It's this long monologue [in Valley of Violence] with Ethan Hawke talking about life and everything with a dog. That's not in movies. Hopefully when people think about the movie when they go home, they're like, "That's weird. He's maybe crazy. He's talking to a dog the whole time."
Theatre aside, my penchant for the extended monologue began with my reading of Browning's dramatic monologues, in high school. My inclination to adopt the form for prose was confirmed by Richard Howard's book of dramatic monologues, Untitled Subjects.
I've had my fill of Hitler. These conferences called by the ringing of a bell are not to my liking. The bell is rung when people call their servants. And besides, what kind of conferences are these? For five hours I am forced to listen to a monologue which is quite fruitless and boring
Violence is immoral because it thrives on hatred rather than love. It destroys community and makes brotherhood impossible. It leaves society in monologue rather than dialogue. Violence ends by defeating itself. It creates bitterness in the survivors and brutality in the destroyers.
The 1992 US Olympic basketball team is the best sports team ever, the equivalent of rounding up the greatest American writers of the last century or so and watching them collaborate: 'OK, Twain, you do the dialogue and hand off to Faulkner. He'll do the interior monologue. Hemingway will edit - no, don't make that face, you know you overwrite. And be nice to Cheever. He's young, but he's got a good ear. Wharton and Cather can't play - they're girls.'
Knowing has two poles, and they are always poles apart: carnal knowing, the laying on of hands, the hanging of the fact by head or heels, the measurement of mass and motion, the calibration of brutal blows, the counting of supplies; and spiritual knowing, invisibly felt by the inside self, who is but a fought-over field of distraction, a stage where we recite the monotonous monologue that is our life, a knowing governed by internal tides, by intimations, motives, resolutions, by temptations, secrecy, shame, and pride.
What is called music today is all too often only a disguise for the monologue of power. However, and this is the supreme irony of it all, never before have musicians tried so hard to communicate with their audience, and never before has that communication been so deceiving. Music now seems hardly more than a somewhat clumsy excuse for the self-glorification of musicians and the growth of a new industrial sector.
The language of psychiatry, which is a monologue by reason about madness, could only have come into existence in such a silence.
...every monologue sooner or later becomes a discussion.
Actor training should be broadly humanistic, involving the study not just of dramatic literature and theatre history, but of languages, literature, and history generally, and should be centered on acting in plays rather than just exercises, improvisations, monologues, or even scenes.
When your woman gives you the silent treatment, say you're sorry, or you'll find out how truly sorry you are when her monologue resumes.
People don't listen to understand. They listen to reply. The collective monologue is everyone talking and no one listening.
Our nation must engage with the rest of the world. But to be successful, we must listen. Our interaction with the world must be a conversation, not a monologue... these exchanges are a strategic pillar of our nation's public diplomacy.
I like to hold a monologue with women. But a dialogue with myself is more stimulating.
Reading is, at its best, not an escape; it is genuine experience. A novel is not a monologue, but a conversation, a collaboration between writer and reader, an invaluable exchange of human conditions.
The first time I watched [Keith] Olbermann, his opening monologue, I completely changed the way I approached my radio show.
I had to invest in the love and understand that with the love comes the pain. So when he tells me that, the monologue is already there. Does that make sense?
But along with all of that it was, "Oh, isn't he a great storyteller? Oh, it's that why I married him? Isn't he handsome? Oh, what am I going to make for dinner today?" I put all of that as a part of [Roses's from "Fences"] inner everyday monologue so, by the time he tells he that news and all of that I feel that it's there already.
[Interminable monologues] became an issue only late in [Adolf] Hitler's life. He became repetitive after the war started going badly in Russia. He wasn't like this earlier on, he could be very funny in our small group, very relaxed, teasing and it was just a relaxed atmosphere.
[Having monologue] are talking to somebody even if it's just to yourself, convince yourself if that's what you're trying to do.
[True Detective] is an intense show, even in terms of the dialogue - there's a little rhythm to it, in particular in his monologues. I think on those days, he [Woody Harrelson] really had to stay in the zone. Because there's a certain cadence in which that character speaks and talks about life, you know? But then there are other days that he was able to be a little more loose.
I'm sorry, if you've been married for five minutes, you've sacrificed something, you've looked over at your partner and have gone, "Oh my God this is the biggest mistake I've ever made in my life." And then the next moment it's "This is the most beautiful and extraordinary human being, and I'm going to stick with it because I love them more than anyone else." That monologue to me is the universal thing, especially for women because I feel like that's the big thing with women.
We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.
I can be on the Tonight Show, but not with Johnny [Carson]. He uses my name in his monologue all the time.
I really needed to dramatize and clarify that Rachel was taking strides towards her own healing and her own sobriety - and that she was actually thoroughly frightened about what she may have done.This was something that was so beautifully done in the book [The Girl on the Train] through inner monologue, but I couldn't just have a whole film filled with inner monologues. So going to Alcoholics Anonymous was a very simple solution to that problem.
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