I was happy to see that exact line pulled out and isolated. The whole movie had many problems, but that line was dire, it was absolute rock bottom.
Ha!
I honestly didnât even remember the line, instead I remember falling deeper and deeper into despair every time someone would open their mouth. I think I was blacking out.
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Oh I remember it! It wasnât just the whole âLove is the great mystery that binds the universe, and I mean that in a literal and scientifically accurate wayâ thing that turned my stomach, it was that combined with the fact that it came from the âstrong scientific non-stereotypical femaleâ character, who just needed to go into space to find out that science is hard but wuv is the secret.
Uuuggh. Like that, and the whole faked moon landing thing. FFS.
I have unresolved issues with that movie, I need to smash a copy of the DVD or something.
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Iâm very fond of PterryOBEâs shorthand for crap dialogue: âAs you know, your father, the kingâŚâ
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Stage directions make up a good chunk of most screenplays.
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âYouâre my brother, and I love youâŚâ
(I was an only child, so I donât actually know â Do siblings ever feel the need to remind each other of their relationship? Barring amnesia or something.)
But arenât they more functional than anything? Isnât most of the actual writing (i.e. writing where choice of words, rhythm etc. really matters) in the dialogue? To me at least, it makes sense that someone considering whether to buy a screenplay would give most, maybe nearly all, their attention to the dialogue.
Then we wouldnât have Koyaanisqatsi (or its sequels,) Baraka, Quest For Fire, The Red Balloon, Le Dernier Combat, Shaun the Sheep⌠You get the idea.
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I stand corrected.
Nah, I was mostly being contrarian. I doubt Koyanisqaatsi even had a screenplay as such. However, a good deal is often conveyed by stage directions, well beyond simple business like Joe picks up the TELEPHONE.
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