If people are going to watch TV, let’s give them something coherent with actual dialogue.
‘The Company’ was interesting. I didn’t love it, although it might be compelling to someone who isn’t a dancer. There wasn’t a lot of dialogue, and you were just kind of observing the creative process of choreography and in class.
Cameron Crowe can write dialogue and shoot it with warmth and humor like nobody else.
Nabokov, who I loved more than any other writer when I was young, had such contempt for dialogue. When I was younger, I never wrote a word of dialogue because of him. I thought it was a childish part of a novel.
We have to replace our focus on personalities with a focus on ideas so that the opinionated and self-serving pronouncements and forms of cyber-bullying are replaced by thoughtful dialogue and open-minded conversation.
I have a wonderful English-language dialogue coach. All the time I have to speak English, he is with me. It is a double effort, because you have to say the words correctly and then act them.
The properties of people and the properties of character have almost nothing to do with each other. They really don’t. I know it seems like they do because we look alike, but people don’t speak in dialogue. Their lives don’t unfold in a series of scenes that form a narrative arc.
The poet does not fear death, not because he believes in the fantasy of heroes, but because death constantly visits his thoughts and is thus an image of a serene dialogue.
That’s what art is about: to create dialogue. Everybody deserves to have their own opinion.
I’m real bent on dialogue. I’m just a little bit crazy and when you put that along with 20 years as a criminal lawyer, it’s pretty easy to come up with some interesting plots.
My work is like a dialogue between me and unseen powers, like alchemy.
After doing ‘Life After Beth,’ which I think had one line that wasn’t scripted, everything was scripted so that it sounds natural, and I went to such great lengths to create dialogue and to come across the way that people wouldn’t sound like they were on the nose.
Since its beginnings, American writing has been in dialogue with other literatures.
I believe that Attorney Fortuno has some styles that it seems to me are going to foster dialogue and good communication, and I hope I am not mistaken.
A disaffected America can be drawn into a civilized – but disruptive – dialogue about political change and reformation.
I feel like I’m on crutches when I have to go by the dialogue sheet. I want the artiste’s natural, spontaneous reaction and vocabulary so that it adds a genuine flavor to the scene without which the sequence becomes entirely cinematic.
Social media isn’t a one-way broadcast; it’s a multiway opportunity for dialogue.
There’s nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I’ve never seen a movie director who was happier to be directing a movie than Dave.
I write from real life. I am an unrepentant eavesdropper and a collector of stories. I record bits of overheard dialogue.
I’m really calculating when it comes to these scripts – I’m really calculated about character behavior and dialogue.
Change happens by listening and then starting a dialogue with the people who are doing something you don’t believe is right.
As a director, you’re looking for ways to tell the story with the whole image and not primarily dialogue.
We ask them to remove the missiles deployed against Taiwan, give up their military threat, and instead let us together open the door to cross-Strait peaceful and stable dialogue and negotiations.
Art is a dialogue. I’m throwing rocks across a chasm and hoping people catch them on the other side.
Actors have to have conversations not just with dialogue but with silences.
Education is a kind of continuing dialogue, and a dialogue assumes different points of view.
So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
I still haven’t quite caught on to the idea of writing without dialogue. I like writing dialogue, and there’s nothing wrong with dialogue in movies.
I never recreate dialogue. I have often been asked by people, ‘You must have made this up because this is dialogue, right?’ Anything in my books that is in quotes comes from some kind of living historical document: a letter, a memoir, a court transcript, a newspaper interview.
I’m not someone that loves dialogue – I am someone that loves movement. Action, if it’s well done, can be very poetic and meaningful.
Continuous present is all we have, and stream of consciousness – which in a novel is arguably just as artificial as the stilted dialogue that you get in most conventional novels. They’re all stratagems to try to get closer to the texture of lived life.
Because TV is mostly close up, it has to be fast. And because it has to be fast, you don’t have time to explain completely, by a sequence shot, what’s happening between people. So instead of experiencing what’s happening, say, when a couple is dancing, dialogue is used to explain.
A lot of people think stand-up comedy is one person performing to an audience, but I love it more when it’s a dialogue, an interaction.
I love writing Scottish dialogue.
‘Dialogue’ is not a dirty word; it’s our word.
Sometimes, what’s not said is just as important to the writing as what is said. As a writer, we have our voices heard. I think that, at oftentimes, the ability to allow the dialogue to recede properly into the world of the film is also a really valid sort of way to be a writer, I think.
So much has happened to obscure the dialogue about race and about gender and discrimination in general, especially where those things touch on economics.
Movies without meaningful dialogue play well all over the world. The Apostle is probably the best movie of the year, but it won’t do squat in Korea.
I did Shakespeare in college, and the nerves I got doing Shakespeare are the same nerves I get doing ‘Mad Men.’ I want to get the dialogue just spot-on.
I like to let the story flesh itself out, and usually, the characters make their own decisions as things get under way. Dialogue especially seems to write itself once I’m familiar with the characters and their backgrounds.
I’m about dialogue, and I’m always willing to talk.
Comic-strip artists generally have very modest ambitions. Day to day, we labor to fit together all these little moving parts – a character or two, a few lines of dialogue, framing, pacing, payoff – but we certainly don’t think of them adding up over time to some larger portrait of our times.
I was a shy little kid, and getting up in front of people and making them laugh and being able to carry on a dialogue rather than a monologue was something that was pretty interesting to me because you could set yourself up – you could ask a question and then answer it.
I look for absurdly simple plots so that I can simply focus on the characters. Having an understanding of what dialogue’s easy to say and hard to say – I think that that’s helpful, too.
We oppose occupation of land by force and we believe in dialogue as the method for regaining Arab rights. This is the spirit of the Great Arab Revolt.
I don’t have all the answers. I’m just supposed to present what I think is an issue and have dialogue start.
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won’t buy it; they’ll be unhappy.
It was in the early 1960s that my late revered teacher, Professor Abraham Joshua Heschel, became the first major Jewish theologian in America to enter into dialogue with Christian theologians on a high theological level.
I don’t do a lot of rehearsal. I don’t like rehearsals. I rehearse the day or morning. I spend one hour and a half with all the actors, and we go over the scenes, and we change it and change the dialogue, and we do a lot of things to it, but prior to shooting, I don’t really rehearse.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me.
I hate it when I’m reading a comic, and the dialogue looks like stickers stuck on top to explain what’s going on. For me the best is when your eye goes in a certain point and moves through the composition and then springs out on the dialogue, or gets confused in the image and then goes to the dialogue for an explanation.
I grew up in the theatre. It’s where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.
In true dialogue, both sides are willing to change.
Peace can only thrive when the climate is right. We remain open to bilateral dialogue with Pakistan on all outstanding issues in an environment free from terrorism and violence.
One of the skills you have to master in theater is the ability to make the audience believe that things that aren’t there are there – just like when you’re acting against CGI. Also, in a theater, the people in the back row can’t see the whites of your eyes. Or your lips moving as you deliver dialogue.
