A Quote by Alan Arkin

I'm used to changing a lot of the dialogue. But if I feel like the script is working, I don't want to mess with it. — © Alan Arkin
I'm used to changing a lot of the dialogue. But if I feel like the script is working, I don't want to mess with it.
With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue... I think expositional dialogue is quite crass and not like real life.
I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
Well, you know, I never want to feel like I have a set plan of what I'm supposed to do. I kind of like to go script by script, and if I like the character and like the story that's why I want to do a movie.
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.
Working on 'Jekyll' required a lot of concentration and energy. The script is written in a very filmic way most of the time; unusually for television there are a lot of descriptive pages, tiny little fragmented scenes with no dialogue but huge energy.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
I was very keen to work on the script with Scott Derrickson and [C. Robert] Cargill, and working out the important story beats, changing lines, upping the comedy, changing the pace, all of that was great fun.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
As a teenager, in my songbook, I used to script what my lighting would be like. I used to dance in my roo;, it was like putting myself in a trance, and making myself feel good about things, almost like a private ceremony of begging people to like you.
Mark and jay Duplass really like to improvise. Even if we beg them to go back to the script, they invariably ask us to go "off the rails," as they like to call it. It's just the way they work. You get a full written script. And it's really, really, really good, so that's why it's kind of peculiar that they always want you to improvise, because if I wrote something that good, I would want everyone to stick to the dialogue that was written.
I feel like a lot of the portrayals of, in particular, younger minority ethnic characters on television, a lot of their dialogue, a lot of their characteristics, a lot of their personality in a writer's eyes, is kind of propelled through their ethnicity.
Working with an incredibly strong script is the thing that gives you the most confidence. If you go into an episode knowing the script is strong, I just feel like that's where it all starts. All collaborations that happen, in addition to that, are just bonuses, at that point.
When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.
Memorizing a playbook is like memorizing a script. When they change the script at the last minute it's like changing a play in a game.
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