come? BILLY- You know… BILL- Well, you know how sometimes your penis gets erect…well, sometimes it gets so excited that a sticky milky substance shoots out. BILLY- …Dickwad? BILL- Yes, only come can be used as a verb as well. (a beat) Billy? BILLY- Yeah? BILL- Have you ever come? BILLY- Yeah… BILL- Now Billy, it's alright if you haven't. BILLY- Well, I have… BILL- Billy… BILLY- But everyone else in class had and… I want to come, too! BILLY starts crying. BILL- Awn, now, it's okay, it's okay. Have you tried playing with yourself? BILLY- You mean… BILL- With your penis. BILLY- A little. BILL- How did it feel? BILLY- I dunno. I don't know what to do. BILL- Do you want me to…show you? BILLY- No! No! I'm not normal! BILLY buries his head in BILL'S lap. BILL- Aw, Billy. Don't worry. You're normal. You'll come. One day. You'll see.