That famous diner scene in Pulp Fiction was originally scripted to imagine an alternate outcome for the fate of the two robbers. In the beginning of the film, Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer) are shown drawing firearms in the middle of a crowded restaurant before demanding money from all of the patrons. This kicks off the story with some excitement as the opening credits roll while the film's iconic theme song plays.
Scene From a Diner
Speaking about the scene on a recent appearance on the Happy Sad Confused podcast, Jackson noted how it was written to be a bit more violent. As Jackson explains, there's a moment where he sees himself shooting both Pumpkin and Honey Bunny to death once he takes control of the situation. Reality then sets back in, revealing that Jules had only imagined the killings. That might be how the old Jules would have handled things, but after envisioning going that route, Jules then opts to settle things more peacefully, going back to what happens in the theatrical ending.
Earlier Thursday, the Farmington Police Department said it received a motor vehicle complaint involving a Dodge Durango in the area of Scott Swamp Road ( Route 6) near the Bristol town line. While en route to the scene, the Durango reportedly crashed into a rock wall at the entrance of an apartment complex near Brookshire Lane. The driver abandoned the Durango, which Farmington police later confirmed to be stolen. The suspect then unsuccessfully tried to steal two cars at knifepoint from the apartment complex before carjacking a 2019 Toyota RAV4, according to Farmington police.
Undoubtedly one of the best crime-thrillers ever made, this diner scene which comes in halfway through is not only one of the highlights of the film, but one of the most iconic moments in cinema history, and deservedly so.
They did have coffee together at a diner, they did open up about their lives, they did find a common ground, and the confrontation did conclude with the pair agreeing at their next encounter nothing will stop them in the way, no matter the cost.
Jonathan Larson's original autobiographical play Tick, Tick...Boom! is itself a love letter to the theater, with Larson detailing his struggles to become a renowned playwright. It was only natural that Lin-Manuel Miranda would take that work and run with it for his adaptation, funneling in a ton of references to Broadway and its finest stars. No one moment in Tick, Tick...Boom! is quite as packed with references as the diner scene where Andrew Garfield as Larson daydreams while the diner is filled with Broadway legends new and old.
Even people Larson wouldn't have known at the time of writing Tick, Tick...Boom! appear in his daydream, as the original cast of his massive musical Rent and stars from Miranda's own masterpiece Hamilton are there. In all, it was a massive undertaking only made more complicated by the pandemic. Some of the original cast of Into the Woods was intended to be a part of the production as well, but Miranda had to make a late change, opting to appear in the diner scene himself. It still makes a lot of sense given Miranda's own impact on the musical world through Hamilton and his previous Tony award-winning play In the Heights.
With a little Hollywood magic and some elbow grease, Miranda was able to fit everyone safely in the shots while not jeopardizing the Broadway stars. Restrictions were taken seriously on the production with the crew losing out on the typical jam sessions and fun that typically come with Miranda's productions, something Vanessa Hudgens detailed in a previous interview. Still, the scene with arguably the biggest hurdles to jump over was brought together and organized in a thoughtful manner to reflect the generations of Broadway stardom Miranda had at his disposal.
The sequence plays out much more slowly than the rest of the film, Black (Trevante Rhodes), the oldest version of the main character Chiron, travels to Miami to meet up with his childhood friend-turned-one-time-lover, Kevin, at a diner. The two have a few short, tense exchanges, before Kevin plays the song that reminded him of Chiron and spurred a late-night phone call.
In order to allow himself options, Mann decided to shoot the scene with three cameras: two over-the-shoulder shots, and one establishing profile shot. In the editing room, the director eschewed the profile shot altogether.
Everyone is talking about episode eight and specifically the way it ended on a real cliffhanger. John Dutton and Rip Wheeler disrupt a robbery as they bust out the guns and battle some bad guys. The criminal activity is taking place inside a diner where Sheriff Haskell tries to talk sense a man holding a young girl hostage at gunpoint. John and Rip get there just in the nick of time, but not before Haskell is shot and killed. The bunkhouse crew debates if this particular scene changes how fans see John and Rip.
The best dinner scenes in movies do more than just tell us what these characters like to eat. They reveal insights into characters. This particular moment from Creed 2 makes Victor a worthwhile adversary and someone we become invested in.
The Butler scene may be hard to watch if your parents are in the same room. It takes an unflinching look at the sacrifices the older generation made to give the younger generation the tools they need to thrive.
The sequel capitalizes on what made the first film work well. A lot of scares come up throughout the film, but the It Chapter Two dinner scene remains one of the most haunting moments in the entire film.
The acting sells this scene in Lars and the Real Girl. Lars introduces his silicone girlfriend to his brother and his wife, and their reactions are priceless. While Karin tries to be nice, Gus is clearly over the situation. The scene is a masterclass on writing subtext as they try to make normal conversation with the blank stare of a sex doll looking right at you.
The iconic scene, however, took a bit of foreplay before it could be coaxed out of Meg Ryan. In 2019, at the tenth annual TCM Classic Film Festival, the cast and crew behind the seminal rom-com were in attendance giving a talk.
Mercuri started as a server at the original Rise N Shine in 2009. She first heard about the job opening from her stepfather, after being unemployed for almost a year, with little money and three daughters to raise.
A sub-trope of the Bar Brawl. Sometimes, you don't have to go to the Bad-Guy Bar in order to have a beat down. Sometimes, all it takes is a trip to the local Greasy Spoon. One or more characters are trying to have a nice meal when an inexplicably aggressive diner patron decides to pick a fight. The inexplicably aggressive patron might even have one or more inexplicably aggressive friends backing him up. This will result in an altercation of some sort, despite the character's best efforts to avoid a fight.
This scene might play out in more family-friendly movies where a bar could be seen as inappropriate. Maybe the scene involves teenagers, so a bar is certainly out of the question, but the writers still want to invoke the same idea as a bar brawl. It's also possible that the writers simply wanted to move the action to a different locale in order to have a nice breath of fresh air. Unlike the Bar Brawl where the hero is usually guaranteed a winner, this scene might have a more unfortunate result. Sometimes, the scene is meant to show how meek the hero is before having his or her final moment of glory. They may even end up Paying for the Action Scene.
Occasionally a follow-up to the Bar Brawl, when, after a night of drinking, the consumption of other substances and tension-building, the combatants-to-be have retired to a diner or restaurant for a meal.
Known as the Seaport Diner before current owners Nick and Maria Kallas took over in 2015, the Broad Street Diner was built shortly after World War II by the Jerry O'Mahony Diner Co. of Elizabeth and features the stainless-steel exterior of many classic diners from that era. It was featured on CBS during a visit from celebrity chef Bobby Flay in 2016 and spotlighted by The New York Times last month.
Although Dee views his actions as inherently benevolent, there is a sense of unhinged malice in the way he completely alters the lives of the diner patrons within the span of 24 hours. Unable to deal with the consequence of their actions, the characters turn on one another, and Dee further manipulates them into resorting to violence. What happens next is extremely horrific. Dee watches the murders take place while calmly slurping on ice cream, exhibiting no empathy or remorse at any point. Instead, he simply proclaims that the truth, although uncomfortable, is a necessary evil, and needs to be emphasized at all times. 2ff7e9595c
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