Support Your Local Sheriff (1969) Writers: https://www.youtube.com/watch?v=uW3vklH3oYM PA DANBY: (Putting gun in the sheriff's face) I believe you've got one of my children in your jail, here. MCCULLOUGH: (Stuffs his finger in the barrel of the revolver) How dare you walk into my office and pull a gun on me. PA DANBY: Get your finger out of the end of my gun. MCCULLOUGH: How dare you pull a gun on me. PA DANBY: I said take your finger out of the end of my gun. MCCULLOUGH: Well, until I do you better take your finger off the trigger and let the hammer down real slow. Pa Danby does so and McCullough snatches the pistol away from him, empties the cylinder and gives the gun back. PA DANBY: If that gun had gone off it'd have blown right up in my face. MCCULLOUGH: Well, now, it wouldn't have done my finger a hell of a lot of good, either, would it? What can I do for you, Mister Danby? PA DANBY: My son, Joe. MCCULLOUGH: Well, it seems Joe murdered a man this afternoon. PA DANBY: The way I hear'd it he killed a man in a fair gun fight. MCCULLOUGH: Was standin' right there. PA DANBY: You was standin' right where? MCCULLOUGH: In the saloon when Joe killed him. PA DANBY: Well, now, that was real smart of him, warn't it? MCCULLOUGH: I've been around Joe all afternoon and I haven't seen him do one smart thing, yet. Anything else? PA DANBY: Can I see him? MCCULLOUGH: Why didn't you take that approach when you first came it? He's right in there. PA DANBY: I'm obliged to you. DIALOGUE ON DIALOGUE: A delightful send-up of the western genre. In this scene McCullough (James Garner) faces down the threat that everybody in town fears. Putting one's finger in the barrel of a gun is the stuff of cartoons, but it works here as a way to disarm (physically and psychologically) Pa Danby (Walter Brennan) and it shows us once more just what a larger-than-life character McCullough. Although staged as a western, McCullough as sheriff never once has a gunfight. He survives by his wits alone, most of the time simply psyching-out his opponents.

Bolt (2008) Writers: Screenplay: Dan Fogelman, Chris Williams Additional Material Byron Howard, Jared Stern https://www.youtube.com/watch?v=iWNAwgiJ5tM MITTENS: There's your antidote: food. Go on, use the Dog Face. This is gonna be beautiful. You know, beg. Do the Dog Face! BOLT: What? The Dog Face? What does that mean? MITTENS: Figures I'm tied to the one dog on earth who doesn't know how to beg. Huh. Okay, if you want foo---uh, uh, the 'antidote,' you're gonna have to do exactly what I say. BOLT: No, not likely. You're a degenerate creature of darkness. MITTENS: Yeah, yeah, granted. With that said, all I'm asking you to do is tilt your head a little. You can do that, can't you? C'mon. More...more. BOLT: This is stupid. MITTENS: No, no, no, c'mon, work with me on this, please, you're almost there. BOLT: Oh, boy. MITTENS: Okay, try it the other way. There you go. Tilt up. Umm, down. Now a little smile. Uh, lose the smile. Drop your left ear...your other left. Okay, the other way was better. Now drop them both. Hold it right there, and ever so slightly, look up. Soup is on, baby! DIALOGUE ON DIALOGUE: The first requirement for survival: food. Bolt, an animal film star who was raised on movie sets has no understanding of the real world, is forced to rely on Mittens, a streetwise cat. This scene is the first of many that will eventually transform both characters. Bolt will slowly lose his illusions of self-importance and both he and Mittens will come to trust and rely on each other. But it all begins with Mittens teaching Bolt how to beg for food. Of interest is the speech patterns for these two characters. Bolt is the "hero," and the way he talks sounds heroic: reserved, overstated ("You're a degenerate creature of darkness"). Mittens, by contrast, is much more casual and even uses cultural metaphors ("Soup is on, baby!").

The Dirty Dozen (1967) Writers: Nunnally Johnson and Lukas Heller (screenplay); E.M. Nathanson (novel) https://www.youtube.com/watch?v=8Oc4ninxeUk REISMAN: Tomorrow night is going to be the real thing, and if you want to know how real, I'll tell you. It's my guess that a lot of you guys won't be coming back. But, there's no sense in squawkin' about that, right? Because the Army never did love you, anyway. Besides, you all volunteered, right? Well that's more than I did. Sergeant Bowren---look, I know we've been over this a thousand times but there's a lot of things that can go wrong. We've got to be prepared to improvise. So, let's see what happens if everything goes right. (Bowren removes the cover from the model.) Ready? Alright. One. GROUP: (Half-heartedly) Down to the road block, we've just begun. REISMAN: One! GROUP: (In unison) Down to the road block, we've just begun. REISMAN: Two. GROUP: The guards are through. REISMAN: Three. GROUP: The Major's men are on a spree. REISMAN: Four. GROUP: Major and Wladislaw go through the door. REISMAN: Five. GROUP: Pinkley stays out in the drive. REISMAN: Six. GROUP: The Major gives the rope a fix. REISMAN: Seven. GROUP: Wladislaw throws the hook to heaven. REISMAN: Eight. GROUP: Mayonnaise has got a date. REISMAN: Nine. GROUP: The other guys go up the line. REISMAN: Ten. GROUP: Sawyer and Gilpin are in the pen. REISMAN: Eleven. GROUP: Posey guards points five and seven. REISMAN: Twelve. GROUP: Wladislaw and the Major go down to delve. REISMAN: And where's Donald Duck? POSEY: Donald Duck's down at the crossroads with a machine gun. REISMAN: He better not be asleep or we'll all be in trouble, huh? REISMAN: Thirteen. GROUP: Franko goes up without being seen. REISMAN: Fourteen. GROUP: Zero-hour. REISMAN: And? GROUP: Mayonnaise cuts the cable, Franko cuts the phone. REISMAN: Fifteen. GROUP: Franko goes in where the others have been. REISMAN: Sixteen. GROUP: We all come out like it's Halloween. REISMAN: And kill every officer in sight. FRANKO: Ours or theirs? REISMAN: Well, let's start off with theirs, huh? DIALOGUE ON DIALOGUE: Survival means everyone knowing their part of the plan and performing flawlessly. The crew has been training for a long time, yet even on the night before the gig, the Major drills his men again. This scene shows that Reisman intends that every one of his men survive, even though he knows that's not likely. He won't let them go in unprepared. What I like about this film is that a large portion is devoted to the men's training and how they evolve from individuals to a group. In many films plans are made, then carried out without showing all the stress and effort to prepare. By contrast, The Dirty Dozen spends most of its time showing how the group prepares, and how that affects each of the team members.

The Hunger Games (2012) Writers: Gary Ross Suzanne Collins Billy Ray https://www.youtube.com/watch?v=KAal6-tvckw GALE HAWTHORNE: Listen to me. KATNISS EVERDEEN: Yeah. GALE HAWTHORNE: You're stronger than they are. You are. Get to a bow. KATNISS EVERDEEN: They may not have one... GALE HAWTHORNE: They will if you show 'em how good you are. They just want a good show. That's all they want. If they don't have a bow, then you make one, okay? You know how to hunt. KATNISS EVERDEEN: Animals. GALE HAWTHORNE: It's no different, Katniss. DIALOGUE ON DIALOGUE: In this scene, the protagonist, Katniss, has just volunteered to take the place of her little sister in the fight-to-the-death Hunger Games tournament. Her friend, Gale says goodbye, offering her advice on how to survive the games. This scene introduces two key themes. The Capitol just wants a good show. The suffering and deaths of children is all for their entertainment. Katniss will go on to use this against them later, learning to give them the show they want to see. There is also the theme of killing to survive. Katniss has always been a survivor, hunting illegally to feed her family. Gale says that killing humans to survive is no different, but it is, and it has a profound, lasting effect on her, eventually leading her to become the symbol of a revolution.

Will, thanks for all these. Your dedication is much appreciated!

Good one, Katie, and thanks!

Movie - Apollo 13 Screenplay by William Broyles Jr. and Al Reinert, Based on the book by Jim Lovell and Jeffrey Kluger Youtube - https://youtu.be/-1BPx5Wsm7k INCO : One minute and thirty seconds to end of blackout. Walter Cronkite (V.O.): No reentering ship has ever taken longer than three minutes to emerge from blackout. This is the critical moment. Will the heat shield hold? Will the command module survive the intense heat of reentry? If it doesn’t, there’ll only be silence. Jay Lovell: Mommy, you’re squishing me. Marilyn Lovell: I’m sorry sweetie. It’s okay. INCO : Okay Flight, that’s three minutes. We are standing by for acquisition. Gene Kranz: Copy that. Ken Mattingly: Odyssey, Houston. Do you read me? Odyssey, this is Houston. Do you read? Walter Cronkite (V.O.): The expected time of reacquisition, the time when the astronauts were expected to come out of the blackout, has come and gone. About all any of us can do now is just listen and hope. We’re about to learn whether or not the heat shield, which was damaged by the explosion three days ago, has withstood the inferno of reentry. Ken Mattingly: Odyssey, this is Houston. Do you read me? Odyssey, Houston. Do you read? INCO : Three minutes thirty seconds. Standing by. Ken Mattingly: Odyssey, Houston. Do you read? Odyssey, this is Houston. Do you read me? INCO : That’s four minutes. Standing by. Ken Mattingly: Odyssey, uh Houston. Do you read? Jim Lovell: Hello, Houston. This is Odyssey. It's good to see you again. [Cheering] Comment - The entire movie is about survival and even though you know the outcome you struggle through the last few tense moments with the characters and cheer with them when you see the chutes open. Fantastic movie.

THE EDGE (1997) written by: David Mamet https://www.youtube.com/watch?v=9ALOI63X_CE https://www.youtube.com/watch?v=VPcPl_Iihy8 CHARLES: You want to die out here, huh? Well, then die. But I tell you what... I'm not gonna die. No, sirree. I'm not gonna die. No, I'm gonna kill the bear. Say, "I'm gonna kill the bear." Say it. "I'm gonna kill the bear. I'm gonna kill the bear!" Say it! ROBERT: I'm gonna kill the bear. CHALRES: Say it again! ROBERT: I'm gonna kill the bear. CHARLES: And again! ROBERT: I'm gonna kill the bear! CHARLES: Good. What one man can do, another can do. ROBERT: What one man can do, another can do. CHARLES: Say it again! ROBERT: What one man can do, another can do! CHARLES: And again! ROBERT: What one man can do... another can do! CHARLES: Yeah! You're goddamn right. 'Cause today... I'm gonna kill the motherfucker. Comment: holy shit, I saw this in theaters and was convinced I could've killed the motherfucker. (as a side note, the entire theater cheered when he said that last line - just one of those cool movie-going experiences you can't replicate elsewhere)

Also, possible upcoming theme: Giving DIRECTIONS.

Great theme, David. I'll add that to the current list. Thanks!

Minority Report (2002) Writers: Philip K. Dick (short story) Scott Frank (screenplay) and Jon Cohen (screenplay) Video: https://www.youtube.com/watch?v=0XEgAkvcVAk Dialog: Anderton sits there thinking about what she's suggesting. She gets up, moves to one of her plants, starts feeding it with a sprayer. She reaches out and takes a long vine in her hand and strokes it... IRIS: It's funny how all living organisms are alike. When the chips are down... (she grips the vine) When the pressure is on... (squeezes it tighter) ... every creature on the face of the earth is interested in one thing and one thing only: The vine suddenly whips out of her hand. IRIS: It's own survival. Dialog on dialog: There is some kind of universal known truth to this scene about the nature of cornering an organism with it's own death. It will inevitably fight to the death since death is its only other alternative. That is the height of drama.