Best Dialogue of All Time

Phil isn't just a visual medium, he's verbal, and nowhere is it easier to hear the brilliance of a good script than in the mouths of the characters, arguing and joking, shouting, investigating and pontificating. These are our picks for the

best

dialogue

of all

time

, starting at number 10, we're looking at

dialogue

that was brilliant in its specificity and how it evoked a certain place or

time

or sense of character by choosing words, rhythm, structure, cadence , which was specifically evocative, this is the dialogue from The Departed alati. boy on the boardwalk a one way ticket to Palookaville and snatch hey where's my nicest fat ass?

You know my cousin Vinnie, who is Jewish, no honest blog, true value, oh and the Big Lebowski, I'm the guy, however, for our 10th pick, we think it's pretty hard to beat hunger while smoking Allah God mmm, isn't it? They haven't argued oh oh. Buffalo often praise the Lord. We're not actually Irish, so this might be as accurate as the Lucky Charms commercial, but damn. If it doesn't ring a bell, what's even more important than its accuracy is how he uses it, how he dresses the most urgent of conflicts in the most eloquent and specific clothing, there is a certain musicality to his sound, a rhythmic pattern.

What amounts to a negotiation for the lives of a group of men, it transports you to a place in a time when terrible decisions had to be made and illustrates it with the most beautiful language. Next, we consider word games, verbal trickery, linguistic aerobics, the famous who's who. in the first routine is the classic reference point here, so who plays first? Yes, I mean the name of the teammates on first base, oh, but we also have to show some love to the Grand Budapest Hotel. A second copy of the second will. Lucky number. Slevin. I never thought you were. he thought it was you and our number 9 pick, Rosencrantz and Guildenstern, are dead. a man who talks sensibly to himself matters no more than a man who talks nonsense, not just to himself or just as much of a man, oh, just as crazy and does both, so they want to stop writing.

Saint Rosencrantz and Guildenstern Are Dead is Tom Stoppard's absurdist spin-off of Shakespeare's Hamlet that follows two of its most interesting supporting characters as they struggle with various existential limits trying to make their way through an inherently meaningless world in one prolonged conversation. throughout the film, so that the The turn of a phrase equals the entirety of the drama, it even materializes into a verbal tennis match, as they combine wit rather than change. The pun is the plot in which they seemingly live and die by their language and puts an urgency behind their conversation that is both desperately hilarious and completely enthralling, of course sometimes it's not the word but how they relate to the meaning underlying, we are talking about a subtext dialogue that takes the scenic route but zigzags when the intentions act to hide, contain or contrast what is underlying.

Honestly, it's done beautifully in Double Indemnity. I wonder if they want the third man to leave this alone, and The Godfather famously offers some makeup again, but come on, we'd have to trick ourselves not to go. In Tarantino fashion and while writing Cirque de Soleil-level verbal contortions from Reservoir Dogs, I see a huge Lee Marvin fan accessing the hateful eight Colonel Bill, yes, I know there is nothing that has had the subtextual impact that it seems pulp fiction like me. Vincent caught me. guys at breakfast, sorry Jevon, hamburgers, hamburgers, the cornerstone of any nutritious breakfast, what guy has the cheeseburgers, no, no, no, no, no, no, what you get.

Tarantino is the master of subtext and he's our favorite guy, not only does he write subtext in that horrible literary way where both people are talking in a thinly veiled mutual metaphor that's basically just code not in Pulp Fiction they talk about hamburgers they talk about coffee They talk about tomatoes and bellies and oral sex in the Bible They talk about anything that has nothing to do with what's really going on because what they're really doing is threatening and apologizing and flirting and falling in love and training and opening up and the results. They speak for themselves.

Below we will see the

best

verbal conflict dialogue of all time that attacks. and dig and dodge and parry and go straight to the heart words like war conversation like combat think of the teacher or the lion in winter you may experience a strange snowman you have made vows or Glengarry Glen Ross what is this kind of courtesy? You bet your ass is all over the social network, but for our number seven pick, our favorite of Sorkin's psychological sadism belongs to Steve Jobs, we're there, no, we have a one in six chance of working out, damn, we're not a team pit stop at Daytona, this can.

It wasn't solved in seconds you didn't have seconds you had three weeks the universe was created a third of that time well, someday you'll have to tell us how you did it, do you love it or hate it. Sorkin's writing is something to marvel at and nowhere is it more chatty, more playful, more dependent on what the characters say than here, the conflict bubbling so turbulently just beneath the surface, always circling and constantly being brought to the fore. light by Jobs himself, who flies around like a conversational monster, arguing, threatening and hitting people. around him in the shape of the world as he imagines it.

Sorkin's dialogue presents a war on many fronts, while always connecting it to the works is the central impetus for a result that is a frenetic whirlwind of a character desperately fighting for himself. -worth, on the other hand, the other side of this type of linguistic aggression takes us to the calmer world of dialogue, a narrative where the pleasure lies not in the conflict but in the honesty and vulnerability of the humans who share their personal narratives. It's the Big Chill as a People are still out there and the magnolias of the past are not done with us.

End of the tour. I'm sure I still have those same parts of me in coffee and cigarettes. I know one guy freezes coffee, but for our number six there can't be another than at my dinner with Andre I've seen a lot of death in the last few years wahwee and there's one thing that's for sure about death you do it you just see that seems pretty Surely you see I've seen the people around your bed they mean nothing, your criticisms mean nothing, whatever it is, you do it alone, so the question is, when I get to my deathbed, what kind of person I will be and I have many doubts about the type of person who would have lived his life.

In my life over the last few years, the way I had dinner with Andre is literally just a conversation, no plot, no external conflict, no clock, just two men with various disagreements as the men have explained them, there's no character arc or big reconciliation or big big Epiphany, the movie is just talk and yet it's absolutely fascinating, written by the two actors, distilled from months of their actual conversation, it's nothing more than two men who gradually and articulately reveal their inner self in the number five for which we want to reserve a place. dialogue that manages to feel as true to life as possible and sure will never be realistic because if you've heard real people talk, it's horrible, but with careful balance, compromise and imperfection, a talented scribe can achieve a subtle naturalism worthy of this list. is an excellent example of this, everything goes in circles, as is the end of one.

Oh, the whole previous trilogy, more mumblecore, yes, yes, and even super bad in parts, and Cadet Lonergan is very hot at the moment with Manchester by the Sea, but we want to change. new LAN Organians on an older, lesser-known gem of theirs that's full of this kind of dialogue, you can count on me, so, I'm good, Terry, some Rudy from Omaha, we're good, Terry, how are you? Yes, the magic you can count on. For me it is that many things happen in the dialogue without resorting to the extraordinary, the incredible or the melodramatic, it is a subtext, but a more docile sword.

Beneath the everyday themes of plumbers on car trips and the quotidian lie deep family conflicts of love, responsibility, respect, and reliability. How are you? I'm on the opposite end of the spectrum from naturalism, we end up with the super stylized, super smooth quick wit of jokes where everyone always seems to know exactly what to say. David Mamet is sharp as a tack and a holdup at home. of games, Turkish best friend Woody Allen is fast and frenetic at Annie Hall in Manhattan, people should be raised like Catholic pigeons with Scott Frank's version of Elmore Leonard, it never gets better than and get a movie stair and a half, but for our penultimate room. slide, let's go with Shane Black, it's iconic in a lethal weapon, it's a real badge from a real cop, a real weapon, hilarious among the good guys, I'll apologize, I'm carrying a dead body, I've got a song on my face, so 'Sorry I didn't make her mad, you can't even say Baryshnikov, but never better than in Kiss Kiss Bang Bang.

I want you to imagine a bullet inside your head. Can you do that for me? Anyway, that's ambiguous, ambiguous, no I don't. I don't think so, no, I think it means that when you say "imagine it inside your head," okay, it's just that there will be a bullet inside your head or imagine it in your head like Harriman, some machetes were fired where Sorkin's characters They always seem in danger of destroying each other. with his words, Shane's blacks are just a slap in the face in Kiss Kiss Bang Bang, it's him in his joke like 'throwing the most hilarious shade in the smartest way, they're verbal slapstick characters stumbling over their own words and an attempt to prove that they are smarter than everyone else.

Another, of course, that last place was all of Hollywood, and while you may have noticed by now that we've limited this list to English-language films only because we didn't feel adequately qualified to evaluate dialogue in languages ​​we couldn't speak in English. Not just the realm of America, the UK also has its own special kind of pranks, you can find them in Lock Stock and Two Smoking Barrels. The guy doesn't know that he's also from his Trainspotting, just a fucker with a nail and I must be James, harmful video. career in Hot Fuzz, he is no longer the model villain, but to our ears there is a modern master who stands above them all, Martin McDonagh, and although Seven Psychopaths is a fantastic second effort, our hearts still belong in Witches Paddy, let's be Realistically, I'm not being funny.

I mean, no disrespect to what a god you are, you're awesome L, your vowels mean it and the only thing that's going to change is that you're going to get even bigger, maybe a few more kids will leave my kids out there , they have done? You can take back that part about my kids. I take back that part about your children cooking inside my children. That's going too far. The night. I take it back. The chosen night. While Martin McDonagh only has two films to his name. ever read, we personally recommend Pillow Man if you ever get the chance to see the funniest version of child murder that you'll ever hate yourself for laughing at and some of that sneaks into Bruges: because McDonough becomes dark, takes his comedy to In the blackest place, everyone in Bruges should be despicable for what they have done and will no doubt continue to do and yet love them for their intelligence, their humanists and their sense of the absurd, but the jokes don't They are a modern invention and we want to take advantage of them. these last two spaces to pay tribute to their origins and in the United States that means you are in Wars what is your nationality I am a drunk and your crazy comedies that give me a receipt I give you a scar you are Houston, I mean you paid us more that if you had told us that children want to fix things you are Wilder, I will say that you are Sturges, you will find it laughing, oh, surely you are Lubitsch, you must flood.

I do not do it. There's no need. Their honking seems natural to me. How do you like your brandy, sir, and a glass? However, let's go back one step further, to some of the original kings of pranks, the Marx Brothers and their brilliant comings and goings. feather boy, I'm fine, thanks, how am I, oh, I'm fine, animal crackers Kovich, you know, perform a Hennessey without a chair, inspect or inspect yourself and our number two choose duck soup, not that I It matters, but where is your husband? Why is he dead? I bet he's just using that as an excuse.

I was with him to love Etienne. No wonder he passed away. I held him in my arms and kissed him. Oh, I see, so it was murder. Will you marry me? I didn't leave you any money. Answer the question. The second question is the first. While the script was written by a handful of scribes over several years, the dialogue is distinctively Marxist from Brother in a one-act refined over decades, from vaudeville to Broadway to the screen, the combination of Chico Harpo Groucho Zeppo was honed into one of the best comedy formulas of all time, the kind of jokes that throwfast and non-stop is specific to the wild mortgage of characters that the brothers had created and Duck Soup is probably the best embodiment of their particular brand of madness and, by God.

Does he finally sing for our number one? We're tracing the origins of British pranks elsewhere and it's not to Monty Python or James Bond. It's a special one in Weston and you've had your support. Kind Hearts and Coronets, she wants to get better. your mind has room to do it, no, it comes from before, that way, before everything, that our main scribe of our first position is for a young man named Bill who wrote some of the most beautiful dialogue you have ever seen. He did it. in Romeo and Juliet why then is it my bomb Wow Julius Caesar tries to make that my horse Octavius ​​and he did it in our song Hamlet Stan aha Rosencrantz good guys how do you vote like the indifferent sons of the earth happy and look, we are not too happy ?

In Fortune's cap we are not the button nor the sole of her shoes nor my lord but someone lives around her waist or in the middle of her favorite, they touched private parts, we, in the secret parts of fortune, it is very true, she's a whore, what news are we cheating, because this dialogue was originally written for the stage, perhaps, but separating the origins of film, the dialogue from theater is false. and probably impossible in the bard is just the goat and Hamlet is even better and if you haven't given him a chance since high school, do yourself a favor and try him on film, his dialogue is much funnier in your hands and mouth. of an intelligent actor who on the page can reveal the humor, the wit, the musicality, the subtext, the emotion, the conflict, the humanity beneath it all and there is hardly anything better than Kenneth Branagh Stern, there is nothing on this list that Shakespeare has not done. best and first, that's why we think this is the best dialogue ever.

So what do you think you don't agree with some of our picks? Should we leave out any of your favorite dialogues? You think my voice sounds sexy and when he takes me out for a night. of passion and romance, is there anyone still listening? God. I hope you don't let us know in the comments below and be sure to subscribe for more Cinna Fix movie lists.