not right as a couple
I don't like your husband. You're no good together.American Hustle · 2013 — Capítulo 17 de 20 · 2'09" · B2
A wife is told her marriage is no good, then gently nudged to talk. Her complaints sound like gossip, but the details about money, the IRS, and a hotel are exactly what the listener needs. “Sometimes you got to let something die to let something live” sounds like comfort; it is also a push.
Over dinner and Prosecco, one person tells another that her husband doesn't appreciate her, then lets her badmouth him. She mentions a curly-headed IRS man, Irv and Carmine at the Plaza Hotel, and money going to Congress. There is talk of money for a taxi, and later a line says, “You got to come with me to Miami.”
Atento a
let something die to let something livebadmouthfull of shitcarting around
Expresión de la escena
End one thing so another can grow.
Someone uses a failed marriage as an example, gently making leaving sound like a necessary fresh start.
Sometimes you have to let something die to let something live—even an old habit.
Speak ill of someone.
Talking nonsense; full of lies.
Taking someone from place to place.
Makes someone furious or obsessed.
In a difficult situation.
23 notas en 39 frases
not right as a couple
I don't like your husband. You're no good together.value someone
He doesn't appreciate you.get up to leave
You got to stand up and you got to leave, you know?Keep got to light and push the beat onto stand and leave.
You got to stand up and you got to leave, you know?think one knows it all
He just thinks that he knows everything, and he's so full of shit. He's such a liar.object clause: The that-clause spells out exactly what he thinks he knows.
He just thinks that he knows everything, and he's so full of shit. He's such a liar.full of nonsense — Private, angry talk with friends; avoid it in formal settings.
He just thinks that he knows everything, and he's so full of shit. He's such a liar.on a call Here it means making a call.
I hear him on the phone, arguing.Let that flow into other instead of hitting each word separately.
He loves Carmine, but he hates that other guy, that curly-headed IRS guy or whatever,or something like that — Casual listing; keep it out of formal writing.
He loves Carmine, but he hates that other guy, that curly-headed IRS guy or whatever,relative clause: The who-clause attaches the accusation directly to the IRS man from the previous line.
who's carting around my husband's ex-lover, that redheaded whore.a highly insulting word for a woman — A harsh insult; do not use it outside a bitter fight.
who's carting around my husband's ex-lover, that redheaded whore.discussing something
When you said IRS, what IRS guy? What are you talking about?force someone to do something Here it carries pressure, not a neutral request.
I think that he's got Irv in some sort of bind or something, and he's making him do all of this stuff.Keep some sort of soft and land the stress on bind.
I think that he's got Irv in some sort of bind or something, and he's making him do all of this stuff.waste money Literally tossing money; here it means wasting or handing it out.
like, throwing all of this money away at, like, Congress or whatever.Sorry to put you in this position.
The other person has just spilled secrets, but the speaker is about to leave for that person's husband; the apology softens the exit without changing it.
Well, I hate to do this to you.hand someone cash for something
I'm gonna give you some money for a taxi home.difficult for me
It's really hard for me.time clause: The before-clause uses present tense for a future event, stressing that change will never come.
Sometimes I think that I'll die before I change.come along with me
You got to come with me to Miami.Rush through come with me and put the main beat on Miami.
You got to come with me to Miami.hurt someone too badly Here too bad means too much or too severely.
Don't hurt him too bad. He's still Danny's father.On the surface this is a sympathetic dinner: one person says “I don't like your husband. You're no good together,” then offers a story about a failed marriage and a trip to Miami. The line “Sometimes you got to let something die to let something live” sounds like advice for moving on. But every comforting phrase opens a door. The wife's reply moves from “I don't want to badmouth my husband” into names, locations, and cash: a curly-headed IRS man, Irv and Carmine at the Plaza Hotel, money going to Congress. The listener keeps asking for the IRS detail, then suddenly has to leave. The kindness is a method of extraction; the real transaction is information.
Sometimes you got to let something die to let something live.In this scene it is advice to walk away from an unhappy marriage: ending something old is framed as a way to start again.
You're too beautiful to be unhappy.A flattering line used to soften the listener up; it turns their unhappiness into something that should not happen to someone who looks like them.
I mean, I don't want to badmouth my husband, but just let me badmouth my husband for a second.She says she does not want to criticize her husband, then immediately asks permission to do exactly that—the polite disclaimer makes the complaint feel candid.
Sometimes I think that I'll die before I change.Later, this line admits a deep resistance to change: the speaker expects to stay the same for life.
The one leaving says, “I got to go talk to your husband,” adds that “my boss, he's already angry,” and offers money for a taxi. The boss line makes the exit sound urgent.
She mentions a curly-headed IRS man, says she thinks he has Irv in some sort of bind, and says she overheard that Irv and Carmine are at the Plaza Hotel giving money to Congress.
The dialogue gives “I don't like change,” then “It's really hard for me” and “Sometimes I think that I'll die before I change.” No reason is given, only resistance.
It means the husband is talking nonsense or is not to be trusted. She follows it with “He's such a liar,” so the line is an insult about his honesty.
Yes. “Don't hurt him too bad. He's still Danny's father” asks the other person not to go too far; it is not a request to harm him.
Siguiente · Capítulo 18knock some sense intoIrving Pitches the Two Million Plan
Capítulo 1last resortLast Resort Loan Pitch
Capítulo 2the Picasso of passive-aggressive karateA Sun Lamp Starts a Fight
Capítulo 3mess with your judgementFBI Reveal at the Loan Meeting
Capítulo 4off the beaten pathThe Jail Cell Confession
Capítulo 5on a first-name basis withEscape Plan Argument Over Danny
Capítulo 6quit while you're aheadThe Fake Rembrandt Reveal
Capítulo 7out of his leagueThe Deal Gets Too Big
Capítulo 8grease someoneA $75,000 Bribe for the Mayor
Capítulo 9can't get enough ofGuests Smell Nail Polish, Talk Business
Capítulo 10back on its feetThe Atlantic City Pitch
Capítulo 11the life of the partyRosalyn Cuts In on the Call
Capítulo 12right off the batThe Ocean Room Pitch
Capítulo 13keep the upper handCasino Pitch at a Party
Capítulo 14falsified my recordsSydney Reveals Her Real Name
Capítulo 15get over onI Should've Gone Away With You
Capítulo 16get someone on a wireNegotiating the Sherman Suite
Viendo · Capítulo 17let something die to let something liveA Wife Spills Secrets Over Dinner
Capítulo 18knock some sense intoIrving Pitches the Two Million Plan
Capítulo 19pay somebody offThe Lawyer Takes the Wire
Capítulo 20make this rightIrving's Apology Goes Wrong