Exposition Dump! Your favourites!

I started a thread on a similar topic a while back.  Mine was more focused on actors/characters who best delivered exposition.  Some good examples in there to further jump off from!

http://www.chud.com/community/t/120673/best-deliverers-of-exposition

Props have to go to Anders from BSG, who falls into a coma and basically blurts out the entire mystery behind the final season in one breathless babble that makes Martin Scorsese sound like Treebeard.

John Noble does a great job on Fringe of filtering exposition through the filter of the maze of Walter's mind.

The Architect is both best and worst all at once. The scene's possibly THE most dense, loquacious block of exposition in a film, period, delivered straight faced, during an action film. However, everything about the delivery of that information is accurate to the character, to the scene, to the universe, and to the extreme curveball that information throws at the series.  I still remember the collective wave of calm that went over the audience when The Oracle's revealed to be a old black grandmother figure baking cookies. The Architect is the exact opposite, with a purpose. He's MEANT to be the polar opposite of the unexpected warmth and empathy of the Oracle scenes. And thats pretty damned awesome.

Exposition dumps I like:

- Mr DNA in Jurassic Park - effective and entertaining, while being a nice parody of cutesy educational videos

- Doc Brown's  'crude models' and blackboard scrawlings in the Back to the Future movies. They visually convey plot complexities and time continuum paradoxes in a fun way.

An exposition dump that I dislike:

Quote:

Originally Posted by Workyticket 

Props have to go to Anders from BSG, who falls into a coma and basically blurts out the entire mystery behind the final season in one breathless babble that makes Martin Scorsese sound like Treebeard.

I hate hate HATE exposition so much. 75% of the time, if I have a big problem with a movie or television episode, too much clunky exposition is probably one of the main reasons. That particular episode has been referred to in fan circles as "THE exposition episode" and the way it oppressively piles exposition onto the audience from start to finish is why it's one of the two things in the series I despise most (the other being the atrocious 'love quadrangle' between Kara, Lee, Anders, and Dualla).

One of the few scenes that I actually admire for its handling of exposition is Mulder's bar scene in the first "X-Files" movie. Truly an impressive feat of exposition dumping without coming across forced. It was clearly written just to get the 'uninitiated' up-to-speed on the premise of the Mulder character and the series. Somehow, Duchovny makes it sound natural, instead of clumsily perfunctory. In one deft motion, he unleashes a bevy of key information, and it sounds genuinely like a rant one might deliver while drunk, rather than the functional exposition it actually is.

Also, major shoutouts to the team responsible for the animated Golden Army/Tale of the Three Brothers stories in Hellboy II and Deathly Hallows Pt 1 (I think I remember reading those were done by the same people?). Huge chunks of information that slow neither film down, and are just beautiful pieces of storytelling in their own right.

It's interesting to see how Michael Mann has been experimenting with eliminating exposition from his last few films (as well as "Luck"). There's been a real feeling of 'drop the audience into a story mid plot flow, and let them catch up if they can' that I've really appreciated, even when it's not entirely successful. Specifically, I remember the theatrical cut of "Miami Vice", which doesn't even have opening credits. Just puts right you right into a crowded night club, in the middle of an operation, and you have to figure things out as they go along.

This is a great thread idea. However, there really is only one correct answer here. It's my favorite because it's the best. Some highlights ...

"Tanis develop proceeding. Acquire headpiece. Staff of Ra. Abner Ravenwood, U.S."

"Didn't you guys ever go to Sunday School?"

"Yes, that's just what the Hebrews thought."

"Lightning ... fire ... power of God or something."

Great call on the Raiders.. info dump. With Williams' music behind it, that's easily one of, if not the best, info dumps ever.

The Best: Harry Potter & The Deathly Hollows Part 1

"The Tale Of The 3 Brothers"

The Worst: SW: TPM

"Wait...so you're a religion that's based on telepathic/telekinetic bacteria? And you guys chose a life of celibacy because of that?! Why, did your toe jam tell you that girls are icky or something? Fuuuuck... wait, what did you just say...? I get my own lightsaber for life if I join in? Well shit, nigga, why didn't you say that earlier? Fuck YES, I'm on board!"*

*Salty planets often produce salty-tongued tykes [ed.]

"It surrounds us and binds us. Luminous creatures are we. Not this crude matter."

While The Force was explained in ANH, Empire does it better. I don't know where I'll be Feb 10Th, but it won't be in a theater showing The Phantom Menace. Somebody on a message board mocked the prequels. The internet is still working.

I'll have to echo that linked thread's choice of Kyle Reese in The Terminator.

The first two acts, entirely. The backstory of Mal's suicide is the  last piece of the puzzle, and we dont get that until, what, maybe an hour and a half in?

The prologue for Fellowship of the Ring has to be an MVP here.  If that doesn't work, that film is operating out of a huge hole.  And it's not only a great way to dole out the back story, it's also a great introduction to Middle-earth itself.  It eases you into the plot and the visual style of the film.

Just as long as we can spread the love to the EE's Concerning Hobbits montage as well. The films pay off the extra time setting up Hobbiton in spades. And Holm's narration is wonderful.

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Originally Posted by Justin Clark 

Just as long as we can spread the love to the EE's Concerning Hobbits montage as well. The films pay off the extra time setting up Hobbiton in spades. And Holm's narration is wonderful.

I actually really dislike the intro to the EE.  Throws off the pacing, and it's one narrated piece following another narrated piece.  Hobbiton feels like much more of a revelation the way it's shown in the theatrical version.

Agreed, the Fellowship prologue pulls off the heavy world/mythology building with an uncanny ease. Along that line, the prologue from The Road Warrior sets up that world pretty damn well. It's specific yet vague in a way that it leaves it to your own imagination to illustrate the deterioration of the world.

Everything from Big Trouble in Little China because it's so deliberate, and delivered in real Hawks' rapid fire style.

But above that I love Jack's reaction to it all.  What makes it great is that they are doing it ostensibly for his benefit, and his reaction is "WTF?" all the time.

Lo Pan: And when I find her, I will marry her... 
Wang Chi: Never! 
Lo Pan: Ching Dai will be appeased, my curse will be lifted! 
Jack Burton: And you can go on to rule the universe from beyond the grave. 
Lo Pan: Indeed! 
Jack Burton: Or check into a psycho ward, whichever comes first, right? 
Wang Chi: Jack, will you...? 
Jack Burton: "Jack" what? I'm supposed to buy this shit? 2000 years, he can't find one broad to fit the bill? Come on, Dave, you must be doing something seriously wrong! 

(lifted from imdb since it's been a while)

http://www.youtube.com/watch?feature=player_detailpage&v=YiusdLqSHPQ#t=501s

The Terminator is the textbook example of how to deliver exposition properly  by burying it in action/movement.

"God didn't make Rambo. I made him."

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Originally Posted by Evi 

 

One of the best - Inception, particularly since the first hour might as well be called EXPOSITION DUMP: THE MOVIE

I don't understand how you can describe it that way as an explanation for why it's "one of the best". I agree with you about the first hour (and Justin about the second) and that's precisely why I was not as keen on the movie as everyone else when it came out. I like it overall, but the excessive exposition is a flaw that hurts the movie as a whole.

Quote:

Originally Posted by Mike's Pants 

 

I was always thought Morpheus' exposition speech in the first was a very elegant way to get across a rather out there concept.

Also, when Larry Fishburne talks it feels he is making love to me so that might be part of it.

I totally agree. Really perfect (and hilarious) way of describing the appeal of Fishburne's delivery. It never occurred to me, but now that I think about it, this is probably why I liked it so much too. What a voice.

The "short film within a film" exposition dump can be good if executed properly:

The Rocketeer

Jurassic Park

Watching it now, Donald Sutherland's "Mr. X" scene in JFK might be the alpha and the omega of great exposition dumps.

Jesus, how did it take us this long to remember JFK's masterful "Sistine Chapel of movie info-dumps"?! Nice catch.

And Sutherland does it with such finesse, too. It's a fantastic performance for something that covers about 15 minutes of a three hour flick.

"I just hope you catch a break." And he's gone.

It was mentioned in the other thread, so I didn't want to repeat, but it's definitely great.  I love the way X lays all of this on Garrison, ends it with, "I just hope you catch a break," and calmly walks away like he just told him who to bet to place at Aqueduct.

For me, a lot of the exposition in Inception became so clunky during a 2nd viewing.  It's hilarious to see these good actors try to deliver some of those lines on the run so that the film doesn't slow down.

Cobb's team is loading Fisher back into the van.  Hans Zimmer's score is pumping up the intensity.  Hardy comments that the guy's issues with his father are worse than he expected.  JGL goes, "This helps us HOW?"

It's Leo's delivery of "The stronger the issues the more powerful the catharsis!" that gets me cracking up for some reason.  It's a funny line to say while trying to give off the impression that there are projections outside trying to kill you.

My personal favorite is from The Frighteners. It's when Jeff Combs' Milton Dammers reveals the backstory of Michael J. Fox's Frank Bannister. It not only gives a ton of info about Bannister, but you also learn about the personality of Combs' character. (Ex: The fact that he has Bannister's file memorized down to the minute.) Plus, Combs just has a cool voice.

Quote:

Originally Posted by Naisu Baddi 

I don't understand how you can describe it that way as an explanation for why it's "one of the best". I agree with you about the first hour (and Justin about the second) and that's precisely why I was not as keen on the movie as everyone else when it came out. I like it overall, but the excessive exposition is a flaw that hurts the movie as a whole.

 

That's not the reason, I think it's one of the best. It is one of the best, because there is a metric ton of very complex exposition needed, and yet the movie remains visual and engaging while doling it out. There's a reason why this is one of the few overtly cerebral movies that became a hit with critics and the mainstream alike.

Because I was reminded by Franchise Me, the ending to Psycho is one of the worst examples of this.  The rest of the film is brilliant, but that doctor at the end just rattling off psychobabble about Norman is ridiculous.

Yeah, but you gotta love Hitchcock getting bored with it and dollying the camera away from it and off down the hall to Norman for the great last shot. For me hanging a lantern on it like that helps a bit. Just a little concession to mainstream audiences of the time.

Also I like that De Palma riffs on it TWICE in DRESSED TO KILL.

"Tootsie" is such a brilliantly acted and written movie that the funniest scene in this consistently funny movie is Dustin Hoffman and Sydney Pollack's characters just recapping events from it.

Another favourite recap...Lee talking about Faith in the "Angel" episode "Sanctuary":

"This is getting ridiculous. The first assassin kills the second assassin sent to kill the first assassin, who didn't assassinate anyone until we hired the second assassin to assassinate her."

On that note, the last scene in BURN AFTER READING. Amazing. Hadn't thought about it in these terms before but it's totally exposition. It's how we learn what happened to like half the characters.

Quote:

Originally Posted by Mike's Pants 

 

I was always thought Morpheus' exposition speech in the first was a very elegant way to get across a rather out there concept.

Also, when Larry Fishburne talks it feels he is making love to me so that might be part of it.

That speech, with the reality jump arounds and matter of fact delivery, right down to the corny lightening thunder flash, just made the series. So perfectly capped off with Morpheus holding up the Duracell battery.

Wow, the conversations over coffee with mates right after that film are one of my fondest adolescent memories.

Some of the worst exposition? Harry watching McGonnagall, Fudge and Rosmerta from under the invisibility cloak in PRISONER OF AZKABAN. Three characters clunkily repeating information that they already knew, delivering it in the style of Wadsworth the butler re-enacting the CLUE murders, all so a character they don't even know is present can get clued up on what's going on. I'm baffled that so many people think AZKABAN is the pinnacle of the series - the more complex dialogue scenes are rushed near-disasters.

And on the that note, Wadsworth ever-more-frantically explaining the murders in CLUE is one of my favourites. "By now, she was DEAD."

Quote:

Originally Posted by Mike's Pants 

 

I was always thought Morpheus' exposition speech in the first was a very elegant way to get across a rather out there concept.

Also, when Larry Fishburne talks it feels he is making love to me so that might be part of it.

Agreed. He sounds both credible and awesome. But it goes downhill in the second, when Morpheus becomes Black William Shatner. "Then let us pray...that I...was incorrect."

What helps the exposition in the first film (in addition to being more interesting narratively) is that it's complemented visually all the way through.  You're getting Fishburne's smooth voice along with a series of fantastic visuals.

The sequels made almost no attempt to find that balance again.  It really was just over-the-shoulder shots of people standing/sitting and monologue-ing.  

Here's something that bugs me about the knee-jerk reaction to exposition: sometimes you fucking need it. Not just the audience, but the characters as well. Yes, it can be annoying if it's obviously ONLY for the audience's benefit, but think about the story logic as well.

As far as the actual thread goes, some of the worst had to be in Shyamalan's Last Airbender. The TV show had some bald exposition at points, but it generally served a story purpose in conveying new information to both the characters and audience. Shyamalan just makes a lot of it fucking stupid, like the entire "spiritual place" conversation. And Katara telling us in fucking voice-over that Sokka and Yue liked each other a lot is just lazy.

Some of my faves:

The world is changed. I feel it in the water. I feel it in the earth. I smell it in the air. Much that once was is lost, for none now live who remember it...

My name is H.I.Mcdonough. Call me 'Hi'...

You have many questions, and although the process has altered your consciousness, you remain irrevocably human. Ergo, some of my answers you will understand, and some of them you will not. Concordantly, while your first question may be the most pertinent, you may or may not realize it is also the most irrelevant...

You should have let yourself get killed a long time ago when you had the chance. See, you may be the biggest thing that ever hit this area, but you're still two-bit outlaws. I never met a soul more affable than you, Butch, or faster than the Kid, but you're still nothing but two-bit outlaws on the dodge. It's over, don't you get that? Your times is over and you're gonna die bloody, and all you can do is choose where. 

Quote:

Originally Posted by Chris Spider 

Here's something that bugs me about the knee-jerk reaction to exposition: sometimes you fucking need it. Not just the audience, but the characters as well. Yes, it can be annoying if it's obviously ONLY for the audience's benefit, but think about the story logic as well.

Well yeah, I think that's the primary distinction between good exposition and bad exposition, at least when it's laced into dialogue or otherwise presented diagetically (The standards are a little different if it's being presented directly and exclusively to the audience a la standalone segments like the intro to LOTR or the animated history of the Golden Army in HELLBOY II, but also narration, arguably). Anyone having a kneejerk negative reaction to the very concept of exposition is indeed being unreasonable.

Obviously there are exceptions that go both ways, because it's all in the execution. Even exposition that's necessary for the characters can fall flat if there's too much of it or it's poorly written, but by the same token I think the right script or performance can take the sting out of exposition purely for the audience's benefit. And so on.

I guess it's also a matter of showing rather than telling as much as possible, but often there's just no reasonable way around giving it through dialogue.

Oh gods, how did I forget this beauty?...

I knew these people, these two people - they were in love with each other...

How many exposition dumps tear your heart out at the same time?

I'm surprised that no one's mentioned the title sequence of Watchmen yet. The adaptation certainly has it's problems but the elegance in which Snyder & the screenwriters compressed & delivered large swaths of the book was impressive.

Two more in the "works as self-contained short film" column:

Quote:

Originally Posted by The Rain Dog 

Oh gods, how did I forget this beauty?...

 

 

 

I knew these people, these two people - they were in love with each other...

 

How many exposition dumps tear your heart out at the same time?

The opening of UP

Quote:

Originally Posted by Art Decade 

I'm surprised that no one's mentioned the title sequence of Watchmen yet. The adaptation certainly has it's problems but the elegance in which Snyder & the screenwriters compressed & delivered large swaths of the book was impressive.

I thought the origin of Dr. Manhattan worked really well too. I don't even know if it fits well in the larger flow of the film but it takes you on such a great ride that you stop caring.

Quote:

Originally Posted by Dan Benenson 

The opening of UP

 

Christ, I'm choking on the lump in my throat just thinking about that god-damned thing and I've only seen it the once.

I really need to rewatch that fuckin movie.

Yikes, I just remembered the nightmare inducing origin sequence/exposition dump from The Secret Of NIHM.

It's been so long since I saw that movie when I was a kid, I can't vividly remember the specifics of the sequence, but just the notion of it is bringing back a sense of dread and sadness.