Re: -Antología del Diálogo-
Un momento absolutamente genial en una película más bien flojita. Walken y Hopper se salen.
</p>
Re: -Antología del Diálogo-
Completamente de acuerdo.
El dialogo en sí es genial y todos los actores que interpretanm la escena están sublimes.
Yo me quedo con la imagen (es un segundo) en que Clifford Worley da la última calada al cigarro, sabiendo que va a morir.
La música es perfecta también.
</p>
Re: -Antología del Diálogo-
En mi opinión, "AMOR A QUEMARROPA" es una magnífica película tremendamente divertida, con personajes estrambóticos delirantes y diálogos impagables.
Como bien dices, pojavi, el diálogo entre Walken y Hopper es extraordinario, acompañado por el grandioso tema extraído de la Ópera "Lakme", que beneficia en mucho a la trascendencia que adoptan las palabras.
En fin, que tiene muchos aspectos interesantes, entre ellos un gran reparto y un brillante guión de Tarantino, cómo no.
Probablemente, la MEJOR película de Tony Scott hasta la fecha.
Otra cosa: el final de esta película y el final de "KILLING ZOE" son prácticamente idénticos. Recordemos que el director de "KILLING ZOE" es Roger Avary, socio de Tarantino y co-guionista no acreditado de "AMOR A QUEMARROPA". Supongo que de ahí viene la copia del final.
<img src=http://www6.gratisweb.com/davebowman/image2.jpg></p>Editado por: <A HREF=http://pub132.ezboard.com/bmundodvd43132.showLocalUserPublicProfile?login=da vebowman>Dave Bowman</A> fecha: 9/16/02 1:58:42 pm
Re: -Antología del Diálogo-
No he visto Killing Zoe, así que ya tengo excusa para verla. Con el final que te refieres al argumento, porque también trata el tema de las drogas, un atraco o algo así; o a la escena de la playa. Mira que he tenido ocasiones de verla, pero como tampoco me hablaron muy bien de ella..........
Saludos.
You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>
Re: -Antología del Diálogo-
A mi Killing Zoe me pareció una estupidez de proporciones bíblicas, estúpida, aburrida... (añadir lo que queráis). Por cierto Roger Avary y Tarantino no se hablan desde los tiempos de Pulp Fiction, por lo visto el guión es entero de Tarantino pero Avary alegó que la idea de la historia del boxeador era suya y obligó a que su nombre apareciera como guionista. Si puedo esta tarde os copio lo que viene en uno de los libros del Dirigido.
-----------------------------------------------------------------------
The report read "Routine retirement of a replicant."
That didn't make me feel any better about shooting a woman in the back.
-----------------------------------------------------------------------
</p>
Re: -Antología del Diálogo-
Tengo entendido que el autor del argumento de la historia El reloj de oro fue Avary, y Tarantino se la compró, para reescribirla e integrarla en las otras historias. No creo que quedara mucho de la historia original ni que Avary merezca mucho crédito, pero Tarantino podía por lo menos haberlo acreditado como autor parcial de esa historia.
El propio Avary expone su opinión sobre Tarantino en su página. Si pulsas su nombre enlaza a una canción de Jesucristo Superstar, cantada por Judas. Muy sutil, si señor.
www.avary.com/theskinny/theskinny.html
</p>Editado por: <A HREF=http://pub132.ezboard.com/unandokin.showPublicProfile?language=ES>Nandokin</A> fecha: 9/16/02 3:26:39 pm
Un diálogo wapo (OJO SPOILER)
De "All about Eve"
<blockquote>Quote:<hr> Addison and Eve stand before the theater admiring her photo
on a lobby display. None of the actors are starred.
ADDISON'S VOICE
To the Theater world - New Haven,
Connecticut, is a short stretch of
sidewalk between the Shubert
Theater and the Taft Hotel,
surrounded by what looks very much
like a small city. It is here that
managers have what are called out
of-town openings - which are
openings for New Yorkers who want
to go out of town...
They start for the hotel - Eve's arm through Addison's.
EVE
What a day - what a heavenly day...
ADDISON
D-day.
EVE
Just like it.
ADDISON
And tomorrow morning you will have
won your beachhead on the shores of
Immortality...
EVE
(grins)
Stop rehearsing your column...
Isn't it strange, Addison?
I thought I'd be panic-stricken,
want to run away or something.
Instead, I can't wait for tonight
to come. To come and go...
ADDISON
Are you that sure of tomorrow?
EVE
Aren't you?
ADDISON
Frankly - yes.
They've arrived in front of the hotel.
EVE
It'll be a night to remember. It'll
bring to me everything I've ever
wanted. The end of an old road -
and the beginning of a new one...
ADDISON
All paved with diamonds and gold?
EVE
You know me better than that.
ADDISON
Paved with what, then?
EVE
Stars.
She goes in. Addison follows her.
INT. CORRIDOR - TAFT HOTEL - DAY
Addison accompanies Eve along the corridor to her door.
EVE
What time?
ADDISON
Almost four.
EVE
Plenty of time for a nice long nap -
we rehearsed most of last night...
ADDISON
You could sleep, too, couldn't you?
EVE
Why not?
They've arrived at her door. She opens it.
ADDISON
The mark of a true killer.
(he holds out his hand)
Sleep tight, rest easy - and come
out fighting...
EVE
Why'd call me a killer?
ADDISON
Did I say killer? I meant champion.
I get my boxing terms mixed.
He turns to go. After a few steps-
EVE
(calling)
Addison-
(he pauses)
- come on in for just a minute,
won't you? There's... I've got
something to tell you.
Addison turns curiously, and enters behind her.
INT. EVE'S SUITE - TAFT HOTEL - DAY
Old-fashioned, dreary and small. The action starts in the
living room and continues to the bedroom.
Addison closes the door, crosses to a comfortable chair.
ADDISON
Suites are for expense accounts.
Aren't you being extravagant?
EVE
Max is paying for it. He and Lloyd
had a terrific row but Lloyd
insisted... well. Can I fix you a
drink?
She indicates a table elaborately stocked with liquor,
glasses, etc. Addison's eyebrows lift.
ADDISON
Also with the reluctant compliments
of Max Fabian.
EVE
Lloyd. I never have any, and he
likes a couple of drinks after we
finish - so he sent it up...
ADDISON
Some plain soda.
(Eve starts to fix it)
Lloyd must be expecting a record
run in New Haven...
EVE
That's for tonight. You're invited.
We're having everyone up after the
performance.
ADDISON
We're?
EVE
Lloyd and I.
She carries the soda to him, sits on an ottoman at his feet.
ADDISON
I find it odd that Karen isn't here
for the opening, don't you?
He sips his soda and puts away, carefully avoiding a look at
Eve. As he looks back-
EVE
Addison...
ADDISON
(blandly)
She's always been so fantastically
devoted to Lloyd. I would imagine
that only death or destruction
could keep her-
EVE
(breaks in)
Addison, just a few minutes ago.
When I told you this would be a
night to remember - that it would
bring me everything I wanted-
ADDISON
(nods)
- something about an old road
ending and a new one starting -
paved with stars...
EVE
I didn't mean just the Theater.
ADDISON
What else?
Eve gets up, crosses to look out over the Common.
EVE
(her back to him)
Lloyd Richards. He's going to leave
Karen. We're going to be married.
For just a flash, Addison's eyes narrow coldly, viciously.
Then they crinkle into a bland smile.
ADDISON
So that's it. Lloyd. Still just the
Theater, after all...
EVE
(turns; shocked)
It's nothing of the kind! Lloyd
loves me, I love him!
ADDISON
I know nothing about Lloyd and his
loves - I leave those to Louisa May
Alcott. But I do know you.
EVE
I'm in love with Lloyd!
ADDISON
Lloyd Richards is commercially the
most successful playwright in
America-
EVE
You have no right to say such
things!
ADDISON
- and artistically, the most
promising! Eve dear, this is
Addison.
Eve drops her shocked manner like a cape. Her face lights up -
she crosses back to the ottoman.
EVE
Addison, won't it be just perfect?
Lloyd and I - there's no telling
how far we can go... he'll write
great plays for me, I'll make them
be great!
(as she sits)
You're the only one I've told, the
only one that knows except Lloyd
and me...
ADDISON
... and Karen.
EVE
She doesn't know.
KAREN
She knows enough not to be here.
EVE
But not all of it - not that Lloyd
and I are going to be married.
ADDISON
(thoughtfully)
I see. And when was this unholy
alliance joined?
EVE
We decided the night before last,
before we came up here...
ADDISON
(increasingly tense)
Was the setting properly romantic -
the lights on dimmers, gypsy
violins off stage?
EVE
The setting wasn't romantic, but
Lloyd was. He woke me up at three
in the morning, banging on my door -
he couldn't sleep, he told me -
he's left Karen, he couldn't go on
with the play or anything else
until I promised to marry him... we
sat and talked until it was light.
He never went home...
ADDISON
You sat and talked until it was
light...
EVE
(meaningly)
We sat and talked, Addison. I want
a run of the play contract.
ADDISON
(quietly)
There never was, there'll never be
another like you.
EVE
(happily)
Well, say something - anything!
Congratulations, skol - good work,
Eve!
Addison rises slowly, to his full height. As Eve watches him,
as her eyes go up to his, her smile fades-
ADDISON
What do you take me for?
EVE
(cautiously)
I don't know what I take you for
anything...
ADDISON
(moving away)
It is possible - even conceivable -
that you've confused me with that
gang of backward children you've
been playing tricks on - that you
have the same contempt for me that
you have for them?
EVE
I'm sure you mean something by
that, Addison, but I don't know
what...
ADDISON
Look closely, Eve, it's time you
did. I am Addison deWitt. I'm
nobody's fool. Least of all -
yours.
EVE
I never intended you to be.
ADDISON
Yes, you did. You still do.
Eve gets up, now.
EVE
I still don't know what you're
getting at. Right now I want to
take my nap. It's important that I-
ADDISON
(breaks in)
- it's important right now that we
talk. Killer to killer.
EVE
(wisely)
Champion to champion.
ADDISON
Not with me, you're no champion.
You're stepping way up in class.
EVE
Addison, will you please say what
you have to say plainly and
distinctly - and then get out so I
can take my nap!
ADDISON
Very well, plainly and distinctly.
Although I consider it unnecessary -
because you know as well as I, what
I am about to say.
(they are now facing each
other)
Lloyd may leave Karen, but he will
not leave Karen for you.
EVE
What do you mean by that?
ADDISON
More plainly and more distinctly? I
Have not come to New Haven to see
the play, discuss your dreams, or
to pull the ivy from the walls of
Yale! I have come to tell you that
you will not marry Lloyd - or
anyone else - because I will not
permit it.
EVE
What have you got to do with it?
ADDISON
Everything. Because after tonight,
you will belong to me.
EVE
I can't believe my ears...
ADDISON
A dull cliche.
EVE
Belong - to you? That sound
medieval - something out of an old
melodrama...
ADDISON
So does the history of the world
for the past twenty years. I don't
enjoy putting it as bluntly as
this, frankly I had hoped that you
would, somehow, have known - have
taken it for granted that you and
I...
EVE
... taken it for granted? That you
and I...
She smiles. Then she chuckles, then laughs. A mistake.
Addison slaps her sharply across the face.
ADDISON
(quietly)
Remember as long as you live, never
to laugh at me. At anything or
anyone else - but never at me.
Eve eyes him coldly, goes to the door, throws it open.
EVE
Get out!
Addison walks to the door, closes it.
ADDISON
You're too short for that gesture.
Besides, it went out with Mrs.
Fiske.
EVE
Then if you won't get out, I'll
have you thrown out.
She goes to the phone.
ADDISON
Don't pick it up! Don't even put
your hand on it...
She doesn't. Her back is to him. Addison smiles.
ADDISON
Something told you to do as I say,
didn't it? That instinct is worth
millions, you can't buy it, cherish
it, Eve. When that alarm goes off,
go to your battle stations...
He comes up behind her. Eve is tense and wary.
ADDISON
Your name is not Eve Harrington. It
is Gertrude Slescynski.
EVE
What of it?
ADDISON
It is true that your parents were
poor. They still are. And they
would like to know how you are -
and where. They haven't heard from
you for three years...
EVE
(curtly)
What of it?
She walks away. Addison eyes her keenly.
ADDISON
A matter of opinion. Granted. It is
also true that you worked in a
brewery. But life in the brewery
was apparently not as dull as you
pictured it. As a matter of fact,
it got less and less dull - until
you boss's wife had your boss
followed by detectives!
EVE
(whirls on him)
She never proved anything, not a
thing!
ADDISON
But the $500 you got to get out of
town brought you straight to New
York - didn't it?
Eve turns and runs into the bedroom, slamming the door.
Addison opens it, follows close after her... he can be seen
in the bedroom, shouting at Eve who is offscene.
ADDISON
That $500 brought you straight to
New York - didn't it?
INT. BEDROOM - DAY
Eve, trapped, in a corner of the room.
EVE
She was a liar, she was a liar!
ADDISON
Answer my question! Weren't you
paid to get out of town?
Eve throws herself on the bed, face down, bursts in tears.
Addison, merciless, moves closer.
ADDISON
Fourth. There was no Eddie - no
pilot - and you've never been
married! That was not only a lie,
but an insult to dead heroes and to
the women who loved them...
(Eve, sobbing, puts her
hands over her ears;
Addison, closer, pulls
them away)
... Fifth. San Francisco has no
Shubert Theater and North Shore,
you've never been to San Francisco!
That was a stupid lie, easy to
expose, not worthy of you...
Eve twists to look up at him, her eyes streaming.
EVE
I had to get in, to meet Margo! I
had to say something, be somebody,
make her like me!
ADDISON
She did like you, she helped and
trusted you! You paid her back by
trying to take Bill away!
EVE
That's not true!
ADDISON
I was there, I saw you and heard
you through the dressing room door!
Eve turns face down again, sobbing miserably.
ADDISON
You used my name and my column to
blackmail Karen into getting you
the part of "Cora" - and you lied
to me about it!
EVE
(into the bed)
No-no-no...
ADDISON
I had lunch with Karen not three
hours ago. As always with women who
want to find out things, she told
more than she learned...
(he lets go of her hands)
... do you want to change your
story about Lloyd beating at your
door the other night?
Eve covers her face with her hands.
EVE
Please... please...
Addison get off the bed, looks down at her.
ADDISON
That I should want you at all
suddenly strikes me as the height
of improbability. But that, in
itself, is probably the reason.
You're an improbable person, Eve,
and so am I. We have that in
common. Also a contempt for
humanity, an inability to love or
be loved, insatiable ambition - and
talent. We deserve each other. Are
you listening to me?
Eve lies listlessly now, her tear-stained cheek against the
coverlet. She nods.
ADDISON
Then say so.
EVE
Yes, Addison.
ADDISON
And you realize - you agree how
completely you belong to me?
EVE
Yes, Addison.
ADDISON
Take your nap, now. And good luck
for tonight.
He starts out.
EVE
(tonelessly)
I won't play tonight.
(Addison pauses)
I couldn't. Not possibly. I
couldn't go on...
ADDISON
(smiles)
Couldn't go on? You'll give the
performance of your life.
He goes out. The CAMERA REMAINS on Eve's forlorn, tear
stained face. Her eyes close... she goes to sleep.
<hr></blockquote>
_____________________
¿Por qué debería preocuparme por la posteridad? ¿Qué ha hecho la posteridad por mí?</br>
<a href=http://www.dvdprofiler.com/mycollection.asp?alias=xavigali>mis dvd's</a></br></p>
Re: -Antología del Diálogo-
Me encantan los rótulos que aparecen al final de Sin Perdón cuando pone lo de que la madre de Claudia no encontró nada en la lápida que le dijera porqué su hija se había casado con un hombre notoriamente violento e inmoral (algo así, lo digo de memoria).
Vaya pedazo de final perfecto, te deja una sensación de esas veces que dices: he visto una obra maestra. Por cierto que próximamente habrá una edición especial con muchas horas de extras y una pinta cojonuda.
</p>Editado por: <A HREF=http://pub132.ezboard.com/unandokin.showPublicProfile?language=ES>Nandokin</A> fecha: 9/16/02 5:38:09 pm
Re: Dave Bowman vs. HAL 9000
Dave, definitivamente si puedo veré Killing Zoe, aunque sea pa criticarla.
Sobre la relación entre Hal y Bowman: ésta parte parece menos críptica que el resto de la peli, será porque somos creadores y objetos creados. Hace bastantes años que no la veo, pero el viaje sideral de final me dejó en su momento bastante descolocado, aquí ya no trata el tema de la inteligencia artificial, sino pasa a dimensiones, tocando los límites del universo, no sé, muy metafísico.
Saludos.
You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>