to owe someone a phone call back
I'll tell him he owes you a call.Swimming with Sharks · 1994 — 第 1 / 16 章 · 3'50" · A2
Buddy Sweet-Talks Shelley Winters, Explained：sweet-talk someone
At a Hollywood gathering, one guest retells how Buddy Ackerman charmed a reluctant Shelley Winters into reading for a part; she sits there unmoved, and "Shelley's not buyin' it." The chapter then moves to Guy meeting the director Foster Kane and to a call from Buddy.
あらすじ
At a party, a group trades Hollywood memories. One guest tells how Buddy Ackerman sweet-talked the Oscar-winning Shelley Winters into doing a reading, and how she silenced him by pulling award after award from her bag. Guy is then introduced to the director Foster Kane and gets a call from Buddy.
注目の表現
Owe someone a callBlow itSweet-talk someoneNot buy it
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このシーンの表現
Sweet-talk someone
用甜言蜜语哄人、把话往好听了说
在基斯通影业的办公室里，巴迪想请息影多年的雪莉·温特斯出山试镜，一边游说一边猛灌好话，助理用这个词形容他连哄带捧的手段。
He sweet-talked the landlord into giving him an extra month.
このシーンの他の表現
- Owe someone a call
to owe someone a phone call back
- Blow it
to ruin a good opportunity by making a mistake
- Not buy it
不买账、不相信那套说法
このシーンのメモ一覧
101 行のセリフに 25 件のメモ
Thanks, Derrick. Where was I?Buddy invites her to do a reading for a part.20 years, but Buddy can convince a flea it needs ticks.Shelley comes rolling into the office, plops down in a chair.Shelley comes rolling into the office, plops down in a chair.Buddy was working her, sweet-talking her.Shelley's not buyin' it. She's just sitting there.No way.An honest-to-god Academy Award.You're kiddin' me.Buddy still doesn't shut up.He's goin' on and on and on and on.Buddy's sweet-talkin' like crazy.Dead silence.Finally, she looks him right in the eye, and she says...This coming from the future president of Keystone Pictures.Never apologize, Moe. It's a sign of weakness.To keep an eye on you, Foster.I haven't heard back, though.He is the prodigal son of Keystone Pictures.He is our ticket in.to ruin a good opportunity by making a mistake
So don't blow it with your stupid questions.Forget about Buddy.I think we really need to talk.「Buddy Sweet-Talks Shelley Winters」を読み解く
What's really going on
The chapter works the way the movie works: Hollywood runs on talk, and the talk always belongs to the more powerful man in the room. The crowd cannot even place Shelley Winters, confusing her with Martha Raye, yet Buddy's pitch is retold as legend, proof that a producer's charm is a real and enviable weapon. One line sums up the code: "Never apologize, Moe. It's a sign of weakness." Here sincerity is a liability and every friendship is an opening. Foster Kane is described as "our ticket in," and Guy is warned not to blow it with stupid questions. That is why Buddy's call lands so hard: Guy is not a friend to these people, he is access, and he learns it while standing at the party.
Theme
PowerThe party treats Buddy's gift for charming and controlling people as the real currency of Hollywood.
AmbitionGuy matters to these people only as access, and he is warned not to waste the chance his connection gives him.
このチャプターで学べること
- Use owe someone a call for callbacks
- Hear sweet-talk as persuasive flattery
- Use blow it for ruining a chance
- Catch the tension in dead silence
- Notice how "owes you a call" changes the exchange.
Never apologize, Moe. It's a sign of weakness.The room's code stated as advice: apologising looks like weakness, so never admit fault in front of people who keep score.
He is our ticket in.How the hangers-on see Guy: not as a friend but as their access to Buddy and the studio.
This coming from the future president of Keystone Pictures.A dry aside about status and ambition, aimed at the person said to be headed for the top of the studio.
That's only the most powerful, sought-after director in town.The introduction that explains the sudden excitement around Foster Kane's arrival among the group.
このシーンについての質問
Who is Shelley Winters, and why does Buddy want her?
She is an aging Oscar-winning actress who has not auditioned in years. Buddy invites her to a reading because his charm can talk almost anyone into almost anything.
Why can't the guests place Shelley Winters?
They only half-remember her, mixing her up with Martha Raye and joking about denture commercials until someone corrects them.
Why does everyone make a fuss about Foster Kane?
He is described as the most powerful and sought-after director in town, and the others see Guy's connection to him as their own way into the industry.
What does "our ticket in" mean here?
It means a person who provides access. The hangers-on treat Guy as their ticket into Buddy Ackerman and the studio, not as a friend.
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次のチャプター · 第 2 章End of storyBuddy Berates Guy Over the Phone
再生中 · 第 1 章sweet-talk someoneBuddy Sweet-Talks Shelley Winters
第 2 章End of storyBuddy Berates Guy Over the Phone
第 3 章lose the smileGuy's First Day as Buddy's Assistant
第 4 章Humor meBuddy Berates Guy Over Sweet'N Low
第 5 章punch below the beltGuy Learns the Rules of Show Business
第 6 章It's not brain surgeryBuddy Rages Over the Word Unreachable
第 7 章give action to get actionAn Apology Becomes a Power Play
第 8 章Get over yourselfGuy Explains Why He Loves Movies
第 9 章written all over itBuddy Orders Guy to Bury the Story
第 10 章White knight in shining armorBuddy Offers Guy the White Knight Role
第 11 章on a short leashGuy Is Warned Off the Boss
第 12 章Hit a home runBuddy Pitches Guy's Ending to Cyrus
第 13 章make a killingGuy Ditches His Partner to Obey Buddy
第 14 章the rat raceBuddy's Rat Race Speech
第 15 章Paid my duesBuddy Defends Himself to Guy
第 16 章climb the social ladderDawn Finds Guy Holding Buddy Hostage第 1 / 16 章 · 残り約 78 分