A Quote by Daniel Kehlmann
When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.
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I admire writers such as Elmore Leonard who can nail a character in three or four lines of dialogue, so he doesn't need pages of back story or clumsy exposition.
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.
Let it Ride channels Elmore Leonard at the height of his powers, with dialogue Quentin Tarantino would kill for.
["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.
I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.
I don't read in Chinese very well. Google Translate helps with that. It's cool that I can upload a photo and translate the text from it.
I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.
Reading aloud sounds like a good idea, but honestly, it doesn't work very well. Good dialogue in a book doesn't actually bear much resemblance to real-life dialogue. For example, if you've ever seen a word-for-word transcript of people talking, it doesn't read off the page very well. The trick is to make it *seem* like it's being spoken, not to make it speakable.
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.
Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.
I wouldn't exclude writing another song in German, but I don't want to translate songs anymore. We used to sit down and literally translate every song word for word - it was very technical, and the songs would lose so much along the way.
I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.
Clifford paints true-to-life characters with the same gritty touch as the best of Dennis Lehane. Straightforward and edgy, Lamentation gnaws with nail-biting tension on every page. A must-read for contemporary hardboiled mystery fans who appreciate the type of terse dialogue and real life conflicts and settings Elmore Leonard so richly brought to life.
On the whole, dialogue is the most difficult thing, without any doubt. It's very difficult, unfortunately. You have to detach yourself from the notion of a lifelike quality. You see, actually lifelike, tape-recorded dialogue like this has very little to do with good novel dialogue. It's a matter of getting that awful tyranny of mimesis out of your mind, which is difficult.
People learn racism through dialogue. Somebody tells them about it. So if you can learn it through dialogue, you can also unlearn it through dialogue.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
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