We need to educate students to be critical agents, to learn how to take risks, engage in thoughtful dialogue, and taking on the crucial issue what it means to be socially responsible.
I do a little improv in my shows. Kind of like our movie, I'll do beats and ideas of dialogue, but I think there's less pressure because it's a live show. If you mess up, the audience laughs because we don't really know what we're doing. But as far as shooting, that was very scary, trying to make a point and drive the film. It definitely helped improvising.
Acting for me was an escape and it wasn't until Smoke Signals that made me realize that acting is a personal development and challenge to grow. Smoke Signals really mirrored the way I grew up and how I felt, and that movie was the first time I'd dealt with my parents' death and how I felt that loss and sadness and anger. After that movie I said, "Y'know what, I have to realistically wear my emotions now when I do a job. That's gotta be as real as it gets. It's not just dialogue anymore."
As the voices beneath the music are talking, you find that the music is just as important as what they're saying. The traditional thing is to lower the music so you can hear the dialogue. We just couldn't do that for that song.
I can't have composite characters. I can't attribute dialogue to someone based simply on my memory and not based on notes taken at the time that the words were spoken.
Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.
When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.
Musicians have to do what they do and express it musically. All the blah blah blah will get lost in the dialogue.
I began writing and became attached to writing at an early age. I began by writing poetry and experimenting with dialogues: modest plays, in other words. I also used to describe at great length the way people in the area lived.
Also, as a result of the involvement of American foundations that have backing from the U.S. State Department in Iranian internal politics, cultural exchange and dialogue have become more and more problematic.
It is difficult for Iranian scholars and universities to retain their independence and to be seen as doing so, when cultural warfare is being carried out by some of their American partners. Indeed, such irresponsible behavior basically serves to intensify suspicion and in reality decreases the opportunity for real and meaningful dialogue.
Perhaps adding a line or two of dialogue to try to better capture an emotion. But I've found that if the story isn't there in the beginning, right from the start, I generally can't beat it into shape no matter how much rewriting I do.
There were definitely scenes I struggled with more than others: the car accident and the thunderstorm are two that come to mind. It's difficult to write about a thunderstorm. There are only so many ways to describe it and our vocabulary is so limited. And the car accident scene required a tense, manic quality that had to be conveyed in the language, as well as the character's dialogue and actions. I was editing these scenes long after I thought I was finished with them.
It's something that's difficult to explain but I think all writers work this way to some extent, whether we're aware of it or not. For me, writing has little to do with thinking. I don't want to control the narrative. I listen to the rhythm of the words and dialogue and try to give the characters the space in which to say and do what they want without intervening too much.
In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.
Silver rights aren't as dramatic and captivating as civil rights. The movement isn't good TV and it's boring or inaccessible to many people. The forums were created to spread awareness, dialogue, and community to forge new partnerships and ideas.
I'm pretty much of the Shakespearean school. Dialogue is character. How we speak is who we are.
But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself.
Much to my surprise, there's a sense for people in the cable industry that fiction writers might actually be good at script writing. You can write dialogue!
I am not a great believer in dialectical struggle. I am much more of a fusion person. I see it as a dialogue, or trialogue, or polylogue: many, many, many voices, going back a long way. The cultural picture is much more mutually enriching at many different levels, manufacturers...absolutely, design and calligraphy. It's an amazing amount of cross-interests between people.
The poem has to bear the weight with image, language... the screenplay with dialogue, plot.
My experience as a Jewish American has often been as a spectator of one-sided conversations, or more like monologues, about Israel, Jewish History, Jewish identity, etc. Although there are profound divisions amongst Jews on all of these topics there are not many opportunities for deep and thoughtful dialogue about them.
Jewish communities in the diaspora are very important to Israel and we are open to a dialogue with them. It is bitter for us to see the process of assimilation, the mixing of Jewish and non-Jewish. But when it comes to the relations of state and religions, the basics have not changed since Rabin's times.
I look at it [Scream movie] and think, wow, I can't believe I wrote that at such a young age. I also look at it and go, ohhh ouch, that dialogue, whoa.
I've always hated quotation marks: they're ugly on the page and they classify the text for you, putting dialogue in one box and narration in another.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: