A Quote by Daniel Kehlmann
Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.
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I think that the dialogue between police officers and the black community has to get better, but not better in a way where, 'Oh, let's talk about it when something horrible happens.' The dialogue has to be going on consistently, every day.
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.
English dialogue is the best in the world. So dry and direct. The Italian language is beautiful, but it is too literary.
It's kind of a cross between, I think. It's not, you know, over the top Old English, like Lord of the Rings would be or something like that, but there is a very sophisticated air about the Asgardians[?], you know, in their dialogue, and - hold on. Okay. Um, and I'm doing an English accent in the movie.
I have a wonderful English-language dialogue coach. All the time I have to speak English, he is with me. It is a double effort, because you have to say the words correctly and then act them.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
I believe I'm very conscious of exactly what I'm doing. I'm auditioning lines of dialogue, and I'm interrogating whether the lines would translate from Russian into English the right way. The English that results can perhaps seem somewhat more formal than colloquial, but not so formal as to feel academic.
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.
I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.
Everything has changed. When I was at school and was told I had better learn English, I said: What for? The English are a hell of a long way away!
Institutions are better served by going direct to end users, establishing a channel for direct dialogue and feedback. It is a world of many to one, not one to many.
A lot of them [Germaqn actors] could come in and we could speak for the next nine hours in English and there would be no problem. It was - but it was - English wasn't the language for them to read poetry in. And there is a - there's a poetic quality to my dialogue.
When people come to see you, they know what you do. That's what they want. They want it to be quite English; they don't want to watch an English bloke trying to fit in. They want it to be quintessentially English in the way that Ricky Gervais is rude to people at the Golden Globes.
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.
I felt like, I need to do English music; I speak better English than I do Korean. I think the fans enjoy it as well, so let's start making music in English.
I know a whole generation has been raised on the notion of multiculturalism; that all civilizations are just different. No! Not always. Sometimes things are better! Rule of law is better than autocracy and theocracy; equality of the sexes, better; protection of minorities, better; free speech, better; free elections, better; free appliances with large purchases, better! Don't get so tolerant that you tolerate intolerance.
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