I think as actors we need to close read scripts and we need to fully understand the intricacies of dialogue as well as the symbolisms of what the actor wears and what they hold in their hand because that only adds more layers to the character.
We need political leadership that will move the world away from war into solving its problems through dialogue and negotiation, to build friendship with people, which is not what we've had with this war on terror.
What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
When you face a creative change at the house, you have to start a dialogue, and talk with the designer about how he envisions the brand to make sure that you're on the same page. It's the way the designers talk about the brand, and what they see, and their emotions, how they perceive the house.
I try to simplify things for the children. For instance, [I arrange] for them to have almost no dialogue, or to somehow give them very precise indications, because usually they ask for that.
It's true that PC culture has created very little honest dialogue.
Dialogue comes naturally to me and I can hear the characters' voices in the scenes.
I might find that I have a habit of being jealous and comparing myself with other people and riveting my attention on how much somebody else is accomplishing or doing, or how much better they are at such and such. First, I might recognize the story - the mental images and internal dialogue - and say, "Okay, comparing mind." Then, rather than staying caught in the content, I'll bring my attention into my body and open to the immediate feelings that are there.
I actually had some funny dialogue [ in Stardust Memories], a little piece, and we shot all day in this big ballroom. Gordon Willis was the director of photography, and at the end of the day, Gordon turned to Woody Allen and said, "We cannot accomplish all of this in this space. It's impossible." And we'd been rehearsing and trying to shoot this thing all day. So Woody said, "Okay, let's do something else." He looked at me and said, "Come back tomorrow, I'll put you in something else." And he did.
G.K. Chesterton, who was part of a Catholic conservatism that was kind and loving, not reactionary or hateful, said "We're all in the same boat in a stormy sea and we owe each other a terrible loyalty." I think that's profoundly true, yet it's difficult to have civil dialogue right now with other Christians, so how can we possibly talk to "all the nations"?
We can have national dialogue where different Syrian parties sit and discuss the future of Syria. You can have interim government or transitional government. Then you have final elections, parliamentary elections, and you're going to have presidential elections.
I think we don't do a service to dialogue between science and faith to characterize sincere people by calling them names. That inspires an even more dug-in position.
In 2000 the then Prime Minister of Japan [Yoshirō Mori] asked me to return to this process, this conversation, these talks, and to do so, incidentally, on the basis of the 1956 declaration. I agreed. Since then we have conducted dialogue in this regard but I cannot say that our Japanese partners and friends have remained within the limits of the 1956 declaration.
Everything that we [with Shindzo Abe] are talking about has come to us as a result of the events of 70 years ago. In some way or other, during these 70 years we have been involved in some kind of dialogue on the issue, and that includes the conclusion of a peace treaty.
Plato in his dialogue The Phaedo says that whereas sticks and stones are both equal and unequal, (so maybe what that means is that each stick is going to be equal to some other sticks and unequal to some other sticks, so equal to the stick on the left maybe but shorter than the stick on its right) the form of equal is going to be just equal, and it won't partake of inequality at all. And it will be the cause of equality in things that are equal, for example, equal sticks and stones.
I feel like it had an impact, in that it started the attention that has been paid to what was happening. It started to get us into this whole conversation about prison reform, the whole bipartisan dialogue that's been happening over the past five, six years about this, where you have a Van Jones and a Newt Gingrich, and you have the Rick Perrys and so forth getting up and talking about the need to reform.
What we tried to do in 13th was get to the bottom of that. What were they motivated by? But certainly the attention that the Attorney General's office paid to it allowed for there to be some dialogue across the aisle that I think were the first steps then in change.
To the extent that our political dialogue is such where everything is under suspicion, everybody is corrupt and everybody is doing things for partisan reasons, and all of our institutions are full of malevolent actors - if that's the storyline that's being put out there by whatever party is out of power, then when a foreign government introduces that same argument with facts that are made up, voters who have been listening to that stuff for years, who have been getting that stuff every day from talk radio or other venues, they're going to believe it.
If we want to really reduce foreign influence on our elections, then we better think about how to make sure that our political process, our political dialogue is stronger than it's been.
From 1940 to about 1960, I had been writing just regular comics, the way my publishers wanted me too. He didn't want me to use words of more than two syllables if I could help it. He didn't want me to waste time on worrying about good dialogue or characterization. Just give me a lot of action, lot of fight scenes.
I've always felt that music is more expressive than dialogue. I've always said that my best dialogue and screenwriter is Ennio Morricone. Because, many times, it is more important a note or an orchestration than a line said.
I look for the essence of a story and a human angle that I think audiences can relate to. I also look at how the dialogues flow in the film as a whole and between the characters, and most importantly I always consider what I can bring to the character from a creative point of view.
When you think about the person responsible for creating the character and the dialogue, Bill Monahan, who's a Boston guy, obviously, his words roll off my tongue quite nicely.
I like writing dialogue - I can hear my characters so clearly that writing dialogue often feels as much like transcribing something as it does like creating it.
Children are receptive to talking about gender creativity, confirming the importance of the book as a means to instigate this dialogue at an early age.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: