Shoot The Moon Page #2

Synopsis: A fifteen year marriage dissolves, leaving both the husband and wife, and their four children, devastated. He's preoccupied with a career and a mistress, she with a career and caring for four young children. While they attempt to go their separate ways, jealousy and bitterness reconnect them.
Genre: Drama
Director(s): Alan Parker
Production: Warner Home Video
  Nominated for 2 Golden Globes. Another 5 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
80%
R
Year:
1982
124 min
437 Views


Mr. Dunlap.

- What's all this, Willard?

- A little glamour, George.

A little icing on the cake,

a little pizzazz, a little hype.

Books are show business, too,

and, well, we do have the winner here.

Yeah, well, don't count your chickens.

He hasn't won yet.

- This must be the Mrs.

- Yes.

- Scott Gruber, publicity.

- Faith Dunlap.

I love the belt.

- Oh.

- Yeah.

- Okay, now, listen, here is how it goes.

- Here's how what goes?

- Patience, George.

- I want you to turn around...

Can I call you George?

George, turn around.

I want you to go back

to the head of the carpet,

and I want you to do

that walk-in again, okay?

What are you talking about?

From the top, you're gonna love it, really.

- Just try it, George. Do what he says.

- It's so phony.

We're gonna do a good publicity thing...

- For God's sake, smile.

- I am. I'm smiling.

This is George Dunlap.

The Court Game. Willoughby House.

That's Dunlap. Dunlap with an "A".

- And you are?

- That's George Dunlap and friend.

No, no, I'm not his friend. No, I'm his wife.

- Sorry.

- That's all right.

- Oh, look at that.

- Look at that.

- How fat she is!

- That's not nice.

- Your friend Tilly.

- Looks like Mom.

- God, she looks like Mommy.

- I thought that was Mom.

I thought that was Mom, too.

She has the same haircut and everything.

I thought it was her for a second.

- Oh, you look so pretty tonight.

- Oh, thank you.

- You're excited, aren't you?

- Yes, I'm very excited.

Oh, every time George comes

to New York,

you know, all he can talk about

is you and the children.

Oh.

When am I gonna get

to see these wonderful children?

Well, actually, I have some pictures here.

No, no, don't bother, darling.

I can just imagine how fabulous they are.

- Yeah.

- When is non-fiction anyway?

Doesn't he look like one of those guys...

Yeah, on TV shows. Yeah.

Yeah. Like, Dad meets somebody from TV.

That's pretty neat.

Yeah. I wish he'd shut up

and get to the good awards.

I know. Yeah. Oh, look. Oh, look,

there's how they vote for the awards.

- See the guy get the award?

- Look, it's a pen. Yeah, he won.

- That's pretty neat how it's a pen.

- Yeah. Oh, yeah!

- Now get to the next one.

- Oh, here it is, here it is!

Be quiet! Be quiet, Molly. Here it is.

And now the moment

we've all been waiting for.

May I have the envelope, please?

Oh! Okay! He's up. Be quiet, quiet.

And the winner is...

And the winner is The Court Game.

George Dunlap!

Look! Look at him!

Wait! Oh, God, look at him.

- His necktie's all unstraightened.

- Yeah, it is.

Doesn't he look handsome?

- Oh, God, he's happy.

- Yeah, he is.

Daddy looks so nervous.

Oh, look at his face. So long.

Why doesn't he say something?

Talk, Daddy.

I never thought The Court Game

would be so good to me and my family.

If it wasn't for us,

he never would have gotten this far!

And I would also like

to share this award with my friend,

my helpmate,

that most thankless of occupations,

writer's wife.

I mean, my wife,

a lady so aptly named Faith.

- That's Mom!

- Mom! There she is!

Oh, look at Mom!

- That's Mom!

- Oh, doesn't my belt look great!

Oh, Jesus.

Look, they're kissing.

Look at them kissing.

My darling!

Why aren't you sleeping in your own bed?

Mommy hurt her back in the crowd

and I'm all pumped up. I can't sleep.

- I don't want to keep Mommy up.

- You've been fighting again.

Aren't you even gonna congratulate me?

Congratulations.

- Bye, Mom. Bye, Mom! Bye! Bye.

- See you later!

Okay, see you later! Hurry up! Hurry up!

- Bye.

- Bye-bye.

- Oh! My barrette! My hair!

- Forget it! Go on! Just run! Hurry up!

Hold on! Oh, God! Wait, wait! Wait!

Marianne's worm medicine!

Honey, make sure

she takes one after lunch.

Mom, she doesn't eat lunch.

She's on a diet.

What do you mean, a diet?

Well, then, give it to her teacher, honey!

- Bye!

- Bye!

Oh, God!

- What's the matter?

- What's the matter?

- I can't find my glasses. Christ!

- Well, where'd you leave them?

- I left them right here!

- You sure they're not on your desk?

I'm losing everything.

I can't find anything anymore.

Can't even find a goddamn pencil.

What do the kids do?

Use them for pick-up sticks?

And when I do finally rescue one,

it's chewed over like a piece of licorice,

it's got a point like a gumdrop!

What do the kids do

with my pencil points?

Stick them in their goddamn Jujubes?

Oh, George, please stop.

Stop what?

I can't find my goddamn glasses.

Where are my goddamn glasses?

How can I be expected to work

if I can't find my glasses?

Then don't work, George. Just don't work.

I'm late on a Sunday piece.

I've got the cover.

They're closed tomorrow.

Don't work, don't earn money.

- That way, we can all starve.

- Nobody's starving, George.

No orange juice.

Not even a goddamn glass of orange juice.

I've got the energy of a $2 whore

in the morning. You know why?

The goddamn kids drink

all the goddamn orange juice!

Well, we ran out and I meant

to get some on the way back last night.

What? At 2:
00 in the morning?

has been perfectly fine for you lately.

What are you talking about?

I'm talking about the night before last,

George.

I was in town. I was working.

You were with your lady friend.

- My what?

- Lady friend.

Lady friend. What kind of a word's that?

It's like "f***ing," only you don't

tell anyone about it! That's what it is!

Do you want to talk about it?

Don't you think we ought to talk about it?

I said,

"Don't you think

we ought to talk about it?"

No, George,

I don't think I wanna talk about it!

I think we ought to talk about it!

And I don't want to talk about it!

And I wanna talk about it!

- I'm leaving.

- Good.

- I'm packing my bag.

- It's already packed.

What?

It's on the chair upstairs.

I packed it last night.

Hi. Yeah.

Are you the service or are you Dr. Moore?

Oh, you're Dr. Moore's nurse.

Well, I'd like to make an appointment

for Jill Dunlap.

Oh, sh*t. No, not you.

Damn.

Yeah, she hurt her foot

in ballet class last week.

She's limping and she's getting worse.

No, I'm sorry. She doesn't even

get out of school till 3:30.

Piano lesson's at 4:15.

No, her sister. Yeah.

Oh, 4:
45. That's great.

Thank you so much. Bye.

Hey, I'm throwing it out!

Hey, you guys, I said I'm throwing it out!

Go on! Throw your sh*t out!

I'm warning you, guys!

You get down here and eat breakfast

or I'm gonna throw this stuff out!

I don't want any breakfast.

Oh, hi, Molly.

- You getting out of bed, Mom?

- I'm tired.

You're never tired. Why are you so tired?

You slept in yesterday.

- I lost my sock and boot, Mom.

- Yeah?

- Your sock's in the bathroom.

- Oh, here.

Here's your boot.

Win a three-day, two-night vacation

at the magnificent MGM Grand Hotel

in Reno...

All right,

you have a 4:
45 doctor's appointment.

And sit down.

We're gonna eat breakfast. It's ready.

I don't want any breakfast.

What do you mean

you don't want any breakfast?

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Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

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Submitted on August 05, 2018

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