The most important thing is to have a more open and honest dialogue about gender issues.
I actually enjoy working with green screen, because I can imagine all that stuff happening, and I really cut my teeth on a movie I made called "Adaptation" where I had to imagine four-page dialogue scenes with my twin brother, who was nothing more than a tennis ball and a gas stand.
I just love the subversion of dialogue in sitcoms, stand-up is monologue and that is entertaining for a lot of people but personally I find it a bit trying, which is a weird thing to say as a stand-up! I love people aping normal conversation and twisting it so it becomes hilarious.
When I am making a film, I know what to do in front of a camera. What frightens me are the scenes with dialogue. Sometime they really want me to speak perfectly and I don't like that.
The main aim of the [political] dialogue should be to resolve the problems of the nation, not to find who is the winner and who is the loser. That's not what it's all about. It's to try and find an answer that is acceptable to all parties concerned, which would of course require some give and take.
I don't think it is so difficult to solve the problems between Cuba and the United States; it all depends on whether there is a dialogue, a discussion, or if the prejudices and hatred of people like the extremists and terrorists from the Cuban community, who try to impose their policies, prevail.
Garry Trudeau is the only cartoonist with the clout to get his strip published large enough to accomodate extended dialogue. It's ashame.
Screenplays are not writing. They're a fake form of writing. It's a lot of dialogue and very little atmosphere. Very little description. Very little character work. It's very dangerous. You'll never learn to write.
Acting is everything to me and it's at the core of every decision. Whatever importance costumes, details, lights, camera, dialogue and everything else have, if the acting is bad, cheap, or overdone everything else is just gone.
I'd like to be taken in charge of as an actor, not to be abandoned with asinine dialogue and meaningless actions or stereotyped characters. I'd like to feel like I'm in a character driven story.
One of the purposes of the Olympic Games is to bring the nations of the world closer together, so that they can conduct an open dialogue. We [germans] should be careful about constantly imposing our values on others.
Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.
I speak to people in the languagethey understand. First I have a dialogue, if that is not understood I speak inanother language. There is no remedy for this.
Graffiti is like building a career. And there is a dialogue with the other artists out there mostly fellow writers because a lot of people who don't paint just see a blur when they look at it.
There should be a spirit of dialogue. Whenever we see any disagreements, we must think how to solve them on the basis of recognition of oneness of the entire humanity. This is the modern reality.
As actors, we were fighting that tooth and nail because of fear, because language is a crutch and dialogue is a crutch, and it's so easy to just have a great writer write you a line.
I think my role is as a writer, especially, and then also as a speaker, an organizer, and an entre- preneur of social change. My role isn't to make choices for people-each individual or group needs to do that on their own. But as a writer and a speaker, you can describe possibilities that perhaps haven't been visible before, and aren't in other public dialogues or in the rest of the media. So I suppose I think of myself mainly as an organizer and as someone who describes possibilities.
When I'm singing a song on stage, I hate hypocrites. If you don't put yourself in that lyric and emote and be what that lyric says that you are, then you're just going through the motions and you're being hypocritical. I just take that same approach with acting. I just take the dialogue and I emote it and become that. I use the same technic.
I think that people want to go to the movies and watch shows on TV or in theaters that make them feel good and music really does that. Not only can you watch something and connect to dialogue, but when you listen to a song, it gives a whole other element of connection and you get that feeling like you want to stand up and dance and sing.
I hope that my ideas attract a lively dialogue, even if my sentences are simple. Simple sentences have always served me well. And I don't use semicolons. It's hard to read anyway, especially for high school kids. Also, I avoid irony, too. I don't like people saying one thing and meaning the other.
For me, the most gratifying projects are ones that have the potential to bring people together - to overcome differences among various groups, and to spark dialogue.
I'd like to work with some of the videogame companies for the simple fact that they obviously need some sort of writer's help. I play videogames, and lately it's hard for me to enjoy them because I'm spending all my time cringing at the corny dialogue, thin characters, and glaring plot holes.
Reading aloud sounds like a good idea, but honestly, it doesn't work very well. Good dialogue in a book doesn't actually bear much resemblance to real-life dialogue. For example, if you've ever seen a word-for-word transcript of people talking, it doesn't read off the page very well. The trick is to make it *seem* like it's being spoken, not to make it speakable.
Most movies shot in Italian don't even bother to record the sound. In fact, sometimes when Fellini works, he doesn't even know what the dialogue is going to be, and he simply has his characters count from 1 to 10, knowing he will loop in their dialogue later.
People don't like preaching, but discussion, presenting a case, and that's important. Therefore, I think we need to learn to dialogue much more.
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