Name: Dialogue in Film: How Should Characters Talk?
Uploaded: 2018-07-03T07:56:07.000Z
Duration: 5 min 58 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

This moment in "The Jazz Singer" in 1928 led to standing ovations in movie theaters.

The first moment of dialogue marked the beginning of a boom in the motion picture industry.

despite the beginning of the Great Depression.

Warner Bros. surged in profits from 2 million to 14 million a year,

Which, for the first few years, consisted mostly of musicals.

Talking provided a layer of realism missing in movies,

By allowing more character development and plot.

Innovation in radio and television writing paved the way for strong, dialogue-driven movies.

"12 Angry Men" is written in such a way that you could follow the entire story with your eyes closed.

- "Talk, and talk, and talk, even when it's an open and shut case like this one,

I mean did you ever hear so much talk about nothing?"

It has an intensity and pace that's impossible for a completely silent movie to achieve.

I want to talk about dialogue, and look at how dialogue enhances a story, while also seeing it's limitations.

Probably the biggest immediate benefit of dialogue is it's just so damn efficient.

- "Why, whatever are you doing in Arizona?"

- "I'm joining Richard in Lordsburg. He's there with his troops."

- "He's a lot nearer than that, Mrs. Mallory. He's been ordered to Dry Fork."

- "Why, that's the next stop for the stagecoach! You'll be with your husband in a few hours."

From 10 seconds of dialogue, we know who Lucy is,

where she is, where she's going, why she's going there, what her husband does, where her husband is,

where the stagecoach stops next, and how long it should take until the couple is reunited.

But exposition through dialogue runs the risk of being boring.

Like when we have to sit through a villain monolonguing his evil plan through a computer.

I think voice-over narration can be a lazy substitute for strong, efficient dialogue on-screen.

Although sometimes there's no other way to do it.

There are right and wrong ways to do exposition dialogue.

Exposition should be descriptive, and also not completely plain.

It's the difference between saying something and revealing something.

I call it the "Dead Parent Test" for dialogue,

because so many movies seem to have trouble telling us a parent isn't around anymore.

- "My mother's name was Susan! She was killed in a car accident with my father and they're both dead,"

Dialogue should reveal a character isn't in the picture, instead of just saying it out loud.

It doesn't always have to be through dialogue:

- "Oh and she inexplicably mails me a cactus every Valentine's Day."

"And I'm like, 'Thanks a heap Coyote Ugly,"

"These cactus-grams stings even worse than your abandonment."

But it just has to reveal something instead of saying it.

It passes the "Dead Parent Test" if it's not completely dry.

Because frankly, just saying, is lazy writing.

- "And with the number of lifeboats times the capacity you mentioned,"

"it seems that there are not enough for everyone aboard."

I think the same idea goes for dialogue that explores the movies major ideas,

"Interstellar" is a gorgeous movie, but this dialogue is very heavy-handed and just being set.

- "Love is the one thing we're capable of perceiving that transcends dimensions of time and space.

Maybe it's better to have themes hidden in more ordinary dialogue.

"If I want to fly, I'll find a way to fly.

Dialogue always serves a narrative or comedic purpose no matter how random it feels.

In "Pulp Fiction" the dialogue feels meaningless,

but it sets up major plot points and conflict.

Vincent and Jules have a 10 minute conversation about whether or not it's cheating for a man to

- "Now look I've given a million ladies a million foot massages and they all meant something."

"and that's whats so fuckin' cool about 'em."

"There's a sensuous thing goin' on, where, you don't talk about it,"

"And Antwan shoulda fuckin' better know better."

This conversation - while at the surface very casual,

reinforces that Marsellus Wallace is not to be trifled with.

As Vincent spends his night with Mrs. Wallace, that earlier conversation reminds us that the stakes are high.

And Vincent may or may not be overstepping his boundaries.

- "So, you're gonna go out there, you're gonna say goodnight,"

"go home, jerk off, and that's all you're gonna do,"

Tarantino uses dialogue to show character flaws.

Jules and Vincent get a great cup of coffee and praise it in an attempt to be polite to Jimmy.

All it does is make him mad, because Jules and Vincent are not focused on the crisis they just created.

- "But you know what's on my mind right now?"

Their signature suave and charming dialogue failed them,

but Winston Wolf, he knows the appropriate way to respond, because he's the Wolf.

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Dialogue in Film: How Should Characters Talk?

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