Top 1200 Political Dialogue Quotes & Sayings - Page 3

In the 00s, it was often claimed that political apathy had replaced political participation. Membership of political parties and electoral turnout were both said to be in irreversible decline.

Even the way Mamet describes silences within his plays is different. There are pauses; there are pauses within parentheses; there are pauses before dialogue; there are pauses in the spaces between the dialogue - there's this extraordinary vocabulary of silence which is all there on the page, mapped out.

I'm very political without being political. I don't know how to speak proper political language.

The pressure is always stepping on stage with actors who are just so well-established. It's a scary thing. I haven't been around the block that many times, especially not on big projects. Dialogue makes things easier. When you start bouncing dialogue off of other actors, it becomes comfortable; it becomes conversational.

I think everybody's political. The act of being alive is political. Unless you choose to be a hermit, you're automatically political because you're part of a community.

There is no other way to settle the Syrian conflict other than by strengthening the existing legitimate government agencies, support them in their fight against terrorism and, of course, at the same time encourage them to start a positive dialogue with the "healthy" part of the opposition and launch political transformations.

What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.

Self-talk, for me, has been the biggest thing in my life. A lot of us have a dialogue that is crap. It's a crappy dialogue. We live in a world right now that is very external. Everything is very on the surface. Superficial. Everything. And what we're telling ourselves is what we see on TV.

Majorities are of two sorts: (1) communal majority and (2) political majority. A political majority is changeable in its class composition. A political majority grows. A communal majority is born. The admission to a political majority is open. The door to a communal majority is closed. The politics of political majority are free to all to make and unmake. The politics of communal majority are made by its own members born in it.

That Iran is willing to threaten Israel is wrong[. . . .] We pose no threat and if we are conducting nuclear research and development we are no threat to Israel. We have no intention of aggression against any country. [. . .] Today we announce to you that the political will of Iran is aimed at the negotiated settlement of the case and we dont want to aggravate the situation in our region[. . . .] We know that this issue can be settled in a constructive dialogue and we welcome that.

You should let dialogue get as nearly out of control as you can. Characters should say what they say to each other instead of what they mean to say. The worst purpose of dialogue is to elicit information: "You know why we're out on this space station, Carruthers - to save the universe!"

The internal dialogue is what grounds people in the daily world. The world is such and such or so and so, only because we talk to ourselves about its being such and such and so and so. The passageway into the world of shamans opens up after the warrior has learned to shut off his internal dialogue

High-level political wives are by no means new. In the 18th and 19th centuries, when patricians dominated British political life, it was common for politicians' spouses to play an active political role.

When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.

I am certain that I have been here as I am now a thousand times before, and I hope to return a thousand times... Man is a dialogue between nature and God. On other planets this dialogue will doubtless be of a higher and profounder character. What is lacking is Self-Knowledge. After that the rest will follow.

Think of lab rats racing through a maze, when you watch the sub-intelligent, dual-panel 'dialogue' conducted on the teli. Each rat runs with a designated, neatly bifurcated (Republican or Democratic) political orthodoxy. Each is a 'maze-bright' rat, and not the possessor and giver of any truth.

Very, that show is crazy. It was like doing finals every week. It was interesting. I really learned a lot. The dialogue is so technical. I was so impressed watching the other actors and how they managed, so I studied them. And I was blown away thinking: "How do they do that? How do they put that extra spin on the complicated dialogue to make it interesting?

I have always had a deep belief that every movie, every artistic expression, is political. Don't be fooled. Even ones that we wouldn't consider overtly political are political. When we spend time doing anything, whether it's distraction or whether it's something that we have to face, it is always political. That's my belief.

Do not use thought to ground a political practice in Truth; nor political action to discredit, as mere speculation, a line of thought. Use political practice as an intensifier of thought, and analysis as a multiplier of the forms and domains for the intervention of political action.

Martin [Luther King] wasn't, basically, the kind of person - certainly at the stage that I knew him closest - wasn't the kind of person you could engage in dialogue with, certainly, if the dialogue questioned the almost exclusive rightness of his position.

Readers take in dialogue one thought at a time. A frequent mistake of beginners is to combine thoughts, which may be suitable for other forms of writing but not for dialogue. Another mistake is speechifying. Three sentences at a time is tops, yet many beginners write speeches that go on and on.

We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.

If you're going to make a film, and you're going to have dialogue, and you want to take the characters seriously, let's understand what they're saying. If there is going to be technical dialogue, let's render it in a way that the audience can understand it and expect that it's not going to be so far over their heads.

The average person doesn't understand what a stem cell is. There's a lack of health literacy in our nation. So the public can't really get into this dialogue because they don't understand the complexity of stem cells, not the faith-based approach, not the ideological or political, but the science behind stem cells.

They are our future, and we must have a dialogue. This dialogue between the past and the future is important. Because of this I underline so much the relationship between the youth and grandparents. They must speak with.

I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.

You can judge the moral bearing of a political system, a political institution, a political man by the degree of danger they attach to the fact of being observed through the eyes of a satiric poet.

It may be assumed as an axiom that Providence has never gifted any political party with all of political wisdom or blinded it with all of political folly.

A political conception covers the right to vote, the political virtues, and the good of political life, but it doesn't intend to cover anything else.

Now the good of political life is a great political good. It is not a secular good specified by a comprehensive doctrine like those of Kant or Mill. You could characterize this political good as the good of free and equal citizens recognizing the duty of civility to one another: the duty to give citizens public reasons for one's political actions.

I love the movie 'Taken,' but the dialogue in the beginning of that movie is hilarious. They're talking, these commando types, and there's dialogue like, 'Hopefully your daughter appreciates what you're doing for her. Does she know that you're doing it?' What guys talk like this?

Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.

Do remember, though, that unless you're a playwright, the result [dialogue] isn't what you want; it's only an element of what you want. Actors embody and re-create the words of drama. In fiction, a tremendous amount of story and character may be given through the dialogue, but the story-world and its people have to be created by the storyteller. If there's nothing in it but disembodied voices, too much is missing.

Truman Capote famously claimed to have nearly absolute recall of dialogue and used his prodigious memory as an excuse never to take notes or use a tape recorder, but I suspect his memory claims were just a useful cover to invent dialogue whole cloth.

People who consider themselves political, who follow political developments most rigorously, are often those who view the political process with the greatest lack of perspective.

Real political issues cannot be manufactured by the leaders of political parties, and real ones cannot be evaded by political parties. The real political issues of the day declare themselves, and come out of the depths of that deep which we call public opinion.

So long as human history continues, we will face the perennial challenge of realizing, maintaining and strengthening peace through dialogue, of making dialogue the sure and certain path to peace. We must uphold and proclaim this conviction without cease, whatever coldly knowing smiles or cynical critiques may greet us.

I think I'm very strong at dialogue, I think I'm very strong in characterization. I think sometimes I use dialogue and character work to cover weaknesses in my plotting.

One political party must behave goodly with another political party, whatever is possible within the political jurisdiction.

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 like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?

I believe very much in a dialogue between buildings - I believe it's always been there. I think buildings have different identities and live very well next to each other. We always have the shock of the new, and that's fine. The renaissance style is totally different from the medieval, and they have a dialogue across time.

I mean, putting women in the center of a movie and not talking about men, that's already political, right? And you know, political doesn't mean that it sends this message or that is has a statement. It's also political in its aesthetic project.

Writing screenplays is not my business. I've written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You're an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.

The whole idea of jazz came about was the interpretation of the human dialogue, trading fours. When someone's soloing and someone picks up the solo and plays it back at 'em, it was the imitation of the human dialogue. It was how people spoke, through music.

For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.

When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.

I think, for some artists, the fear of taking on a political identity stems from not wanting to be pigeonholed as political actor or a political musician. It becomes this thing where somehow your art can no longer exist on its own and be multifaceted.

I think I've always been extremely conscious of the kind of empowerment that comes from realizing that you're in a position to express yourself. And the fact is that - and this is the thing about punk rock - that everyone is in a position to create culture, and that point has never been lost on me. To me, that's an important political aspect of doing this, and trying to live in a way that's about dialogue as opposed to like... spectacle.

I'm not a political person. I usually beware of political persons. I know many, but I'm not one of them. I have no political ambitions.

Hatred is not contained in political thinking. Any hatred worked up against the public enemy is non-political, and always shows some weakness in the internal political situation.

Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.

I am of the opinion that I am not a political writer, and, moreover, that as far as true literature is concerned, there actually are no political writers. I think that my writing is no more political than ancient Greek theatre. I would have become the writer I am in any political regime.

Of course, no state accepts [that it should call] the people it is imprisoning or detaining for political reasons, political prisoners. They don't call them political prisoners in China, they don't call them political prisoners in Azerbaijan and they don't call them political prisoners in the United States, U.K. or Sweden; it is absolutely intolerable to have that kind of self-perception.

If the Bank of Canada does want to start getting more and more political, then it will be held to the same level of political accountability as other political entities.

The Federalist Society is changing the culture of our nation's law schools. You are returning the values and concepts of law as our founders understood them to scholarly dialogue, and through that dialogue, to our legal institutions.

More and more of the Taiwanese economy is connected with the mainland. There are more and more exchanges taking place. There's no reason to doubt that over a period of ten years or so, or maybe more, the conditions of life on the two sides of the Taiwan Strait will become more comparable, and the dialogue on the political level therefore easier.

So, I think that for the authorities to say now that calling for sanctions will prevent dialogue is a ploy to stop us from supporting sanctions. It has to be the other way around: dialogue first, then we stop our call for sanctions, because sanctions make people understand that you cannot exercise repression and at the same time expect international support.

War is not merely a political act but a real political instrument, a continuation of political intercourse, a carrying out of the same by other means.

I'm a sort of political person, and I feel that there's a kind of ineradicably political dimension to theater, to all theater, whether it's overtly political or not.