Shoot The Moon Page #5

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
456 Views


- How old was he when he died?

- Forty.

- Not old.

- No, not old.

But he never stopped working,

he never stopped writing.

Jack London was a wonderful man.

- You bet he was, Dad.

- He was a wonderful man.

Yeah, he was a wonderful man.

Let's go. The trail closes at 4:00.

Yeah, you know, you put them in together.

What a rotten thing. Get enough?

Get enough? Cut it out. Cut it out.

Come on.

Look at that. Look at that.

Romeo and Juliet.

- What do you mean?

- That's the longest good-night in history.

- He was just tucking us in.

- I'll help.

You take your shower, George.

I'll come back later

and kiss you good night, okay?

Why don't you kiss them now?

Sandy, you are bossy.

Yes, I am.

I want a little time with Daddy to myself.

You have a lot more time with him

than our mother does.

Yeah, and she doesn't

make us go to bed so early either.

Your mother and I do things differently.

- See you in the morning. Good night.

- Good night.

I bet you wanna make love to Daddy.

Yes, I do. What's wrong with that?

What's it like making love to Daddy?

Making love to your daddy

is a rare and beautiful thing.

Get into bed, Marianne. All right.

- Good night.

- Good night.

But what's it really like?

What's it really like?

It's like eating ice cream.

- Good night.

- Good night. Good night.

It's like eating ice cream?

- I bet it's disgusting.

- Good night.

Here we are. Bye.

- Bye. Bye.

- Bye, kids.

- You better get in. You're gonna get wet.

- Bye.

- Okay, what do you want?

- I want a Super Starburger,

a strawberry shake,

double French fries and apple pie.

- Jill?

- I want a Happy Starburger with cheese,

- a vanilla shake and two apple pies.

- You can't have two apple pies.

Why not?

I'm having one instead of my French fries.

- You can't have two apple pies.

- Then Molly can't have French fries

- and an apple pie.

- I can so! That's what I had last time.

If you can have French fries

and an apple pie,

- I can have two apple pies.

- That's not fair.

- Shut up, Molly.

- Shut up, yourself.

Shut up, both of you!

It's almost 6:
00.

I'm supposed to have you home by 6:00.

- Okay, what do you want, Marianne?

- Nothing.

- What do you mean, nothing?

- Nothing. I'm not hungry.

You've got to have something.

You haven't eaten.

All right, I'll have two Superstars,

a chocolate shake,

- double French fries and a cherry pie.

- She can't have that if I can't, Dad.

Never mind!

Hi!

- Mommy.

- Did you have a good time?

Great, get inside, get inside.

Hi, Marianne. Come on, hurry up.

Here, I'll get them.

- It's Sherry's birthday next week.

- Yeah.

I thought maybe

she could spend the day with me.

I have tickets for the Ice Capades.

- Well, you better discuss it with her.

- I already did. I called her at school.

- She said she didn't want to go.

- Well, I guess she doesn't want to go then.

Well, I thought perhaps

you could speak to her.

Oh, I don't think so, George.

I think this is between you and Sherry.

I have a present for her.

A portable typewriter. An Olivetti.

Oh, that's nice.

She really wants a typewriter.

- I'll come by with it.

- Okay.

The other night,

when I picked up my books,

I may have taken

a few of your cookbooks by mistake.

Oh, don't worry about it, George.

You know me.

They were mostly decoration anyway.

And besides, I think

- I'm changing the dining room around.

- Yeah?

Yeah, I think I'm gonna put

a big rya rug in front of the fireplace.

- What about the couch?

- Well, I thought that I'd...

I'd put that behind the rug

in front of the fireplace.

- How did you know about the couch?

- It's the last thing we talked about,

when we were talking.

George, I'm sorry.

This is Frank Henderson.

- How do you do?

- Frank, yeah, this is my husband.

- Was my husband.

- Hello.

- I'll be back later.

- Okay, Frank.

Who's he?

- Just somebody helping out.

- Helping out?

- He's building our tennis court, George.

- Tennis court?

Yeah, that's right. Out in the grove.

I don't want any goddamn tennis court

at my house.

What do you mean, "your house"?

We kind of think that it's our house,

George.

- Ours?

- Yeah, me and the children.

This is my house. I fixed up this house.

Well, you're not at this house anymore,

George, remember?

You walked out feet first, or maybe

there was something else preceding you.

- This isn't your house yet!

- George, it's getting late.

The children have school tomorrow.

We'll talk about this

some other time, okay?

Okay, it's all yours.

- Sherry!

- Oh, bug off!

- Get it in reverse!

- Yeah.

- Watch out, Mom!

- Okay.

Cut the gas off.

Good for you.

- Don't put it in gear, though.

- No.

- No, Marianne. No, this isn't a toy.

- I know it's not a toy. I know.

- You quit?

- Yeah.

How about these two we're sitting on?

Hey, I want to leave this end open.

I was thinking about having

a little gazebo, you know,

- like you see at Wimbledon.

- At what?

Yeah, I thought we'd run the mesh

right up to this point and then

we'd have this tennis house.

A summer house.

You know, like the Japanese.

Where the children can have iced tea

and chicken sandwiches.

The Japanese?

Yeah, and they could bring their friends.

Play tennis all day here.

Lucky kids.

I was thinking

it would be beautiful, Frank. Well?

- Well, it'd be unusual.

- No, no, no, no, I didn't ask you if,

wait a second,

if you thought it's gonna be unusual.

I asked you if you thought

it was gonna be beautiful. This is bad.

Yes, ma'am, it'll be beautiful.

Well, anyway, listen,

would you like a beer?

Would you like something to drink?

A Coke?

- Yeah, a beer would be good.

- Beer.

- Yeah.

- Okay.

Stop!

- Marianne.

- I didn't do it that last time.

I gotta go to the bathroom, okay?

Hey, what are you doing up there?

- What are you looking for?

- Beer.

- Beer for Frank?

- Beer for both of us.

- You drinking beer?

- Sure I am.

You know, I was thinking maybe

we ought to ask Frank to stay to dinner.

I think we could

get the wall done by dinner.

- Why don't you ask him?

- No, I think you should ask him, Sherry.

- He likes you.

- You think so?

Yeah, I do. So why don't you ask him?

- Oh, I don't know. Ask him yourself.

- Come on, Sherry.

Okay, I'll ask him on one condition. Yeah?

That I get to eat dinner with you guys

and none of the other kids get to come.

- Why?

- Okay, it's a deal.

Now, let's see,

I wonder if he likes chicken.

Doesn't everybody like chicken?

Chicken's obviously very good, isn't it?

Yeah, that's what I'll give him.

I'll give him some chicken.

I hope we have some in here someplace.

Oh, God, where in God's name

did our thighs go to anyway?

Maybe they're in the freezer?

Didn't I put a chicken in the freezer?

Is it that turkey? Oh, God!

God, it's that terrible old Easter turkey.

I don't want to give him this.

- This is the worst.

- Hey, relax, will you, Mom?

He's only a guy.

- How many glasses of wine have you had?

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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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