Quotes of All Topics . Occasions . Authors
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
I am somebody who focuses on a dialogue between generations - that's the drive of my work. I believe the young generation take the power; they'll take over at one point, but the older generation, they'll push it away only because of the fear. I'm the opposite; I'm curious.
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.
I am always making sketches of how information should look or mapping out a marketing campaign. When I present my notes, people start responding to them. Desktop publishing makes everything look slick. When you present sketches, it helps start the dialogue and collaboration.
I have to have eight hours a night. I feel that everything falls apart if you don't sleep. If I spend four hours memorizing dialogue but don't sleep, then the next day I will not be able to stand in front of the camera and say my lines. For me, sleep is the number one thing.
My life in the town I grew up in was much quieter than 'The End of Vandalism.' Part of the reason I think I wrote it was because it was too damn quiet when I was young, and I wanted people to come out and talk. And they do. There's so much dialogue in 'The End of Vandalism.'
I like a naturalism to my dialogue and my comedy. I would rather have a few jokes sail by that might be more subtle than have every single joke hit hard. I would rather the comedy come out of character as opposed to feeling forced. Even if you're giving some laughs up for it.
I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
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 Anything in my books that is in quotes comes from some kind of living historical document: a letter, a memoir, a court transcript, a newspaper interview.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 was once in Delhi and one guy looked at me and shouted, 'kutiya, kutiya, kutiya' - it is a dialogue from my film 'Kasoor.' The guy couldn't recall anything else apart from this. It was funny but interesting - it shows the kind of impact my character has made on the audience.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
I've always been inspired by women, and my mission was to inspire women. I always wanted to become a certain kind of woman, and I became that woman through fashion. It was a dialogue. I would see that the wrap dress made those women confident, and made them act with confidence.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
Throughout my work as a state legislator and member of Congress since 2002, I have worked as hard as I could to build bridges. I've worked to combat anti-Semitism and confront Holocaust denial. I've organized dozens of meetings to promote interfaith dialogue and joint projects.
Everyone remembers the pop-quiz hotshot bit from 'Speed' because it's extremely funny, and it's really smart and really witty. And the notion that action movies can have dialogue that pops just as well as the explosions is something that I hope more people continue to remember.
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.
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.
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.
I love the movie 'Taken,' but the dialogue in the beginning of that movie is hilarious. They're talking, these commando types, and there's dialogue like, 'Hopefully your daughter appreciates what you're doing for her. Does she know that you're doing it?' What guys talk like this?
Al Jazeera is the opinion of other opinion, independent. Al Jazeera is diverse, reflection of the collective mind of the nations and cultures and civilizations that we report from and we report to, bridge of dialogue. This is what Al Jazeera is all about. Al Jazeera is a mission.
I believe the answers to most problems that confront us around the world can and should be approached by engaging both friend and foe in dialogue. No, I don't naively think that dialogue always works, but I believe we should avoid the rigidity of saying that dialogue never works.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
The ebulliently sharp mind of 'White Christmas' director Walter Bobbie made me tremble and strive in the same breath. The deceptively 'simple' dialogue of David Ives, asking every actor to just. say. it. Float it on the breeze; it doesn't need 'explanation,' just energy and truth.
Adventure games are all about details - if you happen to take this one object and use it with this other object, in a really weird place, at a weird time. If you happen to write a really funny dialogue line for that, even if it didn't solve the puzzle, people will appreciate that.
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.
One of the matters that must be addressed is that Rwanda and Uganda have to leave the Democratic Republic of the Congo. We're also supporting processes to ensure that the political dialogue among the Congolese themselves takes place so that the people there can decide their future.
Movies would be like a broad painted canvas... or a mystical process which cannot really be explained, like, 'What is electricity?' Along with the images that go on the screen, there's a corridor of dialogue that can happen through motion pictures, whether you're aware of it or not.
Musical 'fusion' projects have earned themselves a bad name, but that's mainly because they often involve pop artists conscripting orchestras to play unimaginative backdrops to their acts. What's really exciting is when you spark off a dialogue between very different musical forces.
One of the reasons you take a role is because it's something you always wanted to do, from going to the movies as a kid. I always wanted to do a 1950s movie, for example. And I got a chance to be in 'Peggy Sue Got Married.' I would have taken only one line of dialogue to be in that.
If you put yourself in a place where you're having to work at understanding something, then you keep yourself awake to all possible choices. How the body will look like in the future, the ethics of the body: those are questions that really fascinate me. Let's get the dialogue going.
One of the places the full stop is really being revised in a really fundamental way is on the Internet. You look at the Internet or any instant messaging exchange - anything that is a fast dialogue taking place. People simply do not put full stops in unless they want to make a point.
Great design is so many things all at the same time. It is emotional, functional, and responsive. It creates an unwritten dialogue, a connection, between itself and those who experience it. It is open to interpretation yet created for a specific purpose. It creates meaning and value.
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.
I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.
In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.
Interreligious dialogue is extremely important for religious people as well as secular people or non-believers. They should participate, and they should be encouraged to have interreligious dialogue, because dialogue is a channel or an instrument to promote intimacy between individual.
Appointments' is largely just derived from pieces of dialogue with another person, and then also what's going on inside of my own mind, or a person's own mind. They're intended to be a little bit exaggerated and a satire of things that we're not sure are entirely true, or maybe biased.
A lot of people are quite discouraged by the process of getting healthy because, one, they think they can't afford it, and two, it's daunting. I wanted to start a dialogue. Because you won't be able to even get there until you actually accept yourself and start connecting with yourself.
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.
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.
Changing laws and changing the political dialogue, while necessary, is insufficient to ensure that bullying stops; to ensure that every young person is supported by their parents and their teachers as they question who they are and they discover who they are regardless of the sexuality.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
I have been in dialogue with my family about what can actually be done. We've come up with this philosophy that in a truly multicultural society, the only way to have liberty and justice for everybody is to have multiple parties. And by multiple parties, I mean 50 parties, not one or two.
Self-talk, for me, has been the biggest thing in my life. A lot of us have a dialogue that is crap. It's a crappy dialogue. We live in a world right now that is very external. Everything is very on the surface. Superficial. Everything. And what we're telling ourselves is what we see on TV.
I enjoyed Jonathan Franzen's 'Freedom.' Would I make that into a film? I think it's better suited to television. That would very much be a dialogue and performance piece, and it would take some very skilful direction - but not my kind of directing. But I thought it was a real literary work.
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 think that's one thing that, you know, we all need to remember is that, you know, politics, even though it's been really rough, is that we are all human beings first. And that it is more important for us to have civil dialogue. And you know what? I'm conservative, but I'm not mad about it.
My process is messy and non-linear, full of false starts, fidgets, and errands that I suddenly need to run now; it is a battle to get something - anything - down on paper. I doodle in sketchbooks: bits of ideas, fragments of sentences, character names, single lines of dialogue with no context.
Both need each other: The agnostic cannot be content to not know, but must be in search of the great truth of faith; the Catholic cannot be content to have faith, but must be in search of God all the time, and in the dialogue with others, a Catholic can learn more about God in a deeper fashion.
I know it sounds Pollyannish and 'Kumbaya'-like, but I find that the more that you expose Americans to the diversity of what's going on in China and vice versa, the more people find that there is this broad middle path. And so I'm a strong advocate of intense visits and dialogue back and forth.