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.
Monologues, in some ways, are the most scientific descriptions of consciousness and even of gatherings.
["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.
They're not gong to give Hateful Eight its credit now, they'll give it its credit later. Hateful Eight was too long. I think we've indulged Quentin [Tarantino] so much with his monologues. Quentin has this very strong cult following around him and his projects, and people are always expecting so much from him.
We have been making constant efforts, all the time, to start dialogue with the SLORC, but you know it takes two. We don't want a monologue. We would like a substantive political dialogue among the SLORC, political leaders including myself, and leaders of ethnic groups-exactly as stipulated in the U.N. General Assembly resolution on Burma.
I learned capacity for self-reflection very early, finding it through interior monologues that books are so good at and that visual media is so bad at because it's so boring - nothing's happening. In a book, you can be inside the narrator's head for 50 pages, and nothing needs to happen. Then you learn to be inside your own head without something needing to happen. It's a very good antidote to a crazy, restless, "what's next?" culture - that you can just be in your own head and nothing is happening except that this is a rich place. I love that.
Conversation succeeds conversation, Until there's nothing left to talk about Except truth, the perennial monologue, And no talker to dispute it but itself.
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.
Confessional poetry is, to my mind, more slippery than poems that are sloppily autobiographical; I find the confessional mode much more akin to dramatic monologue.
Well my motto was "Never Monologue a Clegane", because Beric Dondarrion and Thoros were messing around with The Hound and Beric essentially got killed, even though he got to come back, and then the monologue is just a foolish thing to do. But it's also psychological state of mind, he can't get over his sister.
When you're singing, it can be looked at as a monologue, in a way. If it's about telling a story and connecting with your audience, you can do that through song, through dialogue, or through a monologue. That's what's special about being an entertainer.
Maybe Bill Maher should just practice his monologue a few times before the show, so he wouldn't find it so hilarious. But I kid the asshole.
'Nashville' songs and country music have always been about storytelling and about the heart and confessionals. They're monologues.
A film, since it is primarily a visual medium, should really be like a silent film. You should be able to watch something and understand what was going on and use voice when you need to communicate something you can't necessarily communicate visually. The book is the opposite. The book is an inner monologue which is beautiful.
I do seem to favor a deathbed confession as the occasion for my dramatic monologues.
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.
I view my stories as sexual or personal. Curiously, I don't. When I was writing those stories I thought of them as comedy pieces in the vein of performance monologue, such as you might get with Richard Pryor, or Lenny Bruce, or George Carlin. So I don't feel vulnerable because I know the line of demarcation between "Writer Kevin" and "Narrative Kevin."
When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.
I always have these little internal monologues. You'll get used to them.
I happen to disagree with the well-entrenched theory that the art of conversation is merely the art of being a good listener. Such advice invites people to be cynical with one another and full of fake; when a conversation becomes a monologue, poked along with tiny cattle-prod questions, it isn't a conversation any more.
I told personal stories the way [Bill] Cosby would spin a yarn for ten minutes. I think in hindsight it works better as a long story than as a condensed monologue.
Prayer is not monologue, but dialogue; God's voice is its most essential part. Listening to God's voice is the secret of the assurance that He will listen to mine.
my belief in the sacrament of the Eucharist is simple: without touch, God is a monologue, an idea, a philosophy; he must touch and be touched, the tongue on flesh, and that touch is the result of the monologues, the idea, the philosophies which led to faith; but in the instant of the touch there is no place for thinking, for talking; the silent touch affirms all that, and goes deeper: it affirms the mysteries of love and mortality.
Plot involves fragmentary reality, and it might involve composite reality. Fragmentary reality is the view of the individual. Composite reality is the community or state view. Fragmentary reality is always set against composite reality. Virginia Woolf did this by creating fragmentary monologues and for a while this was all the rage in literature. She was a genius. In the hands of the merely talented it came off like gibberish.
I spend several years trying to get inside the brain and heart of my subjects, listening to the interior monologues in their letters, and when I have to bridge the chasms between the factual evidence, I try to make an intuitive leap through the eyes and motivation of the person I'm writing about.
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