I had done maybe three lines of dialogue, ever, before doing ‘Death Proof.’
It’s important for people to give every leader the chance to step forward and look for ways to have dialogue.
Some deeper part of me wants to write comical dialogue; I’d be foolish to not follow that impulse. Now I recognize that if there’s energy to a section of work, you go where the energy is. It’s a living thing, and you just follow it.
All issues, therefore, must be resolved through dialogue and there can be no place for violence. Negativity and rejection cannot be the path for a vibrant country that is moving to seek its destiny.
I prefer ensemble casts, but with games like ‘Resident Evil 6,’ where there’s just so much dialogue and recording mo-cap, or with ‘Resident Evil: Damnation,’ where the story pace is already set by a previous set of mo-cap actors, it makes more sense to do it individually.
A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. It’s like a proscenium arch for a dialogue.
I think people are kind of tired of the really amped-up rhetoric that passes for a lot of political dialogue, and they appreciate the fact that that’s not the way we are participating in this process.
As young parents of three girls, living in California during the late Sixties and early Seventies, Meredith and I couldn’t help but be aware of the rising level of dialogue, debate, commentary, and proclamations about the place of women in society and about how to raise females in light of this raised consciousness.
The social media bit is really about documenting process. I like the dialogue if it’s constructive, but I’m now at a crossroads. I’ve accumulated a lot of followers, and it’s great, but I’m also at that teetering point where people are feeling themselves a little too much, commenting a little too much.
It is a new trend, and it is here to stay. Unfortunately, if you cannot write punch dialogues, you are not treated as a dialogue writer.
I see people in terms of dialogue and I believe that people are their talk.
Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.
Without dialogue, you cannot run parliament. You have to interact.
I think, even though homophobia still exists, there is much more of a dialogue and a taboo around being homophobic.
Our strategic dialogue with China can both protect American interests and uphold our principles, provided we are honest about our differences on human rights and other issues and provided we use a mix of targeted incentives and sanctions to narrow these differences.
When I did ‘Good Guys Wear Black,’ I had a lot of dialogue in that movie.
For the professional writer, stories must be presented as a series of individual scenes, each one dramatized with dialogue and telling descriptions of who is present and what they’re all doing.
A church of dialogue in the contemporary world… a church, taking on the mission of Jesus, which is in the world not to judge humanity, but to love it and to save it.
I do everything in my power to promote positivity however and whenever I can; and, constructively and softly, try to encourage tweens and teens that if they want to be part of a dialogue on my social platforms, there is an expectation that they do so with poise and respect.
My understanding of films was just as much as any young girl who watches Bollywood films. I had no idea about the whole process of filmmaking, about dialogue writing, scripts, screenplay etc. I had probably gone to two or three film shoots in my childhood.
If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don’t know.
If student A ‘impacts’ student B with a fist, they shouldn’t ‘dialogue as equals.’ Student A should be disciplined. When you assault your co-worker or curse out your boss, you don’t get a ‘restorative circle’ – you get fired.
As much effort it takes in nailing great comic timing, it takes the same effort to ace any dance step or a romantic dialogue. All of them have their different space.
I try to stay away from stuff that’s just action, action, action, action, action, and you kind of fast-forward through the dialogue scenes. I’m not interested in doing that. Give me a reason to fight, and I’ll go there. But don’t just make it, ‘You touched my pen! Haaa-yah!’ I’ve done that before.
I prefer to express myself physically, or non-verbally. I prefer just to react without having a lot of dialogue.
The mixture of weird textures and organic surfaces creates an interesting dialogue.
Writing screenplays is not my business. I’ve written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You’re an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.
It’s not just about learning the dialogue and facing the camera, you must somewhat live the role and not always be acting it.
I was intentionally curbing the impulse to be funny and hiding the ability. I wrote any number of very serious attempts at poems, short stories, novels – horrible. At a certain point, I recognized that it was fun to write dialogue that had a degree of lightness and humor.
I’ve always loved the dialogue that Pedro Almodovar writes.
I love to see great dialogue in the cinema but I hate to see ‘Film TV.’
I like writing characters that seem different from one another. So if you were to hypothetically look at a bunch of lines from books I’ve written, just out of context, hopefully you would be able to determine who said what. That’s the goal, anyway. I try to strongly differentiate through dialogue.
The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them.
We – what we need is a dialogue among civilizations. And we need multiculturalism, respect for diversity, tolerance, respect for diverse faiths.
Let me say this loud and clear. There is a world of difference between terrorist acts and the Islamic Shari’a. Islam is not only a religion, but a way of life. And at its heart lie the sacred principles of tolerance and dialogue.
I read one book where the characters never said anything; instead, they spent all their time grunting and bleating and hissing and cooing and growling and chirping and… It was like a menagerie in there. After a while, I wasn’t even taking in the rest of the book, because that was all I could see: the dialogue tags.
My art is a disciplined high dive – high soar, simultaneous & polychromous, an exaltation of the verbal-visual… my dialogue.
By the time I wrote ‘Any Given Sunday’ or ‘Bats,’ I sort of knew what my job was in terms of what a writer of dialogue does.
If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.
All I had, originally, were pages of Nolan’s dialogue. I think his character serves the story in a nice way. He’s a Greek chorus for the goings-on in the Hamptons.
Working as a journalist, I was always tempted to lie. I felt I could do dialogue better than the person I was interviewing. I felt I could lie better than Nixon and be more concise than some random person I was covering.
Changing the dialogue and behaviors around race and equality in sports starts with removing barriers and creating opportunities.
I need to be in front of my obstacle. I like to have a back dialogue; I like to talk with people; I like to share ideas.
‘White Teeth’ has far too many characters, and its plot is tortured. But Smith has an astonishing intellect. She writes sharp dialogue for every age and race – and she’s funny as hell.
Building sustainable cities – and a sustainable future – will need open dialogue among all branches of national, regional and local government. And it will need the engagement of all stakeholders – including the private sector and civil society, and especially the poor and marginalized.
I’m a really slow writer. What I need to start writing on any given day, is a kernel, a line of dialogue, anything I can sense concretely.
Coming up in the School of Aaron Sorkin Delivery of Fast-Paced Dialogue and Hyper-Articulateness prepared me well for Shondaland, where there are many of the same factors at play.
So, poetry becomes a means for useful dialogue between people who are not only unknown, but mute to each other. It produces a dialogue among people that guards all of us against manipulation by our so-called leaders.
Then they started pulling me in and I was very resistant. All the other actors would be saying write more, more dialogue for me, and I’d always be saying ‘No, less, less’.
Well, my husband is supportive of my work, like advocating for dialogue between cultures on YouTube.
I found it more challenging to act in a small scene, especially if it has no dialogue and if it is a close-up with only expressions.
