Cine-o-logismes : Huey, Dewey and Louie

L'anecdote racontée par William Goldman ne vaut pas tant pour sa définition du dialogue saupoudré sur plusieurs personnages que pour celle du drame humain qui se joue derrière. Soit dit en passant le bouquin où j'ai trouvé cette anecdote n'est que très marginalement intéressant, l'auteur ayant surtout besoin de se parler à lui-même l'année de son divorce après 27 ans de marriage et accessoirement (c'est le pitch de Hype and Glory) année où il s'est retrouvé à la fois juré à Cannes puis à Atlantic City pour Miss America...

One of the unhappiest men I ever met Out There was a very nice fellow who, for his sins, was directing segments of Charlie's Angels. There was, as all of us who like to dish are well aware, a remarkable amount of tension on the set. One of the trio of yummies was always called, by the crew and when she was out of earshot, Hate Jackson.
I'm having dinner with the director and some friends of his, and he had once wanted to do theater. Had done theater. Off-Broadway, etc. But mouths to feed are not without import, so Here he was, Suffering. His friends would ask him zapping questions, just to get him started. Like, "Well, was it Chekhovian today?" "I'm writing a paper on Symbolism in Female Detective Agencies, can I interview you?" And he would say, "You're not funny. That is not a funny question. Not to me. Not anymore."
Anyway let's say this was a line of dialogue for a Charlie's Angels episode:

                  ANGEL
I think it's about time for us to split up, go downtown, see what we can see.

Well, no go. It would end up like this:

                  FARRAH
I think it's about time for us to split up--

                  KATE
--go downtown--

                  JACLYN
--see what we can see.