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Talking Quotes

“Australians and New Zealanders don't talk about Gallipoli in terms of invasion. I started talking about it and using that word and at first there were a few people who were getting upset in the same way that in any country, if you work for a newspaper you know exactly the dude you can go and talk to get a knee-jerk reaction when it comes to something to do with the military.”

“Certainly, from where I stand, I'm not a specialist in wildly different walks and voices. But I find as much variation and nuance as what satisfies me in what I do. So, I don't find this particularly different. He has his own peculiarities. You're probably talking about a cluster of Englishmen in suits but I've done quite a big cluster of guys not in suits as well, which I've occupied myself with. So, I don't find that this is the one that stands out.”

“I could sing and play as well. I've got some brothers; one of them is the drummer in the band. They're good musicians. I play for fun. They play properly. Music in general, I grew up in a house of musicians. Everybody's life has a soundtrack, I'm sitting here talking to you but there are horns beeping outside. I know I'm in New York. That's an element in the film as well. How strong that sense can be.”

“I write a lot on airplanes actually because it's completely isolating; there's no one to talk to, there's nothing to do. And then I think a lot of it sort of comes out sitting down with the people I'm co-writing with and talking to them about what I'm going through and what I want to say. It just sort of happens; every song came about in a completely different yet organic way.”

“I hear actresses talking about this all the time - this idea that you sit in meetings and the studio says, "Well, you can't do that because the audience won't like that. They won't root for you. It's not sympathetic." I think that we've been served this one dish for so long that we believe that it's all that audiences want, but when we test them or throw something out there that has some truth to it, they seem to always respond.”

“The difference is in Hostel it's in the theatre - it's in public but it's in a private place. You have to actively make a choice to want to go see it. It's not being forced on anyone. Whereas 24 you can be flipping channels and it's right there in your living room. Anyone has access to that. But that just shows how mainstream it is and how people are seeing this stuff on YouTube. People are scared of it. This is a subject matter that everyone's talking about and everyone's thinking about, particularly in American culture.”

“Everybody can take a good picture. Everybody is interesting. Everyone has an interesting face. Some people are more difficult or more nervous or more tired. When you do a movie, you have action, you're talking, you're moving. You don't see the camera. Taking a picture with a photographer, you don't talk, it's more difficult than in a movie for your body to relax, to be yourself.”

“When I started out, the most terrifying thing was when I had to be very, very emotional in front of lots of people. Now I've kind of learned that it is very important to keep talking all day, keep making jokes, and be connected with people, and be present. It's very important for me to be absolutely present in order to be emotional. I learned that is sort of the way I need to be.”

“There's a big mistake the left has made with talking to religious people, which is attempting to talk them out of their interpretations of the Bible, attempting to have theological debate with them. When I'm on right-wing whackjob radio, when people call up to inform me that I'm going to hell, I concede the point. "I'm going to hell. Yes. Can you leave me alone now?"”

“I'm not very nostalgic, you see. I just don't think anybody has that kind of thing anymore. By culture, by breeding, by whatever, it's not there. The kids today-what the hell are they going to be? I like young people - yes, I do. But when I talk to people at the schools, and they say, "I saw you on the Twit," I don't even know what they are talking about.”

“One of the biggest challenges in the past for me in working on the networks was that audiences have grown accustomed to television being something that keeps you company-background music, something that you have on while you're flipping through a magazine, cooking dinner, talking on the phone, putting the kids to bed.”

“But at the same time, the film industry just got torched. The risk tolerance for the types of movies we're talking about is lower, and the reason for that is that the captains of the industry were asleep at the switch when their core business was being disrupted. And they're never getting it back. In a way, it makes it all the more exciting when the good ones get through.”