Theme: Obsession Regret: https://www.youtube.com/watch?v=-GemR5f5Pgo Min 5:40 Peter: I couldn’t do it. Sullivan: I know. Peter: Pa! Pa! Sullivan: I’m sorry. I’m sorry. I’m sorry. I’m sorry. David Self, the writer, has been building the whole movie towards this specific moment...the scene is already LOADED, so "less is more. That's lean writing...

COBB: But I never knew that the idea would grow in her mind like a cancer. That even after she woke... Even after you came back to reality. You'd continue to believe that your world was not real. That death was the only escape. MAL: You infected my mind. COBB: I was trying to save you. MAL: You betrayed me. But you can make amends. You can still keep your promise. We can still be together... right here. In our world. The world we built together. — Inception (2010), written by Christopher Nolan https://www.youtube.com/watch?v=yzhqNfJnIwo Trivia: The slow, gloomy, blaring trombones in the main theme of the film score are actually based on an extremely slowed down version of the fast, high pitched trumpets in the beginning of the Édith Piaf song "Non, je ne regrette rien," which is used as a plot device in the film. Furthermore, when music is heard by someone who is currently within a dream, the music is perceived as slowed down. Thus, the main theme of the film score is almost exactly what the beginning of "Non, je ne regrette rien" would sound like to a dreamer. This thematic device is brought to its logical conclusion when the song plays at the end of the credits, signaling that the audience is about to 'wake up' from the film. Dialogue On Dialogue: Meaning well is not the same as doing well. Cobb regrets the inceptions of Mal's mind so much, that he goes through this whole adventure, and Nolan makes it the theme for the movie. In the scooting script (I‘ve found here http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Inception.pdf) Cobb adds “I‘m sorry“ to “I was trying to save you“. It was cut out in the movie. Saying "I‘m sorry“ won‘t fix what he regrets.

BARNEY THOMPSON: It must be difficult to let go of something so beautiful. You know, Darryl also drove Miss Vivian home yesterday. - I'll take care of it. EDWARD: Thank you, Mr. Thompson. — Pretty Woman (1990), written by J.F. Lawton https://www.youtube.com/watch?v=l11CHvVDtTI&feature=youtu.be Trivia: The necklace that Vivian wears to the opera really cost $250,000. While filming, a security man from the jewelry store equipped with a gun was constantly standing behind the director. Dialogue On Dialogue: Edward regrets having let Vivian go. But it needs the mentor (Barney has been the mentor for Vivian the whole movie and now becomes it to Edward) to speak out aloud this truth.

Julianne Moore's speech in The Kid's Are Alright is a moving piece of dialogue where Jules expresses regret for having had an affair. It feels real and honest without being melodramatic or on the nose. JULES: I need to say something. Um, it's no big secret your mom and I are in hell right now, and, uh... Bottom line is, marriage is hard. It's really fuckin' hard. Just... just two people slogging through the shit, year after year, getting older, changing. It's a fucking marathon, okay? So, sometimes, you know, you're... you're together so long, that you just... You stop seeing the other person. You just see weird projections of your own junk. Um, instead of talking to each other, you go off the rails and act grubby and make stupid choices, which is what I did, and I feel sick about it because I love you guys, and I love your mom, and that's the truth. Sometimes you hurt the ones you love the most. I don't know why. I... You know, if I read more Russian novels, then... Anyway, I just wanted to say how sorry I am for what I did. I hope you'll forgive me eventually. Thank you. https://www.youtube.com/watch?v=LBwht54TDOI

Ordinary People (1980) Writers: Screenplay by Alvin Sargent and Nancy Dowd, based on the novel by Judith Guest. https://www.youtube.com/watch?v=4EcN-d3pUP0 CONRAD: Something happened. BERGER: What? CONRAD: It's... BERGER: It's what? CONRAD: God. I need something. BERGER: What do you need? Tell me. CONRAD: It just keeps coming. I can't...I can't make it stop. BERGER: Don't try. CONRAD: C'mon. I gotta get...I gotta get off the hook. I gotta get off the hook. BERGER: For what? CONRAD: For what I did. BERGER: What did you do? CONRAD: For what I did to him. BERGER: What did you do? CONRAD: It's something. It's something. Don't you see? It's got to be somebody's fault or there ain't no goddamn point. BERGER: Point? What point? It happened. CONRAD: No. That ain't it. I don't mean---it's...it's...it's...it's...my fault. Bucky, I didn't mean it. Bucky, I didn't mean it. Bucky! BERGER: I know that. It wasn't your fault. CONRAD: But it was. You said 'Get the sail down' and I couldn't. I couldn't. It jammed, and then the hallyerd, the hallyerd jammed and I couldn't...why did the goddamn hallyerd jam? And then you said...you were screwing around until it's too late to do anything, and I'm supposed to take care of it, I'm supposed to take care of it--- BERGER: And that wasn't fair, was it? CONRAD: No! And then you say 'Hang on! Hang on!' And then you let go! Why'd you let go? BERGER: Because I got tired! CONRAD: Yeah? Well screw you, you jerk! BERGER: It hurts to be mad at him, doesn't it? CONRAD: Yeah. He just wasn't careful, he just wasn't careful. He didn't see how a bad thing would happen. BERGER: Bad things happen even when people are careful. CONRAD: Screwing around out there. We shouldn't have. We should have come in when it started to look bad. BERGER: Okay, so you made a mistake. CONRAD: Why did he let go? Why? BERGER: Maybe you were stronger. Did it every occur to you that you might have been stronger? How long you gonna punish yourself? When are you gonna quit? CONRAD: God, I'd like to quit. BERGER: Why don't you? CONRAD: It's not easy. It's not that easy. God, I loved him. BERGER: I know. What happened? You said something happened. What started all this? CONRAD: Karen. She killed herself. I just found out she's dead. BERGER: Jesus. CONRAD: And she was fine. She was okay. BERGER: No, she wasn't. CONRAD: She was. She was. She told me, she said she was--- BERGER: What? CONRAD: She was busy, she was feeling good and she--- BERGER: And what? What? CONRAD: I just wish I'd have known. I could have done something. BERGER: You saw her once, and now you want to take her on, too? CONRAD: No! BERGER: No? CONRAD: No, I just... BERGER: What? CONRAD: That isn't it...I---I feel bad about this. I feel feel really bad about this, and just...just let me feel bad about this! BERGER: Okay. Listen, I feel bad about it, too. CONRAD: Why do things have to happen to people? It isn't fair. BERGER: You're right. It isn't fair. CONRAD: You just do one wrong thing, and... BERGER: Uh huh. And what was the one wrong thing you did? You know. You know. CONRAD: I hung on. Stayed with the boat. BERGER: Exactly. Now, you can live with that, can't you? CONRAD: Yes. BERGER: Feelings are scary, and sometimes they're painful, and if you can't feel pain then you're not gonna feel anything else, either. You know what I'm saying? CONRAD: I think so. BERGER: You're here and you're alive. And don't tell me you don't feel that. CONRAD: I doesn't feel good. BERGER: It is good, believe me. CONRAD: How do you know? BERGER: Because I'm your friend. CONRAD: I don't know what I would've done if you hadn't been here. You...you really my friend? BERGER: I am, count on it. DIALOGUE ON DIALOGUE: Conrad suffers from the regret of survivor's guilt. The death of his brother Buck in a boating accident consumes his entire family. Conrad eventually learns to deal with the loss and his feelings about both Buck and his cold, distant, dysfunctional mother. This scene is where he begins to make the transition. Terrific performances from both Timothy Hutton and Judd Hirsch.