A Midsummer Night's Dream (1935)

Demetrius, in Love with Hermia: Where are Lysander and fair Hermia? The one I'll slay; the other slayeth me.

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Flute, the Bellows-Mender: "I'll meet thee, Pyramus, at Ninny's tomb."
Quince, the Carpenter: Ninny's?
Flute, the Bellows-Mender: Ninny's.
Quince, the Carpenter: Ninny's.
Flute, the Bellows-Mender: Ninny's.
Quince, the Carpenter: "Ninus' tomb", man!
Flute, the Bellows-Mender: [Flute begins to repeat Quince's words and gestures] Ninus' tomb, man!
Quince, the Carpenter: But you must not speak that yet!
Flute, the Bellows-Mender: But you must not speak that yet!
Quince, the Carpenter: Ohhh...
Flute, the Bellows-Mender: Ohhh...
Quince, the Carpenter: That you answer to Pyramus!
Flute, the Bellows-Mender: That you answer to Pyramus!
Quince, the Carpenter: You speak all your part at once, cues and all!
Flute, the Bellows-Mender: You speak all your part at once, cues... I won't play anymore.

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Hermia, in Love with Lysander: [to Helena] How low am I, you painted maypole? Speak! How low am I? I am not yet so low but that my nails can reach into your eyes!

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Olivia de Havilland was cast in the film after successfully playing Hermia in the Hollywood Bowl production.
Composer Erich Wolfgang Korngold was personally chosen by director Max Reinhardt. Both agreed in an early production stage to use the original incidental music written by Felix Mendelssohn-Bartholdy as the film's soundtrack. (Reinhardt did a stage production of the play before and used Mendelssohn's music.) As the film runs over two hours it was obvious that Mendelssohn's composition would be too short. Instead of just repeating several musical cues to fit the film's final length Korngold adapted the incidental music and parts of some other compositions by Mendelssohn, re-orchestrated them for a larger orchestra and choir (most notably heard in his Wedding March version at the end) and composed some short musical bridges by himself. Thus he created a complete symphonic score for the movie based on Mendelssohn's music. However, he chose to remain uncredited as a composer and insisted on giving full musical credit to Mendelssohn.
The first Shakespeare adaptation to be nominated for an Academy Award for Best Picture.
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