Newsgroup: it.arti.cinema
Titolo: I cliche del cinema [LONG]

Credevo fossero abbastanza conosciuti, invece alla riunione alcolisti
Romani di ieri sera (Io, Davide,,,, Nicola, Domenico, Pato) ho scoperto
che non ne erano a conoscenza... colgo l'occasione per postare le prime
lettere (A-D). se il feedback sara' positivo continuero' con gli altri 3
"volumi".
Enjoy
AIRPLANES
Piston-engine airplanes in the movies are unusually subject to engine
failure. This failure mode is unique to filmdom - engine coughs, keeps
running. Hero doesn't notice. Then it stutters, catches again. Hero
notices, taps gas gauge, turns lever. Then it stutters exactly three
times and stops immediately, including propeller. No further efforts are
ever made to restart. 
ALCOHOL
Only men are alcoholics. Any hopeless alcoholic can quit drinking when
faced with an important challenge. The instant the alcoholic stops
drinking, all his faculties return and he faces no annoying withdrawals. 
ALIENS
If there is more than one or two of an alien race, they are always
roughly the same size as humans. 
Aliens usually speak English and have same colloquialisms. planet. 
All members of alien species wear the same outfits, including clothing,
hairstyles, and jewelry. This makes them readily identifiable. Aliens
who do not dress like aliens are hiding something. 
This may, in fact, be a consequence of the fact that aliens all have
single, monolithic cultures: one language, one religion, one outfit, per
planet. 
ANIMALS
Bad guys will always get killed by a snake, while the hero simply
reaches out and picks it up with his bare hands. (In addition, he will
either break the reptile's neck (?) or bite it's head off) 
Deadly reptiles will always attack a woman first, even if she's in the
presence of thirty men. 
Dogs always know who's bad, and bark at them. 
ANSWERING MACHINES
If the hero listens to his answering machine and one important message
is unexpected then he usually has two very short messages on the tape
before, one spoken by a man, one by a women. "Here's John! I see you
tomorrow at eight.".... beep ... "This is Sallieeeeee! I'll call again
later." ... beep .... and then finally "Ahhhh! The killer is .....". If
however the message is expected be sure that it will be the first one on
the tape. 
BARS/DRINKING
Every time some guy walks into a bar, usually the hero, he gets into a
fight. Usually right under a BUDWEISER sign (see "product placement").
Likelihood of fight increases if country music is playing in the
background. 
Movie heroes in a bar will either order strong alcoholic drinks and
swallow them down like iced tea or will ask for milk. The latter will
always provoke sarcastic remarks and a fight will ensue. 
When men drink whiskey, it is always in a shot glass, and they always
drink it in one gulp. If they are wimps, they will gasp for air, then
have a coughing fit. If they are macho, they will wince briefly,
flashing clenched teeth. 
A cup of black coffee/splash of cold water in face is enough to render
the most inebriated person stone cold sober in a split second (see
several thousand westerns, and "Peter's Friends.") 
BINOCULARS & GLASSES
Whenever someone looks through the binoculars, you see two joined
circles instead of one. 
Glasses never collect moisture when you come in from the cold outside. 
Computer geeks and "intelligent" persons use them, action heroes never
have glasses. 
A villain will always commit murder right in front of the window when
someone with binoculars is watching. 
BIOLOGY AND GENETICS
People are often exact duplicates of remote ancestors, or of their
parent at the same age. 
At least one of a pair of identical twins is born evil. 
Radiation causes mutation not to your future children, but to you, there
and then. Mutation is never immediately fatal, but first either makes
you into a formless blob, or a functional creature with animal-like
features. 
Interbreeding is genetically possible with any person or creature from
anywhere in the universe. 
Newborn babies can babble, crawl, and hold their heads steady. 
BODILY FUNCTIONS
People never cough, sneeze, blow their noses, or show any other symptoms
of being in less than perfect health. 
Only exception to the above is when they're dying. A cough is a symptom
of terminal illness. 
Menstruation is an unknown phenomenon in movies. Female movie characters
are all immune from it. 
You can eat as much as you want in a film and you'll never EVER have to
go to the bathroom. 
Vomit is portrayed by distant toilet flush. Nobody ever throws-up on the
carpet. 
BOMBS
Evil geniuses who devise bombs to destroy things/people always have them
detonate after at least an hour, giving the hero ample time to defuse
it. 
Bombs always have big, blinking, beeping timer displays. Evil geniuses
who devise bombs to destroy things/people are always thoughtful enough
to include a visible display (usually LED) of how much time remains
before the bomb detonates, giving the hero accurate feedback on exactly
how much time remains. 
When you cut the wire to the detonator, the timer will stop. You will
not be able to do this, however, until only one second remains. 
All wires have different colors, so the hero can easily differentiate
them when he has to cut the right one. 
Bombs detonated with microwave ovens always explode 2 seconds after the
timer reaches 00:00 and the microwave oven beeps (ex. "Under Siege"). 
Explosions always happen in slow motion. When an explosion occurs, make
certain you are running away from the point of detonation so the blast
can send you flying, in slow motion, toward the camera. 
A building that in real life would require several dozen carefully
placed explosive charges for demolition, can in a movie be destroyed by
a single bomb in a car trunk (see "Lethal Weapon III"). This bomb will
cause no damage to any other building on the block. 
CABS
Movie passengers either don't pay cabs at all, or have the exact change.
Same is true in restaurants. Checks are always designed to be 15 percent
under the bills the male customer has in his hands first. 
Movie people can get cabs instantly, unless they are in danger,
whereupon no cab can be found 
CARS & DRIVING
Movie characters driving in the city will get to park wherever they like
when they get to their destination. 
When you are alone in the back seat of the car, make sure you sit in the
middle. 
Sudden acceleration of a car (be it forwards, backwards, stopping,
skidding, sliding, or whatever) causes a loud skid, even on dirt or wet
roads. Be prepared. Each wheel is also fitted with a smoke device to let
you know when this happens. Hollywood cars are also special: when you
take off quickly, you always leave a skid mark for each drive wheel,
regardless of whether you have a limited slip differential or not. 
Pedestrians in Hollywood have the world's best reactions, so don't worry
if you have to drive down a sidewalk. Mr. Pappodopolus is quite used to
having his fruit cart smashed, and despite his gesticulations and
curses, he always manages to get out of the way in time. 
There are always people carrying around large sheets of glass on the
street during a car chase. 
The person behind the wheel is talking to and looking at their passenger
for the entire journey without actually looking at the _road_, changing
gear, signaling etc. (ex. "When Harry Met Sally"). 
Cars chasing each other in the middle of a city will not suffer enough
damage to stop the chase. 
People being chased by a car will keep running down the middle of the
road instead of ducking in somewhere where a car cannot go. 
A car will always explode when shot at, unless the hero is driving it. 
When you drive a car, you can always recognize all the persons you know
that pass you in the opposite direction. 
If someone has "fixed" the foot-brakes in the car, the driver never use
the hand-brake and the gears to slow down, at least not until the last
moment. 
Cars often end up on cliff-edges with 2 wheels in the open air. The good
guys are saved just before the car falls over, the bad guys join the car
in the free fall, often caused by a bird setting down on the part of the
car hanging over the edge. 
When a car falls off a cliff after a car chase, it usually explodes
before reaching the ground. 
When speeding cars hit a parked car, they fly up into the air while the
parked car doesn't even wiggle 
After a car crash, no movie character ever sits and shakes for five
minutes, or becomes incoherent with shock. 
All cars seem to run on kerosene rather than gasoline (hence the copious
black smoke when they burn). 
Watch steering wheels in movie cars, especially in "through the
windshield looking at the driver" shots. 9 times out of 10, the spokes
of the wheel, which one would think should be horizontal, or close to
it, are vertical, i.e., one can see one of the wheel spokes vertical,
above the dash, in front of the driver's face, even when he's driving
straight. 
Whenever you see someone driving, even on straight and smooth roads,
they are sawing at the wheel hard enough to be running an obstacle
course. The car doesn't swerve at all, of course. The amount of excess
wheel-twisting is independent of speed. 
Not only do movie cars always park right in front, but they are never
locked. Even convertibles with their tops down, in NYC, are still there
hours later. 
Movie cars have all excellent brakes and can come to a full stop from 80
MPH (with loud screeches, even on dirt roads) in 20 ft. 
There's never an annoying wind disturbing the coiffures of convertible
passengers. 
There are no stop signs in movie land. Wherever you have to drive, no
matter how close or far away it is, you never have to stop before you
get there. 
Film cars do not have inside rear-view mirrors. Most of them do,
however, have an appx 1" gray spot on the inside of the windshield where
the mirror would normally mount. 
Film cars never start the first time when you're running away from the
bad guy. 
If there is a large bump in a downhill road, speeding cars will always
fly over them and hit the ground in shower of sparks. An interior view
will then show the reaction of the passengers at the moment of impact.
They will not be injured, even if they are not wearing safety belts. No
tire damage, broken axles, or suspension failures will occur as a result
of the impact. The car will then execute a sharp left turn at the bottom
of the hill. Losing a hubcap at this point will be optional. 
Any time you see a really nice, snazzy foreign car or a great old car
like a 65 mustang, you know it's going to be smashed into a million
pieces. 
All too many times a Hollywood car chase will be interrupted by the
emergence of a semi from a driveway, alley, or street, resulting in the
escape of the hunted, or the death of an expendable character. 
Police cars involved in chase scenes usually tend to suffer more than
any other vehicles- they have head on collisions, smash parked cars,
fall into water, and of course, experience the ever popular flying-roll,
causing the car to land upside down and crush the lights and siren.
Usually, we never get to see the unlucky police force member before or
after the inevitable accident. 
A car that crashes will always explode in a ball of flames, but not
until the hero can pull the important passengers to safety, and yell,
"Watch out! She's gonna blow!" 
Acid applied by the villain to the hero's brake lines never has any
effect unless the car is heading down a steep, winding road. Cars at
traffic lights have invulnerable brake lines. 
No one ever runs out of gas (even in long car chases). Corollary: every
stolen car has a full gas tank and gets great gas mileage. 
Vintage cars are always 100% immaculate and freshly polished. They never
have any scratches, dents or repairs. 
No one fumbles for car keys right before a car chase. they always jump
right in and start the car up because they've left the keys in the
ignition. Not a great idea in any major city. 
CHASES
Woman falls to the ground whilst being chased by a bad guy, even when
running over level, unobstructed terrain. Note that when a man and woman
are being chased, usually the woman falls, then the man pauses and helps
her up. 
Corollaries to the above:
Man will then continue to run with woman, holding her by the hand or
preferably upper arm, even though this takes them both below the speed
either one could make on their own. 
All movie women must be pulled along by their hands, even if the male
puller is short & fat and the woman is a track star. 
All movie women try to run in heels, never stopping to kick them off. 
Women not only have to be pulled along, they do not have enough sense to
run and keep running unless a man touches her elbow, holds her hand or
puts his arm around her shoulders. 
Chases will always stop to throw obstacles (trash cans, lumber, chairs)
in their pursuers' way. No matter that they take three times as long to
dump the obstacles as it takes the chasers to simply jump over them. 
CHESS
GOOD Chess players are always portrayed as upper class. (Go to any
tournament and see how many rich guys there are there. NONE! They're too
busy chasing women and driving fast cars to play chess.) 
Chess players in movies are always all around brilliant and charming
people. (With very few exceptions, REAL chess players are introverted
and so involved with chess they have little time to WASTE pursuing
anything as trivial as LOVE, A PROFESSION, or SOCIAL GRACES. Exception:
Computers! Most Chess players are, or will become, Computer nerds). 
Great Chess players are always honored to play on some rich guy's fancy
Philipino Art Set. (In reality, better players are almost always adamant
about playing on a plain, unadorned wood or plastic "Staunton" set. No
red or blue pieces, no ceramic or metal, no elephants for rooks.) 
The board is usually set up wrong, with the black square at the players
lower right, or with one or both of the King/Queen set up backwards.
(WHITE SQUARE GOES ON THE PLAYERS RIGHT. QUEENS on their own color:
white QUEEN on white, black QUEEN on black.) 
Supposedly brilliant players usually miss one move checkmates in
critical games. This is akin to a professional race car driver backing
his station wagon into the garage door. 
On the other hand, good players are often portrayed as seeing 15 or 20
moves ahead in detail from a middle game, when there are still many
pieces on the board. (One could more easily predict the next president
and all 535 congressmen correctly before the election. In the End Game,
when the number of pieces is limited, looking ahead often becomes a
question of counting moves, who can get to the critical square first, or
of very limited numbers of moves, and is more feasible.) 
Beginners usually beat experienced players, as a mechanism for showing
the neophyte's native brilliance. (This is about as common as a tall,
athletic man who's never seen a basketball beating an NBA player in
one-on-one. It could happen, if the pro had a really bad day, but who
would you bet on?) 
Players who are really behind (have lost more pieces) come up with
brilliant ways to win anyway. (If they're so good, how did they get
behind in the first place?) 
CLOTHING
Male characters generally are cold-natured. They need to wear jeans and
leather jackets when the female characters are comfortable in cutoffs
and a halter top. 
Heroes are the exception to the above. He often is more comfortable in
extreme cold after losing his coat or having the shirt ripped from his
back. When this is not true (Cliffhanger), swimming in ice water helps. 
Whenever anyone knocks out anyone else and takes their clothes, it's
always a flawless fit. 
COMPUTERS & ELECTRONICS
Word processors never display a cursor. 
You never have to use the space-bar when typing long sentences. 
Movie character never make typing mistakes. 
All monitors display inch-high letters. 
High-tech computers, such as those used by NASA, the CIA, or some such
governmental institution, will have easy to understand graphical
interfaces. 
Those that don't, have incredibly powerful text-bases command shells
that can correctly understand and execute commands typed in plain
English. 
Corollary: you can gain access to any information you want by simply
typing "ACCESS ALL OF THE SECRET FILES" on any keyboard 
Likewise, you can infect a computer with a destructive virus by simply
typing "UPLOAD VIRUS" (see "Fortress") 
All computers are connected. You can access the information on the
villain's desktop computer, even if it's turned off. 
Powerful computers beep whenever you press a key or whenever the screen
changes. Some computers also slow down the output on the screen so that
it doesn't go faster than you can read. The *really* advanced ones also
emulate the sound of a dot-matrix printer. 
All computer panels have thousands of volts and flash pots just
underneath the surface. Malfunctions are indicated by a bright flash, a
puff of smoke, a shower of sparks, and an explosion that forces you
backwards. 
People typing away on a computer will turn it off without saving the
data. 
A hacker can get into the most sensitive computer in the world before
intermission and guess the secret password in two tries. 
Any PERMISSION DENIED has an OVERRIDE function (see "Demolition Man" and
countless others). 
Complex calculations and loading of huge amounts of data will be
accomplished in under three seconds. Movie modems usually appear to
transmit data at the speed of two gigabytes per second. 
When the power plant/missile site/whatever overheats, all the control
panels will explode, as will the entire building. 
If you display a file on the screen and someone deletes the file, it
also disappears from the screen (e.g. Clear and Present Danger). 
If a disk has got encrypted files, you are automagically asked for a
password when you try to access it. 
No matter what kind of computer disk it is, it'll be readable by any
system you put it into. All application software is usable by all
computer platforms. 
The more high-tech the equipment, the more buttons it has (Aliens).
However, everyone must have been highly trained, because the buttons
aren't labeled. 
Most computers, no matter how small, have reality-defying
three-dimensional, active animation, photo-realistic graphics
capability. 
Laptops, for some strange reason, always seem to have amazing real-time
video phone capabilities and the performance of a CRAY Supercomputer. 
Whenever a character looks at a VDU, the image is so bright that it
projects itself onto his/her face (see "Alien", "2001"). 
CONVERSATIONS
Two people will often converse while one stares out the window, with
their back to the other. When an emotional point is made, the first
person will turn around. 
CRIME
When you go to rob a bank in a film, you will always choose the teller
who has just started his or her first day on the job. 
DEATH
In situations like the Vietnam war, and violent inner city
neighborhoods, the person with the most plans, prospects, and hopes will
die. 
A dying person's last words will always be coherent and significant. 
A good person will always die in the presence of friends. 
If a good person dies with his eyes open, a friend will close them, and
they will remain closed. If a villain dies with his eyes open, no one
will close them, and the camera will linger on his face. 
DINING
The hero and heroine in love always get a great table in a restaurant,
even in New York City at lunch on Saturday (When Harry Met Sally). 
(TO BE CONTINUED)
-- 
Max
            What's the Mind Master?
            No Matter!
            What's Matter Master?
            Nevermind!
                  O
                 o
                o
              ---- 
             |@  @|
----------ooOO-()-OOoo----------
 MadMax is Back on-line

>
grande Max continua fino alla zeta!(oppure postaci la URL)
ciao
Nico


A richiesta posto il resto :)))
- ELEVATORS  
- Movie elevators are always ready at that floor. But if the
hero/heroine is being chased, elevator won't come.  
- If hero OR villain takes an elevator, villain OR hero can beat it by
taking stairs, even if the trip is 20 floors.  
- Most elevator shafts and wires are clean and dust/grease free, and
there's plenty of light so that the hero neither gets dirty nor needs a
flashlight or some other equipment to see (Speed).  
- When one character is pursuing another (good guy after bad or vice
versa) and they reach the elevator just before it closes, they never
stick their hand in the door so it will automatically open back up, nor
do they press the call button to get the door to open.  
- ENVIRONMENT 
- Thunder and lightning always happen at the same time.  
- Storms start instantaneously: there's a crack of thunder and
lightning, then heavy rain starts falling.  
- Heavy rain causes no loss of long-distance visibility.  
- Everything is blue at night-time.  
- Caves always have flat floors, and it's never fully dark.  
- There is always someone in the canal or the storm drain when the flood
hits.  
- The moon is always out at night (except for those cheaper movies where
the sun is still out..).  
- Full moon can occur for several nights in a row.  
- Eclipses happen frequently, and without any warning.  
- EVIDENCE 
- Incriminating evidence can be found either as photograph number four
in a stack, or in the next to bottom drawer.  
- Be sure to leave your important tapes, such as the one labeled
"Incriminating evidence against Senator Smith showing him taking
$24million in bribes and then fondling the drug lord's daughter" or your
computer floppy disks labeled "All the nuclear launch codes are on here"
where they can be easily found.  
- All characters keep detailed newsclippings of important events in
their lives, particularly those events that must be painful to recall,
such as the loss of the character's immediate family due to their own
negligence. NB: If the news report would have come out while the
character was in jail or on the run, all the more reason for the
character to have kept it intact. 
 
- FENCING/SWORDPLAY 
- At some point in a duel, the hero and villain will cross swords at
face level, allowing them to grip each other's weapon while making
nasty/sarcastic comments before they break the clinch and continue
fighting. (Why doesn't anyone just ram the sword guard into their
opponent's face, stun him, and then finish him off?)  
- If the hero and villain's swords cross at or below waist level, they
will break the clinch, fall back, and pause -- despite the fact that a
simple upthrust into the opponent's belly after the break would end the
duel right there and then.  
- If there is a candelabra, the villain will show how talented he is
with a sword by cutting the candles and watching them fall over; the
hero will do the same but the candles won't fall until _after_ the
villain has made a comment about the hero's lack of fencing ability, at
which point the hero will topple the cut candles, showing that he is
more skilled than the villain because _his_ candles didn't fall over
from the force of the cut.  
- During a duel, the hero will jump or climb onto a
table/bench/piano/platform that raises him above the villain. At that
point, the villain will swipe at the hero's legs, which the hero avoids
by jumping up in the air over the villain's blade. _Very_ rarely, the
positions are reversed.  
- Duels usually have one scene where the actors go out of frame and you
watch their shadows fighting.  
- If the villain wounds the hero in his sword arm, one of three things
will happen:  
- hero becomes ambidextrous and fights with sword in other hand;  
- hero finds something else to defend himself with (tapestry, chain,
Mossberg 12-gauge) that can be used with the other hand;  
- hero's girlfriend/sidekick comes up behind villain and impales him,
thus saving hero.  
- If hero is disarmed by villain, one of three things will happen:  
- villain will show a trace of honor and allow hero to get his sword;  
- hero will make mad dash/leap over or around villain to regain sword;  
- just when it looks like the end, hero's girlfriend/sidekick throws a
sword to him, which he manages to grab easily (for the _best_ send-up of
this concept, check out ARMY OF DARKNESS where Ash jumps in the air and
his chainsaw magically clamps back onto his wrist -- it's beautifully
shot and extremely funny!).  
- If there are stairs, the hero will be forced up them backwards by the
villain, at which point the hero will either leap to the ground or swing
from a rope/chandelier/tapestry to get away.  
- If there is a tapestry or chandelier, the hero will cut it loose and
drop it on the villain's henchmen _unless_ the movie is a comedy, in
which case the hero will drop it on his own men by accident.  
- FIGHTS 
- If a character uses martial arts rather than a weapon, his opponents
will always face him one-to-one. Spare bad guys may dance around the
fight taunting our hero, but none will engage until his predecessor has
been disposed of. And if it's an oriental martial arts film, they will
fight in perfect one-two rhythm and form, hit-block-hit-block.  
- Two guys or a bunch of guys go at it, repeatedly bashing each other in
the face with massive blows, or hitting each other with chairs, sticks,
refrigerators, whatever -- and they go one doing this, sometimes for
minutes at a time.  
- People can be rendered inoperative by bumping them on the head.
Beware, though; after you have left the scene, this person will regain
consciousness and be more determined to attack you.  
- Clasping your hands together and hitting the bad guy's back will also
guarantee unconsciousness  
- All fights taking place on the edge of a canyon, tall building, or
other high place require at least one bad guy to get plugged by a
bullet, arrow, or other missile weapon, causing to fall, but keeping him
alive enough to hear his scream of terror echo as he plunges to his
doom.  
- Corollary: whenever someone falls off of a cliff or building, no
matter how much damage they take beforehand, they scream, even if they
were shot through the lungs twenty or thirty times, or were apparently
unconscious.  
- In the West, the favored hand-to-hand combat technique is to throw
yourself prostrate on the other guy and hug him.  
- When a villain is trying to murder someone with a knife, they'll often
use just one hand. The victim meanwhile (usually a woman) is using both
hands to restrain the villain's arm and keep the knife from stabbing
her. But the murderer will NEVER simply use his other hand to take the
knife and easily stab the victim. (see also Knives).  
- FOOD & EATING 
- Pastries are always in plain pink boxes. When we see a plain pink box,
we expected to know that the box contains donuts or cake or some related
item.  
- All movie mothers will prepare a breakfast, usually consisting of
scrambled eggs, bacon, etc. Dad and the kids will invariably arrive at
the table 30 seconds before Dad has to leave for the office and the kids
have to catch the school bus. Each will have time only for a sip of
coffee/juice and/or one bite of toast. There must be enough food left
over in these homes to feed an emerging nation!  
- HELICOPTERS 
- In movieland, there's an abundance of corrupt helicopter pilots.
Villains have no problem renting a helicopter complete with pilot who
doesn't mind shooting total strangers, or being shot at.  
- When a helicopter is hit by a bullet or rocket, it'll explode
immediately if it contains a villain, but if the hero is on board, it
will loose power, smoke will come out of the doors, and it'll just reach
the ground in time for the hero to get clear then duck just at the
moment it explodes.  
- People standing outside a running helicopter can always talk in normal
or just slightly louder than normal voices.  
- A pursued hero, with the bad guys just yards behind him, can jump into
a shutdown helicopter, run through the twenty-five item startup
checklist, engage and spin up the rotors, take off and be out of pistol
range before the bad guys catch up.  
- Bullets shot at a helicopter bounce off the fiberglass and aluminum
"fuselage" components but make neat little holes through the Plexiglas
bubble.  
- When a helicopter's engine dies, the main rotor immediately stops and
the helicopter drops straight to the ground. If a bad guy is flying, the
helicopter disappears in a ball of flame, but good-guy pilots just get
out, dust themselves off, and walk away.  
- When a turbine-powered Bell Jet Ranger helicopter is shot at, it's
engine coughs and sputters, chugs along for a little while as the hero
staggers through the air uncertainly, and then crashes using the
good/bad pilot algorithm noted above.  
- Every helicopter shutting down emits the chirp-chirp-chirp sound of
the rubber drive belts disengaging, in spite of the fact that only the
famous Bell 47G (the Mash chopper) actually makes this sound.  
- Piston helicopters always start up with screaming turbine engine
sounds.  
- Rambo-style pilots can fly with one hand on the cyclic stick while the
other fires an automatic weapon out the door. The helicopter
automatically knows when to change altitude to fly over obstacles
without the pilot worrying about that pesky collective pitch control.  
- HEROES 
- If the hero has a psychological/physical problem which has prevented
him from effectively dealing with problems, you can rest assured that
this problem will disappear at an opportune time.  
- The hero always misses the villain leaving the scene by seconds.  
- Stripping to the waist makes the hero invulnerable.  
- The hero will always be paired off with a female character. The
sidekick never will.  
- The hero's best friend/partner will usually be killed by the bad guys
three days before retirement.  
- The hero's new wife will be mowed down by 80 machine guns right after
the wedding or during the honeymoon.  
- Heroes can go without food or sleep, with no measurable drop in
physical or mental faculties, for at least 72 hours.  
- The hero will always have a small trickle of blood in the right corner
of his mouth after a fight. His lip will never be split in the middle,
and his upper lip will always be invulnerable. He will wipe the blood
from the corner of his mouth with the back of his hand, then look at it.
If his face displays any other injury, it will usually be a small
abrasion on his right cheekbone. He will wear a Band-Aid on this for one
day, after which it will be miraculously healed.  
- The hero will always refuse the assistance of friends or medical
personnel after a fight.  
- If the hero gets into a second fight, his most injured body part will
always be punched or kicked.  
- A hero will show no pain even during the most terrific beating, yet he
will wince if a women attempts to clean a facial wound.  
- When a hero is paired with a weak sidekick, that sidekick will
invariably save the hero's life at a crucial moment, or show remarkable
proficiency with weapons in a key scene.  
- If the hero is a white male and has an assistant/sidekick who is
either not white or not male the assistant/sidekick will die, preferably
in an act of heroic sacrifice.  
- If the movie hero has a sidekick and he mentions his family in the
first two minutes of the film, the sidekick will surely be killed.  
- The movie hero is (almost) always divorced, but he still has some
contact with his ex-wife who tells him that she could not stay married
to him because she loves him too much. 
 
- HOUSES 
- People never answer the door until the doorbell or knocking has
sounded at least three times.  
- The hero lives in New York City working at some okay, but not
particularly high-paying job, and yet he or she has a roomy apartment
filled with nice stuff, generally with a good view, and sometimes a
nice, romantic rooftop to go to.  
- People never get out of the house when there is obvious danger there
(ghosts, murderers).  
- People who hear something weird outside will go OUT to look, even if
they know there's a homicidal maniac on the loose.  
- When someone's in bed and hears a sound outside, he'll get up and turn
the lights on before looking out of a window, even if this usually
guarantees that he'll never be able to see anything going on.  
- When an intruder is in the house, the occupant will snuck along a wall
with his back pressed to it tightly and his arms out a bit from his
body, palms flat against the wall.  
- When there's an intruder somewhere in the house, the thing that jumps
at the heroine in the dark turns out to be her cat, even if it comes
from places cats wouldn't be, like inside a cupboard! As soon as she
relaxes, the killer will show up and strangle her.  
- Any apartment in Paris will have a view of the Eiffel Tower.  
- INJURIES 
- When the hero is knocked out, he won't get a concussion or brain
damage. People hit on the head will not throw up.  
- When a hero gets a bloody nose, he'll stop bleeding almost
immediately.  
- When a hero suffers through car chases and crashes, he never has to
worry about unfelt spinal injury from impact.  
- A slight blow to the head is usually enough to cause total amnesia  
- Characters that get shot will never go into shock.  
- The hero will always get shot in the shoulder, yet will be able to use
his arm.  
- A facial scars is likely to make you go insane and seek revenge for
the rest of your life.  
- If you lose a hand, it causes the stump of your arm to grow by six
inches.  
- A lost hand either comes crawling back, or a mad surgeon will replace
it with one transplanted from an executed strangler.  
- If a person gets shot they have plenty of time to tell all kinds of
things except the most important information (like the name of the
murderer).  
- A person shot to death will immediately do just that - die. Their
bodies do not flop and jerk around for a few minutes as the muscles
contract involuntarily and sporadically as the brain dies a slow
Electro-chemical death (as with real gun-shot deaths).  
- KIDS/TEENAGERS 
- A kid always knows more than an adult.  
- A kid can fend for himself even if his parents have gone to Paris,
leaving him with no food, electricity, heat, money, etc.  
- No child can ever be killed...even if they're electrocuted on a
high-voltage electric fence that could kill a dinosaur (Jurassic Park)  
- Eight to ten-year-old kids are the best computer hackers on earth and
can break into any system.  
- Girls who can't find a date to the prom in high school films are
usually the girls that, in most high schools, would have almost every
teenage boy asking them. 
 
- KNIVES 
- When you throw a knife, the blade will always be the first thing to
hit the target  
- unless you turn the knife around first.  
- A competent knife thrower can work equally well with throwing knives,
Swiss Army knives, butcher knives, table knives or swords. 
 
- LANGUAGE 
- Even when depicted as foreigners (including aliens from outer space)
all actors speak and understand a common language (usually English)
unless the film's plot depends on a language barrier.  
- LIGHT 
- A malfunctioning or burnt lightbulb usually means that someone is
hiding in the room, ready to jump on our hero/heroine while he/she's
busy hitting the switch or tapping the bulb.  
- When someone lights a match in a dark old house (etc) and the single
match has as much power as a 1000 watt bulb! Alternatively, they light a
match, and then light an old oil lamp which has a vast amount of power.  
- When people switch a light off, it will still be possible to see
everything in the room, just in a slightly subdued/bluish color...  
- Lightbulbs blow up when:
something psychic happens;
someone opens the power box, rips out the biggest cable, and touches it
to the rest of the stuff in there;
If the lightbulbs are in a row, they blow in timed sequence. 
 
- LOCKS 
- Any lock can be picked with a credit card or a paper clip. Any safe
can be opened in a few minutes with a stethoscope or some high-tech
equipment with lots of blinking lights.  
- MEDICAL 
- More often than not, the best method to revive somebody after their
heart has stopped, assuming that there has already been a lengthy
attempt to revive them with CPR, those electric zapperthings, etc., is
screaming at them something like:
"You never backed away from everything in your life, now fight! Fight!
FIIIIGHT!" or 
"You can't do this to me! I love you, goddammit!"  
- MEN 
- When men drink whiskey, it is always in a shot glass, and they always
drink it in one gulp. If they are wimps, they will gasp for air, then
have a coughing fit. If they are macho, they will wince briefly,
flashing clenched teeth.  
- Men on rafts, jungles, deserts or other extended duty don't have to
carry razors because their beards don't grow. Counterpoint: Unless they
drink, in which case 3-day stubble appears in 3 hrs.  
- MIDDLE AGES 
- Medieval peasants always have filthy faces, tangled hair, ragged
clothing - and perfect, gleaming white teeth. (cf. Braveheart, any Robin
Hood movie).  
- If you are a princess, you always have a favorite lady in waiting, and
you always send her to warn the hero of the evil king's intention just
in time.  
- Corollary: the lady in waiting is never quite as beautiful as the
princess; however, she still always catches the eye of the hero's
sidekick.  
- In a swordfight, you can always parry behind your back, and you must
always find a set of stairs to fight on so that the loser can roll down
them and die at the bottom.  
- Horses never get winded, throw a shoe, etc., until the pursuing
sheriff is right behind the hero.  
- Corollary: the wagon that breaks an axle or gets stuck in the creek is
always the one carrying the king's entire treasury, which he totes
around with him every time he goes gallivanting through bandit-infested
countryside.
 
- MINORITES 
- Minorities such as Native Americans or Asians will always have some
sort of mystical knowledge or innate fighting skill. For example, the
Native American always knows the course of events to come from some sign
in nature, and Asians are all born with Martial Arts skills they can use
to battle the bad guys.  
- MONEY 
- Gangster's Briefcases either contain weapons or banknotes. No one ever
got coins at a robbery.  
- Briefcases are designed to hold exactly three rows of banknotes. As if
it had power by itself money likes to be sorted in nice packs and rows,
even if it had been thrown into the briefcase by a terrified cashier at
a bank.  
- When you use a movie taxi don't ever give any change. Drivers won't
know what to do with it. Just say "thank you" when you pay a bill, reach
into your pocket without looking, take out whatever note is in it - it
will just fit. (see also CABS)  
- Same is true in restaurants. Checks are always designed to be 15
percent under the sum the male customer has in his hands first. 
 
- MONSTERS 
- After fleeing a monster, you will want to call for help from a public
phone within ten feet of where you last saw the monster.
 
- MOTORCYCLES 
- Motorcycle engines in movies can inexplicably change from 4-stroke
Otto cycle to 2-stroke cycle operation.  
- Motorcycles usually change from Harley Davidson choppers when engaged
in highway operations to Yamaha Dirt bikes when operated off-road (as in
"Then Came Bronson"). Police Harleys will morph into Triumph Bonnevilles
when operating in tight quarters (on the ship in "Magnum Force").
 
- MUSIC 
- Many musical instruments - especially wind instruments and accordions
- can be played without moving the fingers.  
- Native musicians are highly skilled, and can make simple instrumental
bands sound like a full light orchestra.  
- NIGHTMARES 
- Any person waking from a nightmare will sit bolt upright ("boing!") in
bed. Instead of just lying there going "eeewww!" as most of us do.  
- PHONES 
- All phone numbers begin with 555.  
- People speaking on the phone never introduce themselves, and never
ever say "good-bye" at the end of a conversation.  
- A ringing phone is usually picked up within 3 seconds.  
- Don't give the person on the other end of the phone time to say what
they have to.  
- You also never have to look up a phone number, for anyone.  
- When a phone line is broken or someone hangs up unexpectedly,
communication channels can be restored by frantically beating the cradle
and saying "Hello? Hello?".  
- Always knock over the phone if it wakes you up. If you are expecting a
call, make sure that you pull the covers up completely over your head so
that knocking it over becomes easier. All houses have phones next to the
bed.  
- There's a dial tone to be heard on A's phone immediately after B has
hung up on his/her end.  
- The Movie Telephone Time Vortex.
How often have you seen something like this:
Phone rings. Hero/Heroine picks it up. "Hello. Yes. O.k. Right. Thanks,
Goodbye." (Total elapsed time on phone: 5 seconds.)
Hero/Heroine turns to other character: "That was John. He says that the
Marilyn left for the lawyer's office about an hour ago, and she should
have been there by now. He's called the lawyer's office but Marilyn
apparently never got there. He also called Bill's, thinking she'd stop
by there, but Bill hasn't seen her. John says he's going to call Anne,
as Marilyn said she and Ann were going to go shopping sometime today. If
she's not at Anne's, he's going to call the police. He suggests that we
drive over to Mario's and check with him as to whether or not Marilyn
told Wally about the statue. However, he thinks this is unlikely as
Marilyn doesn't trust Wally, she only trusts us and Fransisco. John also
suggests we try to get in touch with Fransisco . . . ."  
- On the subject of phones, how about variations of the Bob
Newhart-style conversation where we only get to hear one side of the
conversation, as in: Marilyn hasn't shown up at the lawyer's office yet?
(PAUSE) And you already called Bill's? (PAUSE) What did he say? (PAUSE)
He hasn't seen her either. (PAUSE) So, John's getting nervous? (PAUSE)
He's going to call the police...
If I'm not mistaken, the conversation must have gone like this:
"Marilyn hasn't shown up at the lawyer's office yet."
"Marilyn hasn't shown up at the lawyer's office yet?"
"No, and I've already called Bill's."
"And you already called Bill's?"
"Yes."
"What did he say?"
"He hasn't seen her either."
"He hasn't seen her either."
"John's getting pretty nervous about this."
"So, John's getting nervous?"
"Yes, he's going to call the police."
"He's going to call the police..." 
- When phone-calls are traced you can see a map on the screen with a
beam closing in on the caller, and the caller always knows how long he
can talk before he has to hang up to not be traced down. He always
manages to say everything perfectly timed for 2 minutes.  
- Video-phones display pictures of the callers looking straight into the
camera. The camera must be in the middle of their screen, in other
words.  
- If the hero tries to call someone he needs urgently he won't need more
than three rings to know that he/she is not there.  
- If someone wants to call the hero, he/she will let the phone ring
forever before hanging up, especially if the caller does not know that
the hero has to fight his way to the phone through a bunch of bad guys.  
- A person is placing a phone call to a company, such as "Sports
Illustrated." The phone at the other end is picked up, and the person
PLACING the call says, "Hello, Sports Illustrated?", as if they are
checking to make sure they called the right place.
What this means is that at a major company, someone is answering the
phone with "hello" and that's it! Not, "hello, Sports Illustrated, can I
help you?" or anything like that, just "Hello!"  
- POLICE 
- Police Captains/lieutenants are always angry at their star detective
and yell at him, threatening suspension if he doesn't drop the case.  
- Corollary: it is only _after_ the detective has been suspended that he
can properly crack the case.  
- Many police chiefs are in constant contact with their city's mayor who
will often "chew their ass" about a single criminal investigation out of
the thousands going on in a city. (note: See "I Married an Axe Murderer"
for a hilarious send-up of the "mean chief" cliche.)  
- The police will never question the hero, even if he kills lots of bad
guys  
- The cops never show up during massive gun battles in city streets that
involve bystanders and exploding cars. After the fact, you might just a
siren in the distance.  
- More murders always happen during the investigation of the first one.
The last living suspect is the murderer.  
- Most homicide detectives are brooding, near-crazed loners, most likely
divorced or widowed, borderline alcoholics. Of course, there are more
respectable-looking detectives, but they are inept and not nearly as
tough as their mentally-troubled colleagues.  
- Many detectives are recruited directly from the police academy,
therefore accounting for youthful "seasoned detectives" (see "Speed,"
"Kuffs," "Stakeout").  
- PREGNANCY & CHILDBIRTH 
- The fact that a woman is pregnant or the fact that she notes her
pregnancy is introduced by a scene where you hear the woman vomit.  
- Whenever a woman announces to her husband/boyfriend that she's
pregnant, it comes as a complete surprise to him, whether pleasantly or
otherwise.  
- No one is in labor for hours and hours... they pop out babies in a
matter of minutes.  
- No one is ever offered an epidural or medication, everyone uses lamaze
(pant method), but they often scream at & demean those around them.  
- Most babies are born clean, with perfectly shaped heads and dry hair  
- All movie babies are born HUGE, usually the size of the average two
month old.  
- Women who give birth are perfectly made up afterwards  
- PRISON 
- In jail, there must be a brutal guard and an evil scheming warden.  
- Inside a prison there is always a boss among the convicts. Usually
he's black, blind and crippled surrounded by tough black musclemen, and
he is the one the white hero has to see to get something.  
- In a prison or a gym, when someone is about to be threatened, it
usally takes place when the subject is on his back pumping iron and the
bar is lowered onto his neck thus reshaping the windpipe and driving
some point home.  
- PRODUCT PLACEMENT 
- Time will stand still when the hero is in the presence of a company
logo.  
- When a character picks up a bottle of whiskey or a pack of cigarettes,
the label will always be clearly visible.  
- If the producers find no company to invest into the picture, strange
things happen to the world: gas stations have no brand names visible,
stars use no-name airlines (they often crash!), all smokers use silver
cases for their cigarettes.
 
- RADIO, TV & VIDEO 
- A character turns on the radio just in time to hear a special
announcement or some important news item. Then turns the radio off.
ex.:
CLICK
"Three escaped lunatics have been spotted in . blah blah blah."
CLICK 
- The phone rings. Caller says, "You better check out what's on the news
on Channel 13". He turns on channel 13 and gets the report from the
beginning.  
- All televisions show cowboy-and-Indian chase scenes a large proportion
of the time.  
- All VCRs in films are always cued up exactly to the portion of tape
you want to show someone.  
- You will always be able to backwind the tape *precisely* to the
beginning of the segment you want to see again.  
- Whenever anyone scans through a videotape or audio tape on home
equipment you can hear the audio portion of the tape being fast
forwarded or rewound.  
- Freeze frame is flawless.  
- Whenever someone reviews surveliance video taken from a preceeding
scene, the camera angle is never high above the actors, it's right up
close, and looks _a lot_ like the angle the film camera used when
shooting the picture. Aditionally, the audio is always crisp and clear,
there's no background noise, because all security cameras come equiped
with boom mikes.
 
- ROPES 
- When people are tied up in the movies, which is usually loosely and
incompetently, they can't escape without finding some convenient device
to burn or cut through the ropes.  
- Corollary 1: There is always a convenient device at hand.  
- Corollary 2: If the method involves burning the ropes, the person's
hands will be tied at least a foot apart.  
 
- SCHOOL 
- If you're a high school student in a film, you will always get one of
the preferable eye-level lockers.  
- In all high school or college classrooms, the teacher or professor
will always be interrupted in mid-sentence by the end-of-class bell.  
- In every school, there is at least one nerd or wimp that is shoved
into lockers that are big enough to hold them.  
- High Schools are always either in the middle of a city or a car ride
away from the beach.  
(TO BE CONTINUED... non mi ci e' entrata tutta :))


Ed Ecco finalmente l'ultima parte
- SEX 
- All beds have a special L-shaped top sheet, which reaches up to armpit
level on women but only to waist level on men.  
- No-one ever needs a kleenex after sex.  
- If you're a woman in a film and have just finished a steamy lovemaking
session, make sure to lay back and pull the sheets up to your neck, just
like in real life.  
- All women moan during sex, but none sweat.  
- Women (and men less often) either make love with their underclothes on
or have put them back on in the immediate aftermath.  
- Two total strangers, upon falling into bed together, will always reach
an incredibly intense, mutual, and SIMULTANEOUS orgasm on the first try.
 
- SHOPPING 
- When bringing home bags of groceries in a film, it's required that you
spill at least one bagful on the kitchen floor.  
- Bags of groceries are never heavy.  
- Whenever anyone in a movie goes shopping, they always come back with
stuff sticking out of the top of the shopping bag, usually carrot tops
and French bread.  
- Corollary: every shopping bag contains at least one baguette (loaf of
french bread).
 
- SIGNALS 
- If the tapping sound or flashing light represents morse code, there's
always someone around that can interpret the message.  
- When Morse Code is used, the interpreter will call out words as they
are being sent, rather than letters. Furthermore, a single word is
represented by a few "beeps", and all words are sent at the same rate,
no matter how long the word is. Example:
beep-beep-be-beep...
"Help..."
be-be-beep beep...
"Us..."
beep-be-be-beep beep...
"We're..."
beep beep-be-beep...
"Surrounded..."
be-beep beep beep...
"Send..."
be-be-be-beep beep...
"Reinforcements..."
beep be-beep beep...
"Hurry..."
etc. 
- A message in Morse Code will start several seconds before someone
actually interprets it; however, no information is lost, as the message
actually begins when the interpreter starts to read it.  
- SKYDIVING 
- You got plenty of time up there, often a couple of minutes.  
- You can almost talk casually to all your skydiving friends on the way
down.  
- If you don't have a parachute, just cling on to someone who has got
one and don't let go until you're down. 
 
- SMOKING 
- Smokers smoke only when there is a romantic or dramatic reason to. At
other times the smoker has no need of cigarettes.  
- SPACE & VACUUM 
- Explosions in space make noise  
- Exposure to vacuum makes you horribly swell up and/or explode within
seconds (ex. "Total Recall", "Outland") 
- There's a deep humming in space, no doubt about it.  
- Space is not Newtonian; spacecraft can't 'coast', but just stop dead
if they run out of fuel or power.  
- Laser beams are visible in vacuum.  
- SPACESHIPS 
- Spaceships make noise!  
- Spaceships always fly perpendicular to the same axis. When two
spacecraft encounter each other, they're always aligned on a plane and
never approach at odd angles.  
- All spaceships, no matter how small, have internal artifical gravity
and no matter how badly your ship gets pummeled by the evil aliens in
the evil alien ship, no matter how many external panels get blown away,
no matter how many sparks or how much smoke pours out of your control
panels, the artificial gravity will always keep working.  
- There are tiny cameras mounted everywhere, on every panel, in your
spaceship. No matter what happens anywhere int eh ship, you will always
be able to ask the computer to replay the scene for you later (even if
the computer went up in smoke) and unlike those blurry convenience store
cameras, your tiny ship cameras always capture everyone's actions at
eye-level with perfect lighting.  
- Warp or hyper-drive will always fail at critical moments.  
- Inertial dampers will always prevent passengers from being plastered
against the walls during acceleration into warp speed, yet any explosion
will send passengers reeling across the room.  
- In a spaceship battle scene, for a ship to fire a weapon at another,
it must be in visual range. Even though the 20th century saw the advent
of weapons that can be fired without visual contact, the people of the
future have lost this technology.  
- SPORTS 
- In any type of sport movie, a player on the field can look up into a
crowd of 1 billion and immediately spot their loved one. 
 
- STAIRS 
- Whenever anyone is chased to a staircase, s/he will run upstairs
rather than down.  
- SUSPENSE 
- In any movie where "something" has happened and villagers come to look
at it, they always decide to "go for help". The most expendable member
of the group is left to "keep an eye on it", and supplied with a weapon
or signaling device "in case something happens". Said member ALWAYS
responds: "What could happen?" This is a certain signal that he will
die, gruesomely, within 2 minutes. 
 
- TEENAGERS 
- The walls of a teenager's bedroom or a twentyish adult's apartment are
always highly decorated, beyond anything sane, with every available inch
of space covered with something cool.  
- A movie teenager will always have a drainpipe situated next to his or
her window. This drainpipe will be specially reinforced to hold their
weight on escape. 
 
- TIME 
- Movie timing is always exact. If a phone trace will take two minutes,
for example, you can be sure that that means 120 seconds, not a fraction
more or less. Same for bombs, amount of time to get to a destination,
etc.  
- Corollary to the above: all characters in a movie have their watches
perfectly synchronized.  
- TRAFFIC 
- When a main character has to cross the street (in one of the slower
parts of the movie), he/she can always cross the street immediately. Of
course, he/she jogs across in order to miss the one car that drives by
after they cross.  
- If there is traffic, then that means that the movie is at a more
intense part (like a chase scene) in which case there are a lot of cars
that crash into each other. None of the important characters get hurt,
the accident is never heard on the news, and nobody sues anybody
important. Very few people even get out of their cars, and yet, no
airbags are to be seen. 
 
- TRAVEL 
- Transportation always arrives and leaves on time.  
- Characters arrive at the airport and get *right on the plane*. They
must have the best timing of any people on Earth - I always have wait
around for a while before boarding. (Not to mention getting a boarding
pass and the "arrive 15 minutes before departure or you lose your seat"
clause of most airlines. Good thing movie airlines never overbook!)  
- Movie characters' suitcases are always weightless when they have to
carry them.  
- In emergencies, anyone can pick up flying a helicopter.  
- Movie characters never suffer from motion sickness.
 
- TREES 
- Whichever tree branch the hero has perched on, the villain will
invariably pause under.
 
- VILLAINS 
- The bad guy is the foreigner.  
- Corollary: the foreigner is the guy who speaks English with an English
accent  
- The bad guy also has a side-kick muscleman, who has some sort of
trademark gimmick that he/she uses to eliminate opponents. You must kill
or decomission this muscleman by forcing a backfiring of this
trademarked gimmick. If the muscleman dispatched by a different method,
he/she is not dead. (For that matter, don't assume that anyone is dead
unless their death was spectacular. Beware sequels.)  
- No matter how dead you think you've killed a bad guy, he can still get
up at least 3 more times. Therefore, always make sure to leave his gun
in or near his hand after you've killed him and you turn away to comfort
the girl.  
- When a villain seems dead, he never is. He will always be allowed one,
and sometimes two resurrections. The hero will frequently see him
coming, even if his back is turned. If he doesn't, a friend will finish
the villain off.  
- The bad guy usually kills his henchman for failing, yet don't seem to
run out of loyal henchmen.  
- Bad guys lurk until their presence is revealed by a flash of
lightning.  
- You can kill the bad guy by taking careful note of any object that the
camera has lingered on for an unnecessarly length of time; typically
this is something like a meathook or a jagged bit of glass. You will be
involved in a mighty struggle, and at the appropriate time you can
become inspired (usually by either an insult from the bad guy or a look
of faith from your love interest) with strength enough to force the bad
guy into/onto/under/in front of the aforementioned object. Actor's
Equity (Hollywood) requires that within 15 seconds either side of the
bad guy's demise, you utter your trademark phrase.  
- Whenever a villain has captured the hero, he will pause for 5 minutes
to tell the hero _every_ detail of his plan to destroy and/or rule the
earth, including times, dates, and addresses.  
- The bad guy, having finally gotten the good guy into his clutches,
will usually spend a few meglomaniac minutes gloating over his victory
and his opponent's downfall. This increment of time will prove just
enough to allow the good guy to figure a way out of his predicament, or
just long enough to allow a rescue attempt.  
- The bad guy, instead of simply offing the captured good guy on the
spot, will devise some sort of drawn-out, fiendishly clever method of
execution that will take enough time to allow the good guy to figure out
his escape.  
- When a villain seems dead, he never is. He will always be allowed one,
and sometimes two resurrections. The hero will frequently see him
coming, even if his back is turned. If he doesn't, a friend will finish
the villain off.  
- You can always tell which nationality the United States and the
popular media are currently most unhappy with because that nation sends
all their villains to star in Hollywood movies during those times (e.g.
Germans in the late 40's and 50's, Asians in the 60's and 70's, Soviets
in the 70's and 80's and Middle Easterners in the 90's).  
- WAR 
- You're very likely to survive any battle in any war, unless you show
someone a picture of your sweetheart back home.  
- Every army platoon has at least one, usually black, member who can
play the harmonica.
 
- WEAPONS 
- Major characters never run out of ammunition, nor do they ever have to
reload. (If the movie _does_ make them reload, they never have to
actually carry any spare ammo until that scene)  
- Guns never run out of ammunition unless escape would be otherwise
impossible.  
- The first shot or burst of fire from a bad guy _always_ misses, and is
there just to announce that a fight will be taking place.  
- Bad-guy hand grenades make noise and smoke, but no real damage;
good-guy hand grenades are devastating but selective; they will destroy
tanks, but won't hurt the thrower, even if he drops one on his toe.
Bad-guy grenades used by good guys become good-guy grenades, and _vice
versa_.  
- When the villain runs out of bullets, he'll throw away his gun. When
the hero does so, he'll conveniently come across another.  
- Machine guns submerged underwater for a long time won't jam or misfire
when the hero pops up to use them. (see any Rambo movie)  
- A cigarette case/lighter in the shirt pocket will always block the
bullet.  
- When the hero faces a ridiculously large number of shooters with high
powered weapons, they will all miss after several shots. Then, the hero
will pulls out this gun that looks like a toy and start picking off the
bad guys from half a mile away, usually hitting them in the forehead.  
- People always pump out a few (probably used) shotgun shells at each
corner when chasing someone.  
- When people aim a rifle with binocular-sight at someone on a very long
distance, they manage to keep them in the bull's-eye all the time even
if they move around.  
- When faced with dozens of armed opponents, the good guy will show up
and appear to be shot, perhaps dozens of times. He will fall down, and
presumably be dead, but will later miraculously turn out to have had the
foresight to wear a bulletproof vest, armor plating, or even a silver
tray to protect his torso (Batman). No one will ever shoot him in the
head, where he is unprotected. Afterwards, instead of learning from his
extremely good fortune, he throws his protection away, confident that
the same situation cannot recur in his movie.  
- When superheroes like Batman or Robocop use high technology to protect
themselves, the bad guys never take advantage of obvious weaknesses,
such as no face protection.  
- Characters shot with guns will fly backward, or upward and backward,
through the air - the laws of physics notwithstanding.  
- Characters use silencers on revolvers... and it works.  
- In 50% of action movies made after 1988, "Teflon Coated Cop Killer
Bullets" will be referred to.  
- No movie character will ever use or refer to a safety on any firearm.  
- No movie character will ever use a .22-caliber weapon.  
- The cowboy who exchanges a dozen shots with the bad guys without
hitting one will nevertheless be able to hit and detonate a stick of
dynamite from 150 feet away with a revolver on the first try.  
- Once a character has flipped up the long range site on his rifle, he
will always make his next shot.  
- Bullets removed from shooting victims and displayed to the camera will
not be misshapen in any way from the impact - and will sometimes still
have the casing attached.  
- Shots fired at the rear of a vehicle will cause the gas tank to
explode.  
- Shots fired at windshields never deflect; they always penetrate and
hit the bad guy in the forehead. If the good guy is driving, he'll
simply have to duck a little to avoid them.  
- Shots fired at guys hiding around corners never whiz past; they always
strike the edge of the building near the character's face.  
- Shots fired in Westerns that do not hit a character always ricochet
loudly.  
- If there is a trough of water present in a Western gunfight scene, at
least one shot will splash spectacularly in the water.  
- Western characters are never shot in the legs while hiding behind
wagons.  
- No gun will ever jam or misfire after a quick-draw.  
- In a duel or in a gunfight between two characters standing in a
street, at least one charcter is always hit on the first exchange of
gunfire.  
- No debris will ever fall from a ceiling after a gun is fired upward
into it.  
- Shurrikens and thrown knives never miss, unless they pin a character's
clothing to a wall or tree.  
- Horses are never wounded in horseback gunfights.  
- Assassins will always wait 'till the very last moment to assemble
their complex sniper weapon (often a pistol the size of a rifle).  
- Even weapons experts will freeze when confronted with a weapon which
is not in firing condition-ie an un-cocked single action revolver or a
submachine gun with its breech closed (also un-cocked). The person
holding the gun must make several moves to fire the gun, and the
adversary could just reach out and take the weapon, but the dropee just
freezes even though often it is obvious that the cylinder is devoid of
any ammo.  
- Movie gunmen never lock and load their weapons when anticipating a
life-or-death confrontation. Oh they have their weapons drawn, but not
charged with a round in the chamber. They usually (always when carrying
a pump-action shotgun) wait until they confront their quarry to slam a
round into the chamber with a dramatic ca-chunking noise.  
- Bullets, even though they are only pieces of lead-sometimes encased in
copper, always make little explosions when they strike any kind of
inanimate object.  
- WOMEN 
- Women will always have shaved legs and armpits, even in caveman
movies.  
- Women will be worrying about their nails or dresses while people are
trying to kill them. (see also CHASES)  
- Women stand wide-eyed, hand to mouth, while hero battles villain.
Women never thinks to clonk villain with handy object. Counterpoint: If
woman does clonk, she always hits hero instead.  
- Women always fight other movie women by pulling hair, falling to
ground together, rolling over twice.  
- High-powered female executives always wear miniskirts and five-inch
heels to work  
- Beautiful women will always fawn over an action hero, no matter what
sexist remarks he makes to them.  
- A female lead with feminist leanings will always despise a macho
hero--until the first time he rescues her from certain death. She will
then become totally conventional and dependent. Once she does this, the
hero will become vulnerable and tell her about some tragic loss that
will explain his belligerent attitude.  
- Women wear make-up to bed, and wake up with hair and face completely
intact.  
- Women don't need to go to the bathroom when they get up but will
shower frequently.  
- If a woman is pregnant, she will deliver before the movie ends.  
- Women also scream or make some other noise at the precise moment the
villain is close enough to hear.  
- Women always stand and watch the cars that are about to run them over,
OR the bad-guys that are about to shoot them (even if there's cover
close by).  
- Strong (character/will) women are always macho, or bitchy.  
- Women always stuff their fist(s) in their mouths when terrified.  
- Women always have to be rescued by the hero, even if they're champion/
expert this or that.  
- Women are always too hysterical to do what the hero instructs. He has
to elp/force her/knock her out. 
 
- WOOD 
- Heros and villains can successfully use wood, no matter how thin, as a
safe shield against bullets of any caliber.  
Ane There we go... That's all Folks!!!


> Ed Ecco finalmente l'ultima parte
snip...
Grazie mille!
Veramente un elenco mitico.
Me lo leggero' con calma e al prossimo raduno commentero'
le migliori!
-- 
Ciao.
Davide,,,,
Se vuoi mandare un messaggio spedisci
un telegramma, non fare un film.
Samuel Goldwin, produttore (8 nomination, 3 oscar).

"volumi".
Tempo fa avevo trovato informazioni del genere, ma dedicati alla
fisica del mondo di Wile Y Coyote e Beep Beep, molto divertente.
Erano del tipo: la gravità si manifesta solo dopo essersi accorti di
non avere nienete sotto i piedi, etc.
 | /\/ /                  Carlo Fava (
det...@iperbole.bologna.it
)
 |/|/\/                   
http://www.fci.unibo.it/~bebo/z/karloff.html
 |\|\/\                   If you are interested in Italian cinema, try
 | \/\ARLOFF              
http://www.geocities.com/Hollywood/6841/

fisica del mondo di Wile Y Coyote e Beep Beep, molto divertente.
Si', ma la URL la vuoi dire o no? ;-)
Ciao
Nicola
[IT] Information!