Alejandro at 2014-03-23 14:55:54:

How about a lot of Woody Allen films? One scene I remember is Annie Hall's opening: Annie Hall (1977) http://www.youtube.com/watch?v=rrxlfvI17oY


Alvy Singer:
There's an old joke.  Uh, two elderly 
		women are at a Catskills mountain 
		resort, and one of 'em says: "Boy, the 
		food at this place is really terrible." 
		The other one says, "Yeah, I know, and 
		such ... small portions." Well, that's 
		essentially how I feel about life.  Full 
		of loneliness and misery and suffering 
		and unhappiness, and it's all over much 
		too quickly.  The-the other important 
		joke for me is one that's, uh, usually 
		attributed to Groucho Marx, but I think 
		it appears originally in Freud's wit and 
		its relation to the unconscious.  And it 
		goes like this-I'm paraphrasing: Uh ... 
		"I would never wanna belong to any club 
		that would have someone like me for a 
		member." That's the key joke of my adult 
		life in terms of my relationships with 
		women.  Tsch, you know, lately the 
		strangest things have been going 
		through my mind, 'cause I turned forty, 
		tsch, and I guess I'm going through a 
		life crisis or something, I don't know. 
		I, uh ... and I'm not worried about aging.  
		I'm not one o' those characters, you know. 
		Although I'm balding slightly on top, that's 
		about the worst you can say about me.  I, 
		uh, I think I'm gonna get better as I get 
		older, you know?  I think I'm gonna be the-
		the balding virile type, you know, as 
		opposed to say the, uh, distinguished 
		gray, for instance, you know?  'Less I'm 
		neither o' those two. Unless I'm one o' 
		those guys with saliva dribbling out of 
		his mouth who wanders into a cafeteria 
		with a shopping bag screaming about 
		socialism. 
			(Sighing) 
		Annie and I broke up and I-I still can't 
		get my mind around that.  You know, I-I 
		keep sifting the pieces of the relationship 
		through my mind and-and examining my life 
		and tryin' to figure out where did the 
		screw-up come, you know, and a year ago we 
		were... tsch, in love.  You know, and-and-and 
		... And it's funny, I'm not-I'm not a 
		morose type.  I'm not a depressive character.  
		I-I-I, uh, 
			(Laughing) 
		you know, I was a reasonably happy kid, 
		I guess.  I was brought up in Brooklyn 
		during World War II.

Of course this shifts of tone a little, but it does start with self-deprecation. The film's working title was "Anhedonia" - the inability to feel pleasure. United Artists fought against it (among other things, they were unable to come up with an ad campaign that explained the meaning of the word) and Woody Allen compromised on naming the film after the central character three weeks before the film's premiere. Other titles suggested were "It Had to Be Jew", "A Rollercoaster Named Desire", and "Me and My Goy". I also remember a couple of scenes from Japanese movies like Kurosawa's Ikiru, and also from Bergman's "Winter Light".

Alejandro at 2014-03-23 15:09:24:

And for a completely different self-deprecation tone: Some Like it Hot (1959) Written by: Billy Wilder, I.A.L. Diamond http://www.youtube.com/watch?v=eLW5jzHsW7c


Osgood: l called Mama. She was so happy, she cried. She wants you to have her wedding gown. It's white lace.
Jerry: Osgood, l can't get married in your mother's dress. She and l, we are not built the same way.
Osgood: We can have it altered.
Jerry: Oh no you don't! Osgood, I'm gonna level with you. We can't get married at all.
Osgood: Why not?
Jerry: Well, in the first place, I'm not a natural blonde.
Osgood: Doesn't matter.
Jerry: I smoke! I smoke all the time!
Osgood: I don't care.
Jerry: Well, I have a terrible past. For three years now, I've been living with a saxophone player.
Osgood: I forgive you.
Jerry:  I can never have children!
Osgood: We can adopt some.
Jerry: But you don't understand, Osgood! Ohh...
[Jerry finally gives up and pulls off his wig]
Jerry: [normal voice] I'm a man!
Osgood: [shrugs] Well, nobody's perfect!

Trivia: A preview audience laughed so hard in the scene where Jack Lemmon announces his engagement that a lot of the dialogue was missed. It had to be re-shot with pauses (and the maraca gimmick) added. Trivia: Jack Lemmon wrote that the first sneak preview had a bad reaction with many audience walkouts. Many studio personnel and agents offered advice to Billy Wilder on what scenes to reshoot, add and cut. Lemmon asked Wilder what he was going to do. Wilder responded: "Why, nothing. This is a very funny movie and I believe in it just as it is. Maybe this is the wrong neighborhood in which to have shown it. At any rate, I don't panic over one preview. It's a hell of a movie." Wilder held the next preview in the Westwood section of Los Angeles, and the audience stood up and cheered.

Adam Gottschalk at 2014-03-23 23:41:29:

ON THE WATERFRONT (1954) written by Budd Schulberg Charley Malloy: Look, kid, I - how much you weigh, son? When you weighed one hundred and sixty-eight pounds you were beautiful. You coulda been another Billy Conn, and that skunk we got you for a manager, he brought you along too fast. Terry Malloy: It wasn't him, Charley, it was you. Remember that night in the Garden you came down to my dressing room and you said, "Kid, this ain't your night. We're going for the price on Wilson." You remember that? "This ain't your night"! My night! I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark and what do I get? A one-way ticket to Palooka-ville! You was my brother, Charley, you shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I wouldn't have to take them dives for the short-end money. Charley Malloy: Oh I had some bets down for you. You saw some money. Terry Malloy: You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it. It was you, Charley. https://www.youtube.com/watch?v=uBiewQrpBBA Dialogue on dialogue: Despairing self-deprecation follows a disappointed rebuke, along with shadings of bitterness and anger. A lot of dialogue rides one emotion into the ground - Schulberg concocts something nuanced and human.