What's the secret of writing great movie dialogue?

Make 50% of dialogue be about irrelevant shit, like food or someone having stubbed their toe or something so it feels like they're real people and not just plot devices.
I wouldn't know how real people talk anyway, i havent held an actual conversation since middle school.

the differences in the way people make small talk can be insightful on its own imo, you don't necessarily need "conversations"

i think it's about the whole composition, for example in pulp ficiton you see these two gangsters in black suits going to do a job. now the cliche thing would be that they are all silent cold and maybe have a few lines of evil mustache twirling or some shit.
The itneresting writing is what Tarantino did, but it took some balls in the mid 90's to do that, to have these stone cold killers talk and ramble like normal stoners who are just out to go to the corner store and get some junk food. Theroies about foot massages, latest chatter about the boss and his chick, rambling about burgers and amsterdam... unironically subverted in an intersting way. And to top it all off, the themes of the conversation tie in with later points of the story line of the movie.

Throwing in a nigger every now and again. Not too often, but just often enough that when it starts to fade away, bam! there it is again.

this but unironically
the reason Hackantino gets so much praise is because in most movies every single line serves some purpose plot-wise
his movies just have random normal conversations
it's not even about those conversations being good themselves but just by them existing they are considered 'groundbreaking'

I know that its cool, epic and redpilled to shit on anything popular but i still think tarantino is a good movie maker.
Even today, you dont see his kind of dialogue be commonplace and a lot of people who try to emulate it fail miserably because they fall into the ebin ironic may may reddit and memey style trap.

>just by them existing they are considered 'groundbreaking'

as they should be

>pic unrelated

Film students who try to emulate Tarantino get too hung up on shit like the opening of Reservoir Dogs and his penchant for gratuitous violence. Most other professionals prefer tight structure to their films and care more about the story they're trying to tell and the characters are just a means to an end whereas with Tarantino the story is heavily character driven or secondary to all the other shit that's "really" going on.

There really is only one Tarantino.

bro this film is one of the best in the history

>What's the secret of writing great movie dialogue?
Don't be called Tarantino, Nolan, or Lindelof.

take your own life lmao

explotions on the back