Nobody Knows Anything

Welcome to Diane Patterson's eclectic blog about what strikes her fancy

Whatever happened to quotable movies?

Posted on June 14, 2012 Written by Diane

The other day we sat down to watch Groundhog Day with the kids. Fancy that, a movie we can all watch together that doesn’t have me rolling my eyes or the kids hiding their faces in embarrassment. I forgot how many awesome quotes there are from this movie. I mean, I still say, “Don’t drive angry!” all the time.

Dialogue is one of the last layers of a script. You have to start with the story (why are you telling this?), then develop a rock-solid spine (how are you going to tell this story?), and develop the characters who are going to act this story out (you want to attract the best actors you can!). Then, and only then, do you start working on dialogue. When you’re trying to figure out the best way to have the characters talk to one another about this story. Everyone wants to start with dialogue, because it’s easy and we can write pages and pages of it. But dialogue’s the easiest part, because writers tend to be, uh, good with words. So you have to do the harder part first.

What I’m finding in most of the recent movies I’ve seen is that not only are they not doing the harder parts of “story” and “theme” and “spine,” but there’s absolutely no dialogue worth talking about. 

Have there been any great quotable movies recently? I tried to think if there were any fabulous quotes from a movie I’d seen relatively recently and I came up with “The first rule of Zombieland: Cardio.” And maybe “If you guys were the inventors of Facebook, you’d have invented Facebook.” But maybe that’s just because Zombieland got me thinking about Jesse Eisenberg. 

Oh, of course: “A million dollars isn’t cool. You know what’s cool? A billion dollars.” 

(Aaron Sorkin knows how to turn a snappy phrase. I betcha he doesn’t start with the snappiness, though.) 

I guess Joss Whedon does too: “Puny god.” Or, “He’s adopted.” “Let’s get a shawarma when this is all over with.” But I can’t see a lot of application for those in people in everyday speech.

Movies used to be very quotable. People still say, “You’re going to need a bigger boat,” all the time, and that movie came out almost forty years ago. I can’t think of any quotes from the original Alien but I can quote the hell out of Aliens. If you’ve spent any time at a computer company you can recite the entire Monty Python oeuvre without ever needing to see one of their shows or movies. Star Wars. The Empire Strikes Back. 

I thought about some of the possible reasons for this. 

  • Scripts by committee. It is true, scripts are massaged by tons of writers — you have the original author, then you have the guys brought in to “punch it up,” then every star has their personal writer “do a pass.” But I’m not on the “writers are just typing monkeys” bandwagon (Jesus, I hope I’m not). I guess writers might get rid of other writers’ hilarious lines in order to make sure the hilarious writers don’t get any credit when it comes time to handing out credit.
     
    (And as a mom who had to watch Toy Story and Toy Story 2 about a zillion times, I can tell you that those scripts had a lot of writers and were still quotable. So committees are not a sure way of creating dross.)
     
  • Action movies. Overseas is a huge part of the movie business now, and the less trouble studios have to go through in order to translate dialogue for a foreign audience, the better. Comedies are extremely hard to translate overseas — so what’s their excuse? 
     
  • Movies are so disposable now — putting them in the theaters is more of a promotional exercise than an income-generating one. That there’s no point in giving them any personality.
      
  • The dispersion of popular culture. There used to be three TV channels, and maybe you had one or two movie theaters nearby. Now there are probably ten multiplexes within fifteen miles of your house, and even though the same movie is showing on a huge percentage of the screens (see: “movies are disposable”), there are still a ton more movies being released every year. And the number of TV channels! And other ways to get stuff! We’re not all watching the same things any more. So even if you quote something, I might not recognize it.
     
  • Writer-auteurs work in television, not movies. (Eg. Sorkin, Whedon.) Directors are king in movies, and most of them have no clue what a halfway decent script is, let alone good dialogue.  

I don’t know. Maybe I’m wrong and kids do go around quoting movies as much as we did. Or quoting TV shows. Or whatever. But I haven’t heard of any particularly quotable video games (although every time I’ve heard dialogue from Deathspank I’ve cracked up). 

If there is fabulous dialogue in recent movies, could you point me toward it? I don’t want to be all “movies were better in my day” but I’m really coming to the conclusion (especially after the horrible Prometheus) that they really, really were. 

Filed Under: Movies, Writing

Prometheus: the review

Posted on June 13, 2012 Written by Diane

Yeah. Spoilers. If spoilers keep you from seeing a movie, keep reading.

I still remember the review I read of Alien from 1979 — Richard Schickel in Time? That part I don’t remember — wondering if the movie was supposed to be a thinly veiled satire of corporate life, because the ship’s crew members were so interchangeable and personality-free and we just didn’t care when the Alien ate them. 

I wonder what the same reviewer would make of Alien in comparison to Prometheus, because the former is a finely-crafted character study in comparison to the latter. It’s a finely-crafted everything in comparison to the latter. 

Prometheus is a bad film. Not everyone in my household believes this, but Darin is just wrong this time. Ridley Scott clearly had a huge budget and he forgot to spend any on writers — of course, as Darin says, “Did you miss the part where it said ‘A Ridley Scott Film’?” Okay, he makes a fair point. Characters are not Scott’s forté. 

Going by this movie, the only thing that is Scott’s forté is lens flare.

From beginning to end, this movie makes not a goddamn bit of sense, either on a macro story level, or an a micro individual-scene level. The characters are crap (what there is comes solely from the actors and not a bit from the dialogue or what the characters actually do). The tension varies between boring and someone’s-going-to-die, only I don’t care that they’re going to die because everyone’s acted like an idiot up until this point.

Case in point: We have an extended sequence in which two horrible things are going on: the leader of the scientific expedition has been impregnated with an alien and has to do a grisly self-surgery on herself to get it out, and a former crew member, reanimated by Something Awful, has come to the ship and starts killing people. On a ship of 17 inhabitants, 3 or 4 get dispatched during this scene. I’m going to assume that for a deep space expedition, millions of light years from home, that every person you bring with has a goddamn purpose. You’ve just lost 3 or 4 of them. 

The surgery is dealt with. The zombie has been dealt with. What’s the next thing the people on the ship do?

  1. Get the hell out of Dodge and warn the people of Earth never, ever, ever to go anywhere near this verkakete planet again, or
  2. Suit up and take everyone, including the ship’s captain, to the place where the zombie came from. 
That’s how unbelievably stupid this movie is.

On the macro level, though, the movie is even more offensive. There’s a whole theme strand about religion: the leader of the scientific expedition wears a cross, which is the lazy filmmaker’s way of indicating she’s wants to find God. Primitive peoples all over the world have led her to this place — a plot thread that, given what they tell us about the aliens from this world, makes no damn sense whatsoever either — where she’s going to find the Engineers (an unbelievably pretentious title) who made us. Except the film has nothing to say on any of these elements. They’re just thrown out there, as though mentioning them is an adequate substitution for taking a stand on them. 

I loved this quote from Ben Owen at Parabasis blog in his fabulously titled “Gay British Androids Monitor Your Dreams: Some Thoughts on Prometheus”:

Having your characters talk constantly about whether they have faith or not doesn’t mean your film has anything interesting to say about theology.

(Actually, his entire entry about the film is marvelous and correct and I won’t hold it against you if you go read him instead.)

I’m glad Prometheus is finally in theaters so I don’t have to suffer through its migraine-inducing flashy-flashy trailer again. But this movie is a stinkin’ pile o’ poo.

By the way, in our theater, after the final scene (in which the familiar HR Giger alien makes its first appearance), people laughed. If that’s happening a lot…oops. Bad call, Ridley.

Filed Under: Movies

Bernie: the review

Posted on May 30, 2012 Written by Diane

Bernie Tiede (Jack Black) is a sweet, mild-mannered funeral home director in Carthage, Texas. He is universally beloved by everyone who knows him, and he goes out of his way to help everyone he can, particularly in their moment of grieving and pain. He leads choirs, he volunteers for every possible charity, and he may be a closeted homosexual — if he does date, no one knows about it.

Marjorie Nugent (Shirley Maclaine) is as universally despised as Bernie is loved. She is a cranky old woman, mean to everyone, and miserly with the money with her late husband left her. She never has a nice thing to say to anyone, and she has no family who want to talk to her except via lawyers as they sue her to get at their inheritance.

Bernie, by Richard Linklater, is the true story of how Bernie and Marjorie meet and become friends, and how Bernie ends up murdering Marjorie and hiding her body. The absolute best thing about this movie is that all of the interviews with the townspeople of Carthage apparently are real, actual interviews — those are the real townspeople giving their memories of Bernie and Marjorie. A couple of these people end up filming scenes with the actors and they are all very good. I would, in fact, credit the director with an amazing touch here: these people are by far and away the best part of this movie. 

Darin and I split on how we felt about this movie, which we both had reservations about. Darin said he had no idea who he’d recommend this movie to or why (except for the interviews), because it’s so weird: how are we supposed to feel about this guy who murdered someone and then hid her body? 

My problem was that I couldn’t get past Jack Black in the title role. 

The movie opens with one interview after another about how wonderful and sweet and kind and caring Bernie was. When Jack Black shows up, my initial reaction was, “But you know he’s playing y’all, right?” Black actually does a very good job as Bernie — he doesn’t mug at all, he sings very earnestly and sweetly, and he plays Bernie as very soft and caring. I just didn’t believe him in the role of a selfless, supportive, wimpy guy. I kept expecting him to break character or do a double-take or whatever. So the spell never worked on me and I couldn’t quite understand this character.

But the townspeople are great. If you have any interest in seeing Bernie, I recommend it for them. 

Filed Under: Movies

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