A Quote by Aaron Pedersen

Actors have to have conversations not just with dialogue but with silences. — © Aaron Pedersen
Actors have to have conversations not just with dialogue but with silences.
Silences, as every observer knows, have strange characteristics all their own - passionate silences, and hateful silences, and silences full of friendly, purring content.
I love dialogue, but I'm also terrified of it. In all my movies, I've done my best to cut out as much dialogue as possible. I love the spaces in those silences. Even in 'Pete's Dragon,' I was so happy that the first twenty minutes have about five or six lines of dialogue.
Sighs and silences and avoided conversations are just as important as the things you do talk about.
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.
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.
Silences make the real conversations between friends. Not the saying but the never needing to say is what counts.
In the silences I make in the midst of the turmoil of life I have appointments with God. From these silences I come forth with spirit refreshed, and with a renewed sense of power. I hear a voice in the silences, and become increasingly aware that it is the voice of God.
BoJack especially is a very dialogue based show. A lot of the comedy comes from conversations, and a lot of story comes from misunderstandings and people trying to connect with each other, and there was a really interesting challenge trying to write a script with no dialogue.
We don't often have the luxury of time [in Steve Jobs movie ]to have these conversations where you just literally get to sit around for day and days and analyze every line of dialogue.
One of the best side effects about working on 'Billions' that I did not anticipate were the number of conversations I had about gender identity with my fellow actors and also members of the crew. From the person holding the boom to the person wiring my microphone, just how many conversations I had with so many open minds and hearts.
I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
A lot of the times the first take was the best, because the actors are not analyzing themselves as much; they just do it. I believe in happy accidents and I'm not necessarily into actors getting the dialogue exactly as I wrote it; I'm much more into them understanding the motivations and have it come out in a natural way, and maybe catch something that I didn't expect.
I want people to have conversations, to have controversy because it creates dialogue and builds bridges.
The silences express so much and are so crucial in music, and prose does not allow for the creation of these silences, these white spaces on the page or the computer screen.
When you're having conversations about actors, you realize these same conversations have happened about you. If you want to make a film for $5m, then you cast A, B and C, but if you want $20m, you won't be able to cast them, you need X, Y and Z.
Sometimes you can just have a dialogue with an actor beforehand and shape the performance then, but other actors need more guidance on the set.
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