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    100 years in Hollywood best dialogue and funny character

    The film is not only a visual medium, but it is also verbal, and nowhere is the brilliance of a good script easier to hear than in the mouth of the characters arguing and joking, screaming and barking, probing and pontificating, these are ours elections for the best dialogue of all time. Starting at n. ° 10, we are seeing a dialogue that was brilliant in its specificity and how it evoked a certain place, time, or sense of character when choosing words, rhythm, structure, cadence specifically evocative.

    100 years in Hollywood best dialogue and funny character
    This is the dialogue of 'The Departed'. - Well, lady (Bleep) dah. - 'On the sea trip'. - One way ticket to Palookaville. - And 'Snatch'. - (Inaudible) with horses, you know. - 'My cousin Vinny'. - Two young men. - 'Juno'. - Honest to the blog. - 'True Grit'. - (Inaudible) - And 'The Big Lebowski'. - I'm a friendly man. - However, for our 10th team, we think that it is very difficult to beat 'Hunger'. - I just won't go in. - Great. - Dirty, gross habit. - Yes, horrible. Lovely though. - Yes, praise the Lord. We're not actually Irish, so this might be as accurate as a Lucky Charms commercial, but damn if it doesn't ring a bell. And what's even more important than its accuracy is how you use it.

     How to dress the most urgent conflicts in the most eloquent and specific clothing. There is a certain musicality to the sound. A rhythmic pattern of what amounts to a negotiation for the life of a group of men. It transports you to a place at a time when terrible decisions had to be made and illustrate it with the most beautiful language. (Sound) - Then we consider word games, verbal tricks, language aerobics.

     The famous Who's on First routine is the classic benchmark here. - Well then, who plays first? - yeah - I mean the guy's name at first base. - WHO? - But we also have to show love for 'The Grand Budapest Hotel'. - A second copy of the second will. - Lucky Number Slevin '. - I never thought it was him, I thought it was you. - And our selection number 9, 'Rosencrantz and Guildenstern' are dead. - A man who makes sense to himself is no more important than a man who speaks nonsense, not to himself. - Or he's just mad. - Or he's just mad. - And he does both. - So there you are. - Stark raving mad. - 'Rosencrantz and Guildenstern are dead' is the absurd spin-off of Tom Stoppard from Shakespeare's Hamlet, which follows two of his most interesting minor characters as they face various existential dilemmas, trying to fight their way through an inherently non-sensory world in an extended conversation throughout the film. long. So, the turn of a sentence equals the entire drama. It even physicalizes in a verbal tennis match, as they match wit rather than hitting.

    The pun is the plot. Apparently, they live and die for their language and this puts an urgency behind their conversation that is desperately hilarious and completely gripping. Of course, sometimes, it's not the words. So much is having to relate to the meaning below. We are talking about subtext. The dialogue takes the scenic route, who zigzags when the intention is triggered, who works to hide or contain or contrast the underlying truth. It has become wonderful in everything 'Double Compensation'. - I wonder if you wonder. - 'The Third Man' - You should leave this alone. - And famous in 'The Godfather'. - I'm going to make you an offer you can't refuse. - But come on, people, we would have to be joking not to follow the path of Tarantino. And while he's written Cirque du Soleil level contortion from Reservoir Dogs. - I bet you're a big Lee Marvin fan, right? - To 'Hateful Eight'. - Did you know him? Yes. (Laughs) Yes, I knew him. - There is nothing that has had the subtextual impact like 'Pulp Fiction'. - It seems that I and Vincent caught you at breakfast. I'm sorry about that. - What's wrong? - Burgers - Burgers The cornerstone of any nutritious breakfast. - What kind of burgers? Cheeseburgers - No no-no-no. Where did you get them? - Tarantino is the teacher of the subtext and is our favorite type.

     He's not just writing subtext in that horrible literary way where both people are talking in a mutually veiled metaphor that is basically just code. No, in Pulp Fiction, they talk about hamburgers. They talk about coffee. They talk about tomatoes, and bellies, and oral sex, and the Bible. They talk about everything that has nothing to do with what is really happening. Because what they're really doing is threatening and apologizing, flirting, falling in love, training, and opening up. And the results speak for themselves. Next, we are looking at the best verbal conflict of all time. Dialogue that.

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