I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
I have underscored my commitment to dialogue and cooperation with our neighboring Turkey, a country that plays an important role for the future of our region. But I still stress that the promotion of this important relations can only take place on the basis of mutual respect without threats of war and questioning of sovereign rights.
This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.
I really love James Joyce, Dubliners and other work. And I was interested in the way the dash was used in English topography - in his work particularly - and I realized there was no compulsion to use those ugly dot-dot curlicues all over the place to designate dialogue. I began to look around, and found writers who could make transitions quite clear by the language itself. I'm a bit of a maverick now. I'm always trying to push the medium.
There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.
The big problem with literature is people tend to take the dialogue from the book, forgetting that everything that surrounds it is literate, therefore not knowing quite how to put that on screen.
It [9/11] transcended the political and moved into the metaphysical. There was a kind of cosmic, demonic quality of mind at work here, which refused to have any interest in dialogue and political organization and persuasion. This was bloody-minded destruction for no other reason than to do it.
["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.
It is a great problem for the true international agenda of human rights that the United States, uniquely among industrialised countries, has not ratified three main instruments, has not ratified the Covenant on Economic, Social and Cultural Rights, or the Convention on the Rights of the Child, or the Convention for the Elimination of Discrimination Against Women, and we could have so much richer a debate and dialogue on international human rights standards if the superpower would sign up to the agenda.
When I'm sculpting, I work with wood and clay, and though some say that an image is already in the material and the sculptor just has to discover it, I also believe you have an image in your head that you're trying to get to. So you're in a dialogue with the piece, a back-and-forth.
I began to read [Bible] as a critic, an in-house critic. So I got to a place where when I got to the university, I just couldn't reconcile that book and some of its points of view with stuff I was learning in my academic career. And so then you have a choice: either you give up your academic career and close your mind and become a constant fundamentalist, or you give up your religion and become a citizen of the modern world and get a modern education, or just spend the rest of your life balancing the two things together, forcing them into a dialogue.
Laurence [Fishburn] helped redo some of the dialogue [in John Wick 2], he and Keanu [Reeves] workshopped it. And he couldn't have been more respectful couldn't have been more brilliant on set. I said, "look, I'm gonna have to work you a little bit here cause I only get you for three days." He never left set, was always engaging, always working on his lines, it was awesome.
My decision was, and the decision of the different institutions, and the decision of the different officials in Syria - I'm on top of them - was to have dialogue, to fight terrorists, and to reform as a response at the very beginning, response to the allegations, let's say, at that time, that they needed reform in Syria, we responded.
The mistake we make with many people - not just Russia - is that we believe we have the model, and there is a sort of a condescension in our dialogue with other societies, which was especially painful in several administrations to Russia. I think in Russia, the Yeltsin period is not considered a period of great achievement, but a period of corruption and humiliation.
We cannot give Russia veto over deployment of forces on NATO territory. But we have to understand their particular sensitivities, and, therefore, there should be a dialogue on these issues.
Today the world has to accept what India has been saying about terrorism. India's dialogue on terrorism, the losses India has suffered due to terrorism, the losses suffered by humanity, the world is now acknowledging that.
The writer I adore is Ivy Compton-Burnett.I couldn't get more than a few pages in when I first read her. In many ways, she is very clumsy and her plots are rubbish. But we don't read her for that. There are pages and pages of dialogue. What it requires is real effort and attention.
When NASA makes discoveries they are profound and they make headlines, everyone takes notice. It drives dialogue and, today, it would drive the blogosphere. It would drive the projects the kids do in school. So you wouldn't even need programs to try and stimulate curiosity. You wouldn't need programs to try to convince people that science literacy is good. Because they're going to want to participate on this epic adventure that we call space exploration.
I found out about it probably 9 - 10 months before we shot the film [Don't Kill It] because it was postponed a couple of times, which was actually a good thing because once it all finally came together, I had to get in there and roll off different pages of dialogue and monologues pretty quickly.
The Internet and Twitter and all these things are very powerful, but it also means sometimes that instead of having a dialogue we just start calling folks - calling each other names. And that's true on the left or the right.
I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.
I think being mediocre and in the middle would be the worst. It's more interesting to get strong reactions, and to have the mixture of people who get it and the people who don't get it. And to invite a dialogue.
I like telling the story in a visual way. I don't like explaining a lot in dialogue.
I had to do some emergency cram sessions with the dialogue coach on set [of the Punisher: War Zone]. But it was fun, because every actor on that movie had to do an accent, so we were all talking the whole time in our accents.
When you have a full page of well-written dialogue that has a thought process to it, it is pretty easy to memorize. It's a lot easier to memorize than if you're in a scene and other people are talking, and you have maybe one word or one sentence that you have to interject at the right time and in a natural way.
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