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    100yrs in hollywood funny characters

    Cinema is not just a visual medium it's also verbal and nowhere is the brilliance of a good script easier to hear than in the mouth of the characters arguing and joking, yelling and barking, probing, and pontificating these are our choices for The best dialogue of all time. (Music) Starting at # 10,

    funny character in cinemas
     we are looking in the dialogue that was brilliant in his specificity and how it evokes a certain place or time or sense of character by choosing words, rhythm, structure, specifically evocative cadence. 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 selection number 10, we believe 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 are not actually Irish this could be as accurate as a commercial for Lucky Charms, but damn if it doesn't sound good to us. And what is more important even than its precision is how you use it. How do you dress most urgently? conflicts in the most eloquent and clothing specific. There is a certain musicality to the sound of it.

    A rhythmic tapping of what amounts to A negotiation for the life of a group of men. It transports you to a place in a while where terrible decisions had to be made and illustrate it with The most beautiful language. (Sound) - Then we are considering puns, verbal tricks, language aerobics.

     The famous Who's on First routine it's the classic landmark here. - Well then, who plays first? - yeah - I mean the guy's name at first base. - WHO? - But we also have to show a little love for 'The great hotel in Budapest'. - 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 speaking sense for himself it doesn't matter that a man talking 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 Tom Stoppard's absurd spin-off from Shakespeare's Hamlet after two of his more interesting minor characters since a deal with various existential dilemmas, trying to figure out his way an inherently non-sensory world in one conversation extended throughout the long movie.

     So the turn of a sentence is equivalent to the entire drama. It even verbalizes physically tennis match as they match ingenuity instead of swings. The pun is the plot. Apparently, they live and die for their language and put urgency behind their conversation which is both desperately hilarious and completely exciting. Of course, sometimes, it's not the words. So much is relating to the meaning below. We are talking about subtext.

     The dialogue taking the scenic route, that zigs when the intention zags, it works to hide or contain or Contrast the underlying truth. Everything became wonderful on 'Double compensation'. - I wonder if you wonder. - 'The third man' - You should leave this alone. - And famous in 'The Godfather'. - Am going to do it An offer you cannot reject. - But come on, people, we should be joking not to follow Tarantino's path. And as you write Cirque du Soleil level of verbal contortion to the end from Reservoir Dogs. - I bet you're a big fan of Lee Marvin, it's not you - To 'Hateful Eight'. - Did you know him? Yes. (Laughter) Yes, I knew him. - There's nothing I've had enough The subtextual impact as 'Pulp Fiction'. - It looks like I and Vincent caught them, boys, at breakfast. I'm sorry about that. - What's wrong? - Burgers - Burgers The cornerstone of any nutritive breakfast - What kind of burgers? Cheeseburgers - No no-no-no.

    Where did you get them? - Tarantino is the teacher of the subtext, and he's our favorite type You are not just writing subtext in that horrible literary way where both people are talking on a mutually thin evening metaphor that is basically just a 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 anything and everything that has nothing to do with what's really going on. Because what they are really doing is threatening and apologizing, and flirting, and fall in love, and combat and openness. And the results speak for...,

    #100yrs in Hollywood funny characters
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