Action Film, Quiet Drama Scene
A few scenes later, they're shooting at each other with assault rifles.
What can make a great action film truly great? You might remember some exciting fight, spectacular pyrotechnics or awesome special effects, but they are not enough. Ironically, what really makes the difference is how good the film is at its quietest drama.
In this kind of scene, there are no expensive visuals or frenetic action, just usually two characters talking about what they believe in, what they care about or their deepest pain. In these scenes, the film artists are on their own to make them work without the technicians' help and that's where the talent must show through. This is not the same as the purely exposition scene in that there is something deeper displayed here.
In those scenes, you can understand the plot, grasp its theme, or develop a rapport with the characters to make the big scenes matter to you. If the crew can pull off such a scene well to complement the visuals, then the greatness of the film can be in the bag.
When it really works, it can produce a Crowning Moment of Heartwarming
to make the action sequences all the more compelling because the quiet scenes have allowed you to emotionally invest in the characters and care about their fate.
When that happens, it beats big budget visuals any day.
When it doesn't work, Narm
tends to follow. It also can result in a jarring case of Mood Whiplash
of After-Action Patchup
and Nonviolent Initial Confrontation
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Anime and Manga
- For all the crap Gundam SEED Destiny has leveled at it, there's a rather effective scene of this sort during episode 17 where Athrun Zala talks with Shinn about how those with power needs to know how to use it properly, otherwise they'll just be causing more of the grief that they themselves have suffered already.
- In Volume 3 of Hellsing there is a simple scene where Walter and Alucard are watching Seras train the new recruits and they discuss (among other things) their previous battles against the Nazis, why Alucard made Seras a vampire, and how Walter is getting on in years. That scene highlights some of the story's themes (such as monsters controlled by humans and natural age versus immortality) as well as showing us Alucard's high regard for Seras; we also get to see the friendship between Walter and Alucard.
- Two scenes in Cowboy Bebop: The Movie stand out: where main baddie Vincent reveals his tragic backstory to Faye (accompanied by his lovely little leitmotif "Is it Real?"), and when Spike explains to Electra why he's chasing after Vincent: he feels that they share the same soul.
- The series finale has one scene when Spike shares one last meal with Jet and has a conversation with Faye about how people ultimately can't run away from their past forever. This scene shows, despite all of their differences in the past, they are a Band of Brothers — but Spike can't stay with them anymore.
- Although Chrono Crusade is presented as a supernatural shounen manga, many of its themes are centered on relationships between the characters, so these types of scenes happen frequently. One that stands out is Chrono and Rosette having a conversation during a carnival—it begins as a conversation of how beautiful the lights of the city are, but quickly becomes one where Chrono reveals just how attached he is to Rosette and how much she means to him.
- The films of Mamoru Oshii, almost as a trademark, tend to trade off between flashy and bombastic action sequences and long, quiet stretches containing some combination of dialogue (usually of a heavily philosophical bent), striking imagery, and beautiful, ambient Kenji Kawai music. In fact, even though most of his films could be classified as "action films", the drama scenes often outnumber the action scenes, making them a controversial prospect for viewers who are more interested in action. A particularly notable example of this is the scene between Batou and his dog in Ghost in the Shell 2: Innocence, which is set to melancholy smooth jazz with no dialogue and massive amounts of emotion, right in the middle of an otherwise dark, cold and violent film.
- Neon Genesis Evangelion, being at least as much drama as action series, has many of these. Many of its iconic scenes are quiet and dramatic. Though it could also become another trope entirely.
- This is less so the case in Rebuild of Evangelion, which plays up the action elements to their greatest strengths as a film, but there are still quiet, poignant moments.
- The fist half of Metal Gear Solid Philanthropy includes three of these; the first is when Elizabeth Laeken is introduced. The second is the campfire scene where Vitalij tells Snake about the Fiend of Kalcabar, among other things. The third is right before everything hits the fan, where Snake and Pierre LeClerc stare out a window at the battlefield and contemplate war.
- Tiberium Wars has several of these scenes scattered throughout it, with one of the most poignant scenes being a discussion between GDI Commander Karrde and retired Colonel Parker, where they talk about the facelessness of mechanized and network-centric warfare. A similar scene happens between Nod Commander Rawne and his friend Captain Alvarez of the Black Hand, where the latter is dealing with the guilt of having to execute his own wounded to allow the rest of his troops to escape.
- Mass Effect Human Revolution, as a crossover between two RPGs, does this a lot and well.
- Iron Eagle, While Doug and Chappy are flying towards their target, they talk about being alone in the sky. Doug remarks how he regrets not appreciating his father's advice. Chappy tells him not to worry, that his father understood, and to just focus on the mission.
- The Lord of the Rings:
- The heartwarmingly peaceful scenes of The Shire in Fellowship of The Ring (especially in the Directors Cut), filled with laughter, friendship and happy children (what a warrior lays down his life to protect) is what makes us actually care whether or not Frodo and the Fellowship defeat Sauron or not.
- The scene between Aragorn and Arwen on the bridge in the first film, It introduces depth to Aragorn's character and reveals his backstory.
- There are a lot of these scenes in the films - Gimli and Legolas discussing Galadriel, Sam's speech about good at the end of Two Towers, and Pippin and Faramir talking about strength are good examples - but the iconic moment representing this trope comes in the middle of the Battle of the Pelennor Fields in Return of the King. Pippin and Gandalf are waiting for the enemy to break down a door, and proceed to have a heartbreakingly beautiful conversation about life after death. Then the door breaks and they go right back to fighting.
- In the first film we have Wolverine talking to Rogue on the train to convince her that she can find a place at Xavier's school.
- X-Men: The Last Stand has a similar scene, where Wolverine catches Rogue leaving to get the cure and tells her that if she's sure that's what she wants that she's doing it for the right reasons.
- The conversation scenes in the classic film, The Seven Samurai such as when the Seven realize that the villagers are eating only scraps because of them and they decide to share their food with them.
- Peter and Mary Jane talking at the hospital in Spider-Man.
- Star Wars:
- Vader and Luke's verbal duel on Endor in Return of the Jedi. In that scene, Luke shows just how much he has matured in that he can now fight with logic and rhetoric against his father with as much skill as with his lightsaber—the opposite of Vader taunting him to break his spirit in their last battle.
- And in Episode III, Anakin and Palpatine at the opera.
- Gladiator has many, especially scenes between Marcus Aurelius and Maximus, Proximo and Maximus, Lucilla and Maximus, and Juba and Maximus.
- James Bond
- In Goldfinger we have Auric Goldfinger's discussion to about his Evil Plan to contaminate Fort Knox in ' that turns the cliche of robbing the fort from a ridiculous cliche into a truly ingenious scheme by a master Big Bad.
- Lots of it in Quantum Of Solace. James Bond and Mathis, the two at the bar, Camille talking about her past, and Bond getting his eponymous quantum of solace at the end of the movie are all arguably more significant than the action that goes in between them.
- Skyfall has quite a few of these. One of these was the scene where Bond meets the new Q, exchange some witty banter with each other before shaking hands and parting in mutual respect. Another is Bond and M on the run and waiting for Silvia to arrive at Skyfall.
- Jaws: the family dinner scene and the sequence that includes Quint's Indianapolis speech. Though the latter is scary.
- The scene in the Jurassic Park film in which Dr. Sattler and Hammond eat melting ice cream and discuss the flea circus provides a counterpoint (missing in the novel) of sympathy for Hammond and what he'd hoped to achieve, in contrast to the Science Is Bad message.
- The book had something similar, but Hammond was being a jerkass and bragging about his flea circus to his surviving doctor, Wu.
- Another was Grant and the kids bedding down in a tree, with Grant promising to stay awake and watch for dinosaurs.
- The Dark Knight Saga:
- The Dark Knight has the Joker's interrogation scene in before Batman takes over, the Joker again turning, Harvey Dent into Two-Face in the hospital, and Alfred telling about his military past in Burma.
- The Dark Knight Rises has Blake talking with Bruce at Wayne Manor about being a Stepford Smiler, the scene between Bruce and Bane in the Pit, Bruce Wayne goes dancing with Selina Kyle, Bruce turning to Selina for help, and All of the scenes that Alfred appears in.
- In The Three Amigos there's The Pre-Fight Speech at the village trying to get the villagers to rally together to defeat the bad guy.
- Kingdom of Heaven, especially the director's cut, has many, especially one-on-one scenes between Balian and, variously, Godfrey, the Hospitaller, King Baldwin, Sybilla, and Imad.
- One of the main reasons Speed Racer avoided the acting problems of other films with chroma-keyed backgrounds is that there are a great deal of scenes where the actors are just talking to each other. These are some pretty damn good scenes, only slightly overshadowed because of the action ones.
- The talking scenes in Speed Racer almost end up being action scenes though because of the bizarre way they overlapped scenes constantly.
- Who really thought the Wachowski bros. would make a movie without demonstrating spectacular new ways to use cameras?
- The Iron Man film franchise has several of these, mostly with Tony and Pepper. One strong example is after she helps him replace his chest piece, nearly killing him in the process:
Pepper: Don't you...ever...ask me do do something like that, ever again.
Tony: I don't have anyone but you.
- In Bruges was mostly made of these, made all the more effective by a combination of Brendan Gleeson's mad acting skills and Colin Farrell's eyebrows. There was only one scene that could genuinely be called an "action scene."
- Every Star Trek movie has one of these — usually some pondering on the nature of humanity. One example is the conversation between Picard and Shinzon in Nemesis before he shows his true colors as an Evil Counterpart — but which also shows Shinzon's yearning for a different life, represented by the man he was cloned from.
- In the 2009 film, most of Spock's childhood (besides the schoolyard scuffle) is an extended quiet drama scene. So too Spock and Uhura's meeting in the elevator after Vulcan is destroyed, and Spock and Sarek's scenes together. Also, "James T. Kirk...I have been and always shall be, your friend."*
- Kung Fu Panda has the nighttime stairs argument between Po and Shifu. In that moving Tear Jerker scene, we learn that whatever disdain his heroes have for Po, it is positively kind compared to how much the panda feels he is a fat failure. Thus, Shifu realizes that he must somehow have his new student not only learn martial arts, but also gain some self esteem.
- Kung Fu Panda 2 has two major such scenes: the nighttime boat scene that shows how close as friends Po and Tigress have become and Po and the Soothsayer in Po's home village where he remembers his horrific past and comes to terms with it.
- In The League of Extraordinary Gentlemen, Allan Quatermain and Tom Sawyer attempt to have one of these on the deck of the ship, where Quatermain tells Sawyer about his son's death.
- There's one in a deleted scene, where Dr. Jekyll tells Captain Nemo about the horrible things that Mr. Hyde has done, and how he is cursed to remember all of it. Captain Nemo replies that his curse is that he must remember all of the terrible things he has done himself.
- Right before the swordfight scene in The Princess Bride, Inigo Montoya has this sort of moment with the Man in Black, talking about his father's murder. The result is that both characters are shown to be merely surface villains and are actually quite likable fellows; in fact, neither of them is a villain at all. It helps the dramatic impact of their talk that it's followed by one of the best cinematic swordfights ever, during which they maintain the chatty, lighthearted tone they had been using before the big dramatic moment - compare their conversation before "I swear on the soul of my father... you will reach the top alive", and during the first few moments of the duel, and the tone is exactly the same.
- The Hunt for Red October has quite a few of these. While it's tense summer action thriller, it has countless scenes of characters just talking, and much of the tension and the drama comes from these conversations.
- The The Terminator series:
- The first Terminator film has Sarah and Kyle Reese making love to a piano version of the theme.
- Terminator 2: Judgment Day has several. notably the brief layover at the Mexican farm where Sarah ponders the nature of The Terminator, and how much of a father figure he has become to John. Also the "why do you cry?" scene happens here.
- Terminator 3: Rise of the Machines deliberately tries to invoke this trope (as stated by Director Johnathan Mostow in the DVD commentary) during the reminiscing scene between John Connor and Kate Brewster in the back of the vet truck.
- Terminator Salvation has Marcus and Blair by the fire. The scene where Blair washes herself topless as Marcus looks on was cut from the theatrical released, but reinstated into the special edition Blu Ray disc.
- The first movie has Powell's "I shot a kid" speech from the first, and McClane's "if I don't make it out alive" speech whilst he's picking glass out of his feet.
- John McClane's "That Guy" speech in Live Free Or Die Hard
- Battle Royale: Amid the scenes of carnage and middle school kids gunning or hacking each other down, there are plentiful flashbacks (in all three adaptations) to their childhood and school life; in Shuya, Noriko, Shinji, Sugimura, and Kawada's cases, these tend to be moments of quiet introspection and surprisingly deep development. Then The Movie provides scenes such as the heart-to-heart at the clinic, with wonderful performances from the real school-age actors.
- One of Deep Impact's most powerful scenes (amid many) has aging pilot "Fish" Tanner consoling the recently-blinded Oren after their mission's failure, and then reading Moby-Dick to him. But then, Robert Duvall has a knack for quiet drama scenes even in the most outrageous action movies.
- Robert De Niro's bank robber and Al Pacino's cop meet over coffee in Heat.
- There are many scenes like this which is one of the reasons it's loved so much.
- Through The Bourne Series Bourne has several of these, with Marie, Irena Neski and Nicky Parsons respectively. Also, the scene with Professor in the field.
- There are two highlights in Independence Day: One, Monumental Damage; Two, Will Smith cursing an unconscious alien as he drags it across the desert. A review said that the second would remain enjoyable even after the explosive effects were old hat.
- Subverted in The Hurt Locker, where one of these scenes is a gunfight. The "quiet" and "drama" parts happen because it's a Sniper Duel played with more realism than is usually done.
- Inglourious Basterds has an awful lot of these.
- Ripley putting Newt to bed in Aliens.
Alexa Woods: There's no room for sick men on this expedition.
Charles Bishop Weyland: My doctors tell me the worst is behind me.
Lex: You're not a very good liar, Mr. Weyland. Stay on the ship. We'll update you at the top of every hour.
Weyland: You know, when you get sick, you think about your life and how you're going to be remembered. You know what I realized would happen when I go? A ten percent fall in share prices. Maybe twelve. And that's it.
Lex: I've heard this speech before. My dad broke his leg seven hundred feet from the summit of Mount Ranier. He was like you. He wouldn't go back or let us stop. We reached the top and he opened a bottle of champagne. I had my first drink with my dad at 14,400 feet. On the way down, he developed a blood clot in his leg that traveled to his lung. He suffered for four hours before dying twenty minutes from the base.
Weyland: You think that's the last thing your dad remembers? The pain? Or drinking champagne with his daughter fourteen thousand feet in the air? I need this.
- Gangs of New York has a scene featuring Bill the Butcher sitting in a rocking chair and... talking about his life, his background and his history with Priest Vallon. It's several minutes worth of screen time with camera focusing exclusively on Daniel Day-Lewis. And it's awesome.
- The Incredibles. Nearly every moment where something isn't blowing up is an example. In particular, the confession right before the final fight is very powerful.
- The Outlaw Josey Wales has several, most notably Josey's final confrontation with his nemesis. A runner up would be Chief Dan George's "hard candy" speech.
- The Good, the Bad and the Ugly . In particular for Tuco and Bondie, the formers discussion with his brother who is a monk and Blondie's comforting of a dying soldier.
- The Expendables : Especially notable for a movie which is almost self-aware in it's homage to brainless gunplay, big explosions, and macho muscled supermen, Tool (Mickey Rourke) has a scene regarding a woman he could have saved in Bosnia, and the personal cost of not doing so. His story inspires Barney Ross (Stallone) to go back to Vilena. Many Manly Tears were shed.
- In Robocop After Robo's fight with ED-209 and the Detroit police, Lewis takes him to an abandoned steel plant to hide. Robo takes off his helmet to see his human face again. That of deceased officer Alex Murphy. Lewis tells him what happened to Murphy's wife and son after he "died".
- A few scenes in Conan the Barbarian count for this - see any time Conan and Subotai have a discussion. In fact, John Milius is so fond of monologues, any scene that isn't action will be a Quiet Drama Scene.
- The end of First Blood where Rambo breaks down at the end and remembers his friends in Vietnam who are now all gone. In Rambo First Blood Part II, the scene with Rambo and Co on the boat where he tells her he's "expendable". There are several in Rambo between Rambo and Sarah, most notably her pointing out "Maybe you're right, maybe we won't change anything. But trying to save a life isn't wasting your life."
- Battle Los Angeles has several really well-done scenes, such as the scene in the police station after the alien air support shoots down the casevac chopper and Nantz's speech while the Marines are at the FOB where he lays out how he feels about the deaths of his men on his last deployment.
- The Avengers has a couple of these, most notably Nick Fury talking to the team in the Helicarrier, using Coulson's death to give them a "push" and make them pull together.
- And immediately afterward, there's also the very quiet, dark, lingering scenes of Natasha and Clint touching on a good range of topics including guilt, motivation, violation, and redemption while the latter is recuperating from being de-brainwashed; and Steve tracking down Tony, who is grieving at the site of the kill, where they reflect on the unraveling chain of events and discuss the nature of soldiers and heroes.
- The Matrix has several of these; Cypher revealing his betrayal - no action, no special effects beyond Apoc and Switch falling over, just the actors talking over the phone. Morpheus's first in-person meeting with Neo is the same way, as are many of the scenes on their craft.
Live Action TV
- The Shadow Play scene in Cirque du Soleil's KA, in which the Court Jester comforts the Twin Brother by teaching him shadow puppetry — which, due to how the scene is lit, can be seen by the whole audience. Read a rave review of this Scenery Porn-heavy, intelligible-dialogue-free show, and it's likely the critic will mention this scene as a standout.
- The Metal Gear series is full of these, often between Snake and the member of the Quirky Miniboss Squad he just beat. He also has them with Otacon and Meryl at various points in the series.
- In Snake Eater, Big Boss and EVA behind the waterfall, "It's alright Snake. From now on, I'll be your eyes."
- A staple of RPGs that don't have Heroic Mime characters and are therefore more expressive. Inevitably, there will be a scene that solidifies heroic resolve and conveys to the player the sense that things must be seen through to the end.
- For example, Final Fantasy X has at least three: when Tidus finds out Sin is Jecht, when Tidus finds out that Yuna will die during the Final Summoning (at Home), and finally when the party finds out the Final Summoning is a lie and something else must be done.
- At least twice in Final Fantasy XII: first, in Jahara, the Garif settlement, where the Chieftain explains to Ashe the exact nature of Nethicite and the power it wields, prompting her to rethink her entire motivation. Later, in the endgame, the party has successfully infiltrated Sky Fortress Bahamut and takes a minute to reflect upon the journey they've all t(aken together, and what they hope will result from the Final Battle that is about to ensue.
- Happens a few times during Final Fantasy XIII. Mainly between Lightning/Hope and Sazh/Vanille. Biggest examples are when Hope tells Lightning why he hates Snow so much, Sazh confronting Vanille before his Eidolon Fight, and when Fang reveals the truth about her and Vanille to Lightning.
- Mass Effect 2 has a big one during the personal mission for Mordin Solus - he's a brilliant scientist who did something of debatable necessity and more debatable morality, and his personal mission revisits the ghosts of his work. In particular, finding a dead woman who volunteered to be experimented on in hopes of reversing what Mordin did triggers a very quiet, very powerful scene as Mordin grapples with the consequences of what he did versus how necessary (or, more importantly, perhaps unnecessary) it was. However, if Shepard is Renegade, you can simply agree with Mordin as he makes his initial statement about the situation and then the game moves on. Only Paragon Shepard gets the cool scene.
- The loyalty missions cover the gamut from Mordin's guilt to Miranda's love for her sister, Jacob's fury at discovering what his father did, Jack's realization of what really happened to her when she escaped, the pure heart-wrenching sorrow of Tali standing over her father (and depending on how the player does it, the moral outrage he/she lets loose on the Quarian leaders while defending Tali), Kasumi's personal loss, Thane's attempt to reach out to his estranged son...really, Mass Effect 2 is full of these, all done very well.
- The original Mass Effect had a few, usually post-operation meetings with your crew and the Council. The most memorable Quiet Drama Scene, though, has to be Vigil's - it's sandwiched between the Ilos surface fight and The Very Definitely Final Dungeon, and is (baring an optional chat with the Citadel VI) the last dialogue before fighting Saren, as well as finally explaining the whole truth of the backstory. Plus it has quiet but undeniably epic music throughout the whole scene.
- At the end of Mass Effect 3, after confronting the Illusive Man on the Citadel, Shepherd and Anderson sit and watch the battle in orbit over Earth, exhausted and wounded, and, in Anderson's case, dying. Anderson has enough time to tell Shepherd he's proud of him/her, just before he dies. Shepherd, however soon after gets a call from Hackett, which leads him to the final choice.
- Many of the incidental conversations you overhear on the Citadel in Mass Effect 3 become this when you hear the entire thing: the young teenager anxiously awaiting the arrival of her parents talking to the man who knows they're probably dead and doesn't have the heart to tell her, the batarian and human bonding over their personal losses, the salarian realizing his human friend sold her car to secretly buy him the armour that saved his life, Liara talking to her father, the asari commando forced to kill a wounded human girl who turns out to have probably been Joker's sister while being pursued by husks, and many more.
- In fact, most of the conversations Shepard has during the third game are very dramatic and emotional scenes, Thane's death scene Mass Effect 3 being a heartwrenching example.
- Modern Warfare:
- When the city the main character is in gets destroyed by a nuclear bomb. It's almost silent, there's no shooting, he can barely even move, you crawl out of a chopper, limp 5 feet ...then he dies.
- Modern Warfare 2 has the cutscene between "Enemy of My Enemy" and "Just Like Old Times", where Captain Price goes into a quiet, dark, and very personal "World of Cardboard" Speech about hopelessness, madness, and the singularity of purpose of the upcoming mission to kill General Shepherd.
- Modern Warfare 3 has the final cutscene right before "Dust To Dust" where price and Makarov have their final conversation before the shooting begins.
- Every time your party rests at camp in Dragon Age: Origins. Some of the more personal and character developing conversations with your party members only occur in camp, and resting in camp is a nice break from the struggles of your quest. Making it all the more shocking when the Archdemon sends a band of Shrieks to ambush your party while you are in camp.
- Also, the scene in Flemeth's hut when you awake after the battle of Ostagar, where you got almost and the king and The Obi-Wan got totally killed. After about an hour of shouting, epic battle music, killing legions of Darkspawn, (including your first Mini-Boss), and the complete defeat of an entire army, the conersation between you and Morrigan plays out absolutely quiet, without music, and only a few rustling and creaking sound effects.
- Also, both Origins and Dragon Age II give you long quiet break just before the final battle to talk with your Companions and give them the last chance to say what they always wanted to say. Everything said during those scenes is either a Tear Jerker, a Crowning Moment of Heartwarming, or both.
- Valkyrie Profile 2 Silmeria has plenty as well. About half-way through most of the storyline-centric dungeons, and occasionally on leaving a town, you'll get a scene of the party stopping to rest and talk, which highlights their Character Development.
- Ace Combat 5 has an optional quiet scene (likewise optionally interrupted by a Bonus Boss) in the final mission. If you defeat the Final Boss squadron before the timer runs out, you will be treated to a brief, almost poetic dialogue between your three wingmen, then to their respective thoughts at that moment (in order: idealistic Ensign Newbie Grimm looks forward to going home with his brother after the war, cynical Old Soldier Snow thanks Blaze for letting him fly as a wingman once more, and Blaze's Violently Protective Girlfriend Nagase repeats her vow to never let him down). Then the real final battle begins.
- Talesof Symphonia makes use of this before any of the major boss battles, giving you a bit of free roam to talk to each character in your party to get a few words of their feelings, their resolve, and exchange pep talks, all of which gets you very emotionally tied with the characters. A notable one is right before the almost-final dungeon Lloyd and co. stops at an inn to rest up before the big battle. At this time whichever character you had the best relationship with knocks on your door, and you can have a scene with them that gets pretty heart-felt.
- Uncharted 2: Among Thieves has a level that's just walking around a small Tibetan village in the mountains. There's no baddies, and Nate can't do anything but walk slowly and interact with villagers: you can pet the ox, play with some kids and admire the view. When you return to the village a few levels later and discover the Big Bad slaughtering the villagers wholesale, both Nate and the player are genuinely horrified and all the more determined to punch the baddie's face in and save the day.
- There's a lot of these cutscenes in Uncharted 3: Drake's Deception. Sully and Elena try to convince Nate that his hunt for Iram of the Pillars isn't worth the effort, he has a conversation with the villain who knows more about Nate's backstory than anyone else, and there's a gorgeous, mostly wordless scene with Nate and Elena after he returns from his cruise ship escapades. They all serve to reveal and illuminate, in different ways, why this quest is so personal for Nate: he's based his entire identity on the lie that he's Sir Francis Drake's heir, and wants to prove he's worthy of that claim. His arc over the game is about deciding what's more important, the identity he built around this lie or the life he's built with Sully and Elena.
- There's plenty of these in Asura's Wrath many of these include flashbacks to the time when Asura's family was still whole and his wife durga was alive. There are several other instances, too.
- The Darkness has Jackie, who's just turned 21, visiting Jenny at her new apartment. It's quite a nice scene.
- Done repeatedly in Halo 4.
- Justice League Unlimited has the most potent distillation of this trope you'll ever see. In the middle of fighting Wonder Woman, Hawkgirl nearly hits a prone Vixen with her mace; there's a complete stop in the music and fighting while the two just look at each other. Aside from that instance, the series has many good scenes along those lines; "Epilogue" is practically nothing but.
- What Wonder Woman was going to do to Toymaker after he killed Superman, and how Flash calmed her down.
- Hawkgirl gets another when she walks in on Batman, who she knows had earlier been on a time-travel trip to the future, and asks him to tell her about her (as yet not even close to being conceived) son. The episode ends at that point but the question is asked with such heartfelt pleading that you know he couldn't refuse her request.
- Come to think of it, she probably gets most of them. Her calming the monstrous Grundy before she's forced to kill him, followed immediately by her acceptance of the crowd's accusation that she was a traitor to her team. Her interactions with a still distrusting Wonder Woman when the two have to go free Hades. Her scene with Alfred after the Thanagarian invasion...
- Johnny Test lampshades this tropes in one episode when he and Dukey enter an action movie and Johnny wonders what going on when the film jumps from an chase scene to motel room.
- Takanuva has one in BIONICLE: The Mask of Light as he comes to terms with Jaller's death before going on to face Makuta.
- The treehouse scene in Kim Possible: So The Drama.
- Quite a few moments in Avatar The Last Airbender. The show's action sequences are stunningly fantastic, but it's the quiet, emotional scenes (usually before said fantastic action scenes) that really make the show great. One notable example is the scene between Iroh and Zuko in "The Siege of the North," where Iroh gives Zuko some last-minute advice and tells him that he thinks of him as his own son, right before Zuko ninjas into the Northern Water Tribe to capture Aang.
- Zuko has quite a penchant for this, as almost all of his important character moments happen in the middle of huge action scenes. While everyone else was invading the Fire Nation in the middle of the third season, he was giving a "World of Cardboard" Speech and preparing to join the Avatar. Even his duel with Azula in the Grand Finale comes off this way, as it's not written as an action scene, but as a tragic one.
- Samurai Jack is built on the idea that these scenes will make the action more thrilling.