A Quote by Robert Evans

I can pick up a screenplay and flip through the pages. If all I see is dialog, dialog, dialog, I won't even read it. I don't care how good the dialog is - it's a moving picture. It has to move all the time... It's not the stage. A movie audience doesn't have the patience to sit and learn a lesson. Their eyes need to be dazzled. The writer is the most important element in the entire film because if it ain't on the page it ain't going to be on the screen.
And enigmatic smile is worth ten pages of dialog.
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
Good advertising is a dialog with people.
I like writing dialog but don't think I'd be much good at a screenplay. I once had to write a treatment for a novel of mine - a condition of its being optioned by a movie producer - and I turned out something pretty lackluster. So my inclination would be to stay out of the way of an experienced screenwriter.
I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.
I can't imagine how much time it took Matt Bucy to cut up 'The Wizard of Oz' and reassemble every word of dialog into alphabetical order. The resulting movie is called 'Of Oz the Wizard.'
When I read Daniel Woodrell's novel 'Winter's Bone,' I was drawn to the characters, the setting, and the sound of the dialog.
If you stub your toe, you don't need to dialog yourself to be good to your foot, do you? When you see things that clearly, there's no dialogue or emotional manipulation that you need to do to extend compassion to that being, because that being is a part of you, and if that being hurts, you hurt.
Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.
I'm always going to use music, use culture as a tool to engage people to have this dialog, to enable others. That's very important.
I had one scene in 'Invisible' with 12 actors delivering dialog at the same time.
With video games, imagine it's not locked - it's a TV show people can reach in and do this and do that, and you need to have dialog for all of that stuff.
I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.
When you begin to suggest that dissent, opposition, resistance, the only way to deal with it is not to listen to it and to engage in dialog with it, but basically to label it as anarchy and to repress it with the most violent, in the most violent means possible. I mean, that's essentially an element of neofascism. That's not about democracy.
I can assure you I'm quite sane and have proof that dialog 'works.'
It is interesting that both Chicano and Puerto Rican art in the United States form an important part of the Civil Rights legacy and dialog.
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