Marcia Sindell: Paul, since you brought her up,. . .I have to ask you this or I’ll be drummed out of the agents’ union. How would you feel about a non-fiction book, about what went on in that house?
Paul Sheldon: Gee, Marcia, if I didn’t know you better, I’d think you were suggesting I dredge up the worst horror of my life just so we can make a few bucks.
Marcia Sindell: I thought you were over it.
Paul Sheldon: I don’t know if anyone could totally get over something like that. It’s weird. Even though I know she’s dead, I still think about her once in a while.
Waitress: Excuse me. I don’t mean to bother you, but are you Paul Sheldon?
Paul Sheldon: Yes.
Waitress: I just wanna tell you, I’m your number one fan.
Paul Sheldon: That’s very sweet of you.
This is one of those movies that I have seen so many times I don’t have an accurate count. It’s also one that I mostly watched edited on television, so when I watched it for the first time on DVD there were so many things that had either been cut out for time or censored for content; it was shocking. Moral of the story: make sure you watch this movie on DVD. My mother and I always joke about how if this movie is on television, no matter what we are doing, we will leave it on because we just have to see that ending scene. It’s definitely one of the greatest endings in film history. A Few Good Men was nominated for four Academy Awards, though it failed to win any: Best Sound, Best Film Editing, Best Supporting Actor Jack Nicholson and Best Picture. Rob Reiner failed to receive a Best Director nomination despite the Best Picture nod. His place went to Robert Altman for The Player, which failed to receive a Best Picture nomination. Always strange when that happens. The other films nominated for Best Picture that year were: The Crying Game, Howard’s End, Scent of a Woman and winner Unforgiven.
Nigel Tufnel: It’s very, very special. As you can see the numbers all go to eleven. Look, right across the board, eleven, eleven, eleven and…
Marty DiBergi: Oh, I see. And most amps go up to ten?
Nigel Tufnel: Exactly.
Marty DiBergi: Does that mean it’s louder? Is it any louder?
Nigel Tufnel: Well, it’s one louder, isn’t it? It’s not ten. You see, most blokes, you know, will be playing at ten. You’re on ten here, all the way up, all the way up, all the way up, you’re on ten on your guitar. Where can you go from there? Where?
Marty DiBergi: I don’t know.
Nigel Tufnel: Nowhere. Exactly. What we do is, if we need that extra push over the cliff, you know what we do?
Marty DiBergi: Put it up to eleven.
Nigel Tufnel: Eleven. Exactly. One louder.
Marty DiBergi: Why don’t you just make ten louder and make ten be the top number and make that a little louder?
Nigel Tufnel: [beat] These go to eleven.