DIALOG

- films rely on spoken dialog, but are often made with less care and imagination

- must deretmine what is most important in a dialog sequence

- between two and more characters

- might be establishing shot to set up the sequence

Ex. 1.two-shot (talking to each other in medium or long shot)-establish the situation

1.5.closer two shot in line with 1.

2.series of midshots/close shots of characters from over the shoulder

(might provide close-ups of the key lines ((if the script is well written, the lines and performances
can carry themselves)))

- decide between - close shot/ medium shot

objective shot/ subjective shot (over the shoulder)

- shift in pattern of shots - dialog that reveals key information about character

- close shot – piece of dialog that is important for advancing the plot
better than profile shot
can see the star playing very well
words are more important than action – static
freedom of cutting and making the scene more dramatic
not always on the one that speaks

- editor and director must always be in accord about the meaning of the sequence

- if the dialog is well written – the scene is easy to assemble

the words carry the scene

- influenced by the genre: melodrama – sedentary and dependent on dialog

action, adventure – less reliant on dialog

- if the scene is to be wholly successful then it must be visualy interesting and worth listening to

- visuals require planning in script stage to not appear flat in the end; even if the words convey most
of the facts and information, the images must still reamin the primary vehicle for dramatic
interpretation

- editor can cut out bad pieces of dialog or if the pacce is wrong; give polish to good performance
Dialog and plot
The Terminator(1984)
- intercut between the excitement of the car chase and Reese and Sara talking to one another (in the
car – midshot to close-up; a lot of dialog intercut with chase, because of genre – don't slow the
action with dialog

Manhattan(1979)
- talk between Yale – irresponsible dude with many affairs and Ike – scolding him
- long establishing shot;
then midshots of Ike with skeleton and Yale (skeleton in shot for balance of the sequence);
ends with Ike leaving the frame – we see the remaining skeleton

Dialog and character

Black Sunday(1977)
- Dalia is three days late with explosives, when she turns on the light, she is confronted by Michael
- midshots to close shots (handheld shots – nervousness of the scene and Michael's instability as
a terrorist; camera and characters always move)

McCabe and Mrs. Miller(1971)

- sequence establishes character but does not provide as clear a sense of the dialog's role in its
establishment
- gambler John McCabe enters small mining town – he is dresses differently that the others
- in the first scene – dialog – about the price of liquor... not direct enough to characterize him
short establishing shot;
then many close-ups of McCabe and the miners
intesity of the scene from visual elaboration of his appearance among miners
many characters speak simultaneously
we now know about who is McCabe compared to others, but the dialog is not
important

Multipurpose dialog
The Graduate(1967)
- first dialog – Benjamin confesses to his father that he is worried about his future
single midshot of Benj; father joins out of focus in the foreground
- seduction scene – Mrs. Robinson tries to seduce Benj many times
foreground – background relationship = Benj appears in the foreground when
Mrs. Robinson speaks from the background
- final sequence – naked Mrs.Robinson in foreground; intense close-up of Benj in the background;
quick intercutting of her breasts or belly – wish to see and wish to look away
An early dialog sequence
Trouble in Paradise(1932)
- romantic theatrical comedy
- subtle and distant direction – midshot to longshot
- different approaches in dialog
- suggestive sequence - Madame Colette is trying to seduce her secretary Gaston, who is only
interested in her money she has in her safe; the two embrace and she says they will have weeks,
months, years to be together - each word has a different accompanying visual (1.two embracing
seen in bedroom mirror; 2.two in midshot; 3.their shadows on the bed) – we know his intentions are
not true
- crosscut of a robbery between the dialog of Gaston and Lili
1. Baron and Lili talk; we find out Lili is not what she seems to be
2. Cutaway to the victim of a robbery
3. Cut back to two of them talking and revealing both of them are thieves – mid-two-shot
- after that short sequence of shots (to build up dramatic tension)
- whole sequence mostly in one midshot

A contemporary dialog sequence

Chinatown(1974)
- film noir; claustrophobic
- subjective camera placement – when Gittes speaks camera sees what he sees
- using close-ups over midshots = sequence with intense emotion and pointed perspective

1. M.C.S. Father. He gets very excited. Father:

My partner was a man called Walter Harburg.
One day he was showing your mother
through....
Doctor: (off)
You've talked enough,-
2. M.C.S. Doctor. Doctor:
-Mr.Carrington.
3. M.S. Father, daughter and doctor. Doctor:
I'm sorry to interrupt, but we must not tire
your father
2-nd line is spoken off – surprise
air of mystery
in the film noone suspects a thing, but the viewer
suspicion has been placed
The Passionate Friends(1949)

- scene between Mary, Steven and Howard

- Howard asking a series of seemingly innocent questions – as the audience knows – they are
carefully and precisely calculated to drive Mary into a corner where she must confess her lie

music
- at the beginning of the sequence – on by Mary
sharp tone
- Howard is ready to confornt Steven – off by Howard
sudden silence

order in which we see things

- we know about everything, that is going to happen
- the interest of the scene lies in the manner in which the characters react to the situation
- if we didn't see him plant the programme, we would see the scene as Steven is watching – in
bewilderment – moment in which Mary sees the programme would be a surprise – no suspence