Traci Nell Peterson at 2013-10-23 07:53:58:

Flipped--2010 Writers: Rob Reiner, Andrew Scheinman, novel by Wendelin Van Draanen Flipped has 2 meet cutes, well 1 meet cute with 2 different POVs. http://www.youtube.com/watch?v=5aa_kvfMxBs JULI: (VO) The first day I met Bryce Loski, I flipped. It was those eyes. Something in those dazzling eyes. JULI: You wanna push this one together? JULI: (VO) His family had just moved into the neighborhood and I'd gone over to help them. I'd been in the van all of two minutes when his dad sent him off to help his mom. I could see he didn't want to go, so I chased after him to see if we could play a little before he got trapped inside. The next thing I know, he's holding my hand and looking right into my eyes! My heart stopped. Was this it? Would this be my first kiss? But then his mother came out. MOM: Well, hello. I see you've met my son. JULI: (VO) He was so embarrassed, his cheeks turned completely red. I went to bed that night thinking of the kiss that might've been. I mean, it was clear he had feelings for me, but he was just too shy to show them. My mother said boys were like that. http://www.youtube.com/watch?v=5aa_kvfMxBs BRYCE: (VO) I mean nothing would stop her! I was about to tell her to get lost when the weirdest thing happened. I couldn't believe it; there I was holding hands with this strange girl. How'd I get into this mess? MOM: Well, hello. I see you've met my son. BRYCE: (VO) Finally, I did the only manly thing available when your seven years old. TRIVIA: Rob Reiner's first directorial effort to be produced by Castle Rock Entertainment, the company he co-founded, since The Story of Us. DIALOGUE ON DIALOGUE: A great twist on the meet cute--2 polar opposite POVs! This meet cute sets the tone and the audience up for the rest of the "flipping" POVs through the rest of the movie.

Traci Nell Peterson at 2013-10-23 09:52:35:

Quigley Down Under--1990 Writer: John Hill http://movieclips.com/rCjS-quigley-down-under-movie-meeting-crazy-cora/ Cora refuses to get in the wagon, puts up a fight. She's about to get punched in the face when Quigley and his sheathed gun, step in. QUIGLEY: I don't reckon the lady's all that anxious to get in your wagon. CORA: Roy? Oh, Roy, it's you! QUIGLEY: I'm not Roy, lady. CORA: Every time there's a ship from America I come down here looking for you. Thank God you've come for me! I'm sorry, Roy. I'm sorry. I'm sorry for everything. COOGAN: Does Crazy Cora belong to you? QUIGLEY: Didn't say that. I said she don't wanna get in your wagon. COOGAN: The boss says we can take some white tarts back, 'cause we're sick of black ladies. So you just tell Cora to come quiet, and we'll feed her regular and everything. CORA: Please take me home, Roy. COOGAN: Bugger off, mate. QUIGLEY: Excuse me. I'm new here, so I ain't rightly certain. Is everybody in this country as butt ugly as you three? Big fight scene, three on one. CORA: Look out, Roy. Sorry, Roy! QUIGLEY: You stay out of this! CORA: I'm sorry, Roy. QUIGLEY: My name ain't Roy. It's Matthew Quigley. COOGAN: You? You're the fella Marston sent us to bring back. CORA: We sure showed 'em. Didn't we, Roy? TRIVIA: The film was to have been Steve McQueen's follow-up to The Hunter, but he fell ill shortly after filming The Hunter, so the project was scrapped. It was revived several times throughout the 1980s, with various stars in mind for the lead. Harrison Ford was offered the lead role, but turned it down because he considered it too visibly similar to Indiana Jones. The role was offered to Tom Selleck twice, first in 1985, but he had to turn it down because of his commitment to Magnum, P. I. When this series concluded in 1988, he quickly asked if the role was still available and accepted it. The producers spent another year gathering a reasonable budget. DIALOGUE ON DIALOGUE: One of the best Western-esque meet cutes: ruffians, deranged prostitute, manly-gentle Hero, and an old-fashioned fight scene. This meet cute accomplishes A LOT. It sets up the audience's curiosity--"Who the heck is Roy?"--sets up a running gag, a MacGuffin, gives us a very tragic insight into Crazy Cora's backstory, that then bolsters her into lucidness.

Traci Nell Peterson at 2013-10-23 10:30:25:

How to Marry a Millionaire--1953 Writers: Nunnally Johnson (screenplay), Zoe Akins (plays) and Dale Eunson (plays) and Katherine Albert (plays) http://movieclips.com/YacE-how-to-marry-a-millionaire-movie-girls-who-wear-glasses/ Throughout the whole movie Pola refuses to wear her glasses, and ended up on the wrong plane, but sits next to the right guy. POLA: But it's different with girls don't you think? FREDDIE: How is it? POLA: Well, you know what they say about girls who wear glasses. FREDDIE: What are you talking about? POLA: Men aren't attentive to girls who wear glasses. FREDDIE: Did you ever try it? Pola shakes her head. FREDDIE: You brought 'em with you didn't you? POLA: Yes. FREDDIE: Then why don't you put 'em on, find out for yourself. POLA: With you? FREDDIE: Why not? POLA: Well... (she pulls glasses from handbag) FREDDIE: Now look, if you're worried about me, I'll tell you right now before you put 'em on I think you're already quite a strudel. POLA: Honestly? FREDDIE: Absolutely. I've thought so from the first minute I saw you. POLA: Well, if you really think so. (she hesitates) FREDDIE: Go ahead, put 'em on. Pola slips glasses on. FREDDIE: You're crazy. POLA: No? FREDDIE: You look better with 'em on. POLA: I do? FREDDIE: Gives your face a certain... mystery. POLA: No kidding? FREDDIE: And distinction, a certain kind of distinction. POLA: Well whaddya know about that? FREDDIE: You're already a very good looking girl, you know. If you don't mind me saying so-- POLA: No, not at all! FREDDIE: And the glasses, that particular type, gives your face a very interesting... difference. POLA: You don't think they make me look like an old maid? FREDDIE: I've never seen anybody in my whole life that reminded me less of an old maid. POLA: What's your name? TRIVIA: Writer and humorist Dorothy Parker's famous quip that "men seldom make passes at girls who wear glasses" was purposely bobbled by screenwriter (and producer) Nunnally Johnson for Marilyn Monroe's character Pola to assert to David Wayne (as Freddie) that "you know, men are seldom attentive to girls who wear glasses." DIALOGUE ON DIALOGUE: This meet cute works, a self-conscious bombshell wooed by the sincere geek. The dialogue on its own could be corny/insincere, but the deadpan/clinical delivery makes it very sweet and fulfilling.

bolo boffin at 2013-10-24 04:24:08:

Too late for another one - a off-kilter one? The Fisher King: http://www.youtube.com/watch?v=tgyLooq4qpk EXT. EAST RIVER - NIGHT Jack walks up to the river, drunk. A Pinocchio doll is taped to one leg. He drops his whiskey bottle and it smashes, a drop in the ocean of garbage surrounding him. He stares into the water, serene. He leans forward, ready to jump... The headlights of a car illuminate him. It stops and two upper-class deliquents get out. One has a baseball bat and wears a leather jacket. The other has two gallons of gasoline and wears a windbreaker. LEATHER: What's going on? They approach Jack as he tries to stumble away from them. LEATHER (CONT'D): I said what's going on? What are you doing here, man? They have him surrounded now. Leather pounds Jack in the stomach with the bat. LEATHER (CONT'D): Why you hanging around this neighborhood? JACK: I was just leaving. Windbreaker shoves Jack to the ground and Leather holds him there with one foot in a nice expensive casual shoe. LEATHER: People spend a lot of hard-earned money for this neighborhood. It's not fair, looking out their windows for your ass asleep on the street! JACK: Yes, I agree. LEATHER: Good! Very good. (to Windbreaker) Do you believe this drunk? Windbreaker just giggles. LEATHER (CONT'D): Me either, man. Let's do it! Windbreaker tosses Leather one of the gas cans and they begin soaking Jack with the gasoline. He writhes in horror, shrieking. PARRY (O.S.): HOLD, VARLETS! They look. Standing on top of the car is a silhouette of a man, PARRY. He seems noble and fierce. He bears a shield and a weapon and regards the three men with infinite calm. PARRY: Or feel the sting of my shaft! Parry aims, and an arrow with a suction cup tip flies out and hits Windbreaker in the groin. Windbreaker doubles over, trying to pull the arrow loose. PARRY (CONT'D): In the name of Lance De Fleur, unhand that errant knight! He leaps from the car and advances on them. Windbreaker finally works the suction cup loose. PARRY: (CONT'D) You speak English? Let the bum go, dipshit! Jack vomits, but keeps watching the scene before him. Leather starts after the approaching Parry, Windbreaker flanking him. PARRY (CONT'D): Mendacity! Why are two attractive city squires like you abusing a knight like this? Parry can now be seen - his shield is a garbage can lid, his bulk just layers of dirty bum clothing, his bearded face filled with half intelligence, half mania. His knit cap is decorated with spangles and a long feather like a white plume. LEATHER: You a faggot too? PARRY: Faggot? No, but I do believe in fairies. Leather swings the bat, and Parry parries it with the lid. PARRY: Oh, not without dinner! He smooches Leather and hops back. LEATHER: You fucking nuts?! PARRY: VIOLA! Let's show him what's he won! He addresses this to an imaginary audience, and Windbreaker rushes forward, grabs his arms, and spins him around to Leather. PARRY (CONT'D): I have to advise you to let us go. LEATHER: Oh, you advise us, huh? He pushes Parry back, Windbreaker holding him tightly. PARRY: Yes, 'cause you're outnumbered, son. He cackles and swings around Windbreaker. PARRY: (CONT'D) See? From the piles of garbage emerge figures. One hobbles, another younger bum bears a tire iron mocked up like a cross. All have flashlights. Three bums in all amble up with holy purpose. LEATHER: Looks like Night of the Living Dead. He pulls out a switchblade. LEATHER (CONT'D): Come on, go for it. You can't do nothing! PARRY (mocking him): Can't do nothin'! Can't do nothin'! Nothing? Gentlemen! Parry raises his arm like a conductor. Windbreaker grabs Jack who's trying to escape. Parry drops his arm. BUMS (singing): I LIKE NEW YORK IN JUNE... Parry points at Leather. PARRY (singing): HOW ABOUT YOU? A dog sidles up to the bums and begins howling along. It's an improvement to the performance. BUMS (singing): I LIKE A GERSHWIN TUNE, HOW ABOUT YOU? On "YOU", the bums point the flashlights at Leather, Windbreaker, and Jack. They are blinded by the lights. PARRY: Oh, look, it's showtime! Parry begins swinging two tube socks with something heavy in the ends, like a softball. He steps toward the three men in the spotlights. PARRY (CONT'D): You know, boys, there's three things in this world that you need. Respect for all kinds of life, a nice bowel movement on a regular basis, and a navy blazer. OH! And one more thing. Leather can still barely see. Jack is just as afraid of Parry as the other two. PARRY (CONT'D): Never take your eye off the BALL! He releases one of the socks, hitting Leather in the face. Leather falls and Windbreaker scampers away in fear. Now Parry grabs Leather from behind as he moans in pain. PARRY (CONT'D): Of course, the ability to be a shithead can be a fabulous advantage. He begins duct-taping Leather's hands together. Jack is astounded. Windbreaker reaches the car and speeds away. Jack scrambles back from Parry as Parry finishes with Leather. Parry approaches to calm him. PARRY: Hey, hey, HEY! Jack's face comes into the light and Parry stops. A recognition? JACK: Don't hurt me! Parry's face softens with compassion. PARRY: Why? So you can be healthy when you jump? No... LEATHER: You can't leave me out here tied up alone, you fucking faggot! PARRY: You're not going to be alone! He grabs his garbage can lid and a metal hanger, banging the lid. PARRY: COME AND GET IT! JACK: I need a drink. Parry turns back to him. PARRY: Hey, I know a fabulous place with great ambiance. Jack has no response. ------ DIALOGUE ON DIALOGUE: Buddy movies are just a love story without the sex, and the legend of the Fisher King is the ultimate buddy movie. Gilliam's movie plays on many different tropes of this legend and the dialogue here benefits greatly from the improvisational skills of Robin Williams as Parry. The script itself suggest the basic words, though, and all of Williams' improv cuts right back to the central mystery of the show. But left intact is that last line about a fabulous place with great ambiance. It will be a hook to the gathering place of the various bum cliques of the next scene, but it also alludes to the kind of place where Jack's despondent fan returned with a shotgun. Only later will we learn Parry's connection to that bar and why his recognition here is not just of an infamous shock jock but that the man he has saved is the one who wounded him beyond all measure. That's dramatic irony for you.