Shoot The Moon Page #6

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


- Oh, I know.

- How about a cup of coffee then, Frank?

- I'd love a cup of coffee.

Oh, good. Oh, Sher, why don't you

get out some of that nice brandy.

You'll have some brandy,

won't you, Frank?

Yeah, yeah, go ahead.

Sherry, go ahead and get the brandy.

- Which brandy is it?

- The one in the green bottle.

- That's Daddy's brandy.

- That's all right. Just get it, Sherry.

- I don't know, Faith. I had this wine and...

- Oh, no, no.

But the brandy makes the coffee

taste better and the coffee makes

the brandy taste better. I don't know.

Maybe it's the other way around.

Anyway, why don't you

just have some, Frank?

Will you join me?

Yeah. I'll join you, of course.

- I think I'll do the dishes.

- Oh, that's all right, honey. Leave them.

It's time for you to go to bed, anyway.

Go to bed? It's only 10:00.

Sherry, you've got school tomorrow.

How about a big glass of brandy, Sherry?

Milk!

Can you get it yourself, honey?

- What's this "honey" sh*t all of a sudden?

- Sherry, that's enough of that.

Good night, Frank.

I'll see you in the morning.

- Okay.

- And I'll see you soon.

Good night.

- Here's one for you, one for me.

- Thank you.

How about a cigar to go with that, Frank?

Well, no, thank you,

I really don't smoke cigars.

No. Well, I...

I haven't got any...

Come on, Mom,

you know what he smokes.

That's great. I'd love a cigar.

Oh, good.

Well, they're just in the other room.

- Okay.

- I'll be... I'll be right back.

You want me to stay here

or come with you or...

Oh, no, no. You stay... You stay there.

You're comfortable, aren't you, Frank?

Comfortable?

Makes no difference to me.

- Good. I'll be right back.

- Okay.

Oh, I'm sorry. Well, I mean...

- Well, here's your cigars.

- I can't smoke all of them.

I know. I'm sorry.

- Any one'll do.

- This one?

Sure.

- Yeah.

- In your mouth, huh?

Thanks. Excuse me.

Well...

- You got any music?

- Music?

- I see you got a stereo.

- Oh, yeah. Sure, we have some.

How about the March of the Children

from The King and I?

- I don't believe I know that one.

- No, I'm just kidding. It's a joke.

It's one of Molly's favorites.

- Oh, yeah, I love this song.

- Yeah, it's great.

You wanna dance?

Dance?

- Don't you dance?

- Not in a long time.

Why?

Oh...

- I'm just a little nervous.

- Nervous?

- Scared.

- Why?

'Cause it's been a long time

since I've danced

or been alone with a man

other than my husband.

Can I kiss you?

No, I don't think so.

I mean, yes.

- Timmy's coughing.

- I'll go.

I'll do it. You stay where you are, love.

- What's the matter, Timmy?

- I can't breathe.

- Do you want some Coke?

- It's too warm.

Good for your stomach.

I think I have to throw up.

Well, don't. Come on, come on, come on.

It's okay, it's okay.

- Where's Mom?

- She's sleeping.

- Where's Daddy?

- What do you mean, Timmy?

- Daddy.

- He's in Los Angeles. You know that.

- You're sleeping over?

- Yes. Of course I am.

Don't you want to go home

and be with your own children?

Thanks.

He's okay now.

You coming back to bed?

- I would have gone.

- That's okay. You always go.

Sean never did.

Do you miss him?

Never.

Even when I was with him, I was Ionely.

I never have that feeling with you.

And I knew I wouldn't

as soon as we got going.

I don't like being alone.

I mean, I can stand it, of course, but...

I want a friend.

You're my friend, George.

I like you.

I love you.

And if you don't come through,

I'll find somebody else.

Mom, I'm having an appendicitis attack!

- Sherry, you have a fever.

- No, Mom, it's my pancreas!

- Pancreitis.

- Go back to bed.

- It's gallstones, Mom, believe me.

- Oh, Sherry, you do not have gallstones.

Now, just go to bed

and drink the tea with honey,

and I'll make you a nice rice pudding.

- Mom, I don't want a nice rice pudding!

- All right, then, Sherry.

Don't have a nice rice pudding.

I hate Daddy.

What's the matter?

I hate Daddy.

Sherry?

Are you all right?

Why did Daddy leave us?

Well, I don't think he left you.

I think he left me.

- I'm never getting married.

- Oh, Sherry, don't say that.

What's the point?

Well, when two people love each other...

It's... I don't know.

It's like going through doors and...

At first,

you go through the doors together.

And...

Then one person gets ahead.

But if they love each other,

why don't they wait for each other?

I don't know.

- It's all Daddy's fault.

- No, Sherry, it's no one's fault.

No one's to blame. It's just time.

Do you wish for you and Daddy?

No.

- You and Frank?

- No.

You stopped wishing?

Oh, no, I hope I never stop wishing.

No, it's just that when you get older,

you learn to take things as they come.

- Your Daddy always says...

- What does Daddy say?

"Wishes are sometimes all that we have."

What do you mean, what'd I get?

I get what I always get.

Hey, what... Where did you get those?

- Didn't you want them? I got a whole box.

- She stole them, Mom.

- Why did you do that?

- I like them.

- Well, you can just put them right back.

- But I can't.

- Why not?

- I ate nine already.

Oh, let me see those.

Oh, honey, are you all right?

Come on, Molly, what are you doing?

You know I have to go

into Mr. Millers' every day,

- and you know I can't do that.

- Hi, Sandy.

- Hi, kids!

- This is Sandy, Mom.

- Hi.

- Hi.

- Bye, Sandy.

- Bye.

Bye.

What do you think, Mom?

Do you think she's pretty?

I don't think she's pretty. She's all skinny.

She looks like a clothes hanger.

I don't know. I kind of like her clothes.

They're designer clothes,

aren't they, Mom?

- Get in and shut up!

- I don't think she liked her clothes.

- Yeah, just give me a lighter.

- This is very cool here.

Can I have the cigarette in my mouth?

No, will you put it in my mouth?

Faith!

- What are you?

- I'm not gonna give it to you then.

- Put it in my mouth. Go ahead.

- Why are you doing this?

Faith!

I'll get it later. I'll get it later. Later!

Oh, God. Oh, dear.

- Where's Sherry?

- She went to the city.

Mother took her to the ballet

for her birthday.

Oh, I see.

- What's that?

- Frank's lunch. He loves Syrian bread.

- What is he, an Arab?

- No. He's not an Arab.

- I brought Sherry the typewriter.

- What?

The typewriter I told you about.

The one for her birthday.

Oh! Oh, yeah, that's great.

- No, I want to give it to her.

- Okay.

- Okay, I'll be back.

- All right, sounds good.

Incidentally, the next time

Sherry goes out of town...

- Yeah?

...I'd like to know.

Out of town? She's just with my mother

for her birthday, George.

I'm really sorry.

- That's the tennis court?

- That's it.

That clay's gonna run like molasses.

You should have used en-tout-cas.

En-tout-cas?

Well, if I could spell it, I would've used it.

Tennis courts are tricky things.

You can't just rush into them.

And if you're gonna build one,

you might as well do it right.

Frank and I are doing just fine,

thank you, George.

I'll bet you are.

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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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