My suggestion from Swimming Pool: SARAH: So what award did that little shit get? JOHN: The Manchester Book Critics. Hardly the Booker Prize, I know, but it's not bad for a first novel. The "little shit," as you call him, has talent. I just hope he sells. SARAH: I trust you taught him your favorite motto. JOHN: And what motto's that? SARAH: You know damn well. You drilled it into me years ago. "Awards are like hemorrhoids. Sooner or later every asshole gets one." JOHN: Did I say that? My God, you're jealous, aren't you? SARAH: You don't look after me anymore. — Swimming Pool (2003), written by François Ozon with the Collaboration of Emmanuèle Bernheim, English Translation Sionanna O‘Neill https://www.youtube.com/watch?v=NlQiybP-2I8 Sorry, I couldn‘t find the scene, this is the link to the trailer The Daily Dialogue theme for the month: Writers and Writing. Trivia: Charlotte Rampling‘s character Sarah is named after her sister, who killed herself at age 23. She told The Guardian, "I thought that after such a very long time of not letting her be with me that I would like to bring her back into my life." Dialogue On Dialogue: Awards are very important in the game. Who becomes famous and who don‘t. And sometimes you don‘t know why somebody gets one. The publisher gave Sarah his motto to keep her small, now she uses it to make some other writer small - and the publisher who sells him. She works with subtext though.

ORANGE COUNTY (2002) written by: Mike White https://www.youtube.com/watch?v=2aHY8yTkWb0 (couldn't find the clip online, but the trailer says some of the following dialogue...) BUD: A writer! What could you write about? You're not oppressed or gay. SHAUN: Not all writers are gay. BUD: Well, they're all poor. SHAUN: That's not true. What about Tom Clancy, Stephen King, Anne Rice? BUD: Three people, in the history of literature! dialogue on dialogue: this movie came out pretty much the same semester I decided to pursue my degree in creative writing and this one scene in particular really hit home as most of my family (while supportive) couldn't understand why...

When Harry Met Sally (1989) written by Nora Ephron. JESS: I think restaurants have become too important. MARIE: Oh, I agree. Restaurants are to people in the 80s what theater was to people in the 60s. I read that in a magazine. JESS: I wrote that. MARIE: Get out of here. JESS: No, I did. I wrote that. MARIE: I've never quoted anything from a magazine in my life. That's amazing, don't you think that's amazing? And you wrote it? JESS: I also wrote pasta was the quiche of the 80s. MARIE: Get over yourself. JESS: I did! MARIE: Where did I read that? JESS: New York Magazine. HARRY: Sally writes for New York Magazine. MARIE: You know, that piece had a real impact on me. I don't know that much about writing, but... JESS: It spoke to you, and that pleases me. MARIE: You really have to admire people who can be that articulate. JESS: Nobody has ever quoted me back to me before. Clip: https://www.youtube.com/watch?v=uvFK0YGEo-k Dialogue on Dialogue: The way to a writer's heart? Compliment their work. :)

Atonement (2007) by Christopher Hampton, based on the novel by Ian McEwan. INTERVIEWER: I’d like to talk now about your new novel, Atonement, which is coming out in a few days to coincide with your birthday. It’s your twenty-first novel... OLDER BRIONY: It’s my last novel. INTERVIEWER: Oh, really? You mean you’re retiring? OLDER BRIONY: No, dying. My doctor tells me I have something called vascular dementia; which is essentially a continuous series of tiny strokes. Your brain gradually closes down. You lose words, you lose your memory: which, for a writer, is pretty much the point. That’s why I could finally write this book; and why, of course, it’s my last novel. Strangely enough, it would be just as accurate to call it my first novel. I wrote several drafts as far back as my time at St. Thomas’s Hospital during the war. I just couldn’t ever find the way to do it. INTERVIEWER: Because the novel is autobiographical, is that right? OLDER BRIONY: Yes, entirely. I haven’t changed any names, including my own. INTERVIEWER: And was that the problem? OLDER BRIONY: No. I had for a very long time decided to tell the absolute truth. Dialogue on Dialogue: I couldn't find a clip, which is unfortunate because this is an incredible movie -- and the start of its incredible, heartbreaking ending. This film is all about writing -- a young girl trying to get attention through her innocent plays, a chance word used in a letter, the contents of that letter misunderstood...which the heroine ultimately tries to atone for through a gift of writing.

HANNAH: I wrote no defense of Eichmann, but I did try to reconcile the shocking mediocrity of the man with his staggering deeds. Trying to understand him is not the same thing as forgiveness. And furthermore, I see it as my responsibility to understand. It is the responsibility of anyone who dares to put pen to paper on this subject. — Hannah Arendt (2012), written by Pam Katz & Margarethe von Trotta https://www.youtube.com/watch?v=wmBSIQ1lkOA (this is the hole speech which she gives at university about her articles; the mentioned part is around 5:20) the transcripted speech is on the distributer‘s webpage http://www.hannaharendt-derfilm.de/HA_Rede_engl_02.pdf The Daily Dialogue theme for the month: Writers and Writing. Trivia: Director Margarethe von Trotta was confronted with the idea for a movie about the German philosopher Hannah Arendt in December 2002. She couldn‘t imagine to portray somebody “thinking“ on big screen while first, but changed her mind a few weeks later while driving on a bus with her US Co-writer Pamela Katz. It took nine years of research, writing and complicate financing until von Trotta could start shooting in October 2011 (as a coproduction between Germany, Luxembourg, France and Israel). Dialogue On Dialogue: Hannah Arendt wrote about crimes against humanity, about how the Holocaust could happen. But her plea for understanding what you talk about fits all art. Von Trotta‘s movie reflects how Arend is hostiles for her writing. At the end of the movie her husband asks her: „Would you have covered the trial if you knew what was expecting you?“ She answers: „Yes.I would have covered it. Maybe to learn who my real friends are.“

HOMELESS POET (in English): I’d like to make a deal with you guys. Instead of just asking for money, I’ll ask you for a word. I will then write a poem in which that word will be used. I’ll write it in English. If you like it, if you feel it adds something to your life in any way, then you can pay me whatever you feel like. CELINE AND JESSE: Okay, it’s a deal. HOMELESS POET: Pick a word. JESSE: Uhh... (to Celine) What word? CELINE: Milk shake. Jesse flashes her a look. JESSE I was going to say “rooster prick.” But perfect, of course, milk shake. The poet walks off a ways and starts writing. (Celine and Jesse goes on talking and arguing, almost 1,5 pages in the screenplay) HOMELESS POET: I have your poem. CELINE: Will you read it to us? HOMELESS POET: Sure. (reads poem) Daydream delusion ?Limousine Eyelash ?Oh, baby with your pretty face ?Drop a tear in my wineglass ?Look at those big eyes ?See what you mean to me ?Sweet cakes and milkshakes?I am a delusion angel ?I am a fantasy parade ?I want you to know what I think ?Don’t want you to guess anymore ?You have no idea where I came from ?We have no idea where we’re going ?Lodged in life?Like two branches in a river?Flowing downstream?Caught in the current?I’ll carry you. You’ll carry me?That’s how it could be?Don’t you know me? ?Don’t you know me by now? They are both silent. CELINE: Wow... They give him some money. JESSE: Thanks, man. Good luck. CELINE: It’s beautiful, no? JESSE: Yeah, that was beautiful. You know, he didn’t just write that poem...I’m not saying he didn’t write that poem. He just didn’t write it tonight. He just plugged in that milk shake. CELINE: What do you mean? JESSE: Nothing. It’s a nice poem. They walk away. — Before Sunrise (1995), written by Richard Linklater & Kim Krizan, poem by David Jewell https://www.youtube.com/watch?v=X4av4NqURHE this link the 2nd part is missing, where Jesse denies, that the poet wrote the poem for them you can find it there, but the poet‘s offer is missing there https://www.youtube.com/watch?v=_rjYR6qSO_A it‘s also possible to pick just the 2nd part of the dialogue The Daily Dialogue theme for the month: Writers and Writing. Trivia: The idea for the movie came from a night Richard Linklater spent walking around Philadelphia with Amy, a woman he met. Contrary to the movie, they stayed in touch for a while, until contact was lost. Linklater never heard from her again, not even when he became a director and “Before Sunrise“ was released. It was not for many years later that he found out that Amy had died in a traffic accident a few years after they had met. Most of the script was re-written by Julie Delpy and Ethan Hawke. Delpy later expressed frustration that they were uncredited for their work. Dialogue On Dialogue: We see a writer at work and the output quite immediately, those beautiful and sad words about love and understanding each other, things which both protagonists are searching for. Jesse tries to impress Celine with intellectual stuff - but this poem truly impresses her. His comment expresses his irony and his jealousy but not just because of the girl. He is struggling for words and for giving his words meaning. If somebody handles words that easily and quickly and adds something to other‘s lives then it seems to be a slap in the face for Jesse and his trying to be an artist. Is it a slap in the face for every artist struggling? I suppose every writer wants to have this moments where we add something to people‘s lives. And some achieve this more easily than others but it‘s great to see that somebody achieve. And when Jesse‘s criticise that the poet has cheated he misunderstands the process of writing: Even if the poet took parts of his work to build up the poem, any artist could just work on the basis of his life and his experience in art.

SOPHIE: Well, anyway, I... Since then, every time I pick up a pen...I'm haunted by those words that he wrote, you know? "She was a brilliant mimic." You know. "She could ape Dorothy Parker or Emily Dickinson but stripped of someone else's literary clothes... she was a vacant, empty imitation of a writer." ALEX: First of all, you can't listen to some jerk. SOPHIE: He's not a jerk. He's a National Book Award winner. ALEX: Well, then, get the best revenge, write a hit song. SOPHIE: Honestly, I don't think a pop song is gonna impress Sloan Cates. ALEX: Oh, no, of course not. Pop is just for morons. Forgot that. — Music and Lyrics (2007), written by Marc Lawrence https://www.youtube.com/watch?v=4kZtDjTf7NA The Daily Dialogue theme for the month: Writers and Writing. Trivia: Hugh Grant had to be convinced to sing himself and initially wanted nothing to do with his singing parts. After practicing and performing in the studio, he then felt so comfortable with it and announced he would perform the big concert scene live. When it was played back he was highly amused and humbled by how terrible it sounded and was then happy to use the pre-recorded sound. Dialogue On Dialogue: The way to writer‘s block? Being accused of plagiarism and imitation. (I loved mkm28‘s comment in a nutshell about the „When Harry met Sally“ dialogue - here http://gointothestory.blcklst.com/2015/11/daily-dialogue-november-18-2015.html - and tried an imitation) And then the dialogue refers the old discussion about art and entertainment.

That’s fun finding more dialogues on the theme. Scott, I hope you don’t feel like getting spam.

ROGER: Have you written more about the man and his wife? HOLMES: All in good time. ROGER: Is it real? HOLMES: Of course. Fiction is worthless! — Mr. Holmes (2015), written by Jeffrey Hatcher, based on the novel „A Slight Trick of Mind“ by Mitch Cullin, Characters by Arthur Conan Doyle Trailer: https://www.youtube.com/watch?v=x8j6mjt6t10 another scene about „write the story down on paper as it was“ https://www.youtube.com/watch?v=aPU0P9mwNXA The Daily Dialogue theme for the month: Writers and Writing. Trivia: Ian McKellen didn't research Sherlock Holmes stories in preparation for his role. Mckellen claimed that he learned his lesson the hard way making the Lord of the Rings films that it was nothing more than a distraction knowing the source material and constantly questioning what changes were made for the script. But he observed that it was easy for him to imagine Sherlock Holmes as a real person since the majority of the film is set during his own lifetime, and he could have met Sherlock as a boy in 1947 just like Roger. Dialogue On Dialogue: There is this prejudice that fiction is “just“ fiction. (When novels came up in the 18th century some people believed it would destroy the youth.) This prejudice against fiction is part of Holmes‘ emotional journey. He has believed in facts and evidence through his more than 90 years long life. He has to learn that dreaming and building fiction leads sometimes to a more truthful life. At the 3rd act he lies to somebody that this person could make his peace with his father who disappeared (in the 2nd act Holmes keeps to the facts). Fiction isn't longer worthless. Sometimes fiction can gives us a deeper truth than facts.

HENSLOWE: Will! Where is my play? Tell me you have it nearly done! Tell me you have it started. WILL: (struggling with his boots) Doubt that the stars are fire, doubt that the sun doth move. HENSLOWE: No, no, we haven't the time. Talk prose. Where is my play? WILL: (tapping his forehead and heading out the door) It is all locked safe in here. HENSLOWE: God be praised! (then doubt) Locked? WILL: As soon as I have found my muse. — Shakespeare in Love (1998), written by Marc Norman and Tom Stoppard https://www.youtube.com/watch?v=BhKoIzp3bpE I couldn‘t find another clip with this scene, there it‘s at 5:00 The Daily Dialogue theme for the month: Writers and Writing. Trivia: Although long portions of Romeo and Juliet are used in this film, along with famous lines from many of Shakespeare's play, William Shakespeare is not credited in the film. Dialogue On Dialogue: As long as it‘s locked in your head it‘s neither a book nor a play anyone could read.