Quotes of All Topics . Occasions . Authors
I can assure you I'm quite sane and have proof that dialog 'works.'
I had one scene in 'Invisible' with 12 actors delivering dialog at the same time.
Good first drafts and speedy responses to consumer dialog will always trump lawyered corporate speak.
I have always viewed my role as a sort of ambassador or bridge between groups to help provide a dialog.
I know it may seem surprising to people, but learning dialog that has a conversational flow to it is not that difficult.
Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.
When I read Daniel Woodrell's novel 'Winter's Bone,' I was drawn to the characters, the setting, and the sound of the dialog.
I'm not a walking encyclopedia. I'm not one of those types that knows every single film ever made or can recite every dialog.
I'm always going to use music, use culture as a tool to engage people to have this dialog, to enable others. That's very important.
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
I've always been able to recount things, and I have a really good memory about dialog and what people have said before and this and that.
It is interesting that both Chicano and Puerto Rican art in the United States form an important part of the Civil Rights legacy and dialog.
I hate the word 'rendering,' as it equates to 'pouring concrete' on ideas that demand continuing dialog. 'Trade secrets' imply hoarding of knowledge.
With video games, imagine it's not locked - it's a TV show people can reach in and do this and do that, and you need to have dialog for all of that stuff.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.
The idea that you're made up of the people that come before you and you somehow have some kind of conscious dialog with your genetics - I think it's really deep and interesting stuff.
#BlackLivesMatter has raised the bar in our national dialog: Addressing economic inequality is necessary but not sufficient. It is also necessary to directly confront racial injustice.
I can't imagine how much time it took Matt Bucy to cut up 'The Wizard of Oz' and reassemble every word of dialog into alphabetical order. The resulting movie is called 'Of Oz the Wizard.'
If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
I want to turn my attention to movies about love relationships. Exploring the female psyche - there ought to be some interesting discoveries there. Love stories. If you do it right, people want to hear romantic dialog.
Personally, I think the silent films were more effective for L&H, but the sound was of great value in enhancing the effects - dialog eliminated a lot of action & sight gags - I always feel that 'action' speaks louder than words.
I like that part of the culture of 'MST3K' is this constant dialog on what movies could be done and what movies should be done. I've seen plenty of bad movies and walked out afterward thinking 'That would have been perfect for 'MST3K.''
That's the really fun thing about writing for series versus just doing a pilot or even doing a feature: you get to live with your actors, and as you learn their voices and they learn your dialog, you're kind of building the characters together.
I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.
There are lots of things, including changing the kind of inner dialog, that can mitigate anxiety. And yes, there are people who have the glass half full and glass half empty, and I'm afraid the glass is going to break and I'll cut myself on the shards.
If I hear an interesting turn of phrase on TV, I'll repeat it back - I just like to roll it around on my tongue. The same goes for dialog: I'll either speak it aloud or whisper it. I definitely sit in front of my computer and mutter. People have mentioned it.
Some of those early roles were unactable. Even Laurence Olivier couldn't have done anything with them. The dialog ran to cardboard passages such as, 'I love you. You can rely on me, darling. I'll wait.' It was all I could do to keep from adding, 'With egg on my face.'
I like writing dialog but don't think I'd be much good at a screenplay. I once had to write a treatment for a novel of mine - a condition of its being optioned by a movie producer - and I turned out something pretty lackluster. So my inclination would be to stay out of the way of an experienced screenwriter.
In the future, I think it's pretty plausible that collective intelligence tools and skills will be important in order to be a part of global dialog, global business, and global creativity. People who know how to negotiate collective intelligence networks are going to be in a good position to contribute to global society.
