I don't have a daily dialogue, but I can totally name that movie! Barton Fink, we watched it last year!

Barton Fink. If he had only broken his story in prep...

Movie – Finding Forrester (2000) Written by Mike Rich Youtube - https://youtu.be/zLBEFvMkQCo Jamal: Why are your socks inside out? Forrester: Because socks are badly designed, the seams are on the inside, hurt the toes. In some cultures it’s considered good luck to being wearing something inside out. Jamal: You believe that? Forrester: No, but it’s like praying, what do you risk? And I do go outside, how do you think those windows get cleaned? Now, about this Professor of yours, how did it feel having him tell you what you can’t do? Jamal: Like he knew he was better than me. Forrester: Huh, well then let’s show him what you can do. Why is it that the words we write for ourselves are always so much better than the words we write for others? Move. Sit. Go ahead… Jamal: Go ahead and what? Forrester: Write. Jamal: What are you doing? Forrester: I’m writing…like you’ll be once you start punching those keys. Is there a problem? Jamal: No, I’m just thinking. Forrester: No, no thinking - that comes later. You write your first draft with your heart and you rewrite with your head. The first key to writing is... to write, not to think! Jamal: Jesus. Comment: Advice that I have to constantly remind myself to take. Rich won a Nicoll Fellowship with this script. Gives us all hope.

Sunset Boulevard (1950) by Billy Wilder, Charles Brackett and D.M. Marshman Jr. TCM: http://www.tcm.com/mediaroom/video/376364/Sunset-Blvd-Movie-Clip-Can-You-See-Ty-Power-As-A-Shortstop-.html SHELDRAKE'S OFFICE It is in the style of a Paramount executive's office -- mahogany, leather, and a little chintz. On the walls are some large framed photographs of Paramount stars, with dedications to Mr. Sheldrake. Also a couple of framed critics' awards certificates, and an Oscar on a bookshelf. A shooting schedule chart is thumb-tacked into a large bulletin board. There are piles or scripts, a few pipes and, somewhere in the background, some set models. Start on Sheldrake. He is about 45. Behind his wor- ried face there hides a coated tongue. He is en- gaged in changing the stained rilter cigarette in his Zeus holder. SHELDRAKE All right, Gillis. You've got five minutes. What's your story about? GILLIS It's about a ball player, a rookie shortstop that's batting 347. The poor kid was once mixed up in a hold- up. But he's trying to go straight -- except there's a bunch of gamblers who won't let him. SHELDRAKE So they tell the kid to throw the World Series, or else, huh? GILLIS More or less. Only for the end I've got a gimmick that's real good. A secretary enters, carrying a glass or milk. She opens a drawer and takes out a bottle of pills for Sheldrake. SHELDRAKE Got a title? GILLIS Bases Loaded. There's a 4O-page outline. SHELDRAKE (To the secretary) Get the Readers' Department and see what they have on Bases Loaded. The secretary exits. Sheldrake takes a pill and washes it down with some milk. GILLIS They're pretty hot about it over at Twentieth, but I think Zanuck's all wet. Can you see Ty Power as a GILLIS (cont'd) shortstop? You've got the best man for it right here on this lot. Alan Ladd. Good change of pace for Alan Ladd. There's another thing: it's pretty simple to shoot. Lot of outdoor stuff. Bet you could make the whole thing for under a million. And there's a great little part for Bill Demarest. One of the trainers, an oldtime player who got beaned and goes out of his head sometimes. The door opens and Betty Schaefer enters -- a clean- cut, nice looking girl of 21, with a bright, alert manner. Dressed in tweed skirt, Brooks sweater and pearls, and carrying a folder of papers. She puts them on Sheldrake's desk, not noticing Gillis, who stands near the door. BETTY Hello, Mr. Sheldrake. On that Bases Loaded. I covered it with a 2-page synopsis. (She holds it out) But I wouldn't bother. SHELDRAKE What's wrong with it? BETTY It's from hunger. SHELDRAKE Nothing for Ladd? BETTY Just a rehash of something that wasn't very good to begin with. SHELDRAKE I'm sure you'll be glad to meet Mr. Gillis. He wrote it. Betty turns towards Gillis, embarrassed. SHELDRAKE This is Miss Kramer. BETTY Schaefer. Betty Schaefer. And right now I wish I could crawl into a hole and pull it in after me. GILLIS If I could be of any help... BETTY I'm sorry, Mr. Gillis, but I just don't think it's any good. I found it flat and banal. GILLIS Exactly what kind of material do you recommend? James Joyce? Dostoosvsky? SHELDRAKE Name dropper. BETTY I just think pictures should say a little something. GILLIS Oh, you're one of the message kids. Just a story won't do. You'd have turned down Gone With the Wind. SHELDRAKE No, that was me. I said, Who wants to see a Civil War picture? BETTY Perhaps the reason I hated Bases Loaded is that I knew your name. I'd always heard you had some talent. GILLIS That was last year. This year I'm trying to earn a living. BETTY So you take Plot 27-A, make it glossy, make it slick -- SHELDRAKE Carefull Those are dirty words! You sound like a bunch of New York critics. Thank you, Miss Schaefer. BETTY Goodbye, Mr. Gillis. GILLIS Goodbye. Next time I'll write The Naked and the Dead. Betty leaves. Dialogue on dialogue: Why do we write? For art? For money? Are the movies entertainment or should they "say" something? All I know is most of us would love to set foot in a producer's office.