A Quote by Brian Azzarello

People have told me that the dialogue in '100 Bullets' is very realistic. I don't agree. — © Brian Azzarello
People have told me that the dialogue in '100 Bullets' is very realistic. I don't agree.
'100 Bullets' is a novel on its own. 'Brother Lono,' other than the main character, has nothing to do with '100 Bullets.'
You never agree with any one candidate 100 percent. I don't agree with myself 100 percent. You don't even agree with me 100 percent.
My father was very strong. I don't agree with a lot of the ways he brought me up. I don't agree with a lot of his values, but he did have a lot of integrity, and if he told us not to do something, he didn't do it either.
I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
I know '100 Bullets' is not what traditionally people think of as comics.
There is no such thing as realistic dialogue. If you [simply recorded] the real conversation of any people and played it back from the stage, it would be impossible to listen to. It would be redundant . . . . The good dialogue writer is the one who can give you the impression of real speech.
You never agree with any one candidate 100 percent. I don't agree with myself 100 percent.
I do respect Donald Trump. And I think he has a very strong view in terms of security. And we are very strong allies and we work very closely together in Middle East and in order to fight against terrorism. But we didn't agree on two to three issues, and the very first one was on climate. And what it told me is that I took a commitment vis-à-vis my voters. And I told them it was not good for the U.S. and especially the U.S. workers. I tried to convince them. I do believe that on the mid- to long-run it's not true. And I do believe it's important to have on board the U.S. government.
I have difficulty putting words in peoples' mouths. The best dialogue is very, very thin dialogue; you let people improvise and then basically you record what they've improvised and then write it down.
I'm happy with the way '100 Bullets' ends terribly.
If you're really thinking prayer can stop rockets or bullets, you have to ask why some people do get hit by rockets or bullets. Are they people who no one prayed for? Are they people who God just didn't like? I don't think so.
I wonder if the guy at the gun store would give me a discount on the bullets I'll need if I told him what I was up to.
When we were doing Bullets over Broadway, he told me to be more fragile and I thought I was, but he saw it completely differently.
As the CG in motion capture made it look realistic, it put more of an onus on the game makers to make the dialogue they're saying more realistic. It doesn't matter what they say when they're 8-bits, but if they look almost photo-real, it matters. More and more, the games industry is realising that.
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
James Blish told me I had the worst case of "said bookism" (that is, using every word except said to indicate dialogue). He told me to limit the verbs to said, replied, asked, and answered and only when absolutely necessary.
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