A Quote by Adrien Brody
It's interesting because you feel on the one hand, we understand people from what the say, and in another sense, you'd think that you'd be able to convey more through dialogue.
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Unless there is a strong sense of place there is no travel writing, but it need not come from topographical description; dialogue can also convey a sense of place. Even so, I insist, the traveler invents the place. Feeling compelled to comment on my travel books, people say to me, "I went there"---China, India, the Pacific, Albania-- "and it wasn't like that." I say, "Because I am not you.
You need to understand the meaning of the dialogue to be able to convey it right. You need to know it to understand the nuances of the scene.
I think people who speak and write about climate change and environmental degradation need to convey how interesting and important this topic is, because I'm not sure people will feel empowered to help if they don't feel engaged and called to action.
It's difficult to say what attracts one person to another. It's always a combination, isn't it? I've always found people interesting because of the way they think, and a sense of humour is irresistible.
I'm always looking, as an actor, for activities. I think it's far more interesting to watch what people do than what they say. You always want to watch behavior, because the dialogue as written by our illustrious leaders is great. Eminently playable.
I think I felt very alone for a lot of my life, but once I was able to share my story more and more, and people wouldn't say, 'Hey, I felt sorry for you,' but, 'I get it, and I understand you,' it kind of encouraged me to tell it more. I just don't want people to feel alone.
I think as actors we need to close read scripts and we need to fully understand the intricacies of dialogue as well as the symbolisms of what the actor wears and what they hold in their hand because that only adds more layers to the character.
I think the invitation offered the non-black reader is to join us in this expression of our familiarity and via that joining, come to understand that when black people come together to celebrate and rejoice in black critical thinking, we do so not to exclude or to separate, but to participate more fully in world community. However, we must first be able to dialogue with one another, to give one another subject-to-subject recognition that is an act of resistance that is part of the decolonizing, anti-racist process.
I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it.
Doing interviews is very different from working as an actor, because it's up to the journalist not only to understand what I'm trying to convey, but to convey that understanding through their process. And often times it gets manipulated, sometimes intentionally, by pulling things out of context. Some people may not appreciate your work and some may be incredibly moved by it. So that isn't the concern. You have to do what you can do, and share what you feel is appropriate to share in the moment. And then, it's out of your control.
When I was producing the first solo album, i just wanted to convey some messages through it. The message was 'no blood will come out even if I am pinned' However, after trying out different kinds of music activities, I started to change and wanted to convey my real emotion that I have in my everyday life. I want to express the feelings that everyone has felt at least once, in music so I think people will feel/understand my songs.
[Identity liberalism] says, on the one hand, you can never understand me because you are not exactly the kind of person I've defined myself to be. And on the other hand, you must recognize me and feel for me. Well, if you're so different that I'm not able to get into your head and I'm not able to experience or sympathize with what you experience, why should I care?
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.
Everybody's version of style is totally different and that's what I think keeps me going out on the street everyday is going out and kind of seeing the variations and what things maybe I'd never seen quite that way that I find very curious and how people will be able to communicate their own persona through their clothing, their posture, the way they wear their hair. I think all those elements end up becoming very interesting because I don't think I'm really particularly a people person. So for me I think it's interesting to kind of be able to read people in that way.
The whole purpose of screenwriting is to convey everything through action and dialogue and not explanation and exposition. To me, there are movies where voiceover works really well because it does something more than exposition; it actually becomes a tonal element of the movie.
I do not understand how deeply people seem to like my work - but I love that people feel I have helped them through hardships, and also have shared my experience of living a more spiritual and present life. It's so great to be able to make people laugh, because this is so often how we get our selves back.
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