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Dialogue Quotes

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Dialogue Quotes

“There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.”

“When you're doing those operation scenes, you not only have to be on top of the dialogue and the rhythm of the dialogue and what's happening dramatically, but you've got to technically get the rhythm right, so that everything is fitting with the dialogue at the right time. And you're performing the operation to the audience that's watching it. Thackery has to present it, as well. In some ways, that's the most challenging.”

“I'm an actor, and, beyond that, the thing I do most compulsively is writing. So I come at it very much from this sense of character. I get interested in people. And I feel confident in my capacity to absorb and manifest the characteristics of people. I have a real auditory hang-up for dialogue; re-creating the way people talk really is an addiction in my brain.”

“Directing is a reactionary job more than a creation job. The job is to react whether it's moment one, the first time you read the script or see an article or read a book or notice something happen on the street and have an idea for a movie, and it just continues from there on in. You're just reacting to dialogue, a performance, an audition, a headache, a piece of furniture, a piece of clothing.”

“Very, that show is crazy. It was like doing finals every week. It was interesting. I really learned a lot. The dialogue is so technical. I was so impressed watching the other actors and how they managed, so I studied them. And I was blown away thinking: "How do they do that? How do they put that extra spin on the complicated dialogue to make it interesting?”

“So, most of it was done over the phone. But one of the first things I did as a director, because it's one of the first things you should do, even though most don't, is to ask good actors who they think is right for the part. They know better than anybody. But without missing a beat Maggie said Pauline Collins. I didn't know Pauline because I hadn't seen Shirley Valentine, but then I saw this thing that she did with Woody Allen [You Will Meet A Tall Dark Stranger], in which she was wonderful as a psychic, and I said to her on the phone: "The dialogue seemed improvised."”

“Because I actively enjoy sleeping, dreams, the unexplainable dialogues that take place in my head as I am drifting off, all that, I tell myself that lying down to an afternoon nap that goes on and on through eternity is not something to be concerned about. What spoils this pleasant fancy is the recollection that when people are dead they don't read books. This I find unbearable.”

“When artists and philosophers talk only amongst themselves, they ignore the potential of popular culture to become a variety of dialogues with and between everyday people. Its discourse may be productive of desire and pleasure, but popular culture is also a language in which people discuss politics, religion, ethics, and action.”

“I was in correspondence with an anonymous source for about five months and in the process of developing a dialogue you build ideas, of course, about who that person might be. My idea was that he was in his late forties, early fifties. I figured he must be Internet generation because he was super tech-savvy, but I thought that, given the level of access and information he was able to discuss, he had to be older.”

“Because past environmental destruction was the result of ignorance, we can easily forgive it. Today, we are better informed. Therefore, it's essential that we make an ethical examination of what we have inherited, what we are responsible for, and what we will pass on to coming generations. Ours is clearly a pivotal generation. We have global communication and yet confrontation is more common than dialogue.”

“A lot of the times the first take was the best, because the actors are not analyzing themselves as much; they just do it. I believe in happy accidents and I'm not necessarily into actors getting the dialogue exactly as I wrote it; I'm much more into them understanding the motivations and have it come out in a natural way, and maybe catch something that I didn't expect.”

“As soon as the dialogue between two people touches on something fundamental, essential, numinous, and a certain rapport is felt, it gives rise to a phenomenon which Lévy-Bruhl fittingly called participation mystique. It is an unconscious identity in which two individual psychic spheres interpenetrate to such a degree that it is impossible to say what belongs to whom.”

“Unless there is a strong sense of place there is no travel writing, but it need not come from topographical description; dialogue can also convey a sense of place. Even so, I insist, the traveler invents the place. Feeling compelled to comment on my travel books, people say to me, "I went there"---China, India, the Pacific, Albania-- "and it wasn't like that." I say, "Because I am not you.”

“Clifford paints true-to-life characters with the same gritty touch as the best of Dennis Lehane. Straightforward and edgy, Lamentation gnaws with nail-biting tension on every page. A must-read for contemporary hardboiled mystery fans who appreciate the type of terse dialogue and real life conflicts and settings Elmore Leonard so richly brought to life.”

“Moral questions may not have objective answers-whether revealed by God or by science-but they do have rational ones, answers rooted in a rationality that emerges out of social need. That rationality can only be discovered through exercising the human potential for rational dialogue, the potential for thinking about the world, and for discussing, debating and persuading others. Values can never be entirely wrenched apart from facts; but neither can they be collapsed into facts. It is the existence of humans as moral agents that allows us to act as the bridge between facts and values.”

“I can hardly believe what these 12 caricatures [about Prophet Muhammad] have caused in the world. We Danes feel like we have been placed in a scene in the wrong movie. But I don't see the fight as a clash of civilizations. Rather, we must focus on avoiding exactly this type of conflict. We have to return to dialogue, to mutual understanding and to an acknowledgement of freedom of opinion.”