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La Boite P'tora Extra Virgin Olive Oil - 25 ozs (750 ml) KFP - Made in IsraelLa Bote's new cold pressed, extra virgin olive oil. For us, like many, olive oil is an absolute essential ingredient in the kitchen because of its unmatchable versatility and sought after flavor. Which is why we've partnered with P'tora to bring our signature bottle of olive oil to life, as part of the Voyager Collection of products. Lior set to seek out the absolute best quality, tasting oils from many different producers before choosing Ptora. The
La Boîte's new cold-pressed, extra-virgin olive oil.
For us, like many, olive oil is an absolute essential ingredient in the kitchen because of its unmatchable versatility and sought after flavor. Which is why we've partnered with P'tora to bring our signature bottle of olive oil to life, as part of the Voyager Collection of products.
Lior set to seek out the absolute best quality, tasting oils from many different producers before choosing Ptora. The history of the family business, the terroir, and the know how all played a large role in why Lior chose this oil to be our signature olive oil.
Located in the magical Lachish region of Israel, Ptora farm is situated on an extremely fertile swathe of land, indicated by the discovery of an ancient Byzantine wine press found on the farm. Lead by the Patriarch, Ido, the family takes extra time and care to make sure that the oil is the best the harvest has to offer each year.
Consequently, the Koroneiki oil has an elegant, robust flavor, with herbaceous notes of clove and allspice and a light peppery taste. It's complex and full bodied. We offer the oil in three sizes: 100mL for those who want to try, 750mL for the home cook who uses olive oil frequently, and 2L for the true olive oil aficionados.
We are excited to partner with a brand like Ptora that aligns so well with La Boîte's core values of stellar agricultural practices, attention to detail, and above all a love of food and great ingredients.
Created in collaboration with the Ptora family farm of Israel, Chefs Lior Lev Sercarz of La Boîte and Eric Ripert of Manhattan's Le Bernardin introduce their premium quality, cold-pressed extra virgin Koroneiki olive oil.
As part of the Voyager Collection— a curated global selection of spice and pantry items—La Boîte Koroneiki Olive Oil has fruity, herbaceous, and peppery notes with low acidity. Ptora was established by the Tamir family under the guidance of olive oil expert, Ido Tamir.
Their olives are grown in the Lakhish region, which is known for its unique terroir.
Ingredients in La Boîte Olive Oil Cold-pressed, extra virgin olive oil from Koroneiki olives
Certified kosher for Passover
Made in Israel
Recipe:
Crispy Mushrooms with Lemon and Parsley
Ingredients
- 2 8oz containers of cremini mushrooms, sliced
- 1 lemon – half sliced paper thin, the rest reserved
- 1/2 cup olive oil
-
1 tsp fine sea salt
-
1/2 tsp ground black pepper
-
½ cup roughly chopped parsley
Directions
- Preheat the oven to 450°F.
- In a baking tray (we recommend using half sheet tray 18”x13”x1”), spread the mushroom slices, lemon slices, olive oil, and salt and toss to combine well.
- Bake for 30 minutes or until the mushrooms are nicely roasted and crispy with spice crunch.
- Finish with a squeeze of lemon juice from the remaining half lemon and fold in the fresh parsley.
- Add an extra pinch of sea salt and black pepper if needed.
Burrata, Tomato & Olive Salad
Ingredients
- 1 pint cherry tomatoes, cut in half
- ½ cup pitted olives, cut in half
- ¼ cup chopped scallions
- ¼ cup mint leaves
- 2 tbsp olive oil
- 1 tsp fleur de sel
- pepperocino to taste
Juice of half a lemon - 1 or 2 burrata balls (1 pound)
- 2 tbsp olive oil
-
1 tsp fleur de sel
Directions
- Toss the tomatoes, olives, scallions, and mint with the lemon juice, olive oil, salt and some peperoncino flakes.
- Toss to combine.
- Transfer the seasoned salad to a serving bowl.
- Top with the burrata and drizzle with olive oil and fleur de sel.
- Enjoy.
Variations & Ideas
Replace the tomatoes with roasted zucchini and green beans.
Cut the burrata in big chunks and serve it with the tomato salad on grilled crusty bread.
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Exchange/Return Notes
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4.2 ★★★★★
Based on 18 reviews
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Product Reviews
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
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